Foundations Of Music Education Research Articles

Philosophical Foundations of Music Education in American Compendiums for College Students

Philosophical Foundations of Music Education in American Compendiums for College Students

Gordon Cox and Robin Sydney Stevens, eds., The Origins and Foundations of Music Education: International Perspectives, 2nd edn. (London: Bloomsbury Academic, 2017)

Reviewed by: The Origins and Foundations of Music Education: International Perspectivesed. by Gordon Cox and Robin Sydney Stevens Eva Verena Schmid Gordon Cox and Robin Sydney Stevens, eds., 2ndedn., The Origins and Foundations of Music Education: International Perspectives(London: Bloomsbury Academic, 2017) The Origins and Foundations of Music Educationis a selection of papers, including an introduction and a conclusion, that provides historical information about the origin and foundation of music education in compulsory schooling in eighteen countries from around the world as well as historical narrations up to the present based on this history. This approach follows the prevalent tendency within historical research to explain the present state of the art as a product of the past. The authors were asked to reflect on the implementation of music education in compulsory schooling in various contexts: political, economic, religious, and social. The chapters have been revised and complemented with the latest information. An additional noteworthy contribution is that the editors managed to include new writers so that the book can provide a wide range of viewpoints from countries in Europe, America, Asia, and Africa. Religious diversity, for instance as seen in Jewish and Muslim cultures, has been taken into account. Papers from Israel, Kosovo, Lithuania, and Turkey are the new additions as well as one chapter which is dedicated to Brazil. [End Page 220] This concept is based on the observation of the editors that the roots of music education have been seen predominantly in a national context, as is usually the case when dealing with educational topics. However, recently one can observe a gradual change that is due to globalization. The purpose of the volume is not only to deliver historical information but also to make a contribution to international and comparative music education. The editors express the hope that the book can encourage readers to deepen their international understanding and awareness of the origins and foundations of music education. The goal is also to look for a "successful music education practice in various countries." 1Unfortunately, the editors do not describe what "successful" means for them. Moreover, it is largely impossible to define in general what successful is because it depends on the particular goals one sets. If you undertake an international and comparative approach, you have to clarify potentially confusing terms. The editors define "international education" and "comparative education" according to the Danish scholar Frede V. Nielsen: international education "is concerned with issues of practice and implementation," 2whereas comparative education "aims to provide historical, philosophical or otherwise interpretative explanations of how two or more educational systems have developed, responded to and/or influenced societal change." 3At this point, it would have been more profound to argue the complexity of this approach. Sigrid Abel-Struth, for instance, deems information about other music education systems is not comparative music education. 4She states that the reports are rather "informative-political" than "methodical-scientific." 5Moreover, she refers to Edmund A. Cykler who says that comparative music education should not only collect information in terms of practical and methodical aspects but also compare [!] them systematically in historical, educational, psychological, and aesthetic contexts. 6According to Bernd Clausen comparative music education requires that the researcher has to be conscious of being ethnocentric, that is Eurocentric. 7For him, comparative music education helps to reflect on the use of terms and practices and at the same time to widen the horizon for various solutions to problems. 8He also sees the necessity to reflect on one's own capacity during the process of analysis and description 9because researchers adopt an attitude or a point of view which is influenced by their cultural socialization. 10 Unfortunately, these kinds of methodical reflection are missing throughout the collection. As the editors mentioned, the authors were asked not to include their opinions about the facts in the texts. However, a reflection on their own subjectivity and the research circumstances would have greatly helped readers to understand how the facts have to be seen and evaluated. One does not gain [End Page 221]objectivity when one leaves out the genesis of the facts as well as the intention of the researcher in...

Øivind Varkøy, Warum Musik? Zur Begründung des Musikunterrichts von Platon bis heute. [Why music? The Foundations of Music Education from Plato until Today], Stefan Gies, trans. with the assistance of Hanne Fossum (Innsbruck, Esslingen, Bern-Belp: Helblin

Reviewed by: Why music? The Foundations of Music Education from Plato until Today by Øivind Varkøy Daniela Bartels Øivind Varkøy, Warum Musik? Zur Begründung des Musikunterrichts von Platon bis heute [Why music? The Foundations of Music Education from Plato until Today], Stefan Gies, trans. with the assistance of Hanne Fossum (Innsbruck, Esslingen, Bern-Belp: Helbling, 2016) Øivind Varkøy's book Why music? was first published in Norway in 1993 and translated into Swedish three years later. In 2016, a newly revised edition was published in German. This review refers to the German edition and a special focus will be on the third chapter, because Varkøy's convincing interpretation of Kant's theory of aesthetic judgement presents a counter narrative to other interpretations of this theory that have been in circulation in North America for quite some time. In the introduction, Varkøy explains that it is his intention to present a diverse array of reasons for teaching music. He also explains why (future) music teachers should reflect on these reasons and the possible values of their professional actions: "A clear stance on the value of one's own work will have a positive effect on one's professional identity and the psychological and physical well-being."1 In the first chapter, he takes the readers back to the world of "the old Greeks"—an [End Page 224] expression that is often used in Europe—and he specifically addresses the values Plato and Aristotle have ascribed to music. The chapter starts with the mythos about mousiké as a gift from the gods and Varkøy explains that this term used to stand for much more than music. It included diverse forms of art such as language, poetry, and dance which were seen as means that can express order and beauty as well as a realization of harmonia which "holds the world together."2 As far as philosophies of music education are concerned, both Plato and Aristotle stress that music education serves the character formation of young people and both are quite strict concerning the way music should be taught to the young. To give an example, Plato rejects that the aulos is used in schools, because it is a woodwind instrument that served as a means of intoxication in rituals. Plato's point was that it would make the youth soft and therefore unable to contribute to the establishment of a 'good' state system. Varkøy stresses that Plato did not differentiate between the aesthetic and the ethical dimension of music, since the term kalokagathia stands for both 'the beautiful' and 'the good.' It almost seems as if Varkøy had the North American debate between the so-called 'aesthetic' and 'praxial educators' in mind when he wrote this chapter, and it is a pity that he does not go into more detail concerning the terms 'the beautiful' and 'the good.' On the other hand, he gives a clear summary of the different functions Aristotle has ascribed to music. He emphasizes that Aristotle mentions the three functions of music as a source of well-being and enjoyment, as a means of character formation, and as an intellectual activity that can lead to a "higher level" of experience.3 In Aristotle's thinking, all of these functions are of value. Concerning the functions and values of music that are discussed, Varkøy abstains from passing his own judgment which leaves a welcome space for one's own thinking. In the second chapter, Varkøy focuses on the functions of music between the time of early Christianity and the time of Comenius. He puts forward an intriguing argument when he states that the Church Father Augustine, who saw the fact that people can enjoy music just for pleasure as a danger, has already pointed to the notion of music as a phenomenon with its own, intrinsic value. At the end of this chapter, Varkøy asks the readers to reflect on Comenius' distinction between "useful" knowledge and knowledge that serves "the way of making one's living."4 He returns to this distinction later on in his book. In the chapter "Progress and Reason," the focus is on...

The Origins and Foundations of Music Education: International Perspectives, 2nd ed. – edited by Gordon Cox and Robin Stevens (Book Review)

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Book Review: The Origins and Foundations of Music Education: International Perspectives

Book Review: <i>The Origins and Foundations of Music Education: International Perspectives</i>

What is Right? What is Wrong? Music Education in a World of Pluralism and Diversity

We are living in a time of social and cultural changes. As in other disciplines, the foundations of music education are being increasingly challenged. Thus, it is no longer possible to specify reliably the aims and contents of music education and their implementation in school by simply basing them on lasting musical traditions and changeless forms of life. It has been said that such an assessment leads us to a pluralistic—if not relativistic—view of music education. But it does not help us when we have to make a decision on What is to be done? How can we orientate ourselves in our actions and whereupon should we base our judgements when negotiating decisions and trying to convince others? If we are not ready to accept that the decision-making process in the field of music education is just a matter of power, we have to be content with the arguments we can offer. We need to have the courage of independent critical thinking in terms of Didaktik involving all concerned. The situation is similar to that of aesthetic arguing: there is no sure footing; our criteria for evaluation are always up for discussion.

Review of Harold Abeles, Charles Hoffer, and Robert Klotman, Foundations of Music Education, 2nd ed. (Schirmer Books, 1995)

This article reviews the second edition of Foundations of Music Education by &#x0D; Harold Abeles, Charles Hoffer, and Robert Klotman. The review identifies the positive aspects of the text, while urging additional content for the next edition.

Book Review: Foundations of Music Education

Book Review: Foundations of Music Education

The Philosophical Foundations of Music Education: The Case of Primary Music Education in Australia

Primary music education programme development and implementation is founded on philosophical beliefs about the purpose of music education.Primary classroom teachers who ultimately have responsibility for development and implementation of the music education programme formulate their philosophical beliefs about the purpose of music education based on a multitude of variables. Whilst their own past music experiences and education assume significance in the formation of a music education philosophy, the primary music curriculum documents provided by education authorities constitute an important source for teachers' current philosophical opinion about the purpose of music education.Two philosophical arguments have thus far formed the basis of the purpose of music education in the history of the western world, namely, the intrinsic and extrinsic arguments. Primary music curriculum documents have also been based on one (or perhaps both), of these philosophical views about the purpose of music education.In this article a discussion of the philosophical foundations of music education, with special reference to primary music education in Australia, is presented. Five primary music curriculum documents will be looked at, and commentary given about the current philosophical status of Australian primary music education and the implications for programme development and implementation.

Book Reviews: Foundations of Music Education

Book Reviews: Foundations of Music Education

Foundations of Music Education

Foundations of Music Education

Historical Foundations of Music Education in the United States

Historical Foundations of Music Education in the United States

Historical Foundations of Music Education in the United States

Historical Foundations of Music Education in the United States

The General Theoretical Foundations of Music Education

The General Theoretical Foundations of Music Education