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128 Philosophy of Music Education Review 2. consciousness of the dialectic between artistic artefacts and taking responsibility for our beingin -the-world in this, our new age ofanxiety. NOTES I am indebted to Susan Laird for graciously agreeing to read my paper forme at the PES conference when, ironically, family illnesspreventedmefromattending. I am also grateful to her, Claudia Eppert, and Charlene Morton for valuable editorial suggestions. For an elaboration of this concept, see Deanne Bogdan , Re-educating the Imagination: Toward a Poetics , Politics, and Pedagogy ofLiterary Engagement (Boynton-Cook/Portsmouth: Heinemann, 1992), 140-160. Forexample, a controversy ensued over an exhibition ofArab-Canadian artists slated to begin 19 October 2001 at the Museum of Civilization in Ottawa. Ultimately the exhibition did take place as originally planned. Another situation involved celebrated postmodernist architect Frank Gehry, who received letters from the public exhorting him not to continue with his plans for the Guggenheim headquarters not far from Ground Zero because "it looks like the rubble." Doug Saunders, "Gehry's Lament," Globe and Mail, Toronto, 29 September 2001 : Rl . See Richard Shusterman, Pragmatist Aesthetics: Living Beauty, Rethinking Art (Oxford: Blackwell, 1992), 115-135. Caryl Clark, "Forging Identity: Beethoven's 'Ode' as European Anthem," Critical Inquiry 23 (Summer 1997): 796, emphasis added. Ibid., 807. Liner notes for Richard Strauss's Metamorphosen; Tod und Verklärung (Death and Transfiguration), Berliner Philharmonker, conducted by Herbert von Karajan, Deutsche Grammophon, Stereo 410 892-2. See Bogdan, "Musical/Literary Boundaries in Northrop Frye," Changing English: Studies in Reading and Culture 6, no. 1 (March 1999): 57-79, for how the concept of fugal form as typifying Peter Kivy's "music alone" is paradigmatic of Frye's notion ofliterary meaning. The Boston Symphony ultimately substituted Aaron Copland's Symphony No. 1 . Mark Swed, '"Klinghoffer ': Too Hot to Handle?" Los Angeles Times, 20 November 2001 ; The Artists Network of Refuse & Resist, http://www.artistsnewtwork. org/news/news56.html. I am indebted to Charlene Morton for this example and reference. Ibid. For a fuller explanation of the logical priority of direct response, see Bogdan, Re-educatingtheImagination , 243-246. Peter Michael Hamel, Through Music to the Self: 4. 5. 6. 7. 9. 10. 11. 12. How to Appreciate and Experience Music Anew, trans. Peter Lemesurier (Longhead, Shaftsbury, Dorset : UK: Element Books, 1978), 11. 13.Michael Holquist, "Introduction: The Architectonics ofAnswerability," in Art and Answerability: Early Philosophical Essays by M.M. Bakhtin, Michael Holquist and Vadim Liapunov, eds., trans, and notes, Vadim Liapunov; suppl. trans. Kenneth Brostrom, University of Texas Press Slavic Series, no. 9; Michael Holquist, gen. ed. (Austin, Texas: Universityof Texas Press, 1990), xliii. 14.Mikhail Bakhtin, ibid., 206. 1 5.This is perhaps an instanceofmy own feeling, power, and location problem as a teacher, in which my implication in answerability is put under scrutiny. To what degree, for example, might my hesitancy to play anything have been a failure of nerve? In Lost Subjects , Contested Objects: Toward a Psychoanalytic Inquiry of Learning (Albany NY: SUNY Press, 1998), Deborah P. Britzman discusses teachers' desire to "protect" students from what she calls "difficult knowledge." See also Pamela Caughie, Passing and Pedagogy: The Dynamics ofResponsibility (Champaign, IL: University of Illinois Press, 1999). I am indebted to Claudia Eppert for this insight and these references. 16.Richard Taruskin has implicitly argued Plato's case: that the power ofart swings both ways. "There is no need to shove Wagner in the faces of Holocaust survivors in Israel and no need to torment people stunned by previously unimaginable horrors with offensive "challenges" like The Death ofKlinghoffer ." "Music's Dangers and the Case for Control," New York Times, 9 December 2001. wysiwyg://16/http://www.nytimes.com/200...tml. 1 7.Roland Barthes, "Music's Body," in his TheResponsibility ofForms: Critical Essays on Music, Art, and Representation, trans., Richard Howard (New York: Hill and Wang, 1985), 254. Mourning Identities: Commemorative and Curricular Debates Concerning the Fall of the World Trade Center Claudia Eppert In his 1984 essay "Walking in the City," Michel de Certeau links the architectural to optical knowledge and cultural practices ofreading.1 InvitingustoviewManhattanfromthe 1 10th floor ofthe World Trade Center, he considers how the 1,370 foot high tower participates in the "voluptuous pleasure...

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Additional Information

ISSN
1543-3412
Print ISSN
1063-5734
Pages
pp. 128-132
Launched on MUSE
2011-03-30
Open Access
No
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