- 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 examines philosophy's role in epistemological colonialism in music education. Western philosophy as a system of reasoning was one of the factors justifying European colonialism; the discursive traces of these supporting Enlightenment philosophies remain in today's educational thinking. Following World War II, the last groups of people living under colonial domination fought for and eventually won political independence, yet the complex relationships that developed under the colonial system remain in social structures and discourses. The article concludes with an effort to imagine philosophy as a tool for questioning and challenging the epistemological colonialism that too often lingers within music education's philosophical discourses.
Deborah Bradley teaches in the Faculty of Music and Emmanuel College at the University of Toronto, and has also taught in the Department of Curriculum and Instruction at the University of Wisconsin-Madison. Her research focuses on anti-racism, anti-colonialism, and social justice in music education. Dr. Bradley's work is published in the Philosophy of Music Education Review; Action, Criticism, and Theory for Music Education; Music Education Research; and Diverse Methodologies in Music Education.
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