Philosophical perspectives on music education essay

Philosophy helps teachers to reflect on key issues and concepts in education, usually through such questions as: What is being educated? What is the good life? What is the nature of learning?

Philosophical perspectives on music education essay

Philosophical perspectives on music education essay

Philosophy of Music Education Review Musica practica traditionally focused on the doing or making of music; musica speculativa or musica theoretica on the philosophical, mathematical, scientific, and more recently, psychological foundations and elements of music. These strands intersect in our contemporary world.

In focusing on musical practice viewed philosophically, our contributors in this issue unpack various elements not only of the practice of school music education, but of praxial ideas on music education that have surfaced in recent years.

There is some slippage between notions of musical practice and musical praxis. These words do not necessarily mean the same thing nor is it necessarily the intent of praxial writers to dichotomize the worlds of theory and practice as writers in the past distinguished between musica practica and musica theoretica.

The word praxis was employed in music education philosophy in the s by Philip Alperson and invoked by David Elliott to describe a view of the musical experience and ideas about how it ought to translate into music education practice. This view was distinguished from other previous philosophical perspectives, including that of music education conceived as a form of aesthetic education suggested by such writers as Charles Leonard and Robert House, Abraham Schwadron, and Bennett Reimer.

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In recent philosophical literature in music education it has come to encompass a variety of differing particular perspectives and strategies. Some European writers have begun to think of praxis as one aesthetic approach among a number of others, when the descriptor "aesthetic" is interpreted generally to refer to the intersection of philosophy and the arts.

Whatever the merits of [End Page 1] this particular approach, notions of what is meant by practice and praxis have yet to be interrogated, and it is toward this purpose that the present issue is devoted.

Michael Apple's essay, "Competition, Knowledge, and the Loss of Educational Vision," reminds us of the importance of the philosopher's role in questioning music education practice and forging a vision of what education can and ought to be.

His criticism of the political, commercial, and other forces that combine to blunt educational purposes toward a more humane society serves to validate a critical stance towards what music educators do.

Scott Goble's essay, "Perspectives on Practice," highlights some of the differences in the philosophical views of two self-identified praxialists—David Elliott and Thomas Regelski.

His piece is important in its focus on the growing divergence among the praxialists and suggests the possibility of praxes—a variety of praxial approaches to music education. Both these authors see music education practice as an important philosophical focus and they show how Dewey's ideas can illumine the nature of the aesthetic experience in music education.

In similar vein, Elvira Panaiotidi's essay "What is Music? A Reader—a collection of readings which provides some useful theoretical perspectives on the intersections between society, music and culture—we conclude the issue with an Index of the first ten volumes of PMER.

This marks something of a milestone as, beginning with this issue, Volume 11, No. We celebrate the publication of the many essays, dialogues, symposia, and book reviews during the past decade on an array of themes important to the theory and practice of music education philosophy.

For all those who have contributed to past issues of PMER we are grateful for your participation and for promoting the exploration of music education in its many dimensions as these are informed by philosophical assumptions.

We look forward to the next decade with confidence that the work of philosophical analysis and deliberation will continue their lively exploration of ideas toward making music education more reasoned, seasoned, and sound.Philosophical Essay EDUC – Principles of Education Philosophy is a set of beliefs or ideas one has towards their discipline or line of work.

Second is the role of music in education and of education in music. A third theme centers on philosophical perspectives on music curricula and instruction.

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Last, contributors consider the nature and place of philosophy in music education and its contribution to research and practice. Boon, I. E. T. (). Toward a useful synthesis of Deweyan pragmatism and music education. Visions of Research in Music Education, philosophies in the context of arts in education, in this essay these argumentative strategies will Philosophical Perspectives in Music Education.

Abstract. Appeals to multiple-intelligence theory have become common currency among educators in the arts, apparently because status as “an intelligence” is seen as vindication of the educational integrity of artistic undertakings.

A Personal Philosophy of Music Education Few would argue against the idea that we educate ourselves and our society so that we have adequate means with which to understand and interact with elements of the world around us. A Philosophical Perspective on Education Doris J. March 29, Concordia University Professor Davis It appears the education of our youth in America will begin to be guided by a rigid and formal mandated system of knowledge.

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