Abstract:For decades, education has been inundated with neoliberal policies described as enabling its structures to adjust to a global knowledge economy. Located at the intersection of such "reform" language and classical liberal economic theory is a troubling paradox–the idea that knowledge should be centrally concentrated in order to "liberalize" education along free market lines. This essay considers implications of centralized knowledge for music education in light of this contradiction and the rhetoric that obscures it. To raise awareness of this (...) paradox, I briefly summarize some of the literature on neoliberalism and state intervention before examining the ideas of an individual skeptical of central knowledge planning despite his pivotal role in the birth of modern educational "reform": Peter Drucker. The ideological collapsing of Drucker's nuanced views by neoliberal interests stands in stark contrast with what could be a less instrumental argument for the development of problem-solving skills for lifelong benefit. Finally, I ask whether we reinforce this contradiction if we champion music's curricular legitimacy and relevance, yet fail to teach students to think musically for themselves as evidenced by prescriptive instructional methods or participation in standardizing musical knowledge through failure to resist the totalizing ideology of the audit culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BALTHASAR AND ECKHART: THEOLOGICAL PRINCIPLES AND CATHOLICITY CYRIL O'REGAN Yale University New Haven, Connecticut Or pleas'd to wound, and yet afraid to strike, Just hint a Fault, and hesitate Dislike; Alike reserv'd to blame or to commend, A tim'rous Foe and a suspitious Friend 1 THE TENDENCY to avoid exclusion is a mark of the thought of Hans Urs von Balthasar. It represents an identifying habit, an incorrigible feature (...) of style and sensibility. His texts in which theologians, philosophers, poets, dramatists, and saints are christianly praised give testimony to a catholicity that barely brooks limits. Not only in true Gospel fashion are a multitude invited to the eschatological banquet, they constitute the vast medium of tradition, in which Maximus the Confessor rubs shoulders with Plato, in the company of Claudel, Calderon, and Therese of Lisieux. At different times Balthasar thinks of the tradition as one huge symphony in which notes sound only to be transcended and as a conversation between particular perspectives on the great mystery of redemption, no one of which is final and which meet only in the infinity of their object. The decision for plurality and variety in the tradition certainly validates difference and counts against its reduction.2 Yet at the same time tradition, precisely as a matter of variety, exhibits a measure of coherence or concordance that pro1 These couplets are from Alexander Pope's poem Atticus. See Minor Poems, ed. Norman Ault, completed by John Butt (London: Methuen & Co. Ltd.; New Haven: Yale University Press, 1954), p. 143. 2 See, for example, The Theology of Karl Barth, trans. Edward T. Oakes, S.J. (San Francisco: Ignatius Press, 1992), pp. 39, 187, 251. 203 204 CYRIL O'REGAN hibits difference from becoming truly excessive. It is this prohibition of excessive difference in Balthasar's reading of tradition that I would like to examine here. I take as my case study of Balthasar's rhetoric of reading his conflicted response to Meister Eckhart, about whose inclusion in the Christian tradition Balthasar expresses no doubts, yet whose theological message is such as to cause anxiety. We shall occupy ourselves in this paper with the way in which Eckhart's nonnegotiable inclusion within the tradition serves to repress the account of those features that present a fundamental challenge, that represent difference that would make the Christian field radically heterogeneous. In the first two sections, focusing mainly on the fifth volume of The Glory of the Lord (=GL),3 I shall offer outlines of both the positive and negative contributions Eckhart is deemed to have made to the theological tradition. Though I do not wish to give the impression of Scholastic pro and contra, Balthasar's positive remarks being imbricated with the negative and vice versa, it will be suggested that the elements adduced in both cases constitute mirror images of each other. Balthasar takes a bifocal, though not stereoscopic, view of a group of five elements: aesthetic disposition, the sameness of Being and God, the whylessness of the divine, Gelassenheit, and Gottesgeburt. This group is in effect read twice, once in a way that affirms and confirms Eckhart's unproblematic inclusion in the tradition (section 1), and again in a way that, in the light of basic Christian principles, raises serious questions about such inclusion (section 2). In a final section the question is raised whether the conflict in interpretation suggests a deeper underlying conflict between Balthasarian commitment to Catholic theological principles and catholicity. I. BALTHASAR'S AFFIRMATIVE RENDERING OF ECKHART On the surface there is little reservation about the approbation Eckhart receives in the fifth volume of The Glory of the 3 The Glory ofthe Lord: A Theological Aesthetics, vol. S, The Realm ofMetaphysics in the Modern Age, trans. Oliver Davies, Andrew Louth, Brian McNeil, C.R.V., John Saward, and Rowan Williams, ed. Brian McNeil, C.R.V. and John Riches (San Francisco: Ignatius Press, 1991). BALTHASAR AND ECKHART 205 Lord. If the depths of Balthasar's analyses of the medievals in his volumes on metaphysics (vols. 4 & 5) never reach the level of his account of Anselm and Bonaventure in volume two, it would be caviling to suggest that his intention at the... (shrink)

An assessment of the effects of Enlightenment thought on theology.

Theology was one of the original faculties of the medieval university, which grew out of the earlier monastic and cathedral schools, where theology was central. The purpose of theology in monastic education was to provide not simply information about theological topics, but to prepare one to contemplate God, contemplation being the true knowledge of God. Contemplation as the goal of intellectual development, however, goes behind the Christian education of monastery and university to the intellectual and cultural ideals of classical civilisation, (...) as seen in Plato and Aristotle. A contrast is drawn between contemplation, for which the object of knowledge is an end in itself, and the way in which knowledge has come to be seen as essentially instrumental, ultimately as an object of consumption, so that the one who knows becomes consumer rather than contemplator. Some of the consequences of this shift in understanding, which undermines the traditional ideals of culture, are explored. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Valerie Trollinger, “A Reconception of Performance Study in the Philosophy of Music Education”Paul LouthAs an educator who is a former professional trombonist I can certainly appreciate the issues raised in this discussion. Because I am inclined to agree with the spirit (if not always the substance) of Trollinger's remarks, I would like to respond with some thoughts on the manner in which she tends to frame (...) this debate, because I believe that this has crucial implications and may explain the cause of some of the very problems she mentions.Charlene Morton writes that a "bias for procedural knowledge... unwittingly immerses school music in the polemic arising from the false hierarchical dichotomy between 'hard' and 'soft' forms of knowledge."1 By this she means that the Cartesian mind/body split, which has led to our conception of thinking and doing as exclusive matters, is not remedied by our discovery of the importance of purely procedural knowledge, because we merely reinforce this dichotomy through acknowledging the latter term as a separate category from theoretical knowledge. Trollinger is correct in asserting that the act of performance is often overlooked and is not treated as a serious concern in music education and I believe that this may be largely due to this dichotomy, which manifests itself in the way that we divorce performance from its original holistic context.In general, if we accept this argument, then debates about performance versus listening, theorizing, and so on are inherently problematic because the discourse itself reinforces an artificial dichotomy. If we fail to address the remnants of this "Cartesian anxiety," then in our attempts to address a lack of concern over performance, we may be left with a performance model that is purely utilitarian, in the sense that the body can only justifiably occupy a central place in the curriculum if there are direct, utilitarian outcomes that we can associate with it and so long as those outcomes are supported by the free market. In North America, progressive educators have been struggling for some time against the concept of school as a locus of training for the market place. This model becomes more difficult to resist, I would argue, as long as we continue to compartmentalize performance and other aspects of musicianship. Such practices reinforce an artificial distinction between procedural and theoretical forms of knowing (and, by extension, between mental and manual forms of labor) that Apple, Giroux, and other critical pedagogues would argue atomizes student knowledge in preparation for the marketplace; yet musicianship can serve many other valuable purposes.2 [End Page 231]Trollinger, in using the word "holistic," reminds us of the connection between body and mind that exists in performance. Further, she correctly states that until relatively recently, those who taught music were musicians. I would add that in Canada (where I teach), the idea that music should be taught by musicians has often been used to justify its exclusion from schools, which is indicative of our tendency to exclude those things that we deem corporeal from the life of the mind. In my home province of Ontario, recent emphasis on "the basics" has meant that music programs have vanished in great numbers, while music study is relegated to the conservatories which, with their widespread tendency to essentialize musical experience as performance in the most limited sense of the word, have contributed further to this dichotomy.My point is that all of us, including Trollinger, may wish to reconsider the nomenclature that we carry into this debate from the outset. Because the word "performance" has become strongly associated with this particular pole (it is no accident that we use this word to describe car engines and stock returns) I suggest we can best elevate our estimation of the term by replacing it with the word "musicianship." In this way we can repair some of the damage done by the Cartesian split and the consequent de-valuing of performance that has occurred through separation from its original context. Within such an integrated model, it would become problematic to debate the relative importance of performing, listening, theorizing, or any number of activities with regard to the overall goals of musicianship... (shrink)

When novice music educators abandon their expressed dedication to forward-looking ideas like equity, epistemological distinctions between belief and knowledge, or lack of such distinctions, may influence such action. Political philosopher Russell Hardin argued that it makes sense for people to hold false, conflicting, and even extreme beliefs. Drawing on his work, we consider how social influences may encourage music educators to adopt a view of knowledge as the acquisition of information that is useful rather than truthful in the sense of (...) being falsifiable and supported by evidence. First, we examine how teachers’ everyday socialization may cause them to abandon practices associated with “music for all,” an ill-defined ideal—officially adopted by the (US) National Association for Music Education—that we problematize here. Second, we consider the effects of broader polarization on socialized epistemology, including amplifying effects of technology, which may contribute to an in-group versus out-group mentality. Third, we investigate how advocacy related endeavors as well as bounded social circles in both K-12 music education and collegiate music teacher education may further solidify extreme beliefs within the profession. Finally, we consider implications for practice, including providing tools for more inclusive and open-minded advocacy efforts and some version of profession-wide “music for all” that focuses on socialization and recognition. (shrink)

This article discusses the emancipatory potential of critical formalism, a mode of critique that may be helpful in revealing to music students the taken-for-granted nature of some common musical and educational notions whose socially constructed nature may not always appear evident. The work is presented in two parts: “theory” and “praxis.” The theoretical component briefly outlines the notion of critical formalism as loosely derived from Adorno’s aesthetic theory, and the practical component illustrates two examples of reified forms that may be (...) subject to such critique. First, Louth discusses the idea of critiquing theoretical musical structures insofar as they function normatively. Then, by way of showing how critical formalism can be broadened to encompass a kind of meta-analysis, the issue of instructional language in music classes, in both spoken and textual variations, is examined. (shrink)

Traditionally Christian ethical reflection has taken the form of what is called nowadays ‘virtue ethics’. This article compares the approach to virtue ethics in the Byzantine thinker, Maximos the Confessor, and the Western thinker, Thomas Aquinas. They both share the heritage of Plato and Aristotle. Maximos develops a concern for the virtues that is practical and ascetic; although he recognizes and uses the traditional classical terminology, he prefers a new Christian terminology, based more directly on the Scriptures. In contrast, Aquinas (...) accepts and uses the classical terminology, adding to it Christian ‘theological’ virtues. His concern is much less directly practical than Maximos, and more directed to the kind of society in which the virtues can flourish. This contrast between the ascetical and political (which should not be overdrawn) is manifest in Dumitru Stăniloae and Josef Pieper, introduced as modern interpreters of Maximos and Thomas respectively. (shrink)

This paper considers the issue of computer-assisted composition in formal music education settings from the perspective of critical theory. The author examines the case of MIDI-based software applications and suggests that the greatest danger from the standpoint of ideology critique is not the potential for circumventing a traditional understanding of theoretical knowledge and notation when composing. Instead, it is false subjectivity, or the potential belief that what one creates is free from the mediation of tacit musical conventions and the ideological (...) biases of the technology itself. Developing a framework for critique that is partially based on the writings of Theodor Adorno and draws on a dialectical conception of composing, the author applies this framework to the issue of MIDI-based composition in order to make this case. (shrink)

The writings of the Church Fathers form a distinct body of literature that shaped the early church and built upon the doctrinal foundations of Christianity established within the New Testament. Christian literature in the period c.100–c.400 constitutes one of the most influential textual oeuvres of any religion. Written mainly in Greek, Latin and Syriac, Patristic literature emanated from all parts of the early Christian world and helped to extend its boundaries. The History offers a systematic account of that literature and (...) its setting. The works of individual writers in shaping the various genres of Christian literature is considered, alongside three general essays, covering distinct periods in the development of Christian literature, which survey the social, cultural and doctrinal context within which Christian literature arose and was used by Christians. This is a landmark reference book for scholars and students alike. (shrink)

_ _ _Environmental Ethics: An Anthology_ brings together both classic and cutting-edge essays which have formed contemporary environmental ethics, ranging from the welfare of animals versus ecosystems to theories of the intrinsic value of nature.

In the current world of education, politics and public opinion, musical experience is increasingly threatened. It is designated ever more as an expendable luxury. This kind of general trend has hardly left the thinking in the field of music and music education untouched. Inspiration comes from the technical rationality of our time. This rationality affects an oblivion of ontology. In this article we discuss this trend related to Martin Heidegger’s thinking concerning the human existence in the world, artworks and notions (...) like “being” (Sein) and “oblivion-of-being” (Seinsvergessenheit). We think that it is possible to see this “oblivion-of-being” in relation to the trend in cultural and educational politics as well as in music educational thinking to focus on the instrumental usefulness of learning music. (shrink)

Environmental Ethics: An Anthology brings together both classic and cutting-edge essays which have formed contemporary environmental ethics, ranging from the welfare of animals versus ecosystems to theories of the intrinsic value of nature.

When Donald Trump was elected the 45th president of the United States in November 2016, many observers in the U.S. and international environmental communities began voicing concerns about the range...

This chapter explores the ethical dimensions of diplomatic efforts to form a global agreement on climate change. It offers a brief historical background on the core multilateral climate negotiation body, the United Nations Framework Convention on Climate Change, and highlights some contentious moral elements of these negotiations. In particular, it explores the complex ways in which the principle of “common but differentiated responsibilities” has driven debates on how burdens for mitigation, adaptation, and finance should be distributed between developed and developing (...) countries. It then considers the transformation in these climate negotiations since 2009, including the move toward a bottom-up architecture as part from the Copenhagen Accord to the Paris Agreement. Finally, it assesses the current state of climate diplomacy in relation to broader diplomatic priorities, arguing that climate diplomacy must be elevated alongside other top-tier foreign policy issues today in order to eventually achieve some level of climate stability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he brings a (...) new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)