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Landscapes: the Arts, Aesthetics, and Education 15 Frederik Pio Øivind Varkøy Editors Philosophy of Music Education Challenged: Heideggerian Inspirations Music, Education and Personal Development P hilosophy of Music Education Challenged: Heideggerian Inspirations L andscapes: the Arts, Aesthetics, and Education V OLUME 15 S ERIES EDITOR L iora Bresler, U niversity of Illinois at Urbana-Champaign, U.S.A. E DITORIAL BOARD E eva Antilla, T heatre Academy, Helsinki, Finland M agne Espeland, S tord University, Norway C hris Higgins, U niversity of Illinois at Urbana-Champaign, U.S.A. R ita Irwin, T he University of British Columbia, Canada S amuel Leong, H ong Kong Institute of Education, Hong Kong M inette Mans, I nternational Consultant, Windhoek, Namibia M ike Parsons, T he Ohio State University, U.S.A. E va Sæther, Lund University, Malmö Academy of Music, Sweden S hifra Schonmann, U niversity of Haifa, Israel J ulian Sefton-Green, U niversity of Nottingham, UK S usan W. Stinson, U niversity of North Carolina at Greensboro, U.S.A. C hristine Thompson, Pennsylvania State University, U.S.A. S COPE T his series aims to provide conceptual and empirical research in arts education, (including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post-modern paradigm shift. The changing cultural, historical, and political contexts of arts education are recognized to be central to learning, experience, and knowledge. The books in this series present theories and methodological approaches used in arts education research as well as related disciplines – including philosophy, sociology, anthropology and psychology of arts education. M ore information about this series at h ttp://www.springer.com/series/6199 F rederik P io • Ø ivind V arkøy E ditors P hilosophy of Music Education Challenged: Heideggerian Inspirations M usic, Education and Personal Development E ditors F rederik P io Ø ivind V arkøy D epartment of Education N orwegian Academy of Music A arhus University O slo, N orway C openhagen, D enmark Ö rebro University, Ö rebro, S weden ISSN 1573-4528 ISSN 2214-0069 (electronic) I SBN 978-94-017-9318-6 ISBN 978-94-017-9319-3 (eBook) D OI 10.1007/978-94-017-9319-3 S pringer Dordrecht Heidelberg New York London L ibrary of Congress Control Number: 2014953789 © Springer Science+Business Media Dordrecht 2 015 T his work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifi cally for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. T he use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. While the advice and information in this book are believed to be true and accurate at the date of publication, neither the authors nor the editors nor the publisher can accept any legal responsibility for any errors or omissions that may be made. The publisher makes no warranty, express or implied, with respect to the material contained herein. P rinted on acid-free paper S pringer is part of Springer Science+Business Media (www.springer.com) C ontents 1 I ntroduction. An Ontological Turn in the Field of Music and Music Education .............................................................................. 1 F rederik P io and Ø ivind V arkøy Part I Technical Rationality and Nihilism 2 M usings of Heidegger. Arts Education and t he Mall as a ‘Debased’ (Dreyfus) Work of Art ................................................... 1 7 F rederik P io 3 T he Intrinsic Value of Musical Experience. A Rethinking: Why and How? ........................................................................................ 4 5 Ø ivind V arkøy 4 W ays of Revealing: Music Education Responses to Music Technology ............................................................................... 6 1 D avid L ines 5 T owards an Ontological Turn in Music Education with Heidegger’s Philosophy of B eing and His Notion of R eleasement ............................ 7 5 H anne F ossum Part II Music and Being 6 B ody – Music – Being. Making Music as Bodily Being in the World ............................................................................................. 1 01 L ars O berhaus 7 M usic as Art – Art as Being – Being as Music. A Philosophical Investigation into How Music Education Can Embrace a Work of Art Based on Heidegger’s Thinking .................................... 1 13 S usanna L eijonhufvud and C ecilia F erm T horgersen v vi Contents Part III Musical Experience 8 M usic, Truth and Belonging: Listening with Heidegger ..................... 1 31 E rik W allrup 9 T he Phenomenology of Music: Implications for Teenage Identities and Music Education ............................................................. 1 47 C harles F ord and L ucy G reen 1 0 M usic Education as a Dialogue Between the Outer and the Inner. A Jazz Pedagogue’s Philosophy of Music Education ................................................................................. 1 69 E lin A ngelo 1 1 P endulum Dialogues and the Re-enchantment of the World .............. 1 85 E dvin Ø stergaard Part IV Bildung and Truth 1 2 R evisiting the Cave: Heidegger’s Reinterpretation of Plato’s Allegory with Reference to Music Education ...................... 2 01 C hristopher N aughton 1 3 F rom Heidegger to Dufrenne, and Back: B ildung Beyond Subject and Object in Art Experience .................................................. 2 13 E inar R usten 1 4 P ractice as Self-Exploration ................................................................... 2 29 M orten C arlsen 1 5 A rt and “Truth.” Heidegger’s Ontology in Light of Ernst Bloch’s Philosophy of Hope and Hans-Georg Gadamer’s Play-Metaphor. Three Impulses for a New Perspective of Musical Bildung .................................................................................. 2 43 K arl H einrich E hrenforth A bout the Authors E lin A ngelo is Associate Professor in Music and Art Education at The Norwegian University of Science and Technology, Programme for Teacher Education (Trondheim, Norway). She holds a Ph.D. in education. Her main research interest is philosophy of music and arts education. She is especially occupied with the ques- tions of profession understanding and philosophies of work within and around the fi elds of music and art education, in school and society. Angelo has published a number of articles, chapters and books in this fi eld, and is a presenter on national and international conferences. During 2014 she will publish her book Profession Understanding and Art Pedagogy (Profesjonsforståelser og kunstpedagogikk), and edits together with Signe Kalsnes (Norwegian Academy of Music, Oslo) the anthol- ogy Artist or teacher? Professional Dilemmas in Music and Art Teacher Education (Kunstner eller lærer? Profesjonsdilemmaer i musikk- og kunstpedagogisk utdanning). M orten C arlsen is Professor of Viola and teaches related subjects at the Norwegian Academy of Music. He is a regular visiting teacher at the University of Music in Vienna, where he studied, and the Paris Conservatoire. His career as performer involved orchestral positions, top-level chamber music and solo performances and recordings. Carlsen is fascinated also by the more philosophic aspects of teaching and performing and has written smaller articles and lectured on subjects such as instrumental practice, performer history and talent education. A collection of his advanced exercises for violin/viola, V ademecum, has been published. K arl H einrich E hrenforth is Prof. Dr. Phil. with studies in music education, musi- cology, German literature and theology. He has worked as teacher (1956–1972) and professor at Hochschule für Musik Detmold (Germany) (1972–1993). From 1981 to 1990 he was President of the “Verband Deutscher Schulmusiker” (VDS), since 2003 Honorary Chairman of VDS. Ehrenforth has among other works published the books Geschichte der musikalischen Bildung. Eine Kulturgeschichte in vierzig Stationen (2nd edition 2010), and H inhören – Zuhören- Durchhören. Aspekte einer dialogischen Hermeneutik der Musik in vermittelnder Absicht (2014). vii viii About the Authors C harles F ord is an Associate Fellow at the Institute of Musical Research, School of Advanced Studies, University of London (UK). His recent book, M usic, Enlightenment and Sexuality in Mozart’s Figaro, Don Giovanni and Cosi fan Tutte combines depth analysis with an exploration of how these operas ‘sound’ the European Enlightenment. He has also published articles on irregular rhythms in late 1960s popular music, and his current research is pursuing this topic further. H anne F ossum is Associate Professor in Music Education at Oslo and Akershus University College of Applied Sciences (Oslo, Norway). Her main research interest is in the philosophy of music education. She is especially working with issues related to music aesthetics, ontological and epistemological questions, and dialo- gism. She has published articles in Norwegian, English and German. L ucy Green is Professor of Music Education at the London University Institute of Education (UK). Her research interests are in the sociology of music education, specializing in meaning, ideology, gender, popular music, informal learning, and new pedagogies. She is the author of fi ve books and numerous shorter works, has given keynotes in countries across the world, and serves on the Editorial Boards of 13 journals. Lucy created the ‘Informal Learning’ pathway within the British proj- ect ‘Musical Futures’, and is currently taking this work forward into instrumental tuition. S usanna Leijonhufvud is a doctoral student in musicology at Örebro universitet (Sweden). She achieved a licentiate degree in 2011 with the thesis E xperience of singing – a musically vocal confi rmation of my existence in the world. A phenome- nological investigation from a fi rst-person perspective. Susanna has also developed an assessment support in music for Swedish compulsory school year 6. She is cur- rently running her Ph.D. project on implications of digital music distribution with S potify in focus. Writings are internationally presented at various conferences as Nordic Network for Music Educational Research, Nordic Musicological Congress, International Conference for Research in Music Education and at a pre-conference of International Symposium on the Philosophy of Music Education. D avid Lines is Acting Head of the School of Music at the University of Auckland. His music research interests include music education philosophy, improvisation, music technology, early childhood music education and studio pedagogy. He is author/editor of the book Music Education for the New Millennium (2005) and he plays jazz piano in his spare time. C hristopher N aughton Beginning as an early years teacher in London, Naughton moved to becoming a music specialist at primary level before embarking on his masters at York University. He took up his fi rst post in higher education at the University of Exeter where he became involved in community samba. Naughton sat up his own samba school at the University of Auckland New Zealand in 1999, and began his research into samba as a means to develop undergraduate music educators About the Authors ix treating samba as a fundamental part of a music education course. He is currently engaged in several research projects looking at developing work with community artists in early childhood centres. Naughton is editor of the journal H e Kupu , a dedi- cated early childhood education journal. L ars O berhaus is Professor of Music Education and Director of the Institute of Music at the Carl von Ossietzky University Oldenburg/Germany. He studied music and philosophy and wrote his thesis about M usic and Embodiment. Phenomenological Analysis of Corporeality in Music Education. After working as a Secondary school teacher, he was Professor in Music Education at the University of Weingarten (2007–2012). His interests are philosophy of music education, music education and interdisciplinarity, and music in the early childhood. He has published many papers about music didactics and is speaker at a number of national and international conferences. E dvin Ø stergaard is Professor of Art and Science in Education at Section for Learning and Teacher Education, Department of Mathematical Sciences and Technology (Norwegian University of Life Sciences). His main research and teach- ing focuses are: phenomenology in science education and the kinship of art and science in an educational perspective. He has published several articles in journals like S tudies in Science Education, L eonardo, Journal of Aesthetic Education, and Z eitschrift für Didaktik der Naturwissenschaften. Østergaard is also a composer, and his music has been performed in several European countries, as well as in the USA and Canada. F rederik P io is currently Associate Professor at the University of Aarhus and lives in Copenhagen with his wife and two kids. He has authored several books on phi- losophy of music education as well as philosophy of general education. He is espe- cially interested in music education, Bildung-theory and hermeneutical as well as phenomenological lines of thought within the fi eld of education and teaching in general. E inar R usten holds a Ph.D. in music pedagogy with the thesis Musikk som dan- nende virkeligheter – musikalsk livserfaring i lys av dannelsesteori (Music as culti- vating realities – musical life experience in the light of Bildung- theory) (2006). He practices as a private music teacher and pianist. His main research interest is in the phenomenon of individual B ildung within contexts of art experience. C ecilia Ferm T horgersen is Doctor and Professor in Music Education, at School of Music in Piteå, Sweden. She graduated in June 2004 upon the thesis O penness and Awareness – A Phenomenological Study of Music Teaching and Learning Interaction. Her research areas are educational quality within music teacher train- ing, with specifi c focus on Musikdidaktik and practical teacher training; how music education in compulsory schools can be organized in democratic ways; and philo- sophical studies concerning aesthetic communication based on a life world

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