Dewey’s Musical Allergy and the Philosophy of Music Education

Abstract

This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey’s dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago’s Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey’s musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans.

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“…Ketika disubtitusikan ke dalam pembelajaran musik, maka pergeseran terjadi dari ruang keterampilan ke ruang pendidikan formal dan sekarang ke ruang pendidikan digital (Cayari, 2018;Waldron et al, 2018). Evolusi ini terkait dengan historiografi yang menunjukkan bahwa sebelum abad ke-20, penonton hanya dapat merasakan musik di ruang tempat para pemain berkumpul secara fisik dan simultan (Thibeault, 2020). Begitu pula dengan pendidikan seni musik yang pada awalnya digunakan sebagai hal pemenuhan aspek spiritualitas, relijiusitas, dan tradisi Pitts, 2017).…”

The Practice and Application of Philosophical Thought of Music Education in the Information Age in the Education of College Music Curriculum

“…Literature [8] postulates a new concept of "generativity", suggesting that the experience of art can foster a sense of generativity in relation to the perceived world, people, and things, which are both specific and ever-changing, and which can be manifested in the experience of music education in a more fine-grained and organized way, and that too much fine-graininess can produce complex confusion. The literature [9] explores John Dewey's ideas on music education. Through his works, correspondence, and lectures.…”

Establishment and Application of Evaluation System for Objective Management of Music and Aesthetic Education Teaching in Colleges and Universities

“…With the deepening of the curriculum reform, music as the main course of aesthetic education, teachers should not only guide students in the classroom to complete the solid learning and mastery of basic knowledge of music, but also through the push of music appreciation, music practice, and other musical experiences to promote students to educate the beauty of morality, and to promote the overall development of students' music core qualities, healthy development [6][7]. In adhering to the concept of "teaching and evaluation consistency" to improve music teaching, one needs to "pay attention to the relationship between the logic of the discipline and the core literacy" in the "learning objectives to lead, teaching process organization and process evaluation incentives In the three directions of "learning objectives leading, teaching process organization and process evaluation motivation," we should optimize the classroom design by determining the entry with the exit, taking the end as the beginning, and promoting learning with evaluation [8][9].…”