In the pedagogy of Western classical string music, creativity is often viewed according to the works of luminary composers, suggesting the question: how might string teachers, students, and musicians conceive of creativity? After problematizing standard definitions and ontological ideas of musical creativity, I outline an open model using the…

The concept of "gradually adaptive frameworks" is introduced as a model with the potential to describe the evolution of belief evaluative systems through the consideration of reasonable arguments and evidence. This concept is demonstrated through an analysis of specific points of disagreement between David Elliott's praxial philosophy…

In this paper, the author attempts to extend the paradigm approach into the philosophy of music education and to build upon this basis a model for structuring music education discourse. The author begins with an examination of Peter Abbs' account of paradigms and paradigm shifts in arts education. Then she turns to Kuhn's conception and to his…

In this article, the author, W. Ann Stokes, responds to Estelle Jorgensen's paper contrasting four different concepts of the relationship between theory and practice, and pointing out the advantages and disadvantages of each. Each approach introduces insights that the others have missed, but is not sufficient in itself to explain all the…

Each of the four philosophical models that Estelle Jorgensen has put forth contests, adheres to, or adjusts the hierarchical relationships between dualities, specifically the theory and practice of musical learning. Moreover, models of polarity, according to Jorgensen, accommodate dualities by buffering edges, emphasizing the interconnectedness of…

In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, "The Structure of Scientific Revolutions." In this article, the author believes that what…

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)