In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music (...) educators all over the world to make their own decisions and ultimately contribute to the conversation themselves. (shrink)

Designed to introduce music students and musicians to the vitality of music philosophical discourse, Philosophical Perspectives on Music explores diverse accounts of the nature and value of music. It offers an accessible, even-handed consideration of philosophical orientations without advocating any single one, demonstrating that there are a number of ways in which music may reasonably be understood. This unique approach examines the strengths and advantages of each perspective as well as its inevitable shortcomings. From the pre-Socratic Greeks to idealism, through (...) phenomenology, and on to contemporary socio-cultural critiques, this wide-ranging survey examines the views of selected influential thinkers in sufficient detail to permit their voices to be personally and meaningfully experienced. Striving to portray philosophy as an intriguing dialogue rather than a dogmatic source of definitive answers, it invites readers to become full participants in an ongoing process of philosophical debate with vital contemporary relevance and extensive practical significance. Examining what music is, how it works, and what music is good for, this book encourages musicians to join in important conversations that shape both the ways they practice their art and the ways in which they and others understand it. Accessible to students with little or no background in music philosophy, Philosophical Perspectives on Music provides the foundation for applied or professional philosophies while also introducing readers to the richness of the philosophical quest. Ideal for philosophy of music and philosophy of music education courses, it is also enlightening reading for students of musicology, music theory, and music performance. Featuring interdisciplinary dialogue, this insightful text addresses issues common to the concerns of all musicians. (shrink)

This essay explores the contingency of music's value, and the significant ways that contingency qualifies our understandings of the utility of instructional method. More specifically, it raises the possibility that the altruistic pursuit of methodological purity may serve ends dramatically different than those espoused by practitioners. Music making, music study, and music learning may be liberating, empowering, and educational; but they may also serve precisely opposite ends. More simply put, neither music nor its study is unconditionally or inherently good. The (...) essay explores various ways nihilism may be manifest in musical/instructional practices, and advances alternatives grounded in agency, action, and the acceptance of resistance and responsibility. (shrink)

ABSTRACTIn keeping with the dominant view that skills are largely automatic, the standard view of memory systems distinguishes between a representational declarative system associated with cognitive processes and a performance-based procedural system. The procedural system is thought to be largely responsible for the performance of well-learned skilled actions. Here we argue that most skills do not fully automate, which entails that the declarative system should make a substantial contribution to skilled performance. To support this view, we review evidence showing that (...) the declarative system does indeed play a number of roles in skilled action. (shrink)

We present a synthetic theory of skilled action which proposes that cognitive processes make an important contribution to almost all skilled action, contrary to influential views that many skills are performed largely automatically. Cognitive control is focused on strategic aspects of performance, and plays a greater role as difficulty increases. We offer an analysis of various forms of skill experience and show that the theory provides a better explanation for the full set of these experiences than automatic theories. We further (...) show that the theory can explain experimental evidence for skill automaticity, including evidence that secondary tasks do not interfere with expert performance, and evidence that experts have reduced memory for performance of sensorimotor skills. (shrink)

Movements of the Mind is about what it is to be an agent. Focusing on mental agency, it integrates multiple approaches, from philosophical analysis of the metaphysics of agency to the activity of neurons in the brain. Philosophical and empirical work are combined to generate concrete explanations of key features of the mind. The book should be relevant and accessible to philosophers and scientists interested in mind and agency.

There is abundant evidence of contextual variation in the use of “S knows p.” Contextualist theories explain this variation in terms of semantic hypotheses that refer to standards of justification determined by “practical” features of either the subject’s context (Hawthorne & Stanley) or the ascriber’s context (Lewis, Cohen, & DeRose). There is extensive linguistic counterevidence to both forms. I maintain that the contextual variation of knowledge claims is better explained by common pragmatic factors. I show here that one is variable (...) strictness. “S knows p” is commonly used loosely to implicate “S is close enough to knowing p for contextually indicated purposes.” A pragmatic account may use a range of semantics, even contextualist. I use an invariant semantics on which knowledge requires complete justification. This combination meets the Moorean constraint as well as any linguistic theory should, and meets the intuition constraint much better than contextualism. There is no need for ad hoc error theories. The variation in conditions of assertability and practical rationality is better explained by variably strict constraints. It will follow that “S knows p” is used loosely to implicate that the condition for asserting “p” and using it in practical reasoning are satisfied. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Way of Music Education: Classic Chinese Wisdoms by C. Victor FungJui-Ching WangC. Victor Fung, A Way of Music Education: Classic Chinese Wisdoms (New York, Oxford University Press, 2018)The philosophical inquiry of music and music education has traditionally been limited to a Western lineage, primarily Greek civilization. Many prominent scholars of music education philosophy in the English-speaking world have long restricted their quests to the offspring of this (...) Western philosophy. Although music education scholars have urged a need for more than one "single philosophical foundation" for the field,1 not much has been done systematically to make up for this shortcoming until most recently when scholars such as Wayne Bowman, Ana Luciá Frega, Victor Fung, and Leonard Tan started to call for a more inclusive way of thinking to accommodate the "complexity, plurality, and change" in twenty-first century music education settings.2 To respond to this call, the primary contribution of A Way of Music Education: Classic Chinese Wisdoms is to provide an alternative for examining the phenomena of music teaching and learning by introducing classic Chinese philosophies, Yijing (the Book of Change), Confucianism, and Daoism to bridge the philosophical gap between the West and the East.This book is organized in three parts. Part I, Classical Chinese Philosophies and Music Educational Interpretations, consists of four chapters with the [End Page 116] fundamental background of each philosophy Fung adopts and its interpretation and application in music and music education. Part II, Complementarity and a Trilogy, contains four chapters that help explain how Yijing, Confucianism, and Daoism complement each other as a "harmonious triad," not only in their original context but also in the philosophical frame of contemporary music and music education. The two chapters in Part III, A New Way of Thinking and Practical Implications, discuss practical implications of these classic philosophical ideologies in music education. An epilogue calls for future research on more Chinese classics in both music education and other non-music fields as Fung believes that these rich classic wisdoms are transcendental in time and space, and thus can be experienced as a way of life that "champions the human spirit in relation to the ever-changing natural environment, material life, and social system."3 Lastly, to help readers unfamiliar with Chinese philosophy, a glossary defines the key Chinese terms in each chapter with original Chinese characters and English translations. In addition, flow charts and diagrams help readers visualize the application of complex classic Chinese principles to music education.Attempting to develop "a new way of thinking in music education,"4 Fung situates his inquiry in an "organismic worldview,"5 a way of examining oneself and his/her relation to all elements of the world, a common philosophical thread derived from ancient classic Chinese philosophies of Yijing, Confucianism, and Daoism. Transcending the long debate about the praxial philosophy and aesthetic philosophy of music education, Fung uses these Chinese philosophical principles to explain human musical behaviors first with an ontological lens. He then moves on to examine from a utilitarian perspective the significance of these musical behaviors as inseparable parts of the 'humanly human.' Carefully framing interpretations within the three Chinese classic philosophies, Fung uses a comparative method to scrutinize the meaning of music for human beings who practice it, to their social network (small or large), and to their natural environment. Fung's comparison of the similarities and differences of ancient Chinese principles concludes that "music and music education [are] part of the larger entities and phenomena that cut across time and space."6 Such comparison exemplifies the value of comparative philosophy in "acknowledging and appreciating differences in a realization of the complementarity of perspectives."7 As a result, Fung is able to complement ideas from the seeming contradiction between Confucianism's "human-centric" ideology and Daoism's "dao-centric" ideology to cleverly picture a more comprehensive way of music in education: because "these two schools are addressing different human needs…, they influence each other and provide momentum for each other."8Moreover, going beyond the "minor varieties of comparisons" within the Chinese classics, Fung challenges himself to a higher level of inquiry stretching [End Page 117] out to... (shrink)

This paper discusses two senses in which a hypothesis may be said to unify evidence. One is the ability of the hypothesis to increase the mutual information of a set of evidence statements; the other is the ability of the hypothesis to explain commonalities in observed phenomena by positing a common origin for them. On Bayesian updating, it is only mutual information unification that contributes to the incremental support of a hypothesis by the evidence unified. This poses a challenge for (...) the view that explanation is a confirmatory virtue that contributes to such incremental support; its advocates must ground it in some relevant difference between humans and a Bayesian agent. (shrink)

Although Aristotle (Metaphysics, Book IV, Chapter 2) was perhaps the first person to consider the part-whole relationship to be a proper subject matter for philosophic inquiry, the Polish logician Stanislow Lesniewski [15] is generally given credit for the first formal treatment of the subject matter in his Mereology.1 Woodger [30] and Tarski [24] made use of a specific adaptation of Lesniewski's work as a basis for a formal theory of physical things and their parts. The term 'calculus of individuals' was (...) introduced by Leonard and Goodman [14] in their presentation of a system very similar to Tarski's adaptation of Lesniewski's Mereology. Contemporaneously with Lesniewski's development of his Mereology, Whitehead [27] and [28] was developing a theory of extensive abstraction based on the two-place predicate, 'x extends over y\ which is the converse of 'x is a part of y\ This system, according to Russell [22], was to have been the fourth volume of their Pήncipia Mathematica, the never-published volume on geometry. Both Lesniewski [15] and Tarski [25] have recognized the similarities between Whitehead's early work and Lesniewski's Mereology. Between the publication of Whitehead's early work and the publication of Process and Reality [29], Theodore de Laguna [7] published a suggestive alternative basis for Whitehead's theory. This led Whitehead, in Process and Reality, to publish a revised form of his theory based on the two-place predicate, 'x is extensionally connected with y\ It is the purpose of this paper to present a calculus of individuals based on this new Whiteheadian primitive predicate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael L. MarkPatrice Madura Ward-SteinmanI met Michael Mark at the first Philosophy of Music Education conference held at Indiana University in the summer of 1990. I was a doctoral student at IU then and had studied the writings of many of the conference presenters and so the experience of hearing and meeting them in person was a heady one, indeed. I will never forget those impressions of Phil Alperson, (...) Wayne Bowman, Allen Britton, David Elliott, Peter Kivy, Gerard Knieter, Thomas Regelski, Bennett Reimer, John Shepherd, Ann Stokes, Eleanor Stubley, Keith Swanwick, and many others.I was interested in meeting Michael after hearing his response to the presentation of one of my favorite IU professors of musicology, Austin Caswell. Caswell’s provocative paper, “How We Got into Canonicity and What it has Done to Us: An American Music Historian’s View of Music in Academia,” claimed that “the effect of canonicity on American musical life is destructive,” while Michael’s response was characterized by his style of writing that I came to recognize over the decades as distinct, calm, logical, methodical, and based in an extraordinarily wide and deep wealth of historical knowledge. While I greatly admired my rebellious and passionate professor’s views and temperament which were not unlike my own, I also appreciated hearing Michael’s measured and thoughtful response. Thus began my friendship with Michael, who, I learned, was not only a professor [End Page 92] and dean at Towson State University but also an avid big band woodwind doubler who showed interest in my doctoral research in the art of vocal jazz improvisation. That friendship lasted for almost twenty-eight years and we enjoyed memorable reunions at other conferences. For example, there was the ISPME conference held at UCLA where he invited me to dinner with his good friend and connoisseur of fine wines, Bennett Reimer, and the ISPME conference in Helsinki where, after I tripped and severely broke my ankle, requiring surgery, Michael, Estelle Jorgensen, Iris Yob, and two then-doctoral students (Kasia Bugaj and Leonard Tan) visited me in the Helsinki hospital.When I began teaching at the University of Southern California in 1995, it was fortuitous that Michael’s brother, Brian, lived in the Los Angeles area. His frequent visits allowed him to make several guest lectures to my graduate research methods classes, very welcome opportunities. After one of those lectures, I relayed the history of my family’s ballroom in the Chicago area that was open for business with big band music from 1929 until 1967. He asked if I had any artifacts from Madura’s Danceland, and when I mentioned my father’s stacks of dusty record books, newsletters, photos, and posters in our basement, he became very enthusiastic and told me that I had a “gold mine” of an archive with which to write a book about the place! As a trained quantitative researcher, I began to explore the record books to analyze trends in band pay over the Depression and World War II years.1 Over the next ten years, with help from Michael’s regular prodding and encouragement, I organized the large archive into the history of Madura’s Danceland.2 I owe this personally important accomplishment to Michael Mark.Michael invited me (in his endearing way which I could not refuse) to coauthor a music education textbook with him3 and our writing partnership went so smoothly that he invited me to co-author the 4th edition of his Contemporary Music Education.4 Although our writing styles and areas of expertise were very different, I learned much from his narrative approach which included illustrative scenarios, interviews, and the informal use of contractions, a style of writing that was not second nature for me. We wrote both books without meeting in person, except to celebrate the publication of the first at the Metropolitan Art Museum café in New York with our beloved spouses, Lois Mark and David Ward-Steinman.Dr. Michael L. Mark will long be remembered for his many books, chapters, and articles on the history of music education and his many symposium presentations; for his university teaching and administrative achievements; and for his... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis by Thomas A. RegelskiRoger MantieThomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (New York: Routledge, 2016)ANSWERS WITHOUT QUESTIONSThomas Regelski has earned a place as a major figure in music education, if for no other reason than his role as co-convener of the MayDay Group in (...) 1993. Regelski’s contributions to the profession, however, go much beyond the MayDay Group. His many books and articles provide both practical advice and suggestions for music teachers as well as rigorous discussions of important issues for scholars. He is among the most frequently cited authors in music education today and I count myself among those who have been deeply impacted by his work.1Those familiar with Regelski’s oeuvre and the history of the MayDay Group know that “praxial philosophy” has been his central concern since the early 1990s. The idea of praxialism, a term more or less invented by a small group of music education academics,2 has been driven, at least in part, by a desire to counter what has been considered (by some) to be the music education profession’s misguided adherence to and emphasis on “music education as aesthetic education,” particularly as an outgrowth of its Charles Leonard-Bennett Reimer [End Page 213] lineage.3 Along with contemporaries Philip Alperson, Wayne Bowman, and David Elliott (among others), Regelski has been a major voice in adopting and adapting ancient Greek (especially Aristotelean) thought in order to challenge the presupposition, predominant in twentieth-century academic discourse, that a (or the) philosophy of music education should unquestioningly derive from philosophies of art or aesthetics. Through the deployment of concepts such as theoria, techne, poiesis, phronesis, and especially, praxis, Regelski has, along with a cadre of like-minded thinkers, attempted, in the tradition of Christopher Small, to encourage educators to place greater emphasis on the social aspects of music making rather than on the so-called “aesthetic properties” of the music itself. For almost three decades, Regelski has been consistent, if not relentless in his promotion of all things “praxial.”A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (hereafter A Brief Introduction) comprises seven short chapters. The first three (Part One: Ideology Critique) provide an historical, if editorialized, overview of the history of aesthetics, from its ancient Greek origins in aisthesis to what Regelski calls today’s “aesthetic rationale” for music education. The last four chapters (Part Two: Theory into Praxis and Praxis Informed by Theory) provide arguments for why a praxial philosophy provides a superior basis for music education, along with illustrations of what music teaching based on praxialism might look like in practice. Readers already acquainted with Regelski’s previous writings are unlikely to find anything new in A Brief Introduction. Many of the book’s themes, such as “automania,” “sacrilization of music,” “legitimation crisis,” “pragmatic difference,” “action learning,” and “breaking 100” will be familiar to those who have read his essays over the years. A Brief Introduction, however, is not intended for those already familiar with his previous writings, but for newcomers, such as upper level undergraduates, for whom A Brief Introduction provides, as the title appropriately suggests, a succinct summary of his ideas distilled into just over a hundred pages. Rather than a stand-alone textbook, Regelski imagines the book as a “complement” to other courses, such as introductory classes in music education, conducting classes, instrumental method courses, and so on. Although not stated explicitly, much of the book’s content is relevant primarily (though perhaps not exclusively) for an American/Canadian readership.Regelski explains from the outset that the ideas in the book “are intended as a corrective to current practices and traditions in music teaching” (xx), ones he considers based upon and reflective of “aesthetic ideology.” As he explains, he wishes to operate in the tradition of Critical Theory, where ideology means the imposition of a dominant group’s values over a subordinate group. Although he never discusses processes of social reproduction, established norms and practices [End Page 214] in institutional... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Philip Alperson, “Robust Praxialism and the Anti-aesthetic Turn”Thomas A. RegelskiDue to space limitations, only a few points of Philip Alperson’s paper can be briefly addressed.1Concerning praxialism, Alperson confirms that regarding “music as a species of art” leaves out much of what music has to offer. He acknowledges that “music is produced and enjoyed in a wide range of contexts and circumstances in which music can be understood (...) as having many different kinds of functions” and that it “comprises a network of multiple overlapping and at times even conflicting sub-practices” worthy of preservation and transmission via education. Yet these diverse but central praxial functions have been ignored, even denigrated, by traditional aesthetics and music education philosophy predicated on aesthetics.In contrast, Alperson notes that praxial philosophy argues inductively from the empirical evidence of music’s many functional values. Thus, he argues, philosophical inquiry should start with the ample evidence of music’s praxial diversity instead of “attempting a totalizing account of the philosophy of music education based on some essentialized notion of music.” [End Page 196]Yet his “robust praxialism” is predicated on an essentialized notion: that music’s praxial appeal depends on its aesthetic essence. Despite frequent aesthetic qualifiers, he altogether fails to distinguish aesthetic experiences ontologically from prosaic experiences, aesthetic properties epistemologically from non-aesthetic properties, or aesthetic values from musical values or praxial benefits.2 Instead, he equivocates that “there are many ways to construe the idea of aesthetic experience and aesthetic qualities.”3Then he claims that, lacking aesthetic essentialism, the praxialism of David Elliott, Wayne Bowman, and Thomas Regelski fails to robustly account for why people are drawn to music.4 He ignores Elliott’s account of music’s capacity for eliciting affective experience and “flow”5 and fails to engage Bowman’s arguments against the philosophical imprecision of aesthetic theorizing. Against these straw-man tactics, I will briefly summarize why praxialism does without aesthetics.“Aesthetics” has traditionally been used to refer to (conflicting) theories of a transcendental, other-worldly ontology experienced contemplatively, via a disinterested aesthetic attitude, practiced competently by ideally informed listeners, in special moments of leisure. Praxialism eschews such metaphysical speculations and stresses music’s down-to-earth values, appeal, and pragmatic benefits. Thus, a more robust rationale and pragmatic basis for music education results that is intelligible to music teachers, students, and society.For praxial theory, meaning, value, and appreciation are seen in use. Following Wittgenstein, “we don’t start from certain words”—that is, from aesthetic terms— “but from certain occasions or activities”—respectively, from particular musical practices. “Appreciation” is thus shown empirically by people’s musical choices.6Secondly, praxialism dispenses with aesthetics because, as Alperson admits, the many terms, concepts, and speculative aporia7 upon which conventional aesthetics depends are irreparably contested.8 Aestheticians agree on just about nothing!9 In fact, Alperson himself critiques the leading schools of aesthetics. However, analytic philosophers increasingly have noted the problems of aesthetics; 10 have criticized aesthetics for lacking philosophical substance and rigor;11 and one concludes that, “viewed as a univocal concept, aesthetic experience seems too confused to be redeemed as useful”12 and thus deserves critique.13Concerning the relevance of aesthetics, Christopher Small writes of a history of musical aesthetics:14[I]t bore very little relation to anything I recognized in my own musical experience, as listener, or as performer, or as composer.... I just could not make myself believe that so universal, and so concrete a human practice as music should need such complicated and abstract explanations.15 [End Page 197]Philosopher Michael Proudfoot agrees thatsuch an inadequacy to our experience of art has been evident, a result, I believe, partly of aestheticians’ preoccupation with what it is to treat something ‘aesthetically’, and partly from a concentration on works of art in isolation from the circumstances in which they are actually created or appreciated.16Alperson does acknowledge music’s praxial circumstances, but argues that “it is possible to save the idea of aesthetic experience and the attitude appropriate to its contemplation by widening the range of what might be thought to be a candidate for appreciation... (shrink)

The framework of plateaus, dips, and leaps shines light on periods when individuals may be inventing new methods of skilled performance. We begin with a review of the role performance plateaus have played in experimental psychology, human–computer interaction, and cognitive science. We then reanalyze two classic studies of individual performance to show plateaus and dips which resulted in performance leaps. For a third study, we show how the statistical methods of Changepoint Analysis plus a few simple heuristics may direct our (...) focus to periods of performance change for individuals. For the researcher, dips become the marker of exploration where performance suffers as new methods are invented and tested. Leaps mark the implementation of a successful new method and an incremental jump above the path plotted by smooth and steady log–log performance increments. The methods developed during these dips and leaps are the key to surpassing one's teachers and acquiring extreme expertise. (shrink)

I focus on problems defining skill and a core theoretical dispute over whether skilled action is largely automatic or consciously controlled. The dominant view in philosophy and psychology has been that skills are automatic, but an emerging body of work suggests that conscious cognition plays a significant role.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for the New Millennium: Theory and Practice Futures for Music Teaching and LearningSean PenderelMusic Education for the New Millennium: Theory and Practice Futures for Music Teaching and Learning, edited by David K. Lines. Malden, MA: Blackwell Publishing, 2005, 150 pp., $34.95 paper.Music Education for the New Millennium is a 150-page collection of essays focused mainly upon philosophical introspection into the current condition of the profession. Within (...) this volume there are eight philosophic essays and one quantitative research article, by Alastair McPhee, Peter Stollery, and Ros McMillan. Other essays, beyond the work of the editor, were contributed by Thomas Regelski, Wayne Bowman, Robert Davis, Lucy Green, David Elliott, Constantijn Koopman, and Janet Mansfield. This collection contributes to our contemporary quandaries about aesthetics and praxialism in addition to adding pertinent questions for both philosophy and music education.The overall purpose of this volume is to stimulate thinking in ways not accounted for in the classroom or studio environments and expand upon the broader discourses impacting the profession and society (3). Given that Lines organized this volume as a collection about a specified theme, I will approach this review threefold. First, I will examine overall features that were promising and those that were disappointing. Second, each chapter's contributions will be examined in light of the aim of the volume. Lastly, each essay will also be examined for its contributions apart from the volume, due to the fact that all of the works can stand alone.Within this framework, six themes continually emerged throughout the essays. These themes involved the use and abuse of musical meaning; the construction of musical meaning and understanding; language used within advocacy; the difficulties presented by both aesthetics and praxialism; the problems posed by our focus upon psychology; and lastly, the "what works" mentality of efficient systems. These themes are incredibly relevant to the contemporary discussion surrounding music education in addition to benefiting the whole of the profession. In some fashion or another, each author confronts one to many of these issues efficiently and effectively, to the point that the volume and its aim is solidified within Bowman's essay, "Music Education in Nihilistic Times." As a negative point, however, an internal organization around these themes never seems to appear, and without this the volume lacks a certain flow; each chapter stands alone. Although internal organization is petty globally for this volume, it does affect its readability.Regelski's essay appears first and critiques both traditional aesthetics and praxial philosophy. Interestingly, he weighs the potential dangers posed by both and drifts toward the notion of praxis while maintaining a certain aesthetic influence within his philosophy. Through music education's abuse of aesthetics, Regelski chronicles the elevation of experience beyond societal values of participation, production, and the process of music creation. Due to this, the profession has been subject to a certain dependency upon the positive aesthetic experience rather than on the participatory process of education. Furthermore, he notes that aesthetics, when stretched to its philosophic extreme, has had a tendency to become exclusive and elitist. I liken [End Page 117] this to the Gnostic practices within early Christianity. This sect valued a spiritual/aesthetic experience and its resulting "enlightenment," which occurred during a state of ecstasy, to the point of elevating those who had experienced this moment beyond those who had not.To curb this movement, Regelski suggests redefining aesthetics in the tradition of Dewey and Wittgenstein rather than that of Kant. In the former, the aesthetics are tied directly to the using of the object, or the practice of doing and creating. In contrast, in the Kantian tradition, which has dominated music philosophy, the experience becomes removed from the practice and is elevated to a position of esteem, beyond that of understanding. Likewise, praxialism, when taken to its extreme, has the potential to suffer from breadth without depth, which may result in a loss of content and depth of understanding. Regelski suggests that what needs to occur is a balance of depth and breadth with a focus on the development of musicianship. If this occurs then the experience will become valued as a result of participation in the... (shrink)

Hanna proposes a version of non-conceptualism he closely associates with Kant. This paper takes issue with his proposal on two fronts. First, there are reasons to dispute whether any version of non-conceptualism can be rightly attributed to Kant. In addition to pointing out passages that conflict with Hanna's interpretation, I also suggest ways in which the Kant of the Opus Postumum could integrate key insights of non-conceptualism into a basically conceptualist framework. In Part Two of the paper, I turn to (...) a more systematically oriented critique of Hanna's nonconceptualism. Drawing on work by Gareth Evans, John McDowell, Sonia Sedivy, and Alva Noë, I argue that conceptualism is in a position to integrate the points which are taken by Hanna to speak most strongly in favor of non-conceptualism. In particular, I argue for the deep compatibility of conceptualism and direct realism. At the same time, I point to what I see as weaknesses in Hanna's defence of non-conceptualism. (shrink)

In recent years, a number of approaches to social cognition research have emerged that highlight the importance of embodied interaction for social cognition (Reddy, How infants know minds, 2008; Gallagher, J Conscious Stud 8:83–108, 2001; Fuchs and Jaegher, Phenom Cogn Sci 8:465–486, 2009; Hutto, in Seemans (ed.) Joint attention: new developments in psychology, philosophy of mind and social neuroscience, 2012). Proponents of such ‘interactionist’ approaches emphasize the importance of embodied responses that are engaged in online social interaction, and which, according (...) to interactionists, present an alternative to mindreading as a source of social understanding. We agree that it is important to take embodied interaction seriously, but do not agree that this presents a fundamental challenge to mainstream mindreading approaches. Drawing upon an analogy between embodied interaction and the exercise of expert skills, we advocate a hierarchical view which claims that embodied social responses generally operate in close conjunction with higher-level cognitive processes that play a coordinative role, and which are often sensitive to mental states. Thus, investigation of embodied responses should inform rather than conflict with research on mindreading. (shrink)

This volume provides an extensive translation of the notes and fragments that survived Kant's death in 1804. These include marginalia, lecture notes, and sketches and drafts for his published works. They are important as an indispensable resource for understanding Kant's intellectual development and published works, casting fresh light on Kant's conception of his own philosophical methods and his relations to his predecessors, as well as on central doctrines of his work such as the theory of space, time and categories, the (...) refutations of scepticism and metaphysical dogmatism, the theory of the value of freedom and the possibility of free will, the conception of God, the theory of beauty, and much more. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary contributor to (...) an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

David Lewis, Stewart Cohen, and Keith DeRose have proposed that sentences of the form S knows P are indexical, and therefore differ in truth value from one context to another.1 On their indexical contextualism, the truth value of S knows P is determined by whether S meets the epistemic standards of the speakers context. I will not be concerned with relational forms of contextualism, according to which the truth value of S knows P is determined by the standards of the (...) subject Ss context, regardless of the standards applying to the speaker making the knowledge claim. Relational contextualism is a form of normative relativism. Indexical contextualism is a semantic theory. When the subject is the speaker, as when S is the first person pronoun I, the two forms of contextualism coincide. But otherwise, they diverge. I critically examine the principal arguments for indexicalism, detail linguistic evidence against it, and suggest a pragmatic alternative. (shrink)

This paper argues that the form of explanation at issue in the hard problem of consciousness is scientifically irrelevant, despite appearances to the contrary. In particular, it is argued that the ‘sense of understanding’ that plays a critical role in the form of explanation implicated in the hard problem provides neither a necessary nor a sufficient condition on satisfactory scientific explanation. Considerations of the actual tools and methods available to scientists are used to make the case against it being a (...) necessary condition, and work by J.D. Trout that exploits psychological research on the hindsight and overconfidence biases is used to show that it is not a sufficient condition. It is argued, however, that certain intellectual and moral concerns give us good reason to still try to meet the hard problem’s explanatory challenge, despite its extrascientific nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to David Elliott’s “Music Education as/for Artistic Citizenship”Richard ColwellThe September issue of the Music Educators Journal contained an article by David Elliott entitled “Music Education as/for Artistic Citizenship”1 that I believe warrants considerable discussion by individuals conversant with the philosophy of music education in 2014.The journal is not known for its coverage of philosophy and an article in the Music Educators Journal is likely to influence far more (...) individuals than the Wayne Bowman and Anna Lucia Frega Oxford Handbook of Philosophy in Music Education. Some of the statements may be misleading and/or readers unfamiliar with philosophy may misunderstand the present rationale for music education in the schools. There is a difference between advocacy and philosophy.Elliott has long been a close friend and I have admired his writings for decades. The article struck me as misplaced in MEJ and I immediately contacted Elliott about it. He replied that the article was based on a speech he had recently given and that the editors of the journal had asked that it be included in an early edition. [End Page 105]The basic thrust of the article appears to be philosophical with Elliott’s argument for praxial music education and his worry about teaching great works and great artists under some rubric connected with aesthetic education. I do not think this is what he means as he would support musical criticism. The attempt to reach the public directly through multiple approaches assumes that criticism is artificial and public taste natural.The opening paragraphs suggest that music education can be used in the service of additional or alternative aims and these appear to be unlimited. The basic ideas seem to contradict Elliott in his chapter on Music Education Philosophy in the McPherson andWelch Oxford Handbook of Music Education (2012) where he states, that “if everything counts, then nothing counts (p 68).” The MEJ article is a long-list of possibilities with an emphasis on three themes—music making for the betterment of social well-being, music making for social justice, and the infusion of school music with an ethic of care—three areas he felt were under-emphasized in his classic text Music Matters.Thus, there are a number of areas where I would seek clarification realizing that describing music education philosophy in fifty minutes is impossible if not misleading.The title indicates a plea for artistic citizenship. One can easily find artistic citizenship in every country in the world: Venezuela is a present example where artistic citizenship is promoted through social programs using great music supported by the World Bank and others and resulting in a reasonable type of citizenship based on the poll numbers for ex-President Chavez. I assume that Elliott supports the West-East Divan Orchestra project that brings together students from Mid-East countries where artistry for great music has little to do with the political and religious citizenships of sending countries.Valid examples are cited for protest songs that have addressed injustices through the centuries and against government practices. If the point is that music can expand our horizons, great. When possible, I would suggest that music be used that leads to greater growth: growth in musical understanding or in this instance, positive citizenship. Music can have both political and social meanings and the music used should have a positive objective in mind. Elliott might conclude that music education is divorced from the real world and too often it is. Dewey wanted a connection and that connection would have included making music for one’s own satisfaction or playing in the town band as well as listening to live and recorded music that dominated the first half of the 20th century.What seems important in education, in music, and in philosophy is that we build on the best ideas and writings available to us. Culture can be changed and may need to be. Kurt Vonnegut learned as a prisoner during WWII that culture [End Page 106] was as separate from the brain as a Model T Ford, and it could be tinkered with. It is an easy jump from there to believing that a culture can... (shrink)

I review Adrian Moore’s lucid account of Fichte’s contribution to the Evolution of Modern Metaphysics. I support Moore’s contention that Fichte should indeed be considered a metaphysician, but I propose an adjustment to Moore’s interpretation, guided by Fichte’s own claim that the infinite I is an unattainable ideal, rather than a fact about the constitution of reality as it actually is. The resulting position embeds Fichte’s metaphysics firmly within his ethics and politics. In reconstructing Fichte’s position I demonstrate the centrality (...) of work in Fichte’s proposed resolution of Kant’s third antinomy. (shrink)

Why games? How could anyone consider action games an experimental paradigm for Cognitive Science? In 1973, as one of three strategies he proposed for advancing Cognitive Science, Allen Newell exhorted us to “accept a single complex task and do all of it.” More specifically, he told us that rather than taking an “experimental psychology as usual approach,” we should “focus on a series of experimental and theoretical studies around a single complex task” so as to demonstrate that our theories of (...) human cognition were powerful enough to explain “a genuine slab of human behavior” with the studies fitting into a detailed theoretical picture. Action games represent the type of experimental paradigm that Newell was advocating and the current state of programming expertise and laboratory equipment, along with the emergence of Big Data and naturally occurring datasets, provide the technologies and data needed to realize his vision. Action games enable us to escape from our field's regrettable focus on novice performance to develop theories that account for the full range of expertise through a twin focus on expertise sampling and longitudinal studies of simple and complex tasks. (shrink)

The standard means of seeking the classical limit in Bohmian mechanics is through the imposition of vanishing quantum force and quantum potential for pure states. We argue that this approach fails, and that the Bohmian classical limit can be realized only by combining narrow wave packets, mixed states, and environmental decoherence.

Understanding the nature of errors in a simple, rule‐based task—programming a VCR—required analyzing the interactions among human cognition, the artifact, and the task. This analysis was guided by least‐effort principles and yielded a control structure that combined a rule hierarchy task‐to‐device with display‐based difference‐reduction. A model based on this analysis was used to trace action protocols collected from participants as they programmed a simulated VCR. Trials that ended without success (the show was not correctly programmed) were interrogated to yield insights (...) regarding problems in acquiring the control structure. For successful trials (the show was correctly programmed), steps that the model would make were categorized as matches to the model; steps that the model would not make were violations of the model. The model was able to trace the vast majority of correct keystrokes and yielded a business‐as‐usual account of the detection and correction of errors. Violations of the model fell into one of two fundamental categories. The model provided insights into certain subcategories of errors; whereas, regularities within other subcategories of error suggested limitations to the model. Although errors were rare when compared to the total number of correct actions, they were important. Errors were made on 4% of the keypresses that, if not detected, would have prevented two‐thirds of the shows from being successfully recorded. A misprogrammed show is a minor annoyance to the user. However, devices with the approximate complexity of a VCR are ubiquitous and have found their way into emergency rooms, airplane cockpits, power plants, and so on. Errors of ignorance may be reduced by training; however, errors in the routine performance of skilled users can only be reduced by design. (shrink)

This chapter contains section titled: Husserl's Cartesianism Heidegger's Ontological Critique References and Further Reading.

Leading scholars critically assess the pioneering environmental philosophy of J. Baird Callicott.

In this brilliant assessment of the relation between poststructuralism and feminism to current religious thought, philosopher of religion Carol Wayne White convincingly demonstrates that postmodernist continental and feminist philosophies—far from being antithetical to religious concerns—in fact enrich our understanding of religion and its relevance to debates about contemporary culture. By triangulating these three unique perspectives on culture she expands prevailing views of cultural criticism and opens up the discussion to new creative solutions that arise from the intersecting interests of (...) poststructuralist, feminist, and religious studies. Dividing her work into three major sections, White first summarizes the major developments in postmodern and feminist thought in a lucid and refreshingly jargon-free exposition. Next she focuses on two major thinkers in poststructuralist religious scholarship—Sharon Welch and Mark C. Taylor—showing how their work incorporates, on the one hand, Foucault's political critique of power and, on the other, Derrida's textual deconstruction. Finally, she looks at feminist critiques of culture with special emphasis on feminists' contributions to the study of religion. She concludes by highlighting the important role of religious valuing in providing an impetus to action and pragmatic social change. Religion can and should move us beyond the stalemate of postmodern critiques with their often-nihilistic undertones and fruitless academic posturing. Poststructuralism, Feminism, and Religion succeeds in elucidating what it means to think and act religiously in the postmodern era. (shrink)

The purpose of this essay is to argue for the necessity of an ethics of the practice of the specialist-technologist in medicine. In the first part I sketch three stages of medical ethics, each with a particular viewpoint regarding the technology of medicine. I focus on Brody's consideration of the physician's power as a example of contemporary medical ethics which explicitly excludes the specialist-technologist as a locus of development of medical ethics. Next, the philosophy of Heidegger is examined to suggest (...) an approach to the problem, and, finally, some of Levinas' contributions regarding the other are introduced to suggest a preliminary approach to a medical ethics of the specialist-technologist. (shrink)

In this chapter we theoretically analyse the most prominent emotional states that derive from postmodernity, and which, exacerbated by the Covid pandemic, affect individuals and societies. When differentiating emotions in their social aspect as either isolating or binding, it becomes apparent that isolating emotional states such as fear, mistrust and loneliness have been especially intense in this sociocultural situation. Due to their isolating character, they negatively affect social cohesion. We propose that the social fabric can be strengthened through relationships of (...) civic friendship, because this is based on the development of binding emotions (trust, empathy, care for well-being, and compassion, which are other-oriented emotions), as well as consisting of a bond of reciprocal good will between citizens. Without forgetting that, under certain conditions, it can also be a risk for social cohesion, civic friendship brings consistency to society, not only because of the kinds of binding emotions that it involves, but also because, being based on other-oriented emotions, it protects emotional rationality from emotionalism. (shrink)

Background Non-invasive prenatal testing (NIPT), which can screen for aneuploidies such as trisomy 21, is being implemented in several public healthcare systems across Europe. Comprehensive communication and information have been highlighted in the literature as important elements in supporting women’s reproductive decision-making and addressing relevant ethical concerns such as routinisation. Countries such as England and France are adopting broadly similar implementation models, offering NIPT for pregnancies with high aneuploidy probability. However, we do not have a deeper understanding of how professionals’ (...) counselling values and practices may differ between these contexts. Methods In this paper, we explore how professionals in England and France support patient decision-making in the provision of NIPT and critically compare professional practices and values. We draw on data from semi-structured interviews with healthcare professionals. Results Both English and French professionals emphasised values relating to patient choice and consent. However, understandings and application of these values into the practice of NIPT provision differed. English interviewees placed a stronger emphasis on interpreting and describing the process of counselling patients and clinical care through a “principle” lens. Their focus was on non-directiveness, standardisation, and the healthcare professional as “decision-facilitator” for patients. French interviewees described their approach through a “procedural” lens. Their focus was on formal consent, information, and the healthcare professional as “information-giver”. Both English and French professionals indicated that insufficient resources were a key barrier in effectively translating their values into practice. Conclusion Our findings illustrate that supporting patient choice in the provision of NIPT may be held as an important value in common on a surface level, but can be understood and translated into practice in different ways. Our findings can guide further research and beneficially inform practice and policy around NIPT provision. (shrink)

In this commentary, I take up Kammerer and Frankish's (this issue) project of exploring the space of possible and actual introspection. Focusing on human introspection where we lack concrete psychological models, I identify three types of introspection: (1) simple introspection of perceptual experience, (2) introspection of mental action, and (3) complex introspection of phenomenology. Drawing on psychological capacities which we empirically understand, I show how each type relies on various forms of attention to guide introspective response and raise questions about (...) introspective reliability drawing on the proposed architecture. I conclude with some preliminary remarks on how to map these three forms within Kammerer and Frankish's conceptual space and the requisite dimensions needed to do so. (shrink)