TAILIEUCHUNG - Action, Criticism & Theory for Music Education

Pier B was designed by Vilhelm Lauritzen AS in 1960 as one of the two piers at Terminal 2. In 1986, it was completely rebuilt, with a new first floor with marble flooring. The project received the Concrete Element Prize in 1989 and a diploma from the Association for Beautification of the Capital in 1991. In 1996, when Copenhagen became the Cultural City of Europe, the airport asked the Louisiana Museum of Modern Art to make a represen- tative exhibition of its works in Pier B. And when Copenhagen relinquished its Cultural City title, the airport decided to continue working with the museum, posting information about museum exhibitions. | Action Criticism Theory for Music Education The refereed journal of the MATQAY Action for Change in Music Education Volume 10 No. 2 December 2011 David J. Elliott Editor Electronic Article Praxialism and Aesthetic This Aesthetic That Aesthetic Whatever. Thomas A. Regelski Thomas A. Regelski 2011 All rights reserved. ISSN 1545-4517 The content of this article is the sole responsibility of the author. The ACT Journal and the Mayday Group are not liable for any legal actions that may arise involving the article s content including but not limited to copyright infringement. For further information please point your Web Browser to http Action Criticism and Theory for Music Education Electronic Article 61 Praxialism and Aesthetic This Aesthetic That Aesthetic Whatever. Thomas A. Regelski . School of Music SUNY Fredonia Emeritus University of Helsinki Finland Docent Introduction Praxialism Revisited In a seminal article Philip Alperson 1991 first argued that a proper philosophy of music and music education should account for all musical praxis. Nonetheless his introduction of the concept of praxis into the philosophical discourse of music education seems to occasion either a yawn or hostility despite having a much longer and more solid intellectual history and philosophical pedigree than aesthetic theory. And in recent years a practice turn in social theory . Schatzki et al. 2001 has stressed the critical importance of social practices and communities of practice Wenger 1999 to culture and However since praxial accounts of music rely in part on social theory and empirical research they may seem sacrilegious for those in music and music education who have succumbed to the sacralization of music with its quasi-religious sounding aesthetic rationale and discourse. In a recent paper Alperson 2010 reconfirms and further examines the idea of music as praxis and clearly demonstrates that praxial philosophy is thriving in music education .

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