Table of Contents

Preface Introduction The Boundaries of the Arts and Aesthetics Hard Times, Hard Boundaries Uses of History in Some Recent Aesthetic Writings Boundaries in Music Fragmentation in the Musical Field Soft Boundaries and Relatedness: A New Paradigm for Understanding Music Soft Boundaries, Autonomist/Formalist Aesthetics, and Music Theory Soft Boundaries and the Future Integrating History, Theory, and Practice in the College Music Curriculum Towards Integrative, Interdisciplinary Education in the Arts and Aesthetics Virtual Reality and Aesthetic Competence in the 21st Century

About the Author

CLAIRE DETELS is Professor of Music, University of Arkansas, Fayetteville.

Reviews

"A compelling, communicative, penetrating book. It will engage wide audiences across different disciplines, the different arts, the humanities and the educators, both scholars, practitioners, and all those who care about the arts, about being moved, stimulated intellectually, and inspired."-Liora Bresler Associate Professor Curriculum and Instruction University of Illinois, Urbana-Champaign

"Detel's paradigm relaxes arbitrary academic distinctions to show how we can educate our young citizens to comprehend new dimensions of sensory knowledge. This book will stimulate important thinking."-Anita Silvers Professor of Philosophy San Francisco State University

"Here, Claire Detels dares to rattle the cages of the status quo in music education and presents her own broader and integrated vision, replete with practical examples."-Estelle Jorgensen Editor, Philosophy of Music Education Review

"This compelling analysis of the academic autism' that results from the over-specialization and, hence, the fragmentation of musical study and education in public schols and universities will be read profitably by anyone concerned about the weak state of music in schools and society. It is especially valuable for musicians in academe whose favored paradigms, the author argues, have wrought unintended and unfortunate consequences. The issues raised are important but are seldom addressed with such comprehensiveness and forthrightness. The critique is clearly articulated, even-handed and well-argued. The proposed softening' of boundaries between specialties within music, between music and the other arts deserves discussion, especially in terms of the practical models suggested from the author's own teaching experiences."-Thomas A. Regelski, Ph.D. Distinguished Professor of Music SUNY Fredonia, NY