- 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
The notion of becoming, as articulated by the philosopher Gilles Deleuze and psychiatrist Féix Guattari, involves stepping outside habitual, familiar, or prevalent frameworks of understanding, crossing borders, and thus envisioning new possibilities that embrace not just identities but differences. This article explores what the notion of becoming could mean for music education. The first section looks at discourses concerning legitimization and history in jazz and jazz education. Approaches taken to music education often involve attempts to legitimize and historicize music in certain ways. The final sections offer constructive insight into these matters, arguing that even if one cannot escape it altogether, one needs to move beyond history. The general charge of a becoming-music education is to think about thinking, about educating, and about music in ways that are more expansive, inclusive, and fluid than those previously accepted.
Michael Szekely teaches interdisciplinary humanities at Temple University in Philadelphia, USA. His primary research and teaching interests are in Cultural and Critical Theory, Aesthetics (especially the philosophy of music), and Contemporary Continental Philosophy, with more particular interests in French poststructuralism (especially Gilles Deleuze and Roland Barthes) and the Frankfurt School (especially Walter Benjamin). Michael is also a practicing musician and composer, with particular interests in jazz, improvisation, and popular music.
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