In both the historical and contemporary literature on the metaphysics of space, a core dispute is that between relationism and substantivalism. One version of the latter is supersubstantivalism, according to which space is the only kind of substance, such that what we think of as individual material objects are actually just parts of spacetime which instantiate certain properties. If those parts are ontologically dependent on spacetime as a whole, then we arrive at an ontology with only a single genuinely independent (...) substance, namely the entire spacetime manifold. This is monist supersubstantivalism. A view on which the parts of spacetime are ontologically prior to the whole has been called pluralistic supersubstantivalism. As currently formulated, supersubstantivalism carries significant advantages and encounters major difficulties. I argue that some of the latter motivate... (shrink)

This study examines the piano teaching methodologies used to train final-year undergraduate performance students at four tertiary institutions in Hong Kong. As there is a hierarchical relationship among the philosophies, principles, and methodologies of teaching, this study discusses two chief areas of philosophy, five principles, and six aspects of teaching methodologies that were identified in the literature as being important in the teaching of piano performance. The philosophies include both philosophical ideas and philosophies that are derived from practical experience. The (...) philosophical ideas investigated include rationalism, empiricism, and pragmatism, and the philosophies derived from practical experience cover the issues of inculcating in students an abiding enjoyment and love of music; acknowledgement of the place of aesthetic education in the teaching of piano; recognition of the teacher’s and performer’s roles in transmitting to others musical knowledge, personal insights, and a significant expression of culture; ideally, the need for pianists to be well-balanced intellectually and emotionally and not narrowly focused; the importance of instilling in students a sense of humanity that goes beyond their role as a mere pianist and, ideally, gives them a world perspective. The five principles identified relating to the teaching of piano performance majors include: the need to nurture in students an ability to express emotions and ideas; the importance of pianists producing a considered and appropriate tonal quality; the importance of developing the imagination and nurturing creativity; recognizing the need for encouragement and stimulation in teaching; and committing to quality teaching. These ideas provide the foundation for the discussion of the methodologies of teaching piano performance, which is divided into the six aspects of technique, style, memorization, practicing, acute listening skills (or extending aural ability), and devising solutions to stage fright. The information in this research was collected from the four tertiary institutions in Hong Kong that offer a Bachelor degree in music. The participants included the heads of department, the teachers of final-year undergraduate piano performance students, and undergraduate students of piano. Case studies of the ten teachers’ are presented that include their philosophies, their principles, and the teaching methodologies that they used to teach technique, style, memorization, practice, and the development of aural ability, and to solve the problem of stage fright. The data from the heads of department, teachers, and students were analyzed, and the findings from this analysis are presented. Models of philosophies, principles, and methodologies of piano teaching are proposed, and recommendations are offered for teachers, students, and institutions to improve the quality of piano performance teaching. (shrink)