Philosophy of Music

In lieu of an abstract, here is a brief excerpt of the content:Mary J. Reichling (March 29, 1941–July 4, 2023)Barbara KennisonIn the early morning hour on July 4, 2023, Mary died from cancer at the age of 82. On July 8, 2023, her family, professional colleagues, former students, and friends gathered in Holy Family Chapel, Nazareth, Michigan to celebrate her life and legacy. In this sacred space, several in attendance offered expressions regarding Mary’s impact on their life professionally and personally. (...) Reflecting on the words in the music served to provide comfort and solace as did the choir and instrumental interludes. Monsignor Michael Hazard celebrated the mass of Christian Burial.Mary was born on March 28, 1941, in Detroit, Michigan, the oldest child of Clarence and Evangeline Reichling. As a young child, she aspired to becoming a physician and was quickly discouraged by others as this was viewed as a profession for men, not women. Her father, recognizing her talent and interest in music, continued to support her as she pursued her music studies, giving her a high level of confidence and skill in piano performance while still in high school.Her teaching career was launched after completing her undergraduate degree from Nazareth College, Kalamazoo, Michigan, August 5, 1966, her Masters in Music Education from Indiana University in 1969, and a Doctor of Music Education from Indiana University in 1991. [End Page 89]Her initial teaching began at Nazareth College, addressing the academic needs of students holding an interest in music and music education. Mary also provided private lessons to young children, teens, and adults. On several occasions I had the opportunity to observe her work with children and young people and was fascinated by her depth of understanding in addressing not only the musical learning needs of her private students as well as the social and psychological issues that had an impact on their musical abilities.An event stands out in my mind. Two adults, well known to the Kalamazoo community, Father John Grathwohl, Pastor, St Thomas Moore Student Parish, Western Michigan University and Evan LeDuc, Kalamazoo’s City Manager, decided to take violin lessons with Mary as their instructor. They appeared at her studio door, dressed like Dan Aykroyd and John Belushi in the film, The Blues Brothers, as they were wearing long oversized trench coats, black overshoes, black felt crumpled hats, and dark sunglasses, carrying their violin cases, and looking unshaven and disheveled. Mary, seeing them, lost her composure and began to laugh uncontrollably as the two stood there in stoic silence. Regaining her composure, she directed them to their respective chairs in front of music stands, had them take out their violins, and the lesson began. Not only was she respected by these two men but also by all the children and young people in her academic care.Having completed her undergraduate and graduate studies, Mary maintained an intense interest in learning, especially in philosophy and neuroscience with a focus on concepts such as thought, imagination, emotion, movement, space, and time. She was fascinated by the relationship between the performer and the audience, with respect to emotion, images, and imagination. Research for her doctoral dissertation, which she titled, “Images of Imagination: A Philosophical Study of Imagination in Music with Application to Music Education,” is reflective of her interest and research in the neuroscience field. Mary was awarded the Dean’s Dissertation Prize, Indiana University and awarded first place in 1991 Outstanding Dissertation in Music Education, national competition sponsored by the Council for Research in Music Education.In 1991, Mary accepted a position in the Department of Music, University of Louisiana, Lafayette where she taught undergraduate and graduate students. She served as advisor to graduate students in the music education concentration as well as serving on students’ dissertation committees. Her commitment to students was exemplified by her availability, in spite of other commitments to the University and music community beyond the university. The fruits of her professorial activity were evident in graduating students obtaining teaching positions in Lafayette, Vermillion, and Iberia parishes.In an effort to promote the music program and recruit students, she maintained a strong connection with area music teachers. This relationship served to [End Page 90] foster and facilitate high school students... (shrink)

This paper explores the fundamental tenets of Plato’s philosophy of education, particularly his views on a practice of great educational potential: communal musical participation. According to Plato, music can attune the individual and the community to cosmic harmony and this, in turn, is the only way to form and maintain a community. The paper explores how the concepts of ethos and nomos are utilized to explain music’s role in community cohesion. It argues that Plato’s understanding of the power of immediate (...) and pre-reflective participation in music can provide valuable insight for contemporary philosophy of music education. The concept of nomos, in particular, allows music educators to take this frame of thought to better understand the role of music in creating communities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund KozaJune Boyce-TillmanJulia Eklund Koza, “Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music (Ann Arbor, MI: University of Michigan Press, 2021)This is a difficult book to read not only because of its length but also its content. While reading the history of eugenics and how it played out in the (...) invention of the holocaust, I found myself feeling the nausea that I similarly feel when embarking on Margaret Attwood’s Handmaid’s Tale. I also remembered how I had used the Seashore tests of musical ability in my time teaching in London primary schools. I was faced with a common problem in UK State schools–three places for violin tuition and twenty children seeking them. The Seashore tests appeared to be the answer to the problem. The claims made for them were that they would tell me which children were likely to succeed because they had more musical ability than others. It was only in the process of using them that I realized that this was an unjustified claim. Conversations with John Sloboda revealed two other aspects that might play out in musical success. One was a moment/event which made a person fall in love with a particular instrument and want to learn it. The other was the amount of time a person would put in to practice the instrument, which in many London contexts with high-rise flats and no soundproofing [End Page 83] was extremely difficult. All that the Seashore tests showed was the third aspect involved in engagement with music, which was the ability to recognize the musical patterns of a particular culture. But what this book shows us so clearly is the danger of rating this ability to grasp the musical patterns of the Western classical musical traditions as the totality of musical ability. Beneath this is the belief that some people are innately musical but, more significantly, others are not. In my experience, musicality is a difficult area in our UK culture; people are more likely to say that they are not musical in a way that they would not in relation to any other academic discipline such as English, geography or history. In many educational contexts, I have pointed out that, if a teacher believes that some students are musical and some are not, then it is unethical to have class music lessons for everyone in the curriculum. Helpfully, in the final chapter of the book, some of these shades from the past, that still color contemporary thinking about music education, are clearly set out.To turn to the book itself, the first chapter sets out Seashore’s life as a “Mendelian hereditarian who believed that musical talent is biologically inheritable, differently bestowed, and immutable.”1 The author contextualizes the belief system in which this is rooted, discussing the American Eugenics Society, the best baby contests, and the “great man” narratives of the early to mid-twentieth century (first set out in Galton’s idea of genius). Seashore’s legacy figures in a number of academic fields, including audiology, aesthetics, educational reform, the American Psychological Society, and the National Academy of Sciences. She hopes to initiate a debate about how eugenics has, and still does have, a part in stories of both music education and education generally. She situates her work in a view of “‘the past’ as a dynamic construct created and recreated in the present.”2 She sets up a different way of remembering the past by acknowledging that past, present, and future are culturally constructed and bounded, in which she uses Foucault’s concept of power.3 She considers the role of “solid” science in supporting both eugenics and its responsibility for the Holocaust. I would recommend that anyone embarking on historical musicology read this chapter to understand the complex mechanisms which need to underpin such study.My own academic research has been about deconstructing the patriarchal values that filled my own miseducation in music history. The legacy of Galton’s construction of genius dominated my music education and when I took my professorial... (shrink)

Can Aristotle’s idea of practice be made fruitful for music pedagogical action in schools? That this is the case is repeatedly asserted in the music pedagogical discussion. This article takes up this assertion and develops a proposal for class music making based on Aristotle’s theory of action.

Since the Middle Ages, Augustine and the wealth of his writings have had an enormous impact on Western philosophical thinking. His approach to time and memory, which he sets out in his eleventh book of the Confessions, is one of the most important sources for research about the philosophy of time. Augustine describes time as a permanent movement in which the future passes unceasingly through an unrelated present into the past. Only the very present moment exists, but this present moment (...) is infinitely short. If the past is no more, the future is not yet, and the present is indivisibly brief, memoria becomes the determining factor of human consciousness. Augustine’s theory of memory and time reveals an epistemological connection with the functioning of human consciousness. Since his understanding of time and memory is already of great relevance in many interdisciplinary approaches, it can also become important to the philosophy of music education. Revisiting Augustine’s concept of memoria can give us new impetus on questions about aesthetic education, cancel culture, and utopian thinking. (shrink)

The Eurocentric canon remains the predominant focus of music education often excluding the role of music and experiences of Black individuals and people of color. This singular perspective creates an incomplete and inaccurate understanding of the comprehensive nature of music and the humans who create, perform, and engage with it. In this article, the author shares her experience as a Black music educator and her aspirations for a music profession that incorporates the full range of human music engagement and expression. (...) The paper begins with a reflection on W.E.B. DuBois’s double consciousness followed by an exploration of the nuances, complexities, contradictions, and beauty of being a Black educator in a primarily white field. Subsequently, the essay presents four conceptual principles for a reimagined, inclusive music education approach, drawing inspiration from Sylvia Wynter’s “new science of the Word.” These principles advocate retelling the music education narrative to incorporate historically marginalized voices, reorienting music education to be human-centered, embracing interdisciplinary approaches to view music teaching and learning, and acknowledging the power of music in uplifting the human condition. Finally, this paper proposes a pathway for reconciling diverse identities prevalent in American culture with music education and academia. (shrink)

In international philosophy of music education, there are some philosophers who are important points of reference. One of them is the German Immanuel Kant (1724–1804). While his philosophy is complex, an oversimplified understanding of his ideas turned him into the “bad guy” of international music education philosophy, being in favor for instance of art for its own sake. His assumed ideas are thought to be the foundation of aesthetic education, in opposition to music education concepts promoting praxis and social change. (...) The prominent role Kant plays leads to questions: Can an eighteenth-century philosopher be blamed for twentieth-century music education concepts and their supposed aberrations? And what did Kant really say? By addressing these and related questions, this paper offers fresh perspectives on Kant’s original concept and the role his assumed ideas play in international music education philosophy, aiming at revising some discourses around them. Furthermore, Kant as a case in point, can lead to general considerations about the function of philosophy in music education philosophy. (shrink)

Roman Ingarden has exerted an immense influence on the development of aesthetics, and his texts in this field continue to inspire in-depth studies on art, despite the passage of several decades since the publication of his major works. At the same time, however, phenomenology – especially in France – brought about crucial changes during the second half of the twentieth century with regard to thinking about art, undermining its own methodological principles and tenets, as well as redefining fundamental phenomenological concepts. (...) In this article, I address the question of the continued relevance of Roman Ingarden’s approach to the musical work within the context of current phenomenological research, in particular that which concerns the subject of aesthetic concretisation. (shrink)

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist’s choice to scream the lyrics. Screamed vocals (...) help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art, namely that if one is going to do so they must ensure the pain has been ‘beautified’. In developing this second point I argue that emotional hardcore is well-suited (though not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. (shrink)

There is a strong intuition that we can listen to works of music, yet musical ontologies on which works of music are abstract objects, perhaps most notably, type theories of music, seem to imply that this is impossible. This problem has received relatively little attention in the literature. I here explore and develop a solution suggested by Julian Dodd and argue that it has at least two problematic consequences, namely (i) that some works of music cannot be listened to unless (...) one has already studied the relevant score or through a similar process learned roughly what the work requires of its performances and (ii) that it is possible for two people to listen to different musical works while listening to the same performance. (shrink)

Johnny Hallyday was France's first rock and roll star and was honored as a national hero at his funeral, which was attended by nearly a million people. The funeral of Pierre Boulez, on the other hand received little fanfare. This book attempts to resolve this discrepancy.

De la composition musicale au design sonore" réunit différents textes pour la plupart déjà publiés, soit dans des revues, soit comme chapitres d'ouvrage ou actes de colloque sur le thème de la musique, progressivement repensée comme le design de sons. Rassemblés à l'occasion d'une Habilitation à Diriger les Recherches (2018), ces textes concernent la création musicale, sa relation à l'image et l'écriture des sons à un moment charnière - la révolution digitale de la fin du siècle dernier - qui posent (...) de nouveaux défis, tant du côté de la création, que de celui de la recherche et de leurs enseignements réciproques. D'une réflexion musicologique déjà orientée vers la question de la perception, ses travaux ont peu à peu porté sur les relations entre la musique et la technologie puis, via celle de la musique au cinéma et à l'accompagnement de l'image, l'auteur en est arrivé à la question du design sonore. Aux confins de la philosophie et des sciences de l'art, il s'interroge finalement sur les perspectives de formation des futurs acteurs de cette interdisciplinarité épistémologique. Peut-on être assurément chercheur simultanément non seulement dans sa pratique mais aussi sur sa pratique? Cette double posture est-elle épistémologiquement tenable et si oui à quelle condition? A supposer qu'elle le soit au plan existentiel, n'implique-t-elle pas une position de juge et partie, et donc un risque de biais cognitif, à tout le moins méthodologique? (shrink)

The Voice of Virtue illuminates the musical practices at the heart of the Neostoic movement that spread across French lands during the Wars of Religion in the latter half of the sixteenth century. Guided by twin reparative traditions granting music and philosophy therapeutic power, composers and performers across the embattled Catholic and Protestant confessions turned to moral song as a means of repairing personal and collective virtue damaged by the ongoing conflict. Moral song collections enlarged interest in Stoic philosophy by (...) circulating its ethical program to a broader audience through attractive paraphrases of Stoic maxims set to music. Even more importantly, this skillfully composed repertoire of polyphonic song offered a multi-sensory moral practice that would have resonated powerfully for those well-versed in the paradoxes of the Stoic tradition. Bringing together a repertoire of little-known music prints, a rich visual culture, and an impressive body of literary and philosophical sources, The Voice of Virtue not only illuminates the influence of Stoicism on music, but also reveals that we cannot fully understand Neostoicism as an intellectual or cultural movement without accounting for its vibrant musical sounds. Virtue, as voiced in these Stoic practices, proves to be both rational and fully invested in the sensory processes of the singing body. (shrink)