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Praxial Music EducationReflections and Dialogues$
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David J Elliott

Print publication date: 2009

Print ISBN-13: 9780195385076

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195385076.001.0001

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Why Musical Performance?

Why Musical Performance?

Views Praxial to Performative

Chapter:
(p.142) 8 Why Musical Performance?
Source:
Praxial Music Education
Author(s):

David J. Elliott

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195385076.003.08

Among the most conspicuous contrasts between David Elliott's praxial philosophy of music education and the version of aesthetic education best known to North American music educators is the role each envisions for musical performance. For many (if not most) adherents to the aesthetic rationale, musical perception and response as manifest in listening are educationally paramount. Elliott implicitly assumes that musical practices draw upon dispositions and executive abilities that are relatively widely distributed in societies and that performance is not a rare capacity or an undertaking accessible only to exceptional individuals highly endowed with “talent”. Thus, the development of musicianship through active engagement in various kinds of musical production is both educationally practical and well suited to most people's interests and abilities. However, Elliott takes his arguments a step further by insisting that musicing — active practical experience in productive musical engagements — is crucial to any instructional program that is truly musical or musically educational.

Keywords:   music, musical performance, music listening, musicing, musical practices

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