Cage’s short visit to the classroom: Experimental music in music education – A sociological view on a radical move

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Presented at the Sixth International Symposium on the Sociology of Music Education. This paper examines some aspects of the cultural, ideological and aesthetic underpinnings of a music education movement whose prime feature has been the use of experimental music and music-making practices within classrooms.

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21 p.

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Kanellopoulos, Panagiotis A. July 2009.

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This paper is part of the collection entitled: International Symposium on the Sociology of Music Education (ISSME) and was provided by the UNT College of Music to the UNT Digital Library, a digital repository hosted by the UNT Libraries. It has been viewed 239 times. More information about this paper can be viewed below.

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The nation's largest comprehensive music school, the UNT College of Music provides a dynamic learning environment for both future professionals and the broader university community. The college offers fully accredited degrees from bachelor to doctoral levels, and its faculty includes internationally acclaimed artists and scholars. More than 1200 concerts and recitals are presented annually.

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Presented at the Sixth International Symposium on the Sociology of Music Education. This paper examines some aspects of the cultural, ideological and aesthetic underpinnings of a music education movement whose prime feature has been the use of experimental music and music-making practices within classrooms.

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21 p.

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Abstract: The purpose of this paper is to examine some aspects of the cultural, ideological and aesthetic
underpinnings of a music education movement whose prime feature has been the use of
experimental music and music-making practices within classrooms. The paper explores a
number of questions: What are the educational and aesthetic tenets of the endeavours to bring
experimental music into the classroom? In what sense could music education be thought of as
experimental? What is the relationship of this movement to advances in the realm of
contemporary music and to conceptions of human creativity developed in the realm of
psychology? How has experimental music education understood childhood, its nature and
development? The paper is organized around seven themes which might be seen as describing
the basic tenets of experimental music education movement. (1) Experimental-ism vs. avantgarde-
ism, (2) Within and without history: Universalism, (3) Piercing vs. opening:
experiments and the experimental, (4) Resisting commodification, (5) Locality and the
neglect of the local, (6) Learning as disclosing vs. learning as contextual (7) Creativity on
demand: openness and predictability. The paper emphasizes that it is important that we revisit
such radical efforts today, at a time when a performativity-driven educational ideology
dominates, at a time when an unashamed preference for educational technology that
successfully produces instant results leads to an increasing exclusion of experimental
practices.

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  • International Symposium on the Sociology of Music Education, July 5-9, 2009. Limerick, Ireland.

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  • Publication Title: Proceedings of the Sixth International Symposium on the Sociology of Music Education

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International Symposium on the Sociology of Music Education (ISSME)

This biennial symposium draws together music education academics from around the world to discuss issues, practices, and perspectives focusing on connecting music learning and other music experiences with the lives, values, identities, and communities of those involved. Included in the collection are papers from the symposium.

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  • July 2009

Added to The UNT Digital Library

  • Nov. 28, 2018, 5:21 p.m.

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  • Feb. 13, 2019, 3:25 p.m.

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Kanellopoulos, Panagiotis A. Cage’s short visit to the classroom: Experimental music in music education – A sociological view on a radical move, paper, July 2009; Dublin, Ireland. (https://digital.library.unt.edu/ark:/67531/metadc1390657/: accessed July 16, 2026), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT College of Music.

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