Philosophy of Music Education Review

In Dialogue A Response to Randall Everett Allsup, "Music Education as Liberatory Practice: Exploring the Ideas ofMilan Kundera" Do our students have the freedom to alter their fate and move beyond "poverty, lowered expectations, and sexual inequality" through the study of music? Randall Allsup explores this questionthrough the literaryimages of"lightness" and "weight" as presented in Milan Kundera's existential novel, The Unbearable Lightness of Being. Allsup concludes that it is simplistic or "lightness" to expect music to resolve all our students' problems; however, "time spent writing and rewriting, practicing or improvising, can provide a context in which we may experiment with freedom and control." As a result of this process, students may perhaps positively alter their fate if authenticity-the balance between lightness and weight-is achieved, iftime is allotted for meaningful and reflective thinking, and if "kitsch" is controlled. I would like to respond to Allsup's conclusion by analyzing the characters in The Unbearable Lightness ofBeing. Kundera describes the lives of four characters, all of whom have achieved within their own profession, yet been ignoble in their conduct throughout most oftheir adult lives, and as a result, are victims of fate-their "encumbering weight" and "arbitrary" destiny.2 Tomas, the surgeon, had no reason to make difficult or sacrificial choices; therefore, he accepted the consequences of his behavior or position in life and made no attempt to change. Tereza, a photographer who had been victimized throughout her life, even by Tomas, desired to change her fate, but did not have the "inner strength" or conviction required to terminate or leave an undesirable life or relationship. Sabina, an artist and one of Tomas' mistresses, capriciously based her behavior on feelings and momentary pleasures rather than on principles, morals, or ethics and, thereby, lived in "lightness" or "disencumbered freedom." And Franz, a university lecturer and Sabina's adulterous lover, although he died serving a noble cause, grappled extensively with the difference between truth and error and, therefore, could not make noble choices during his life to change his fate. I describe these characters because they make evident that the study or achievements in any field, including music, cannot assure a positive alteration in our students' fate. All four characters in Kundera's novel had to experience a context of experimentation with "freedom and control" when pursuing and studying medicine, photography, art, and academics, respectively. Therefore, all hadto experiencea certaindegreeof authenticity or reflective thinking. Yet they all succumbed to what I would consider a miserable fate-a selfish and self-indulgent lifestyle without purpose, directed or left to chance (es muss sein), and with no veritable lasting achievement. The final result of these characters would be the ultimate fate-death. Because we are music educators, it seems advantageous and idealistic to believe that music education can liberate our students to make a positive alteration oftheir fate. Such a beliefmay perhaps justify our existence and profession in a postmodern society which places greater value in the study of science and technology than music and art. Although I agree with Allsup that the study of music requires us to "slow down" and reflectas we analyze, create, and perform, it alone isnot enoughto liberateour studentsto permanent and profound change. Many serious music students are similar to Kundera's characters. They must allocate time for serious practice and reflective thinking in order to create or perform in the competitive field of music. Through this process they usually develop into disciplined, sensitive, intelligent achievers with music, and may even move beyond "poverty, lowered expectations, or©Philosophy ofMusic Education Review 9, no. 2 (Fall 2001): 37-44. 38 Philosophy of Music Education Review sexual inequality." However, some ofthese same music students often choose another undesirable fate of selfishness and purposelessness that is more dismal than what was initially left behind. This is evident by examining the behavior and lifestyles of music students in conservatories and universities as well as the biographies of professional musiciansand composers. As I stated, these students and professionals had to experience authenticity and reflective thinking in order to pursue a music degree or career. Yet among these musicians there is an increasing problem with substance abuse, depression, destructive relationships , and despair.3...