- 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 first section of this article defines heuristics, a realm of learning and knowing by doing, and a discipline that inquires into the means and methodologies of invention and discovery. The second section concentrates on the question “Why musical heuristics?,” providing a panoramic view of its hypotheses and objectives, and offering an explanation of its importance for musical education. The third section examines the idea of transitional fictions as they apply to games and to processes of creation. The fourth section analyzes the fictional elements of Adorno's theory, while the fifth describes the consequences of Cage's experimental, nonteleological music. The sixth section seeks to show a relationship between the selection of materials and the use of musical devices that retains their richness and affirms their respective complexities.
Ricardo Mandolini, born in Argentina, earned the titles Profesor de Composicion from the Conservatorio Beethoven in Buenos Aires, Künstlerische Reifeprüfung from Musikhochschule Köln, PhD from University of Paris VIII (under Daniel Charles), and Habilitation à diriger des recherches from University of Paris I Sorbonne (under Costin Miereanu). He is professor of music at the University of Lille III. An award-winning composer of electronic music, his music has been played in contemporary music concerts and festivals in Europe and North America. In 2002, Mandolini was awarded the Magisterium from the Bourges international electroacoustic music competition, in recognition of his achievements as a composer.
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