With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile of employees, (...) combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Ferrarese develops our thinking about the social conditions of caring for others, while arguing for an understanding of morality that is materialist and political - always-already political.

Abstract:In this article, I transpose the word "love" for "be" in Hamlet's existential question in his soliloquy concerning life and death penned by William Shakespeare, "To be or not to be: That is the question." Thinking through the ethical imperatives of love and its ancillary values of friendship, desire, and devotion in Western classical music and music education, I sketch critically the role of love in this musical tradition and its transmission and transformation. I then trace some of the implications (...) of this analysis for musical education. (shrink)

No Current Hegelian theories of recognition assume a concept of the subject as always being available for harming. This emphasis placed on vulnerability, whose validity is not being called into question as such here, leave a certain number of elements on the nature of the harm threatening the person expecting recognition unclarified, especially the fact that it cannot be perpetrated without the victim being aware. At the same time, it fails to address the nature of the relationship of recognition, omitting (...) from consideration the exercise of power and the mechanisms inherent to this relationship. These omissions, as I show, cause a particular dimension of recognition-driven struggles to be neglected, a dimension which I will refer to as the politics of exit. (shrink)

Commenting on Ziyaad Bhorat’s discussion of despotism, contextualising comments are presented to discuss how unjust social stratifications and beliefs around ownership might be embedded through the deployment of law. I also suggest an additional response to his list of rebellious activities: Art.

As the media wrestle with ethical and legal problems in coverage of AIDS stories, such as privacy, terminology, and disclosure, a question is raised about the educational role the media will assume in the face of this health threat. Despite health department hopes for candor in dealing with the threat, blunt?language ads and commercials have been rejected by most New York City media and legislation may restrict the extent to which media deal with the question. Though the media alone cannot (...) bear the burden of AIDS education, they must provide point?man services. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 Feminist Studies 44, no. 1. © 2018 by Feminist Studies, Inc. Estelle Carol The Chicago Women’s Graphics Collective: A Memoir In 1973, the Chicago Women’s Graphics Collective worked in an old run-down second-floor office on Belmont Avenue, which we shared with the main offices of the Chicago Women’s Liberation Union (CWLU).1 They call it New Town now, but in 1973, there wasn’t much new about it. We (...) weren’t the only artists in the building though; downstairs was a tattoo parlor. Still, it was better than having the studio located in my apartment on Newport Street, where there were silkscreen tables in the dining room and a bathroom that doubled as a darkroom. My bedroom door opened directly into the dining room and usually reeked of the foul chemicals we used to make the posters. Just one OSHA inspection would have shut us down forever, but it was not until later that we learned about the dangers of long-term exposure. On Newport Street, the apartment was right next to the Ravenswood Branch of the “L,” and it shook like the aftershock of a California earthquake each time a train passed. But we were in the midst of a women’s revolution, and our priorities were clear. 1. The Chicago Women’s Graphics Collective (WGC) was a “workgroup” of the CWLU from the very start. There were about 25 workgroups and other groups within the CWLU. CWLU outreach to recruit new members got a lot of new women into WGC. WGC, Women’s Liberation Rock Band, and Womankind Newspaper were the cultural arms of the CWLU. Cultural outreach to attract new CWLU members and new feminists to the movement in general was critical to the CWLU’s success. In Celebration of Amazons, 194. All posters designed and silkscreened collectively by the Chicago Women’s Liberation Union, www.cwluherstory.org. Courtesy of CWLU Herstory Project. All posters are on silkscreen. Turning Through Time, Workwoven, 195. Sisterhood Is Blooming, Springtime Will Never Be the Same, 190. Chicago Women’s Labor History, 194. International Women’s Day (reprinted from a Cuban poster). ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. ABOVE Healthcare Is for People, Not for Profit, 195. OPPOSITE Abortion Is a Personal Decision, Not a Legal Debate, 190. OPPOSITE Chicago Maternity Center, 192. ABOVE Lesbian Pride, 192. Mountain-Moving Day, 192. ABOVE Detail from Mountain-Moving Day, 192. OPPOSITE Women Unite, Take Back the Night, 199. Lipstick and Blood (reprinted from a Cuban design). Women Are Not Chicks, 191. Liberation School for Women, 192. Boycott Red Coach Lettuce, 192. Working Women Unite, 195. International Women’s Day, Many Waves But One Ocean, 192. Estelle Carol 121 If you look at Chicago Women’s Graphics Collective posters, you’ll rarely see a person’s name on them, because we decided early on that art had been done all wrong by men. It was based on egotism and the cult of the individual—the great-men-of-art syndrome. So we decided to throw all that out, and art now had to be a collective experience. So every poster that we created had to be done by committee. Every one. We had a system in which any one of the collective could get an idea or a phrase or an image and decide to do a poster. They would ask two or three other members to be their assistants and to help develop the idea. And then in little teams they would physically create the poster in silk screen. It had to be a collective process. There’s no way that one single woman could really do it because we were using very primitive reproduction methods, and we needed at least three people to run the silk screen. The silk screens were all hand printed. No machines. If a poster was more than one color, it had to be hand printed, one color at a time, so it was very, very labor intensive. And... (shrink)

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These writings (...) are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

Presenting the challenges that face digital age citizens as philosophical, as opposed to technological, this paper explores the underpinning structure of digital civics through an overview of its four foundational pillars and their informing scholarship. Through this framework and the literature that supports it, a set of five key concepts are identified as a useful guide for developing digital civics initiatives, including policy and educational interventions. In closing, this work urges the further exploration of the conceptual underpinnings of digital civics (...) to improve future formulations of digital civics and digital citizenship endeavours. (shrink)

Disability results from the interaction between individual and environmental characteristics (Fougeyrollas et al., 1998). The products and services offered to the consumers with disabilities are part of these environmental characteristics and play a role in the process of producing disability. For these products and services to better answer the needs of consumers and in a logic of empowerment, consumers with disabilities can participate in the design of innovative products. This is called co-design. This participation comes up against a number of (...) practical (Allen, McGrenere & Purves, 2007; Brulé, Bailly & Gentes, 2015; Magnier et al., 2012) and methodological (Hendriks, Slegers & Duysburgh, 2015; Plos, 2011) obstacles. These obstacles have been studied mainly by disability, leading to managerial recommendations that are supposed to be valid regardless of the product. However, the observation of 38 cases of co-design projects at the TechLab of APF France handicap shows that this is not the case: different products bring different challenges in terms of co-design, few of which are related to disabilities. In particular, we identify three types of obstacles to co-design within product testing phases: obstacles related to the installation of the innovative product, organizational obstacles and obstacles related to the impact of products on people’s lives. We provide solutions to overcome these obstacles and maximize the participation of consumers with disabilities in product innovation processes. (shrink)

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

The ARAROEM project stands for the Archives from Rhône-Alpes and Romandie gathering ephemeral objects inspired by medievalism. This is a project of research and of scientific education, which aims to collect and analyse multiples products made by craftspeople and industrial companies interested by the imaginary of Middle Ages. With a clear methodology, the project investigates three fundamental criteria to understand the Ephemeral Medievalist Objects (EMO): the symbolic value of the objects, the product lifespan and the durability. It involves various disciplines (...) such as medieval history, medievalisn, semiology, economy, sociology, anthropology and ecology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editorial Reflections on Philosophizing in Music EducationEstelle R. Jorgensen and Iris M. YobIn this article, we reflect on issues that go to the heart of teaching and scholarship in the philosophy of music education. After thirty years of editing Philosophy of Music Education Review, it is a good time to take stock of the philosophical work that has been and is being published and of challenges that remain.Over the (...) years, there has been a growing quality of philosophical articles published in the journal, due in significant part to the efforts of reviewers and the willingness of writers to work with their suggestions. Authors regularly express appreciation for the informed, critical, and constructive reviews their work receives. An exemplary body of philosophical scholarship in music education has been published over this time and PMER is regarded as a premier journal internationally devoted exclusively to the philosophy of music education. In thirty volumes of uninterrupted publication, we have sought to be responsive to important issues in music education. Our writers have engaged relevant subjects of interest to our readers, citations of articles remain strong, and articles are included in [End Page 109] university and college course reading lists. PMER is available in print and online via subscription; it has a wide digital exposure in search engines and leading indexes, and our readership continues to grow.Despite this progress, although the number of submissions has increased, their quality has sometimes been uneven. Our pedagogical commitment to foster philosophical writing and the philosophical inexperience of some writers has significantly impacted the work required to bring submissions to publication standard. Submissions sometimes evidence a lack of attention to formulating a tight argument, citing relevant sources, and polishing and editing the manuscript. The published style guidelines are too often ignored, creating a poor first impression with reviewers and editors. Writers are occasionally in a hurry to publish and less willing to entertain multiple revisions of their articles required to produce work of lasting value. The growing number of music education journals that publish philosophical work, while opening more fora, in some cases perversely result in ideologically driven, polemical, and philosophically uninformed articles in the name of philosophy. This is a good moment to reconsider the importance of philosophical fundamentals that should undergird our philosophizing in music education and what these mean for our academic responsibilities. To this end, we suggest several principles that need to be central to our philosophizing in music education. These principles also have broader implications for the expectations of scholarship in music education generally.WRITING PHILOSOPHYLike other subject areas in the academy, philosophy has its own intellectual structure, a canon of significant writings, its own interpretative methods, and its distinctive role and purpose. A philosophical paper in music education reads differently from papers in the history of music education, methods of teaching music, sociology of music education, empirical research in music education, multi-cultural, gender, and ethnic studies, music education curriculum building and policy making, and so on. And yet, the boundaries between these disciplines, which are artificial constructions when human knowledge is considered wholistically anyway, are somewhat porous with concepts and ideas and claims seeming to move easily from one discipline to another.To help distinguish between philosophy and other areas of study and research, it may be helpful to consider philosophy as a second-order activity. That is, first-order activity examines the raw data of research and experience and attempts to make sense of them. Using inference, pattern-seeking, deduction, hypotheses, statistical analysis, and so on, these activities result in claims, interpretations, and theories that give meaning to what we see, hear, and feel. [End Page 110]The second-order activity takes a step away from these first-order activities. It does not concern itself so much with raw data or with creating theories about them, but critically analyzes the claims and inferences that are made in regard to them. Where first-order disciplines analyze inputs from observation and experimentation, second-order disciplines analyze these analyses—that is, they function as meta-analyses. Philosophers do not need laboratories or fieldwork (which makes applications for grants to support philosophical research difficult to secure!). They need libraries... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 15.2 (2007) 150-160MuseSearchJournalsThis JournalContents[Access article in PDF]Songs to Teach a NationEstelle R. Jorgensen Indiana University, BloomingtonIn this symposium, I first briefly respond to Randall Allsup's piece, "Extraordinary Rendition: On Politics, Music, and Circular Meanings" with some general remarks on the distinctions between fundamentalism and liberalism, and internationalism, nationalism, and localism, and the importance of exercising judgment in order to find a middle ground between (...) extreme positions. Against this backdrop, I reflect on the songs we need to teach the nation to sing and, as a case in point, consider the National Anthem Project launched by the MENC—The National Association for Music Education. I suggest that at the very least the "Star-Spangled Banner" ought not be the only song to teach the nation at this time and it is important to carefully consider which songs we ought to teach the nation. And I propose that music teachers need to take a measured approach that eschews fundamentalism, rampant militarism, and excessive patriotism, embraces musically the tensions between internationalism, nationalism, and localism, and expresses a sensitive world-view through the choice of songs that cultivate and express liberal and democratic ideals and foster peace internationally.1Allsup's attention to the political character of research reminds us of the important consequences of any activity in the public and private spheres. Our endeavors as researchers are inherently ethical and have political consequences because as music teachers, we act on behalf of what John Dewey terms "the public."2 Dewey's "public" arises out of the need for social activities to be collectively organized, especially given the presence of the young, the poor, the ill, the elderly, the needy, and those who are otherwise dependent on others. Politics concerns the organization and governance of the public, that is the collective activities on behalf of society. For Dewey, educational activity cannot escape being ethical and political (construed positively) by the very fact of its undertaking on behalf of a public in the phenomenal world.3My understanding of fundamentalism is that it is, by definition, antithetical to liberalism. Whereas liberalism embraces surprise, entertains the possibility of doubt, and includes the "responsibility to choose,"4 fundamentalism is closed-minded and refuses to be surprised or to doubt the certainty of beliefs that have been accepted. Israel Scheffler notes that there is a safety in dogmatism in which one does not need to face the unsettlement of surprise that one might be wrong and one's beliefs mistaken.5 This quality of fallibility and openness to the possibility of surprise renders a liberal democracy fragile. Without cultivating [End Page 150] capacities and dispositions to open-mindedness and critical thought and action on the part of all the citizens of the democracy, it is open to being high-jacked by closed-mindedness and fundamentalism and thereby subject to dictatorial action on the part of those who seize political power.6 In difficult times, certainty may seem to be safer than open-mindedness that weighs possibilities and thinks through the complexities with which the public must deal. As Paul Woodford argues, if music education is to serve the interests of liberalism, it must likewise cultivate critical thinking and I add the caveat, as a means of defeating fundamentalism and literalism that would destroy liberal democracy.7Liberalism depends on the assertion of certain universal principles of ethical conduct. Seyla Benhabib's reconstruction of universals in what she terms her "post-Enlightenment project of interactive universalism" takes account of important postmodern, feminist, and communitarian insights and understands universals as "interactive not legislative, cognizant of gender difference not gender blind, contextually sensitive and not situation indifferent."8 In this frame, it is only possible to sustain liberalism on the assumption of action that takes for granted that others ought to agree with one and act in such-and-such ways. Whether these principles are referred to as "commonalities" or "universals" in the Benhabibian sense, one appeals to certain propositions on which ethical and political action should be predicated... (shrink)

This essay examines Alfred North Whitehead's claim that education should be construed as religious, and by extension, that music education should be religious. The analysis of questions relating to Whitehead's understanding of the notion of "religious," the defensibility of his claim, and its implications for notions of spirituality and music education and the practical work of music education is cast against the backdrop of the constitutional prohibition of the establishment of religion in the United States.

In lieu of an abstract, here is a brief excerpt of the content:Myth, Song, and Music Education:The Case of Tolkien's The Lord of the Rings and Swann's The Road Goes Ever OnEstelle R. Jorgensen (bio)In this article I explore how myth and song intersect in J. R. R. Tolkien's The Lord of the Rings trilogy—The Fellowship of the Ring, The Two Towers, and The Return of the King—and Donald Swann's song cycle setting of Tolkien texts, The Road Goes Ever On.1 (...) In so doing I am drawn back to Tolkien's The Hobbit, the novel from which The Lord of the Rings grew,2 and in the way of myth, I go back to the beginning to see what is there. After sketching some important themes in The Hobbit and The Lord of the Rings, and commenting as I go on Swann's musical setting of Tolkien's poems,3 I note several implications for music education.Why this particular tale? There are several reasons for my interest. Penned as a novel a half century ago, it was reborn at the turn of the twenty-first century in a widely circulated and highly acclaimed film trilogy. Its pagan and northern European roots are likewise intriguing, pointing back to a distant and imagined past. This extended historical tale can be seen as an epic journey in the genre of The Iliad and Beowulf.4 Such stories of other times were often sung as well as spoken, and Albert Lord describes the process whereby the telling and retelling of stories would be accommodated to the needs and interests of listeners, all of whom could be presumed to more or less know the story and identify with its characters.5 In a mass-mediated and technologically driven society in which attention is often focused on the present, evocations of the past fill a human need to know, individually and collectively, the story of how we came to be here. They prompt important philosophical questions such as those regarding the nature of good and [End Page 1] evil, ways to live a happy life, the role of supernatural events in human existence, and our responsibility to technology and the environment. And when studied in the context of a song cycle, we may better understand how myth and song intersect and be able to better reflect on what can be learned from this intersection for music education and its place in general education.Swann's song cycle evokes the cyclical journeys undertaken by Bilbo and Frodo, beginning with a party at home and ending triumphantly at home, although their pilgrimages generate yet others as ends become new beginnings. There is no end to this story; its beginning culminates yet others chronicled in The Hobbit and The Silmarillion, and its end commences another tale yet to be told. The rings in Tolkien's novel are figurative of these cycles: three rings for the elves, seven rings for the dwarves, and nine for mortal men. Bilbo's ring chronicled in The Hobbit is unveiled in The Lord of the Rings as the strategically most powerful one. Numerology, or the ancient study of numbers and their mythic significance, serves as a frame for the dense narrative that follows in Tolkien's texts. Swann sets a song cycle comprised of six songs, offering yet another number (whether intentional or not) in counterpoint to Tolkien's.The HobbitWithin this narrative are to be found various mythic qualities: a pilgrim on a quest, the band of travelers bound together in friendship by a common objective, the climactic but eventually successful journey, the struggle between good and evil, the crucial role of elemental natural forces and the interventions by powerful supernatural persons and forces in shaping events, the blurring of the natural and supernatural worlds, the inevitable tests that must be overcome in order to achieve the journey's objectives, the frailties of character demonstrated by the protagonist and his fellows, and the transformative quality of the journey on all those who undertake it.6 The action is set at a particular time and in a particular place with its own languages and kinds of writing (including runes or archaic angular writing that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pax Americana and the World of Music EducationEstelle R. Jorgensen (bio)It may seem ironic to speak of a Pax Americana at a time when the United States is prosecuting a war and its aftermath.1 Still, imperialism, or the desire to keep the peace on one's own terms, has led other nations into war when their will and power was frustrated and thwarted. My purpose in this essay is to (...) raise four important and interrelated questions: What are the political tasks that hopeful music teachers, administrators, and those interested in their work need to undertake to pursue an ethically universalistic, democratic, and humane education? What are some guiding principleswhereby music educators and policy-makers can navigate this territory? What are the conditions that would facilitate educational dialogue of the sort that is needed? How should music to be taught in order to achieve the intellectual objectives necessary in dialogical education? I view these questions from the limited musical perspective of the Western classical tradition — a misnomer since it is now an international tradition practiced around the world by people of many different languages, ethnicities, and cultures — and in the context of my position that this tradition merits transformation.2 This is a particularly interesting example since its roots originally are European, Eastern, and African, and it potentially subverts the predominant American popular musical culture of our time.Michael Hardt and Antonio Negri write of a global empire in the making and the seeds of its decline and fall, the multitudes that arise against it and the challenges they encounter in making their voices heard in the political arena.3 The forces of globalization, interwoven as they are with those of capitalism and the ideologies that foster it, are so pervasive that it is difficult for nation states to resist. The powers of nation-states decline while pervasive internationalism lies like an "epidermis" over the many nation-states, religions, languages, and ways of life that characterize societies on planet earth.4 The United States might champion capitalism and its own [End Page 1] breed of democratic ideology, yet globalization engulfs it such that it becomes the creature of its own making. Its values and culture might lie at the heart of the cultural, economic, and political agents of globalization — the multinational corporations with their corresponding distribution networks, interlocking international corporate directorships, licensing agreements, technological inventions, and powerful political and religious liaisons — yet even the United States becomes the child of forces it has exported throughout the world and that it is now unable to control. A culture of fear and violence pervades the country.5 Outsourcing, off-shore export of production capacity, the power of the profit motive, and management decisions made far from the particular places they impact leave many Americans without jobs and security, and a sense of powerlessness to change their circumstances — a phenomenon that also appears in other countries. Eventually, as Hardt and Negri posit in Marxian vein, the people impacted by these developments both here and abroad begin to organize themselves and rise against the oppression they may at first sense if not fully understand; in the beginning they may march peacefully but as their anger and frustration grow, they may eventually revolt. One need not buy into their particular reading of history to notice that, at least over the long term of decades or centuries, there seem to be limits on the human willingness to tolerate oppression; when their patience is eventually exhausted, people resist, subvert, escape, or overthrow their oppressors.One of the particular challenges of our time is the "polyvocality" of contemporary societies. Globalism may constitute the epidermis overlying these "multiplicities and pluralities" but underneath are the hosts of differing tribes, religions, languages, colors, and identities. Ways need to be found for people to dwell together in peace and debate and reconcile their differences without resorting to violence.6 In such a world, even in societies that espouse democratic ideals and principles, moral conflicts cannot be avoided, and differences between and among individuals and groups are often deeply rooted, persistent, and pervasive. This necessitates forging mechanisms that enable deliberation about how to solve the conflicts that necessarily arise.7 Seyla... (shrink)

Evidence from our research on young children's temporal understanding supports Hoerl & McCormack's view that young children rely on a temporal updating system to change representations over time. We propose that the shift from temporal updating to temporal reasoning is enabled by children's expanding representations of event sequences, along with developments in language, memory, and other cognitive competencies.

First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 130-140 [Access article in PDF] Western Classical Music and General Education Estelle R. Jorgensen Indiana University Thinking about transforming music, I address issues relating to the role of musicians in higher education and Western classical music in general education. I am concerned about this music because it is marginalized in general education and the civic spaces of public life. Where once (...) it held a privileged place, it seems now to have acquired (in some quarters at least) a negative connotation as a bastion of elitism and privilege. Instead, popular musics (with a nod to musics of other cultures) have pride of place in much elementary and secondary music education and in many university and college offerings designed for students whose principal fields of study lie outside music. An all-too-common musical illiteracy or, at best, elementary level of musical literacy and aurality renders Western classical music inaccessible to the general public just as the pervasiveness of popular music renders it inaudible and invisible. Bridges to past, less accessible, and esoteric traditions are also too few or in disrepair. Julian Johnson laments the diminished stature of Western classical music and argues for its values in today's world. 1Music teachers of all stripes urgently need to address this marginalization of Western classical music as a matter of public policy. If caring for and fostering [End Page 130] diversity in the natural world is a good, then it is reasonable to expect that fostering diversity in the cultural world is likewise a good. If preventing the extinction of natural species is a matter of public policy, then surely preventing the extinction of musics among other cultural traditions is at least as important. Social transformation has within it the seeds of conservation, or the preserving of past traditions, just as it also suggests profound and ongoing planned and unintended change. When any music such as Western classical music is sidelined, music education policy makers need to ask, Is this multi-cultural, multi-ethnic, multi-faceted music important to keep, foster, and change? What does it have to contribute in the present world? Is it being cared for sufficiently? If it needs to change, how ought it be changed? What principles can be helpful to music teachers in caring for, fostering, and changing it? These are compelling public policy questions for our time. A Quarrel and Its Aftermath In 1963, participants in the Yale Seminar asked some of these very difficult questions of music education policy makers. MENC leaders took exception to the seminar and its conclusions; although some outstanding music teachers were participants, the organization had not been invited and the seminar was not its idea. 2 Instead of addressing directly some of the important criticisms of school music education and music teacher education raised in the seminar, the MENC mounted its own rival Tanglewood Symposium in 1967. Participants in this symposium faulted music in higher education for its failure to admit "talented and capable high school music students [to] the privilege of advanced study," the "[c]ompartmentalization and lack of communication between various segments of the music field," its lack of relation to "the musical heritage of American culture," and its failure to ensure arts courses in general education. 3 The symposium contributed to a populist stance focused on the myriad vernacular traditions of the world, thereby diminishing the role and presence of Western classical music and highlighting popular and vernacular musics at MENC conferences and in the elementary and secondary schools in the United States. Subsequent attempts to renew the Western classical tradition and raise the musical expectations of teachers and their students in the nation's schools exemplified in the Juilliard Repertory, Manhattanville Music Curriculum Project, and Comprehensive Musicianship Program seem not to have made a lasting impact. And the differing criticisms and visions of the Yale Seminar and Tanglewood Symposium have yet to be critically engaged.Summarizing criticisms made of school music repertoire in the report of the Yale Seminar to the Office of Education, U.S. Department of Health, Education, and... (shrink)

L’article propose une étude lexico-syntaxique de la polysémie du nom truc en français, qui connaît cinq types d’emplois différents, dont certains le rapprochent de noms sous-spécifiés et/ou de noms généraux. L’analyse s’appuie sur un vaste corpus de données attestées et sur une batterie de patrons syntaxiques permettant à la fois de départager et de caractériser les différentes acceptions du nom truc. Il est ainsi montré que chaque type d’emploi de ce nom en tant que Nss se caractérise par une construction (...) privilégiée, tout en en admettant une ou plusieurs autres. Il s’avère en effet que chacun des sens du substantif truc peut être défini par une conjonction de propriétés discriminantes de nature syntaxique et sémantique. (shrink)

Although Judith Butler regards recognition as the theme unifying her work, one finds a striking absence of dialogue between her and the authors of the normative theories of recognition – Honneth, Habermas, Ricoeur, etc. In the present article I seek to call into question this sentiment, shared by the two sides, of a radical theoretical heterogeneity. First I seek to show that the theory of performativity which Butler developed initially, contrary to all expectations, sets her relatively apart from the tradition (...) to which she conforms (the French reading of Hegel), and brings her closer to the proposition represented by the normative theories of recognition in general, and that of Honneth in particular. Then I highlight how the recent modulations in her theory, through the appearance of the idea of a constitutive vulnerability, which enables her to found an ethics, undermine for once and for all the claim of irreducibility maintained by each of the two theories in relation to the other. (shrink)

Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music education, social change, and social justice,3 we each have explored topics in the other's area of interest.4 Neither of us, however, has systematically (...) brought together the two themes: building practices on grounding metaphors for developing music education as a means for promoting the common good. In this paper, our conversation explores... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Susan Laird, “Musical Hunger: A Philosophical Testimonial of Miseducation”Estelle R. JorgensenSusan Laird’s lament of her “musical under-education,” her youthful lack of opportunity for the sorts of experiences for which she hungered and its life-long after-effects, and her invocation of hunger as a metaphor for music education raise compelling questions. In a feminized field such as music, particularly piano playing, her hunger is particularly poignant. Also, (...) the notion of “musical taste” takes on new meaning, and the musical, educational, and ethical questions this metaphor evokes reveal its richness as a means of thinking about music education. This metaphor joins others such as Barbara Thayer Bacon’s metaphor of the quilt, Jane Roland Martin’s metaphor of the home, Iris Yob’s metaphor of pilgrimage, Elizabeth Gould’s metaphor of the nomad, Virginia Richardson’s metaphor of the steward, and Randall Allsup’s metaphor of the garage band, each of which illumines music education differently.1 Without one, we miss important insights into the thought and practice of music education; when taken together, they offer a richer view than were we to see music education in terms of one alone. [End Page 75]Although metaphor evokes imaginative thought and practice in music education, it is also limited. As Nelson Goodman aptly puts it, metaphor is a “matter of teaching an old word new tricks” and an “expedition abroad in which associations with one realm are applied in another.”2 Its power lies in its evocative and imaginative quality as it startles and surprises, challenges familiar ways of thinking and doing, and opens new possibilities for how we might think, act, and be differently. Although Laird would not want to literalize musical hunger or equate it with physical hunger—physical and spiritual realms intersect but they are not equivalent—it is possible to freeze a metaphor or literalize the vitality out of it. Testing it systematically, we enter the ground between metaphor and model, or what Iris Yob thinks of as the metaphorical model.3 While metaphor may prompt an intellectual journey, it cannot take us the entire way. In its particularistic and imaginative appeal, it opens reflection though it cannot suffice. A metaphor may also have a dark side. For example, envisaging the teacher’s role as salvific in providing bread for the hungry or preventing gluttony or food addictions may foster a paternalistic view that substitutes the teacher’s view of a student’s long term interests for the student’s directly-known and immediately perceived needs and interests, thereby subverting Laird’s expressed interest in the student’s desires. The educational “sin” of addiction may also be “redeemed” in Schefflerian fashion by pointing to important contributions of musicians who were doubtless excessive in their musical engagements.4 These possibilities suggest that we shall need to examine critically the metaphor and what it means for music education and move beyond the metaphor to its related models of music education.One of the interesting questions that Laird’s metaphor of hunger raises is the possibility of spiritual hunger, especially in a pervasively materialistic world. Matters related to spirituality have been addressed variously by writers in music education, whether it be the “healing” and ecologically-oriented approach of June Boyce-Tillman, the evolutionary and anthropologically grounded holistic approach of Anthony Palmer, the ethically-based approach of David Carr, the introspective and politically-charged writing of Cathy Benedict and Randall Allsup, the feminist perspectives of Elizabeth Gould, Charlene Morton, Roberta Lamb, and Deanne Bogdan, or the religiously grounded work of Iris Yob.5 Notions of spiritual hunger might be seen differently within the various lenses that these writers bring to music education but they all underscore the importance of knowing that goes beyond the literal, utilitarian, generalizable, and vocational to address the life of mind and body that Susanne Langer terms “feeling” and with which the arts, myths, rituals, and religions have to do.6 As such, they rebuke general education that is limited to reading, writing, and arithmetic, and driven by tests, standards, and mandates that often give short shrift to matters of human spirituality. Still, as the recent unanimous resolution in favor of... (shrink)