- 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 addresses a particular practice in Persian art music. Although Persian art music rests on a complex and highly detailed theoretical system, actual musical instruction practices avoid reference to this system, favoring aural transmission of the tradition's repertoire, which is learned exclusively by repetition and memorization within an apprentice system. The discussion examines the importance of these methods within this musical tradition, with particular attention to its concern for developing performative freedom and fluency grounded in intuitive awareness of deep structure. It concludes with an analysis of what this implies about the concepts used in philosophical analysis when they are applied across different musical traditions.
Erum Naqvi is a PhD candidate in Philosophy at Temple University. She came to the United States from London, where she studied Philosophy and Economics at the London School of Economics. Her dissertation research addresses the role of values in conceptual systems, through an interdisciplinary analysis of philosophical concepts and diverse musical, social, and political practices, drawing on Anglophone philosophy of music and social and political philosophy, critical theory, ethnomusicology, and Persian aesthetics, music history, and music theory. She has written on Philosophy of Music and the History of Modern Philosophy (particularly Hume and Kant), and has presented her research both in the United States and Iran.
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