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|a (JST)philmusieducrevi.26.1.04
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|a DE-627
|b ger
|c DE-627
|e rakwb
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|a en
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|a A "Sound" Approach: John Cage and Music Education
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|c 2018
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|a Text
|b txt
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|a In this paper, I apply John Cage's wide musical embrace of sound to the field of music education and explore its curricular and practical implications. In particular, I ask music teachers to consider themselves teachers of sound, or "sound teachers." I argue that privileging sound as our chief concern leads us to reconsider the ways we speak about music, the offerings we include in our music curricula, and the ways we teach (about) sound. In particular, I suggest that application of Cage's ideas compels us to permit still more genres and styles in the classroom and curriculum, to emphasize activities that allow students to manipulate a diverse palette of sound types (for example, electronic composition), and to teach in ways that expand and diversify rather than narrow and limit students' relationships with sound. I close by considering how Cage's ideas of "purposeless play" and "purposeful purposelessness" orient our goals toward making students more attentive to and invested in the world of sound and the sound of the world.
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|a © 2018 Philosophy of Music Education Review
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|a John Cage
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|a sound
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|a music curriculum
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|a composition
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|a Arts
|x Arts participation
|x Art education
|x Music education
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|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Educational personnel
|x Educators
|x Teachers
|x Music teachers
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|a Philosophy
|x Applied philosophy
|x Philosophy of music
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|a Arts
|x Performing arts
|x Music
|x Musical performance
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650 |
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4 |
|a Education
|x Academic communities
|x Students
|x Music students
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650 |
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4 |
|a Arts
|x Performing arts
|x Music
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650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Music theory
|x Music composition
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650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Music genres
|x Popular music
|x Rap music
|
650 |
|
4 |
|a Arts
|x Art theory
|x Art criticism
|x Music criticism
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Musical instruments
|
650 |
|
4 |
|a Arts
|x Arts participation
|x Art education
|x Music education
|
650 |
|
4 |
|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Educational personnel
|x Educators
|x Teachers
|x Music teachers
|
650 |
|
4 |
|a Philosophy
|x Applied philosophy
|x Philosophy of music
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Musical performance
|
650 |
|
4 |
|a Education
|x Academic communities
|x Students
|x Music students
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Music theory
|x Music composition
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Music genres
|x Popular music
|x Rap music
|
650 |
|
4 |
|a Arts
|x Art theory
|x Art criticism
|x Music criticism
|
650 |
|
4 |
|a Arts
|x Performing arts
|x Music
|x Musical instruments
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|a research-article
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|i Enthalten in
|t Transition
|d Indiana University Press, 1957
|g 26(2018), 1, Seite 46-62
|w (DE-627)306647273
|w (DE-600)1499150-0
|x 15278042
|7 nnns
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|g volume:26
|g year:2018
|g number:1
|g pages:46-62
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|u https://www.jstor.org/stable/10.2979/philmusieducrevi.26.1.04
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|d 26
|j 2018
|e 1
|h 46-62
|