IMPLIKASI-IMPLIKASI FALSAFAH PENDIDIKAN MUZIK 1. Naturalisme Asaskepadafalsafahiniadalahpendekatandirikepadaalam. Pendidikanharuslahseimbangmeliputiaspekfizikaldan mental manusia. Pengalamanbelajarmestilahmenyeronokkan. Galakanaktivitispontanakan menggalakkankreativitipelajar. Peluangbelajarmestilahdiperbanyakkan.

Penggunaanpendekatangeneratif: membentuksatukonsepumummelaluidanmerangkumimaklumat -maklumatkecil yang diperolehi. Pengalamannegatifdalambelajarharusberlaku.

2. Idealisme Kewujudanobjekmauju ddalamalamdifikirkanmelaluifikiran logic danberteraskanintelek. Hanyamuzik yang bermutu (muzik yang mengandunginilai -nilai) yang dianggapkekal. Pelajarharusberfikirsecarakeseluruhanmengenaisesuatufaktadansesuatufakta ataupengetahuanitulahmestilahdianalisism elalui proses sintesis.

3. Realisme Idea dipraktikkanterlebihdahulu agar satubentukpembuktiandapatdihasilkan. Maklumatdiperolehimelaluipemikirankritis. Pengalamanbelajardanaktivitibelajaradalahpentingsebagaisatubentukdidikanb agimendapatkankemahirandalammengh arungikehidupan.

KEPENTINGAN FALSAFAH PENDIDIKAN MUZIK

1. Membolehkanpendidikmemahamiisu isuasaskehidupandanmembuatkeputusan. 2. Membolehkanpendidikmempunyaifahamansistematik&komprehensif. 3. Membolehkanpendidiklebihtekal di dalam&luarkelas. 4. Memudahkanpendidikmenghuraikanrasional&justifikasikepentinganPendidika nMuzik.

TEORI, KAEDAH & PRINSIP PESTALOZZI 1. Pendidikanadalahpendedahan ataukebolehansemulajadibagimanusia. 2. Pendidikanmestilahbertujuanmenujukearahpembentukan JERIS. 3. Menggalakkankearahlanjutankurikulumasas , di manasubjeksepertigeografi, muzik, pendidikanseni visual dansainsmuladiwajibkan. 4. Proses P&P bukanhanyadenganperkataan, tetapipelajarboleh rasa, dengardanlihatsekelilingmerekabagimembentukpengalamanpembelajaran yang berkesan. 5. Proses pembelajaranberasaskanmuriddilaksanakan agar pelajardigalakkanuntukmenjadilebihaktifbagimembetulkankesilapan. 6. Proses P&P kurangmenggunakanbukusahaja. 7. Persekitaran P&P penuhkesih sayang. 8. Digunakansebagaiasassistempendidikan di seluruhdunia.

KEPENTINGAN TEORI, KAEDAH & PRINSIP PESTALOZZI

1. Meransangintelektualharmoni, perkembanganfizikaldan moral pelajar. 2. P&P akanmembawa kea rah proses pendidikan yang progresif.

PREMIS / ASPEK TERPENTING DALAMTEORI, KAEDAH & PRINSIP PESTALOZZI 1. Persekitaranemosikanak-kanakhendaklahsentiasadipastikanselamat. 2. Arahan-arahan yang diberikanmestilahmenurutkonsepumumkemanusiaan yang bermuladenganpenggunaanderia.

PRAGMATISME

Pragmatism is an American philosophical tradition which began in the late nineteenth century with Charles Sanders Peirce and his pragmatic maxim.
[1]

Through the early twentieth century it was

developed further in the works of William James, John Dewey and, in a less orthodox manner, by George Santayana. Important positions characteristic of pragmatism include radical empiricism,instrumentalism, verificationism, conceptual relativity, a denial of the fact-value distinction, a high regard for science, and fallibilism. Pragmatism has enjoyed renewed attention since the 1960s, when a new analytic school of philosophy (W. V. O. Quine and WilfridSellars) put forth a revised pragmatism criticizing the logical positivism dominant in the United States and Britain since the 1930s, while a new brand infused with themes from the analytic and other traditions, known sometimes as neopragmatism, gained influence spearheaded by the philosopher Richard Rorty, the most influential of the late 20th-century pragmatists. Contemporary pragmatism may be broadly divided into a strict analytic tradition, and "neo-classical" pragmatism (such as Susan Haack) that adheres to the work of Peirce, James, and Dewey.

Aesthetics
John Dewey's Art as Experience, based on the William James lectures he delivered at Harvard, was an attempt to show the integrity of art, culture and everyday experience. (Field, IEP) Art, for Dewey, is or should be a part of everyone's creative lives and not just the privilege of a select group of artists. He also emphasizes that the audience is more than a passive recipient. Dewey's treatment of art was a move away from the transcendental approach to aesthetics in the wake of Immanuel Kant who emphasized the unique character of art and the disinterested nature of aesthetic appreciation. A notable contemporary pragmatist aesthetician is Joseph Margolis. He defines a work of art as "a physically embodied, culturally emergent entity", a human "utterance" that isn't an ontological quirk but in line with other human activity and culture in general. He emphasizes that works of art are complex and difficult to fathom, and that no determinate interpretation can be given. Both John Dewey in Nature and Experience (1929) and half a century later Richard Rorty in his monumental Philosophy and the Mirror of Nature (1979) argued that much of the debate about the relation of the mind to the body results from conceptual confusions. They argue instead that there is no need to posit the mind or mindstuff as an ontological category. Pragmatists disagree over whether philosophers ought to adopt a quietist or a naturalist stance toward the mind-body problem. The former (Rorty among them) want to do away with the problem because they believe it's a pseudo-problem, whereas the latter believe that it is a meaningful empirical question.