This Field Study Report represents a preliminary inquiry or prolegomenon to a Philosophy of Music Education in Australia. My concern here is with the nature and function of music in Australian education, especially of young people. I am not concerned with the technical details of education and training in the musical art itself: my aim is rather to distinguish and account for public and professional attitudes towards music in Australian education, by identifying their philosophical sources and social determinants. The Introduction begins with a general historical background, including detailed references to the important developments of the past decade that have dramatically altered the role and raised public awareness of music in Australia. Chapter I, 'The Politics of Music in School and Society' argues that the philosophy of music education derives from two classical sources: Plato, the inspiration for music educators in totalitarian societies; and Aristotle, for education in the liberal democracies. A recent review (Sparshott 1980) indicates that these two philosophies are still key positions in the field. Chapter II, 'The Tradition of Music in Australian Education' shows how the philosophies of Plato and Aristotle, with Locke's utilitarianism, have influenced music education since colonial times, and how British pedagogical traditions have been modified by adaption to a new society and ethos. Chapter III, 'Music in Contemporary Australian Education' reviews recent empirical studies of the subject, showing, the persistence of traditional attitudes and basic problems. Chapter IV, 'The Right to Music: Aims and Methods' reports the empirical part of this Field Study - recorded interviews and discussions with adults and children involved in Australian music education and associated activities. These were the subject of a series of eight radio programs, first broadcast nationally by the Australian Broadcasting Commission, November 1979 to February 1980, subsequently rebroadcast twice, and now published on cassette (1981) Chapter V, 'The Right to Music : the Broadcast Series' consists of cassette recordings of the broadcast discussions, together with minimally edited transcriptions of the text. In my Conclusion, 'Philosophy of Music Education in Australia: the Three Traditions', I offer a preliminary analysis of contemporary Australian attitudes towards music in education as revealed by the broadcast discussion. I conclude that, while Australian music educators have been untrained philosophically, their attitudes (like those of society at large) towards music in education derive, in the main, from Plato, Aristotle and Locke.

ABSTRACT With the change of regime in 1994, South African education policies for the arts have been created without a conceptual base. Music is on the outskirts of the present educational master plan that favours mathematics, science and literacy. The current situation of teacher shortages and emphasis on ‘basic’ subjects does not make posts possible for specialist music teachers in primary schools. The generalist trained Arts and Culture teacher is tasked to teach drama, music, and the visual arts. The attempt by policy makers to blur the outlines of individual art forms has created the generic Arts and Culture teacher who is unsure of the art forms in which he/she has little or no training. This lack is exposed and justification for the necessity of a philosophy of music education for South Africa will be proposed. A philosophy of music education refers to a system of basic beliefs, which underlie the operation of musical enterprise in an educational setting, whether school, community centre, or tertiary institution. A philosophy of music education would investigate and create an understanding of the underlying assumptions and principles governing the teaching and learning of music.Music is a modelling system for human thought and is a cognitive activity with forms of knowledge as important as any school subject. The ‘out of school’ influences of music are all-encompassing and ubiquitous to intercultural communication between peoples. Evidence is overwhelming that the political history in South Africa has interfered with and disrupted an enculturation of a musical life for children. The literature research shows that music education in South Africa was used as a political tool to support apartheid doctrines and processes. The restoration of a culture of co-operative musicing would help music teachers. Their active agency would positively affect policy in the arts. Furthermore making music or ‘musicing’ in a collaborative manner would break downbarriers because musicing encourages inter-racial rapprochement in a society where racial barriers are no longer dominant. Such harmonious communicating will help to create a new and idiomatic South African music culture. For this purpose I have proposed the adoption of the musical genre called quodlibet, a technique of composing music for many voices which are played simultaneously. This provides a platform for the collaboration of musicians, teachers, policy makers, and parents, within the wider community from which the pupils come to from. The quodlibet becomes a guiding principle and metaphor for the entire study. The central focus is to articulate the need for a philosophy of music education and to propose and defend conditions that would facilitate the growth of a conceptual centre for music education.

Orientador: Margarete Arroyo / Resumo: Esta tese versa sobre três problemas filosóficos em torno do conceito de conhecimento musical. O primeiro problema trata dos tipos de conhecimento musical, buscando estabelecer quais parâmetros específicos informam a prática musical. O segundo problema trata das formas de conhecimento, traçando uma trajetória pela relação da música com outras formas de conhecimento, tais como ciência e filosofia, dentre outras. O terceiro problema se refere aos limites da racionalidade no conhecimento musical, buscando por uma razão aberta que contemple a condição humana. Este trabalho se situa no campo da filosofia da educação musical e analisa os problemas filosóficos enunciados à luz dos trabalhos de Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) e David Elliott e Marissa Silverman, Music Matters 2nd Edition (2015). O problema de pesquisa surge da revisão bibliográfica destes trabalhos, a qual aponta que as tipologias do conhecimento musical apresentadas pelos autores são centralizadoras e hierárquicas. Além disso, os autores revisados não estabelecem como o conhecimento musical se articula e se organiza em relação a outras formas de conhecimento, revelando um posicionamento estritamente disciplinar. Logo, a questão da pesquisa se coloca da seguinte forma: Como conceituar o conhecimento musical, evitando o reducionismo, a disjunção e a centralização? O referencial teórico deste trabalho é o pensamento complexo de Edgar Morin, especialmente e... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis approaches three philosophical problems encompassing the concept of musical knowledge. The first problem addresses the types of musical knowledge, seeking to establish which specific parameters inform the musical practice. The second problem deals with forms of knowledge, tracing a trajectory through the relationship of music with other forms of knowledge, such as science and philosophy, among others. The third problem refers to the limits of rationality in musical knowledge, looking for an open reason that contemplates the human condition. This work is situated in the academic field of philosophy of music education and analyzes the philosophical problems formulated in light of the works of Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) and David Elliott & Marissa Silverman, Music Matters 2nd Edition (2015). The research problem emerges from the bibliographic review of these works, which points out that the typologies of musical knowledge presented by the authors are centralized and hierarchical. In addition, the reviewed authors do not establish how musical knowledge is articulated and organized in relation to other forms of knowledge, revealing a strictly disciplinary position. Therefore, the research query arises as follows: How to define musical knowledge, avoiding reductionism, disjunction and centralization? The theoretical framework of this thesis is the complex thought by Edgar Morin's, especially in his wor... (Complete abstract click electronic access below) / Resumen: Esta tesis trata tres problemas filosóficos en torno al concepto de conocimiento musical. El primer problema trata con los tipos de conocimiento musical, buscando establecer qué parámetros específicos informan la práctica musical. El segundo problema trata sobre las formas de conocimiento, trazando una trayectoria a través de la relación de la música con otras formas de conocimiento, como la ciencia y la filosofía, entre otras. El tercer problema se refiere a los límites de la racionalidad en el conocimiento musical, buscando una razón abierta que contemple la condición humana. Este trabajo se ubica en el campo de la filosofía de la educación musical y analiza los problemas filosóficos expuestos a la luz de los trabajos de Bennet Reimer, A Philosophy of Music Education (1970), Keith Swanwick, Musical Knowledge (1994) y David Elliott y Marissa Silverman, Music Matters 2ª Edición (2015). El problema de investigación surge de la revisión bibliográfica de estos trabajos, que señala que las tipologías de conocimiento musical presentadas por los autores son centralizadas y jerárquicas. Además, los autores revisados no establecen cómo se articula y organiza el conocimiento musical en relación con otras formas de conocimiento, revelando una posición estrictamente disciplinaria. Por lo tanto, la pregunta de investigación surge de la siguiente manera: ¿Cómo definir el conocimiento musical, evitando el reduccionismo, la disyunción y la centralización? El marco teórico del trabajo es el ... (Resumen completo clicar acceso eletrônico abajo) / Doutor

The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

Die Einleitung beschreibt das Konzept des Symposions und des Buchs zusammen mit Grundlinien der Situation der Musikdidaktik bzw. Musikpädagogik in Deutschland. Ein zweiter Abschnitt gibt Zusammenfassungen der Beiträge und zeigt Querverbindungen, ein dritter Abschnitt skizziert die Themen und Struktur der drei Diskussionsrunden („Fishbowls“) zwischen jeweils 3-4 Autoren des Buchs und der letzte Abschnitt gibt Anregungen für die Arbeit mit dem Material, insbesondere den DVDs (die jede Stunde aus drei Kamerawinkeln zeigen). / The introduction describes the concept of the symposion and the book together with some baselines of the situation of music didactics in germany. A second part gives summaries of the articles and connections between them, a third part is about the three discussions (“fishbowls”) between the authors of the book and the last part offers suggestions how to work with the material, specially the DVDs (which show each lesson with three camera-angles).

本研究旨在探討音樂經驗的教育實踐意涵，採取理論分析的方法，探究音樂教育哲學典範的衝突根源，在技術與實踐智的關係詮釋中，闡述音樂經驗的教育實踐本質。 回顧音樂經驗本質的理論脈絡，古希臘以強調和諧、淨化、教化的音樂倫理學與發展以娛樂目的的音樂美學為主，近代則以知覺解釋的心理學與本質描述的現象學為主。就音樂經驗的知識本質而言，從功效、審美到實踐的北美音樂教育哲學典範，基本上是從技術走向實踐、從一元走向多元、從穩定走向不穩定的價值典範。 綜合研究結論，就音樂的教育實踐途徑而言，技術造成一種手段與目的的對象化關係，實踐智則建立手段與目的合一的自我知識，前者發展音樂認知的科學方法，後者開拓音樂意義的可能性。當然，本研究並不否定技術存在的價值，而是從一種存有美學來關照音樂經驗中的意義可能性，在審美無區分的自我陶養經驗中，音樂同時是一種教育實踐，實踐智典範與技術的本質最終在教育實踐意義裡相通，而倫理學與美學在音樂經驗中彼此共融。 / The purpose of this study was to explore the significance of educational practice in the nature of musical experience. The theoretical analysis was applied to inquire the cause of the conflicts among the different philosophical paradigms of music education and the hermeneutic analysis of techne and phronêsis was used to explain the educational essence of musical experience. Based on the context of the essential theory of musical experience, there were two ways in the ancient Greece: the musical ethics and the aesthetics of music. The musical ethics emphasized the metaphysical speculation about harmony, purification, and cultivation; while the aesthetics of music developed the science of experience on the aim of pleasure. In the modern history, the psychology and the phenomenology were the main research approaches of musical experience. The former explained the music perception; the latter described the nature of musical experience. Regarding the essential standpoint of musical knowledge, the trend of the philosophical paradigm of music education (utilitarian, aesthetic and praxis) developed in North America was a value paradigm that was from technique to practice, singular aspect to multiple aspect, and steady situation to unsteady situation. In conclusion, from the standpoint of educational practice, the technical way reified the relationship of the means and the purposes, and the practical way (self-knowledge) was a way of two-in-one; the former developed the scientific methods of musical cognition, the latter developed the possibility of musical meaning. Certainly, the value of techne was not denied, but more concerned the meaning’ possibility of musical experience, that was to say, music as an educational practice of self-cultivation in the aesthetic non-differentiation, the paradigm of phronêsis and the nature of techne were eventually the same one in the significance of educational practice, and the ethics and the aesthetics were two-in-one in the musical experience.

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

This article deals with the differences of a performance-based approach of music education in the USA and a reflection-based approach in Germany. The lessons represent very different ways to reach students through music. The students respond either more enthusiastic or more rational, but always positively.

The lessons from Catalonia and Sweden, based in instrumental or vocal music performance, are analysed taking into account the respective teachers’ goals and practices. The implications of the two different methodologies used, top-down big ensemble and collaborative small groups, and their relationship to constructivist pedagogies are discussed.