Introduction
The beginning of modern music education in North America is often pin-dropped somewhere between 1963 and 1970, energized by the 1963 Yale Seminar (Reimer 1979; Werner 2009/2010), the 1967 Tanglewood Symposium (Choate 1968), the 1965 Comprehensive Musicianship Seminar at Northwestern University (Contemporary Music Project 1965, 1971), the Juilliard Repertory Project from 1964–1970 (Dickey 1967), and the Manhattanville Music Curriculum Project from 1966–1970 (Thomas 1970), and other scholarly efforts that newly emphasized creativity, identity, and diversity on behalf of practitioners. Its developments were not merely academic, but were constitutive of the cultural, social, and political discourses of the Cold War and the Vietnam Era in North America during the 1960s. Arguably, it was during this turbulent yet culturally rich period that music education’s first fully formed philosophy of the twentieth century came into existence. The aesthetic education movement, as it would...
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Mangum, C.C., Allsup, R.E. (2020). Aesthetics Movement in North America and Reimer’s Contribution to Music Education. In: Peters, M. (eds) Encyclopedia of Educational Philosophy and Theory. Springer, Singapore. https://doi.org/10.1007/978-981-287-532-7_686-1
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