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  1.  4
    The Aesthetic Value of Performing Music.Gilead Bar-Elli - 2017 - Journal of Aesthetic Education 51 (1):84-97.
    And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aesthetic value is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but we need not (...)
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  2. Groove: A Phenomenology of Rhythmic Nuance by Tiger C. Roholt.Andrew Kania - 2017 - Journal of Aesthetic Education 51 (1):115-119.
    Musicians of all sorts talk of getting “into a groove,” whether using those words or others; musical listeners also talk about the groove of a passage of music, a performance, or a recording. In his four-chapter essay, Groove, Tiger Roholt offers answers to questions that seem obvious candidates for philosophical inquiry yet that few philosophers have even touched on: what is a groove, exactly, and what is it to perceive or understand—to get— a groove? His answers are intriguing, not just (...)
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  3. An Aesthetic Analysis of Confucian Teaching and Learning: The Case of Qifashi Teaching in China.Meng Lingqi & Uhrmacher P. Bruce - 2017 - Journal of Aesthetic Education 51 (1):24-44.
    In comparative studies, Confucian teaching and learning have multiple meanings. On the one hand, they refer to contemporary educational practices and contexts in Asian countries and regions such as mainland China, Hong Kong, Taiwan, Japan, South Korea, and Singapore. Comparative researchers contend that Confucian heritage Culture, a mixed and blended cultural tradition of Confucianism, Taoism, and Buddhism, has heavily influenced these countries and regions.1 As a result, their educational practices and contexts are different from those in Western countries.2 One indication (...)
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  4.  2
    The Uses of Poetry: Renewing an Educational Understanding of a Language Art.Karen Simecek & Viv Ellis - 2017 - Journal of Aesthetic Education 51 (1):98-114.
    Poetry holds an important place as part of our cultural heritage.1 However, despite poetry’s apparent cultural value, there have been surprisingly few attempts to articulate clearly how this should be reflected in the teaching curriculum in our schools and universities. As a consequence of this lack of clarity, the cultural value of poetry gives way to the increasing emphasis on providing instrumental justification for the teaching curriculum; including poetry in the curriculum is often justified in terms of promoting transferable skills (...)
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  5. Of Research, Passion, and Art.Peter C. Sonderen - 2017 - Journal of Aesthetic Education 51 (1):54-68.
    What we had in common was the desire for research, a boundless curiosity and a passion for all art.The few words of the above quotation identify the ingredients that were to form the basis of what we now call scholarship and art: curiosity, desire and longing, boundlessness, research, and passion. They were written by a Dutch philosopher and draughtsman some five years before the French Revolution and an unknown number of years before we in the West began increasingly referring to (...)
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  6.  1
    Sound Studies and Music Education.Matthew D. Thibeault - 2017 - Journal of Aesthetic Education 51 (1):69-83.
    Elliot Eisner notes, “The kinds of nets we know how to weave determine the kinds of nets we cast. These nets, in turn, determine the kinds of fish we catch.”1 Sound studies is a recently emerged interdisciplinary field that draws upon the social sciences and humanities in support of a broad range of inquiry into music and sound. Weaving new approaches that cast interesting questions that yield fascinating catches, sound studies has much to offer those looking to expand or challenge (...)
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  7. Ken of Kin: Aesthetic Experience of the Forest.Dennis Vickers - 2017 - Journal of Aesthetic Education 51 (1):15-23.
    In 2012, Qatar’s royal family bought one of five Paul Cezanne paintings titled The Card Players for approximately $250 million. By way of contrast, a 160-acre plot of hardwood forest in Forest County Wisconsin is now for sale for $250,000. The painting is roughly three feet high by four feet wide. The 160-acre forest is 880 square yards or twice the size of the area around Walden Pond that so inspired Henry David Thoreau and twice the size of Aldo Leopold’s (...)
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  8.  2
    Walter Benjamin: "The Storyteller" and the Possibility of Wisdom.White Richard - 2017 - Journal of Aesthetic Education 51 (1):1-14.
    In 1936, Walter Benjamin published two important essays. The first and certainly the most celebrated is “The Work of Art in the Age of Mechanical Reproduction,” which considers the place of art in contemporary mass society.1 In this essay, Benjamin offers an account of art that emphasizes its origin in religion and ritual. We may think of the magnificent cave paintings that were discovered in Lascaux, the frescoes that filled churches in Renaissance Italy, and the correlative sense of art as (...)
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  9. The Problem of the Correct Answer.Matthew D. Ziff - 2017 - Journal of Aesthetic Education 51 (1):45-53.
    If you do not know the correct answer, guess.Design addresses need, of various types. A designer “designs” to address, to propose a possibility, or to meet a need. A great variety of things are designed: shoes, posters, watches, houses, televisions, keyboards, movies, washing machines, toasters, belts, and cars, to mention only some.A designer, be he or she an architect, interior designer, graphic designer, product designer, or industrial designer, nearly always provides drawings, models, written descriptions, and overarching ideas in response to (...)
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