Philosophy Of Music Education Research Articles

Strategies for the Development of Music Education Philosophy for Preservice Music Teachers: A Literature Review

The purpose of this literature review was to analyze and synthesize pedagogical approaches related to developing music education philosophy for preservice music teachers. The literature that I identified covered procedures and strategies that preservice music teachers could apply to their teaching practice. On my analysis of the existing literature, I categorized the development of a philosophy into a four-stage process of (1) discovery, (2) articulation, (3) application, and (4) reflection and revision. Results found in the literature included clear expectations and practical tools for each stage, such as dialogues, reading, writing, and constructive feedback, providing a critical view of music education philosophy and guidelines for effective teaching. Understanding the four-stage process may help preservice music teachers and music teacher educators to establish a concrete plan for the development of music education philosophy, allowing preservice music teachers to acquire more confidence in their transition to inservice teaching.

Value-based orientations as a normative-regulatory mechanism for the formation of professional worldview of future music teachers

The transition period of modern society can be observed in various aspects, particularly in the value-normative one. The study of the Genesis of the formation of personality’s value-based orientations in the current conditions of reforming educational sector in Ukraine and its integration into the European Higher Education Area are becoming prioritized. The research methodology is complex, combining theoretical and empirical methods. Theoretical study of the problem of values in philosophical-historical and psychological-pedagogical discourses creates a methodological basis for expanding the subject field of interdisciplinary branches of scientific knowledge: pedagogical axiology and philosophy of music education. The interdisciplinary context of the conceptual range of these disciplines makes it possible to modernize the value-based orientation in the content of art education. The problem of spiritual and value-based formation of the personality by means of music is actualized, which creates the prerequisites for the formation of a phenomenon of holistic professional worldview of future music teachers. The analysis of structural components of the outlined phenomenon shows that the normative and regulatory basis of professional worldview is a system of value-based orientations of the individual.

Academy of Music and Arts for Special Education (AMASE): An Ethnography of an Individual Music Instruction Program for Students With Disabilities

This 3-year ethnography explored the culture of the Academy of Music and Arts for Special Education (AMASE), a university undergraduate volunteer organization offering music instruction for individuals with disabilities. We examined the organization and its impact on students, parents, and volunteers through the lens of the social relational model of disability. Findings clustered around three pillars of organizational values: ability, community, and service. The organization’s philosophy of ability cultivated a community that acknowledged the impairments of the students while actively seeking ways to break down the socially imposed barriers to musical learning that were disabling to them. The program filled a need where access to music education had previously been limited or denied. Undergraduate volunteers’ experiences raised their awareness of inequity for people with disabilities and motivated them to consider ways to serve this community in their future careers. Findings illustrate the potential impact of a social relational model on music education philosophy and practice, suggesting a need for music educators to challenge implicit beliefs about students’ capabilities and actively inquire into the ways in which music education contexts may be inherently disabling.

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ed. by David J. Elliott, Marissa Silverman, and Gary E. McPherson

Reviewed by: The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education ed. by David J. Elliott, Marissa Silverman, and Gary E. McPherson Michael Gale The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education. Edited By David J. Elliott, Marissa Silverman, and Gary E. McPherson. New York: Oxford University Press, 2019. [xx, 550 p. ISBN 978-0-190-26518-2. £110] Of all the issues faced by music educators today, the question of assessment is perhaps the thorniest. Few topics provoke as much impassioned polemic, and this collection of twenty-seven essays by contributors from across the globe certainly makes no apology for that. This book is unashamedly ideological in tone, espousing the 'praxial philosophy' outlined by David J. Elliott in his influential Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995). For Elliott, music education should be a fundamentally experiential (rather than theoretically grounded) world, and the meanings and values attached to musical activity are inescapably contextually and socially defined. This vision is incompatible with the standards-based assessment protocols that, according to Elliott and his co-editors here, have been imposed upon modern-day educators through an increasingly dominant state-led neoliberal agenda. As a result, the testing of students now frequently eclipses all other considerations, not least the nurturing of creativity and self-exploration. This substantial volume is divided into four sections: the first ('Foundational Considerations') presents the editors' introduction and six further essays, followed by three sets of case studies gathered under rather loose headings ('Methodological Practices', 'Creativity', and 'International Perspectives') to form a set of lively and (mostly) engaging writings. Together, they offer a remarkably unified philosophical credo, providing contrasting snapshots of educational practice from areas as diverse as Australia, Iran, Nepal, Scandinavia, South Africa, and the U.S. A broad range of professional specialisms is explored, including classroom-based teaching, whole-class instrumental instruction, music therapy, special needs education, and beyond. In their introductory essay, the editors immediately nail their ideological colours to the mast, revealing the three key premises that underpinned their conception of this volume: 1). 'musics are made by and for people', and all musical activities are 'social endeavors and encounters' (p. 15)—ideas which are both central to Elliott's praxial philosophy. 2). music is part of everyday human experience, so music education should emphasise the processes and activities of musicmaking rather than treating musical works themselves as objects for veneration (p. 16). 3). music encompasses a wide range of diverse values which are 'invariably grounded in social experience'; music is contextually defined, and these values are 'functions of its service to various human needs and interests' (p. 17). [End Page 185] Following this, the remaining essays in Part 1 spell out a firm consensus, using a variety of philosophical and theoretical tools to echo and amplify the editors' distaste for prevailing models of testing and assessment. In Chapter 2, 'Institutional Music Education and Ranking as a Form of Subjectification: The Merits of Resistance and Resilience', Lise C. Vaugeois makes a powerful case for viewing ranking and grading as mechanisms for social division and control, while Kathryn Jourdan and John Finney (Chapter 3) fruitfully bring the philosophical ideas of Emmanuel Levinas to bear upon their rather exasperated observations on standard assessment practices in U.K. classrooms. Jourdan and Finney rightly challenge the narrowness of a mode of learning shaped primarily by exam board-defined questioning—but, like many of the chapters in this book, they stop short of offering far-reaching practical solutions to this pervasive problem. In Chapter 4, 'The Primacy of Experience: Phenomenology, Embodiment, and Assessments in Music Education', Andrea Schiavio is also guilty of this same sleight of hand. After sharing a provocative vision of musical learning that embraces embodied knowledge (as well as cognitive), and intersubjective interactions of various kinds (pp. 74–75), Schiavio eventually retreats, stating simply that 'the development of such new music assessment approaches goes beyond the limitations of this chapter' (p. 76). Drawing this opening group of essays to a close, Lauren Kapalka Richerme's invocation of poststructuralist philosopher Gilles Deleuze (Chapter 7), also squirms uncomfortably in this hinterland between theory and practice, outlining...

On the Usefulness of Nothingness: A Daoist-Inspired Philosophy of Music Education

:In 1952, John Cage wrote 4′33″ which famously asked the performer not to play a single note: tacet. This provocative work raises a number of questions. In music—and by extension, music education—what does it mean to not do something? What does it mean to make no sound? More fundamentally, what is the nature of non-action, non-sound, and even nothingness in and of itself? Since Cage was influenced by Eastern philosophy, we journey to Asia in search of insights into nothingness and associated notions of absence and negation. In particular, we draw on the writings of Daoist philosophers, principally Laozi, to examine a quartet of philosophical terms, namely, wu (nothing/ness), wuwei (non-action), wusheng (non-sound), and wuaile (neither sorrow nor joy). Using these ideas, we propose a Daoist-inspired philosophy of music education, one that emphasizes the usefulness (yong) of nothingness (wu).

A Literature Review on the Construction of a Teacher-Made Assessment Tool in Music Listening Response Competency for Junior High School K to 12 Music Curriculum

This study reports findings from a literature review study that aimed to describe the principles and processes of constructing a teacher-made assessment tool for Music listening response as one of the needed concepts and skills of Music teachers to address and assess the learning competencies in the junior high school K to 12 Music curriculum for music listening learning competency. Based on the literature review, the researcher identified six themes that are further discussed in this paper: the philosophy and objectives of Music education, the development of Music tests and assessment tools, objective type of tests for listening, forms of Music listening response, assessment tool and test construction, and initiatives and methods on the assessment of Music listening responses. The quality of test construction depends largely on the part of the classroom teacher. The problems of measuring and evaluating students’ achievements are not always solved by using standardized tests. The different techniques in constructing teacher-made assessment tools may be a guide to fulfill satisfactorily the measurement that a teacher needs. The objectives, processes, forms, steps, initiatives, and methods in constructing teacher-made tests serve as a guide by the classroom teacher to construct tests scientifically.

Looking Back to Move Forward: Charles Fowler and His Reconstructionist Philosophy of Music Education

Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.

“We All Have a Little More Homework to Do:”: A Constructivist Grounded Theory of Transformative Learning Processes for Practicing Music Teachers Encountering Social Justice

The purpose of this study was to investigate processes that led practicing music educators in a graduate course to examine their beliefs and practices regarding inclusion, responsiveness, equity, and justice. Using Charmaz’s constructivist approach to grounded theory, we interviewed 22 participants from MUS 8XX: Philosophy of Music Education. Constant comparative analysis yielded an explanatory framework, which we presented as a model and named “transformative learning processes (TLP) for practicing music teachers encountering social justice.” TLP comprises four interrelated components: “building Gemütlichkeit,” “grappling with difficult material,” “emotional intensity,” and “course structures,” with “stories” acting as a hub for each of the interconnected categories. By describing processes that led practicing teachers to examine their mindsets and plan to change their practices, TLP could provide guidance for music teacher educators at the graduate level regarding how to approach social justice topics in their teaching.

In Search for Comprehensive Philosophy of Music Education in Ghana

DOI: 10.7176/JEP/11-9-21 Publication date: March 31 st 2020 One of the critical issues in the philosophy of music involves a study of basic questions regarding understanding music or musical meaning; what music is, how people perceive music in the context of their culture, how cultural perceptions influence music and what is the relationship between music and emotions. One discipline that is so complex to define is music. Many philosophers and ethnomusicologists did a lot of works in defining music yet the fact still remains that none of these giants was able to holistically define what music really is. Many people have different views and definitions about music. These differences emanate from diverse ethnic and cultural backgrounds. No person defines music better than the one from that particular cultural setting. “Music is an immersive sonic and social phenomenon that is at once both physical and emotional. Communication takes place through the processes of musical creation, performance and response (processes which are by no means discrete from each other), and music carries multiple meanings, communal and individual, intentional and unpredictable. People turn to music every day throughout their lives to create a sense of identity, to connect with others and to express, reflect and change their emotions. Music is a pervasive feature of life. Music engagement both underpins and accompanies many of our day-to-day activities from our earliest years as well as marking the significant moments of individual and collective life.” ( https://elissamilne.wordpress.com/2010/12/15/defining-music-in-the-national-arts-curriculum-to-conclude/ ). This paper focuses on the Philosophy of Music Education like any other discipline and I tried to express my opinion from the Ghanaian cultural perspective. There are people who define music as pleasant sound that appeals to the ear. However, what sounds pleasant in one cultural setting will possibly be a noise in other setting. Others define music as singing and dancing neglecting very vital constituents of the discipline. In this paper, the definition of music is based on the cultural perception of what music really is to the performers. The definition embedded how the focused setting value music and how their perception influences music.

Analysis of ‘Magic Finger Piano’ Method Books for Beginners Based on Elliott's Praxial Philosophy of Music Education

본 연구의 목적은 엘리엇의 실천주의 음악교육철학에 입각하여 『매직핑거 피아노』 교재를 분석함으로써 국내 피아노 교재의 새로운 동향과 교육적 의의를 살펴보는 것이다. 이를 위하여 『매직핑거 피아노』 레슨교재 8권과 레퍼토리교재 8권, 총 16권을 연구대상으로 선정하였다. 엘리엇의 실천주의 음악교육철학에서 강조하는 문화적 맥락 속에서의 음악교육, 음악하기를 통한 음악적 지식의 학습, 비평적 음악적 사고의 계발을 바탕으로 교재에 수록된 악곡, 학습내용, 학습과정, 학습 활동을 분석하였다. 연구결과, 『매직핑거 피아노』 교재에는 국내(구전)동요, 영화·광고·게임음악, K-Pop 음악 등 우리나라 학생들이 우리 사회의 사회·문화적 맥락 속에서 음악하기를 통한 음악성을 계발할 수 있는 악곡들이 수록되어 있으며, 독보, 조성, 박자, 리듬, 형식, 프레이징과 같은 형식적 음악지식과 테크닉과 같은 비형식적 음악지식이 실제 음악하기를 통한 과정적 지식으로 학습할 수 있도록 개발되어 있었다. 또한 즉흥연주와 녹음된 음원을 활용한 앙상블 연주 활동 등 비평적 음악적 사고를 계발할 수 있는 학습활동이 제시되어 있었다. 결론적으로 『매직핑거 피아노』 교재는 엘리엇의 실천주의 음악교육철학이 뚜렷이 반영되었다고 볼 수 있다.The purpose of this study was to analyze the ‘Magic Finger Piano’ method books based on Elliott s praxial philosophy of music education. For this purpose, 16 books of ‘Magic Finger Piano’ method series were selected. In order to find out the extent to which Elliott s praxial philosophy of music education was reflected in the method books, first, the requisites for piano method books based on praxial philosophy of music education were analyzed. Music education in a cultural context, learning musical knowledges through musicing, and developing critical musical thinking are the requisites emphasized in praxial philosophy of music education. As a result of analyzing the method books according to the requisites emphasized in praxial philosophy of music education, ‘Magic Finger Piano’ method books clearly reflect Elliott s praxial philosophy of music education, in that it contains songs that Korean students can develop musicality in Korean social and cultural context; formal music knowledge such as score reading, meter, rhythm, form, and phrasing and informal music knowledge such as technique were designed to be developed through musicing; and learning activities such as improvisation and use of recorded accompaniments for ensemble which enables the development of critical musical thinking were presented. In conclusion, the ‘Magic Finger Piano’ method books clearly reflect Elliott s praxial philosophy of music education.

Dewey’s Musical Allergy and the Philosophy of Music Education

This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey’s dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago’s Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey’s musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans.

Music as Liberal Art: the Continuing Relevance of Medieval Music Pedagogy in Teacher Education

The concepts and ideas of the medieval liberal arts continue to have important relevance in modern training music teachers. The division between a theoretical knowledge about music and a practical experience of musical activities (divisions that might be described as musica speculativa and musica practica) is also being played out in the training of public school teachers in debates regarding the concept of ‘praxialism’ in music education as can be seen in four specific areas: (1) textbooks for courses on the history of music education, (2) resources used in teaching the philosophy of music education, (3) examples of medieval music in contemporary K-12 education, and (4) the scholarship on teaching and learning as applied to music of the Middle Ages. Extending the concept of ‘praxialism’ broadly to include how we teach early music at the college level to future public school teachers may further the discussion of the relevance of medieval music in a positive direction.

A Praxial Approach to Musicology in the Secondary School Curriculum

Because aesthetic philosophies, which have long dominated music education, privilege music as an aesthetic object, they minimize aspects of musicology concerned with music as a cultural practice and provide too narrow a view of music itself. This has also minimized the role of musicology in the school music curriculum. First, I argue that musicological praxis is congruent with praxial philosophies of music education and that it is appropriate for inclusion in the secondary music curriculum. Second, I offer a set of criteria and recommendations for applying this philosophy and integrating musicological praxis into that curriculum. Finally, I use two brief examples by way of illustration. I hope this paper outlines at least one path for making musicology a more integral part of curriculum and instruction and that it will provide a broadly applicable philosophical framework.

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...

音楽教育哲学における「社会正義」論の地平

音楽教育哲学における「社会正義」論の地平

Metaphors for a Change: A Conversation about Images of Music Education and Social Change

Research Article| July 01 2019 Metaphors for a Change: A Conversation about Images of Music Education and Social Change Estelle R. Jorgensen; Estelle R. Jorgensen Estelle Jorgensen is professor emerita of music (music education) at the Indiana University Jacobs School of Music and contributing faculty member at the Richard W. Riley College of Education and Leadership, Walden University. She is the editor of the Philosophy of Music Education Review and author of several books in the philosophy and practice of music education and numerous articles in leading music-education journals internationally. Search for other works by this author on: This Site Google Iris M. Yob Iris M. Yob Iris M. Yob, emerita faculty, Walden University, has research interests in higher education, philosophy of education, music and arts education, and spiritual education. She has received numerous awards, including the David O. Wilson Award for Excellence in Teaching and Learning, which funds her current research project exploring the role of the university in the community, especially in promoting the common good. Originally from Australia, she currently lives in Massachusetts. Search for other works by this author on: This Site Google Journal of Aesthetic Education (2019) 53 (2): 19–39. https://doi.org/10.5406/jaesteduc.53.2.0019 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Estelle R. Jorgensen, Iris M. Yob; Metaphors for a Change: A Conversation about Images of Music Education and Social Change. Journal of Aesthetic Education 1 January 2019; 53 (2): 19–39. doi: https://doi.org/10.5406/jaesteduc.53.2.0019 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Aesthetic Education Search Advanced Search The text of this article is only available as a PDF. Copyright 2019 by the Board of Trustees of the University of Illinois2019 Article PDF first page preview Close Modal You do not currently have access to this content.

Music education through the lens of ITERS-R: Discussing results from 206 toddler day care groups

This article presents results from a large-scale Norwegian study that examines the quality of early childhood education and care, using the research tool ITERS-R. Although ITERS-R consists of 39 items, this article focuses solely on results within music education in Item 18. Music and movement. According to ITERS-R, results from 206 toddler day care groups reveal that the quality of music education in Norwegian day care is low. Our in-depth study of a single item reveals that a lack of musical toys and instruments is what yields such a low score. The quality of singing and the use of recorded music, however, scores better. These results point to a music education philosophy in ITERS-R that diverges somewhat from contemporary music education philosophies and curricula. The article therefore also discusses some potential consequences of this difference.

An Experiential Learning of a Philosophy of Music Education Inspired by the Work of Canadian Composer R. Murray Schafer

Experiential learning is an educational approach that has been associated with different fields including music education, but rarely with philosophy. Our project consisted of a philosophical experience in action using the work of the Canadian composer R. Murray Schafer. In his Soundscape concept, all sounds in an environment become part of the music that surrounds us. Pre-service student teachers were introduced to his philosophy of music education through experiential learning rather than through a traditional lecture. Additionally, we followed three of them as they taught grades 3, 9 and 11. Our goal was to see to what extent experiential learning of philosophy could be an appropriate pedagogical tool in higher education. Our research question was: How can student-teachers construct their own understanding of a philosophy of music education after having experienced it from the perspective of a student and of a teacher? The following data were examined through collaborative thematic analysis of 1) an open question, 2) their own music composition following Shafer’s guidelines, and 3) their experience of teaching the children. Participants were able to explain in their own words the main components of Shafer’s view on music education, they described how they could use this vision in their own teaching and they identified specific outcomes (creativity, freedom, motivation and critical thinking) from using this approach. The conclusion was drawn that the experiential learning framework can be an appropriate tool for instructing topics that have traditionally been seen as purely theoretical.

A Study on Jeju Music Education Direction through Philosophies of Music Education

A Study on Jeju Music Education Direction through Philosophies of Music Education

Response to Graham McPhail, “Too Much Noise in the Classroom? Towards a Praxis of Conceptualization,” <em>Philosophy of Music Education</em>, 26, no. 2 (2018): 176–98

Response to Graham McPhail, “Too Much Noise in the Classroom? Towards a Praxis of Conceptualization,” <em>Philosophy of Music Education</em>, 26, no. 2 (2018): 176–98