In the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and…

At the onset of the essay by Alerby and Perm, musicality is described as emotional or cognitive phenomena. In this response, Fung questions what role a psychomotor phenomenon plays in musicality. Alerby and Perm describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does this mean that "motor knowledge" or "maximum grip" in…

In this response, Brown finds solid points of agreement with Eva Alerby and Cecilia Perm, starting with their premise that music learning is most effective when taught within a context. While some students prefer learning in a linear, rule-oriented setting, more often than not a musical concept will be comprehended best if it is first experienced…

In this article, the author shares his experience at the first rehearsal of the All City High School band of New York where he was placed as first chair clarinet, when he was a junior in high school in Brooklyn. Playing the clarinet solo, under the instruction of the band director, has made him reflect and deal once more with feeling. Here, the…

In this article, the author examines the intersections of three concepts, form, feeling, and isomorphism, in the work of Susanne Langer, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education. These three concepts hold meanings that differ among musicians and…

Within music heard, there are two distinguishable factors. The first is the relation of the music to its seeming emotionality-the relation, for example, of the wedding march to its joyfulness. The second is that seeming emotionality itself-the sorrowfulness, for example, of the second movement of the Chopin Sonata. The author looks for an answer…

The name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, Krance, Germany, and of course, Greece. After his six years…

In A Philosophy of Music Education, Bennett Reimer reminds us that "the starting point is always an examination of values linked to the question, 'Why and for what purpose should we educate?" But because, as he puts it, the nature of pluralism in multicultural societies makes consensus about the purpose of education impossible, he suggests looking…

Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in…

In her response to Mary Reichling's article "Intersections: Form, Feeling, and Isomorphism, Anne Sinclair believes that the exploration of form, feeling, and isomorphism in the writings of Susanne Langer accomplishes its goal to examine and elucidate aspects of these concepts. Sinclair finds several of the ideas presented very engaging. Musical…

David Stevenson's thoughts regarding Reichling's essay are offered in this article, and he begins his response by saying that Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. He points out that Reichling states…

This article presents a response to Kingsley Price's argument on the seemingness of the emotionality of music. For Price, music is not a person, cannot possibly harbor an inward life, and cannot possibly be emotional. He argues that since music is not personal, it cannot be emotional but can only seem emotional. He then sets out to discover how…

Just as at the International Symposium in Philosophy of Music Education IV (PME-IV) in Birmingham, Kingsley Price has demonstrated his acute logical prowess and his alluring wit. Then as now he was addressing the question of how music can seem to have feelings, how it is that we attribute merriment, joy, sorrow, sadness, and the like to passages…

Manos Hadjidakis and his work are like his song, "O Mythos," for they take you from reality to fantasy and bring you back again. In Magnus Eroticus, the combination of lyrics and music is at the highest level of sensibility and the musical style of each song is superb. Music follows the verse to express its deepest meaning while maintaining its…

There are two issues that struck the author, Jason Helfer, as essential from his consideration of Miralis' paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from his interpretation of Miralis' paper, from his experiences in teacher training, and teaching in…