- What Should the Music Education Profession Expect of Philosophy?
- Rethinking Philosophy, Re-Viewing Musical-Emotional Experiences
- Voicing <i>Imbas:</i> Performing a Philosophy of Music Education
- Philosophy of Music Education as Art of Life: A Deweyan View
- Uncomfortable with Immanence: The Nature and Value of Music and Music Education as Singular or Supplemental
- Learning to Live Music: Musical Education as the Cultivation of a Relationship between Self and Sound
- The Grain of the Music: Does Music Education “Mean” Something in Japan?
- Musical Education: From Identity to Becoming
- Teaching Practices in Persian Art Music
- Understanding Music’s Therapeutic Efficacy: Implications for Music Education
- The Impossible Profession
- Education in Latin American Music Schools: A Philosophical Perspective
- Must Music Education Have an Aim?
- Cultivating Virtuous Character: The Chinese Traditional Perspective of Music Education
- Ethical Dimensions of School-Based Music Education
- Engaging Student Ownership of Musical Ideas
- Understanding Music as the Philosophical Focus of Music Education
- Musical Heuristics: Contributions to the Understanding of Musical Creative Processes
- Nurturing the Songcatchers: Philosophical Issues in the Teaching of Music Composition
- Avoiding the Dangers of Postmodern Nihilist Curricula in Music Education
- Good for What, Good for Whom?: Decolonizing Music Education Philosophies
- Place, Music Education, and the Practice and Pedagogy of Philosophy
- On Informalities in Music Education
- Music Education for “All My Relations”
- But Is It Philosophy?
Abstract and Keywords
This article aims to demonstrate the value of music education philosophy by applying characteristic philosophical procedures in an ordinary language and naturalist approach, and scientific research to an important issue in music and music education: musical-emotional experiences. The first part considers the identity of fully human music listeners, and the second 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 people's musical-emotional experiences. The fifth part explains the concept of musical experience practically for music teaching and learning.
David J. Elliott is Professor of Music Education at New York University. Before his NYU appointment, he taught at the University of Toronto for twenty-eight years and held visiting professorships at Indiana University, University of North Texas, Northwestern University, University of Limerick, and the Puerto Rico Conservatory of Music. He has published on music education philosophy, community music, creativity, jazz, and multiculturalism. He is the author of Music Matters: A New Philosophy of Music Education, editor of Praxial Music Education, editor of Action, Criticism, and Theory for Music Education, and founder of the International Journal of Community Music.
Marissa Silverman is Assistant Professor of Music Education and Coordinator of Undergraduate Music Education at the John J. Cali School of Music, Montclair State University, USA. Her research interests include music education philosophy, ethics, urban education, musical interpretation, community music, and interdisciplinary arts. She has published in The International Journal of Music Education, Music Education Research, Research Studies in Music Education, and The International Journal of Community Music. Forthcoming publications for Oxford University Press focus on music for health and well-being, music and emotion, and music education for social justice.
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