Many policies hinge on determining whether someone’s situation is due to luck or choice. In political philosophy, this prevalence is mirrored by luck egalitarian theories. But overemphasizing the distinction between luck and choice will lead to tensions with the value of moral agency, on which the distinction is grounded. Here, we argue that the two most common contemporary critiques of luck egalitarianism, holding it to be harsh and disrespectful are best understood as illustrating exactly this tension. Elaborating on this conflict, (...) we argue that it should lead us to modify how luck and choice are used in theories of justice. (shrink)

Many policies hinge on determining whether someone’s situation is due to luck or choice. In political philosophy, this prevalence is mirrored by luck egalitarian theories. But overemphasizing the distinction between luck and choice will lead to tensions with the value of moral agency, on which the distinction is grounded. Here, we argue that the two most common contemporary critiques of luck egalitarianism, holding it to be harsh and disrespectful are best understood as illustrating exactly this tension. Elaborating on this conflict, (...) we argue that it should lead us to modify how luck and choice are used in theories of justice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 5-19 [Access article in PDF] Didactology as a Field of Theory and Research in Music Education Frede V. Nielsen Danish University of Education, Copenhagen Two problem areas which both concern the question of music pedagogy as a field of theory and research are addressed in this paper. The first one concerns the question of the normative and prescriptive versus the descriptive (...) and analytical aspects of music pedagogy. The second is about the theory of and the criteria for the selection of content in music education. In order to address these problems it is necessary to formulate certain preconditions, each of which comprises important distinctions. Preconditions and Problem Areas German pedagogical tradition features the term Didaktik, and when the area in question is placed in relation to an educational subject, such as music, the word and the concept of Fachdidaktik (subject-oriented Didaktik) arises. In Scandinavian countries corresponding concepts can be found.1Two features of the German concept of Didaktik should be emphasized. First, it denotes both the theory and science and the planning and decision-making of teaching and learning. Thus it refers to the theoretically oriented as well [End Page 5] as the practically directed concerns in pedagogy. Second, from the point of view of disciplines, Didaktik is part of the discipline of pedagogy, but there are diverging conceptions and theories of how it is to be delimited in relation to other subsections of pedagogy (such as teaching methodology). Roughly speaking, there exists a narrow or specific conception of Didaktik, which is first and foremost concerned with the question of the content, aim, and rationale of teaching and learning, together with the criteria for the selection of content, and a wide conception, according to which practically all problems regarding teaching and learning are viewed as didaktisch (including questions of teaching methods, forms of organization, and the choice of media).Significant arguments can be put forward in favor of the specific concept of Didaktik because it provides the opportunity (and actually the compulsion) to focus distinctly and separately on the fundamental issue of educational content and its selection. From this specific point of view, Didaktik can be defined as dealing with the theory and science, together with planning and decision-making, about the rationale, aim, and content of teaching and learning. The most central didactic question may then be formulated in this way: What is essential to learn, and therefore to teach, and why? In the present context it is important to note that this definition comprises both a descriptive/analytical and a prescriptive/normative determination of Didaktik. Hence arises the first of the problem areas I intend to address in greater detail, that is, the question of the normative and prescriptive character of pedagogy versus its descriptive, analytical, and scientific standing (in the present case that part of pedagogy which I have termed Didaktik).Several types of high-level rationale for the selection of teaching/learning content can be established. For general education in a subject like music (yet with application to other subjects as well) I have formulated four such types, which I also refer to as paradigms.2 Here I use the word "didactics" in the sense of the German Didaktik. The first type I call "basic subject didactics" in which the point of departure is the subject itself and its structure, in our case the subject of music. There is more on this point below. The second type is "ethno-didactics" in which the point of departure is pupil culture and the everyday experience of the pupils or criteria arising out of current local culture. It represents a micro-cultural position in post-modern style. The third type is "challenge didactics" in which the point of departure is the great social problems, such as environmental issues, global North-South relations, conditions of democracy, or for that matter terrorism. This position may be said to have a macro-cultural, problem-oriented, and inter-disciplinary bias. A theory of social criticism is a frequent theoretical anchoring point... (shrink)

This paper discusses limitarianism in light of three popular objections to the redistribution of extreme wealth: (i) that such redistribution legitimizes envy, which is a morally objectionable attitude; (ii) that it disincentivizes the wealthy to invest and work, leading to a diminished social product, and, thereby, making everyone worse-off; and (iii) that it undercuts the pursuit and achievement of human excellence by depriving successful people of resources through which they may otherwise excel. We argue that these objections fail to undermine (...) limitarianism. An elaborated defence against them, rather, reveals how the Standard Defence of limitarianism may be expanded and strengthened by relying explicitly on the importance of preventing a society of envy, avoiding harm to non-rich citizens, and ensuring that humans are given the opportunities to excel in ways that go beyond those that allow for the amassment of wealth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 5-19 [Access article in PDF] Didactology as a Field of Theory and Research in Music Education Frede V. Nielsen Danish University of Education, Copenhagen Two problem areas which both concern the question of music pedagogy as a field of theory and research are addressed in this paper. The first one concerns the question of the normative and prescriptive versus the descriptive (...) and analytical aspects of music pedagogy. The second is about the theory of and the criteria for the selection of content in music education. In order to address these problems it is necessary to formulate certain preconditions, each of which comprises important distinctions. Preconditions and Problem Areas German pedagogical tradition features the term Didaktik, and when the area in question is placed in relation to an educational subject, such as music, the word and the concept of Fachdidaktik (subject-oriented Didaktik) arises. In Scandinavian countries corresponding concepts can be found.1Two features of the German concept of Didaktik should be emphasized. First, it denotes both the theory and science and the planning and decision-making of teaching and learning. Thus it refers to the theoretically oriented as well [End Page 5] as the practically directed concerns in pedagogy. Second, from the point of view of disciplines, Didaktik is part of the discipline of pedagogy, but there are diverging conceptions and theories of how it is to be delimited in relation to other subsections of pedagogy (such as teaching methodology). Roughly speaking, there exists a narrow or specific conception of Didaktik, which is first and foremost concerned with the question of the content, aim, and rationale of teaching and learning, together with the criteria for the selection of content, and a wide conception, according to which practically all problems regarding teaching and learning are viewed as didaktisch (including questions of teaching methods, forms of organization, and the choice of media).Significant arguments can be put forward in favor of the specific concept of Didaktik because it provides the opportunity (and actually the compulsion) to focus distinctly and separately on the fundamental issue of educational content and its selection. From this specific point of view, Didaktik can be defined as dealing with the theory and science, together with planning and decision-making, about the rationale, aim, and content of teaching and learning. The most central didactic question may then be formulated in this way: What is essential to learn, and therefore to teach, and why? In the present context it is important to note that this definition comprises both a descriptive/analytical and a prescriptive/normative determination of Didaktik. Hence arises the first of the problem areas I intend to address in greater detail, that is, the question of the normative and prescriptive character of pedagogy versus its descriptive, analytical, and scientific standing (in the present case that part of pedagogy which I have termed Didaktik).Several types of high-level rationale for the selection of teaching/learning content can be established. For general education in a subject like music (yet with application to other subjects as well) I have formulated four such types, which I also refer to as paradigms.2 Here I use the word "didactics" in the sense of the German Didaktik. The first type I call "basic subject didactics" in which the point of departure is the subject itself and its structure, in our case the subject of music. There is more on this point below. The second type is "ethno-didactics" in which the point of departure is pupil culture and the everyday experience of the pupils or criteria arising out of current local culture. It represents a micro-cultural position in post-modern style. The third type is "challenge didactics" in which the point of departure is the great social problems, such as environmental issues, global North-South relations, conditions of democracy, or for that matter terrorism. This position may be said to have a macro-cultural, problem-oriented, and inter-disciplinary bias. A theory of social criticism is a frequent theoretical anchoring point... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A View on the Future of an International Philosophy of Music Education:A Plea for a Comparative StrategyFrede V. NielsenIn the preface to the revised edition of my book, Almen musikdidaktik (The General Didaktik of Music) published in 1998, I wrote that the bibliography had been supplemented with a great deal of music education literature that had been published since the first edition of the book came out in 1994. (...) I drew attention in particular to, among other things, the journal Philosophy of Music Education Review, which began in 1993. I found that publication of this journal was significant and interesting not least because it continuously supplemented the approach to a theoretical and philosophic music pedagogical reflection with new English language literature. At the same time, it provided an opportunity to ask what sort of concepts and phenomena 'the philosophy of music education' and 'the philosophy of music teaching and learning' really are and what sort of functions they can have in relation to practice-oriented music education, including the education of music teachers. Therefore, the publication of PMER was a great step forward. But, like all such steps, it also revealed interesting issues and raised new questions. [End Page 7]In the Scandinavian countries too the research-based and theory-oriented music education literature has grown considerably since the early 1990s. This is the result of local initiatives in individual countries as well as Nordic cooperation in the form of the Nordic Network for Research in Music Education, which was formalized and institutionalized in 1992. The publication of the network's yearbooks, Nordic Research in Music Education–Yearbook, since 1995 is noteworthy in this context. In our part of the world this was another step forward, but one that also raised some challenging questions. In particular it gave rise to the question: What is the structure of the object of study for music education as a science and how can this object of study be delimited appropriately in relation to other disciplines? I think we have moved further toward giving reflected and well-founded answers to these questions, even though the answers are not unambiguous and may create problems in relation to the institutional affiliations of music pedagogy as a theoretical and scientific discipline.My first encounter with the initiators of the PME symposia took place in 2003 when I attended PME-5 in Lake Forest near Chicago. Even though there were participants from a number of different countries, including the Scandinavian countries (but none, for example, from Germany), it was clear that the event was dominated by North Americans. I contributed with a paper that was based on German and Nordic didactic (didactological) theory, which apparently was quite unfamiliar to most of the conference participants. To me this was a reminder of how important it is that a society that calls itself "international" should strive to embrace and include various traditions from several different points of view if it is to live up to the designation "international."The International Society for the Philosophy of Music Education (ISPME) was formally founded at the symposium in Lake Forest. For the past two years I have enjoyed the honor of being the society's co-chair together with Estelle Jorgensen. As those of you who attended the symposium in 2003 know, I accepted this task only after some hesitation and with some reservations. Since then I have had the opportunity to consider and experience what the task entails.I mentioned that my impression of PME-5 in Lake Forest was that it was dominated by North Americans. This was no wonder, since PME-5 took place in that part of the world. Moreover, the initiative behind the PME symposia originally came from the USA and Canada. Nonetheless, it gave impetus to a broader international orientation when the ISPME was founded two years ago.I come from a Scandinavian country. Scandinavia is a small language area situated in the northernmost region of Europe and has historically been very dependent on external cultural impulses. For centuries these have not least come from continental Europe and this is also true of the fields of education, philosophy, and music culture. The French and... (shrink)

The embedding and promotion of social change is faced with aparadoxical challenge. In order to mainstream an approach to socialchange such as responsible research and innovation and makeit into a practical reality rather than an abstract ideal, we need tohave conceptual clarity and empirical evidence. But, in order to beable to gather empirical evidence, we have to presuppose that theapproach already exists in practice. This paper proposes a social labmethodology that is suited to deal with this circularity. Themethodology combines the (...) defining features of social labs emergingfrom the literature such as agility and real-world focus withestablished theories and approaches such as action research andexperiential learning. Thereby it enables the parallel investigationand propagation of RRI. The framework thus constructed provides atheoretical embedding of sociallabs and overcomes some of theknown limitations of the constitutive approaches. (shrink)

This paper explores the role individual responsibility plays in contemporary political theory. It argues that the standard luck egalitarian view—the view according to which distributive justice is ensured by holding people accountable for their exercise of responsibility in the distribution of benefits and burdens—obscures the more fundamental value of being responsible. The paper, then, introduces an account of ‘self-creative responsibility’ as an alternative to the standard view and shows how central elements on which this account is founded has been prominently (...) defended in the history of Western political thought but are comparatively neglected in contemporary political theory. Relying on this account, the paper argues that society should hold persons responsible when, and only when, doing so enables them to lead responsible lives, and only on the condition that doing so does not infringe other persons’ equivalently valuable ability to lead responsible lives. The account of self-creative responsibility, the paper concludes, plausibly captures the intuitive attraction of holding responsible while respecting the value of being responsible. (shrink)

Over the past decade, many findings in cognitive about the contents of consciousness: we will not address neuroscience have resulted in the view that selective what might be called the ‘enabling factors’ for conscious- attention, working memory and cognitive control ness (e.g. appropriate neuromodulation from the brain- stem, etc.). involve competition between widely distributed rep-.

The relation between music pedagogy as a field of research and the practice of music education is characterized as a continuum ranging from remoteness through cooperation to full integration. A typology is drawn up (the where the relation is separate, co-operative, integrated,or parallel). All these types of relationship are considered necessary. The distinctive task of music pedagogical research is to question, explore, and develop issues, conditions, and potentialities within the practice of music education by rendering them accessible to consciousness and (...) conceptual thought in verbal terms. Consequently, it has to do its utmost not to degenerate into ideology. The role of teacher education is discussed. Examples show how research may matter to practical music teaching and learning. An overall conclusion is that the relationship in question should be marked by closeness and distance at the same time in order to ensure relevance as well as quality and integrity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In MemoriamFrede V. NielsenFrederik PioOne of the major figures in Scandinavian music education research is no longer among us. We lost Professor Frede V. Nielsen earlier this year. On March 21, he passed at the age of 70 after a long period of time with weakened health.Nielsen presented his retirement lecture on June 8, 2012. It was attended by a huge crowd of former and current students, (...) colleagues, friends, and collaborators. In spite of his declining health, Frede had many plans for the future as professor emeritus, a status that unfortunately turned out to be much too short.For more than forty years Nielsen was a leading thinker in music education research in Denmark. During this period he developed several master programs in music teacher education as well as research programs for music education. But his efforts extend beyond Scandinavia since he is well known in ISPME (International Symposium for Philosophy of Music Education) as well as in RAIME (Research Alliance for Institutes of Music Education) to which he contributed over many years.Nielsen was employed at Danmarks Lærerhøjskole in 1971, where he completed his doctoral degree in 1983. His dissertation was an empirical study entitled “Experience of musical tension.” This work was later elaborated in a US context by Clifford K. Madsen among others. For two decades Nielsen’s book, General Music Didactics, originally published in 1994, has been considered a [End Page 213] standard reference work. Today it is being widely used in multiple printings in teacher education institutions all over Scandinavia.Nielsen’s intellectual heritage was especially strong in relation to the German tradition of Musik Didaktik. He had strong connections to the German research tradition, and in this area of expertise he was always among the most well informed. When most people in Scandinavia were looking primarily towards the Anglo-Saxon research tradition, Nielsen looked to Germany. Thus his ability to explore off the beaten track (at a time when he felt that it was needed in Scandinavia) was a part of his originality.For Nielsen the educational concept of Didaktik never became a technical category but was firmly anchored to a philosophical foundation by means of phenomenology. His didactical theory of “music as a multispectral universe of meaning” was shaped in close alliance with existential phenomenological insights. He insisted on the necessity for all educational thinking to be grounded in ongoing philosophical reflection. Very predictably this focus would eventually lead him into a role as co-chair together with Estelle Jorgenson when ISPME was founded at Lake Forest, Illinois, in June, 2003.Nielsen was cofounder of the Nordic Network of Research in Music Education in 1992, which has since gone on to become a significant resource and an important platform both for established researchers in music education as well as upcoming talent from all over Scandinavia. In 1995, Nielsen was also co-founder of the yearbook Nordic Research in Music Education that is still among the best publications of its type. He served as chief editor for this important series for many years. Right up to the very end he was doing research, supervising doctoral projects, editing forthcoming issues of the “MPS series” which he also founded.Frede V. Nielsen was an outstanding scholar in his field. His career and life were dedicated to serve and study music in teaching and education. He leaves behind a great spiritual vacuum in Copenhagen where he taught and researched for more than forty years. [End Page 214]Frederik [email protected] © 2013 Philosophy of Music Education Review... (shrink)

This commentary proceeds as follows. First, it is argued from both ethical and legal perspectives through an analysis of Court precedents that Etzioni’s has improperly developed a too narrow First Amendment interpretation and conclusion that Apple should comply with the FBI’s demand to provide the FBI with a key to open iPhones. That is, broad First Amendment considerations and not solely narrow First Amendment “compelled speech” or only Fourth Amendment privacy issues are offered and analyzed from both ethical and legal (...) perspectives. A key point here is that broad First Amendment considerations protect, with exceptions, political and ethical discretion space for “Press” organizations to exercise, or not, ethical responsibilities, including rights to publish or not publish information and opinions, rather than compliance with government orders to publish or not publish. Further, Court cases are discussed from both legal and ethical perspectives where the Courts have established that social media organizations such as Facebook and Twitter do and should have broad First Amendment protection of free expression and peaceful assembly as traditional media such as newspapers have. It is suggested that Apple can and should be considered a social media organization. In addition, special First Amendment protection and limitations concerning national security are analyzed. Second, it is suggested that Etzioni’s point that Apple protected its clients soley for “business profitability” reasons is also a too narrow interpretation since there are more complex, mixed, and combined ethical and political-economic reasons for protecting clients and First Amendment protections. Third, the philosopher Paul Ricoeur’s ethics process responsibility framework concerning relationships between ethics and law and the need for an ethics responsibility rather than a compliance approach, which is similar to Brandeis’ legal ethics approach, is compared with and offered as an alternative to Etzioni’s compliance based “Liberal communitarian” approach. It is suggested that the difference between the Rocoeur and Etzioni approaches is similar to the difference between compliance and ethics responsibility process programs in organizations. (shrink)

This is a two tiered investigation. On the one hand, the author presents a systematic account of the philosophy of Hilary Putnam. Being the first comprehensive account to be published in the German-speaking world, the author traces the development of Putnam's realism and philosophy of language and their connections from the early 1950's to 2000. Contrary to the popular view of the discontinuity of Putnam's philosophy, he demonstrates that Putnam maintains certain semantic, pragmatic and epistemological foundations for the rational confirmability, (...) fallibility and self-corrigibility of theoretical knowledge in the empirical sciences as a constant around which many other philosophical assumptions are allowed to vary under critical examination. The resulting view of Putnam's philosophical "position" is decidedly "anti-metaphysical" (contrary to the common association of his philosophy of language with e.g. Kripke's understanding of realism), but not fully "deflationary" (contrary to the reclamation of his criticism of realist metaphysics as Quinean or Rortyan skepticism). On the other hand, the author generalizes, in the second and third parts of the book, Putnam's now famous theory of meaning and reference to develop a framework for the pragmatics of semantic continuity and discontinuity, as well as conceptual change within general terms in empirical settings, like natural kind terms, theoretical terms in natural sciences and commonsense classifications. The third part presents, develops and defends the basic normative premisses as a pragmatic alternative to both, metaphysical (Kripke, Devitt) and sceptical approaches (Quine, Kuhn). The main result here is that many (if not all) preconditions for the semantic bahvior of 'rigid' general terms are not, as usually assumed, ontological in nature, but can be usefully framed as part of the pragmatics of general terms in epistemic practices counting with rational revisability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Frede V. Nielsen, “Didactology as A Field of Theory and Research in Music Education”Marja HeimonenFrede Nielsen describes the two main aspects of music pedagogy as the normative (and prescriptive) and the descriptive (and analytical) aspects. As a precondition for his discussion, he explores some important concepts and terms such as Didaktik. He argues that it is impossible to translate and transfer certain concepts into English. (...) The German tradition, however, has influenced Scandinavian pedagogical discussion and the content of pedagogical terms and concepts in Denmark and Finland is usually congruent with German terminology. Therefore, Nielsen analyzes the German concepts carefully.An example from my own experience as a teacher of both pedagogy and didactics at the Helsinki Conservatory/Polytechnic may throw some light on this [End Page 98] matter from the Finnish perspective. The traditional title of the subject "piano pedagogy" (offered to students who aim to become instrumental teachers) was changed to "piano didactics" some years ago. The content of this course also changed in that alongside practical work (teaching) theoretical courses were also included. The reason for this change was expressed in the same terms that Nielsen presents in his paper: Didaktik (in Finnish didaktiikka) signifies both a theoretical and a practice-oriented approach to teaching.According to Nielsen, the principal question concerning Didaktik is What is the essential content in music education? This is a philosophical (as well as a legal) issue concerning the aims of education and the matter of who has the right to decide the content. These kinds of matters can also be drawn on a larger canvas: the education of human beings generally. Music education (especially in the context of general education) is not only concerned with the skills that will enable pupils to become competent musicians. On the contrary and more profoundly, it aims to broaden the mind and expand the possibilities of thought and feeling. According to several researchers (such as Estelle Jorgensen, Anthony E. Kemp, David Best, Matti Huttunen, and Heidi Westerlund) music teachers should cultivate a wide understanding of the meaning of education so that music education can relate to human experience and social practices.Nielsen has created four paradigms that might be used when the content of music teaching is formulated. The point of departure may be (a)the subject itself, music, (b)the pupil's culture (or the local culture); in other words, the micro-cultural level, (c)the social problems or conditions of democracy (the macro-cultural level), and/or (d)the fundamental existential condition of human beings. These paradigms do not exclude one another. I consider their function to resemble that of legal principles: they have to be weighed and balanced in a particular situation and context. One or several may, for some time, take priority and push the others into the background just as Nielsen argues. Legal principles are not used as legal rules, but they are "strong" as rules.Legal rules have been compared with rails: rules and regulations (just as rails) are either followed or not. This comparison to a train running on rails also clarifies the relationship between legal regulations and human behaviour: most of these rules are obeyed by habit without profound thinking about aims and principles (c.f. Nielsen's paradigms) behind the legal texts.The most important question Nielsen attempts to raise is the relationship between music and pedagogy (Didaktik). He points out that his aim is not to give normative regulations about what should or should not be taught. Raising questions is an important aim of philosophical research. However, this kind of research may also have normative implications. For instance, philosophical [End Page 99] questions regarding the aims and the content of a subject (such as music) are included in the planning of a National Curriculum (or the National Framework Curriculum formulated by the National Board of Education, as we used to have in Finland). This curriculum is normative: the regulations have to be obeyed when syllabi are formulated in schools at the local level. The Framework Curriculum includes several educational aims; for instance, "a good relationship to music" should be created between the pupil and music. The normative character of this kind of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 95-98 [Access article in PDF] Response to Frede V. Nielsen's "Didactology as a Field of Theory and Research in Music Education" Sophie Haroutunian-Gordon Northwestern University Let me begin by acknowledging what is about to become obvious: I am not a musicologist, music educator, or a philosopher of music education. I am, however, a philosopher of education and a devoted student of (...) music, so I found Frede Nielsen's paper both intriguing and rewarding. It is intriguing because it positions the theoretical study of music education—what he calls "didactology"—in relation to the practice of teaching music and exemplifies, if you will, the practice of didactology. As a philosopher, and one who has worked at philosophy of science as well as philosophy of education, I became intrigued by the conceptual ground-clearing and ground-construction that Nielsen undertakes in his paper.I found the paper rewarding for two reasons. First, it is about music—at least I think it is about music, and music is about my favorite topic. Like many good works on aesthetic subjects, it seems to offer another way into a beloved yet ultimately mystifying domain and, thus, another glimpse into the unfathomable. Second, the paper offers a complex and rigorous analysis. I had fun wading through its parts and beginning to view them in relation to one another. I think that I have begun to understand not only the difference between didactics and didactology but also something about the contribution the latter might make.So to begin these remarks, let me offer a brief overview of some key points in the paper. I will then go on to raise a question or two with the hope that these will prompt Nielsen to further elaborate his ideas.To begin, Nielsen separates the topic of music pedagogy into two parts—the [End Page 95] normative and the descriptive. He defends both the study of theory and the study of practice as useful for understanding the subject of music pedagogy. He then defines the term "didactology" as "the theory of didactics, especially the theory of the content, aim, and rationale of education," and he defines "didactics" as planning and decision-making related to the practice of teaching. He tells us that didactology, though theoretical, is related to practice, that while it is descriptive rather than prescriptive it assumes values, that it "implies a view of science and the subject—the subject of music and the music itself." A didactological statement is a scientific statement and its truth is judged according to criteria for scientific truth. In summary, according to Nielsen: It is the task of and the object area of didactology in relation to the subject of music to describe, analyze, problematize, and develop intended, actual, or possible issues concerning music education as well as its conditions with special regard to the content, aims, and rationale of the education. Can the didactology of music be an independent science? The answer seems to be yes. As an illustration of the claim, Neilsen presents us with four levels of didactological reflection. The four levels, from top to bottom, are, fourth, reality (natura)—the "inner" and "outer" aspects—which refers to the experiences of hearing/understanding and performing the music; third, the musical phenomena (ars)—the music itself (the musical phenomena include, it seems, the social and existential contexts in which the music occurs); second, the theory that offers a disciplined or systematic explanation of the musical phenomena (scientia), that is, musicology (the theory envisions the musicology—the explanation of the musical phenomena—in relation to, for example, the theory and practice of teaching the music itself); and first, the didactic practices and didactological principles (didactica) that serve as the basis for determining "the content, aim, and rationale of teaching and learning music."Now despite the elegance of the typology here, I find myself wondering about two things. First, what is the subject of Nielsen's analysis? He tells us that... (shrink)

What should maximin egalitarians think about seniority privileges? We contrast a good-specific and an all-things-considered perspective. As to the former, inertia and erasing effects of a seniority-based allocation of benefits from employment are identified, allowing us to spot the categories of workers and job-seekers made involuntarily worse off by such a practice. What matters however is to find out whether abolishing seniority privileges will bring about a society in which the all-things-considered worst off people are better off than in the (...) seniority rule's presence. An assessment of the latter's cost-reduction potential is thus needed, enabling us to bridge a practice taking place within a firm with its impact on who the least well off members of society are likely to be. Three accounts of the profitability of seniority privileges are discussed: the “(firm specific) human capital”, the “deferred compensation” and the “knowledge transfer” ones. The respective relevance of “good-specific” and “all-things-considered” analysis is discussed. It turns out that under certain circumstances, a maximin egalitarian case for seniority privileges could be made. Senior: Do you know that they are planning layoffs? Of course, it is only fair that they lay-off the newcomers first! After all, I have been loyal to the company for many years. Junior: Did I choose to be a newcomer? Footnotes1 Many thanks to two anonymous referees, to P.-M. Boulanger, B. Cockx, C. Fabre, L. Jacquet, E. Lazear, I. Robeyns, G. Vallée, Y. Vanderborght, Ph. Van Parijs, V. Vansteenberghe and J. de Wispelaere for their help and critical comments. Earlier versions of this paper were presented in Louvain-la-Neuve, Ghent, Montevideo and London. I am very grateful to these audiences. Special thanks to G. Brennan for his extensive and extremely valuable comments on earlier drafts of this paper. The usual disclaimers apply. (shrink)

This paper is an evaluation of a selection of writings by Frede V. Nielsen and their significance for the philosophy of music education. The terms Didaktik and Bildung, which played a central role in Nielsen’s writings, will be introduced, situated within the historical context of classic theories of Bildung (Schleiermacher, von Humboldt, and others.), expounded upon from the perspective of the philosophy of music education and related to Nielsen’s central question of criteria-driven selection of content. I shall (...) also make reference to Nielsen’s position on a number of questions of musical Didaktik. (shrink)

Using positron emission tomography (PET) and regional cerebral blood flow (rCBF) measurements, we investigated the cerebral correlates of consciousness in a sequence learning task through a novel application of the Process Dissociation Procedure, a behavioral paradigm that makes it possible to separately assess conscious and unconscious contributions to performance. Results show that the metabolic response in the anterior cingulate / mesial prefrontal cortex (ACC / MPFC) is exclusively and specifically correlated with the explicit component of performance during recollection of a (...) learned sequence. This suggests a significant role for the ACC / MPFC in the explicit processing of sequential material.  2003 Elsevier Science B.V. All rights reserved. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 95-98 [Access article in PDF] Response to Frede V. Nielsen's "Didactology as a Field of Theory and Research in Music Education" Sophie Haroutunian-Gordon Northwestern University Let me begin by acknowledging what is about to become obvious: I am not a musicologist, music educator, or a philosopher of music education. I am, however, a philosopher of education and a devoted student of (...) music, so I found Frede Nielsen's paper both intriguing and rewarding. It is intriguing because it positions the theoretical study of music education—what he calls "didactology"—in relation to the practice of teaching music and exemplifies, if you will, the practice of didactology. As a philosopher, and one who has worked at philosophy of science as well as philosophy of education, I became intrigued by the conceptual ground-clearing and ground-construction that Nielsen undertakes in his paper.I found the paper rewarding for two reasons. First, it is about music—at least I think it is about music, and music is about my favorite topic. Like many good works on aesthetic subjects, it seems to offer another way into a beloved yet ultimately mystifying domain and, thus, another glimpse into the unfathomable. Second, the paper offers a complex and rigorous analysis. I had fun wading through its parts and beginning to view them in relation to one another. I think that I have begun to understand not only the difference between didactics and didactology but also something about the contribution the latter might make.So to begin these remarks, let me offer a brief overview of some key points in the paper. I will then go on to raise a question or two with the hope that these will prompt Nielsen to further elaborate his ideas.To begin, Nielsen separates the topic of music pedagogy into two parts—the [End Page 95] normative and the descriptive. He defends both the study of theory and the study of practice as useful for understanding the subject of music pedagogy. He then defines the term "didactology" as "the theory of didactics, especially the theory of the content, aim, and rationale of education," and he defines "didactics" as planning and decision-making related to the practice of teaching. He tells us that didactology, though theoretical, is related to practice, that while it is descriptive rather than prescriptive it assumes values, that it "implies a view of science and the subject—the subject of music and the music itself." A didactological statement is a scientific statement and its truth is judged according to criteria for scientific truth. In summary, according to Nielsen: It is the task of and the object area of didactology in relation to the subject of music to describe, analyze, problematize, and develop intended, actual, or possible issues concerning music education as well as its conditions with special regard to the content, aims, and rationale of the education. Can the didactology of music be an independent science? The answer seems to be yes. As an illustration of the claim, Neilsen presents us with four levels of didactological reflection. The four levels, from top to bottom, are, fourth, reality (natura)—the "inner" and "outer" aspects—which refers to the experiences of hearing/understanding and performing the music; third, the musical phenomena (ars)—the music itself (the musical phenomena include, it seems, the social and existential contexts in which the music occurs); second, the theory that offers a disciplined or systematic explanation of the musical phenomena (scientia), that is, musicology (the theory envisions the musicology—the explanation of the musical phenomena—in relation to, for example, the theory and practice of teaching the music itself); and first, the didactic practices and didactological principles (didactica) that serve as the basis for determining "the content, aim, and rationale of teaching and learning music."Now despite the elegance of the typology here, I find myself wondering about two things. First, what is the subject of Nielsen's analysis? He tells us that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Frede V. Nielsen, “Didactology as A Field of Theory and Research in Music Education”Marja HeimonenFrede Nielsen describes the two main aspects of music pedagogy as the normative (and prescriptive) and the descriptive (and analytical) aspects. As a precondition for his discussion, he explores some important concepts and terms such as Didaktik. He argues that it is impossible to translate and transfer certain concepts into English. (...) The German tradition, however, has influenced Scandinavian pedagogical discussion and the content of pedagogical terms and concepts in Denmark and Finland is usually congruent with German terminology. Therefore, Nielsen analyzes the German concepts carefully.An example from my own experience as a teacher of both pedagogy and didactics at the Helsinki Conservatory/Polytechnic may throw some light on this [End Page 98] matter from the Finnish perspective. The traditional title of the subject "piano pedagogy" (offered to students who aim to become instrumental teachers) was changed to "piano didactics" some years ago. The content of this course also changed in that alongside practical work (teaching) theoretical courses were also included. The reason for this change was expressed in the same terms that Nielsen presents in his paper: Didaktik (in Finnish didaktiikka) signifies both a theoretical and a practice-oriented approach to teaching.According to Nielsen, the principal question concerning Didaktik is What is the essential content in music education? This is a philosophical (as well as a legal) issue concerning the aims of education and the matter of who has the right to decide the content. These kinds of matters can also be drawn on a larger canvas: the education of human beings generally. Music education (especially in the context of general education) is not only concerned with the skills that will enable pupils to become competent musicians. On the contrary and more profoundly, it aims to broaden the mind and expand the possibilities of thought and feeling. According to several researchers (such as Estelle Jorgensen, Anthony E. Kemp, David Best, Matti Huttunen, and Heidi Westerlund) music teachers should cultivate a wide understanding of the meaning of education so that music education can relate to human experience and social practices.Nielsen has created four paradigms that might be used when the content of music teaching is formulated. The point of departure may be (a)the subject itself, music, (b)the pupil's culture (or the local culture); in other words, the micro-cultural level, (c)the social problems or conditions of democracy (the macro-cultural level), and/or (d)the fundamental existential condition of human beings. These paradigms do not exclude one another. I consider their function to resemble that of legal principles: they have to be weighed and balanced in a particular situation and context. One or several may, for some time, take priority and push the others into the background just as Nielsen argues. Legal principles are not used as legal rules, but they are "strong" as rules.Legal rules have been compared with rails: rules and regulations (just as rails) are either followed or not. This comparison to a train running on rails also clarifies the relationship between legal regulations and human behaviour: most of these rules are obeyed by habit without profound thinking about aims and principles (c.f. Nielsen's paradigms) behind the legal texts.The most important question Nielsen attempts to raise is the relationship between music and pedagogy (Didaktik). He points out that his aim is not to give normative regulations about what should or should not be taught. Raising questions is an important aim of philosophical research. However, this kind of research may also have normative implications. For instance, philosophical [End Page 99] questions regarding the aims and the content of a subject (such as music) are included in the planning of a National Curriculum (or the National Framework Curriculum formulated by the National Board of Education, as we used to have in Finland). This curriculum is normative: the regulations have to be obeyed when syllabi are formulated in schools at the local level. The Framework Curriculum includes several educational aims; for instance, "a good relationship to music" should be created between the pupil and music. The normative character of this kind of... (shrink)

Do we have a “duty to recognize culture”? The aim of this paper is to examine the following question: assuming we have reasons to respect or valuerecognition per se, do we on that background also have reasons to recognize culture? More specifically, does “culture” furnish a particular morally relevant fact with pro tanto force, providing the basis for a duty to recognize culture? The paper first examines the concept of recognition and then proceeds to analyze “the recognition thesis”, a general (...) argument for why or how culture can be a salient part of what should be recognized. On that basis, the more specific theories of recognition proposed by Axel Honneth and Charles Taylor are examined, and it is argued that neither of these theories support a general duty to recognize culture. (shrink)

Do we have a “duty to recognize culture”? The aim of this paper is to examine the following question: assuming we have reasons to respect or valuerecognition per se, do we on that background also have reasons to recognize culture? More specifically, does “culture” furnish a particular morally relevant fact with pro tanto force, providing the basis for a duty to recognize culture? The paper first examines the concept of recognition and then proceeds to analyze “the recognition thesis”, a general (...) argument for why or how culture can be a salient part of what should be recognized. On that basis, the more specific theories of recognition proposed by Axel Honneth and Charles Taylor are examined, and it is argued that neither of these theories support a general duty to recognize culture. (shrink)

Read at the Sixty-sixth Annual Meeting of the Western Division of the American Philosophical Association at St. Louis, Missouri, May 3, 1968. Some of the crucial thinking in this paper has been much influenced by J. C. Thornton’s brilliant “Religious Belief and ‘Reductionism’,”Sophia, vol. V, No. 3 , and by his “Reductionism—A Reply to Dr. Mascall”,Sophia, vol. VI, No. 2.

Lo studio prende in esame sei questioni di Thomas Wylton sulla visione beatifica e una questione dal Quodlibet di Siberto di Beka, carmelitano, contemporaneo di Wylton. Il saggio confronta in modo analitico le posizioni dei due autori sul ruolo e la necessità del lumen gloriae nella visione beatifica nelle singole questioni di cui si dà a seguito l'edizione. I codici sono V’ = Vat. Borgh. 36; T' = Tortosa 88; S' = Vat. Borgh. 39. L'edizione, posta in appendice allo studio, (...) riguarda le seguenti porzioni testuali: Thomas Wylton, q. 2 [V', ff. 55va-56va]; q. 3 [V', ff. 56va-58ra]; q. 4 [V', ff. 58ra-va] T16 [T', ff. 46ra-48rb]; T19 [T', ff. 50ra-61vb]; T20 [T', ff. 61vb-62vb]; Siberto di Beka, Quodlibet, q. 16 [S', ff. 270va-272vb]. (shrink)

The target articles on sleep and dreaming are discussed in terms of the concept of search activity integrating different types of behavior, body resistance, REM sleep/dream functions, and the brain catecholamine system. REM sleep may be functionally sufficient or insufficient, depending on the dream scenario, the latter being more important than the physiological manifestation of REM sleep. REM sleep contributes to memory consolidation in the indirect way. [Nielsen; Revonsuo; Solms; Vertes & Eastman].

Using positron emission tomography (PET) and regional cerebral blood flow (rCBF) measurements, we investigated the cerebral correlates of consciousness in a sequence learning task through a novel application of the Process Dissociation Procedure, a behavioral paradigm that makes it possible to separately assess conscious and unconscious contributions to performance. Results show that the metabolic response in the anterior cingulate / mesial prefrontal cortex (ACC / MPFC) is exclusively and specifically correlated with the explicit component of performance during recollection of a (...) learned sequence. This suggests a significant role for the ACC / MPFC in the explicit processing of sequential material.  2003 Elsevier Science B.V. All rights reserved. (shrink)

The article presents the main provisions of S.D. Bodrunov’s theory of noonomics and synthesizes them with the leading theories of the leaders of the Frankfurt school: Jürgen Habermas and Axel Honneth. Noonomics refers to a new stage in the development of society as a whole, in which people will be forced out of material production, which will allow everyone to freely develop their creative powers. However, on the way to noonomics, humanity must avoid falling into a state of “digital (...) concentration camp,” which is possible only by transforming human nature itself, moving “from zoo- to noo-state.” This implies a synthesis of science and culture and the highest value of moral self-improvement for each person. Therefore, it is the development of the human mind that will allow the transition to noonomics. It is the study of the content and possibilities of the mind that will allow us to creatively develop the theory of noonomics by using J. Habermas’s concept of communicative rationality and A. Honneth’s new theory of socialism. Communicative rationality is a special capability which makes possible to achieve mutual understanding between representatives of con-flicting social classes and develop universal norms of activity that allow for the sustainable development of society as a whole. This capability can be developed within a special institutional environment based on solidarity activities. Thus, each person will consider the successful implementation of the plans of others as a condition for the possibility of implementing their plans. This network of social institutions based on solidarity activity will be the realization of freedom in its social form. Within the framework of solidarity activities, new universal meanings of social development arise, which the communicative community will be able to formulate. Further, these meanings will replace the existing ones, which are focused on profit and unlimited economic growth, and thus transform the existing institutional system. (shrink)

_Purpose._ The purpose of the article lies in studying the main socio-anthropological measurements of the problem of recognition represented primarily by the philosophy of recognition of Alex Honneth, which is actualized by the struggle of the Ukrainian people for their existence and national-cultural recognition. A consistent analysis of the communicative paradigm in contemporary philosophy led to the understanding of its transformation into the reality of the problem of recognition and the identification of the main forms of recognition in it, which (...) determine an individual’s perception of the social space as fair or unfair, where his dignity is disrespected. _Theoretical basis._ Turning to the works of Jurgen Habermas, Otfried Hoeffe, Ernst Tugendhat, Stefan Gosepath, and Thomas Rentsch made it possible to supplement the mainly procedural, theoretical-communicative way of philosophizing with a philosophical-anthropological, existential, contextual principle of awareness of recognition as a fundamental principle of justice and the understanding that the brutal, unjust destruction of the "living world" of a person and the state is synonymous with their physical destruction. The thesis of Francis Fukuyama about the relationship between the desire for recognition and human dignity inherent in human nature has acquired an important theoretical and methodological meaning. _Originality._ The article investigates the modern philosophical discourse of the problem of recognition in the socio-anthropological measurements, in the context of the relationship between recognition, the "living world" and justice, non-recognition, humiliation of human dignity, and injustice. And it was also found that the image of recognition represented by modern philosophical thought, as a horizon and condition of human existence, is based on the following components: justice, solidarity, dignity, and care. Exactly addressing the problem of recognition made it possible to answer the question about the anthropological-ontological, existential meaning of the desire of individuals, nations, and states for recognition and outline the ways of transforming recognition as a variant of "communicative utopia" into a real socio-cultural project. _Conclusions._ In contrast to justice, the theory of recognition comes from asymmetrical human relations, which, in the struggle for recognition, must become symmetrical. Although justice takes precedence over ethics of care and recognition, they are not actually in competition with each other, but belong to different but complementary dimensions of human existence. The perspective of philosophical understanding of the problem of recognition itself requires the deepening of its analysis with an existential-anthropological understanding rooted in a new, tragic life experience. Only under such conditions, it is possible to overcome the gap between often abstract philosophical reflections and real personal and social practices. (shrink)

Nielsen [Nielsen, T. . Felt presence: Paranoid delusion or hallucinatory social imagery? Consciousness and Cognition, 16, 975–983.] raises a number of issues and presents several provocative arguments worthy of discussion regarding the experience of the felt presence during sleep paralysis . We consider these issues beginning with the nature of FP and its relation to affective-motivational systems and provide an alternative to Nielsen’s reduction of FP to a purely spatial hallucination. We then consider implications of the “normal (...) social imagery” model. We can find only one specific empirical hypothesis articulated within this framework and it turns out to be one that we explicitly addressed in our original paper. We also review our position regarding the possible relation of FP during SP to a number of related anomalous experiences and contrast FP to anomalous vestibular-motor phenomena. We review our position that the neuromatrix concept, in the light of available evidence, is more appropriately applied to V-M experiences than FP. Finally, we pursue speculations, raised in Nielsen’s commentary, on the wider implications of FP. (shrink)