Hostname: page-component-84b7d79bbc-fnpn6 Total loading time: 0 Render date: 2024-07-27T17:41:54.935Z Has data issue: false hasContentIssue false
  • English
  • Français

‘Heidegger and Joe:’ Revisiting the ‘thing’ in the context of a student's experience of an online community

Published online by Cambridge University Press:  13 September 2012

Christopher Naughton
Christopher Naughton*
Affiliation:
48, Wairiki Road, Mt. Eden, Auckland, NZ 1024chrisnaughton@xtra.co.nz or chris.naughton@nztertiarycollege.ac.nz
Get access Rights & Permissions [Opens in a new window]

Abstract

In many countries it has become commonplace for students at school to undertake their own composing in the classroom. At the same time students often develop their own creative musical interests outside school hours. This paper looks at how teachers might re-evaluate students’ self-initiated compositional activity. By utilising Martin Heidegger's writing, this paper seeks to contextualise a philosophical position in relation to the musical work and to question how we as educators envision the student's music, and ultimately how we come to understand and evaluate a student's work. With reference to the field of music theory and music education the intention of this paper is to open a discussion examining how we might view music as an art object seen within its own context. With reference to a case study of a student working in an online environment parallels are drawn between Heidegger's depiction of an art object as a ‘thing’ located and valued in its own context, as opposed to music seen as an object that is de-contextualised from an audience or its place of making.

Type
Research Article
Information
British Journal of Music Education , Volume 29 , Issue 3 , November 2012 , pp. 331 - 341
Copyright
Copyright © Cambridge University Press 2012

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

COOK, N. (2001) Theorizing musical meaning. Music Theory Spectrum, 23, 170–195.Google Scholar
DEWEY, J. (1981) The Later Works, 1925–1953. Edited by Boydston, Jo Ann, Southern Illinois University Press; London: Feffer and Simons. 6, 98.Google Scholar
CSIKSZENTMIHALYI, M. (1990) Flow: The Psychology of Optimal Experience. New York: Harper and Row.Google Scholar
DREYFUS, H. (1992) Heidegger on gaining a free relation to technology. In Hannay, A. and Feenberg, A. (Eds.), Technology and the Politics of Knowledge (pp. 97–107). Bloomington, IN: Indiana University Press.Google Scholar
ELLIOTT, D. (1995) Music Matters: A New Philosophy of Music Education. Oxford: Oxford University Press.Google Scholar
FINNEY, J. & PHILPOTT, C. (2010) Informal learning and meta-pedagogy in initial teacher education in England. British Journal of Music Education, 27, 7–19.Google Scholar
FOLKESTAD, G. (2006) Formal and informal learning situations or practices vs formal and informal ways of learning. British Journal of Music Education, 23, 135–145.Google Scholar
GREEN, L. (2010) Response. British Journal of Music Education, 27, 89–93.CrossRefGoogle Scholar
HEIDEGGER, M. (2001 a) ‘The thing’. In Hofstadter, A. (Transl.), Poetry, Language and Thought (pp. 161–184). New York: HarperCollins.Google Scholar
HEIDEGGER, M. (2001 b) The origin of the work of art. In Hofstadter, A. (Transl.), Poetry, Language and Thought (pp. 15–84). New York: Harper Collins.Google Scholar
KARLSEN, S. (2010) Boomtown Music Education and the need for authenticity – informal learning put into practice in Swedish post-compulsory music education. British Journal of Music Education, 27, 35–46.Google Scholar
KRAMER, L. (2005) Music, historical knowledge, and critical inquiry: three variations on the ruins of Athens. Critical Enquiry, 32, 61–76.CrossRefGoogle Scholar
LAMONT, A., HARGREAVES, D., MARSHALL, N. & TARRANT, M. (2003) Young people's music in and out of school. British Journal of Music Education, 20, 229–241.Google Scholar
McCLARY, S. (1991) Femmine Endings: Music, Gender and Sexuality. Minneapolis, MN: University of Minnesota Press.Google Scholar
MILLER, D. (1987) Material Culture and Mass Consumption. Oxford: Blackwell.Google Scholar
NAUGHTON, C. (2009) The Thrill of Making a Racket: Nietzsche, Heidegger and Community Samba in Schools. Saarbrücken: VDM Verlag.Google Scholar
REIMER, B. (1989) A Philosophy of Music Education: Advancing the Vision. Englewood Cliffs, NJ: Prentice Hall.Google Scholar
SHEPHERD, J. & WICKE, P. (1997) Music and Cultural Theory. London: Polity Press.Google Scholar
VÄKEVÄ, L. (2010) Garage band or GarageBand? Remixing musical futures. British Journal of Music Education, 27, 59–70.Google Scholar
WESTERLUND, H. (2003) Reconsidering aesthetic experience in praxial music education. Philosophy of Music Education Review, 11, 45–62.Google Scholar
YOUNG, J. (2002) Heidegger's Later Philosophy. Cambridge: Cambridge University Press.Google Scholar