Since the Middle Ages, Augustine and the wealth of his writings have had an enormous impact on Western philosophical thinking. His approach to time and memory, which he sets out in his eleventh book of the Confessions, is one of the most important sources for research about the philosophy of time. Augustine describes time as a permanent movement in which the future passes unceasingly through an unrelated present into the past. Only the very present moment exists, but this present moment (...) is infinitely short. If the past is no more, the future is not yet, and the present is indivisibly brief, memoria becomes the determining factor of human consciousness. Augustine’s theory of memory and time reveals an epistemological connection with the functioning of human consciousness. Since his understanding of time and memory is already of great relevance in many interdisciplinary approaches, it can also become important to the philosophy of music education. Revisiting Augustine’s concept of memoria can give us new impetus on questions about aesthetic education, cancel culture, and utopian thinking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education for Social Change–Constructing an Activist Music Education by Juliet HessMartin BergerJuliet Hess, Music Education for Social Change–Constructing an Activist Music Education (New York, Routledge, 2019)Juliet Hess’s book is written with great passion and composed for a very good reason. It is published in troubling times when music educators are looking for new perspectives on old problems and in search of a revived relevance for the subject. (...) Although music educators appear to be better qualified for their jobs than ever before, there is still an underlying concern that we have lost the positive political influence on society we might have had in the past, that our contributions to enhancing tolerance and social justice are at stake again, and that our voices are not being heard. Or, in other words, that we lack relevance if we do not act.Juliet Hess raises her voice, reclaiming this relevance at a time when “[h]ate continually manifests in both new and familiar ways” and “the presence of oppression is consistent across time.”1 According to her, rising-up against oppressive ideologies, injustices, and material violence is imperative and urgent. Hess calls on finding ways for music education to contribute to resistance and hails concepts that allow educators to devise a distinctly anti-oppressive pedagogy. Her purpose is to offer a framework for what she calls an “activist music education,” a pedagogy that “aims to address the sexism, racism, Islamophobia, anti-Semitism, heterosexism, cisgenderism, classism, ableism, anti-immigrant [End Page 207] sentiments, and other oppressions so prevalent in our society.”2 Inspired by the impact of their musicking, Hess conducts interviews with twenty activist musicians, exploring common themes, perceptions, values, philosophies, and ideas. All individuals interviewed are involved in social change movements across the United States and Canada. Hess positions them as “catalysts for change in music education,”3 providing “a means to conceptualize activist music education for school music.”4 Activism and music, says Hess, are “enmeshed and inextricably connected,”5 since both intrinsically involve exploring historical, political, social, and cultural contexts.Inspired by the relevance of activist music to a society, Hess is in search of a similar meaning for music education. As a result, she sketches a possible K-12 curriculum with three essential goals: fostering connection with Others, honoring and sharing lived experience, and enabling critical reflection on the world.6 In search of a conceptualization for her idea, Hess draws mainly on Freirian and critical pedagogy as a theoretical framework, placing lived experience at the center of education, and with conscientization and praxis being her key terms.7 According to Hess, praxis, defined as “the integration of thoughtful reflection and action,”8 is fundamental to any kind of transformation, while conscientization refers to processes through which learners “become aware and reflect upon the conditions that shape their lives.”9 Although Hess acknowledges the valuable scholarly contribution to critical pedagogy in the past, she remains careful in its application, urging music educators to “avert any dogmatic implementation.”10 As a result, she suggests a “tri-faceted pedagogy for future activism,”11 which is connective, communicative, and critical: “a pedagogy of community, based on activist musicians’ emphasis on connectivity, a pedagogy of expression rooted in honoring lived experiences and sharing them through music, and a pedagogy of noticing that emerges from activist-musicians’ work on critical thinking.”12 This combination will, according to her, set “the conditions for future activism among youth and offers a possible practical enactment of critical pedagogy for music education.”13 A valuable and most inspiring read!Although I strongly agree with the intention of this book, I do have some questions. The dream of a classroom that exercises social criticism both through thinking about music and through musicking itself has always been an aspiration. Scholars have regularly encouraged music educators to be public intellectuals and agents of change, ideally striving for social justice (or at the very least for social awareness), and preparing learners to be global citizens, able to think critically and ready to engage with the world.14 It is widely agreed that “music education deserves to be seen as a serious form of cultural... (shrink)