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The table in Figure 4 summarizes the models discussed above. These components provide a starting point for our research. In fact, there are too many to test within the scope of this project, so some choices must be made. The main consideration is that some properties, such as complexity, dominance (providing a focal point), and grouping, may lend themselves more easily to the visualization environment than others. A secondary consideration is the techniques for manipulating the chosen properties. Section 3 surveys aesthetic techniques that have been developed in computer graphics | PROJECT MUSE Reconsidering Aesthetic Experience in Praxial Music Education Westerlund Heidi. Philosophy of Music Education Review Volume 11 Number 1 Spring 2003 pp. 45-62 Article Published by Indiana University Press DOI 10.1353 pme.2003.0008 For additional information about this article http muse.jhu.edu journals pme summary v011 11.1westerlund.html Access Provided by your local institution at 02 09 13 9 36AM GMT RECONSIDERING AESTHETIC EXPERIENCE IN PRAXIAL MUSIC EDUCATION HEIDI WESTERLUND Sibelius Academy Finland In recent discussion so-called praxial music education has strongly opposed the aesthetic as a guiding concept. According to praxialists aesthetic object attitude and experience-concepts that many music educators may find confusing-can-not be beneficial in organizing and rethinking the realities of contemporary music education. Thomas Regelski has advised music educators to abandon the purport of aesthetic since instead of capturing the multiplicity of musical practices it represents a narrow view of music. Aesthetic refers to a directly contemplative abstract and intellectual experience.1 Since this contemplative ideal for artistic experience can be traced to a particular historical period in Western thinking Wayne Bowman argues that there are enough reasons to suspect that a pluralistic music education cannot simultaneously be aesthetic.2 David Elliott is even more categorical a truly musical experience is not aesthetic in its nature or value. 3 Instead of being aesthetic the praxial alternative of these writers suggests that music is a matter of action. It is something that people do for themselves and that the shapes and purposes of this action depend on the particular cultural context. Philosophy of Music Education Review 11 no. 1 Spring 2003 46 PHILOSOPHY OF MUSIC EDUCATION REVIEW There are some differences between praxialists in defining action and the praxis in music however they all seem to share the view that aesthetic theories are at least .
