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  • 1.
    Georgii-Hemming, Eva
    Örebro University, School of Music, Theatre and Art.
    What is quality?: the political debate on education and its implications for pluralism and diversity in education2017In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 25, no 1, p. 67-86Article in journal (Refereed)
    Abstract [en]

    The quality of education is currently considered to be a concern of the highest political priority. However, quality assurances of all kinds seem to be built on, and above all result in, a number of quantities. In this essay, I discuss the quality concept’s traditional and philosophical meaning and how it is being used today, but above all how our current understanding of “quality” may influence pluralism and diversity in education and music education. The worrying trends discussed in this essay are too complex to be solved with quick efforts by philosophers, researchers and/or teachers. Nevertheless, I illuminate some aspects of the issue, which are all in need of further discussions and analysis in relation to the area of music. I also indicate a number of philosophical concepts that can contribute to creating awareness as well as evoke some resistance.

  • 2.
    Georgii-Hemming, Eva
    et al.
    Örebro University, School of Music, Theatre and Art.
    Lilliedahl, Jonathan
    Jönköping University, Jönköping, Sweden.
    Why "What" Matters: On the Content Dimension of Music Didactics2014In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 22, no 2, p. 132-155Article in journal (Refereed)
    Abstract [en]

    Is the most important function of education to provide students with basic skills and useful knowledge in order to eventually become employable? In many parts of the world knowledge league tables and policy documents inform us this is the case. As the question of what should form the educational content seems to be answered, teachers can concentrate on how they should teach, and researchers can concentrate on what method is the most effective. In the current rhetoric, however, many vital pedagogical issues have been placed in the background and the aesthetic subjects are downgraded. These tendencies worried Frede V. Nielsen who stated that didactic studies and philosophical inquiries yet again are needed to explore and give substance to the content dimension. Nielsen's writings on didactics form the basis for this essay, where we highlight which perspectives and dilemmas could be placed on a critical, philosophical didactic study agenda. The starting point is the field of tension between the what and the why of education.

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    Why What Matters: On the Content Dimension of Music Didactics
  • 3.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Instrumentalism in the field of music education?: Are we all humanists?2007In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 15, no 1, p. 37-52Article in journal (Refereed)
    Abstract [en]

    Oivind Varkoy discusses instrumentalism as a trend in educational politics and pedagogical thinking. Instrumentalism implies looking upon both school subjects and humans as instruments, as tools or means for reaching another goal or end. The discussion is related to philosophy of music education by focusing on aspects of philosophies of humankind, the idea of forming the child versus the idea of free growth, and the humanistic tradition of dialectics. To link the philosophical discussion of instrumentalism to music education in a more practical way, the author focuses on the discussion of assessment of knowledge in music. Is it for instance possible for a music educator to accept the idea of measuring musical knowledge by means of standardized tests without having some problems sailing under the flag of pedagogical humanism?

  • 4.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    The concept of 'Bildung'2010In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 18, no 1, p. 85-96Article in journal (Refereed)
    Abstract [en]

    In this article I will discuss the originally German term and concept of Bildung. The reason why I, as a Scandinavian, find such a discussion both interesting and important is that the trend of instrumentalism in modern educational politics and pedagogical thinking (at least in Scandinavian countries) is problematic; that is, looking on knowledge in general and school subjects in particular primarily as tools or means for reaching another goal or end. The discussion of the concept of Bildung has during the history of pedagogical philosophy in my cultural context given—and has still possibilities to give—impulses to fundamental discussions concerning the value and justification of teaching music (and in fact all other school subjects). I focus my discussion on three aspects which are central to the concept of Bildung: cultural heritage (or what could be called a normative aspect of the term culture); “the journey” as a metaphor; and last but not least a criticism of instrumentalism. Furthermore I discuss both content and teaching/learning methods in relation to the concept and tradition of Bildung.

  • 5.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Pio, Frederik
    Aarhus University, Aarhus, Denmark.
    A reflection on musical experience as existential experience: an ontological turn2012In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 20, no 2, p. 99-116Article in journal (Refereed)
    Abstract [en]

    In the current world of education, politics and public opinion, musical experience is increasingly threatened. It is designated ever more as an expendable luxury. This kind of general trend has hardly left the thinking in the field of music and music education untouched. Inspiration comes from the technical rationality of our time. This rationality affects an oblivion of ontology. In this article we discuss this trend related to Martin Heidegger's thinking concerning the human existence in the world, artworks and notions like “being” (Sein) and “oblivion-of-being” (Seinsvergessenheit). We think that it is possible to see this “oblivion-of-being” in relation to the trend in cultural and educational politics as well as in music educational thinking to focus on the instrumental usefulness of learning music.

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