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Abstract
Since its publication in 1995, a significant literature has developed around David J. Elliott’s praxial philosophy of music education, as explained in Music Matters: A New Philosophy of Music Education. This literature includes a range of commentaries in journals, books, edited books, and dissertations. Although Elliott has replied to some positive and negative commentaries since 1995, he has not addressed several adverse discussions by leading music education philosophers. Accordingly, we posit that there is an important gap in music education’s philosophical discourse that may cause some music education students and researchers to accept or reject important criticisms of Elliott’s praxialism without sufficient information or reflection.
In this article we analyze several critiques of Elliott’s praxialism. Our discussion divides into three sections related to major topics presented in the praxial philosophy particularly and music education generally: music making, music listening and musical works, and musical values. Each section presents (a) critics’ evaluations of Elliott’s position on a given topic, and (b) Elliott’s stated position on that topic, as explained in Music Matters. Where pertinent, we consult the views of other scholars on specific topics. We end each section with brief reflections on critics’ claims, reserving our final evaluations for the concluding section.
Education Musicale “Praxielle”: une analyse critique des commentaries critiques
Depuis la publication en 1995 de Music Matters: A New Philosophy of Music Education, une production écrite considerable s’est développée autour de la la philosophie praxielle de l’education musicale, telle que David J. Elliot l’explique dans ce volume. Cette production écrite inclut tout un ensemble de commentaries publiés par la presse ou sous forme de livres (parfois en edition remaniée ou partielle), et de dissertations. Encore que Elliott ait répondu à quelques commentaires favorables et défavorables depuis 1995, il ne s’ est pas penché sur plusieurs points qui méritent d’être debattus, selon les plus importants philosophes de l’éducation musicale. En conséquence, nous posons comme point de départ de cet article qu’il a un blanc important dans le discours philosophique sur l’education musicale, lequel peut amener certains étudiants ou chercheurs à accepter ou refuser des critiques importantes faites au praxialisme de David Elliott, sans s’appuyer sur des informations fiables ou sur une réflexion suffisante. Dans cet article, nous analysons un certain nombre de critiques contraires au praxialisme de Elliot, pour évaluer la véracité et le bien-fondé de leurs affirmations. Notre discussion se divise en trois sections consacrées dans cet ordre aux trois grands sujets que la philosophie praxielle distingue en general et en education musicale: la musique qu’on fait, la musique qu’on écoute / les oeuvres musicales, les valeurs musicales. Chaque section présente (a) les jugements des critiques à l’égard des positions d’ Elliott sur chaque sujet et (b) la position declarée par Elliot sur ce sujet, telle qu’il l’ expose dans Music Matters. Quand cela est pertinent, nous renvoyons aux points de vue d’ autres chercheurs sur des points précis. Nous concluons chaque section avec des réflexions succintes sur ce que prétendent les critiques, tout en gardant nos évaluations finales pour la section des conclusions.
Praxeologische Musikerziehung: Eine kritische Analyse kritischer Kommentare
Seit David J. Elliott Veröffentlichung 1995 hat sich eine beträchtliche Literatur im Zusammenhang mit seiner praxeologischen Philosophie in Musikerziehung entwickelt, die in Music Matters: A New Philosophy of Music Education (Musik ist wichtig: Eine neue Philosophie in der Musikerziehung) erläutert wird. Diese Literatur umfasst eine Reihe von Kommentaren in Zeitschriften, Büchern, Editionen und Dissertationen. Obwohl Elliott auf einige positive und negative Kommentare seit 1995 geantwortet hat, ist er nicht auf einige der nachteiligen Diskussion führender Musikologen in Musikerziehung eingegangen. Dementsprechend zeigen wir, dass, eine wesentliche Lücke im philosophischen Diskurs in der Musikerziehung besteht, was dazu führen kann, dass einige Musikstudenten und Musikfachteute wichtige kritische Gesichtspunkte von Elliotts Praxeologie ohne ausreichende Information oder Begutachttung akzeptieren oder ablehnen. In diesem Artikel analysieren wir verschiedene nachteilige Besprechungen von Elliotts Praxeologie mit dir Absicht, die Glaubwürdigkeit und Gültigkeit der Behauptungen von Kunstrichtern zu bewerten. Unsere Diskussion besteht aus drei Teilen, die sich auf hauptsächliche Themes beziehen, wie sie sich spezifiisch für die praxeolgische Philosophie und für Musikerziehung allgemein ergeben: Musik komponieren, Musik hören, Musikwerke, Musikbewertung. Jeder Teil zeigt (a) Bewertungen der Kritiker von Elliotts Stellungnahme zu einem gegebenen Thema und (b) Elliotts eignene Ansichten zu diesem Thema, wie in Music Matters dargelegt wird. Wenn zutreffend, konsultieren wir die Auffassungen anderer Musikwisschenschaftler im Hinblick auf spezifische Themen. Wir beenden jeden Teil mit kurzen Bemerkungen zu den Thesen der Kritiker. Unsere endgültigen Bewertungen bleiben abschliessenden Teil vorbehalten.
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