- 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 begins by analyzing Willa Cather's The Song of the Lark. The first section asks whether it makes any sense to speak of music education, apart from technical vocational training, as having an aim. The second section examines R. S. Peters' papers, in which he challenges the predilection in education to look for the equivalent of bridges to be built or ports to be steered to, leading to a lack of direction when no candidates fit the bill. The third section explores the cultural dominance of music, and the fourth discusses the label of elitism in music.
V. A. Howard co-founded and co-directed Harvard University's Philosophy of Education Research Centre from 1983 to 2000. He is the author of many articles and books on the arts and learning, including Artistry: the Work of Artists (1982), Learning by all Means: Lessons from the Arts (1992), and Charm and Speed: Virtuosity in the Performing Arts (2008).
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