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Philosophical perspectives on music

Wayne D. Bowman

New York: Oxford University Press (1998)

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Feminist Imperative(s) in Music and Education: Philosophy, theory, or what matters most.Elizabeth Gould - 2011 - Educational Philosophy and Theory 43 (2):130-147.details A historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective of the (...) Download Export citation Bookmark 2 citations
Music and music education: Theory and praxis for 'making a difference'.Thomas A. Regelski - 2005 - Educational Philosophy and Theory 37 (1):7–27.details The ‘music appreciation as contemplation’ paradigm of traditional aesthetics and music education assumes that music exists to be contemplated for itself. The resulting distantiation of music and music education from life creates a legitimation crisis for music education. Failing to make a noteworthy musical difference for society, a politics of advocacy attempts to justify music education. Praxial theories of music, instead, see music as pragmatically social in origin, meaning, and value. A praxial approach to music education stresses that appreciation is (...) Download Export citation Bookmark 3 citations
Echoes and Shadows: A Phenomenological Reconsideration of Plato's Cave Allegory.Edvin Ostergaard - 2019 - Phenomenology and Practice 13 (1):20-33.details In the cave allegory, Plato illustrates his theory of ideas by showing that the world man senses and tries to understand, actually only is a dim representation of the real world. We know the allegory for its light and shadow; however, there is also sound and echo in the cave. In this article, I discuss whether the narrative of the prisoners in the cave is in tune with an audial experience and whether an allegory led by sound corresponds to the (...) Download Export citation Bookmark 3 citations
Hanslick's Formalism as the Beginning of Contemporary Aesthetics of Music.Sanja Sreckovic - 2021 - Kritika 2 (2):299-314.details The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Download Export citation Bookmark
El lugar de la Música en la Filosofía del siglo XX.Maria Angeles Beitia Bastida - 2017 - Endoxa 39:305.details Download Export citation Bookmark 1 citation
The Reconciliation Project: Separation and Integration in Business Ethics Research. [REVIEW]Miguel Alzola - 2011 - Journal of Business Ethics 99 (1):19 - 36.details This article is about the relationship between business and ethics in academic research. The purpose of this investigation is to examine the status of the separation and the integration theses. In the course of this article, I defend the claim that neither separation nor integration is entirely accurate; indeed they are both potentially confusing to our audience. A strategy of reconciliation of normative and descriptive approaches is proposed. The reconciliation project does not entail synthesizing or dividing prescriptive and empirical approaches, (...) Download Export citation Bookmark 15 citations

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