Keywords: Immanuel Kant ( narratives in European naturalism and political anatomy. Yet the concept surfaces in gender historical research on the period in foot notes and cursory remarks. This paper interrogates why epigenesis has been eradicated from the historical consciousness of today’s scholarship on gender politics. By honing in on the weirdness, a term borrowed from Lorraine Daston, in and of Immanuel Kant’s (1724-1804) theory on animal generation I show how an alertness it requires a re-evaluation of views on "political anatomy" taken-for-granted in scholarship, but also of Kant’s philosophy itself. The endeavour is divided into three main sections. In the first, I situate the failure of Kant-scholars to, in the words of John H. Zammito, "stabilize" epigenesis by exploring the hitherto unacknowledged peculiarity of Kant’s use racial hybridity to ‘prove’ the theory. In the second, the analysis departs from the notion ‘modern sex difference’ and show that a reading of epigenesis requires a re-thinking of sexed bodily identity in terms of conflict and contradiction. The third section reads this strife in light of Kant’s experience of "astonishment", a cognitive mode, I argue, designed to resolve both physiological and ideological inconsistencies. The antinomy of sex differentiation is in a concluding section juxtaposed with Kant’s phrase "eloquent speechlessness" in which the gender practice activated in the writing of, about, and on epigenesis is compared to the structure informing moral philosophy’s definition of lies.

Der Beitrag macht anhand von Videobeispielen modellhafte Zusammenhänge zwischen Formen des Klassenmusizierens und musikpädagogischen Zielen sichtbar. Bei der Analyse werden als Formen Aufstellungen, Sprechweisen und Kulturtechniken und als Ziele “Musikalische Fähigkeiten aufbauen”, “Ästhetische Praxis” und etwas “Zeigen” unterschieden. Die Ziele verweisen auf weitergehende Begründungszusammenhänge verschiedener Art, die nicht Gegenstand des Beitrags sind. Es wird gezeigt, dass Zusammenhänge zwischen den Formen und Zielen zwar nicht notwendig sind, aber so naheliegend, dass sie bewusst gemacht werden sollten, damit sie die Lehr-Lern-Situation nicht unkontrolliert als heimliche Lehrpläne beeinflussen. / The paper derives connections between forms of making music in the classroom and aims of music education, and it illustrates them with examples from lessons on video. The forms are analyzed with regard to setting, way of speaking and cultural techniques, the aims with regard to “building skills”, “showing something” and “aesthetic practice”. The results refer to further reasonable reflections about music education (Didactics), which are not objective of the paper. The paper shows connections between forms of making music (in the classroom) and aims of music education, which are not inevitable, but so obvious, that they should be noticed to not influence the situations of teaching & learning uncontrolled like a hidden curriculum.

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