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Exteriority and deconstruction : against counterfeit nineteenth century European ideas on music education Imada, Tadahiko

Abstract

The modem and contenporary history of Western music education has focused on interpreting musical value based on the principles derived from the "aesthetic experience" of nineteenth century metaphysics. Traditional Western aesthetics based on Platonic ethos and Aristotelian mimesis has also exerted a great influence on Japsuiese music education. However, the Japanese nineteenth century differed fundamentally from the nineteenth century of the West. The concept of "man" or "meaning" in nineteenth century Europe was absent from Japan (e.g., Karatani, 1989). The French post-structuralists state that Western people in the twentieth century are still the prisoner of a determined system of the nineteenth century bourgeois-humanist. These a£fect all aspects of life. Thus attention should be paid to invisible powers supporting a spurious unified approach in today's music education curriculum. The twentieth century has seen the emergence of many thinkers such as Derrida and Foucault who criticize Western metaphysics. Their criticism reveals a power structure expressed in the concefjt of logocentrism that tends to unify and centralize. EuropeeUi music's autonomy and hegemony has been believed and taken £or granted for at least a century (Said, 1991). Kany music teachers in Japan have blind faith in Western aesthetics. Today there is an tirgent need to bring contemporary discourse and the concept of exteriority to the analysis of Japanese music education. This thesis attenpts to contribute to that discourse.

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