METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. 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The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada Last revision: Spring 09 ABSTRACT ―Metamorphosis‖ draws a parallel between classical music and Western philosophy and attempts to analyze the transformative impact that this kind of music may have on education. The current thesis explores the possibility that all musics and art can mould character, for better or for worse, while acknowledging that absolute proof is not possible. This perspective is based on my thirty-five years experience as a composer, conductor and teacher of classical music. Most importantly, this thesis should be regarded as a proposal of qualitative research that has been applied to Western music and philosophy from a neo-Platonic perspective. ―Metamorphosis‖ is a hypothesis – it brings forth new ideas and generates questions. The first part – THE THEORY – proposes the term philosophic music. This term is intended to encourage a debate about aesthetics and art categories from a new perspective encompassing genres, periods and cultures. I believe that philosophic music may be found everywhere: in Asia, Africa or Europe; in classical music, jazz or punk. However, for reasons of subjective experience, concision and clarity the current dissertation focuses on Western classical music vis-à-vis our educational system in British Columbia. This chapter could also be regarded as another theoretical argument aiming to change the contemporary perspective on music as mere entertainment or vehicle for political and social iii protest. I posit that philosophic music has an intimate relationship with philosophy in general and its association with the Good (in the Platonic sense). The second part - THE METHOD – focuses on the importance of attentive listening as an active process and suggests a solution that may be applied in music classes to boost students‘ creativity. Finally, the third part - THE TOOL: The Alternative Listening Program – presents a syllabus organized by grades (1 – 12), weeks and days. It offers more than six hundred musical titles ready to be used in the classroom by those interested to do so. All are accompanied by a compendium of audio sources. ―Metamorphosis‖ hopes to open doors that will encourage future research applied to other music genres, and possibly, other cultural environments. Keywords: Music education; classical music; popular music; listening syllabus Grades 1-12; philosophic music; attentive listening; transformative music. iv DEDICATION To my wife, Elena (Ileana) whose constant and carrying support and limitless understanding have been the bedrock of my journey towards this thesis. To my daughter, Andreea, always a relief and an inspiration. To my father, conductor, composer and professor Emilian Ursu, whose steadfast admiration for the Western Civilization‘s accomplishments and passion for music as the bearer of a spiritual and philosophic message were a beacon of my childhood and of my early adult life. v ACKNOWLEDGEMENTS First and foremost I would like to thank Dr. Yarsolav Senyshyn – my supervisor - whose passion, support and devotion were inspirational. His guidance was invaluable for the completion of this thesis. Dr. Senyshyn‘s incredible kindness and his towering intellectual and artistic stature – ―un uomo universale‖, a Renaissance man – will always represent for me an aspiration, an ideal yet to be attained. A special thank to Dr. Stuart Richmond whose ideas about ethics, philosophy, and art greatly influenced my writing. An accomplished artist himself, Dr. Richmond expanded my horizon and generously gave up his own time in order to be at my side when I most needed him. I would also like to express my appreciation to Dr. Richard Kurth and Dr. Heesoon Bai for their interesting insights. Their suggestions turned this thesis into a better, more limpid philosophical excursion. Last but not least I would like to thank Dr. Susan O'Neill, the Chair of my Examining Committee. Under Dr. O'Neill's outstanding leadership and unparalleled balance my defence turned out to be a feast of intellectual enjoyment. vi TABLE OF CONTENTS Approval .......................................................................................................................... ii Abstract .......................................................................................................................... iii Dedication ....................................................................................................................... v Acknowledgements ........................................................................................................ vi Table of Contents .......................................................................................................... vii Introduction ................................................................................................................... 1 1: Part I. The Theory ...................................................................................................... 7 1.1 Philosophic Music ................................................................................................... 7 1.1.1 Overture (Preambulum) ............................................................................. 15 1.1.2 Act I (Primus): The Word (Logos) .............................................................. 19 1.1.3 Act II (Secundus): The Sound (Phonos)..................................................... 25 1.1.4 Act III (Tertius): Philosophic Music (Meta-Phonos) .................................... 34 1.1.5 Coda (Post-Scriptum): Phonosophia .......................................................... 39 1.1.6 Addendum: The Proof (Syllogismos) ......................................................... 42 1.2 The Rift: Classical and Popular ............................................................................. 69 1.3 Trends in classical and popular music ................................................................... 82 1.4 The Music Room ................................................................................................. 103 1.4.1 A quick review ......................................................................................... 103 1.4.2 Our daily classrooms ............................................................................... 104 1.4.3 Schonberg, again .................................................................................... 105 1.4.4 De-composing music composition ........................................................... 105 1.4.5 Master Schonberg at work ....................................................................... 107 1.4.6 But why? .................................................................................................. 108 1.5 Of Freedom, Love,