David J . Elliott
New York University, Music and Performing Arts Professions, Department Member
- David Elliott has published 3 books, 4 edited books, 52 refereed journal articles, and 48 refereed chapters in edited... moreDavid Elliott has published 3 books, 4 edited books, 52 refereed journal articles, and 48 refereed chapters in edited books. Since 1973 he has presented 325 conference papers/invited lectures in 50 countries. He is a professional jazz trombonist and an award-winning jazz composer/arranger.edit
https://mitpress.mit.edu/9780262045223/musical-bodies-musical-minds/ Musical Bodies, Musical Minds presents a fascinating approach to human musicality based on recent developments in embodied cognitive science. Traditionally, the study... more
https://mitpress.mit.edu/9780262045223/musical-bodies-musical-minds/
Musical Bodies, Musical Minds presents a fascinating approach to human musicality based on recent developments in embodied cognitive science. Traditionally, the study of the musical mind has been guided by a perspective that sees cognition as information-processing confined to the brain of the perceiver. Accordingly, musical cognition is often thought to involve internal neural mechanisms acting in response to external events – a causally linear process that entails the internal (in-the-head) representational recovery of an external musical environment. The ‘enactive’ approach developed in Musical Bodies, Musical Minds offers a radically different perspective. It explores musical cognition as a form of embodied ‘sense-making’ that is central to the ways living agents interact with the socio-material environments they inhabit and actively shape. This approach highlights the situated, distributed, and corporeal dimensions of the musical mind. In doing so, it provides alternative ways of thinking about musical perception, the development of musicality in infancy, its emergence in human evolution, as well as the nature of musical emotions and musical creativity. Musical Bodies, Musical Minds also considers the important practical implications of this approach for music education and everyday life.
Expected publication in 2020.
Musical Bodies, Musical Minds presents a fascinating approach to human musicality based on recent developments in embodied cognitive science. Traditionally, the study of the musical mind has been guided by a perspective that sees cognition as information-processing confined to the brain of the perceiver. Accordingly, musical cognition is often thought to involve internal neural mechanisms acting in response to external events – a causally linear process that entails the internal (in-the-head) representational recovery of an external musical environment. The ‘enactive’ approach developed in Musical Bodies, Musical Minds offers a radically different perspective. It explores musical cognition as a form of embodied ‘sense-making’ that is central to the ways living agents interact with the socio-material environments they inhabit and actively shape. This approach highlights the situated, distributed, and corporeal dimensions of the musical mind. In doing so, it provides alternative ways of thinking about musical perception, the development of musicality in infancy, its emergence in human evolution, as well as the nature of musical emotions and musical creativity. Musical Bodies, Musical Minds also considers the important practical implications of this approach for music education and everyday life.
Expected publication in 2020.
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Musical Bodies, Musical Minds offers an innovative account of human musicality that draws on recent developments in embodied cognitive science and many other fields of research. The authors explore musical cognition as a form of... more
Musical Bodies, Musical Minds offers an innovative account of human musicality that draws on recent developments in embodied cognitive science and many other fields of research. The authors explore musical cognition as a form of sense-making that unfolds across the embodied, environmentally embedded, and sociomaterially extended dimensions that compose the enactment of human worlds of meaning. This perspective enables new ways of understanding musical experience, the development of musicality in infancy and childhood, music's emergence in human evolution, and the nature of musical emotions, empathy, creativity, and music education. Developing our account, we link a diverse array of ideas from fields including neuroscience, theoretical biology, psychology, developmental studies, social cognition, and education. Drawing on these insights, we show how dynamic processes of adaptive body-brain-environment interactivity drive musical cognition across a range of contexts, extending it beyond the personal (inner) domain of musical agents and out into the material and social worlds they inhabit and influence. An enactive approach to musicality, we argue, can reveal important aspects of human being and knowing that are often lost or obscured in the modern technologically driven world.
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There is a mystery about music. On one hand, music making and music listening have occupied a prominent place in every culture since the dawn of recorded history and people everywhere continue to engage in a variety of musical experiences... more
There is a mystery about music. On one hand, music making and music listening have occupied a prominent place in every culture since the dawn of recorded history and people everywhere continue to engage in a variety of musical experiences as part of their daily lives. Yet questions about the
nature and value of music and its importance as a subject of education remain perplexing to many thinkers and are still hotly debated, even today. As a result, while music has been part of the school curriculum since antiquity, its profound contribution to general education has never been
harnessed--until now.
What is music? Does music deserve a place in general education? If so, why? Music Matters builds new answers to these basic questions through a wide-ranging examination of music as a diverse human practice. The result is a ground-breaking philosophy of music education that provides critically
reasoned perspectives on the nature and significance of performing, listening, musicianship, multiculturalism, creativity, consciousness, curriculum development, and more. Indeed, Music Matters is exceptional for the attention it pays to many aspects of music and education that previous music
education doctrine either misses or ignores altogether. Following an incisive critique of past thinking, this important text develops a multidimensional concept of music that explains why music making and listening are unique forms of thinking and unique sources of the most important kinds of
knowing that human beings can gain. In a richly detailed narrative that examines a wealth of recent philosophical and psychological research, the author constructs a compelling philosophical foundation that allows teachers to affirm to themselves and others that music deserves a central place in the
education of all people. Among the many working ideas of this new philosophy is a distinctive concept of "curriculum-as-practicum" that explains how music educators can fulfill their educational mandate.
Invaluable as a core text for courses on foundations of music education or philosophy of music education at both the undergraduate and graduate level, Music Matters provides educators with critically reasoned perspectives on the "why, what, and how" of music teaching and learning, arguing
convincingly that music is one of the most vital, dynamic, and practical pursuits in the human repertoire and, therefore, fundamental to the full development of the individual and collective self.
nature and value of music and its importance as a subject of education remain perplexing to many thinkers and are still hotly debated, even today. As a result, while music has been part of the school curriculum since antiquity, its profound contribution to general education has never been
harnessed--until now.
What is music? Does music deserve a place in general education? If so, why? Music Matters builds new answers to these basic questions through a wide-ranging examination of music as a diverse human practice. The result is a ground-breaking philosophy of music education that provides critically
reasoned perspectives on the nature and significance of performing, listening, musicianship, multiculturalism, creativity, consciousness, curriculum development, and more. Indeed, Music Matters is exceptional for the attention it pays to many aspects of music and education that previous music
education doctrine either misses or ignores altogether. Following an incisive critique of past thinking, this important text develops a multidimensional concept of music that explains why music making and listening are unique forms of thinking and unique sources of the most important kinds of
knowing that human beings can gain. In a richly detailed narrative that examines a wealth of recent philosophical and psychological research, the author constructs a compelling philosophical foundation that allows teachers to affirm to themselves and others that music deserves a central place in the
education of all people. Among the many working ideas of this new philosophy is a distinctive concept of "curriculum-as-practicum" that explains how music educators can fulfill their educational mandate.
Invaluable as a core text for courses on foundations of music education or philosophy of music education at both the undergraduate and graduate level, Music Matters provides educators with critically reasoned perspectives on the "why, what, and how" of music teaching and learning, arguing
convincingly that music is one of the most vital, dynamic, and practical pursuits in the human repertoire and, therefore, fundamental to the full development of the individual and collective self.
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This first-of-its-kind compendium unites perspectives from artists, scholars, arts educators, policymakers, and activists to investigate the complex system of values surrounding artistic-educational endeavors. Addressing a range of... more
This first-of-its-kind compendium unites perspectives from artists, scholars, arts educators, policymakers, and activists to investigate the complex system of values surrounding artistic-educational endeavors. Addressing a range of artistic domains-including music, dance, theater, visual arts, film, and poetry-contributors explore and critique the conventions that govern our interactions with these practices. Artistic Citizenship focuses on the social responsibilities and functions of amateur and professional artists and examines ethical issues that are conventionally dismissed in discourses on these topics. The questions this book addresses include:
How does the concept of citizenship relate to the arts?
What sociocultural, political, environmental, and gendered "goods" can artistic engagements create for people worldwide?
Do particular artistic endeavors have distinctive potentials for nurturing artistic citizenship?
What are the most effective strategies in the arts to institute change and/or resist local, national, and world problems?
What obligations do artists and consumers of art have to facilitate relationships between the arts and citizenship?
How can artistic activities contribute to the eradication of adverse 'ism's?
How does the concept of citizenship relate to the arts?
What sociocultural, political, environmental, and gendered "goods" can artistic engagements create for people worldwide?
Do particular artistic endeavors have distinctive potentials for nurturing artistic citizenship?
What are the most effective strategies in the arts to institute change and/or resist local, national, and world problems?
What obligations do artists and consumers of art have to facilitate relationships between the arts and citizenship?
How can artistic activities contribute to the eradication of adverse 'ism's?
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Praxial Music Education is a collection of essays by nineteen internationally recognized scholars in music education. Each essay offers critical reflections on a key topic in contemporary music education. The starting point of each essay,... more
Praxial Music Education is a collection of essays by nineteen internationally recognized scholars in music education. Each essay offers critical reflections on a key topic in contemporary music education. The starting point of each essay, and the unifying thread of this collection, is the "praxial" philosophy of music education explained in Elliott's Music Matters: A New Philosophy of Music Education (O.U.P., 1995). This philosophy argues for a socially and artistically grounded concept of music and music education, challenging the field's traditional "absolutist" foundations. Praxial Music Education is both a critical companion to Music Matters, and an independent text on contemporary issues in music education. Among the themes discussed are multicultural music education, the nature of musical understanding, early childhood music education, the nature and teaching of music listening, music curriculum development, and musical creativity. Praxial music education is a living theory. This unique collection will not only enrich discussions that already use Music Matters as their core, but will globalize current discussions and applications of the praxial philosophy and emphasize the positive and practical values of collaborative efforts in music education.
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The praxial philosophy of music education in Music Matters (2015) argues that music educators should teach democratically, creatively, and ethically toward empowering students' abilities to achieve full human flourishing through... more
The praxial philosophy of music education in Music Matters (2015) argues that music educators should teach democratically, creatively, and ethically toward empowering students' abilities to achieve full human flourishing through critically reflective music making and listening of all kinds. Moreover, Music Matters contends that teachers have a civic responsibility to develop students' awareness of why and how they should engage in music making for self-and community transformation. Thus, praxial music teachers resist all forms of oppression and defend pupils against their own personal influence. Also, toward the growth of pre-service and in-service music teachers' creative and educational abilities, Music Matters provides multidimensional, porous, and open concepts of musics, "educations," personhood, musical understanding, musical products, musical-emotional experiences, creativity, and curriculum. Therefore, our discussion refutes Randall Allsup's numerous misrepresentations of praxialism as an oppressive, uncreative, archaic, Master-apprentice, performance-centered philosophy that cultivates obedient students, and represents the worst abuses of "institutional" music teaching.
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This chapter argues that explanations of why and how music making and listening contribute to many kinds of identity formation--including musical, personal, social, cultural, gendered, and ethical identity development--should begin with... more
This chapter argues that explanations of why and how music making and listening contribute to many kinds of identity formation--including musical, personal, social, cultural, gendered, and ethical identity development--should begin with a concept of personhood. In other words, selfhood and personal identity are not identical with personhood, but primary dimensions of it. Part one presents an embodied-enactive concept of personhood. Part two provides philosophical arguments that support our concept of personhood and explain the roles of empathy, ethical idealization, and moral communities in the co-construction of personhood, musical identities, and musical experiences. Part three knits parts one and two together by offering reasons why music making, listening, and musical praxes can serve as "affordances" for lifelong experiences of identity formation and "full human flourishing," or eudaimonia.
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Philosophers have explored the nature of eudaimonia-often simplified to human flourishing-for over two millennia and continue to debate and revise concepts of eudaimonia today. In this chapter I discuss a philosophical approach to... more
Philosophers have explored the nature of eudaimonia-often simplified to human flourishing-for over two millennia and continue to debate and revise concepts of eudaimonia today. In this chapter I discuss a philosophical approach to eudaimonia that integrates relationships between ethical individual and/or collaborative well-doing, well-being, and, to some degree, personality. My goal is to provide a provisional explanation of why and how eudaimonia relates to the agency and chosen actions of "well-doing," where "well" doing means ethically-guided doing/action, or "right" action," that is or can be carried out by amateur musicians.
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This chapter offers a philosophical perspective on the central aims and values of music teacher education with a specific focus on the ethical dimensions of music teaching and learning. Drawing on the work of music education scholars,... more
This chapter offers a philosophical perspective on the central aims and values of music teacher education with a specific focus on the ethical dimensions of music teaching and learning. Drawing on the work of music education scholars, philosophers of mind, and philosophers of education, the chapter builds an argument for the view that music teacher education should be ethically guided and ethically applied in practice. Additional ly, it suggests that “pedagogical content” should include dialogical discussions and activi ties related to the role of ethics in music teacher education because, among many values, the professional work of future music educators involves highly refined ethical sensibili ties and opportunities for their own students to learn the nature of and strategies for act ing rightly, appropriately, and responsibly in their future circumstances. Indeed, ethically guided music teacher education offers the profession rich opportunities to develop “ethi cally right” compassion, caring, and generosity toward others.
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terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Abstract and Keywords How do young... more
terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy). Abstract and Keywords How do young people's felt experiences of popular music contribute to their musical development? This chapter constructs answers through a philosophical inquiry that draws support from research in emotion studies, the psychology of personhood, embodied music cognition, and affective neuroscience. A brief introduction to the nature of emotions and popular music is followed by concrete illustrations of selected teenagers' reflections on their personal emotional experiences of particular pieces of popular music. The discussion then integrates findings in specific psychological and philosophical theories of musical emotions with themes in embodied music cognition that are subsequently applied to contrasting examples of popular music. The chapter ends by positing a provisional concept of how the musical structures, lyrics, and contexts of popular music may arouse emotions, University Press Scholarship Online Oxford Scholarship Online
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This is an introductory chapter that explains the overall aims, assumptions, and premises of the entire volume. It discusses the proposition that the arts can and should be “put to work” toward the positive transformation of people’s... more
This is an introductory chapter that explains the overall aims,
assumptions, and premises of the entire volume. It discusses
the proposition that the arts can and should be “put to work”
toward the positive transformation of people’s lives in local,
regional, and international contexts. Some concepts included
are artistic citizenship, praxis, visual arts, media arts, music,
theater, dance, and poetry. Additionally, this chapter gives an
understanding of the contents of each individual chapter. It
also provides information about the organization of the book.
assumptions, and premises of the entire volume. It discusses
the proposition that the arts can and should be “put to work”
toward the positive transformation of people’s lives in local,
regional, and international contexts. Some concepts included
are artistic citizenship, praxis, visual arts, media arts, music,
theater, dance, and poetry. Additionally, this chapter gives an
understanding of the contents of each individual chapter. It
also provides information about the organization of the book.
Research Interests:
This chapter argues that explanations of why and how music making and listening contribute to many kinds of identity formation—including musical, personal, social, cultural, gendered, and ethical identity development—should begin with a... more
This chapter argues that explanations of why and how music making and listening contribute to many kinds of identity formation—including musical, personal, social, cultural, gendered, and ethical identity development—should begin with a concept of personhood. In other words, selfhood and personal identity are not identical with personhood, but primary dimensions of it. Part one presents an embodied-enactive concept of personhood. Part two provides philosophical arguments that support our concept of personhood and explain the roles of empathy, ethical idealization, and moral communities in the co-construction of personhood, musical identities, and musical experiences. Part three knits parts one and two together by offering reasons why music making, listening, and musical praxes can serve as ‘affordances’ for lifelong experiences of identity formation and ‘full human flourishing’, or eudaimonia.
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This article aims to demonstrate the value of music education philosophy by applying characteristic philosophical procedures in an ordinary language and naturalist approach, supported by selected scientific research, to an important issue... more
This article aims to demonstrate the value of music education philosophy by applying characteristic philosophical procedures in an ordinary language and naturalist approach, supported by selected scientific research, to an important issue in music and music education: musical-emotional experiences. The first part considers the nature of listeners as holistic persons. The second part reviews research in contemporary music psychology. The third part examines the strengths and weaknesses of two prominent philosophical concepts of musical experience. Building on the first three parts of the article, the fourth part offers a provisional explanation of musical-emotional experiences. The fifth part explains some practical implications of our concept of musical emotions for music teaching and learning.
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This book chapter introduces the field called “the philosophy of music education,” or music education philosophy (MEP). The philosophy of music education is a relatively young field, with many music educators unaware of its existence, not... more
This book chapter introduces the field called “the philosophy of music education,” or music education philosophy (MEP). The philosophy of music education is a relatively young field, with many music educators unaware of its existence, not to mention its nature and values. Indeed, specialized courses in MEP are still infrequent in undergraduate and graduate music education curricula in North America and most other nations.
Nevertheless, there is a fairly sizeable and rapidly expanding international literature intended to (1) analyze, synthesize, debate, or “problematize” and “worry” all theoretical and practical aspects of music education and, thereby, to (2) inform teachers, university music education students, and scholars about fundamental concepts, conceptions, controversies, principles, and practices in school and community music education.
Keywords: music education, philosophy
Nevertheless, there is a fairly sizeable and rapidly expanding international literature intended to (1) analyze, synthesize, debate, or “problematize” and “worry” all theoretical and practical aspects of music education and, thereby, to (2) inform teachers, university music education students, and scholars about fundamental concepts, conceptions, controversies, principles, and practices in school and community music education.
Keywords: music education, philosophy
Forthcoming in Action, Criticism & Theory for Music Education: An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to the Western academic music culture are critically discussed;... more
Forthcoming in Action, Criticism & Theory for Music Education:
An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to the Western academic music culture are critically discussed; and the conception of ‘ontological education’ is introduced as an alternative framework. It is argued that this orientation embraces more primordial ways of knowing and being, revealing the fundamentally autopoietic nature of the embodied musical mind. This enactive perspective is then contrasted with constructivist approaches; and is situated within the context of care ethics. Ethical and practical possibilities for an enactive pedagogical ecology are suggested with the goal of helping music educators develop approaches based in possibility, imagination, and interactivity, rather than conformity to standardized practices and conventional ways of thinking. To conclude, the importance of critical ontology and the enactivist perspective is considered for music teacher education if we as a society are to open up to the full possibilities of music for human well-being.
An enactive approach to music education is explored through the lens of critical ontology. Assumptions central to the Western academic music culture are critically discussed; and the conception of ‘ontological education’ is introduced as an alternative framework. It is argued that this orientation embraces more primordial ways of knowing and being, revealing the fundamentally autopoietic nature of the embodied musical mind. This enactive perspective is then contrasted with constructivist approaches; and is situated within the context of care ethics. Ethical and practical possibilities for an enactive pedagogical ecology are suggested with the goal of helping music educators develop approaches based in possibility, imagination, and interactivity, rather than conformity to standardized practices and conventional ways of thinking. To conclude, the importance of critical ontology and the enactivist perspective is considered for music teacher education if we as a society are to open up to the full possibilities of music for human well-being.
Research Interests: Critical Theory, Music, Music Education, Ontology, Education, and 27 morePerforming Arts, Constructivism, Critical Pedagogy, Arts Education, Embodied Cognition, Embodiment, Music and Politics, Autopoiesis, Sound studies, Martin Heidegger, Pedagogy, Philosophy of Music, Praxial Philosophy of Music Education, Arts Education and Pedagogy, Constructivism (Education), Enactivism, Philosophy of Music Education, Embodied musical experience, The Ethics of Care, Music and culture, Enactive Approach to Music Cognition, Joe Kincheloe, Music Pedagogy, Embodied and Enactive Cognition, Critical Ontology, Music and Social Change, and Critical Pedsgogy
This essay responds to five commentaries on Music Matters: A Philosophy of Music Education, 2nd edition (2015). Because each author provides a substantial discussion of different aspects of the book, this essay does not attempt to address... more
This essay responds to five commentaries on Music Matters: A Philosophy of Music Education, 2nd edition (2015). Because each author provides a substantial discussion of different aspects of the book, this essay does not attempt to address all points. Instead, we reflect on selected aspects of each scholar’s critique.
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If music education is going to meet its full potential in the twenty-first century, then people may need to rethink their assumptions about the central values of school music. The author fully supports all effective, educative, and... more
If music education is going to meet its full potential in the twenty-first century, then people may need to rethink their assumptions about the central values of school music. The author fully supports all effective, educative, and ethical ways of teaching and learning music, as well as students' critically reflective and democratic engagement with a reasonable diversity of musical styles and pieces. In this article, he suggests that educators may have unrealized opportunities and responsibilities to integrate traditional means and ends--to integrate musical processes, products, experiences, and outcomes--in the service of additional or alternative aims. He points out that anything in the world, including worthy endeavors like music education, can be seen and interpreted in many ways. Regardless of the ways educators choose to interpret the what and how of music education, the logically prior question they must always keep asking themselves is "why" are they doing the things they do? There is a wide range of options. Some teachers may answer by saying that they teach music to motivate students' love of creative music-making and listening, or deepen students' musical-affective experiences, or win state festivals, or raise students' math scores and future salary prospects, or prepare students for lifelong musical learning. The author suggests another answer, which teachers may or may not wish to consider when they envision the aims and values of music and education. The term he uses to label his answer and to indicate where he is heading is "music education as/for artistic citizenship."
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Since its publication in 1995, a significant literature has developed around David J. Elliott’s praxial philosophy of music education, as explained in Music Matters: A New Philosophy of Music Education. This literature includes a range of... more
Since its publication in 1995, a significant literature has developed around David J. Elliott’s praxial philosophy of music education, as explained in Music Matters: A New Philosophy of Music Education. This literature includes a range of commentaries in journals, books, edited books, and dissertations. Although Elliott has replied to some positive and negative commentaries since 1995, he has not addressed several adverse discussions by leading music education philosophers. Accordingly, we posit that there is an important gap in music education’s philosophical discourse that may cause some music education students and researchers to accept or reject important criticisms of Elliott’s praxialism without sufficient information or reflection.
In this article we analyze several critiques of Elliott’s praxialism. Our discussion divides into three sections related to major topics presented in the praxial philosophy particularly and music education generally: music making, music listening and musical works, and musical values. Each section presents (a) critics’ evaluations of Elliott’s position on a given topic, and (b) Elliott’s stated position on that topic, as explained in Music Matters. Where pertinent, we consult the views of other scholars on specific topics. We end each section with brief reflections on critics’ claims, reserving our final evaluations for the concluding section.
In this article we analyze several critiques of Elliott’s praxialism. Our discussion divides into three sections related to major topics presented in the praxial philosophy particularly and music education generally: music making, music listening and musical works, and musical values. Each section presents (a) critics’ evaluations of Elliott’s position on a given topic, and (b) Elliott’s stated position on that topic, as explained in Music Matters. Where pertinent, we consult the views of other scholars on specific topics. We end each section with brief reflections on critics’ claims, reserving our final evaluations for the concluding section.
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Abstract and Keywords This chapter casts a philosophical eye on selected concepts at the heart of this book, especially music and selfhood. The first premise is that what people assume and believe about concepts, ideas, and practices... more
Abstract and Keywords
This chapter casts a philosophical eye on selected concepts at
the heart of this book, especially music and selfhood. The first
premise is that what people assume and believe about
concepts, ideas, and practices affects dramatically what
people (e.g., musicians, physicians, psychologists) envision
and seek to do ‘rightly’ for others. The second premise is that
‘music for health and wellbeing’ ought to be debated,
conceived, and applied in relation to human beings considered
holistically, as selves or persons, not simply distressed, unwell,
or ‘diseased’ individuals. Otherwise, healers and researchers
may assume too little about music's potencies and potentials
for improving the quality of human life.
Keywords: music, selfhood, health, wellbeing
This chapter casts a philosophical eye on selected concepts at
the heart of this book, especially music and selfhood. The first
premise is that what people assume and believe about
concepts, ideas, and practices affects dramatically what
people (e.g., musicians, physicians, psychologists) envision
and seek to do ‘rightly’ for others. The second premise is that
‘music for health and wellbeing’ ought to be debated,
conceived, and applied in relation to human beings considered
holistically, as selves or persons, not simply distressed, unwell,
or ‘diseased’ individuals. Otherwise, healers and researchers
may assume too little about music's potencies and potentials
for improving the quality of human life.
Keywords: music, selfhood, health, wellbeing
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What does expert music teaching involve and require? I outline
the nature of musicianship and educatorship in the expert music educator.
the nature of musicianship and educatorship in the expert music educator.
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The aim of this paper is threefold: (1) to develop a concept of what creativity is (with particular reference to what musical creativity is); (2) to decide whether or not creativity is a plausible educational goal; and (3) to suggest what... more
The aim of this paper is threefold: (1) to develop a concept of what creativity is (with particular reference to what musical creativity is); (2) to decide whether or not creativity is a plausible educational goal; and (3) to suggest what might be done to either promote or discourage musical creativity based upon the results of the first two discussions. Divided, into two parts, part 1 is a philosophical inquiry that tackles the first aim of developing a concept of what creativity is. The second part answers the second and third-ims. Creativity necessarily involves three dimensions: (1) a produc, 7; (2) the product produced; and (3) the activity whereby the product is produced. This is obviously incomplete since in any instance of human activity it is also possible to consider the context in which an action is done. Creativity then is a fourfold concept at least. This four-dimensional view can be enriched an additional four times by looking at each of these four dimensions from four different directions. Originality is a necessary condition for calling something creative, but it is not sufficient by itself. Neither is the presence of craftsmanship a sufficient condition for calling something creative. In music the designation "creative" is awarded to works and performances that are quintessential examples of a particular style or technique, as well as to those that depart sharply from existing traditions. The basis for doing so in both cases is a matter of originality and significance within a tradition.
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Consider some of the major forces sweeping and dividing today's world: terrorism; world poverty and disease; hopeless migrant populations; collapsing educational systems; cultural appropriation, colonialization, and exploitation; global... more
Consider some of the major forces sweeping and dividing today's world: terrorism; world poverty and disease; hopeless migrant populations; collapsing educational systems; cultural appropriation, colonialization, and exploitation; global warming; high-speed computer communications; vast corporate wealth; mass image exchange; struggle for gender equality/ equal rights; unprecedented international research. Against this backdrop of monumental societal issues, university music schools in Canada and elsewhere seem quaint, if not largely irrelevant. We focus our energies on training performers and composers for a tiny and declining market of art music, new music, and jazz, with the most token of nods to world musics. We prepare theorists and musicologists for a miniscule need. Music education programs prepare students to teach bands, choirs, and, sometimes, pop and rock groups that "cover" past hits by the Beatles, or create new pop material with recent computer technologies. Notwithstanding the deep healing values of experiencing and producing musical "beauty," it seems fair to ask, What are we doing? Why continue to focus on producing hundreds of musicians each year for an unsympathetic society and economy? Do we want to do more? Can we do more? We believe it is possible. How? Our suggestion is that we as a profession gradually rethink and reorganize our institutions to prepare students for broader social and political missions. Put another way, it is in their best interests, and ours (as citizens), that we enable our students to conceive themselves as artists and artist-educators in a radical or, at least, in an alternative sense: as public intellectuals for world citizenship. We need to impart a commitment to the "life goals" of developing creative musical approaches to conceiving social-political complexities and expressing musical solutions for the public arena. But should our schools abandon traditions altogether? This would be foolish. Being a musician in the broadest sense and for expansive goals requires all the myriad skills, understandings, and dispositions that make up musical artistry. What we are suggesting is that instead of limiting our institutions' missions to educating classical violinists, jazz bass players, and choral music educators (to list a few conservative examples), we ought to expand our institutional themes. Consider this: although Canada is officially bilingual and perhaps trilingual with the advent of Nunavut, for the most part the university curriculum continues as a hegemonic euro-centric canon. We have a golden opportunity here to renegotiate , to open fissures in the façade and connect more with this country's musical mosaic.
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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... more
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.
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This article introduces and reflects on the biographies of ISME’s four Honorary Presidents: Leo Kestenberg, Zoltán Kodály, Dimitri Kabalevsky and Frank Callaway. The lenses of modernity and postmodernity are applied in an examination of... more
This article introduces and reflects on the biographies of ISME’s four Honorary Presidents: Leo Kestenberg, Zoltán Kodály, Dimitri Kabalevsky and Frank Callaway. The lenses of modernity and postmodernity are applied in an examination of the relationships among the topics of individuality, community and ‘representation’ in relation to: (a) the four men discussed in this issue; and (b) key issues in music education including the nature of music education ‘foundations’, curriculum development and feminism(s).
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The culminating issue in any professional framework for music teaching and learning involves complex questions concerning curriculum and instruction. Analyzing the concept of “curriculum” provides a foundation for building answers to some... more
The culminating issue in any professional framework for music teaching and learning involves complex questions concerning curriculum and instruction. Analyzing the concept of “curriculum” provides a foundation for building answers to some of these questions.
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Research Interests:
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This discussion develops a perspective on the current relationship between music and the school curriculum in North America. The gap between rhetorical support for music education and the reality of educational and societal commitments is... more
This discussion develops a perspective on the current relationship between music and the school curriculum in North America. The gap between rhetorical support for music education and the reality of educational and societal commitments is traced to fundamental ...
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The time is long overdue for new philosophies of music education. There are two main reasons. First, research in the philosophy and psychology of music has matured dramatically since Langer (1942, 1953) and Meyer (1956) originated the... more
The time is long overdue for new philosophies of music education. There are two main reasons. First, research in the philosophy and psychology of music has matured dramatically since Langer (1942, 1953) and Meyer (1956) originated the theories that Leonhard (1953, ...
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At first glance, music-making and musiclistening are strangely impractical endeavors. There is no obvious biological reason for the existence of MUSIC as a diverse human practice. At the same time, life without musicing and... more
At first glance, music-making and musiclistening are strangely impractical endeavors. There is no obvious biological reason for the existence of MUSIC as a diverse human practice. At the same time, life without musicing and music-listening would not be human as we know ...
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Research Interests:
... making, and multidimensional listening charts can be used as guides to the multiple layers of meaning inherent in musical ... p. 486) In terms of creativity, new challenges and problems ... They are able to judge creative promise -... more
... making, and multidimensional listening charts can be used as guides to the multiple layers of meaning inherent in musical ... p. 486) In terms of creativity, new challenges and problems ... They are able to judge creative promise - they discriminate the new in the old and the old in the ...