Project MUSE®: Philosophy of Music Education Review - Latest Articles
https://muse.jhu.edu/journal/228
Project MUSE®: Latest articles in Philosophy of Music Education Review.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 9, no. 2 (2001) through current issueLatest Articles: Philosophy of Music Education ReviewTWOProject MUSE®Philosophy of Music Education Review1543-34121063-5734Latest articles in Philosophy of Music Education Review. Feed provided by Project MUSE®Editorial
https://muse.jhu.edu/article/988392
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Is philosophy of music education important for our work as teachers? Is it connected to everyday concerns in music classrooms? Often, philosophy of music education is seen as distant from the realities of daily teaching and its practical challenges—and that it is just a luxury for those who have the time for it. In fact, however, philosophy of music education is deeply relevant. It is closely connected to what we do in our classrooms, as this issue of Philosophy of Music Education emphasizes. There is always a “philosophy” underlying our actions, behind everything we do as music teachers, whether we are aware of it or not. Our practice is guided by a theoretical framework and a set of principles that shape our
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallEditorial2026-04-15text/htmlen-USEditorial2026-04-152026TWOProject MUSE®70472026-05-14T00:00:00-05:002026-04-15"Impact Over Intent"? Unpacking a Moral-Ethical Maxim in Music Education
https://muse.jhu.edu/article/988393
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At its core, every social justice question is a moral question. Which actions are just? Which are unjust? For and according to whom? What responsibilities do we have to one another? Such questions recognize that at the heart of any justice-oriented issue lies a concern for the well-being of others. This understanding is likewise exemplified by the popular social justice maxim, “impact over intent”—an idiomatic expression that has lately materialized in music education discourse1 and reignited an age-old debate in moral philosophy: should ethics be rooted in the outcomes of actions or the motivations that drive them?2Perhaps unsurprisingly, many scholars sideline the explicitly moral dimensions of social justice
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmall"Impact Over Intent"? Unpacking a Moral-Ethical Maxim in Music Education2026-04-15text/htmlen-US"Impact Over Intent"? Unpacking a Moral-Ethical Maxim in Music Education2026-04-152026TWOProject MUSE®703252026-05-14T00:00:00-05:002026-04-15Vocal Apartheid: Structural Violence against Women’s Singing by the Islamic Republic of Iran
https://muse.jhu.edu/article/988394
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For nearly five decades, since its rise to power, the Islamic Republic of Iran has enforced a de facto ban on women’s solo singing in public across the country, stripping nearly half the population of an expressive, bodily right that music intrinsically provides.1 This prohibition marked a radical rupture with the pre- 1979 era, when many female singers were among the country’s most celebrated and influential cultural figures, such as Googoosh, Hayedeh, Mahasti, Parisa, and Delkash.2The government’s prohibition on women’s solo singing should not be considered a cultural nuance or religious necessity, but rather a state-sanctioned vocal deprivation designed to systematically dictate who may be creative as well as
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallVocal Apartheid: Structural Violence against Women’s Singing by the Islamic Republic of Iran2026-04-15text/htmlen-USVocal Apartheid: Structural Violence against Women’s Singing by the Islamic Republic of Iran2026-04-152026TWOProject MUSE®1395842026-05-14T00:00:00-05:002026-04-15Epistemic Decolonization of Musical Arts Education: Analysis and Recommendations from Uganda
https://muse.jhu.edu/article/988395
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The tale of colonialism in Uganda can be understood through the following contemporary parable involving relations between a hare and a flock of sheep.While exploring this lake, I learned about your powerful Kingdom.Great! You are warmly welcome and can stay here with us.Thank you. I will shortly stay, then return home soon.I like your ways. Kindly send me your siblings when you go.I will inform my parents about your request.[later, as they meet again]Dear friends, you are warmly welcome. We will stay together in my house, and you can teach me many things.Truly, you need to learn the right way of doing things: speaking, counting, praying, eating, reading, writing, building . . .Great, you are good friends. Build
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallEpistemic Decolonization of Musical Arts Education: Analysis and Recommendations from Uganda2026-04-15text/htmlen-USEpistemic Decolonization of Musical Arts Education: Analysis and Recommendations from Uganda2026-04-152026TWOProject MUSE®1212882026-05-14T00:00:00-05:002026-04-15From the Music to the People: Prioritizing a Human-centered Music Education Perspective
https://muse.jhu.edu/article/988396
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The National Association for Music Education (NAfME), a professional music organization based in the United States, expresses a vision for all music educators to cultivate an environment where every individual is represented and “all people are heard, seen, and feel they belong throughout their lifelong experiences in music.”1 While there is a commitment to inclusivity from across musical traditions, the lived music experience of that inclusion remains elusive for many individuals. Thus, a paradox exists at the core of formal music education. On one side, proponents portray music education as an inspiring force for students and families. Classroom posters and social media pages often feature motivational quotations
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallFrom the Music to the People: Prioritizing a Human-centered Music Education Perspective2026-04-15text/htmlen-USFrom the Music to the People: Prioritizing a Human-centered Music Education Perspective2026-04-152026TWOProject MUSE®1035392026-05-14T00:00:00-05:002026-04-15Beauty, Reason, and Power—Music Education in a Pluralist Society by William M. Perrine (review)
https://muse.jhu.edu/article/988397
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I approached William Perrine’s book with great interest, intrigued by the back cover’s pronouncement that he “makes the convincing case for a classic liberal, aesthetic music education.”1 Given that Perrine’s work is rooted within an American context, I anticipated an alignment with the European concept of Bildung applied to the context of music education and maybe also with the closely related study of music’s meaning as an aesthetic and existential experience, to which I am dedicated. After reading the book, I found that my expectations were both satisfied and unfulfilled.2There are many parallels between Perrine’s approach and Bildung, but they also have significant differences mainly due to the historical
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallBeauty, Reason, and Power—Music Education in a Pluralist Society by William M. Perrine (review)2026-04-15text/htmlen-USBeauty, Reason, and Power—Music Education in a Pluralist Society by William M. Perrine (review)2026-04-152026TWOProject MUSE®348032026-05-14T00:00:00-05:002026-04-15Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China by Wai-Chung Ho (review)
https://muse.jhu.edu/article/988398
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Music—it is what sages delight in, and it can be used to make better the hearts of the people. Its effect on people is deep; it can alter habits and change customs. Thus the former kings made manifest their teachings therein.Understanding music’s powerful effects on human nature, Confucian scholars since ancient China have urged the literati to carefully utilize music to evoke its ultimate goodness, transcending personal enjoyment to its use in effecting desirable changes in human manners and customs. Framing her discussion within this utilitarian view of music, Wai-Chung Ho embarks on an ambitious project to examine the role of music education in three contemporary Chinese-speaking communities: mainland China
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/228/image/coversmallGlobalization, Nationalism, and Music Education in the Twenty-First Century in Greater China by Wai-Chung Ho (review)2026-04-15text/htmlen-USGlobalization, Nationalism, and Music Education in the Twenty-First Century in Greater China by Wai-Chung Ho (review)2026-04-152026TWOProject MUSE®273522026-05-14T00:00:00-05:002026-04-15