- 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
Philosophical inquiry is a lively and provocative, daunting yet rewarding practice that questions received views, and challenges habits and assumptions. Historically, music education's philosophical practice has been left to a small cadre of specialists: philosophical habits and skills have not been cultivated or refined in the profession at large. In music education, philosophical inquiry seeks to render practice more effective and more satisfying. This article examines the music education profession's neglect of philosophy. It argues that the question confronting music education professionals is not whether to engage in philosophical practice, but in what manner, and how effectively.
Wayne D. Bowman is professor of music and music education at Brandon University in Brandon, Manitoba, Canada. He has held visiting professorships at University of Toronto and New York University. His research explores a broad range of issues in music and music education philosophy. He was Associate Editor of the journal Action, Criticism, and Theory for Music Education from 2001 to 2006, and Editor from 2006 to 2011. His publications include Philosophical Perspectives on Music, The Oxford Handbook of Philosophy in Music Education, numerous book chapters, and articles in prominent scholarly journals. An accomplished trombonist, Dr. Bowman earned his graduate degrees at University of Illinois, Urbana.
Ana Lucía Frega is a music educator born in Buenos Aires, Argentina, who has taught at all levels of her country's general and artistic education system. An extensively published author in the Spanish-speaking world, she lectures regularly in France, Spain, Portugal, Canada, Greece, Australia and USA. Dr. Frega has served as Principal of School of Performing Arts at the Teatro Colon, as President of ISME, as an ExCom of IMC of UNESCO, and is a permanent member of the Argentinian Academy of Education. Her book All for Music, Music for All was published in 1998 by the University of Praetoria, South Africa.
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