A Way of Music Education

Since the heyday of ordinary language philosophy, Anglophone epistemologists have devoted a great deal of attention to the English word 'know' and to English sentences used to attribute knowledge. Even today, many epistemologists, including contextualists and subject-sensitive invariantists are concerned with the truth conditions of "S knows that p," or the proposition it expresses. In all of this literature, the method of cases is used, where a situation isdescribed in English, and then philosophers judge whether it is true that S knows that p, or whether saying "S knows that p" is false, deviant, etc. in that situation. However, English is just one of over 6000 languages spoken around the world, and is the native language of less than 6% of the world's population. When Western epistemology first emerged, in ancient Greece, English did not even exist. So why should we think that facts about the English word "know," the concept it expresses, or subtle semantic properties of "S knows that p" have important implications for epistemology? Are the properties of the English word "know" and the English sentence 'Sknows that p' shared by their translations in most or all languages? If that turned out to be true, it would be a remarkable fact that cries out for an explanation. But if it turned out to be false, what are the implications for epistemology? Should epistemologists study knowledge attributions inlanguages other than English with the same diligence they have shown for the study of English knowledge attributions? If not, why not? In what ways do the concepts expressed by 'know' and its counterparts in different languages differ? And what should epistemologists make of all this? The papers collected here discuss these questions and related issues, and aim to contribute to this important topic and epistemology in general.Moving back through Dewey, Heidegger, Nietzsche, and Rousseau, the lineage of Western music education finds its origins in Plato and Pythagoras. Yet theories not rooted in the ancient Greek tradition are all but absent. A Way of Music Education provides a much-needed intervention, integrating ancient Chinese thought into the canon of music education in a structured, systematized, and philosophical way. The book's three central sources - the Yijing(The Book of Changes), Confucianism, and Daoism - inform author C. Victor Fung's argument: that the human being exists as an entity at the center of an organismic world in which all things and events, including music and music education, are connected. Fung ultimately proposes a new educational philosophy based onthree key ideas in Chinese thought: change, balance, and liberation. A unique work, A Way of Music Education offers a universal approach engrained in a specific and ancient cultural tradition.