Philosophy of Music Education Review 32, no. 1 (Spring 2024), pp. 16–33
Copyright © 2024, The Trustees of Indiana University • doi: 10.2979/pme.00004
WHAT KANT REALLY SAID: FACTS
AND FICTION IN INTERNATIONAL
MUSIC EDUCATION PHILOSOPHY
ALEXANDRA KERTZ-WELZEL
Ludwig-Maximilians-Universitaet, Munich, Germany and Inland Norway
University of Applied Sciences, Hamar, Norway
A.KertzWelzel@lmu.de
Abstract
In international philosophy of music education, there are some philosophers
who are important points of reference. One of them is the German Immanuel
Kant (1724–1804). While his philosophy is complex, an oversimplified under-
standing of his ideas turned him into the “bad guy” of international music
education philosophy, being in favor for instance of art for its own sake. His
assumed ideas are thought to be the foundation of aesthetic education, in
opposition to music education concepts promoting praxis and social change.
The prominent role Kant plays leads to questions: Can an eighteenth-century
philosopher be blamed for twentieth-century music education concepts and
their supposed aberrations? And what did Kant really say? By addressing these
and related questions, this paper offers fresh perspectives on Kant’s original
concept and the role his assumed ideas play in international music education
philosophy, aiming at revising some discourses around them. Furthermore,
Kant as a case in point, can lead to general considerations about the function
of philosophy in music education philosophy.
Keywords: music education, philosophy, aesthetic, music for its own sake, Kant