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)

This paper is based on a piano piece commissioned by the British and Ireland School of Feminist Theology for its anniversary conference. It interrogates the situations in which the sections of the piece were created through the lens of conceptions of failure. It explores religious experience and identity in mental health contexts and the development of groups associated with Feminist Theology over the past 20 years. It examines the repression of the feminine, the place of anger in religion and therapy (...) and its relation to a theology of the crucifixion and the processes of forgiveness. It integrates poetry into its text and sets out the role of the arts in process theology. (shrink)

This article describes the dilemmas posed in my life by a conflict between the role models offered to educated women in the 1950s and 1960s and those offered by the surrounding culture. The absence of feminism in the education system and the separation from other women by constructs of the family and motherhood resulted in mental illness. The role of mental health services in reinforcing the surrounding culture is explored and tributes paid to the Britain and Ireland School of Feminist (...) Theology and other feminist theology groups for helping me to find a way out of the imprisoning power of patriarchy through my creativity, especially in the area of hymn writing and performance. (shrink)

This paper will critique the values embedded in the Western classical tradition from a Foucauldian perspective. It will identify issues of power as a central problem for Western culture which is developing into a monoculture in which many people are disempowered. It identifies the role of the dialogic imagination in challenging the dominant culture and how this might inform work with children. It will see a way forward as the valuing of difference, drawing on the work of Martin Buber, Emmanuel (...) Levinas, and Jacques Derrida. It will examine the origins of the hierarchy of the Western classical music tradition in the development of patriarchal values in early Christianity. It will analyze the use of the arts as cultural intervention for personal and cultural re-empowerment, drawing examples from Improvisation Theatre, Carnival, heteroglossia in contemporary poetry and Victor Turner's notion of liminality. It will draw on examples from a variety of art forms and then look at how music might be re-envisioned. It will interrogate a musical event drawing on these strands to encourage children to think outside the cultural conventions and to value difference. (shrink)

The article discusses a model first described in a Keynote and revisited to reflect how certain ways of knowing have become subjugated by the power structures of Western society and need to be brought into relationship with the dominant culture. The original keynote did not examine all the polarities which were developed in Unconventional Wisdom. The article explains how I have developed these in my theology, performance and professional practice. The article shows how I have used the thinking in a (...) variety of contexts and forms bringing together the arts and theology to produce a practical theology for my ministry as a Christian priest and a composer/conductor. (shrink)

This paper examines how the prevailing knowledge systems of the West reduce and divide us within and between ourselves. It also highlights how these are paralleled by the Wisdom tradition in theology which allows for a more inclusive model of relationality and becoming. The author sets out before us how western systems create and dictate the underlying binary oppositions by which we, almost unconsciously, live out our lives. New ways are suggested and new horizons plotted.

This paper will examine the transformative possibilities of liminal space as described by Victor Turner and Isabel Clark in the musical experience. It draws on the author's previous phenomenography of musical experience an analytical frame based on the liminality of musical experience using the notion of difference-in-relationship drawing on Martin Buber's "I-Thou experience" and including theorists such as Dewey, Maslow, Levinas, Derrida, Noddings and Shore, M and I. S. Csikszentmihalyi, and Custodero. It will examine the implications of the use of (...) a liminal music space for cultural and personal transformation including its relationship between this space and the everyday world, the loss of boundaries, collective vulnerability, the opportunity to try out new personas, the handing over of responsibility to a higher power and the capacity for joyful play and the possibility of empowerment. It draws on Shakespeare's play Midsummer Night's Dream (drawing, as it does on Ovid's Metamorphoses) to illuminate the nature of transformation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 188-193 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Mark Garberich Michigan State University June Boyce-Tillman's "Towards an Ecology of Music Education" challenges the foundations of music education philosophy and its application to practice. Beginning with the identification and clarification of what are described as "subjugated ways of knowing," she (...) advocates the restoration and application of these approaches to instruction. She completes the description and definition of the interlocking [End Page 188] areas of musical experience by providing an actual project that exemplifies these tenets. I offer my humble appreciation of the attention she gives to the exploration of alternate approaches to music instruction and to the need for a clearer connection between community and individual and between culture and music education."Toward an Ecology of Music Education" is about values. Values may well be the defining word of this era in Western education and society. Changes in demographics, belief systems, and political dogma have de-stabilized the foundations of social and political frameworks, regardless of their efficacy. So, I would like to elaborate on the values represented in this paper, discussing them in relation to teaching, democracy, and diversity in music education. Values and Teaching Each of us carries our worldview into our work and we cannot deny our philosophical identity. However, the degree to which we allow our worldview to affect our teaching should be limited by the priorities of our instruction. Consider music education as having three broad perspectives: (a) purpose in society, (b) purpose for the individual, and (c) aesthetics (inherent value). The position of the three is not hierarchical and each can be considered apart from the others. We give evidence of our real motivation in music education by the emphasis we place upon each of these three. The aesthetically inclined find appeal in teaching for the inherent value in music. Those who strongly maintain a social agenda may be attracted by the possibilities of improving society as a whole through music education. Plato's view of music education was oriented almost exclusively toward his purposes for society. In his writing, any consideration of effect on the individual was only incidental to his primary concern of its effect on society.The true teacher, however, will always gravitate toward the purpose for the individual. A person is the source of his ideas, and does not the creator stand above his creation? Do music teachers teach music? No, they teach students about music. Though we cannot separate ourselves from our love of beauty of form and expression in music nor can we forget our personal commitments toward improving the world around us, yet we must remember that it is the individual student who is the focus of music instruction. If this is true, we can draw some conclusions about our right to bring about change.Do we have the right to proselytize individual students so that they might become adherents of our worldview? As an evangelical Christian, perhaps even a fundamentalist, I admit that I have observed changes in society over my lifetime with some sadness. It is difficult to see the country I love, which was founded upon Judeo-Christian principles, gradually losing touch with those principles. How will departure from those principles affect the direction and stability of the [End Page 189] nation founded upon them? As a teacher, however, I understand that it is my responsibility to teach students about music and that I have a responsibility to parents, who in a democratic society, hold responsibility not only for the spiritual, moral, and social education of their children, but also for the spiritual, moral, and social direction of a nation. Teachers are obliged to live as moral examples to students and to demonstrate values in their actions, but to consider the wishes of parents when it comes to the advancement of personal agendas. We do not have the right to encroach upon the mentoring relationship between parents and children. We must also be careful lest we... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response To June Boyce-Tillman, “Towards an Ecology of Music Education”Elizabeth BauerJune Boyce-Tillman explores the values implicit in the Western musical traditions that also dominate music education. She examines the five interlocking areas of materials, expression, construction, values, and spirituality and how these areas create a more holistic way of conceptualizing the musical experience within music education. By describing the divide between the values of (...) system A and system B, Boyce-Tillman reminds us that these issues are persistent and demand our constant attention as music educators. She supports the conviction that music [End Page 186] curricula should not be dictated by a national curriculum. Instead, education should be a powerful way of supporting the dominant value system of a culture. As an educator focusing on the population of students with special needs, I find myself agreeing with her advocacy of holistic education and suggest that she look at the model of special education to implement this ecology of music education. Boyce-Tillman's proposal evokes a number of responses, of which I will mention two.My first response is to her belief in the individual within the community. This is often problematic in current educational circles. States and countries are being held to standardized curricula. While in and of themselves standards are not bad because they set educational expectations, dictated curricula do not allow for individuality and creativity. Special education addresses this problem by the use of an individualized education plan (IEP). This plan is devised to meet the abilities and capabilities of each individual student. An IEP states the educational goals for the student with special needs for one academic year. Although the IEP contains year-long educational goals, it also contains the methods for how a student will meet those goals. No two students with special needs will have the same educational curriculum. This idea is supported by humanistic ideas in that the individual child is more important than a fixed curriculum. Furthermore, the IEP is developed by all teachers working with the child. For example, a child with Down syndrome normally works with a speech therapist, physical therapist, occupational therapist, general education teacher, and several other subject specific teachers (music, art, physical education, and so on). During the creation of the IEP, all therapists and teachers work together to devise the best educational plan for the student. This helps to ensure continuity between therapies and teaching methods.Currently, many music teachers are excluded from the process of devising the IEP. This also supports Boyce-Tillman's ideas on how national curricula often support the dominant value systems and reinforce the notion of subjugating other value systems. However, I propose that the inclusion of the music teacher in the IEP process because music class is one of the easiest ways to make the student with special needs feel part of a community. The music classroom supports the idea of working together to accomplish a common goal.My second response relates to the valuing of process. While Western culture has typically placed value on product, the converse is true in special education. Throughout the devising of the IEP, the process of learning is valued. Although special education teachers have an ultimate goal for what the student is to accomplish, it is more important to examine the process of how the student achieves that goal. Furthermore, students with special needs are not given rigid time-lines in which they have to accomplish a goal. Instead, a student is allowed to move at his or her own pace. [End Page 187]Moreover, while the students with special needs are moving at their own pace, they are also nurtured by the teacher. In the United States it is common for students with special needs to be educated in the classroom with their nondisabled peers. This is referred to as inclusion. For certain parts of the day, the students with special needs may leave the regular classroom and receive tutoring in certain subject areas by the special education teacher. Many teachers who do not have experience in teaching students with special needs have noticed how the students with special needs achieve more when they are with their special education... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 181-186 [Access article in PDF] Response to June Boyce-Tillman, "Towards an Ecology of Music Education" Claudia Gluschankof Levinsky College of Education, Israel I begin with two confessions. First, music was not my favorite class at school. I cannot even recall what we did there. It did not at all connect with the powerful, meaningful place that music had in (...) my private life, where I loved to sing with my family, and play and sing in ensembles in classes at a private music school. The private piano lessons were fine, but I found no joy in practicing on my own. Music was for me-and still is-a communal experience, associated with personal choice. School did not, and probably could not, provide that.Second, during a recent marketing meeting at the college where I teach and work, I finally said aloud, "I am not sure that I can market a product in which I don't believe." Being a teacher in overcrowded, resource-poor schools where parents are less involved yet more interfering and being expected to conform to standards and to act more as a producer of school ceremonies and festivals and less as a music educator is not a profession I would recommend entering. Boyce-Tillman's paper offers a model for music education in which the corrective emotional experience, in my own case, becomes a remedial object lesson in the setting of the music classroom and a reason to recommend music school teaching as a rewarding profession.Boyce-Tillman calls us to conceive of music "as intimately related to human society and the environment rather than as a discrete and separated category of knowing." Her position is in tune with Christopher Small's coined term "musicking": The act of musicking establishes in the place where it is happening a set of relationships, and it is in those relationships that the meaning of the act lies. They are to be found not only between those organized sounds which are [End Page 181] conventionally thought of as being the stuff of musical meaning but also between the people who are taking part, in whatever capacity, in the performance; and they model, or stand as metaphor for, ideal relationships as the participants in the performance imagine them to be: relationships between person and person, between individual and society, between humanity and the natural world and perhaps the supernatural world.1The five interlocking areas proposed in Boyce-Tillman's model are present in Small's musicking: the relationships among the sounds parallel the area called Materials; the relationships between people and sounds may parallel the area called Expression, which refers to the personal meaning given to the organized sounds. "In the area of Construction, effectiveness often depends on the right management of repetition and contrast within a particular idiom." Such a particular idiom is part of the style ideal of a particular culture. It is defined in terms of form and content, and expresses some inner quality of the society that produced it. The style ideal can be characterized by different factors (for example, historical period, geographic location, school, manner of performance, individual composer, and so on) and can be examined in terms of musical components (form, texture, harmony, melody).2According to Boyce-Tillman, the area of Values "is related to the context of the music-making experience. All musical experiences are culturally related." Because values are shared by groups, I found this present in the relationships be-tween a subculture and the larger society, in its broader meaning. The fifth area is Spirituality, defined by Boyce-Tillman as "the ability to transport the audience to a different time/space dimension." That different time/space dimension may be understood as the supernatural world, referred to by Small.Small sees the greatest challenge to music educators today to be that of providing "that kind of social context for informal as well as formal musical interaction that leads to real development and to the musicalizing of the society as a whole,"3... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 194-199 [Access article in PDF] June Boyce-Tillman, Constructing Musical Healing. (London: Jessica Kingsley Publishers, 2000) June Boyce-Tillman has written a wonderfully stimulating book. Her writing style is eminently readable and the flow of ideas can be readily absorbed. Her forays across many different areas of musical ideation and the various oppositions that exist in and among (...) different cultures reveal that we still have much to learn about the true nature of music. We also have much to change to reach the necessary levels of enlightenment that would be universally beneficial to human life. This book offers some enlightenment. Enlightenment, as the Buddha says, is a process, not a thing, so my purpose here is to give enough of an overview so that you may experience reading the book, the author's cogent insights, posing your own questions about music as a human endeavor, and to consider some of my criticisms.Her primary thesis is spelled out succinctly: My aim in this book is to examine how these polarities are associated with the healing/therapeutic properties of music and how they are reflected in different musical traditions (32). [End Page 194]The emphasis on the healing/therapeutic properties of music is well taken and she pursues these to glorious ends. In examining these properties, one becomes completely engrossed in thinking about music per se, raising both answers and puzzles. Boyce-Tillman effectively plants the seeds for inquiry that remain long after the reading is complete.Chapter 1, "Setting the Scene," is insightful in laying the ground for examining several distinct areas: ways of knowing, notions of well-being, healing as process, models of health, creativity and well-being, and musical development. She then comes to the task prepared to battle with a difficult subject, difficult because of the elusive nature of the subject, by reporting on her own musical and contemplative experiences. It is important to know her own path so that we can examine her conclusions from a deeper perspective.Next she establishes the polarities on which the rest of the book rests, and the framework on which each chapter is built: community/individualism; containment/freedom; expression/confidentiality; unity/diversity; challenge/nurture; excitement/relaxation; and embodiment/transcendence. These are explored after setting forth "A model of the self" and "Music and the model of the self."Two features are helpful to understanding the thesis and keeping track of the narrative. One is the case studies she includes to further explain the specific polarity, and the other is the summary at the end of each chapter which assists greatly in retaining cogent contact with the discourse.Chapter 2, "Of Philosophers and Thinkers," an examination of the Western outlook, although viewed from Boyce-Tillman's healing-therapeutic perspective, is a worthwhile read for even the casual reader. It spans the philosophical/aesthetic area sufficiently so that I will assign the reading of this particular chapter to my graduate students where that subject is appropriate. Here again, the six polarities come into play through an explication of each from the point of view of philosophers, aestheticians, and other writers on music.Having dealt with the Western view, she turns to shamanistic practice in Chapter 3, "Of Shamans and Healers." Intentional or not, these two chapters form a metapolarity for this is where the contrasts are at their widest points. The various dimensions and uses of music as they exist in cultures based on metaphysical beliefs are detailed and revealed through extensive and representative examples.Chapter 4, "Of a New Consciousness," explores the New Age view. She states: [t]he New Age is a many-faceted collection of traditions that has drawn on a variety of sources—both ancient and modern—to balance contemporary trends such as elitism, commercialism, materialism, racism and sexism. It has produced a variety of musical practices, many of the syntheses of ancient traditions and contemporary ideas. Communal music making can represent healing at a personal, ecological and cosmic level. The interconnectedness of the cosmos can be accessed and expressed in music (199). [End Page... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 102-125 [Access article in PDF] Towards an Ecology of Music Education June Boyce-Tillman King Alfred's College, England Western culture has developed a concept of knowledge as divided into discrete categories, which are reflected in the disconnected subjects of our school curricula and the titles of our university faculties. However, music should be intimately bound up with the wider curriculum, (...) particularly in the areas of personal, social, cultural, moral, and spiritual education. From an examination of the values that are implicit in the musical traditions that dominate music education in Western culture, in this paper I will set out some pointers towards a more ecological understanding of music education, drawing on experiences I have had with music and music education in a variety of settings. I will examine how musicology has concentrated only on certain aspects of the musical experience, ignoring areas such as expressive character, value systems, and spirituality, which are the areas that link the musical experience to the fabric of life as lived beyond the confines of the classroom and academe. This paper seeks to re-establish a notion of connectedness both within the musical experience and also beyond it and through it to other areas of knowledge and understanding. For this I have adopted the term "ecology." To explicate this notion of ecology, I have developed a model which incorporates the values that are both usually associated with Western culture and are subjugated by it, drawing on the experience of music itself. [End Page 102] Ways of Knowing The first of these models deals with the social construction of knowledge. Stan Gooch defines two systems of thought embodied in various cultures in the world. He identifies the favored characteristics of one system (Type A) as activity leading to products; objectivity; impersonal logic; thinking and thought; detachment; and discrete categories of knowledge that are based on proof and scientific evidence. The other system (Type B) favors being; subjectivity; personal feeling; emotion; magic; involvement; associative ways of knowing; and belief and non-causal knowledge.1Gooch suggests that the Western world has chosen to value the first of these systems and neglect the other. This is done by a process of devaluation that can be carried out in various ways. In the Western media this devaluation can be manifested as public ridicule or by simply ignoring those events that reflect Type B values. Community-building activities based on associative ways of knowing and acknowledgement of people's feelings and sensibilities are not reported, while a considerable amount of space is given to the essentially dehumanizing practices of warfare and the dissociative practices of violence and crime. For example, reports and articles on holistic, associative approaches to health based on belief systems that defy rational explanation often end with throw-away comments like "If you believe that, then you will believe anything!" Public figures sometimes indulge in similar practices in their pronouncements by initiating policies to outlaw health practices that cannot be supported by scientific methodologies and appealing to the grounds of public safety. People who wish to embrace the values of Type B can easily be pathologized or criminalized as the dominant culture seeks to reinforce the validity of its Type A values. Academic, medical, psychological, and even sociological research concentrates on so-called objective methodologies associated with scientific ways of knowing and the use of numbers in some shape or form. Qualitative methodologies that collect people's stories are often regarded with suspicion because of the alleged subjectivity of the approach.So the values of Type B have become hidden or repressed by Western culture. I have therefore called the ways of knowing that characterize Type B "subjugated ways of knowing,"2 following the work of Michel Foucault and his notion of subjugated knowledges.3 This paper will concentrate on how the ideas of the subjugated ways of knowing can be used to understand where we are in music education, drawing on my experience in the UK. I shall look at ways of bringing the two ways of knowing-Type A and... (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)

Max Charlesworth, a leading Australian philosopher and ethicist, was born in 1925 in Numurkah, the younger son of William and Mabel Charlesworth.Max obtained his B.A. in 1946 and his M.A. in philosophy in 1948. In 1950, he married Stephanie Armstrong. In the same year, Max was the first recipient of the Mannix scholarship for Catholic students to further their studies overseas. However, having contracted TB, he was forced to spend the next 2 years at the Gresswell Sanatorium.Dissatisfied with what he (...) considered the narrow-minded analytic philosophy he had been taught, Max wanted to study contemporary European philosophy. He took the advice of his professor, Alexander Boyce Gibson, to study at the University of Louvain in Belgium, instead of taking the well-trodden path to Oxford or Cambridge. Max and Stephanie spent 3 years in Louvain, where he was awarded his doctorate ‘avec la plus grande distinction’ in 1955.Max’s first academic post was as a lecturer in philosophy at the Un .. (shrink)

The poetry and journalistic essays of Katherine Tillman often appeared in publications sponsored by the American Methodist church. Collected together for the first time, her works speak to the struggles and triumphs of African-American women.

What is the role of cultural archives in creating and sustaining connections between diasporic communities? Through an analysis of an audiovisual archive that has sought to bring together representations of and by African, Caribbean and Asian people, this article discusses the relationship between diasporic film, knowledge production and feminist solidarity. Focusing on a self-curated, UK-based archive, the June Givanni Pan-African Cinema Archive, we explore the potentiality of archives for carving out spaces of diasporic connectivity and resistance. This archive assembles (...) the holdings of pan-African films and film-related materials, built over several decades by June Givanni, a Guyanese-born London-based film curator. Givanni’s archive embodies her long relationship with the intersecting worlds of African and Asian diasporic cinema, which hold deep connections to Black British heritage through global networks spanning across empire. In the making of this cultural analysis, we employ a co-produced, decolonial methodological approach by designing and producing the article in collaboration with Givanni over a two-year period. We aim to foreground the role of feminist labour (academic and practitioner) as agents of change who are reclaiming stories, voices and memory-making. The wider backdrop to this co-produced analysis is the ongoing resilience of a cultural amnesia that has pervaded the Black British experience and the current fragility of Black arts and cultural spaces in the UK. Our question is how might archives help us map the connections between racialised ideas of belonging, memory politics and the reconfiguration of colonial power whilst also operating as a site of feminist connectivity? (shrink)

"A major transformation in thought took place during the Southern Sung (1127-1279). A new version of Confucian teaching, Tao-hsueh Confucianism (what modern scholars sometimes refer to as Neo-Confucianism), became state orthodoxy, a privileged status which it retained until the twentieth century." "Existing studies of the new Confucianism generally depict a single line of development to and from Chu Hsi (1130-1200), the greatest theoretician of the tradition. In this study of unprecedented scope, however, Hoyt Cleveland Tillman offers an integrated intellectual (...) history of the development of Tao-hsueh Confucianism which for the first time places Chu Hsi within the context of his contemporaries. Tillman's methodological strategy allows a rich, complex picture of the Tao-hsueh movement to emerge - one that is sure to transform the field of Sung Confucianism." "To reconstruct the evolution of the Tao-hsueh group, Tillman studies a number of Confucians from four distinct periods, reflecting the basic diversity that existed among them. His discussion is deeply grounded in political and philosophical history and in research on the social networks that joined the members of the Tao-hsueh group. Within this framework, he provides a vivid account of the changing scope of the movement, tracing its development into a "fellowship" and at times a political faction and demonstrating its movement from diversity to gradually increasing exclusiveness, particularly under the influence of Chu Hsi. Close attention is given to confrontational writings and debates within the group, which covered such issues as humaneness, the function of the mind, uses of the Book of Changes, social welfare programs, teaching methods, expediency, and the grounds for knowledge and authority." "A superbly erudite work, Confucian Discourse and Chu Hsi's Ascendancy is an invaluable contribution to the study of the history of Confucian thought in China."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Despite a widespread impression that the public is woefully ignorant of science and cares little for the subject, U.S. National Science Foundation (NSF) surveys show the majority are very interested and understand that they are not well informed about science. The data are consistent with the author’s view that the popularity of pseudoscience does not indicate a rejection of science. If this is so, opportunities for scientists to communicate with the public promise a more rewarding result than is commonly believed (...) among scientists. In fact, the increasing visibility of science in the mass media correlates with a slow, steady improvement in public understanding of science in recent years. (shrink)

It is plausible that the universe exists: a thing such that absolutely everything is a part of it. It is also plausible that singular, structured propositions exist: propositions that literally have individuals as parts. Furthermore, it is plausible that for each thing, there is a singular, structured proposition that has it as a part. Finally, it is plausible that parthood is a partial ordering: reflexive, transitive, and anti-symmetric. These plausible claims cannot all be correct. We canvass some costs of denying (...) each claim and conclude that parthood is not a partial ordering. Provided that the relevant entities exist, parthood is not anti-symmetric and proper parthood is neither asymmetric nor transitive. (shrink)

According to proper functionalist theories of warrant, a belief is warranted only if it is formed by cognitive faculties that are properly functioning according to a good, truth-aimed design plan, one that is often thought to be specified either by intentional design or by natural selection. A formidable challenge to proper functionalist theories is the Swampman objection, according to which there are scenarios involving creatures who have warranted beliefs but whose cognitive faculties are not properly functioning, or are poorly designed, (...) or are not aimed at truth. In this paper, we draw lessons from cognitive science in order to develop a novel argument for the conclusion that the Swampman objection fails against proper functionalist theories of warrant. Our argument not only shows that the underlying, central intuition motivating Swampman-like scenarios is false but also motivates proper function as a necessary condition for warrant, thereby lending support to the claim that any theory of knowledge that lacks a proper function requirement is false. (shrink)

This article examines the philosophical work of Dallas Willard, Emeritus Professor of Philosophy at the University of Southern California. After outlining his major translations, it explores four of Willard’s central theses: that Husserl’s phenomenology of knowledge solved a fundamental puzzle about the objectivity of knowledge; that the success of Husserlian phenomenology’s account of knowledge depended upon Husserl’s ontological insights; that Husserl was already a phenomenologist when Frege was purportedly converting him from psychologism; and that Husserl maintained his early account of (...) knowledge—and thus his realism—throughout his career. Though Willard was instrumental in starting the “Early” or “Realist Phenomenology” movement in America, his philosophical contributions have yet to be fully explored. Therefore, the paper concludes with a guide to those who would like to understand and develop Willard’s work further. (shrink)

What is the significance of Newman’s Mediterranean Journey of 1832–1833? This essay provides a triple-framed response: historically, Newman’s journey was a postlude to his removal as a tutor of Oriel College and a prelude to the Oxford Movement; existentially, his journey was a “realization” of geographical learnings and philosophical ideas that had previously been “notional”; analogically, his journey hadfascinating parallels with the Oxonian classical “types” of Homer’s Odysseus and Virgil’s Aeneas.

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

The debate over the genetic testing of minors has developed into a major bioethical topic. Although several controversial questions remain unanswered, a degree of consensus has been reached regarding the policies on genetic testing of minors. Recently, several commentators have suggested that these policies are overly restrictive, too narrow in focus, and even in conflict with the limited empirical evidence that exists on this issue. We respond to these arguments in this paper, by first offering a clarification of three key (...) concepts—autonomy of the minor, future autonomy, and parental authority—which must be disentangled. We then respond to the arguments by noting the uncertainty of the value of predictive genetic information, and by assessing the psychosocial risks still involved in genetic testing of minors, which are also largely unknown. We conclude that the current consensus position is justified at this stage, in light of the predictions of harm resulting from genetic testing of minors that have not been adequately proved to be unwarranted. (shrink)

The rise of conspiracy culture and the growing influence of conspiracy theories have attracted the attention of scholars from a range of fields. In recent years, Daniel Jolley, Asbjørn Dyrendal, and others have noted the prevalence of conspiracy theories amongst adolescent schoolchildren in Scandinavia and the UK. This article draws on Paulo Freire’s concept of the ‘banking model’ of education to make the case against a ‘debunking’ approach to anticonspiracist education. It argues that conspiracism should be understood as a feature (...) of our culture and as such it should be interrogated rather than dismissed by educators who are engaged in the process of educating for democracy. (shrink)

Proponents of the no-miracles argument contend that scientific realism is “the only philosophy that doesn’t make the success of science a miracle.” Bas van Fraassen argued, however, that the success of our best theories can be explained in Darwinian terms—by the fact they are survivors of a winnowing process in which unsuccessful theories are rejected. Critics of this selectionist explanation complain that while it may account for the fact we have chosen successful theories, it does not explain why any particular (...) one of those theories succeeds. Against this I defend the claim that if selectionists manage to account for the former, they have no burden to account for the latter; the success of any particular one of our best theories might as well be an extraordinary coincidence. I refer to this enhanced selectionist reply as “coincidentalism” and argue that it is a serious but underappreciated response to the no-miracles argument. More generally, I argue the considerations raised in favor of this response show that versions of the no-miracles argument focusing on the success of particular theories are misguided. (shrink)

Midwest Studies In Philosophy, Volume 44, Issue 1, Page 260-278, December 2019.

This article argues that philosophers tend to employ a particular method in constructing their theories and critiquing their opponents. To substantiate this claim, the article examines the work of Nietzsche and Locke, the Empiricists and Rationalists, Heidegger, Levinas, and Derrida, and Russell and Wittgenstein, showing how each relies on a method the article labels “revolution-through-return.” The method consists in identifying the authority behind your opponent's theory, then appealing to something “prior to” that authority, from which you then proceed to derive (...) your own theory. The article distinguishes between several senses of priority, argues that modern philosophers tend to rely on temporal priority, and discusses the questions in priority theory that need to be addressed in order evaluate and construct revolution-through-return arguments. (shrink)