- 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 explores a distinctive way of thinking about and practicing music education, one that has been implemented for more than two thousand years throughout Chinese history. Chinese music education has traditionally been conceived in terms of ethical education—of cultivation of character and disposition rather than development in performing technique or musical knowledge. Music was considered an indispensable part of general education in ancient China, being one of the six basic subjects in the education of youth during and around the time of Confucius. The discussion considers the concept of music as a means of cultivating virtuous dispositions in Chinese literati legacy, as exemplified in the Yue Ji and practiced specifically in the tradition of the guqin, a seven-string zither-like instrument.
Yuhwen Wang is the chair of Graduate Institute of Musicology, National Taiwan University. She is finishing a book on the relationship among music, body, mind and spirituality. Her recent publications include analyses of Chinese and Taiwanese pre-modern musical recordings and their aesthetics, and articles on traditional guqin aesthetic practices. Having received research award from the National Science Council, Taiwan, ROC, and Outstanding Teaching Award from NTU, she is particularly interested in grounding her aesthetic studies on analyses of musical scores, recordings, as well as historical texts.
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