Praxial Music Education:Reflections and Dialogues

Edited by David J. Elliott

An Overview of the book and the Praxial Music Education Philosophy in general

A General Overview of the SubjectIn Ancient Greek the word praxis (πρᾶξις) referred to activity engaged in by free men. Aristotle held

that there were three basic activities of man: theoria, poiesis and praxis. There corresponded to these kinds of activity three types of knowledge: theoretical, to which the end goal was truth; poietical, to which the end goal was production; and practical, to which the end goal was action. (Wikipedia)

According to the editor, David Elliott, “praxial” comes from the word “praxis.” As Aristotle used the word in his Poetics, “praxis” connotes action that is embedded in and responsive to a specific context of effort. The Praxial philosophy holds that a full understanding of the nature and significance of music involves more than an understanding of pieces or works of music, but rather must be examined as a practice and a process.

In his Introduction, Elliott explains:In summary, the praxial philosophy urges a comprehensive and reflective approach to music teaching and learning. It is based on detailed arguments for the views that:

• musical works involve many layers of meanings,

• musical understanding involves many closely related kinds of thinking and knowing, and

• the significance of music in human life can be explained in terms of many important life values.

On the Nature and Significance of MusicThe Nature of Music

• Listening to musical “pieces” alone will not yield a comprehensive understanding of the nature of music.

• Begin with the understanding that the auditory events called “music” are the result of the actions of people who live in a particular period in history, and who make music according to standards and practices learned in that period.

• Musical creations are enmeshed in and derive their nature, even their structure, from the context and culture of their creators.

• In order to perform effectively, musicians develop “listenership,” or the ability to understand by listening.

The Values of Music and Music Education• When our levels of musicianship match the challenge-levels of the pieces we interact with, we

achieve the central values of musicing and listening:• Musical enjoyment• Self-growth• Self-knowledge• Self-esteem (through continuous involvement with music over time)

• In addition, musical activities of all kinds extends our range of expression and in turn challenges other people in their growth.

• The musical works then created serve as cultural artifacts, and enhances multicultural education.

Seven Basic Issues1. Aims, or Why Teach Music? – As defined previously, study of music enhances self-

growth and self-knowledge, as well as enhancing emotional and artistic expression, knowledge and understanding of one’s own culture, and knowledge and understanding of other cultures.

2. Knowledge – Teachers should always focus on musicianship (which includes listenership).

3. Learners – Most people can learn to make and listen to music well, and all students should learn through performing, improvising, composing, arranging, conducting, and listening to live and recorded music.

4. Teaching-Learning Processes – An essential task of music educators is to teach students how to continue developing their musicianship in the future. All students should be engaged in rich and meaningful projects to encourage this development.

5. Teachers – To teach music effectively we must embody and exemplify musicianship ourselves.

6. Teaching-Learning Contexts – Teachers and students together should explore the possibilities of performance, with each new piece as “a full meal,” including listening activities, targeted questions to provoke thought, and study of the culture and circumstances from which the work originated.

7. Evaluation – While assessment is necessary and valuable in the learning process, the focus should be on teaching students to evaluate their own musical development and that of their peers.

Suppose we were able to share meanings freely without a compulsive urge to impose our view or conform to those of others without distortion or self-deception. Would this not constitute a real revolution in culture?

- David Bohm

The Purpose of the Book

In the introductory chapter, David Elliott explains that most subjects have a long tradition of philosophical debate. In music education, however, “many educators still consider it impolite, inappropriate, unprofessional, or heretical to debate ideas, philosophies, methods, and institutions in our field.”

By inviting experienced music educators to discuss the philosophy of Praxial Music Education, Elliott hopes to start an open discussion, one where critical thinking, constructive debate, and dialogue are encouraged. Rather than presenting his philosophy as an absolute, Elliott includes and encourages those who disagree with him, as Praxial Music Education is, as with all new theories, in need of further development and study.

The Essays• “The Praxial Philosophy in Historical

Perspective” – Marie McCarthy (United States) and J. Scott Goble (Canada)

• “The Limits and Grounds of Musical Praxialism” – Wayne D. Bowman (Canada)

• “The Nature of Music and Musical Works” – Constantjin Koopman (Netherlands)

• “Music and Knowledge in Bodily Experience” – Heider Westerlund and Marja-Leena Juntunen (Finland)

• “Listening Reconsidered” – Robert A. Cutietta and Sandra L. Stauffer (United States)

• “Why Musical Performance? Views Praxial to Performative” – Wayne D. Bowman (Canada)

• “Composing and Improvising” – Jeffrey Martin (Canada)

• “A Systems View of Musical Creativity” – Margaret Barrett (Australia)

• “Praxial Foundations of Multicultural Music Education” – C. K. Szego (Canada)

• “Curriculum: Implications of Aesthetic versus Praxial Philosophies” – Thomas A. Regelski (U.S. and Finland)

• “What Matters in General Music?” – Pamela Burnard (England)

• “Elementary Music Education: Building Cultures and Practices” – Lori-Anne Dolloff (Canada)

• “Why Don’t I Feel Included in These Musics, or Matters” – Patricia O’Toole (United States)

• “Community Music and Praxialism: Narratives and Reflections” – Kari K. Veblen (Canada)