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.

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)

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)