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Table of Contents

  1. Editorial
  2. Estelle R. Jorgensen
  3. pp. 95-97
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  1. A Reflection on Musical Experience as Existential Experience: An Ontological Turn
  2. Frederik Pio, Øivind Varkøy
  3. pp. 99-116
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.99
  5. restricted access
  1. The Role of Critical Formalism in Music Education
  2. J. Paul Louth
  3. pp. 117-134
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.117
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  1. Derridean Justice and the DJ: A Classroom Impossibility?
  2. Peter Dale
  3. pp. 135-153
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.135
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  1. Rising to a New Paradigm: Infusing Health and Wellness into the Music Curriculum
  2. Deborah L. Pierce
  3. pp. 154-176
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.154
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  1. If We Have a Music Instinct, for Which Music?: Book Review Essay of Philip Ball, The Music Instinct: How Music Works and Why We Can’t Do Without It (London: The Bodley Head, 2010).
  2. Lantz Miller
  3. pp. 177-190
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.177
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  1. In Dialogue: Response to Roger Mantie, “Bands and/as Music Education: Antinomies and the Struggle for Legitimacy,” Philosophy of Music Education Review 20, no 1 (Spring 2012): 63–81
  2. Panagiotis A. Kanellopoulos
  3. pp. 191-197
  4. DOI: https://doi.org/10.2979/philmusieducrevi.20.2.191
  5. restricted access