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Regelski, Thomas A. – Action, Criticism, and Theory for Music Education, 2017
The overlapping of pragmatic philosophy and the Aristotelian concept of praxis is explored with application to music and music education. John Dewey's philosophy of "Art as Experience" is contrasted with tacit aesthetic assumptions about music that music teachers often hold as a result of the aesthetic meme inherited from their…
Descriptors: Music, Music Education, Aesthetics, Music Teachers
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Regelski, Thomas A. – Action, Criticism, and Theory for Music Education, 2016
Music is a human action (praxis), guided by intentionality, that embodies sociality. The many significant "social" values of music, however, get lost in high-minded but faulty claims that music's essential value is to promote aesthetic experience. A survey of some basic aesthetic premises demonstrates that claims for "proper"…
Descriptors: Music, Music Education, Music Teachers, Ideology
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Regelski, Thomas A. – Action, Criticism, and Theory for Music Education, 2007
With its focus on reason and science, the 18th century began a history of increased specialization. As a result, professional degrees and certificates eventually came to define and control practices that had once been the domains of amateurs. By the end of the 19th century, many practices of lay enthusiasts had been pushed aside; where they were…
Descriptors: Music Education, Classical Music, Audiences, Musicians
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Regelski, Thomas A. – Music Education Research, 2006
Aesthetic doctrine hypothesizes a for-its-own-sake, "disinterested" autonomy of music from life and assumes, then, that "good" music exists only to be contemplated, and that proper "appreciation" depends on informed "understanding." This distantiation of music from life creates a gap between aesthetes who have (unfortunately) sacralized classical…
Descriptors: Music Appreciation, Music Education, Aesthetics, Music
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Regelski, Thomas A. – Educational Philosophy and Theory, 2005
The "music appreciation as contemplation" paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of…
Descriptors: Music Education, Music, Music Appreciation, Educational Philosophy
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Regelski, Thomas A. – Action, Criticism, and Theory for Music Education, 2004
The idea of praxis, and thus the idea of music as praxis, is not widely known in the fields of music and music education. Nonetheless, musicians and music teachers typically take for granted as sacrosanct the noble sounding, metaphysical, even spiritual profundity of music hypothesized by mainstream aesthetic philosophies. Thus accounts of music…
Descriptors: Music Education, Music, Musicians, Music Teachers
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Regelski, Thomas A. – Bulletin of the Council for Research in Music Education, 2000
Argues that music education as aesthetic education has never been understood. Analyzes six general themes that are part of the first stage of development of praxial philosophy represented by "Music Matters" (David Elliott), such as performance as a condition of listening, and performance and musicianship. Include references. (CMK)
Descriptors: Aesthetic Education, Aesthetics, Books, Creativity
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Regelski, Thomas A. – Philosophy of Music Education Review, 1998
Discusses how the outgrowth of the praxial philosophy in music education is misunderstood and has led to a lack of informed dialogue on the differences between praxis and philosophical bases for music education. Presents an interpretation of Aristotle's idea of praxis and considers praxis in terms of implications for music education. (CMK)
Descriptors: Aesthetics, Applied Music, Educational Philosophy, Group Experience