Philosophy of Music Education Review 2018-02-27T16:03:02-05:00 Estelle R. Jorgensen Open Journal Systems <p class="BODYTEXT"><em>Philosophy of Music Education Review</em> (ISSN 1063-5734, e-ISSN 1543-3412) features philosophical research in music education for an international community of scholars, artists, and teachers. It includes articles that address philosophical or theoretical issues relevant to education, including reflections on current practice, research issues or questions, reform initiatives, philosophical writings, theories, the nature and scope of education and its goals and purposes, and cross-disciplinary dialogue relevant to the interests of music educators.</p><p class="BODYTEXT">To view current and past issues, visit <em>Philosophy of Music Education Review</em> on <a href="">JSTOR</a> and <a href="">Project Muse</a>.</p><p class="BODYTEXT"><strong>Submissions</strong><br />To submit a manuscript for consideration, review the <a href="/iupjournals/index.php/pmer/about/submissions#authorGuidelines">Author Guidelines</a>, <a href="/iupjournals/index.php/pmer/user/register">register an account</a> with a journal or <a href="/iupjournals/index.php/pmer/login">log-in to your existing account</a>, and then click the "<a href="/iupjournals/index.php/pmer/author/submit">New Submission</a>" link. An account with the journal is required to submit a manuscript for consideration.</p> Musicking at the Borders: Toward a More Emancipatory Theory 2018-02-27T16:02:47-05:00 Burke Stanton <p>As musicology struggles through a decolonizing process, some contemporary scholars employ Christopher Small’s concept of “musicking” in order to reimagine how music creates meaning. Other scholars connect Small’s theories with those of poststructuralists Deleuze and Guattari to imagine pedagogy that empowers social change. I argue that perspectives from postcolonial studies and critical pedagogy can problematize and improve upon these approaches. Musicking, paired these other theoretical perspectives, can become a methodology for conceiving new spaces on the borders of different types of musicking knowledges. Border thinking, rather than attempting to categorize non-Eurocentric music in new and better ways, endeavors to change relations of power. Decolonization as a musicking methodology can facilitate emergent ideas through equitable dialogue while simultaneously creating real spaces for more democratic and equitable musicking relationships. 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.</p> 2018-02-27T16:02:47-05:00 ##submission.copyrightStatement## A "Sound" Approach: John Cage and Music Education 2018-02-27T16:02:48-05:00 Stuart Chapman Hill <p class="normal">In this paper, I propose that music teachers consider John Cage’s wide musical embrace of sound and the implications of reframing their roles as teachers of sound, or “sound teachers.” I argue that privileging sound as our chief concern leads us to reconsider the ways we speak about music, the offerings we include in our music education curricula, and the ways we teach (about) sound. In particular, I suggest that Cage’s ideas compel us to permit still more genres and styles in the classroom and curriculum, to emphasize activities that allow students to manipulate a diverse palette of sound types (e.g., electronic composition), and to teach in ways that expand and diversify, rather than narrow and limit, students’ relationships with sound. I close by considering how Cage’s ideas of “purposeless play” and “purposeful purposelessness” orient our goals toward making students more attentive to and invested in the world of sound and the sound of the world.</p> 2018-02-27T16:02:48-05:00 ##submission.copyrightStatement## Considering the "nonidentical" (Adorno) as a problem of generating a system of scientific music pedagogy 2018-02-27T16:02:48-05:00 Stefan Orgass <p>Prof. Dr. Stefan Orgass (Folkwang University of the Arts, Essen)</p><p>Considering the “nonidentical” (Adorno) as a problem of generating a system of scientific music pedagogy</p><p> </p><p>Abstract</p>Given that it is sensible to conceive scientific music pedagogy as a system, primarily in order to foster the identity of this discipline, Critical Theory as a theory criticising system theory should be taken into account. But is this possible? Theodor W. Adorno as the strongest opponent of system philosophy criticizes Hegel’s idealistic approach as one that cannot be aware of the “nonidentical” because the phenomena are ‘moulded’ by the principles of the system. But it can be shown that a system based on a four-dimensional sign constituted by the dimensions object, subject, interaction and sense–as explained in Johannes Heinrichs’ ‘theory of processing sense’–can ‘refer’ to Adorno’s theorem of the ‘nonidentical’: In the same way as the four dimensions in the sequence of steps mentioned above are graded according to their complexity of reflectiveness, the ‘nonidentical’ as explained in Adorno’s <em>Negative Dialectics </em>can be ascribed to these dimensions–in the sense of ‘relativizations’ of identities. Thus, concretisations of the nonidentical dealt with by Critical Theory (Frankfurt School: Horkheimer, Adorno)–which can be conceived as critical commentaries concerning the classes of practices constituting the system–find their ‘connecting factors’ in the system. 2018-02-27T16:02:48-05:00 ##submission.copyrightStatement## A “Discomfortable” Approach to Music Education: Reenvisioning the “Strange Encounter” 2018-02-27T16:02:49-05:00 Juliet Hess In considering the potential of world music in music education, we might imagine ways to think about musics in cultural context, or on their own terms. Engaging musics on their own terms involves embracing epistemological diversity; different epistemological frameworks accompany different musics and treating musics ethnocentrically is both an injustice and effectively an epistemological colonization. In considering how to engage musics and their accompanying sociohistorical and sociopolitical contexts on their own terms, I put forward Bakhtin’s work on dialogism<a title="" href="#_edn1">[i]</a> in conjunction with Ahmed’s conceptualization of the encounter<a title="" href="#_edn2">[ii]</a> and Boler’s “pedagogy of discomfort”<a title="" href="#_edn3">[iii]</a>as a pedagogical framework for fostering ethical encounters in music education and critical and mindful engagement in any musical encounter.<div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p><a title="" href="#_ednref1">[i]</a> Mikhail M. Bakhtin, <em>The Dialogic Imagination: Four Essays</em>, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin, TX: University of Texas Press, 1981); Mikhail M. Bakhtin, <em>Problems of Dostoevsky's Poetics</em>, trans. Caryl Emerson, vol. 8, Theory and History of Literature (Minneapolis, MN: University of Minnesota Press, 1984).</p></div><div><p><a title="" href="#_ednref2">[ii]</a> Sara Ahmed, <em>Strange Encounters: Embodied Others in Post-Coloniality</em> (New York, NY: Routledge, 2000).</p></div><div><p><a title="" href="#_ednref3">[iii]</a> Megan Boler, <em>Feeling Power: Emotions and Education</em> (New York, NY and London, UK: Routledge, 1999).</p></div></div> 2018-02-27T16:02:49-05:00 ##submission.copyrightStatement## On Confucian Metaphysics, the Pragmatist Revolution, and Philosophy of Music Education 2018-02-27T16:02:49-05:00 Leonard Tan <p>Within the last few decades, scholars have uncovered remarkable similarities between Confucian and pragmatist philosophies. Given these resonances, how would a philosophy of music education founded on a synthesis of Confucian and pragmatist ideas look like? How would such a philosophy compare with extant philosophies of music education? In this paper, I sketch Confucian and pragmatist metaphysics, meld ideas from the two philosophies, and proffer implications for music education. As I shall argue, a Confucian-pragmatist intercultural blend lends support to three historical movements in the philosophy of music education: the cultivation of morality through music, music education as aesthetic education, and the praxial philosophy of music education. It also illumines extant philosophies of music education in fresh ways. This essay extends a line of research on the application of comparative philosophy in contemporary music education.</p> 2018-02-27T16:02:49-05:00 ##submission.copyrightStatement## The Nonidentical as a Problem of a Systemic Approach to Scientific Music Pedagogy 2018-02-27T16:02:50-05:00 Stefan Orgass <p>The “nonidentical” is Adorno’s term for anything that cannot be grasped by a concept or a system of concepts: sensual experience and events; emotions, understood as unconscious but influential layers of the psychic system; emergent results of interactions; the possibility of non-alienated and non-reified social circumstances. Within practices of music pedagogy, the nonidentical is relevant under all these aspects: the naming of musical issues does not encompass (let alone substitute for) the musical phenomenon (and it is not self-evident how to conceptualize appropriate deictic actions). Emotionality should not be tamed (and it is an open question how to bring it to bear in a sensible way). Emergent results of the interaction in music lessons are a problem for planning classes, a planning which has to consider learning outcomes. The school system is almost completely shaped by economics of education (and cannot easily try to simulate processes of non-alienated and non-reified interactions between all participants). Corresponding research has to focus on identities constituting practices in music pedagogy; but it can develop a sensitivity to realizations of the nonidentical and induce new practices which are structured according to Critical Theory. The paper is concerned with the complementarity of identities and the nonidentical with regard to music pedagogy in a broader perspective, classifying practices of music pedagogy within a system of this discipline–on the basis of a logic of reflection.</p> 2018-02-27T16:02:50-05:00 ##submission.copyrightStatement## Reply to Mantie review of A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis. 2018-02-27T16:02:50-05:00 Thomas Adam Regelski 2018-02-27T16:02:50-05:00 ##submission.copyrightStatement## Book Review of Children’s Home Musical Experiences Across the World 2018-02-27T16:02:50-05:00 Amy Christine Beegle This review describes a volume of nine individually authored chapters that address findings and interpretations from a collaborative qualitative research project conducted by multiple scholars to explore the home musical experiences of seventeen middle-class seven-year-old children from twelve countries<em>. </em>Theories, conceptual models, and methodology are discussed. 2018-02-27T16:02:50-05:00 ##submission.copyrightStatement##