In lieu of an abstract, here is a brief excerpt of the content:Music Teacher Education in Japan:Structure, Problems, and PerspectivesMasafumi OgawaSchool music education in Japan is in a less than ideal situation. In April 2002, the new course of study was implemented by the Ministry of Education, Culture, Sports, Science and Technology (MEXT).1 The total number of music classes in the new curriculum was reduced to 33% of what it had been by (...) the end of 2002. The reduction went from two hours of music classes every week in grades one through nine to one hour in grades five through nine. This inevitably caused many problems. First, it became very difficult to teach music sequentially and instead music classes tended to be fragments of introductory experiences taught as disconnected activities. In this situation, it has been difficult for students to develop musical knowledge and skills. Second, the number of full-time music teachers was reduced greatly. It became common for a music teacher to teach at more than two schools in order to fill a full-time assignment. In some scenarios, many full-time music teachers were replaced with part-time teachers or teachers of other subjects. Music teachers have become disposable.Many music teachers are losing their effectiveness in the classroom. Students consider school music classes as a time to relax compared with other "intellectual subjects."2 They sometimes question music as an essential subject because they [End Page 139] do not value the developing skills that music requires or studying the theory of music. They believe that they can enjoy music outside of school anyway. Consequently, they are quite reluctant to participate in music classes and so behavioral problems arise and classroom management becomes more difficult. Some teachers attempt to force students to obey and force them to order; other teachers totally give up and let students behave as they like in class.3 In either case, teachers and students do not relate well to each other. It is not an exaggeration to say that school music in Japan is at risk of collapsing altogether and disappearing from the curriculum.One of the reasons for this, I believe, is that we have not wrestled with the fundamental problems of school music education until today. We might have intentionally avoided reviewing and criticizing the curriculum, expectations, and purposes of music education because it has been taboo to discuss the national standards, particularly for public school teachers to do so. Social and environmental conditions have changed greatly since the current system of Japanese education was established in 1947. It is obvious that the existing system does not match the new conditions.I strongly feel that it is time to review and reexamine what our pioneers of music education and the government had achieved in the field of music education. If we continue to avoid doing so, music in the schools will face serious consequences. In this paper, I discuss some of the fundamental issues of music teacher education in Japan. There are two reasons for focusing on music teacher education. First, starting with music teacher education is most important because music teachers have the most significant roles in school music education. Second, I have been engaged in music teacher education for seventeen years, and this is not only my research area but also an area in which, as an insider, I can offer direct insights. I will limit this essay to looking at the preparation of teachers in music for elementary and middle schools (grades 7 to 9).StructureThe course of study (COS) is a set of national curriculum standards for kindergarten, elementary, middle, and high school, and schools for the handicapped and is issued by the MEXT.4 All schools, public or private, are required to follow these standards. No other curriculum is allowed. Therefore, in Japan, the COS is law through which the government controls all educational actions. The COS was first issued in 1947 and has been revised seven times.5 The most recent revision was announced in December 1998 for kindergarten, elementary, and middle schools, and in March 1999 for the other levels. All schools in Japan were required to implement the revised COS by April 2002. [End Page 140]The COS of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives”Peggy WheelerMasafumi Ogawa's paper presents challenge after challenge facing the teacher and the teacher educator in Japan. One has the sense that a lifetime of frustrations with the national curriculum, the set-up of student teaching, and the definition of music as a school subject each made its way into the paper. Even (...) choosing to focus on teacher training still leaves a very broad topic for a relatively short paper. The central challenge seems to be the curriculum. How does the curriculum impact the teacher and the teacher training process? How does the underlying definition of music as well as the purpose that definition implies affect the curriculum? His paper also identifies a series of dualities or tensions that exist between two important components: the curriculum or teacher education. The fact that Japanese and American music education systems seem to be at opposite ends of some of these dualities is a compelling reason for exploring and discussing them.In the arena of teacher preparation, the dualities as they appear in their relative proportion of the teacher education curriculum are (1) performance versus academic music courses, such as history, theory, and composition, and (2) education versus music courses—a familiar lament among music education students. In student teaching, modeling in the classroom by the cooperating teacher is contrasted with providing opportunities for the student teacher to experiment with the teaching process. Evaluation of student teaching is a three-way tension involving the student teacher, the cooperating teacher, and the university professor.In his discussion of the school curriculum, Ogawa deplores the triumph of attitude over skill, and pleads for discernment in the application of national standards to meet the needs of the community and students. He returns to the nature of music and music education at several points in his paper, expanding the meaning and function of music beyond music as art. His dissatisfaction with the seemingly teacher-proof curriculum peaks when he advocates for the autonomy of the teacher in the classroom. Giving teachers the opportunity to devise their own curriculum seems to go to the other extreme. Having taught with colleagues who had virtually no training in music, a standard curriculum at the district or national level provides some essential boundaries.Ogawa's discussion of the impact of the national Course of Study on Japanese music education was particularly intriguing. As teacher certification in the United [End Page 205] States has begun to promote and reward National Board Certification, it is striking to consider the restrictions and disempowerment that Ogawa describes and credits to the omnipresent Course of Study. For someone unfamiliar with the Japanese system of education, some of the descriptions were enticing but brief. Other descriptions were a bit confusing, but after visiting the MEXT website, I think most of this confusion is due to translation. It is difficult to take any phrase that is packed with meaning in one culture and find a suitable phrase in another culture that will convey the associations that are connected with it. I would recommend quoting complete descriptions or including an appendix. A reference to the history of Japanese music education on Kensho Takeshi's website would also provide more context, particularly for the connection between emotion, music, and ethics.I want to thank Ogawa for stimulating me to consider issues of curriculum including how I have changed my views of curriculum since I returned to school teaching. First, I will describe my change of perspective. Then I would like to close by describing an aspect of curriculum and teacher education that has surfaced this past year. I would call this the meta-curriculum, and I wonder how we can prepare new teachers for this part of teaching. It seems to me that the world of philosophy is the quintessential and perhaps the only appropriate arena for this preparation.Beyond Curriculum in the ClassroomLike the first spring rain on newly cut grass, music education has a fresh and vital look to me. I returned to public school teaching this year after a hiatus of seventeen years. After focusing on viola performance and liberal arts... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives”Christina HornbachMasafumi Ogawa cares deeply about improving music teacher education and has grave concerns about Japan's current music education and teacher training system. He notes reduced instructional time, cuts in teaching positions, and classroom [End Page 201] management issues resulting in the devaluing of music education by (...) administrators, students, and the general public. He proposes that one solution to these problems involves changing curriculum requirements for music education and student teaching.Ogawa notes that in the Japanese teacher preparation system, performance requirements significantly outnumber music education class requirements, something he regards as a weakness in the system. According to his data, a similar survey of the American university system revealed that music education classes receive high priority in course requirements. Though the data sample was rather small in this instance (five major state universities) and may not truly reflect course requirements for the majority of music education majors nationwide, in my experience most of the undergraduate coursework does divide fairly equally between music education methods courses, history/theory, and performance requirements. Though the National Association of Schools of Music does have guidelines for professional and teaching competencies, the actual percentages for course requirements (basic musicianship and methods courses, 50%; general studies, 30% to 35%; professional education and student teaching, 15% to 20%) provide each individual school with discretion and leeway.1 Although the American music education system may be stronger in certain areas than the Japanese system, as Ogawa presents it, it is by no means perfect. Thus, the American system needs examination too, not necessarily for the quantity of courses, but rather to determine course content and quality. Due to time limitations, I will focus on only one aspect, but one that is of the utmost importance: classroom management.It can be argued that undergraduate music education majors in America just as in Japan need more time to discuss and experience the "real" world before they teach. Though some programs incorporate pre-student teaching practica into elementary and secondary methods courses, more instructional time should be devoted to discussing classroom management and behavior issues. Classroom management is usually touched upon briefly in methods courses, and perhaps even in philosophy or psychology classes, but not to the depth it should be. There are a myriad stressful conditions that may be associated with teacher attrition and burnout, including budgets, salaries, lack of administrative and parental support, and classroom discipline, to name a few.2 However, one of the leading causes of stress is student attitudes and behavior.3Some educators believe that teaching is a natural ability and a person either possesses the innate qualities to succeed or does not; others believe that anyone can be taught to teach. Perhaps it is a little bit of both. Bright, young teachers who have a drive to teach and care about the future of their students will be more successful if armed with classroom management skills and experience in a variety of teaching contexts; for instance, urban and rural. Without guidance and increased knowledge, most young teachers emulate mentors; they teach how they [End Page 202] were taught. Depending on the personality and/or skills of the novice teacher, these techniques may or may not work when he/she is faced with teaching in an unfamiliar context. Regardless, young educators need to be taught how to teach, not just what to teach.It is necessary for a course or courses to be added to college and university music education curricula that address classroom management, emotional concerns of students, and the teaching of special student populations. At best, these topics are covered in a cursory manner in methods courses, and a cooperating teacher may model and discuss classroom management during student teaching. Providing instructional strategies for dealing with emotionally volatile adolescents and discussing available resources, responsibilities, and rights of teachers are important for new teachers' professional growth. Music educators should have the skills to recognize and deal with inappropriate classroom behaviors in a manner that focuses the student and the class back on learning.Managing anger and resistance in the classroom can be a daunting task if one is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the (...) Japanese education system is introduced. Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the (...) Japanese education system is introduced. Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches (...) were heard representing Japan's unique perspective. There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches (...) were heard representing Japan's unique perspective. There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

Japan has been one of the nations where music education is not grounded on its own indigenous music. The universal slogan that school music education should be based on each country's own music has mainly remained unpracticed here. This essay is to clarify the exing questions raised by the above discussion--why Western music is still the core of public music education in Japan and how this came to be so. (...) I then offer my views on the future of Japanese public music education: how Japanese traditional music should be dealt with in school music education. The responsibility of Japanese music educators might be concerning this issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Futures for Music Education PhilosophyEstelle R. JorgensenIn 1990, when I convened the first International Symposium for the Philosophy of Music Education at Bloomington, Indiana, there was one dominant philosophy of music education in the United States and another was about to make its appearance. The five succeeding symposia (Toronto, Canada, in 1994, led by David Elliott; Los Angeles, United States, in (...) 1997, led by Anthony Palmer and Frank Heuser; Birmingham, United Kingdom, in 2000, led by Mary Reichling and Forest Hansen; Lake Forest, Illinois, United States, in 2003, led by Iris Yob, Frank Heuser, and Forest Hansen; and Hamburg, Germany, in 2005, led by Charlene Morton, Paul Woodford, Frede Nielsen, and Jürgen Vogt) have promoted other philosophies. And this burgeoning of different voices and perspectives has greatly enriched the philosophical underpinnings of music education and moved us from relying on a narrow range of philosophical views towards a plethora of them.In our infant society, the International Society for Philosophy of Music Education (ISPME), we are creating and institutionalizing a forum that can nurture and critique ideas and practices and sustain the work of philosophical reflection in music education over the longer term. We have also benefited from long-term commitments by the Indiana University School of Music and Indiana University [End Page 15] Press to publishing the Philosophy of Music Education Review, now in its fourteenth volume (building on three years of publication of the Philosophy of Music Education Newsletter), and the Counterpoints: Music and Education series that provides an important venue for publishing cutting-edge scholarship in our field. And over the past two years, we have begun to build an international team of philosophers committed to establishing a strong philosophical society in music education.Beyond institutionalizing philosophical scholarship in music education, our society is committed to creating a genuinely international community that offers a global perspective. In the past, music education grew up within national borders and its work was often nationalistic in emphasis. Now, we face new challenges of thinking beyond these national commitments to a world of music education. This world might be seen as what Maxine Greene aptly terms "multiplicities and pluralities,"1 the many differing groups forged within language groups, religious perspectives, political ideologies, economic strictures, and familial obligations. And as philosophers, we work especially within our various linguistic and cultural traditions as we also seek to transcend these traditions in a common discourse.How shall we address philosophically the multiplicities and pluralities, commonalities and differences in music education internationally? Radical relativism and pluralism offer contrasting perspectives.2 Radical relativism sees the host of different music education beliefs and practices around the world as incommensurable and focuses on differences between them. For example, viewing Japanese and British music education within this stance would suggest that since Japanese and British music education reflect Japanese and British society and culture respectively, each cannot be understood in terms of the other, they are different and incommensurate with the other, and it is important to understand each in its own terms. Pluralism, however, sees differences as commensurable and focuses on shared attributes. Since human beings are the creators of culture and society, common threads amidst the differences emerge from this common humanity. For example, as a reflection of their different societies and cultures, although we expect to encounter differences between British and Japanese music education, we may also observe commonalities since they both bear the imprint of a shared humanity.Notwithstanding that musics and educational systems seem, upon first glance and when considered specifically, to be incommensurable, a deeper and more general examination turns up evidence supporting a pluralist perspective.3 Historically, cultures regularly borrow from different others as if there were common human threads. Maurice Ravel, Carl Orff, and Paul Simon are among twentieth-century composers to draw on cultures from the Far East and Africa. In music [End Page 16] education, Masafumi Ogawa's study of the introduction of Luther Whiting Mason's ideas into Japan in the nineteenth century,4 the dissemination of Shinichi Suzuki's ideas into the United States, the spread of Zoltán Kodály's, Émile Jaques-Dalcroze's, and Carl Orff's and Gunild... (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and (...) machine technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions (...) can be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative (...) study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and (...) machine technology experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: (...) adjacency, continuance, and resemblance, all of which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: (...) adjacency, continuance, and resemblance, all of which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is (...) unconditionally or inherently good. The essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

Resumen: La educación musical básica china siempre ha desempeñado un papel importante en el cultivo del gusto estético de los estudiantes y en la mejora de su alfabetización cultural. Sin embargo, en el contexto del rápido desarrollo social y económico y de la diversificación cultural, la educación musical básica también se enfrenta a nuevos retos y oportunidades. En el pasado, la educación musical generalmente prestaba atención a la formación de habilidades y hacía hincapié en la herencia de obras clásicas, pero (...) la demanda de educación musical en la sociedad actual pone más énfasis en la creatividad, la calidad integral y el desarrollo de la personalidad. Por tal motivo, es de gran importancia práctica y teórica estudiar la situación actual y el desarrollo de la educación musical básica en China y debatir los problemas y las perspectivas. Con una investigación a profundidad sobre la situación actual de la educación musical básica en China, podemos comprender de forma exhaustiva las características principales, los problemas existentes, los profesores, los materiales didácticos, las instalaciones y otros aspectos de la educación musical actual. Esto ayudará a revelar los cuellos de botella y las deficiencias del sistema educativo y proporcionará una base para formular políticas educativas más científicas y racionales. La política de educación musical básica en China se está viendo influida por la investigación en filosofía de la educación, sobre todo a la hora de proporcionar apoyo teórico e ideológico a la creación de nuevos estándares curriculares nacionales para la educación musical básica. Esto tendría un efecto significativo en la educación musical básica de China. Por tal motivo, es esencial llevar a cabo una investigación en profundidad sobre el estado de la cuestión y la evolución del concepto educativo fundamental de la música en China. En los últimos años, la educación musical fundamental china ha ido prestando atención al cultivo de la creatividad y la calidad integral de los estudiantes. La música no es sólo una habilidad, sino también un arte que ayuda a cultivar el pensamiento creativo y el desarrollo integral de los alumnos. (shrink)

In this article, the aim is to address different forms of relationship between deconstruction, as coined by Jacques Derrida, and research perspectives on music education. Deconstruction represents a radical departure from Western ontology from Plato onward and its essentialistic notions of the metaphysics of presence. Instead, Derrida claims that signs, as well as texts, are decentered, that is, they are continually altering meaning in relation to other signs or texts, being in constant motion. Simultaneously, signs and texts, as (...) well as existence and experience, constitute themselves by binary oppositions, like nature/culture, content/form, original/copy, internal/external, empirical/ theoretical, and so on. Derrida argues that such differences are not inherent, but are instead socially produced and hierarchical mechanisms for providing systematic priority to one aspect of the dualism to the neglect of the other. Consequently, the ethical interest of music education research, from a deconstructive perspective, would be to expose what is marginalized in musical schooling, upbringing, and socialization. In that case, deconstruction might also be able to rectify some of its destructive reputation. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies (or should qualify) our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor (...) its study is unconditionally or inherently good. The essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but (...) highly hypocritical, racist, and sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

In recent years, comparative education and comparative music education became important fields of research. Due to globalization, but also to international student assessments, it is most common to compare the outcomes of entire school systems or specific subject areas. The main goal is to identify the most successful systems and their best practices in order to help struggling countries to improve. While the notion of borrowing from successful systems might at first glance seem convincing, it has its (...) clear downsides: it fosters a kind of “cargo culture,” where the export and import of educational models and successful practices is undertaken without taking into account critical aspects of this procedure. This paper examines critically borrowing foreign educational practices as a goal of comparative music education, in the context of globalization. It takes an interdisciplinary perspective, using results from comparative education research and utilizing it for music education and music education philosophy. (shrink)

Patients and physicians have confronted many ethical dilemmas in Japan and more complete medical ethics education should be developed to cope with them. We have to be cautious, however, when adopting ethical guidelines and decision-making priorities utilized in Western countries and expert ethicists' opinions without critical deliberation. Accepting them as absolute norms would fail to resolve ethical problems deeply rooted in the idiosyncratic Japanese human relationship and value system. Traditional ethical attitudes in Japan should be also criticized (...) because they have apparently failed to deal with present ethically difficult situations.We have to, therefore, start our consideration regarding appropriate medical ethics education by asking the following questions: What is an ethical problem in Japan, what kind of decision-making process should be used, and what is ethically right in this country? We would obtain valid answers only through recognition of present situation in this regard. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 1-3 [Access article in PDF] Symposium:Aesthetic Education in Japan TodayThe purpose of this symposium is to provide readers with a general understanding of Japanese art and aesthetics education and its interaction with other cultures. The essays cover a variety of topics, including historical, cross-cultural, theoretical, and practical perspectives.First, the development and establishment of art education in the (...) Japanese education system is introduced. Kingo Masuda's essay provides a brief history of art education policy and how a formal system of art education has been organized from the modern era to the present. Takuya Kaneda examines the foundation for the historical evolution of the major reform movements in Japanese art education. He focuses on the philosophies of three pioneers who guided the movements and sheds light on to the role that "freedom" has played in the context of aesthetic education. Their historical studies show how the modern Japanese educational system incorporated the Western notion of art education into its foundation. Western art educators have given Japanese art educators the impetus to modernize the theory and practice of art education.The attempt to go beyond the modern framework of arts and aesthetic education is discussed in some authors' essays. Yoko Hino examines a key educational term, "Creative Play (Zokei Asobi)," and points out the dilemma educators face working within the modern framework that divides subject matter completely from individuality. Yasuaki Okamoto, in his philosophical essay, discusses the change in the nature of self-understanding in theage of media expansion. His point is that our sense of reality is no longer confined to physical existence, and that media provides us with a new kind of experience of self and reality. Kinichi Fukumoto illustrates the essential structure of art education with the metaphor of Disneyland, and emphasizes art education as an incomplete, further evolving project. Motoki Nagamori discusses Rousseau's concept of nature as a foundation for modern theory and practice of art education and suggests an alternative concept that incorporates cultural, linguistic, and media aspects. Based on a historical study on evaluation methods, Kazumi Yamada suggests that qualitative factors should play a significant role for improving art education.Some authors emphasize the current concern for integrating art with other disciplines in order to alter our understanding about aesthetic education. [End Page 1] Advocating for the integration of art and media literacy based on the educational principles of the Bauhaus, Kenta Motomura explores the possibility of media technology for a new type of expression. Kazuhiro Ishizaki and Wenchun Wang describe their cross-cultural study on children's aesthetic development to stress the importance of the communal, cultural, and linguistic considerations of integrated study, historically overlooked in traditional aesthetic education. Focusing on blending music and visual arts, Masashi Okada introduces his theory and practice of integrated study developed over many years.In addition, globalization and its effect on art education has become an important topic. Engaging in a cross-cultural dialogue is a critical part of this issue. Akio Okazaki discusses what Arthur Wesley Dow, an Americanart educator, recognized and learned by encountering the otherness of Japanese art. Yoshimasa Kaneko's study shows how Japanese aesthetics and Johannes Itten (the founder of Ittenschule in Germany) had a significant philosophical influence on each other. Toshio Naoe's comparativestudy between Japanese and British educational systems highlights somecrucial differences and similarities and points out overarching themes across the two countries. Mitsuru Fujie compares and contrasts the different educational meanings of "play" between Japan and the United States, and articulates the nature of play in the context of Japanese art education. Masako Iwano's study describes a case of cross-cultural aesthetic education in a small Japanese community and how this cultural interaction through art impacts that community.The perspectives of all of these authors are decidedly international. They are not only committed to, and engaged directly in, the current practice of Japanese education but have developed an international viewpoint through experiences overseas. Some have conducted research at educational institutions in other countries, and others have participated in the activities of international professional... (shrink)

We are living in a time of social and cultural changes. As in other disciplines, the foundations of music education are being increasingly challenged. Thus, it is no longer possible to specify reliably the aims and contents of music education and their implementation in school by simply basing them on lasting musical traditions and changeless forms of life. It has been said that such an assessment leads us to a pluralistic—if not relativistic—view of music (...) class='Hi'>education. But it does not help us when we have to make a decision on "What is to be done?" How can we orientate ourselves in our actions and whereupon should we base our judgements when negotiating decisions and trying to convince others? If we are not ready to accept that the decision-making process in the field of music education is just a matter of power, we have to be content with the arguments we can offer. We need to have the courage of independent critical thinking in terms of Didaktik involving all concerned. The situation is similar to that of aesthetic arguing: there is no sure footing; our criteria for evaluation are always up for discussion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance (...) of freedom in education. Especially, in the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance (...) of freedom in education. Especially, in the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

This article examines the social development of Hong Kong's cultural and national identity since its return from the UK to the People's Republic of China nearly six years ago, focusing on the extent to which Hong Kong students are now inculcated in traditional Chinese music and express their devotion to the PRC through singing the national anthem. Hong Kong music teachers experience conflicts concerning their roles as music teachers and as purveyors of values education. These observations (...) raise fundamental questions concerning the sociopolitical function of values education in the music classroom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 101-107 [Access article in PDF] Art Education in Lower Secondary Schools in Japan and the United Kingdom This essay compares the system and practice of art education in Japan and the United Kingdom at the lower secondary school level. Three surveys on how art is taught form the basis of this research. I conducted the first survey (...) in 1992, distributed to 156 art teachers in Japan on their "real" curricula and compared them with syllabus samplers of nationally authorized textbooks. From 1993 to 1994, I studied in the United Kingdom the newly introduced National Curriculum and performed a survey on its impact on classroomteaching in 49 art departments in secondary schools, mostly in England. Since 1994, I have participated in a joint study project on craft education in secondary schools in Japan and Britain, in which 717 Japanese schools are cooperating via a questionnaire survey. The issues common to these surveys are how art teachers respond to the national standards in their own teaching practice, and what these responses suggest for the future development of this subject. This essay identifies survey findings in both countries, together with overviews on the systems and cultural factors affecting the state of Art and its implementation in curricula. Japan and the United Kingdom: An Overview Let us look briefly at the historical background of the national curricula in Japan and the United Kingdom. The education system in Japan was established by the central government and has maintained its unity. After World War II, a new national Course of Study was recommended but was not compulsory. But in the legislation of 1958, this Course of Study became binding and a new subject called "Technology and Home Economics" was introduced. A new term, "design" was adopted in Art, "craft" was removed, and the time allocated to Art was drastically reduced. In the 1969 revision, five main areas of Art study were established: drawing (painting), sculpture, design, craft, and art appreciation. In 1977, a recommended time allocation for each area in Art was eliminated, and the five areas were reorganized into two fields: "expression" and "appreciation." Between 1969 and 1977, lower secondary schools in Japan allotted two compulsory hours per week for Art in grades 7 and 8, one compulsory hour and one non-compulsory hour in grade 9. However, after the revisions of 1989 and 1998, the time allotted for Art has gradually decreased. [End Page 101]In the United Kingdom, different educational systems developed concurrently, and through political and ideological conflicts, the involvement of central government gradually grew until an integrated school system was established. 1 The National Curriculum, first introduced through the Education Act of 1988, clearly indicates Art as compulsory from Years 1 to 9 in state schools. 2 The Courses of Study in Japan are separated into primary, lower, and upper secondary levels, however, the consistency of Art as a subject is not as clear. 3 In England, the content is not differentiated into the areas of art, craft, and design, but is organized as a series of processes common to these areas including investigation, creation, and evaluation, based upon knowledge and understanding.The United Kingdom has no national system for authorizing textbooks, but the examination board syllabus for the General Certificate ofSecondary Education (GCSE), for example, has influenced the school curriculum. Art departments of each secondary school function as fairly independent entities, taking responsibility for curriculum and study resources. In Japan, in most cases, lower and upper secondary schools are separated, with only about one art teacher per school, which means improving the curriculum is determined by the efforts of the individual teacher in a limited environment.We also need to consider the cultural background. The United Kingdom has made a notable effort to incorporate a multicultural perspective, based upon the urgent recognition that the country has become a multi-ethnic society. There is also a growing awareness in Western societies that individual expression should be approved in relation to the culture of a given social group. In Japan, it has... (shrink)

In this article, we examine philosophy of sport as a field of study in Japan, its history, characteristics, and future prospects, as part of a contribution to the international development of the discipline of sport philosophy. The Japan Society for the Philosophy of Sport and Physical Education has been holding an annual sport philosophy conference every year since its inception in 1978. Nevertheless, the trends of sport philosophy in Japan have not been conveyed abroad. The language (...) barrier between Japanese and English as an international communication tool makes it difficult to spread our work on the philosophy of sport throughout the world. The question arises as to whether the philosophy of sport in Japan has the same trends as those in the Western countries. Is it reasonable to assume that it has different aspects and interests than philosophy of sport in English-speaking countries? We will also try to address these questions for our audience. (shrink)