| Description |
xiv, 252 pages ; 24 cm |
| Contents |
PREFACE -- Problems with the term aesthetic education -- The durability of this philosophy -- The include-exclude problem -- 1. WHY HAVE A PHILOSOPHY OF MUSIC EDUCATION? -- An underlying premise -- Limitations of any philosophy -- The need for a philosophy -- Philosophy and advocacy -- The philosophical basis for practice -- 2. ALTERNATIVE VIEWS ABOUT ART ON WHICH A PHILOSOPHY CAN BE BASED -- The uses of aesthetics -- Referentialism -- Referentialism in music education -- Formalism -- Formalism in music education -- Strengths and weaknesses of referentialism and formalism -- Absolute expressionism -- Absolute expressionism and the claim for uniqueness and essentiality -- Supplementary readings -- 3. ART AND FEELING -- Referentialism and formalism on emotion in art -- Is music a language of the emotions? -- Is music a means of self-expression? -- Feeing as everything that can be felt -- Music education and feeling -- Supplementary readings - 4. CREATING ART -- Art as the bearer of expressive (or artistic or aesthetic) qualities -- Artistic creation contrasted with communication -- Artistic creation contrasted with making and doing nonartistic things -- Performers as creative artists -- Artistic sharing and community -- Students as creative artists -- Music education and artistic creation -- Supplementary readings -- 5. THE MEANING OF ART -- Referentialism, formalism, and expressionism on meaning -- The many modes of knowing -- The dominance of conceptualization -- A definition of a concept -- The nonconceptual nature of art -- The distinctiveness of each cognitive mode -- Conceptualization contrasted with aesthetic perceptual structuring -- Gaining aesthetic meaning -- A definition of art -- Music education and the meaning of art -- Supplementary readings -- 6. EXPERIENCING ART -- Formalism, referentialism, and expressionism on experiencing art -- Living and feeling -- Characteristics of aesthetic experience -- Aesthetic experience contrasted with other experiences -- Aesthetic perception x aesthetic reaction = aesthetic experience -- Thinking about, thinking with -- Aesthetic experience and elitism -- Age and aesthetic experience -- Liking and judging in aesthetic experience -- Music education and aesthetic experience -- Supplementary readings -- 7. EXPERIENCING MUSIC -- A musical view of the arts -- Functional uses of music -- Referential responses to music -- The technical-critical level -- Musical experience: the sensuous dimension -- Musical experience: the perceptual and creative dimensions -- The relation of sound to feeling -- Style and musical experience -- Criteria for judging the quality of art -- Art, morality, and discipline -- Applying the criteria for judging art -- The relevance of old music and popular music styles -- The relevance of music of various cultures -- Supplementary readings -- 8. THE PHILOSOPHY IN ACTION: THE GENERAL MUSIC PROGRAM -- Philosophy as the legitimate basis for curriculum -- Nonphilosophical determinants of curriculum -- A model of the total curriculum -- The goal of the general music curriculum -- The conceptualized phase of the curriculum -- Conceptualized guidelines -- The systematized phase of the curriculum -- Invalid bases for sequence -- Inadequate bases for sequence -- The interpreted phase of the curriculum -- The operational phase of the curriculum -- The experienced phase of the curriculum -- The expectational phase of the curriculum -- Objectives of the general music program -- Music literacy and music reading -- General music in the high school: our biggest challenge -- 9. THE PHILOSOPHY IN ACTION: THE PERFORMANCE PROGRAM -- How well are we doing? -- The in-school or out-of-school dilemma -- Performance as curriculum -- The values phase of the performance curriculum -- The conceptualized phase of the performance curriculum -- Conceptualized guidelines -- The systematized phase of the performance curriculum -- Invalid, inadequate bases for sequence -- The interpreted phase of the performance curriculum -- The operational phase of the performance curriculum -- The experienced phase of the performance curriculum -- The expectational phase of the performance curriculum -- The composition program: a major new opportunity -- 10. TOWARD THE TRANSFORMATION OF MUSIC EDUCATION -- Can we hope for a better future? -- Our status parallel to but below the center of education -- Closing the gap: the long term -- Closing the gap: the short term -- Forging a new vision -- How can the arts cooperate? -- A final paradox -- Index |
| Bibliography |
Includes bibliographies and index |
| Subject |
Music -- Instruction and study -- Philosophy.
|
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Music -- Instruction and study.
|
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Music -- Philosophy and aesthetics.
|
| LC no. |
88021654 |
| ISBN |
0136638813 |
|
