In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 112-129 [Access article in PDF] Musical Aphorisms and Common Aesthetic Quandaries Yaroslav Senyshyn Simon Fraser University, Canada I have written in the style of aphorisms because their form is useful for both the sake of brevity and possible complexity. As well, they are historically significant as they have served many philosophers in the past and in our own time. Some will (...) argue that they do not say enough, but this is unfounded as in saying less there is often scope for more. Who knows perhaps academe will experiment with this mode of writing more frequently?For the sake of a sense of direction, I will borrow Russell Nieli's title to his thoughtful book on Wittgenstein's philosophy, From Mysticism to Ordinary Language, 1 to characterize the procedure of these aphorisms. Thus my initial aphorisms begin with music as a thing-in-itself, a striving toward a Kantian noumenon 2 and move toward the everyday practical concerns of music education. There are no determinate limits to a philosophy of music; unfortunately, this is also true of confusion. The following aphorisms (while hardly exhaustive of any possible gamut of music philosophy) strive to demystify some of the more common aesthetic quandaries and hopefully provide an opportunity for a wider field of discussion in music philosophy and education. [End Page 112] Music: External and Internal Inferences Sound and silence as potentiation of music precedes human existence.If music precedes existence then it can never be defined in absolute terms of thought. It remains thus even if nothingness were an all-pervasive, encompassing silence (that is, the silence of music or music as silence). 3 Silence as music in our culture may be perceived to be music by some and not necessarily by all cultures. As the sound and silence that preceded our being, it is indeed music in everlasting potentiation.In this sense sound can only be philosophically inferred as the "other," outside music, which the pre-Socratic philosophers referred to mystically and metaphorically as "the music of the spheres"; it is that music outside of us and finds its origins in sounds indirectly related to us. 4 It is what I prefer to call the Sound and Silence that define and are defined by each other in their potentiation for music. Thus this sound is music as potential or dynamis if intended to be music and perceived as such. It is also the possible music or sounds of the environment and non-humans such as whales, elephants, and monkeys. But the latter is our perception of their "music" and not necessarily their own appropriation. In the former we can use or intend the sounds of the environment to be music if these are perceived as such by at least one other person.Thus all sound is music in potentiation.The notion of a possible pre-existence of music, as stated in the first aphorism, is then defined by music as both a source and external entity.As an external inference (that is, the possibility of such) music does not communicate with us; rather, we utilize it through our own means and culture to communicate by it indirectly. It becomes our social construct and thus not an absolute notion.This source of music can be verified as it is implicit in our respective societies and world cultures.A music which possibly or inferentially precedes existence is, of necessity, part of that possible catalyst of sound waves identified by modern-day physics by which the universe may have been formed. For this reason, such notions usually appropriated by world mythologies have made it possible to worship music, perceive it as a supernatural force, or even view it is a possible cause in the big bang theory. 5Music is embodied in experience in that it is appropriated by members of extant cultures for its own particular use. We can speak of music from within our personal experiences of it. But this can only be appropriated or understood properly by others when our description of it accords with that cultural... (shrink)

An aesthetic distinction between good music and the good in music is crucial for a philosophy of music education. Ultimately, it is not the music's fault, as it were, that someone may view it as being 'not good' in either a social or aesthetic context. Regardless of how music is colored it remains an entity unto itself and thus untouched by our pronouncements. Wittgenstein's Philosophical Investigations recognized the falseness of such propositions as biased pronouncements taking the form of bad 'x' (...) or good 'x.' Thus we may seek the good within the music if we know how to define what we mean by that. This approach allows music to be conceptualized and framed in a meaningful educational context. In such a way Plato and Aristotle attempted a conceptualization of the 'good' and the 'ungood' in the music of their time, as did Adorno in the preceding century. Although this context still does not allow pronouncements of music as good or bad, it does allow a seeking of its educational utility and unlimited potentiality in the name of an aesthetic and moral understanding. (shrink)

This chapter contains sections titled: Nietzsche's (Artful) Naturalism The Subject Naturalized Nietzsche's Artful Naturalism Toward an Ethos of the Agonized Subject.

In this article I address Schiller’s first response in his Kallias Briefe or Concerning the Beautiful, Letters to Gottfried Körner to Kant’s analysis of the beautiful in the first part of the Critique of Judgment. My main intention in the paper is to investigate Schiller’s emphasis on the notion of resistance (Widerstand) in his reading of Kant’s concept of beauty, and to ask how does this relate to Schiller’s own approach to aesthetics as an ethico-political realm. I am particularly interested (...) in the turn, in Schiller’s case, from Kant’s critique of aesthetics to the idea of aesthetics as critique. (shrink)

Kajian ini mengangkat pemikiran dua filsuf besar yaitu Martin Heidegger dan Mullā Şadrā dalam suatu kajian Filsafat Manusia dengan topik pembahasan ‘Struktur Fundamental Manusia’. Problem yang diangkat adalah bagaimana kesejalanan atau paralelisme gagasan keduanya mengenai struktur fundamental manusia. Penelitian ini berusaha mencari hakikat manusia menurut pandangan Martin Heidegger dan Mullā Şadrā kemudian mensintesiskannya dengan metode paralelisme. Penelitian ini penulis rasa penting, di samping untuk memperkaya dialog pemikiran antar peradaban, juga karena kedua filsuf ini memiliki kesamaan prinsip ontologis dalam fondasi filsafatnya (...) yaitu, Ada. Pandangan ini kemudian disebut dengan ‘reduksi ontologis’. Keduanya yakin bahwa tidak ada problem filsafat yang dapat terselesaikan kecuali pertanyaan tentang Ada terjawab secara memadai. Pandangan reduksi ontologis ini termanifes dalam bangunan pemikiran dan kritik keduanya, terutama dalam studi ini adalah gagasan mengenai manusia yang bersandar pada prinsip ke swa-buktian Ada. Metode yang digunakan dalam penelitian ini ialah metode komparatif khusus yaitu Paralelisme. Paralelisme adalah teori interpretasi atau metode komparasi khusus yang berupaya mencari paralelitas atau kesejalanan formulasi pemikiran antara dua filsuf yang memiliki perbedaan konteks, penekanan, pendekatan arah pemikiran dan solusi, namun memiliki karakteristik gagasan yang sejalan, sebangun atau paralel. Dari penelitian ini penulis menyimpulakan bahwa, Paralelisme Struktur Fundamental Manusia menurut Heidegger dan Mullā Şadrā menunjukan suatu kritik pada pandangan yang telah mengakar dalam diskursus filsafat Barat modern yang dipelopori oleh Rene Descartes. Heidegger secara terang menunjukan ketidakterimaannya pada pandangan tentang diri dalam filsafat Cartesian dan mendobraknya dengan gagasan manusia Dasein sebagai eksisten yang memahami dirinya sendiri dalam pra-struktur memahami, secara eksistensial dan mendahului suatu refleksi atau aktifitas kognitif apapun tentang diri Aku. Demikian pula Mullā Şadrā, walaupun hidup seabad dengan Rene Descartes, secara tidak langung mengkritik tradisi filsafat rasionalisme semacam itu dengan mengembangkan gagasan ilmu ḥudhūrī-nya, bahwa pengetahuan akan Aku atau diri ini bersifat imanen dalam dirinya sendiri dan mendahului segala bentuk konsepsi atau refleksi mengenai diri serta menjadi dasar bagi pengetahuan empiris. (shrink)

This chapter contains sections titled: Epistemological Background Educational Applications On Not Addressing Epistemological Controversies.

Scholarship on Xenophanes’s F1 has had two foci, one on the rules of the symposium and the other on the religious program posed at its close. Thus far, the two areas of focus have been treated as either separate issues or as the religious program proposed in the service of the sympotic objectives. Instead, I will argue that the sympotic norms Xenophanes espouses are in the service of the broader program of rational theology.

This chapter contains sections titled: Early Years in Stageira First Athenian Period Period of Travels Second Period in Athens Last Year in Chalcis, Euboia Notes Bibliography.

This chapter contains sections titled: Introduction Aristotle's Presuppositions and Demonstration Induction (epagôgê) and Comprehension or Intuition (nous) Collecting Facts and Finding Causes Dialectic and its Uses Notes Bibliography.

This chapter contains sections titled: Catalogues and Editions of Aristotle's Works Chronology of Aristotle's Works The Development of Aristotle's Thought Notes Bibliography.

Religion has surprised the secular elites of North American and European societies. Not only has religion survived the treacherous passage from village to metropolis, from medieval superstition to modern science, and from state support (and coercion) to voluntary membership. Apparently, it has thrived and gained new sources of strength amidst these transformations. Far from being relegated to the proverbial ash‐heap of history, modern religions and the activist movements they generate find themselves positioned at the centre of modern debates – and (...) modern wars – over territory, political sovereignty, human rights, global and local economy, scientific research and popular culture. Among these activist movements, the most virulent and sustained are ‘fundamentalisms’ – increasingly sophisticated reactions against secular modernity that seek to fight back against the enemies of traditional religion by constructing religiously inspired and quintessentially modern alternatives to ‘godless’, idolatrous governments, institutions and political and cultural elites. (shrink)