This volume focuses on the collective wisdom of Asian philosophies and their implications for music education. All twenty chapters are written by highly regarded philosophers and music educators steeped in various Asian traditions. These chapters will include an explanation of a prominent philosophical tradition, evidence in a contemporary music teaching and learning settings (including its inception and historical development along with an explanation of how the philosophical tradition works in contemporary music education), and suggestions for potential directions in the near and distant future.The book is organized into five sections. Section I is based on Chinese philosophical traditions, which have the longest history and are some of the most influential across Asia and beyond. Chapters in Section II present a snapshot of Japanese and Korean views, beginning with the musical practices in the Joseon Period (1392-1910) that are still being practiced in South Korea today to Western influences in 19th century Japan. A collection of philosophical traditions from South and Southeast Asia are contained in Section III, ranging from the insights of King Bhumibol Adulyadej, King Rama IX of Thailand, an accomplished jazz musician, to the Balinese notion of taksu, a form of supreme energy and divine power crucial for compelling performances in the performing arts. We venture into the Islamic and the Middle Eastern world in Section IV, where the dance practices of the Hadhrami Arabs in the Malay Archipelago to traditional sharah music are contextualized within Islamic philosophy. This section also describes the philosophical ideas of the 12th-century Persian philosopher and founder of the Illuminationist (Ishraq) philosophy, Shihab al-Din al-Suhrawardi, arguing that his ideas have much to recommend music education, as this approach requires students to listen in deeper ways, absorb more abundantly, and move beyond arts education to encompass the education of the whole person. Section V concludes with a metaphorical view on a New Silk Road in music education in the 21st century, where ideas are traded for mutual benefit and the development multicultural philosophies of music education. While there are numerous publications on the philosophy of music education rooted in the Western philosophical traditions of ancient Greece, the Asian philosophical voice is virtually silent outside of Asia, and this volume aims to begin the long process of redressing this imbalance. This volume will open readers to the richness of Asian philosophical sources and hopefully stimulate dialogues that could generate new insights and directions for further development, cross-pollination, and application of some of the world's earliest philosophical traditions.

This volume focuses on the collective wisdom of Asian philosophies and their implications for music education. All twenty chapters are written by highly regarded philosophers and music educators steeped in various Asian traditions. These chapters will include an explanation of a prominent philosophical tradition, evidence in a contemporary music teaching and learning settings (including its inception and historical development along with an explanation of how the philosophical tradition works in contemporary music education), and suggestions for potential directions in the near and distant future. The book is organized into five sections. Section I is based on Chinese philosophical traditions, which have the longest history and are some of the most influential across Asia and beyond. Chapters in Section II present a snapshot of Japanese and Korean views, beginning with the musical practices in the Joseon Period (1392-1910) that are still being practiced in South Korea today to Western influences in 19th century Japan. A collection of philosophical traditions from South and Southeast Asia are contained in Section III, ranging from the insights of King Bhumibol Adulyadej, King Rama IX of Thailand, an accomplished jazz musician, to the Balinese notion of taksu, a form of supreme energy and divine power crucial for compelling performances in the performing arts. We venture into the Islamic and the Middle Eastern world in Section IV, where the dance practices of the Hadhrami Arabs in the Malay Archipelago to traditional sharah music are contextualized within Islamic philosophy. This section also describes the philosophical ideas of the 12th-century Persian philosopher and founder of the Illuminationist (Ishraq) philosophy, Shihab al-Din al-Suhrawardi, arguing that his ideas have much to recommend music education, as this approach requires students to listen in deeper ways, absorb more abundantly, and move beyond arts education to encompass the education of the whole person. Section V concludes with a metaphorical view on a New Silk Road in music education in the 21st century, where ideas are traded for mutual benefit and the development multicultural philosophies of music education. While there are numerous publications on the philosophy of music education rooted in the Western philosophical traditions of ancient Greece, the Asian philosophical voice is virtually silent outside of Asia, and this volume aims to begin the long process of redressing this imbalance. This volume will open readers to the richness of Asian philosophical sources and hopefully stimulate dialogues that could generate new insights and directions for further development, cross-pollination, and application of some of the world's earliest philosophical traditions.

This volume focuses on the collective wisdom of Asian philosophies and their implications for music education. All twenty chapters are written by highly regarded philosophers and music educators steeped in various Asian traditions. These chapters will include an explanation of a prominent philosophical tradition, evidence in a contemporary music teaching and learning settings (including its inception and historical development along with an explanation of how the philosophical tradition works in contemporary music education), and suggestions for potential directions in the near and distant future.The book is organized into five sections. Section I is based on Chinese philosophical traditions, which have the longest history and are some of the most influential across Asia and beyond. Chapters in Section II present a snapshot of Japanese and Korean views, beginning with the musical practices in the Joseon Period (1392-1910) that are still being practiced in South Korea today to Western influences in 19th century Japan. A collection of philosophical traditions from South and Southeast Asia are contained in Section III, ranging from the insights of King Bhumibol Adulyadej, King Rama IX of Thailand, an accomplished jazz musician, to the Balinese notion of taksu, a form of supreme energy and divine power crucial for compelling performances in the performing arts. We venture into the Islamic and the Middle Eastern world in Section IV, where the dance practices of the Hadhrami Arabs in the Malay Archipelago to traditional sharah music are contextualized within Islamic philosophy. This section also describes the philosophical ideas of the 12th-century Persian philosopher and founder of the Illuminationist (Ishraq) philosophy, Shihab al-Din al-Suhrawardi, arguing that his ideas have much to recommend music education, as this approach requires students to listen in deeper ways, absorb more abundantly, and move beyond arts education to encompass the education of the whole person. Section V concludes with a metaphorical view on a New Silk Road in music education in the 21st century, where ideas are traded for mutual benefit and the development multicultural philosophies of music education. While there are numerous publications on the philosophy of music education rooted in the Western philosophical traditions of ancient Greece, the Asian philosophical voice is virtually silent outside of Asia, and this volume aims to begin the long process of redressing this imbalance. This volume will open readers to the richness of Asian philosophical sources and hopefully stimulate dialogues that could generate new insights and directions for further development, cross-pollination, and application of some of the world's earliest philosophical traditions.

This volume focuses on the collective wisdom of Asian philosophies and their implications for music education. All twenty chapters are written by highly regarded philosophers and music educators steeped in various Asian traditions. These chapters will include an explanation of a prominent philosophical tradition, evidence in a contemporary music teaching and learning settings (including its inception and historical development along with an explanation of how the philosophical tradition works in contemporary music education), and suggestions for potential directions in the near and distant future. The book is organized into five sections. Section I is based on Chinese philosophical traditions, which have the longest history and are some of the most influential across Asia and beyond. Chapters in Section II present a snapshot of Japanese and Korean views, beginning with the musical practices in the Joseon Period (1392-1910) that are still being practiced in South Korea today to Western influences in 19th century Japan. A collection of philosophical traditions from South and Southeast Asia are contained in Section III, ranging from the insights of King Bhumibol Adulyadej, King Rama IX of Thailand, an accomplished jazz musician, to the Balinese notion of taksu, a form of supreme energy and divine power crucial for compelling performances in the performing arts. We venture into the Islamic and the Middle Eastern world in Section IV, where the dance practices of the Hadhrami Arabs in the Malay Archipelago to traditional sharah music are contextualized within Islamic philosophy. This section also describes the philosophical ideas of the 12th-century Persian philosopher and founder of the Illuminationist (Ishraq) philosophy, Shihab al-Din al-Suhrawardi, arguing that his ideas have much to recommend music education, as this approach requires students to listen in deeper ways, absorb more abundantly, and move beyond arts education to encompass the education of the whole person. Section V concludes with a metaphorical view on a New Silk Road in music education in the 21st century, where ideas are traded for mutual benefit and the development multicultural philosophies of music education. While there are numerous publications on the philosophy of music education rooted in the Western philosophical traditions of ancient Greece, the Asian philosophical voice is virtually silent outside of Asia, and this volume aims to begin the long process of redressing this imbalance. This volume will open readers to the richness of Asian philosophical sources and hopefully stimulate dialogues that could generate new insights and directions for further development, cross-pollination, and application of some of the world's earliest philosophical traditions.