It is clear from this that the music has the power to give the soul of a certain character, and if it has this power it is clear that we must steer young people towards it and educate them.
Aristotle Policies , VIII, 5 1340A 24
is the fault of Rousseau!
A persistent prejudice that has existed for a long time is that art and science are radically opposed, arts exclusively by appeal to emotion, while science is the model of objective knowledge and neutrals. As a liberal state, the school is required to teach that knowledge, the arts no longer do them. It's the same for religious education, religion being based on beliefs, the school is not the appropriate place for teaching beliefs, whatever they are.
Education marries a liberal epistemology "foundationalist" seriously flawed. By adopting a more adequate epistemology, the reliability based , prejudice of a radical distinction between on the one hand, knowledge, belief and emotion, on the other hand, jumps and, hence, our whole conception of liberal education that it is upside down. Music education is rehabilitated because it has an emotional dimension that no one disputes, but also a cognitive component too often neglected and overlooked.
The problem is that it must be called the "dogma" there is wanting a radical break between emotion and cognition. We often hear such as music is emotion or expression of emotions. Listen, for example, the testimony of Eric-Emmanuel Schmitt in his most recent trial When I think that Beethoven died when so many idiots live ... (Albin Michel, 2010)
Music is so much more than music ... musicians n'insufflent not just notes, chords, rhythms and timbres in us, they inform us dynamics, temperament, vision. Penetrating to the depths of intimacy in our soul that vibrates like a piano hammers hitting the strings, the songs and activate our feelings collide. They comfort, they shake, they relieve, they consolidate the joy, anger, impatience; they terrify, soothe, revive. Nothing touches us more deeply or faster than the music. (p. 32-33)
In this kind of testimony, the music "and activate our feelings collide." This is the design sentimentalist music that is current today and which, as I said, take all the appearance of a dogma.
sentimentalist This conception of the music comes largely from the philosophy of the Enlightenment, Jean-Jacques Rousseau (1712-1778) in the first place. Musician and philosopher Rousseau said that " The melody, imitating the inflections of voice, expresses complaints, cries of pain or joy, threats, whining, all the vocal signs of the passions within its jurisdiction. The author of the Devin du Village well as Essay on the Origin of Languages defends the thesis that languages were invented not to express thoughts, but mostly feelings, so that "real" music can only be voice since it comes directly from the song which expresses human feelings. As written by Catherine Kintzler, the real music, "natural" According to Rousseau, is that " which goes to the heart, which arouses emotions and not merely to please, touches and stirs the human soul ..." (Preface to Writings on music by Jean-Jacques Rousseau Stock / Music, 1979, p. xx). Eric-Emmanuel Schmitt tells us nothing that we know already from Rousseau.
Catherine Kintzler also observes that sentimentalism (or sentimental) of Rousseau is based on the nature of man , its sensitivity in particular, while his rival, Jean-Philippe Rameau ( 1683-1764), Rousseau's fable cons of classical music, is another appeal to nature, but the nature of things . Rameau is what might be called "realism" in philosophy of art. He argues that musical harmony trafficking laws obeyed by the sound phenomena. Next musical realism which was also defended later by Austrian Eduard Hanslick (1825-1904), the musical reality exists independently of us, our sensitivity in particular, in contrast to Rousseau, for whom the only reality is that produced by musical our sensitivity.
With Rameau and Rousseau we would face the following dilemma: either the music exists outside us, or it exists only in us. This dilemma lies in the other: the music has nothing to do with emotions, or it is emotion. This, it will be understood, a false dilemma, because music has both the emotions and thoughts. Anyway, the design sentimentalist Rousseau has prevailed and still prevails today. It goes along with what Catherine Kintzler calls the "democratization" of music that wanting
The music addresses at all. In other words, when listening to music, I hear myself and it directly from the ear to the heart. It is clear that this kind of democratization have caused first and foremost a way of listening to music as a universal language of the heart. We are still somewhat mired in the sentimental play, and it is the fault of Rousseau ... (Preface, p. xxii-xxiii)
course design sentimentalist determines our conception of education music. As we have seen, it will be suspect in the eyes of the school liberal, since it deals with emotions, not knowledge. Indeed, emotions are personal "in nature" (at least according to Rousseau), musical tastes are for everyone, so that the school does not have to impose liberal tastes and, therefore, it is not constrained to the teaching of music.
The as-if intentionality
music, understood as a succession of sounds obeying the laws of harmony (Rameau), did nothing intentional itself. In this, Rousseau was right against Rameau. But Rousseau was wrong by emptying the emotions of the thoughts they contain. Eric-Emmanuel Schmitt who, like us all, the argument implicitly wife sentimentalist Rousseau, managed by some unknown feat to achieve, based on pure emotion that he would contact the Fifth Symphony of Beethoven, the following thoughts. First, "an essential point, he writes: [Beethoven] taught me the power of thought." He continues:
When listening the Fifth Symphony, for example, I discovered that this intelligence can be extracted from a simple theme - the famous pom pom pom pom. A theme? A pattern rather because it is an embryo of theme, a theme that fails to rise to the melody, a rhythmic banality, a sentence that never considered Bach or Mozart. Yet Beethoven is happy with it, seizes it, holds it, relaxes, expands, again, the range, the kneading of a hundred different ways. This poor apostrophe - a brute knocks on the door - it draws a movement rich symphonic drama, scandal, waiting, silence, smash. It is observed taking action, we see his soul live circulate between the notes, change the modulation of feelings, inflate the band of contrasts. Beethoven stands there, surrounded by his music, compelling, volcanic constantly present. (p. 22-23)
many things he learned from simple sounds!, We would like to retort to Eric-Emmanuel Schmitt. The famous opening motif of the Fifth in itself is a sequence of sounds. Beethoven could hear clearly not limited to this, he used these sounds intentionally to say or communicate a thought, a thought sublime, which by itself is an emotion. In short, an emotion- thought we would say. This is what Schmitt tries to decipher so many others. In the example of early film by Stanley Kubrick, 2001; the Space Odyssey, where the ape-men trying to decipher the meaning of the black monolith, we try to decipher what Beethoven was behind (or before) the first notes of his Fifth . Fate knocks at the door , it has been suggested. Maybe. Anyway, the emotion-thought provided by the symphony is sublime, transcendent, extraordinary, etc.. This thought-emotion subjugates us, delighted us, transports us, etc.. Eric Emmanuel Schmitt for the emotion-thought Beethoven taught him " the power of thought . What does this mean? This is not just an emotion or a pure thought, but both at once, an emotion-thought ; best, thought-emotion . In sum, there is no thought without emotion or thought without emotion. Both are inextricably linked. The design sentimentalist Rousseau makes the mistake of forgetting, as well as classical realism Rameau.
As if fate knocking at the door. All we can say is, in reality, it will never as a metaphor . The music actually runs on a series of metaphors to fuel the as-if intentionality . The art of musical interpretation is that as-if intentionality . All the commentary resolves Schmitt so. Reread it by prefixing an as-if generic "[as if] [Beethoven] is taking action, [as if] seen his soul live circulate between the notes, change the modulation of feelings , inflate the band of contrasts. [as if] Beethoven stands there, surrounded by his music, compelling, volcanic constantly present. "Taken literally, the same comment is wrong from A to Z. It becomes a profound truths when the prefix as-if . We must learn to listen to music through this process of as-if intentionality that manipulates with the great art masters.
education to as-if intentionality
education in music can not therefore consist in education intentionality as- if . Indeed, the music student must learn to decode these types of intentional second degree. It must become an expert. The as-if intentionality being rich teaching, he will understand the principle of musical works. Faced with a work, it will make assumptions and confront. It may be mistaken, misunderstand, or wander. The musician is first and foremost a descrambler (the composer of an encoder as-if ) . It seeks to understand a musical work by proposing a "reading as-if" balanced, coherent and measured.
This is also true for painting. Take the famous Mona Lisa of Leonardo Da Vinci. It does not say the painting of Da Vinci she smiled . Obviously, the canvas is not smiling! Indeed, the table does not him-even this uniquely human characteristic. Conversely, the web has certain colors and certain features labeled brush. However, it's as if the lines of the drawing made by the brush of the master smiled. As if smile emerges lines, colors, etc.. It does not however be confused with the canvas. As if Lisa Maria Gherardini aka Mona Lisa smile briefly sketched. That smile is fleeting. However, a painting or a picture can represent time, duration. It metaphorically we can only say that the Mona Lisa represents the passing of time with a smile ripped from the ephemeral present. Table speaks as if time stopped . We understand the value of the painting, its meaning , since we are able 'as-if intentionality . Understand a work of art is to be able to understand it in the mode of intentionality as-if. Now who said provision, said practice, practice, success and error. Here we join the music education and the ethics of excellence.
Music education as education excellence
The epistemological thesis reliability, combined with the ethics of excellence, will now allow us to justify music education in schools.
The reliability based posits that our beliefs are true insofar as they meet a normal, correct, their acquisition. The whole issue is what constitutes the "normal process of acquisition or fair." The answer is that given by the ethics of excellence beliefs guarantees (reliable) are those who are intellectually virtuous or excellent, that is to say where the holder of the belief - the "believer" - was available to do the right thing, as it should, when appropriate and where appropriate, and why it should, etc.. lies in the provision to as-if .
We have previously shown that education Music is in the provision as-if intentionality . The excellence of the musician is therefore in its ability to correctly understand a musical work (or to cope adequately in terms of thoughts, emotions).
I can feel fear, joy, sadness, etc.. But I may be wrong in this respect. Frightened at the sight of a newborn, this emotion is inappropriate or disproportionate because, generally, a baby is never something terrible, unlike a bear or a tiger.
Music education is therefore crucial in the acquisition of excellence and, therefore, appropriate provisions emotional. I hear the first movement of the Fifth Symphony Beethoven, and I feel nothing. No thought-emotion I can not think. I was known as the composer's life, his deafness, his perpetual struggle against the isolation of his intense need for love, etc.. There, I can understand what is at stake in the musical work . It is as if Beethoven excellence while teaching me the courage, generosity, of perseverance, hope, etc.. In short, the music of Beethoven everything as if it teaches me excellence. The strength of thought , as said Eric-Emmanuel Schmitt is the strength of character to student excellence. Thinking , such as creating, is demanding, in fact, well thinking is demanding. "That's why , writes Aristotle, evil is easy and difficult: easy to miss the target, but difficult to achieve. "Over the composer seeks to communicate the difficulty and overcome this, more work is beautiful and the composer works of excellence. "To propose Beau is therefore quite virtue," writes Aristotle.
was very wrong to exclude music education programs, for education in music education is in fact the thought-emotion to the measure, emotional balance, in a word : excellence. To escape the shackles of liberal education, adopt a different epistemology, that of reliability based on excellence.
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