European Journal of Philosophy in Arts Education http://www.ejpae.com/index.php/EJPAE <p>EJPAE was initiated autumn 2015 to fill a gap for a journal focusing on theoretical and philosophical issues connected to education in the arts. EJPAE is an academic, double blind peer reviewed journal inviting original articles on topics somewhere in the intersection between art and education, it is open access and free to publish in. The journal aims to publish two issues a year.</p> University College of Music Education in Stockholm (SMI) en-US European Journal of Philosophy in Arts Education 2002-4665 <p><a href="https://creativecommons.org/licenses/by/4.0/">https://creativecommons.org/licenses/by/4.0/</a></p> Editorial for the European Journal of Philosophy in Arts Education http://www.ejpae.com/index.php/EJPAE/article/view/57 <p>EJPAE is happy to publish a new issue with fresh perspectives in the intersection between learning/education, the arts/aesthetics, and philosophy/theory. It feels good, and at the same time strange, to publish articles about learning and the arts in a European journal, when at the same time Europe is at war. In a situation where Putin, an anti-democratic despot, invades a neighbouring country, killing and torturing innocent people, learning and the arts may seem trivial. It is my absolute belief, however, that in times of despair, the arts are seminal in creating meaning for people, both on a personal level and on a societal level. One of my favourite explanations to what purpose art has, comes from Deleuze and Guattari’s book What is Philosophy, where they suggest that art is supposed to offer genuinely new perspectives to the world. Art is this book compared with science and philosophy – all three human activities that aim to construct meaning, albeit with complementary purposes: Philosophy should aim to propose new terms that will allow for new ways of thinking about the world, science should pick the world apart to make visible the parts from which (parts of) the world are becoming, and art aims to present whole new worlds for us that may lure us into turning our world-views around. EJPAE is a journal that combines these three human endeavours for meaning-making. Articles presented here should therefore both deconstruct, create, and suggest new ways of thinking about the world. What could be more appropriate in times of confusion and turbulence? <br>This time, the issue comprises of three articles with very different perspectives and topics: Texture matched with phenomenology; Ethics in music education matched with Martha Nussbaum; Practising in music matched with ancient Greek philosophy and again Nussbaum. There are altogether five authors writing these three articles, from Greece, Norway and Sweden.<br>The first article is an intriguing dive into a pool of texture. Eva Alerby and Kari Doseth Opstad discuss how the arts can understand learning in the arts through how we sense the world as and with texture. To discuss this, they employ the theoretical arsenal of Dufrenne and Merleay-Ponty. “[…] texture is the difference that makes the difference”, they write and argues that there is nothing that can be experienced or thought that is not sensed – and sensing involves texture. In the article, we meet a student group that experience working with texture, mixed with philosophical reflections on aspects of learning in and through texture. And in the end, it becomes clear that “[...] texture encourages or brings out the attention, awareness and sensitivity that are of significance not only for (arts) education, but also for the formation of society—for the formation of our lives.”<br>The second article also reports on student work. Theocharis Raptis. The article Emotions in music education as an ethical issue reflect over ethical issues of working with emotions in kindergarten music education. Nussbaum is used to talking about how students and teachers can construct an education that strengthens the emotional competence of kindergarten teacher students – and in turn the children and herein also citizens. As Raptis argues, emotions are central to why music is important, and also that psychological research shows that music inflicts emotions. On the surface, this may seem trivial, but how should and could teachers deal with the more problematic feelings that could arise in a child? What if music opens up for trauma or sets off aggression? Raptis argues convincingly that through conscious and careful music educational work, children can learn to become aware of their emotions and learn to deal with and trust even the more problematic ones.<br>The third article in this issue is by Robin Rolfhamre and Inga Marie Nesmann-Aas. The article Rethinking Music Practise-Sessions beyond Poiesis and Praxis – Towards Practising Democracy makes the somewhat unexpected connection between practising an instrument and a democratic society. The act of practising music was for long a blank page in the annals of music education. Everyone knew that much practise was needed, but how to teach practising skills, and what constituted such skills was a mystery to those who had not miraculously discovered it somehow. The last thirty or so years, this has changed and there is now quite a lot of research on how to practice and how much one should practice. However, practising a music instrument or song in formal music education, is still oftenmost acting in solitude. This article takes tries out a more collective approach to practising: One that the authors argue will not only make individuals great musicians, but will also help develop a healthy democratic society. <br>I have really enjoyed challenging myself in the meeting with these articles, and I hope you will too.</p> <p>Ketil Thorgersen<br>Editor in Chief Stockholm May 10th 2022</p> Ketil Thorgersen Copyright (c) 2022 Editor in Chief https://creativecommons.org/licenses/by/4.0/ 2022-05-10 2022-05-10 7 01 3 6 Texture and (Arts) Education http://www.ejpae.com/index.php/EJPAE/article/view/45 <p class="abstract-&amp;-bio-western">In this article, the complexities of the concept of texture and its relationship to (arts) education, here with a specific focus on attention, awareness and sensitivity, are explored and elaborated upon. Texture can be described simply as the visual and tactile character of surfaces, which covers both nature and culture and, indeed, much of life itself. The overall aim of the article is to explore the following: (i) (arts) education through the lens of texture; (ii) texture, education and the arts as they relate to bodily and sensory experiences; and (iii) texture and (arts) education in relation to silence, silent spaces and repetition. The ultimate goal is to develop theoretical and philosophical insights into diverse understandings of texture as they relate to (arts) education as a way to illuminate and sharpen the sentience and appreciation of its meaning and importance for students in the classroom. The article is theoretically founded on the thinking of the French philosophers Maurice Merleau-Ponty and Mikel Dufrenne. The ways in which texture, education and the arts are related to bodily and sensory experiences are outlined and discussed, which is followed by an exploration of silence, silent spaces and repetition as essential elements of both texture and education. The discussion is exemplified by a narrative, here in the form of a paradigmatic case, of students examining texture in the classroom. To conclude, texture encourages or elicits attention, awareness and sensitivity, all of which are of significance not only for (arts) education, but also for the formation of society—for the formation of our lives.</p> Eva Alerby Karen Doseth Opstad Copyright (c) 2022 Eva Alerby, Karen Doseth Opstad https://creativecommons.org/licenses/by/4.0/ 2022-05-10 2022-05-10 7 01 7 37 10.5281/zenodo.6536166 Emotions in music education as an ethical issue http://www.ejpae.com/index.php/EJPAE/article/view/48 <p class="abstract-&amp;-bio-western">This paper can be understood as the result of philosophical reflection on a music educational project that has already taken place. The main aim of the project was the strengthening of the emotional competence of the students. Although the developments in psychology show crucial mechanisms with which music induces emotions, several new questions emerge that shift the discussion in the field of philosophy: how should we as teachers encounter emotions in the classroom and especially in the music classroom? What should educators try to achieve and what is allowed? How should our emotions and students’ emotions be handled? It is obvious, that these questions require answers mainly in the field of practical philosophy as well as ethics and politics. The philosophical work of Martha Nussbaum can be used as an appropriate basis with which to discuss and to answer some of these questions. The way Nussbaum considers emotions can help us to understand and also to re-design the project as the place of the free experiencing of emotions and of reflecting on and discussing emotions. Nussbaum’s thoughts, as a philosophical framing of our project, build the basis on which to combine emotions and ethics in the classroom and offer an area for an open dialogue about our questions. This dialogue can help us to think and to justify our decisions or to find new ways for a music education that embraces the emotions in the classroom and strengthens the emotional competence of students and teachers.</p> Theocharis Raptis Copyright (c) 2022 Theocharis Raptis https://creativecommons.org/licenses/by/4.0/ 2022-05-10 2022-05-10 7 01 38 61 10.5281/zenodo.6536184 Rethinking Music Practise-Sessions beyond Poiesis and Praxis http://www.ejpae.com/index.php/EJPAE/article/view/38 <p class="abstract-&amp;-bio-western">How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills “that are needed to keep democracies alive’ (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end — i.e. defined learning outcomes — but to result in the student transcending the professional competence acquisition situation to gain wisdom for a broader perspective. What is more, in the present article we will focus on the more autonomous aspects of the every-day, informal practice session of developing musicians and bring in perspectives from philosophy, particularly focusing on the relation between state policies and the individual performer. First, we explore the practise session-case as an aesthetic event. Secondly, we address the individual within the situation in relation to the exterior world while proposing an approach to serve as a framework for further exploration. We apply interaction through social media as a case for this section of the article. Thirdly, we seek to further develop the practice-session as a potential activity for personal growth. Next, we make a note of the related context of ensemble practice. Finally, we propose a logbook exercise to strategically enable this growth-process in practice.</p> Robin Rolfhamre Inga Marie Nesmann-Aas Copyright (c) 2022 Robin Rolfhamre https://creativecommons.org/licenses/by/4.0/ 2022-05-10 2022-05-10 7 01 63 114 10.5281/zenodo.6536193