The aims of music education: A preliminary excursion

Journal of Aesthetic Education

Volumn 36, Issue 1, 2002, Pages 31-49

  Jorgensen, Estelle R ^a  

^a INDIANA UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950135238     PISSN: 00218510     EISSN: 15437809     Source Type: Journal    
DOI: 10.2307/3333624     Document Type: Article

References (155)

1. Constantijn Koopman, "Aims of Music Education: A Conceptual Study," Philosophy of Music Education Review 5, no. 2 (Fall 1997): 63-79.
2. An argument for music education transformation is advanced in Estelle R. Jorgensen, On Transforming Music Education, under review.
3. Maxine Greene, Releasing the Imagination: Essays on Education, the Arts, and Social Change (San Francisco: Jossey-Bass, 1995), 114, writes about a sense of longing for the verities of the past.
4. Susanne K. Langer, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, 3d ed. (Cambridge: Harvard University Press, 1957), chap. 1, uses notions of "generative issues" and "philosophical key" to denote the principal ideas of a particular historical epoch that engender particular beliefs and practices.
5. Jorgensen, In Search of Music Education, chap. 2.
6. Herbert Read, Education through Art, 3d ed. (London: Faber and Faber, 1958);
7. Michael J. Parsons, How We Understand Art: A Cognitive Developmental Account of Aesthetic Experience (Cambridge: Cambridge University Press, 1987);
8. and Maxine Greene, Dialectic of Freedom (New York: Teachers College Press, 1988), 58, 77-79.
9. Aaron Copland, Music and Imagination (Cambridge: Harvard University Press, 1952);
10. Christopher Small, Music-Society-Education, 2d ed. (London: John Calder, 1980);
11. Roger Scruton, Art and Imagination: A Study in the Philosophy of Mind (1974; reprinted, London: Routledge and Kegan Paul, 1982);
12. Nicholas Cook, Music, Imagination, and Culture (Oxford: Clarendon Press, 1990);
13. Mary J. Reichling, "Images of Imagination," Journal of Research in Music Education 38, no. 4 (Winter 1990): 282-93;
14. Vernon A. Howard, Learning by all Means: Lessons from the Arts: A Study in the Philosophy of Education (New York: Peter Lang, 1992), part. I;
15. and Thomas Hemsley, Singing and Imagination: A Human Approach to a Great Musical Tradition (Oxford: Oxford University Press, 1998).
16. Nelson Goodman, Of Mind and Other Matters (Cambridge: Harvard University Press, 1984), 168-72. '
17. Neil Postman, The End of Education: Redefining the Value of School (New York: Vintage Books, 1995).
18. On notions of musicking and musicing, respectively, see David J. Elliott, Music Matters: A New Philosophy of Music Education (New York: Oxford University Press, 1995)
19. and Christopher Small, Musicking: The Meanings of Performance and Listening (Hanover: Wesleyan University Press, 1998).
20. Among the classifications of musical roles, one thinks of those by American composers, Roger Sessions, The Musical Experience of Composer, Performer, Listener (New York: Atheneum, 1962)
21. and Copland, Music and the Imagination.
22. On "soft boundaries" see Claire Detels, Soft Boundaries: Re-Visioning the Arts and Aesthetics in American Education (Westport, Conn. : Bergin and Garvey, 1999).
23. Percy A. Scholes, Music, the Child, and the Masterpiece: A Comprehensive Handbook of Aims and Methods in all that is Usually Called "Musical Appreciation " (London: Oxford University Press, 1935);
24. Bennett Reimer, A Philosophy of Music Education, 2d ed. (Englewood Cliffs, N. J. : Prentice-Hall, 1989);
25. Keith Swanwick, Music, Mind, and Education (London: Routledge, 1988);
26. Keith Swanwick, Teaching Music Musically (London: Routledge, 1999);
27. and Elliott, Music Matters.
28. Marcia Citron, Gender and the Musical Canon (New York: Cambridge University Press, 1993);
29. Susan Crook and Judy Tsou, eds. , Cecilia Reclaimed: Feminist Perspectives on Gender and Music (Urbana: University of Illinois Press, 1994);
30. special issue, Philosophy of Music Education Review 2, no. 2 (Fall 1994);
31. June Boyce-Tillman, "Conceptual Frameworks for World Musics in Education," Philosophy of Music Education Review 5, no. 1 (Spring 1997): 3-13.
32. Ralph A. Smith, Aesthetics and Problems of Education (Urbana: University of Illinois Press, 1971);
33. Ralph A. Smith, ed. , Discipline-Based Art Education: Origins, Meaning, and Development (Urbana: University of Illinois Press, 1989);
34. Harry S. Broudy, Enlightened Cherishing: An Essay on Aesthetic Education (Urbana: University of Illinois Press, 1972);
35. Deanne Bogdan, Re-educating the Imagination: Towards a Poetics, Politics, and Pedagogy of Literary Engagement (Portsmouth, N. H. : Boynton/Cook; Toronto: Irwin, 1992);
36. Hilda Hein and Carolyn Korsmeyer, eds. , Aesthetics in Feminine Perspective (Bloomington: Indiana University Press, 1993);
37. and Peggy Zeglin Brand and Carolyn Korsmeyer, eds. , Feminism and Tradition in Aesthetics (University Park: Pennsylvania State University Press, 1995).
38. Langer, Philosophy in a New Key, chap. 8;
39. Leonard Meyer, Emotion and Meaning in Music (Chicago: University of Chicago Press, 1956);
40. Theodor Adorno, Introduction to the Sociology of Music, trans. , E. B. Ashton (New York: Seabury, 1976), 1-20;
41. Peter Kivy, Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca: Cornell University Press, 1990);
42. Stephen Davies, Musical Meaning and Expression (Ithaca: Cornell University Press, 1994);
43. Jerrold Levinson, Music, Art, and Metaphysics: Essays in Philosophical Aesthetics (Ithaca: Cornell University Press, 1990);
44. Jerrold Levinson, Music in the Moment (Ithaca: Cornell University Press, 1997);
45. and Roger Scruton, The Aesthetics of Music (New York: Oxford University Press, 1997).
46. Scholes, Music, the Child, and the Masterpiece. The popularity of a structural approach to listening owes much to Heinrich Schenker whose approach to music theory is discussed recently in Carl Schachter, Unfoldings: Essays in Schenkerian Theory and Analysis, ed. , Joseph N. Straus (New York: Oxford University Press, 1999).
47. Max Graf, Composer and Critic: Two Hundred Years of Music Criticism (New York: W. W. Norton, 1946);
48. Irving Kolodin, ed. , The Composer as Listener: A Guide to Music (New York: Collier Books, 1962);
49. Edward T. Cone, Musical Form and Musical Performance (New York: W. W. Norton, 1968);
50. Carolyn Bereznak Kenny, ed. , Listening, Playing, Creating: Essays on the Power of Sound (Albany: State University of New York Press, 1995).
51. Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols (Indianapolis: Hackett, 1976);
52. Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences (New York: Basic Books, 1983);
53. Elliott Eisner, ed. , Learning and Teaching the Ways of Knowing, Eighty-fourth Yearbook of the Society for the Study of Education (Chicago: National Society for the Study of Education, 1985).
54. Henry Kingsbury, "Situations, Representations, and Musicalities: An Anthropological Perspective," Philosophy of Music Education Review 5, no. 2 (Fall 1997): 86-91.
55. Israel Scheffler, In Praise of the Cognitive Emotions and Other Essays in the Philosophy of Education (New York: Routledge, 1991), chap. 3.
56. Michael Chanan, Musica Practica: The Social Practice of Western Music from Gregorian Chant to Postmodernism (London: Verso, 1994).
57. Thomas A. Regelski, "The Aristotelian Bases of Praxis for Music and Music Education as Praxis," Philosophy of Music Education Review 6, no. 1 (Spring 1998): 22-59.
58. For a critical review of this essay, see Karen Hanson, "In Dialogue," Philosophy of Music Education Review 7, no. 2 (Fall 1999): 118-20.
59. Chanan, Musica Practica. On musical apprenticeship in Northern India, see David Neuman, The Life of Music in North India: The Organization of an Artistic Tradition (Detroit: Wayne State University Press, 1980), chap. 2.
60. Notions of apprenticeship as a means of musical transmission in African societies are also well-established in the anthropological literature, see Alan P. Merriam, The Anthropology of Music (Evanston: Northwestern University Press, 1964), 157-58.
61. Robert Walker, "Multi-Culturalism Re-attached to Music and Music Education," Philosophy of Music Education Review 8, no. 1 (Spring 2000): 31-39.
62. Emile Jaques-Dalcroze, Rhythm, Music, and Education, trans. ; Harold F. Rubinstein (1921; reprinted, New York: Arno Press, 1976);
63. Zoltán Kodály, The Selected Writings of Zoltán Kodály, trans. Lili Halápy and Fred Macnicol (London: Boosey and Hawkes, 1974);
64. Shinichi Suzuki, Nurtured by Love: A New Approach to Education, trans. Waltraud Suzuki (New York: Exposition Press, 1969);
65. David J. Elliott and Doreen Rao, "Musical Performance and Music Education," Design for Arts in Education 91, no. 5 (May/June 1990): 23-34;
66. and Doreen Rao, Choral Music Experience ×- Education Through Artistry (New York: Boosey and Hawkes, 1987).
67. Elliott, Musicking;
68. Francis Sparshott, "Aesthetics of Music: Limits and Grounds," in What Is Music? An Introduction to the Philosophy of Music, ed. Philip Alperson (1987; reprinted, University Park: Pennsylvania State University Press, 1994), 33-98.
69. R. G. Collingwood, The Principles of Art (Oxford: Clarendon Press, 1938);
70. Howard, Artistry;
71. and Smith, Discipline-Based Approach to Art Education.
72. Merriam, The Anthropology of Music;
73. Marie McCarthy, Passing It On: The Transmission of Music in Irish Culture (Cork, Ireland: The University of Cork, 1999).
74. John Shepherd, Music as Social Text (Cambridge: Polity Press, 1991);
75. Charles Keil and Steven Feld, Music Grooves: Essays and Dialogues (Chicago: University of Chicago Press, 1994);
76. Pete J. Martin, Sounds and Society: Themes in the Sociology of Music (Manchester: Manchester University Press, 1995);
77. Bruno Nettl, Heartland Excursions: Ethnomusicological Reflections on Schools of Music (Urbana: University of Illinois Press, 1995);
78. and Simon Frith, Performing Rites: On the Value of Popular Music (Cambridge: Harvard University Press, 1996).
79. Patricia Shehan Campbell, Lessons from the World: A Cross-Cultural Guide to Music Teaching and Learning (New York: Schirmer Books, 1991);
80. Theresa Volk, Musk, Education, and Multiculturalism: Foundations and Principles (New York: Oxford University Press, 1998);
81. David J. Elliott, "Key Concepts in Multicultural Music Education," International Journal of Music Education 13 (1989): 11-18;
82. and Boyce-Tillman, "Conceptual Frameworks for World Musics in Music Education. "
83. See, for example, David Sell, "Multicultural Music Education- Some Assumptions and Dangers," in Music Education: Sharing Musics of the World, Proceedings of the 20th World Conference of the International Society for Music Education held in Seoul, Korea, ed. Heath Lees (Christchurch, New Zealand: International Society for Music Education, 1992), 215-20
84. and Estelle R. Jorgensen, "Musical Multiculturalism Revisited," Journal of Aesthetic Education 32, no. 2 (Summer 1998): 77-88.
85. Vernon A. Howard, Artistry: The Work of Artists (Indianapolis: Hackett, 1982).
86. On the idea of a stock of cultural capital and the problems it raises, see Jane Roland Martin, "The Wealth of Cultures and the Problem of Generations," in Philosophy of Education 1998, ed. Steven Tozer (Urbana: Philosophy of Education Society, 1998), 23-38.
87. On the contrary, multicultural perspectives have been consistently advanced as an agenda for the future. See, for example, Marie McCarthy, ed. , Cross Currents: Setting an Agenda for Music Education in Community Culture (College Park: University of Maryland, 1996).
88. For an analysis of the problems of modernity, see Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958).
89. On liberatory education, see Paulo Freire, Pedagogy of the Oppressed, new rev. 20th-anniversary, ed. and trans. Myra Bergman Ramos (New York: Continuum, 1993).
90. Greene, Dialectic of Freedom;
91. Jane Roland Martin, The Schoolhome: Rethinking Schools for Changing Families (Cambridge: Harvard University Press, 1992);
92. bel hooks, Teaching to Transgress: Education as the Practice of Freedom (New York: Routledge, 1994);
93. and Lucy Green, Music, Gender, Education (Cambridge: Cambridge University Press, 1997).
94. Howard, Learning by all Means, 103.
95. Jonathan Cott, Conversations with Glenn Gould (Boston: Little, Brown, 1984)
96. and The Glenn Gould Reader, ed. Tim Page (New York: Knopf, 1984).
97. Edward W. Said, Musical Elaborations (New York: Columbia University Press, 1991).
98. Small, Musicking, passim.
99. Jorgensen, On Transforming Music Education.
100. Postman, End of Education, chap. 8.
101. Lucy Green, Music on Deaf Ears: Musical Meaning, Ideology, and Education (Manchester: Manchester University Press, 1988).
102. Andrea Boyea, "Encountering Complexity: Native Musics in the Curriculum," Philosophy of Music Education Review 7, no. 1 (Spring 1999): 31-48
103. and Marjorie O'Loughlin, "Listening, Heeding, and Respecting the Ground at One's Feet: Knowledge and the Arts Across Cultures," Philosophy of Music Education Review 5, no. 1 (Spring 1997): 14-24.
104. Bennett Reimer, "Selfness and Otherness in Experiencing Music of Foreign Cultures," The Quarterly Journal of Music Teaching and Learning 2, no. 3 (1991): 4-13;
105. Bennett Reimer, "Can We Understand Music of Foreign Cultures?" in Music Connections: Tradition and Change. Proceedings of the 21st World Conference of the International Society for Music Education held in Tampa, Florida, ed. Heath Lees (Auckland: International Society for Music Education, 1994), 227-45;
106. Eleanor Stubley, "Musical Performance, Play, and Constructive Knowledge: Experiences of Self and Culture," Philosophy of Music Education Review 1, no. 2 (Fall 1993): 94-102;
107. and Anthony J. Palmer, "Toward an Integrated Aesthetic and the Implications for Music Education," Philosophy of Music Education Review 2, no. 1 (Spring 1994): 37-46.
108. Wayne D. Bowman, "Sound, Society, and Music 'Proper,'" Philosophy of Music Education Review 2, no. 1 (Spring 1994): 14-24.
109. Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts (Urbana: University of Illinois Press, 1983).
110. James L. Mursell, Human Values in Music Education (New York: Silver, Burdett, 1934);
111. Abraham A. Schwadron, Aesthetics: Dimensions for Music Education (Washington D. C. : Music Educators National Conference, 1967);
112. and Reimer, Philosophy of Music Education.
113. Small, Music-Society-Education;
114. Estelle R. Jorgensen, "Towards an Enhanced Community of Scholars in Music Education," The Quarterly Journal of Music Teaching and Learning 1, nos. 1,2 (1990): 36-42;
115. Estelle R. Jorgensen, "Music Education as Community," Journal of Aesthetic Education 29, no. 3 (Fall 1995): 71-84;
116. Patricia Shehan Campbell laments what she sees as a "backlash" against multicultural and inclusive musical perspectives, see McCarthy, ed. , Cross Currents, 4.
117. "Justifying Music Instruction in American Public Schools: An Historical Perspective," Bulletin of the Council for Research in Music Education No. 120 (Spring 1994): 17-31.
118. It is significant that music education appeals more to Platonic than Aristotelian thought in defending music education in public schools. Aristotle is far more ambivalent than Plato about music's utility in general education, see Estelle R. Jorgensen, "On Music Education as a Political Enterprise," College Music Society Newsletter (May 1992).
119. Charles Fowler, Strong Arts, Strong Schools: The Promising Potential and Shortsighted Disregard of the Arts in American Society (New York: Oxford University Press, 1996).
120. and Donald Arnstine, "Teaching What's Dangerous: Ethical Practice in Music Education," Philosophy of Music Education Review 8, no. 1 (Spring 2000): 3-13.
121. Plato, Republic, trans. Robin Waterfield (Oxford: Oxford University Press, 1993), passim;
122. and Arnstine, "Teaching What's Dangerous. "
123. Friedrich Schiller, On the Aesthetic Education of Man in a Series of Letters, trans. Elizabeth M. Wilkinson and L. A. Willoughby (Oxford: Clarendon Press, 1967).
124. John Dewey, Democracy and Education: An Introduction to the Philosophy of Education (1916; reprinted, New York: Free Press, 1944), 121.
125. Nel Noddings, Caring: A Feminine Approach to Ethics and Moral Education (Berkeley: University of California Press, 1984)
126. and Estelle R. Jorgensen, "On Teaching Music with Care," The Quarterly Journal of Music Teaching and Learning 7, nos. 2-4 (Trilogy Issue 1996-97): 64-75.
127. Werner Jaeger, Paideia: The Ideals of Greek Culture, trans. Gilbert Highet, 3 vols. (New York: Oxford University Press, 1935-1944).
128. Donald Arnstine, Democracy and the Arts of Schooling (Albany: State University of New York Press, 1995).
129. Martin Buber, I and Thou, trans. Walter Kaufmann (New York: Charles Scribner's Sons, 1970);
130. Martin Buber, Between Man and Man; trans. Ronald Gregor Smith (1947; reprint, London: Collins, 1961);
131. Carl Rogers, On Becoming a Person: A Therapist's View of Psychotherapy (Boston: Houghton Mifflin Co. , 1961);
132. Abraham H. Maslow, The Farther Reaches of Human Nature (1971; reprint, Harmondsworth: Penguin Books, 1976);
133. Karen Hanson, The Self Imagined: Philosophical Reflections on the Social Character of Psyche (New York: Routledge and Kegan Paul, 1986);
134. and Jerome Bruner, Acts of Meaning (Cambridge: Harvard University Press, 1990).
135. Mursell, Human Values in Music Education.
136. See also, Basic Concepts in Music Education: The Fifty-seventh Yearbook of the National Society for the Study of Education, ed. Nelson B. Henry (Chicago: University of Chicago Press, 1958).
137. Broudy, Enlightened Cherishing.
138. Alfred North Whitehead, The Aims of Education and Other Essays (New York: Free Press, 1929), 14.
139. Eliot W. Eisner, ed. , Learning and Teaching the Ways of Knowing, Eighty-fourth Yearbook of the National Society for the Study of Education (Chicago: University of Chicago Press, 1985);
140. Eliot W. Eisner, Cognition and Curriculum Reconsidered, 2d ed. (New York: Teachers College Press, 1994).
141. Anthony J. Palmer, "Music Education and Spirituality: A Philosophical Exploration," Philosophy of Music Education Review 3, no. 2 (Fall 1995): 91-106
142. and Iris M. Yob. "Religious Music and Multicultural Education," Philosophy of Music Education Review 3, no. 2 (Fall 1995): 69-82.
143. Paul H. Hirst, Knowledge and the Curriculum: A Collection of Philosophical Papers (London: Routledge and Kegan Paul, 1974);
144. John Passmore, The Philosophy of Teaching (Cambridge: Harvard University Press, 1980);
145. R. S. Peters, Moral Development and Moral Education (London: George Allen and Unwin, 1981);
146. and Noddings, Caring.
147. Lawrence Kohlberg, "Education for Justice: A Modern Statement," in Moral Education: Five Lectures, ed. Nancy F. and Theodore R. Sizer (Cambridge: Harvard University Press, 1970), 57-83;
148. Carol Gilligan, In a Different Voice: Psychological Theory and Women's Development (Cambridge: Harvard University Press, 1982).
149. Arnstine, "Teaching What's Dangerous. " I have also come across an earlier study, Thomas Fielden, Music and Character (London: Ivor Nicholson and Watson, 1932).
150. John Dewey, Experience and Education (New York: Collier Books, 1938), chap. 6.
151. Edward LeRoy Long, Jr. , Higher Education as a Moral Enterprise (Washington DC: Georgetown University Press, 1992).
152. Paulo Freire, Pedagogy of Hope: Reliving Pedagogy of the Oppressed, notes by Ana Maria Araújo Freire, trans. Robert R. Barr (New York: Continuum, 1994)
153. and Estelle R. Jorgensen, "The Artist and the Pedagogy of Hope," International Journal of Music Education 27 (1996): 36-50.
154. Parker J. Palmer, The Courage to Teach: Exploring the Inner Landscape of a Teacher's Life (San Francisco: Jossey- Bass, 1998).
155. Greene, Releasing the Imagination.