- 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
Music itself sounds prior to any indication or representation or interpretation by language. As sonorous air, sound is the grain music, and its significance requires no signification by language at all. This article notes that it is important for music educators to learn how to teach students to experience the grain of music. It examines the Japanese Ministry of Education's guideline for public music education, one that is still in effect, called the Course of Study. Music as a school subject in Japan has been marginalized in comparison with other major subjects such as Japanese, mathematics, and the natural and social sciences. Traditional Japanese music teachers (masters) regarded aural transmission more highly than notation and often offered their students little guidance through the spoken word.
Tadahiko Imada is a Professor at Hirosaki University, teaching music education based on the concept of soundscape. He earned his PhD from the University of British Columbia. He is co-author (with R. Murray Schafer, 1996-2009) of A Little Sound Education and Music Education Policy and Implementation: International Perspectives (2008). Prior to joining the faculty at Hirosaki University, he was a postdoctoral research fellow at Roehampton Institute, London. He was Visiting Distinguished Professor at the University of Tennessee at Martin in 2002. He recently translated Indirect Procedures: A Musician's Guide to the Alexander Technique by Pedro de Alcantara into Japanese.
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