What do musicians, critics, and listeners mean when they use emotion‐words to describe a piece of instrumental music? How can ‘pure’ musical sounds ‘express’ emotions such as joyfulness, sadness, anguish, optimism, and anger? Sounds are not living organisms; sounds cannot feel emotions. Yet many people around the world believe they hear emotions in sounds and/or feel the emotions expressed by musical patterns. Is there a reasonable explanation for this dilemma? These issues gain additional importance when we ask them in the (...) context of music education. For example, can we, or should we, teach music students to listen‐for musical expressions of emotion? If so, how? My contention is that listeners can and do hear emotions in musical patterns; musical sounds can be expressive of emotions. Accordingly, I offer ideas for teaching students how to hear and create musical expressions of emotions. (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)

This study investigated individuals with adventitious visual impairment acquired during adulthood through a traumatic event, for an in-depth and contextual understanding of the factors and processes that led to positive changes in their post-traumatic growth. The life history method was applied on 15 individuals with AVI through in-depth interviews about their life. The study’s analytical framework involved three domains: dimensions, turnings, and adaptations of life, as proposed by Mandelbaum. The results revealed the following key factors: of the dimensions of life—family, (...) rehabilitation center, and music groups; of turnings of life—positive change through awareness and tolerance of impairments, new challenge posed by rehabilitation training, and finding inner resources through music; and of adaptations of life—accepting one’s life in a harsh social environment, actively establishing relationships with others as an individual with visual impairment, and re-finding meaning of life through musicing. This study contributes by revealing the role of each of the above-mentioned factors and identifying their correlations. The results suggest that musicing may help individuals with AVI develop empathy and engage in social communication through active self-disclosure. (shrink)

Despite the fact that “the curriculum seemed largely determined by the ‘philosophy’, that is to say, the theoretical perspective of individual teachers”, it also mediates and fosters perspectives, questions and approaches in teachers. In this sense, the objective of this paper is to clarify and criticize the philosophical understanding of the musical experience established by the Chilean music curriculum, collaborating to solve the lack of study and research on these bases, as well as revealing its implications for Chilean music teachers. (...) To develop this objective, offer a brief review of the different points of view on the musical/aesthetic experience in music and music education in relation to the musical, philosophical and educational criticisms of Violeta Hemsy Gainza. Next, analyze the Chilean music curriculum and develop a discussion according to the implications for music teachers of the e school. Finally, a conclusion and final thoughts will be considered. (shrink)

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)

A new post-compulsory Music course known as the Western Australian Certificate of Education (WACE) Music course was recently introduced into Year 11 and 12 in Western Australian (WA) schools. Following a convoluted process of creation, its implementation into classrooms has been problematic. Given criticism levelled at its process of creation and implementation, the researcher questions whether the WACE Music course embodies effective, recognised principles to support the effective teaching and learning of music. This study investigates the principles which should form (...) the basis of an effective, post-compulsory music curriculum, suitable for WA. It involved a literature review which sought to produce a set of principles for teaching and learning frameworks based upon international best practice in music education, and applicable in the unique geographical, historical and multicultural WA context. In addition, the study employed a researcher–designed survey instrument to examine whether Western Australian music teachers perceived these principles to be evident in their practical experiences of the new WACE music course. With the subsequent publishing of a draft Australian National Arts Curriculum, it is an appropriate time to review the principles which should underpin an effective Music curriculum for senior secondary students in the WA context because, without a clear set of guiding principles that are understood by curriculum writers, there is a possibility that following courses could be fundamentally flawed and not serve the best interests of students. (shrink)

The article deals with the problem of the disciplinary identification of thephilosophy of music education. It explores alternative approaches to thephilosophy of music education and its relation to musical pedagogy. On thebasis of this analysis an account of the philosophy of music education as aphilosophical discipline is suggested and its specific function identified.