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Listening to Difference: A Deleuzian...

Jager, David Hiroshi.

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Listening to Difference: A Deleuzian Approach to Music Education.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Listening to Difference: A Deleuzian Approach to Music Education./
作者:	Jager, David Hiroshi.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	212 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Music education. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28152921
ISBN:	9798597081991

Listening to Difference: A Deleuzian Approach to Music Education.
Jager, David Hiroshi.

Listening to Difference: A Deleuzian Approach to Music Education. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 212 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2021.

This item must not be sold to any third party vendors.

The philosophical parsing of subjectivity has undergone continuous shifts and revisions since the Enlightenment and has grown to occupy a central point of concern, especially in the development of continental and poststructuralist thought. Ever since Immanuel Kant placed subjectivity into its own epistemic realm, adjacent to or at least prior to the physical and the historical, thinkers have struggled with the specter of a purely transcendental subjectivity outside of place and time. I argue that it is precisely this conception of subjectivity that led German Idealist thinkers to privilege music as a sublime language which grants philosophical and aesthetic access to transcendent subjectivity, leading them to the view that music was the secret language that grants access to being qua being. I further argue that this privileging has in turn led to many of the hidden universalist assumptions and formalist redundancies that continue to haunt music pedagogy. I assert that as long as the transcendental subject remains hidden in plain sight as an ideal or image, music pedagogies, even those that aspire to be praxial or pragmatic, remain problematic. It is in this spirit that I turn to the subjectivity developed by Gilles Deleuze, a subjectivity predicated on his very unique philosophical formulation of difference. Deleuze conceives of subjectivity as a surface effect that arises continuously from an "immanence" that can only be expressed through an embodied ethics. Conceived as a radically positive and continuous form of sensual becoming in the present, and completely eschewing transcendental subjectivity as it was formerly conceived, Deleuzian subjectivity points the way forward to pedagogies predicated on active emergence and experimentation rather than on rote and reified (re)presentation. I hope to demonstrate how Deleuzian subjectivity could be applied to pedagogies that treat music as an unfolding and experimental process of becoming, rather than a presentation of a sublime and essential self. I will then show how Deleuzian subjectivity has been extensively theorized in the post-modern pedagogical work of other educational theorists, most notably the work of Elizabeth Ellsworth. My final assertion remains that music education cannot be reformed or rethought without first rethinking the subject.

ISBN: 9798597081991Subjects--Topical Terms:

3168367
Music education.
Subjects--Index Terms:

Deleuze

Listening to Difference: A Deleuzian Approach to Music Education.
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520 $a The philosophical parsing of subjectivity has undergone continuous shifts and revisions since the Enlightenment and has grown to occupy a central point of concern, especially in the development of continental and poststructuralist thought. Ever since Immanuel Kant placed subjectivity into its own epistemic realm, adjacent to or at least prior to the physical and the historical, thinkers have struggled with the specter of a purely transcendental subjectivity outside of place and time. I argue that it is precisely this conception of subjectivity that led German Idealist thinkers to privilege music as a sublime language which grants philosophical and aesthetic access to transcendent subjectivity, leading them to the view that music was the secret language that grants access to being qua being. I further argue that this privileging has in turn led to many of the hidden universalist assumptions and formalist redundancies that continue to haunt music pedagogy. I assert that as long as the transcendental subject remains hidden in plain sight as an ideal or image, music pedagogies, even those that aspire to be praxial or pragmatic, remain problematic. It is in this spirit that I turn to the subjectivity developed by Gilles Deleuze, a subjectivity predicated on his very unique philosophical formulation of difference. Deleuze conceives of subjectivity as a surface effect that arises continuously from an "immanence" that can only be expressed through an embodied ethics. Conceived as a radically positive and continuous form of sensual becoming in the present, and completely eschewing transcendental subjectivity as it was formerly conceived, Deleuzian subjectivity points the way forward to pedagogies predicated on active emergence and experimentation rather than on rote and reified (re)presentation. I hope to demonstrate how Deleuzian subjectivity could be applied to pedagogies that treat music as an unfolding and experimental process of becoming, rather than a presentation of a sublime and essential self. I will then show how Deleuzian subjectivity has been extensively theorized in the post-modern pedagogical work of other educational theorists, most notably the work of Elizabeth Ellsworth. My final assertion remains that music education cannot be reformed or rethought without first rethinking the subject.
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