In music education, thinking is often construed in terms of acquiring conceptual knowledge of musical elements. Research has found, however, that instrumental music educators have largely neglected conceptual teaching and learning. This begs the following questions: What is the nature of thinking in instrumental music education? How should…

Are there qualities of sound and the experience of listening that educators can extrapolate to inform the philosophy and practice of music education? In this essay, I imagine a music education where sound--how it behaves and how we experience it--serves not only as the subject of study, but generates the framework of the pedagogy. A sonic music…

At present, instrumental music education, defined in this paper as the teaching and learning of music through wind bands and symphony orchestras of Western origin, appears embattled. Among the many criticisms made against instrumental music education, critics claim that bands and orchestras exemplify an authoritarian model of teaching that does…

In recent years, researchers and theorists of music education have taken a stronger interest in questions of justice. Meanwhile, in educational research more broadly, there has been a simultaneous growth in efforts to bring deconstruction and the theories of Jacques Derrida to bear upon philosophies of education. One significant difficulty with…

This article represents conversations with the American composer Libby Larsen in which she described her beliefs about music, music education, and the dilemmas that our current system faces as we seek to provide relevant and meaningful music education to our students. Our conversation explores such topics as cognitive psychology, music theory,…

The article addresses the justification of music-structural claims, that is, any statements that assign a structure to a musical passage or a work. It is suggested that a theorist T is justified in making such a claim to the extent that (i) T is able to specify a rule that takes a given musical passage as its input and produces the claim as its…

In her paper, Louise Pascale encouraged a redefinition of the word "singer" and suggested ways to make it apply to a broader spectrum of people. The problem with the current definition, she believes, is that it is outdated and needs to be changed in order to better embrace the ideals of current society. Maya Hoover, responds by saying that in…

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…

Explores consciousness studies as a basis for music education philosophy. Examines five areas: (1) background on human consciousness; (2) consciousness as seen from two paradigms; (3) music viewed from a larger perspective; (4) importance of music education as reflecting real-life music making; and (5) critique of music education practice. (CMK)

Presents 44 entries from a modern composer and music professors' journal, culled from 1993 to the present. Includes comments and criticisms of composers and musicians, as well as philosophical and practical observations. (MJP)

Attempts a deeper understanding of, and justification for, music education by concentrating on its application in two historic periods. Contrasts the utilitarian approach of Greek civilization with the religious and liturgical concepts of the Medieval period. Asserts that historical awareness is an integral component of music education. (MJP)

Addresses some historical reasons why music education historiography developed the way it did and discusses the role of musicology as a link between historiography and music education historiography. Argues that historical researchers in music education have been directed more by the traditions of historical research than by values-driven…

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)

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…