- 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 discusses the philosophical position that the traditional foundation of music education practice undervalues the significance of school music by underestimating students' potential for comprehending music qua music. There are in fact musical experiences which hold qualitative value for human growth and development that are mostly overlooked by shortsighted music curricula designers. The article identifies these qualities and shows how a reformulated music education philosophical foundation highlights these qualities rather than suppresses them.
Harold Fiske is Professor Emeritus, University of Western Ontario, Canada. He received B.M. and M.M. degrees from Boston University and a PhD from the University of Connecticut. He has published five books and many articles concerning music cognitive philosophy and learning, with particular emphasis on musical understanding. He has served as Chair of the ISME Research Commission, the Research Alliance of Institutes for Music Education (RAIME), and the Music Education Department at Western.
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