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In Dialogue 41 sound judgmental while the inclusion of a "Bad Art Party" in her Syllabus for an Interdisciplinary Introduction to the Arts and Aesthetics at the University ofArkansas suggests a possible elitist agenda. I do not believe it is healthyto encourage undergraduate students, particularly future teachers , to ridicule the work of others. Further, the condoning of ridicule will hardly encourage students to participate actively as musicians and artists, since the vast majority of them will do poorly compared to the experts. But then, like Dewey, I do not believe that experts should have the final word when it comes to developing, setting, or"instilling" values.10 I likePeterKivy's observation with respect to the development and evolution of musical and artistic values and standards in Western culture. In a democratic society, Kivy relates, "The audience, the performer, [the teacher], the critic, the impresario, the publisher, and the recording company are all entwined in a complex social dance."" In the end, though, at least in a democratic society, it is the public that has the final say. Perhaps the best that teachers can do is to prepare students intellectually and musically so that they can make informed decisions with respect tomusical values. Please note that I am not arguing against the pursuit of excellenceperse, onlythat what counts as good or excellent in our musical society ought to be subjected to criticaland public scrutinyand ought not be left up to the experts. Detels seems to agree that the purpose of music education is to prepare our students to participate intellectually and artisticallyas moral agents in public musical and intellectual life. I would welcome her assistance in helping me understandhow that project can be pursued without fostering elitism or resorting to ridicule. Paul Woodford University ofWestern Ontario NOTES 1. Bennett Reimer, "Gender, Feminism, and Aesthetic Education: Discourses of Inclusion and Empowerment ," Philosophy ofMusic Education Review 3, no. 2(FaIl 1995): 107-124. 2.Max Kaplan, Foundations and Frontiers ofMusic Education (New York: Holt, Rinehart and Winston, 1966), 14. 3.Ibid., 17. 4.Claire Detels, "Hard Boundaries andthe Marginalization ofthe Arts in American Education," Philosophy ofMusic Education Review 7, no. 1 (Spring 1999): 19-30. 5.As Marie McCarthy observes, music educators provided much needed leadership and guidanceto the Community Music Movement during the early part of the twentieth century. McCarthy, "The Foundations of Sociology in American Music Education (19001 935)," in On the Sociology ofMusic Education, ed. Roger Rideout (Norman, OK: The University of Oklahoma, 1997), 73-74. 6.Detels, "Hard Boundaries," 20. 7.Charles Fowler, Strong Arts, Strong Schools: The Promising Potential and Shortsighted Disregard of the Arts in American Schooling (New York: Oxford University Press, 1996), 13. 8.Ibid., 14. 9.Detels, "Hard Boundaries," 27. 10.For a discussion of Dewey's views on this point see James T. Kloppenberg, "Cosmopolitan Pragmatism: Deliberative Democracy and Higher Education," in Education and Democracy: Reimagining Liberal Education in American, ed. Robert Orrill (New York: College Entrance Examination Board, 1 997), 89. 1 1 . Peter Kivy, Authenticities: Philosophical Reflections on Musical Performance (Ithaca, NY: Cornell University Press), 183. A Response to Carolyn Livingston, "Naming Country Music: An Historian Looks at Meaning Behind the Labels" Names are important. They are identity markers and often define who we are. We say some people "live up to their name." In the Jewish tradition, for instance, there has been a great emphasis on what the names ofpeople and places mean. Naming rites are critical for identity inmanycultures, sometimes for names both given atbirthand earnedlaterinlife. Ontheotherhand, Shakespeare tells us that "[a] rose by any other name would smell as sweet." Are you really the same no matter what you are called? Is a music? So just what's in a name, and what has it to do with a musical genre? Livingston's presentation explores the idea of naming music through both philosophy and history. As one brought up with weekly doses of 42 Philosophy of Music Education Review Roy Rogers and Hee Haw, I found a great deal that was familiar in her paper. As she described "home" I had mental pictures ofWalton's Mountain . I'll admit it-I enjoy country music. I am a Johnny Cash...

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