1. Howard Gardner,
Frames
of Mind: The Theory of Multiple Intelligences (New
York Basic Books, 1983), 123.
2. A penetrating
explanation of recent views in opposition to the search for
essences, as exemplified in music, is given in Wayne D. Bowman,
Philosophical
Perspectives on Music (New York Oxford University
Press, 1990), chapter 8, "Contemporary Pluralist Perspectives,"
356-409.
3. For discussions
of the influences of the value dilemmas of contemporary philosophy
on visual art education, see Suzi Gablik, Conversations
before the End of Time: Dialogues on Art, Life, and Spiritual
Renewal (London: Thames and Hudson, 1995), and Ronald
W. Neperud, ed., Context,
Content, and Community in Art Education: Beyond Postmodernism
(New York: Teachers College Press, 1995). An argument for
foundational values of art in face of pluralist views is given
in Ellen Dissanayake, What Is Art For? (Seattle: University
of Washington Press, 1988).
4. Allen Britton,
Arnold Broido, and Charles Gary, "The
Tanglewood Declaration," in Documentary Report
of the Tanglewood Symposium (Washington, DC: Music Educators
National Conference, 1968), 139.
5. Estelle R.
Jorgensen, In
Search of Music Education (Urbana, IL: University
of Illinois Press, 1997), 69.
6. Interestingly,
an influential set of arguments for the necessity of a foundational
value system, based on the existence of an underlying human
nature, has arisen recently in the scientific community, exemplified
by Edward 0. Wilson, On
Human Nature (Harvard University Press, 1978), and
Consilience:
The Unity of Knowledge (New York: Alfred A. Knopf,
1998).
7. Dissanayake,
note 3 above, 92.
8. Francis Sparshott,
"Aesthetics of Music: Limits and Grounds," in What
Is Music? ed. Philip Alperson (New York: Haven, 1987),
89.
9. For a wide-ranging
and insightful explanation of the similarities and differences
among the arts, see the classic book by Susanne
K. Langer,
Feeling and Form: A Theory of Art (New York: Charles
Scribner's Sons, 1953).
10. Bowman, note
2 above, 2.
11. The School
Music Program: A New Vision (Reston, VA: Music Educators
National Conference, 1994), 9-26.
12. This particular
situation is the topic in Bennett Reimer, "Facing the
Risks of the 'Mozart Effect,"' Music Educators Journal
86, no. 1 (July 1999): 37 - 43.
13. For a detailed
examination of the dangers of arts education being forced
to pursue political agendas rather than artistic values, see
Constance Bumgardner Gee, "For You Dear—Anything!
Omnipotence, Omnipresence, and Servitude 'through the Arts,'
Part 1," Arts Education Policy Review 100, no.
4 (March/April 1999): 3-17, and "For You Dear—Anything!
Remembering and Returning to First Principles, Part 2,"
Arts Education Policy Review 100, no. 5 (May/June 1999):
3-22.
14. Philip H.
Phenix, Realms of Meaning (New York: McGraw Hill, 1964);
Gardner, Frames of Mind, note 1 above; Elliot Eisner,
ed., Learning
and Teaching the Ways of Knowing (Chicago: University
of Chicago Press, 1985).
15. Mark Johnson,
The
Body in the Mind: The Bodily Basis of Meaning, Imagination,
and Reason (Chicago: University of Chicago Press,
1987). For an insightful analysis of the role of the body
and the imagination in aesthetic experience see Mikel Dufrenne,
The Phenomenology of Aesthetic Experience (Evanston,
IL: Northwestern University Press, 1973), chapter 11, "Presence,"
335-44, and chapter 12, "Representation and Imagination,"
345-69.
16. Ibid., xiii.
17. An explanation
of the particular role of the body in performing is given
in Bennett Reimer, "Is Musical Performance Worth Saving?"
Arts Education Policy Review 95, no. 3 (January/February
1994): 2-13. For an exhaustive account of the involvement
of the body in music listening, see Marian T. Dura, "The
Kinesthetic Dimension of the Music Listening Experience"
(Doctoral diss., Northwestern University, 1998).
18. Antonio R.
Damasio, Descartes'
Error: Emotion, Reason, and the Human Brain (New York:
H. P. Putnam's Sons, 1994).
19. Ibid., xv,
xvi, 159-60. Also see Dufrenne, note 15 above, 370-425, on
the role of feeling in aesthetic experience.
20. Elliot Eisner,
"Examining Some Myths in Art Education," Studies
in Art Education 15, no. 3 (1973-74): 11.
21. For a discussion
of the widespread existence of beliefs in music's capacity
to provide profound experiences, and a definition of the experience
of profundity in music as "being moved deeply in response
to music," see Bennett Reimer, "The Experience of
Profundity in Music," Journal of Aesthetic Education
29, no. 4 (Winter, 1995): 1-21.
22. Definitions
of "affect," "feeling," and "emotion,"
and an extended account of the role of feeling in intelligent
functioning, are given in W. Ann Stokes, "Intelligence
and Feeling: A Philosophical Examination of These Concepts
as Interdependent Factors in Musical Experience and Music
Education" (Doctoral Diss., Northwestern University,
1990).
23. Reimer, note
21 above, 5.
