Defines historical research in music education by specifically evaluating the history and usage of each of the four words: (1) music; (2) historical; (3) education; and (4) research. Finds that the good of historical research in music education is both intrinsic and extrinsic because it benefits the researchers and their audiences. (CMK)

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)

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…

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…

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…

Humans are all one species with one brain and neural system, yet consciousness about their existence is highly contextual. Any culturally transcendent view will still be limited to one's personal experience, analytical capabilities, and cultural shaping. Nevertheless, looking beyond humans' narrow perspectives is essential if they are to find…

Musicians make music; that is, the performance of music involves applied knowledge or know-how. Can a discursive understanding of what the musician does be attained, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what is said turn a living…

Claudia Gluschankof begins this article with two confessions. First, music was not her favorite class at school. She cannot even recall what was done there. It did not at all connect with the powerful, meaningful place that music had in her private life, where she loved to sing with family, and play and sing in ensembles in classes at a private…