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 (...) values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)

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 (...) seen in use; thus, it seeks to ‘make a difference’ that students and society find musically noteworthy. (shrink)

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 (...) one led by sight. I start with a phenomenological analysis of the cave as a place of sound. After that, I elaborate on the training of attentive listening skills and its ramifications for pedagogical practice. I conclude that there are profound differences between seeing and listening and that sound reveals different aspects of “the real” compared to sight. The significance of Plato’s cave allegory should be evaluated in relation to modern, scientific thought characterised by a visual-spatial language. With support of this allegory, the light-shadow polarity has become the Urbild of represented reality. At the same time, a visually oriented culture of ideas repeatedly confirms Plato’s cave allegory as its central metaphor. Finally, an elaboration on the sounds in the cave proves to be fruitful in an educational sense: The comparison of sound and sight sharpens the differences and complementarities of audial and visual experiences. (shrink)