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Reviewed by: A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis by Thomas A. Regelski Roger Mantie Thomas A. Regelski, A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (New York: Routledge, 2016) ANSWERS WITHOUT QUESTIONS Thomas Regelski has earned a place as a major figure in music education, if for no other reason than his role as co-convener of the MayDay Group in 1993. Regelski’s contributions to the profession, however, go much beyond the MayDay Group. His many books and articles provide both practical advice and suggestions for music teachers as well as rigorous discussions of important issues for scholars. He is among the most frequently cited authors in music education today and I count myself among those who have been deeply impacted by his work.1 Those familiar with Regelski’s oeuvre and the history of the MayDay Group know that “praxial philosophy” has been his central concern since the early 1990s. The idea of praxialism, a term more or less invented by a small group of music education academics,2 has been driven, at least in part, by a desire to counter what has been considered (by some) to be the music education profession’s misguided adherence to and emphasis on “music education as aesthetic education,” particularly as an outgrowth of its Charles Leonard-Bennett Reimer [End Page 213] lineage.3 Along with contemporaries Philip Alperson, Wayne Bowman, and David Elliott (among others), Regelski has been a major voice in adopting and adapting ancient Greek (especially Aristotelean) thought in order to challenge the presupposition, predominant in twentieth-century academic discourse, that a (or the) philosophy of music education should unquestioningly derive from philosophies of art or aesthetics. Through the deployment of concepts such as theoria, techne, poiesis, phronesis, and especially, praxis, Regelski has, along with a cadre of like-minded thinkers, attempted, in the tradition of Christopher Small, to encourage educators to place greater emphasis on the social aspects of music making rather than on the so-called “aesthetic properties” of the music itself. For almost three decades, Regelski has been consistent, if not relentless in his promotion of all things “praxial.” A Brief Introduction to a Philosophy of Music and Music Education as Social Praxis (hereafter A Brief Introduction) comprises seven short chapters. The first three (Part One: Ideology Critique) provide an historical, if editorialized, overview of the history of aesthetics, from its ancient Greek origins in aisthesis to what Regelski calls today’s “aesthetic rationale” for music education. The last four chapters (Part Two: Theory into Praxis and Praxis Informed by Theory) provide arguments for why a praxial philosophy provides a superior basis for music education, along with illustrations of what music teaching based on praxialism might look like in practice. Readers already acquainted with Regelski’s previous writings are unlikely to find anything new in A Brief Introduction. Many of the book’s themes, such as “automania,” “sacrilization of music,” “legitimation crisis,” “pragmatic difference,” “action learning,” and “breaking 100” will be familiar to those who have read his essays over the years. A Brief Introduction, however, is not intended for those already familiar with his previous writings, but for newcomers, such as upper level undergraduates, for whom A Brief Introduction provides, as the title appropriately suggests, a succinct summary of his ideas distilled into just over a hundred pages. Rather than a stand-alone textbook, Regelski imagines the book as a “complement” to other courses, such as introductory classes in music education, conducting classes, instrumental method courses, and so on. Although not stated explicitly, much of the book’s content is relevant primarily (though perhaps not exclusively) for an American/Canadian readership. Regelski explains from the outset that the ideas in the book “are intended as a corrective to current practices and traditions in music teaching” (xx), ones he considers based upon and reflective of “aesthetic ideology.” As he explains, he wishes to operate in the tradition of Critical Theory, where ideology means the imposition of a dominant group’s values over a subordinate group. Although he never discusses processes of social reproduction, established norms and practices [End Page 214] in institutional...

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