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 Advance Praise for
Beauty, Reason, and Power: Music Education
in a Pluralist Society

“Every serious person in music education needs this book. William Perrine, im-
pressively well read and deeply thoughtful, makes the convincing case for a classic
liberal, aesthetic music education, and does so in the even-​handed way of the true
scholar. Perrine’s book points the way for the needed renaissance in music edu-
cation, a rebirth which would revive the importance of art and contemplation in
human experience.”
—​Charles Peltz, Director of Wind Ensemble Activities,
New England Conservatory
“At long last, a major work that forwards a traditionalist approach to music ed-
ucation, firmly rooted in the core tenets of Classical education and foundational
thinkers. Although written primarily with the Western context in mind, its in-
sightful analyses and comprehensive coverage of timeless and transcultural themes
like beauty, goodness, and music education as a humanizing enterprise appeals and
speaks to a broad array of international readers.”
—​Leonard Tan, Associate Professor of Music at the National Institute of
Education, Nanyang Technological University (Singapore)
Beauty, Reason, and Power
 This book is part of the Peter Lang Education list.
Every volume is peer reviewed and meets
the highest quality standards for content and production.

PETER LANG
New York • Berlin • Brussels • Lausanne • Oxford
 William M. Perrine

Beauty, Reason, and Power

Music Education in a Pluralist Society

PETER LANG
New York • Berlin • Brussels • Lausanne • Oxford
Library of Congress Cataloging-​in-​Publication Control Number: 2022041720

Bibliographic information published by Die Deutsche Nationalbibliothek.

Die Deutsche Nationalbibliothek lists this publication in the “Deutsche
Nationalbibliografie”; detailed bibliographic data are available
on the Internet at http://​dnb.d-​nb.de/​.

ISBN 978-​1-​4331-​9912-​7 (hardcover)

ISBN 978-​1-​4331-​9911-​0 (softcover)
ISBN 978-​1-​4331-​9724-​6 (ebook pdf )
ISBN 978-​1-​4331-​9725-​3 (epub)
DOI 10.3726/​b20111

© 2023 Peter Lang Publishing, Inc., New York

80 Broad Street, 5th floor, New York, NY 10004
www.peterl​ang.com

All rights reserved.

Reprint or reproduction, even partially, in all forms such as microfilm,
xerography, microfiche, microcard, and offset strictly prohibited.
Dedicated to Karyn
 Table of Contents

Preface ix
Acknowledgments xv

Introduction: Pluralism, Music Education, and Philosophical Tradition 1

The Liberal Arts as Classical Education 8
Philosophical Traditions and their Conflicts 13
Understanding Music Education through the Classical Tradition 22

Part One: Traditions in Development 31

Chapter One: Foundations of the Western Tradition 33
Western Civilization and its Traditions 33
The Greek World in Context 37
Plato and the Idea of Education 40
Aristotle and Virtue in Community 45
The Impact of Hellenization and Early Christianity 51
Chapter Two: Realism and the Quest for Beauty 63
The World of Christendom 63
The Continuity of Tradition 69
Music and the Meaningful Cosmos 77
viii | table of con tents

The Developing Liberal Arts 81

The Humanities and their Renaissances 88
Chapter Three: Reason and Inquiries for Truth 99
The European Enlightenment 99
Responses within the Liberal Tradition 106
The Aesthetic Experience of Music 111
Mechanical and Organic Pedagogy 117
Music Education as Aesthetic Education 128
Chapter Four: Transformation and the Will to Power 145
Contours of the Critical Framework 145
Critical Pedagogy 155
Critical Anti-​Aesthetics 164
Praxial Music Education 172
Liquid and Immutable Identities 182

Part Two: Traditions in Operation 205

Chapter Five: The Classical Tradition and Music 207
The Nature of Musical Activity 208
The Meaning of the Musical Work 218
The Nature of Musical Listening 226
Chapter Six: The Classical Tradition and Education 247
The Purposes of Classical Education 247
The Content of Classical Education 259
Classical Education and the Common Good 267
Chapter Seven: The Classical Tradition and Music Education 283
The Materials of Music Education 283
Methods of Music Education 296
Music Education and Narrative Identity 306
Conclusion: Traditions in Conflict and Dialogue 325
Some Objections Considered 325
Diverging Paths Forward 330
Toward Dialogue and Resistance 333

Index 343
 Preface

This book is, unreservedly, a grand narrative grounded in a transcendent view of

truth. Conventional wisdom states that such projects are either hopelessly naive, or
lack the academic sophistication to be taken seriously. I have never cared much for
this type of conventional wisdom, however, and am thus unapologetic in stating
my intentions directly. Further, what follows is an apology in the classical sense of
the term: a rational defense and justification of a particular philosophical perspec-
tive that is generally absent from contemporary academic discourse. I am specif-
ically arguing for a general stance of moderate realism and against contemporary
philosophies of various stripes, whether postmodernism, poststructuralism, or crit-
ical social theories.
The topic I will address in the pages that follow is the relationship between
music and education. What is the nature of education, and how does it encourage
growth toward maturity so that children might contribute to the common good
of their communities? Why should we value musical activity, and how does music
as a social practice foster the cultural memory necessary for the sustenance of a
civil culture in a pluralist society? While at first these questions may appear un-
related, for practicing music teachers the intersection of these issues cut to the
heart of what it means to be a conscientious educator and musician. For those
outside the profession of music education, concerns regarding education and
artistic culture are central rather than peripheral to current social controversies.
x | preface

Even if you as a reader have never spent a great deal of time thinking about what
music teachers do on a daily basis, or why they do it, the philosophical frame-
work I will explore has broad ramifications beyond what might or might not
occur in a particular music classroom. On a related note, my intention here is not
to provide practicing music educators particular recommendations for improving
their professional practice, either in terms of teaching methodology or curric-
ulum materials. Those expecting practical suggestions for teaching and learning
music are bound to be disappointed. I certainly do not mean to imply that the
philosophy I present in this volume does not have practical implications. The
exact opposite is the case. However, practical wisdom for right action (what the
Greeks called phronesis) proceeds from a correct anthropology of what it means
to be human in relation to the cosmos properly understood. On this point, our
educational system has embraced pragmatism so deeply that it takes a tremen-
dous amount of work to even rationally conceive an alternative. A preliminary
study of how we might understand the world we live in, and what role music and
education might play in it, will thus provide more than sufficient material for the
current study.
A forward to a volume such as this provides a more informal forum to set
the stage for what follows. In this case, a few thoughts on why I am taking this
approach, and what I might hope to accomplish, are perhaps in order. My over-
arching purpose in undertaking this endeavor has been to present an alternative to
conventional thinking in the field of music education. Whether progressive, prag-
matic, postmodern, poststructural, or guided by critical social theory, I have never
been satisfied with the various academic approaches to curriculum theory current
in the academy. Yet as a student I was never exposed in my classes to any substan-
tive traditionalist alternatives—​either at the elite liberal arts school I attended as
an undergraduate, or at the reputable graduate institutions I attended. My search
for alternate voices was thus, by necessity, a process of self-​education. I was for-
tunate, however, to have truly liberal professors who valued free speech and free
inquiry. So while at times I felt the academic hostility common to traditionalist
thought in higher education, for the most part I had just enough freedom to get
into trouble.
As I have progressed in my career, I have concluded that the exclusion of
contrarian perspectives from the curriculum is not some sort of sinister conspiracy
to move the Overton Window to the left. Certainly, there are various philosoph-
ical trends at play that tend to favor omitting certain “conservative” perspectives
from academic discourse. These trends often operate, however, at the unconscious
level of confirmation bias—​something we are all susceptible to, regardless of our
own ideological commitments. In terms of overlooking particular viewpoints from
 p r efac e | xi

serious consideration, there are certainly important philosophical lines that by

their own premises exclude the potential legitimacy of opposing points of view.
One of my hopes is that the reasons for this will gradually emerge from the cur-
rent study. I have also found that when the occasional substantive account chal-
lenging the status quo emerges from the academy, it is often ignored, unnoticed,
or dismissed as reactionary. Such are the lacunae of our field: no need to debate
what we fail to notice, or what we already know to be wrong. By and large, though,
when discussing the philosophy of music education with professional colleagues
I have found a willingness to at least consider divergent perspectives. At the same
time, this is coupled with the factual observation that such perspectives are in short
supply.
One of the aims of this book, then, is to present a traditionalist approach to
music education in a field where similar writings are hard to find. The academic
field of the philosophy of music education—​admittedly a narrow specialization
within an already socially marginalized discipline—​has tended to be dominated
by ideas emanating from our sister discipline of curriculum theory, particularly
in terms of Critical Pedagogy, postmodernism, and poststructuralism. In my own
career I have found resistance to these approaches to be an ethical imperative,
both in theory and practice. Explaining why requires turning to areas of philos-
ophy outside the periphery of curriculum theory. I thus have examined a diverse
group of writers—​not all of whom would agree with my premises, methods, or
conclusions—​in hopes of calling attention to alternate approaches to framing
our discipline, particularly in relation to the basic anthropological question of
what it means to be human. For example, there has been occasional mention
of the work of Charles Taylor in music education research, specifically in rela-
tionship to questions of religion in contemporary society. His broader claims
regarding the nature of human identity and the expressive individual “self,” how-
ever, have not been investigated in detail. Similarly, the moral philosophy of
Alasdair MacIntyre, or the sociology of Philip Rieff are extraordinarily signif-
icant in understanding the historically contingent and philosophically contest-
able assumptions undergirding significant swaths of modern academic discourse.
Other authors lesser known in education circles can also provide significant in-
sight: the anti-​fascist writings of Augusto Del Noce, or the insights of survivors
of eastern European communism such as Ryszard Legutko, Leszek Kołakowski,
or Czesław Miłosz. These writers and many others will make an occasional ap-
pearance over the course of this book. My hope is that bringing more voices
to the table will enrich the conversation as a whole, regardless of whether one
agrees either with any of the authors I draw from, or with my own conclusions
more broadly.
xii | preface

A secondary, but equally important, motivation behind this volume is to pro-

vide encouragement to my fellow traditionalists. This could include those inter-
ested in music, in education, or simply in important questions undergirding a
flourishing pluralist culture. As I have noted, the academy can be an inhospitable
place for those who dissent from the progressive consensus. Whether this is inten-
tional on the part of particular professors or not is less relevant than the observa-
tion that it is a real phenomenon. The assurances of the token conservative on the
university faculty to the contrary should not be taken as dispositive in this matter;
after all, they might have a vested interest in staying within the good graces of
the ideological majority. Traditionalist students—​particularly those uninterested
in demagoguing the issue—​might tell a different story, at least to those they trust.
I have yet to meet a conservative who went through the university without at least
one harrowing story to tell of a lack of academic professionalism in this area that
they are willing to share once they realize I am a fellow traveler. Most of these
folks are not firebrands, attention seekers, or ideological polemicists, and would
certainly not be willing to share these anecdotes with anyone doing academic re-
search on the matter. This is not something that should be dismissed as paranoia,
but rather a blunt recognition of the dynamics of cultural power. Tolerance of op-
posing viewpoints must be more than contingent magnanimity on the part of those
in charge. We all know that such tolerance often only goes so far, and that there are
lines that should not be crossed for one’s professional health and economic secu-
rity. Self-​preservation often drives students—​or even faculty members—​to engage
in what Miłosz describes as ketman: hiding one’s true beliefs under a façade of
compliance simply to get by and get through. The academic ideal of free and robust
debate is poorly served by such a state of affairs. Instead, let us debate openly, with
the courage of our convictions, and let the chips fall where they may. As Martin
Luther declared, “Here I stand, I can do no other.” Cultural renaissance is built on
courage and sacrifice. I would consider the current volume ultimately successful
if it can help some future scholar build a better and more compelling argument
grounded in tradition than I, in my own limitations, am able to express.
Before commencing, a few acknowledgments are in order. First, I am grateful
for the semester-​long sabbatical leave granted by the administration at Concordia
University Ann Arbor, during which a substantial portion of this book was written.
This sabbatical, during Spring 2020, happened to coincide with the first COVID-​
19 lockdown. As was the case with just about everyone during that stressful time,
I did not accomplish all that I had hoped. Yet the time I had to dedicate to re-
search and writing was pivotal in making progress on the book. Second, thanks
to the various academic mentors I have had over the years are in order. In par-
ticular, Estelle Jorgensen at Indiana University was a wise guide in learning the
 p r efac e | xiii

craft of writing philosophy, particularly in terms modeling asking good questions,

examining all perspectives, and formulating clear responses. Carolyn Barber at
the University of Nebraska-​Lincoln similarly modeled the necessity of deep, crit-
ical thinking as a practicing musician and the importance of reexamining the con-
ventional wisdom of our profession. Ben Hawkins, my collegiate band director
at Transylvania University, has not only been an incredible teacher and model
of humane concern for his students, but has been a lifelong friend and advocate
throughout the ups and downs of my career. All these mentors, and more, have
been truly liberal in their consistent encouragement to develop my own voice and
philosophical perspective. As such, none of them should be held responsible for
anything I advocate in this volume, much of which I suspect they would disagree
with! This, however, is the mark of a true teacher: the confidence that our students
can, and will, disagree with us amicably without straining the bonds of pedagog-
ical fellowship.
As with most academic books, I have immense gratitude for the many
eyes and ears that have provided valuable input at significant points in the
writing process. Several chapters in this volume began their life as conference
presentations, and the feedback I received from various colleagues on these talks
was extremely helpful in honing my thoughts. The anonymous peer review I re-
ceived through the publication process was similarly helpful, even—​or perhaps
especially—​when sharply critical. I owe special thanks to my colleague Stephen
Parrish, professor of philosophy (now emeritus) at Concordia University whose
office was immediately adjacent to my own for the last three years. One of the
beautiful things about working at a liberal arts institution is the relationships
with colleagues outside our department; Stephen was willing to read my man-
uscript in its entirety to make sure I was not making any embarrassing factual
errors on the philosophical front and providing helpful feedback along the way.
I am similarly grateful to Fiona Evison, a doctoral student at Western University
in Ontario. Following a gracious invitation to present the first three chapters
of this book in a doctoral seminar led by Paul Woodford, Fiona pointed me in
the direction of Nicholas Wolterstorff ’s Art Rethought. This in turn helped me
resolve several significant roadblocks in the second half of the book, without
which my ultimate conclusions would have been much weaker. I am also deeply
grateful and indebted to Dani Green, Acquisitions Editor in Education at Peter
Lang Publishing, for supporting the publication of this book, and for the entire
team at Peter Lang for guiding the manuscript through the final stages of prep-
aration and publication.
Finally, my most profound thanks must go to my wife, Karyn. A perennialist
educator through and through, I do not think that I would have ever written a
xiv | preface

volume centered on classical education apart from her influence. She has been
tenacious in the pursuit of excellence, both in developing a humane history curric-
ulum for her public classical charter school and, more recently since COVID-​19,
for our son to use at home. Our countless hours of discussing not only theory,
but the practical implementation of classical curriculum, have sharpened my own
thinking on what education could and should be.
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