Efforts to reform medical education have emphasized the need to formalize instruction in medical ethics. However, the discipline of medical ethics education is still searching for an acceptable identity among North American medical schools; in these schools, no real consensus exists on its definition. Medical educators are grappling with not only what to teach (content) in this regard, but also with how to teach (process) ethics to the physicians of tomorrow. A literature review focused on medical ethics education among North (...) American medical schools reveals that instruction in ethics is considered to be vitally important for medical students. Agreement by medical educators on a possible core curriculum in ethics should be explored. To develop such a curriculum, deliberative curriculum inquiry by means of a targeted Delphi technique may be a useful methodology. However, the literature reveals that medical curricular change is notoriously slow. General implications for medical ethics education as a discipline are discussed. (shrink)

This commentary describes a new physician who encountered a patient in crisis in a nonmedical environment. It discusses professional obligations, ethical principles, errors committed, and reasoning behind such errors. Unusual circumstances, uncertainty about how to properly identify oneself as a physician, self-doubt, and discomfort with practicing outside one’s scope of training are recognized as reasons behind these errors. Medical students should be reminded of their ethical obligation to offer emergency care within their limitations, instructed how to identify themselves, and guided (...) to become competent team leaders. Resident doctors should continue to receive instruction as they internalize ethical principles and identify their scopes of practice. Practicing physicians should be competent in offering basic emergency care if needed. (shrink)

The method chosen here draws on concepts borrowed from sociology and anthropology. This double conceptual approach is necessary for a society divided between values inherited from medieval Christianity and precapitalist practices. Seventeenth-century France did not think of itself as a class society but as a society of orders. Since sociology is a system of knowledge whose concepts are taken from an imaginary construct, it is thus more suited to analyzing bourgeois society than societies in transition.6 In trying to measure the (...) past with the aid of tools forged in and for contemporary societies, the sociologist runs the risk of only measuring an artifact, produced by his theories in the field of history. Hence the need for the anthropological concepts, including the notion of exchange, among others, whether material , symbolic , or sexual .This approach will bring to light the contradictions underlying the society of the ancient régime. Whereas an ordinary sociohistorical approach views the reign of Louis XIV as unified under a dogmatic classicism, the socioanthropological approach stresses the tensions and oppositions running through this society. Classicism appears then as a façade covering up the change that it cannot imagine. This “spectacle”7 makes it possible to unite contradictory social practices, both those produced by consumption and which originate in the medieval economy and those belonging to the early accumulation of capital which sketch future bourgeois economic practices. 6. See Cornelius Catoriadis, The Imaginary Institution of Society, trans. Kathleen Blamey .7. See Guy Debord, Society of the Spectacle, rev. English ed. . Jean-Marie Apostolidès is professor of French literature at Stanford University. His publications include Le roi-machine, Les metamorphoses de Tintin, and Le prince sacrifié. Alice Musick McLean, a Ph.D. student at the University of Chicago, is specializing in medieval narrative and the literature of the fantastic. (shrink)

Abstract:This essay engages a decolonial border methodology to unveil dichotomies of theory/practice, and scholarship/education as contested spaces of multiplicity, dominated by a coloniality of power. Musicking’s profound connections to embodied experience make it a locality ripe for decolonial activity. Furthermore, I argue that Christopher Small’s insights when critically reevaluated with decolonial thought, Deleuzian ontology, and border thinking with and from subaltern epistemologies, emerges as a productive site of struggle. This methodology hopes to create a malleable framework for other decolonizing (...) methodologies to engage with rather than provide a blueprint for application. Decolonization as a musicking methodology can facilitate emergent ideas through equitable dialogue while simultaneously creating real spaces for more democratic and equitable musicking relationships. I argue here that decolonial music education, broadly conceived as occurring both inside and outside of academic institutions, carries profound implications not only for decolonizing music as such, but for larger decolonial struggles. It is in the borders of our musicking communities that the educators become the educated and the oppressed wage their own struggle for liberation with solidary musickers at their side. (shrink)

While Wittgenstein harked back to Romantic sentiments concerning the ineffable connection between musical depth and knowledge of human inner life, he nonetheless responded to them critically, while at the same time interweaving them into his forward thinking about the philosophic entanglements of language and the mind. In this paper I offer a thorough reading of Wittgenstein’s reorientation of metaphors of musical depth in a way that is conducive to a conception of knowledge of human beings which pushes beyond the inner/outer (...) dichotomy. (shrink)

Despite calls for the inclusion of the body, emotion, and sociality into music education theory and practice, the complex interplay of these aspects of being remains largely unarticulated and ignored. Deleuze and Guattari assert the importance of ongoing interconnections, arguing that multiplicities rather than singularities comprise humans. In this paper, I begin by drawing on their ideas to propose a human ontology based on the inseparability of cognition, embodiment, emotion, and sociality, positing that these four aspects enable and influence musical (...) experiences. Next, I use Deleuze and Guattari’s philosophical figuration of a body without organs to explain how the integration of these four qualities can serve to complicate rather than simplify our understanding of ourselves, our musical endeavors, and our music teaching. Lastly, I offer that teachers might begin engaging their inseparably cognitive, embodied, emotional, and social students in musicking by embracing the ongoing processes of complicating, considering, and connecting. (shrink)

(1983). Robert Hooke's Trinity College ‘Musick Scripts’, his music theory and the role of music in his cosmology. Annals of Science: Vol. 40, No. 6, pp. 559-595.

(1998). Harmony, polyphony, ornamentation: Musical rhetoric in jonson's hymenaei and crashaw's “musicks duell”. Angelaki: Vol. 3, The love of music, pp. 119-132.

The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas (...) in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing. (shrink)

The environmentalist’s condition can be one of loss, the perception of a depleted and polluted environment as a product of modern consumption. Compounding this grief, some environmental losses loom as unrecognizable or beyond our immediate perception. Capitalism responds to this obscure loss by offering consumption and development, perhaps of a green variety, as a panacea for pain. This paper concerns the capacities of making music, as an activity and process, to help recognize and respond to present environmentally destructive patterns of (...) grief and resource-product consumption. I see this paper as an opportunity to begin a conversation about how ecomusicology might approach discussions of environmental... (shrink)

This paper will examine the transformative possibilities of liminal space as described by Victor Turner and Isabel Clark in the musical experience. It draws on the author's previous phenomenography of musical experience an analytical frame based on the liminality of musical experience using the notion of difference-in-relationship drawing on Martin Buber's "I-Thou experience" and including theorists such as Dewey, Maslow, Levinas, Derrida, Noddings and Shore, M and I. S. Csikszentmihalyi, and Custodero. It will examine the implications of the use of (...) a liminal music space for cultural and personal transformation including its relationship between this space and the everyday world, the loss of boundaries, collective vulnerability, the opportunity to try out new personas, the handing over of responsibility to a higher power and the capacity for joyful play and the possibility of empowerment. It draws on Shakespeare's play Midsummer Night's Dream (drawing, as it does on Ovid's Metamorphoses) to illuminate the nature of transformation. (shrink)

Drawing upon the philosophical insights of Friedrich Schlegel, Walter Benjamin, Theodor W. Adorno, and Blixa Bargeld, this book explores the persistence of a critical-deconstructive approach to musical production, consumption, and reception in the German cultural sphere of the last two centuries.

I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and (...) phenomenal character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

My aim in this commentary article is to observe and comment on some of the main conceptual and methodological continuities and discontinuities between recent biosemiotics-informed learning theory and the model of Unlimited Associative Learning (UAL) that Jablonka and Ginsburg ( 2022 ) present in this Target Article. UAL as a model, presents important synthesis and clarity around the ecological context and evolutionary dynamics underlying learning, with a wide range of implications. Still, there are conceptual “grey areas” that the authors themselves (...) note and that biosemiotics in particular has problematized in various ways. I highlight the general challenge of defining minimal consciousness in relation to a concept of minimal Umwelt, as well as the issue of animal cultures, and the transition from UAL to symbolic-cognition and human language, making connections to the evolution of hominin musicking capacities. (shrink)

This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to “frequency-based” music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as “defective” implementations of frequency-based music. (...) The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary—in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious and social studies. Much of the data has not been translated into Western languages. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on “personal song”—a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a “human voice”—whose sound enables the recognition of a particular individual. The instrumental counterpart of the personalized singing tradition is the jaw harp tradition. The jaw harp is the principal musical instrument for at least 21 ethnicities in Russia, who occupy over half the territory of the country. The evolution of its TO forms the backbone for the development of timbre-based music art. Here, we provide the acoustic, socio-cultural, geographic, and chronological overview of timbre-based music. (shrink)

Background: A growing body of evidence has demonstrated significant social and emotional benefits of music-making amongst senior citizens. However, several as-yet unresolved age-related barriers to ‘musicking’ have been identified. Positioned within the emergent field of gerontechnology, concerned with the interface between aging and technology research, this review of literature thus explores the potential for music technologies to function as a vehicle for creative musical opportunities in later-life. Methods: ERIC, PsychInfo and Web of Science databases were searched, focusing on the (...) intersection between music, technology and ageing. The criteria for inclusion were that the paper should: 1) be in English; 2) report empirical research involving the use of music technologies intended to support receptive (listening, interpreting, reflecting) or active (playing, creating, performing) engagement with music amongst older persons, defined as being aged 60 years or above (United Nations, 2017); 3) be published as a peer reviewed journal article. Results: Of 144 papers screened, eighteen papers were retained. Ten studies focused on using technology to support musicking in the form of listening, reflecting and interpreting. Just five studies explored the utility of technology in promoting singing or playing instruments, while a further three were focused on music and movement. Conclusions: Overall, the literature reviewed suggests that older people, even those with complex needs, are capable of, and interested in using music technologies to access and create personally meaningful music. The limited research that does exist points to multiple and significant benefits that may be derived from receptive or active musicking supported by a range of music technologies. (shrink)

In this paper, I center the epistemic dimensions of musics and musicking to consider the ways in which the band/orchestra/choir paradigm of music education prevalent in the U.S. and Canada may be implicated in epistemic injustice. Drawing in particular on the work of Fricker (Epistemic injustice: power and the ethics of knowing, Oxford University Press, New York, 2007), Dotson (Hypatia 26(2):236–257, 2011), and The Routledge Handbook of Epistemic Injustice (Kidd et al., The Routledge handbook of epistemic injustice, Routledge, New (...) York, 2017), I explore facets of epistemic injustice and apply these ideas to music education school contexts in Canada and the U.S. I further explore aspects of school music that may amount to “testimonial smothering” (Dotson 2011) and “cognitive imperialism” (Battiste in Can J Native Educ 22:16–27, 1998). Ultimately, building on existing literature on epistemic justice (Kidd et al. 2017; Fricker 2007), I theorize an epistemically just music education for school music in alignment with culturally responsive, anti-racist, and anti-colonial teaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for Social Change–Constructing an Activist Music Education by Juliet HessMartin BergerJuliet Hess, Music Education for Social Change–Constructing an Activist Music Education (New York, Routledge, 2019)Juliet Hess’s book is written with great passion and composed for a very good reason. It is published in troubling times when music educators are looking for new perspectives on old problems and in search of a revived relevance for the subject. (...) Although music educators appear to be better qualified for their jobs than ever before, there is still an underlying concern that we have lost the positive political influence on society we might have had in the past, that our contributions to enhancing tolerance and social justice are at stake again, and that our voices are not being heard. Or, in other words, that we lack relevance if we do not act.Juliet Hess raises her voice, reclaiming this relevance at a time when “[h]ate continually manifests in both new and familiar ways” and “the presence of oppression is consistent across time.”1 According to her, rising-up against oppressive ideologies, injustices, and material violence is imperative and urgent. Hess calls on finding ways for music education to contribute to resistance and hails concepts that allow educators to devise a distinctly anti-oppressive pedagogy. Her purpose is to offer a framework for what she calls an “activist music education,” a pedagogy that “aims to address the sexism, racism, Islamophobia, anti-Semitism, heterosexism, cisgenderism, classism, ableism, anti-immigrant [End Page 207] sentiments, and other oppressions so prevalent in our society.”2 Inspired by the impact of their musicking, Hess conducts interviews with twenty activist musicians, exploring common themes, perceptions, values, philosophies, and ideas. All individuals interviewed are involved in social change movements across the United States and Canada. Hess positions them as “catalysts for change in music education,”3 providing “a means to conceptualize activist music education for school music.”4 Activism and music, says Hess, are “enmeshed and inextricably connected,”5 since both intrinsically involve exploring historical, political, social, and cultural contexts.Inspired by the relevance of activist music to a society, Hess is in search of a similar meaning for music education. As a result, she sketches a possible K-12 curriculum with three essential goals: fostering connection with Others, honoring and sharing lived experience, and enabling critical reflection on the world.6 In search of a conceptualization for her idea, Hess draws mainly on Freirian and critical pedagogy as a theoretical framework, placing lived experience at the center of education, and with conscientization and praxis being her key terms.7 According to Hess, praxis, defined as “the integration of thoughtful reflection and action,”8 is fundamental to any kind of transformation, while conscientization refers to processes through which learners “become aware and reflect upon the conditions that shape their lives.”9 Although Hess acknowledges the valuable scholarly contribution to critical pedagogy in the past, she remains careful in its application, urging music educators to “avert any dogmatic implementation.”10 As a result, she suggests a “tri-faceted pedagogy for future activism,”11 which is connective, communicative, and critical: “a pedagogy of community, based on activist musicians’ emphasis on connectivity, a pedagogy of expression rooted in honoring lived experiences and sharing them through music, and a pedagogy of noticing that emerges from activist-musicians’ work on critical thinking.”12 This combination will, according to her, set “the conditions for future activism among youth and offers a possible practical enactment of critical pedagogy for music education.”13 A valuable and most inspiring read!Although I strongly agree with the intention of this book, I do have some questions. The dream of a classroom that exercises social criticism both through thinking about music and through musicking itself has always been an aspiration. Scholars have regularly encouraged music educators to be public intellectuals and agents of change, ideally striving for social justice (or at the very least for social awareness), and preparing learners to be global citizens, able to think critically and ready to engage with the world.14 It is widely agreed that “music education deserves to be seen as a serious form of cultural... (shrink)

Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy. In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from Africa, the Americas, Asia and (...) Europe. The book articulates notions of artistic citizenship, coming up with the term artizenship as a derivative of the composite term. It further explains and analyses practical ways of perceiving and relating to art spaces, art practices and arts objects towards belonging, being and becoming in a global space that is disparate, polarised and often alienating, and thus responding to issues such as social justice, identity, participation and inclusion. With a focus on music, the book targets musicians, scholars, educators and enthusiasts keen on gaining a deeper understanding of how music and musicking can influence human interactions towards social integration, trust, cultural awareness and intercultural understanding. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 181-186 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Claudia Gluschankof Levinsky College of Education, Israel I begin with two confessions. First, music was not my favorite class at school. I cannot even recall what we did there. It did not at all connect with the powerful, meaningful place that music had in my private life, (...) where I loved to sing with my family, and play and sing in ensembles in classes at a private music school. The private piano lessons were fine, but I found no joy in practicing on my own. Music was for me-and still is-a communal experience, associated with personal choice. School did not, and probably could not, provide that.Second, during a recent marketing meeting at the college where I teach and work, I finally said aloud, "I am not sure that I can market a product in which I don't believe." Being a teacher in overcrowded, resource-poor schools where parents are less involved yet more interfering and being expected to conform to standards and to act more as a producer of school ceremonies and festivals and less as a music educator is not a profession I would recommend entering. Boyce-Tillman's paper offers a model for music education in which the corrective emotional experience, in my own case, becomes a remedial object lesson in the setting of the music classroom and a reason to recommend music school teaching as a rewarding profession.Boyce-Tillman calls us to conceive of music "as intimately related to human society and the environment rather than as a discrete and separated category of knowing." Her position is in tune with Christopher Small's coined term "musicking": The act of musicking establishes in the place where it is happening a set of relationships, and it is in those relationships that the meaning of the act lies. They are to be found not only between those organized sounds which are [End Page 181] conventionally thought of as being the stuff of musical meaning but also between the people who are taking part, in whatever capacity, in the performance; and they model, or stand as metaphor for, ideal relationships as the participants in the performance imagine them to be: relationships between person and person, between individual and society, between humanity and the natural world and perhaps the supernatural world.1The five interlocking areas proposed in Boyce-Tillman's model are present in Small's musicking: the relationships among the sounds parallel the area called Materials; the relationships between people and sounds may parallel the area called Expression, which refers to the personal meaning given to the organized sounds. "In the area of Construction, effectiveness often depends on the right management of repetition and contrast within a particular idiom." Such a particular idiom is part of the style ideal of a particular culture. It is defined in terms of form and content, and expresses some inner quality of the society that produced it. The style ideal can be characterized by different factors (for example, historical period, geographic location, school, manner of performance, individual composer, and so on) and can be examined in terms of musical components (form, texture, harmony, melody).2According to Boyce-Tillman, the area of Values "is related to the context of the music-making experience. All musical experiences are culturally related." Because values are shared by groups, I found this present in the relationships be-tween a subculture and the larger society, in its broader meaning. The fifth area is Spirituality, defined by Boyce-Tillman as "the ability to transport the audience to a different time/space dimension." That different time/space dimension may be understood as the supernatural world, referred to by Small.Small sees the greatest challenge to music educators today to be that of providing "that kind of social context for informal as well as formal musical interaction that leads to real development and to the musicalizing of the society as a whole,"3... (shrink)

This paper explores the idea that wellbeing and healthy development should be the central goal of school music programs. After establishing a framework of student wellbeing, the metaphor of rites of passage experiences is employed—through Joseph Campbell's hero's journey and Jane McGonigal's analysis of the benefits of online gaming—as one way to think about high school music programs as potential sites for contributing to optimal adolescent wellbeing. Writing at the nexus of practice and theory the authors analyze two rites of (...) passage examples from their high school music classrooms. Musicking experiences that offer students openings for embarking upon rites of passage hold potential for addressing students' needs for autonomy, relatedness, and competence—needs Richard Ryan and Edward Deci document as predictive of psychological wellbeing in all cultures and that Dissanayake argues are evolved psychobiological needs. (shrink)

Studies of affect and emotions have blossomed in recent decades across the humanities, neurosciences, and social sciences. In music scholarship, they have often built on the discipline's attention to what music theorists since the Renaissance have described as music's unique ability to arouse passions in listeners. In this timely volume, the editors seek to combine this 'affective turn' with the 'sound turn' in the humanities, which has profitably shifted attention from the visual to the aural, as well as a more (...) recent 'philosophical turn' in music studies. Accordingly, the volume maps out a new territory for research at the intersection of music, philosophy, and sound studies. The essays in Sound and Affect look at objects and experiences in which correlations of sound and affect reside, in music and beyond: the voice as it speaks, stutters, cries, or sings; music, whether vocal, instrumental, or electronic; our sonic environments, whether natural or man-made, and our responses to them. As argued here, far from being stable, correlations of sound and affect are influenced by factors as diverse as race, class, gender, and social and political experience. Examining these factors is key to the project, which gathers contributions from a cross-disciplinary roster of scholars including both established as well as a wealth of new voices. The essays are grouped thematically into sections that move from politics and ethics, to reflections on pre-and post-human "musicking," to the notions of affective listening and music temporalities, to are examination of historical understandings of music and affect. This agenda-setting collection will prove indispensable to anyone interested in innovative approaches to the study of sound and its many intersection with affect and emotions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE PARTY'S OVER (ALMOST): TERMINAL CELEBRATION IN CONTEMPORARY FILM Tony Bartlett Syracuse University Movies are a universal language, and as we approach more and more integrated levels of global economy and communication they increasingly become a universal symbol system. At these levels a modern movie from China orNigeria will display swiftly recognizable sensibilities and situations to any viewer in Europe or the USA, and vice versa. But should we (...) not, therefore, also feel prompted to indicate a universal de-symbolization, if movies along with the modern world reflect constitutive elements of decomposition and collapse. For I would like to suggest in this essay that not only do movies constitute a kind ofplanetary envelope, literally a "film" of collective imaginai references wrapped around the world, but that this "film" is peculiarly apt to dismemberment, to breaking up before our eyes even as it still holds together, to abuilt-in "crisis" that is part ofits very nature. The two films that form a background to these remarks, Natural Born Killers and Pulp Fiction, are, I suggest, movies that set out actively to represent this cinematic crisis. In Adam Smith's The Wealth ofNations (Bk. 2, Vol. 5, 795-97), the grandfather ofmodern capitalism discusses the fate ofthe laborer who leaves arural village in which he is known and his life observed, or "attended to," by others. He moves to a great city where promptly "he is sunk in obscurity and darkness." Smith's concern is not directly to remedy this misery ofthe worker forced to seek employment in the anonymity ofthe city, but to avoid a possible course ofaction he might take. He wishes to divert him from the possibility of joining "a small religious sect," in whose company the newly depersonalized worker will achieve "a degree of consideration which he never had before." 2 Tony Bartlett Adam Smith does not relish the prospect ofthe mushroom growth ofclosed, "unsocial" religious factions within the heart of industrialized political economies, and he proposes two remedies by which the state, "without violence," might correct these tendencies. His proposals are remarkable both for their conjunction ofcertain themes and their prescience. The first is a plan for the imposition of the study of science and philosophy on the middle ranks ofthe poor, for science is "the great antidote to the poison of enthusiasm and superstition." Next to this classic Enlightenment nostrum comes the following: The second ofthose remedies is the frequency and gaiety of publick diversions. The state, by encouraging, that is by giving entire liberty to all those who for their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, musick, dancing; by all sorts ofdramatic representations and exhibitions, would easily dissipate, in the greater part of them, that melancholy and gloomy humour which is almost always the nurse ofpopular superstition and enthusiasm. Publick diversions have always been the object of dread and hatred, to all the fanatical promoters ofthose popular frenzies. Here are the movies before the fact. Adam Smith in his charter for emergent industrial capitalism sketches an alliance between education and entertainment that together will prevent any reversion to the darkness ofsmallscale society and its ready excrescence of religious fanaticism. All of the components of cinema aesthetic are assembled in Smith's prophetic vision: cinematography, script, score, choreography, plot, spectacle. The only thing lacking was the technology to capture them together on film, and with the release ofinventive energies attending division oflabor that would only be a matter of time. Cinema is the born ally ofrational modernity, and is in itself the child of industrial alienation and the need to find a mass aesthetic to substitute for the control exercised by the sacred in a traditionally local setting. But, ofcourse, there are several levels ofirony that are not lost on us here. First, Smith says explicitly that the state has a direct interest in such mass entertainment. What then is the relationship between the much prized freedom ofthe creative artist and the very concrete concern for self-preservation on the part ofthe state? He specifies that the people's entertainment must be without scandal or indecency: what now should be said when political leaders... (shrink)

Trumpeter Don Cherry was fond of saying that 'there is nothing more serious than fun'. And philosopher Hans Georg Gadamer seems to echo his words when he writes: 'Seriousness is not merely something that calls us away from play; rather, seriousness in playing is necessary to make the play wholly play'. Individuals, communities and cultures the world over delight in the play of musical sound and debate its play of meanings. For specialists, musical discussion often hinges on cryptic symbols and (...) impenetrable codes, but for everyone, understanding music relies on basic cognitive and social processes. By musicking together -- to borrow Christopher Smalls' evocative phrase for taking part in any way in musical activity -- we bond with one another and create shared meanings. We also define or express ourselves within and against a musical community and a historical and cultural tradition. (shrink)

This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer’s theory on the aesthetics of play. This way of thinking focuses on an ontology of the process of musicking rather than an ontology of discovering fixed and static musical objects. In line with this idea, the author discusses the importance of participation and involvement in this process of musicking, whether as a listener or (...) as a performer. Christensen then goes on to critique and update Gadamer's theory by presenting incompatibilities between it and recent theories of aesthetic emotions and embodiment. He proposes that emotions are ‘constructed’ rather than ‘caused’, that the mind uses a system of ‘filters’ to respond to sonic stimuli and thus constructs aesthetic feelings and experiences. In turn, this approach provides music with a route into the development of social capital and inter-subjective communication. This work builds on the hermeneutical steps already taken by Gadamer and those before him, continuing his line of thought beyond his work. It will be of great interest to scholars in music aesthetics as well as a variety of other music related fields, including music psychology, philosophy and science and technology studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher SmallAlbi Odendaal and Heidi WesterlundNeville Charles Christopher Small, musician, composer, teacher, lecturer, and author, died in Sitges, Spain, on 6 September 2011 at the age of 84. A funeral was held close to Sitges, the community he had made home for the last 25 years of his life and where he had lived with his long-time partner Neville Braithwaithe (1927-2006).Christopher studied Zoology and completed a Bachelor of Science (...) degree in 1949 at Otago University in his country of birth, New Zealand, before deciding to study music. He completed a bachelor's degree in music at the newly-formed Victoria University in Wellington in 1955. A scholarship from the New Zealand government allowed him to pursue composition studies in England, which became his home for the next 25 years. He taught music and lectured at Alperton High School, Anstey College of Education, and Ealing College of Higher Education during this time. He also wrote his first book Music, Society, Education after the prompting of John Calder, who published the book in 1977. Two other books followed after an early retirement to Spain in 1986: Music of the Common Tongue (1987) and Musicking (1988). He also published several journal articles and recently contributed an afterword to Ruth Wright, ed., Sociology and Music Education (2010).Christopher will be remembered for his lucid writing and willingness to ask big questions. His three books (all of which are still in print) address significant [End Page 93] issues, notably the role of music in society and that of society in music. Perhaps his most enduring contribution to the thinking on music is the coining of the term, "musicking," which has been widely adopted by authors and researchers who wish to share his conception that music is not a noun but a verb, not a thing that has separate existence but an action that humans perform.A common theme in his writings is to challenge conventional wisdom, especially when he perceives it to be entrenched in an elitist position. In this vein he questions the scientific-industrial world view and the effects it has on music and education in his first book. Then he goes on to show the importance of community and communality for the musics of the African diaspora in his second book, a direct challenge to the individualist and elitist attitude that he found in Western classical music.His third book, Musicking, investigates a typical Western classical symphony concert in an attempt to answer the question, "What is really going on here?" Understanding music as human action allows him to interrogate aspects of this event that are usually unexamined and leads him to emphasize that all music has social origins and implications. He argues that the enjoyment that comes from musical events is directly related to the significance of the relationships that are either formed or pre-existing, real or imagined, between performers, audience, musical sounds, and physical space. He argues that the significance of these relationships, and thus of the musical experience, is related to how well they fit our image of who we are or want to be.In his writings, Christopher offers a positive and buoyant view of human society, one in which everyone musicks and where the musicking is communal and interactive. Writing with such a broad and positive perspective may sometimes lead him to oversimplify an argument or to gloss over inconsistencies that would show themselves with more careful analysis. However, many of the conclusions he draws from these glosses carry their own weight and do not weaken the argument significantly when a more complex understanding is substituted. This is partly because he is ultimately not writing as an ethnographer but, rather, as a visionary.It was our honor to meet him, for probably the last formal interview he gave, in March 2011. He was kind, generous, and friendly to a fault and, despite being in some discomfort, welcomed a group of eleven researchers from the Sibelius Academy to his house for some intense discussions. His thoughts still enliven ours and challenge us to think more deeply and widely about the world that we live in. [End Page 94]Albi Odendaal and Heidi... (shrink)

This article questions educational practices that undermine ‘being’ musical. Where Western misconceptions about the nature of human musicality distance many individuals from meaningful engagement with an intrinsic part of their humanity, I challenge the status quo to argue for an inclusive educational practice which gives everyone an opportunity to ‘be’ musical. Despite evidence from neuroscience now supporting the understanding that humans are a musical species, the widespread neo-liberal oriented focus on vocational training fails to recognise music as an essential aspect (...) of healthy human being. Where current polarised music education provision supports a discriminatory system that leads to widespread underdeveloped musicality, I draw on Gadamer and Dewey to explore how musicking integrates cultural development and to question the value of a practice that leaves many of us musically disabled. Including examples of teaching practices that engage and transform, I argue the case for an enriched, broader curriculum that no longer sees music as a ‘frill’. (shrink)

Abstract:Sociologist Max Weber identified Puritan constructions of virtuous time and the sin of sloth as having explanatory power for the origins of Puritan action and capitalist economies. This article expands upon Weber’s thesis to examine how the sin of sloth was reinterpreted to encourage or prohibit psalm singing, singing schools, and later forms of musicking. In particular, the article examines how the sin of sloth has always been a complex construction of virtue, emotion, time, and gender. An examination of (...) musicking through the sin of sloth illuminates the impact of virtue ethics, gender, and time. Arguments for and against musicking are often grounded in notions of virtuous time, gender, emotion, and imagined depravity. (shrink)

Community music is a successful concept in the world of music and music education. Based on ethnomusicological research, community music tries to implement the notion of music for all that transforms societies and people. While celebrating informal learning and the musical amateur, community music has never really been philosophically challenged or critically analyzed. This might be surprising because community music is a rather vague concept. This paper critically analyzes some of community music’s foundations in terms of epistemological or ethnomusicological issues, (...) Kitsch, the notion of learning, and the relation to higher education. In order to improve musicking internationally, it is crucial to start critically investigating the very foundations of community music and with regard to fostering a collaboration with music education. (shrink)

This article questions educational practices that undermine ‘being’ musical. Where Western misconceptions about the nature of human musicality distance many individuals from meaningful engagement with an intrinsic part of their humanity, I challenge the status quo to argue for an inclusive educational practice which gives everyone an opportunity to ‘be’ musical. Despite evidence from neuroscience now supporting the understanding that humans are a musical species, the widespread neo-liberal oriented focus on vocational training fails to recognise music as an essential aspect (...) of healthy human being. Where current polarised music education provision supports a discriminatory system that leads to widespread underdeveloped musicality, I draw on Gadamer and Dewey to explore how musicking integrates cultural development and to question the value of a practice that leaves many of us musically disabled. Including examples of teaching practices that engage and transform, I argue the case for an enriched, broader curriculum that no longer sees music as a ‘frill’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Toward the Materiality of Aesthetic ExperiencePeter de Bolla (bio)Over the last twenty years or so it has become a commonplace in discussions of "aesthetics" or of "art" in the most general sense to note that the term "aesthetics" was only very recently invented by Alexander Baumgarten in 1735, where it appears in his Meditationes philosophicae de nonnullis ad poema pertinentibus [see Menke 40; Dickie; Eagleton]. But the force of (...) this observation in regard to the relative youth of the concept is rarely, if ever, commented upon. As many philosophers and critics have pointed out, Baumgarten's use of the term was not primarily angled at what today might be unproblematically called "artworks"—say, paintings in the European grand master tradition—since his new kind of investigation was to be a "science of sensual recognition," that is, a general inquiry into how we come to know the world from the evidence of our senses. But, as is also frequently remarked, early on in the tradition of speculation now associated with "aesthetics as the study of art" the mutual attraction (to put it in the most anodyne terms) of "art" and "aesthetics" seems to have been extremely strong. As Jonathan Ree remarks, "the real begetter of the philosophical doctrine connecting the arts with the empirical senses—what we might call the aesthetic theory of the arts—was Gotthold Ephraim Lessing" [58]. From this point on (for heuristic purposes it may be identified with the date of publication of Lessing's Laokoon in 1766), artworks, which heretofore had not required a specific branch of inquiry in order for them to make sense or be conceptually grounded as art, are almost universally assumed to require "aesthetic" contemplation or appreciation.1 It is curious, then, that before 1766 such a mode of experiencing artworks had not been felt to be lacking.One might understand this observation both historically and philosophically, and both approaches, it seems to me, are needed. In the case of the first, a number of material effects conspired across mid-eighteenth-century Europe to produce what was in essence the modern art market. These include the legal establishment of copyright, first in England in 1709 but only by the end of the century in France and Germany; the foundation of various institutions whose primary purpose was the promotion and establishment of the fine arts: academies of painting, sculpture, or letters either with or without royal patronage; the public exhibition of paintings (from 1737 in France and 1761 in England); the opening of royal collections to public view (during the second half of the century in London, Paris, Munich, Vienna and Rome); the development of public concerts of secular music (in small scale from the 1670s in England but only becoming fully integrated in fashionable social life by mid-century); the construction of purpose-built concert venues (the Gewandthaus in Leipzig, a former cloth merchant's hall, was remodeled in 1781 in order to accommodate a resident orchestra, in effect becoming the first dedicated concert hall in Europe); the foundation of literary periodicals and review media; the emergence of social spaces and rituals encompassing polite discussion of [End Page 19] literature (coffeehouses, the construction of dedicated library rooms in domestic settings); and the promotion of architecture to a fine art through various societies, competitions, and the public display of architectural drawings in exhibition contexts (the Royal Academy yearly show included both drawings and models). These and other material conditions helped define the fine arts and construct a market in and for them.2 By the 1770s the category of the "fine arts" was well established in Britain, Germany, and France: Charles Batteux's Les beaux arts reduit a un meme principe, first published in France in 1746, was quickly translated into English as The Polite Arts; or, a Dissertation on Poetry,Painting, Musick, Architecture, and Eloquence in 1749 and into German in 1751. By 1771 a four-volume General Theory of the Fine Arts had been published for the German public by J. G. Sulzer.All of this points to the fact that the concept of the "artwork" is subject to both historical and material pressures. Prior to the mid-eighteenth... (shrink)

In this essay I explore problems of pedagogy related to Hans Krása’s Brundibár by drawing heavily upon the thinking of two divergent theoretical perspectives regarding Holocaust testimony as advanced by Giorgio Agamben (2002) and Shoshana Felman (1992). I theorize that lodged within a space of difficult knowledge coalesced through violence, trauma, complicity, memory, and music lies a rupture at the heart of the Brundibár experience. This space is created yet not altogether embraced by contemporary musical experiences of Brundibár in the (...) most extensive and all-encompassing comprehension of its musicking: experiencing the operetta allows its participants to hear those whom it is impossible to hear. I claim that the musical experience as inhered within and enabled by the operetta serves a testimonial and therefore pedagogical function. This function, figuratively hearing and being present to Brundibár’s present absences, implies an empathic walking-beside-in-solidarity and is a position that I suggest allows participants to engage with the operetta more fully. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)