Musical
Congruency-Part 2
To Dr. Elliott musicing should take place
through a praxial philosophy of music education. Elliott states, “The noun praxis derives from the verb prasso, meaning (among other things) ‘to
do’ or ‘to act purposefully.’ But when
we use prasso intransitively [i.e. a verb not taking a direct object] its
meaning shifts from action alone to the idea of action in a situation.” Music Matters, A New Philosophy of Music Education by David Elliott, page 14.
To Elliott, music is always performed in community. Below are some of his beliefs concerning praxial music philosophy which is in “community”:
To Elliott, music is always performed in community. Below are some of his beliefs concerning praxial music philosophy which is in “community”:
By calling this a praxial philosophy I intend to
highlight the importance it places on music As a particular
form of action that is purposeful and situated and, therefore, revealing of one’s self and one’s
relationship with others in a community.
The term praxial emphasizes that music ought to be understood in relationship to the meaning and values evidenced in actual music making and music listening in specific cultural contexts. Music Matters, p. 14.
Those of us who know the philosophical tenants of MEAE (music education as aesthetic education), are aware that MEAE purports that music should be understood in terms of the aesthetic qualities of the music without regard for the context in which one is listening or performing it. I have contended for years that no one can perform or listen to music in a bubble or vacuum. All active musicing or music listening is done in the context of community. In other words every performer or listener brings something to the performing or listening experience—something he or she contributes and something that is derived from community. Therefore no one listens or performs without both internal and external influences.
The term praxial emphasizes that music ought to be understood in relationship to the meaning and values evidenced in actual music making and music listening in specific cultural contexts. Music Matters, p. 14.
Those of us who know the philosophical tenants of MEAE (music education as aesthetic education), are aware that MEAE purports that music should be understood in terms of the aesthetic qualities of the music without regard for the context in which one is listening or performing it. I have contended for years that no one can perform or listen to music in a bubble or vacuum. All active musicing or music listening is done in the context of community. In other words every performer or listener brings something to the performing or listening experience—something he or she contributes and something that is derived from community. Therefore no one listens or performs without both internal and external influences.
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