- 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 what music education philosophy is, what ends it seeks to pursue, what skills it involves, and by what criteria it should be judged or evaluated. Philosophy seeks to further responsible action informed by careful deliberation; it identifies dubious assumptions, challenges confused thinking, and offers useful alternatives to conventional ideas and patterns of action. Like music itself, music education philosophy has changed, is changing, and will continue to change. The article discusses philosophy and its rivals; the theory/practice dialectic; the content/representation dialectic; and the future of music education philosophy.
Wayne D. Bowman is professor of music and music education at Brandon University in Brandon, Manitoba, Canada. He has held visiting professorships at University of Toronto and New York University. His research explores a broad range of issues in music and music education philosophy. He was Associate Editor of the journal Action, Criticism, and Theory for Music Education from 2001 to 2006, and Editor from 2006 to 2011. His publications include Philosophical Perspectives on Music, The Oxford Handbook of Philosophy in Music Education, numerous book chapters, and articles in prominent scholarly journals. An accomplished trombonist, Dr. Bowman earned his graduate degrees at University of Illinois, Urbana.
Ana Lucía Frega is a music educator born in Buenos Aires, Argentina, who has taught at all levels of her country's general and artistic education system. An extensively published author in the Spanish-speaking world, she lectures regularly in France, Spain, Portugal, Canada, Greece, Australia and USA. Dr. Frega has served as Principal of School of Performing Arts at the Teatro Colon, as President of ISME, as an ExCom of IMC of UNESCO, and is a permanent member of the Argentinian Academy of Education. Her book All for Music, Music for All was published in 1998 by the University of Praetoria, South Africa.
Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.
If you have purchased a print title that contains an access token, please see the token for information about how to register your code.