This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Alperson, P. (1991). What should one expect from a philosophy of music education? Journal of Aesthetic Education, 25 (3), 215–242.
Barthes, R. (1977). Musica practica. In Image, music, text (pp. 149–154). New York: Hill & Wang.
Berliner, P. (1994). Thinking in jazz. Chicago, IL: University of Chicago Press.
Blacking, J. (1973). How musical is man? Seattle, WA: University of Washington Press.
Bowman, W. (1998). Philosophical perspectives on music. New York: Oxford University Press.
Bowman, W. (2000). A somatic, “here-and-now” semantic: Music, body, and self. Bulletin of the Council for Research in Music Education, 144, 45–60.
Bowman, W. (2002). Educating musically. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning: A project of the music educators national conference (pp. 63–84). New York: Oxford University Press.
Bowman, W. (2004). Cognition and the body: Perspectives from music education. In L. Bresler (Ed.), Knowing bodies, moving minds: Toward embodied teaching and learning (pp. 29–50). Netherlands: Kluwer Academic Press.
Bowman, W. (2005a). After the silence of aesthetic enchantment: Race, music, and music education. Action, Theory, and Criticism (ACT) for Music Education, 4 (3). Retrieved November 18, 2005, from http://www.siue.edu/MUSIC/ACTPAPERS/v4/Bowman4_3.pdf
Bowman, W. (2005b). More inquiring minds, more cogent questions, more provisional answers: The need to theorize music education – and its research. Music Education Research, 7 (2), 153–168.
Bowman, W. (2005c). Why musical performance? Views praxial to performative. In D. Elliot (Ed.), Praxial music education: Reflections and dialogues (pp. 143–164). New York: Oxford University Press.
Broudy, H. (1972). Enlightened cherishing: An essay on aesthetic education. Urbana, IL: University of Illinois Press.
Casey, E. (1996). How to get from space to place in a fairly short stretch of time: Phenomenological prolegomena. In S. Feld & K. H. Basso (Eds.), Senses of Place (pp. 13–52). Santa Fe, NM: School of American Research Press.
Cutietta, R., & Stauffer, S. L. (2005). Listening reconsidered. In D. Elliott (Ed.), Praxial music education: Reflections and dialogues (pp. 123–142). New York: Oxford University Press.
De Alcantara, P. (1997). Indirect procedures: A musician’s guide to the Alexander technique. New York: Oxford University Press.
Dewey, J. (1934/1989). Art as experience. Carbondale, IL: Southern Illinois University Press.
Elliott, D. (1991). Music as knowledge. Journal of Aesthetic Education, 25 (3), 21–40.
Elliott, D. (1995). Music matters. New York: Oxford University Press.
Feld, S. (1990). Sound and sentiment (2nd ed.). Philadelphia, PA: University of Pennsylvania Press.
Feld, S. (1994). Communication, music, and speech about music. In C. Keil & S. Feld (Eds.), Music Grooves (pp. 77–95). Chicago, IL: University of Chicago Press.
Feld, S. (1996). Waterfalls of song: An acoustemology of place resounding in Bosavi, Papua New Guinea. In S. Feld & K. H. Basso (Eds.), Senses of place. (pp. 91–135). Santa Fe, NM: School of American Research Press.
Feld, S., & Basso, K. H. (Eds.). (1996). Senses of Place. Santa Fe, NM: School of American Research Press.
Gilroy, P. (1987). There ain’t no black in the union jack: The cultural politics of race and nation. Chicago, IL: University of Chicago Press.
Hall, S. (1986). On postmodernism and articulation, An interview with Stewart Hall, edited by Lawrence Grossberg. Journal of Communication Inquiry, 10 (2), 45–60.
Hegel, G. W. F. (1920). The philosophy of fine art (F. P. B. Osmaston, Trans.). London: G. Bell & Sons.
Jaques-Dalcroze, E. (1921). Rhythm, music and education. New York: G. P. Putnam’s Sons.
Kant, I. (1952). The critique of judgment (J. C. Meredith, Trans.). Oxford: Clarendon.
Keil, C. (1994). Motion and feeling through music. In C. Keil & S. Feld (Eds.), Music grooves (pp. 53–76). Chicago, IL: University of Chicago Press.
Lakoff, G., & Johnson, M. (1999). Philosophy in the flesh: The embodied mind and its challenge to western thought. New York: Basic Books.
Landis, B., & Carter, P. (1990). The eclectic curriculum in American music education: Contributions of Dalcroze, Kodaly, and Orff. Reston, Virginia: Music Educators National Conference.
Langer, S. (1942). Philosophy in a new key: A study in the symbolism of reason, rite, and art. Cambridge, MA: Harvard University Press.
Langer, S. (1953). Feeling and form: A theory of art developed from Philosophy in a New Key. New York: Charles Scribner’s Sons.
Merleau-Ponty, M. (1962). Phenomenology of perception (C. Smith, Trans.). London: Routledge and Kagen Paul.
Meyer, L. (1956). Emotion and meaning in music. Chicago, IL: University of Chicago Press.
Negus, K. (1996). Popular music in theory. Hanover, NH: Wesleyan University Press.
Orff, C. (1977). Music for children: based on Musik für kinder. New York: Schott Music Corp.
Park, G. (1989). The art of changing: a new approach to the Alexander technique. Bath: Ashgrove Press.
Powell, K. (2004). The apprenticeship of embodied knowledge in a taiko drumming ensemble. In L. Bresler (Ed.), Knowing bodies, moving minds: Embodied knowledge in education (pp. 183–195). The Netherlands: Kluwar Press.
Powell, K. (2005). The ensemble art of the solo: Improvising art, self and culture in a Japanese American taiko ensemble. Journal of arts and learning research, 21, 273–295.
Powell, K. (2006). Inside-out and outside in: Participant observation in taiko drumming. In G. Spindler & L. Hammond (Eds.), Innovations in educational ethnography: Theory, methods and results. Mahwah, NJ: Lawrence Erlbaum Associates.
Rao, D., & Pierson, B. (2005). Circle of sound voice education. Van Nuys, CA: Boosey & Hawkes/Alfred Publishing.
Radano, R., & Bohlman, P. (2000). Music and the racial imagination. Chicago, IL: University of Chicago Press.
Reimer, B. (1970/1989). A philosophy of music education. Englewood Cliffs, NJ: Prentice Hall.
Reimer, B. (1996). David Elliott’s “new” philosophy of music education: Music for performers only. Bulletin of the Council for Research in Music Education, 128, 59–89.
Schiller, F. (1982). On the aesthetic education of man (E. Wilkinson & L. A. Willoughby, Trans.). Oxford: Clarendon Press.
Schutz, A. (1951/1971). Making music together: A study in social relationship. In A. Broderson (Ed.), Alfred Schutz: Collected papers, volume II (pp. 159–178). The Hague: Nijhoff.
Shusterman, R. (1997). Practicing philosophy: Pragmatism and the philosophical life. New York: Routledge.
Small, C. (1998). Musicking: The meanings of performing and listening. Middletown, CT: Wesleyan University Press.
Steinhardt, A. (1998). Indivisible by four. New York: Farrar, Straus, and Giroux.
Stokes, M. (1994). Ethnicity, identity and music: The musical construction of place. New York: Berg Publishers.
Stubley, E. (1995). The performer, the score, the work: Musical performance and transactional reading. Journal of Aesthetic Education, 29 (3), 55–69.
Stubley, E. (1998). Being in the body, being in the sound: A tale of modulating identities and lost potential. Journal of Aesthetic Education, 32 (4), 93–105.
Stubley, E. (2003). Studies in the musical work. Canadian Music Educator, 44 (2), 6.
Sudnow, D. (1978). Ways of the hand: The organization of improvised conduct. Cambridge, MA: Harper Colophon Books.
Thurman, L. (2005). eColumn. Music and Health. Retrieved November 18, 2005, from http://www.maydaygroup.org
Japanese Perspectives and Research on the Body
Keister, J. (2004). The shakuhachi as spiritual tool: A Japanese Buddhist instrument in the West. Asian Music, 35 (2), 99–131.
Keister, J. D. (2001). Shaped by Japanese music: Kikuoka Hiroaki and nagauta shamisen in Tokyo. Unpublished Ph.D. dissertation, University of California, Los Angeles.
Hare, T. (1998). Try, try again: Training in noh drama. In T. P. Rohlen & G. K. LeTendre (Eds.), Teaching and learning in Japan (pp. 323–344). New York: Cambridge University Press.
Ikuta, K. (1987). Waza kara shiru [Knowing through waza artistry]. Tokyo: Tokyo Daigaku Shuppankai.
Kato, E. (2004). The tea ceremony and women’s empowerment in modern Japan: Bodies re-presenting the past. London: Routledge.
Malm, W. P. (2000). Traditional Japanese music and musical instruments (New ed.). Tokyo: Kodansha International.
Mayuzumi, K. (2006). Tea ceremony as a decolonizing epistemology: Healing and Japanese women. Journal of Transformative Education, 4 (1), 8–26.
Murao, T. (2003). Suzuki mesodo “kira kira boshi hensokyoku” ni miru “kata kara no gakushu” ni tsuite [Learning through kata in Twinkle, Twinkle, Little Star Variations in the Suzuki violin method]. Gendai no esupuri, 428, 165–175.
Peak, L. (1998). The Suzuki method of music instruction. In T. P. Rohlen & G. K. LeTendre (Eds.), Teaching and learning in Japan (pp. 345–368). New York: Cambridge University Press.
Sato, N. E. (2004). Inside Japanese classrooms: The heart of education. New York: RoutledgeFalmer.
Yuasa, Y. (1987). The body: Toward an Eastern mind-body theory. Albany, NY: State University of New York Press.
Yano, C. R. (2002). Tears of longing: Nostalgia and the nation in Japanese popular song. Cambridge, MA: Harvard University Asia Center.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2007 Springer
About this chapter
Cite this chapter
Bowman, W., Powell, K. (2007). The Body in a State of Music. In: Bresler, L. (eds) International Handbook of Research in Arts Education. Springer International Handbook of Research in Arts Education, vol 16. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-3052-9_74
Download citation
DOI: https://doi.org/10.1007/978-1-4020-3052-9_74
Publisher Name: Springer, Dordrecht
Print ISBN: 978-1-4020-2998-1
Online ISBN: 978-1-4020-3052-9
eBook Packages: Humanities, Social Sciences and LawEducation (R0)