Philosophy Of Music Education Challenged Heideggerian Inspirations

This volume offers key insights into the crisis of legitimization that music as a subject of arts education seems to be in. Music as an educational subject is under intense pressure, both economically, due to the reduction of education budgets, as well as due to a loss of status with policy makers. The contributions in this book illuminate Martin Heidegger’s thinking as a highly cogent theoretical framework for understanding the nature and depth of this crisis. The contributors explore from various angles the relationship between the pressure on music education and the foundations of our technical and rationalized modern society and lead the way on the indispensable first steps towards reconnecting the cultural practices of education with music and its valuable contributions to personal development.

Although philosophers have examined and commented on music for centuries, Martin Heidegger, one of the greatest philosophers of the 20th century, had frustratingly little to say about music—directly, at least. This volume, the first to tackle Heidegger and music, features contributions from philosophers, musicians, educators, and musicologists from many countries throughout the world, aims to utilize Heidegger’s philosophy to shed light on the place of music in different contexts and fields of practice. Heidegger’s thought is applied to a wide range of musical spheres, including improvisation, classical music, electronic music, African music, ancient Chinese music, jazz, rock n’ roll, composition, and musical performance. The volume also features a wide range of philosophical insights on the essence of music, music’s place in society, and the promise of music’s ability to open up new ways of understanding the world with the onset of the technological and digital musical age. Heidegger and Music breaks new philosophical ground by showcasing creative vignettes that not only push Heidegger’s concepts in new directions, but also get us to question the meaning of music in various contexts.

This International Handbook brings together leading writers on Arts in Education to provide a much-needed, authoritative guide to the main debates in the field and an informed account of contemporary developments in policy and practice. Providing a detailed overview of key concepts and practical challenges, the book combines theoretical insight with specific examples of innovative projects drawing on theoretical, historical and empirical research perspectives to inform understanding. The range of content highlights the breadth of the field, addressing such issues as the importance of community arts and partnership as well as school education, and providing insight into developments in multiple and connecting arts as well as traditional art forms. Topics such as assessment, creativity, cultural diversity, special needs, the arts in early childhood, adult education, arts based research, are all addressed by recognised authorities in each area. The collection of chapters also serves to define the field of arts education, recognising its diversity but highlighting the common elements that provide its identity. The collection addresses generic issues common to all the arts while acknowledging differences and recognising the dangers of over-generalisation. It also includes specific chapters on each of the art forms (visual art, dance, drama, literature, music, media arts) providing a cutting-edge analysis of key contemporary issues in each subject. Bringing together specially commissioned pieces by a range of international authors, this Handbook will make an important contribution to the field of Arts Education.

The rapid pace of technological change over the last decade, particularly the rise of social media, has deeply affected the ways in which we interact as individuals, in groups, and among institutions to the point that it is difficult to grasp what it would be like to lose access to this everyday aspect of modern life. The Oxford Handbook of Social Media and Music Learning investigates the ways in which social media is now firmly engrained in all aspects of music education, providing fascinating insights into the ways in which social media, musical participation, and musical learning are increasingly entwined. In five sections of newly commissioned chapters, a refreshing mix of junior and senior scholars tackle questions concerning the potential for formal and informal musical learning in a networked society. Beginning with an overview of community identity and the new musical self through social media, scholars explore intersections between digital, musical, and social constructs including the vernacular of born-digital performance, musical identity and projection, and the expanding definition of musical empowerment. The fifth section brings this handbook to full practical fruition, featuring firsthand accounts of digital musicians, students, and teachers in the field. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a musical community member in an age of technologically mediated relationships that break down the limits of geographical, cultural, political, and economic place.

Mood is a phenomenon whose study is inherently interdisciplinary. While it has remained resistant to theorisation, it nonetheless has a substantial influence on art, politics and society. Since its practical omnipresence in every-day life renders it one of the most significant aspects of affect studies, it has garnered an increasing amount of critical attention in a number of disciplines across the humanities, sciences and social sciences in the past two decades. Mood: Interdisciplinary Perspectives, New Theories provides a comprehensive theoretical and empirical exploration of the phenomenon of mood from an interdisciplinary angle. Building on cutting-edge research in this emerging field and bringing together established and new voices, it bridges the existing disciplinary gap in the study of mood and further consolidates this phenomenon as a crucial concept in disciplinary and interdisciplinary study. By combining perspectives and concepts from the literary studies, philosophy, musicology, the social sciences, artistic practice and psychology, the volume does the complexity and richness of mood-related phenomena justice and benefits from the latent connections and synergies in different disciplinary approaches to the study of mood.

Gunter Anders' Philosophy of Technology is the first comprehensive exploration of the ground-breaking work of German thinker Gunter Anders. Anders' philosophy has become increasingly prescient in our digitised, technological age as his work predicts the prevalence of social media, ubiquitous surveillance and the turn to big data. Anders' ouevre also explored the technologies of nuclear power and the biotech concerns for the human and transhuman condition which have become so central to current theory. Babette Babich argues that Anders offers important resources on streaming digital media through his writings on radio, television and film and is, unusually, both a comprehensive and profound thinker. Anders' relationship with key philosophers like Hannah Arendt and Walter Benjamin and his thinking on Goethe, Nietzsche and Rilke is also explored with a focus on the deep impact he made on his peers. It reflects specifically on the intersection of Anders' thought Heidegger and the Frankfurt school and how influential a figure he was on the landscape of 20th century philosophy. A compelling rehabilitation of a thinker with profound contemporary relevance.

The Routledge Handbook to Sociology of Music Education is a comprehensive, authoritative and state-of-the-art review of current research in the field. The opening introduction orients the reader to the field, highlights recent developments, and draws together concepts and research methods to be covered. The chapters that follow are written by respected, experienced experts on key issues in their area of specialisation. From separate beginnings in the United States, Europe, and the United Kingdom in the mid-twentieth century, the field of the sociology of music education has and continues to experience rapid and global development. It could be argued that this Handbook marks its coming of age. The Handbook is dedicated to the exclusive and explicit application of sociological constructs and theories to issues such as globalisation, immigration, post-colonialism, inter-generational musicking, socialisation, inclusion, exclusion, hegemony, symbolic violence, and popular culture. Contexts range from formal compulsory schooling to non-formal communal environments to informal music making and listening. The Handbook is aimed at graduate students, researchers and professionals, but will also be a useful text for undergraduate students in music, education, and cultural studies.

Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over four decades, his concepts have helped to generate both empirical and theoretical interventions in the field of musical study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes, ethnic groups, and men and women. Bourdieu and the Sociology of Music Education draws together a group of international researchers, academics and artist-practitioners who offer a critical introduction and exploration of Pierre Bourdieu’s rich generative conceptual tools for advancing sociological views of music education. By employing perspectives from Bourdieu’s work on distinction and judgement and his conceptualisation of fields, habitus and capitals in relation to music education, contributing authors explore the ways in which Bourdieu’s work can be applied to music education as a means of linking school (institutional habitus) and learning, and curriculum and family (class habitus). The volume includes research perspectives and studies of how Bourdieu’s tools have been applied in industry and educational contexts, including the primary, secondary and higher music education sectors. The volume begins with an introduction to Bourdieu’s contribution to theory and methodology and then goes on to deal in detail with illustrative substantive studies. The concluding chapter is an extended essay that reflects on, and critiques, the application of Bourdieu’s work and examines the ways in which the studies contained in the volume advance understanding. The book contributes new perspectives to our understanding of Bourdieu’s tools across diverse settings and practices of music education.