- 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 explores the proposition that the performance of music has the potential to make an important contribution to philosophical inquiry relevant to music education. This proposition engages a number of different scholarly trajectories that emerge from a perceived need to redress an imbalance in the understanding of knowledge. It suggests that imbas or performed knowledge offers a quality of insight into human life. The nature of this insight is experiential and accessed through performed actions. What is happening at the Irish World Academy, the discussion argues, is the performance of a philosophy of music education, a philosophy that places performance at the heart of its pedagogical enterprise.
Helen Phelan is Associate Director of the Irish World Academy of Music and Dance at the University of Limerick, Ireland and Senior Lecturer in Doctoral Studies. From 2000-2009 she was course director of the Masters programme in Ritual Chant and Song. Her publications are in the area of music and ritual including music of the Irish Catholic church and ritual music of new migrant communities in Ireland. From 2000-2007 she directed the Anáil Dé / Breath of God Festival of World Sacred Music in Limerick, Ireland.
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