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Was the Chairman of the Music Education Department at Northwestern University and the Chairman of the National Association for Music Education; he believed in Aesthetic education, which has an emphasis on expression and art as the focal point of study.

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Seasoned Educator and musician at the University of Toronto, and publisher of a multitude of books and magazines; Spearheaded the conceptualization of Praxialism as a philosophy.

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What is the praxial philosophy of music education? Very briefly, the praxial philosophy offers an explanation of the nature and values of music. Based on this foundation, I go on to explain the nature and values of music education.

I suggest that "multidimensional" captures the essence of this philosophy. In Music Matters I argue for a multidimensional concept of music and musical works, a multidimensional concept of musical understanding, a multidimensional concept of music's values in human life and a multiple approach to achieving these values. How? In short, by developing the musicianship of all music students ('general' music students and others) through the critically reflective and codependent actions of: performing-and-listening, improvising-and-listening, composing-and-listening, arranging-and-listening and conducting-and-listening. For the reasons I explain in Music Matters I suggest that music making (of all kinds) - and, of course, the rich kind of music listening required to make music well - should be at the center of the music curriculum.

Recorded music and "talk" about music have an important place in music teaching and learning (but not the central place). Recordings and information about music should be included in music teaching situations in such a way that they weave continuously in and out of a teacher's ongoing efforts to teach students how to listen intelligently and make music well (to perform and improvise music and, whenever possible, to compose, arrange and conduct music).

I propose, also, that developing our students' musical creativity (in all forms of music making) overlaps and extends the process of developing our students' musicianship.

In summary, the praxial philosophy urges a comprehensive and reflective approach to music teaching and learning. It is based on detailed arguments for the view that: (a) musical works involve many kinds of meanings; (b) "musical understanding" involves many closely related kinds of thinking and knowing; and (c) that the significance of music in human life can be explained in terms of many important "life values."

Accordingly, the aims of music education include the development of critically reflective listeners and musical amateurs who possess the understanding and motivation to give music an important place in their lives and the lives of others in their communities.

This philosophy recommends, further, that to achieve the values of music, music teachers ought to emphasize the interpretive nature of music as a performing and improvising art and that composing, arranging and conducting (all of which demand keen listening) should be taught frequently (and in direct relation) to a reasonable diversity of Musics (genres, or musical practices) during the course of our students' musical education.

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What is the praxial philosophy of music education? Very briefly, the praxial philosophy offers an explanation of the nature and values of music. Based on this foundation, I go on to explain the nature and values of music education. I suggest that "multidimensional" captures the essence of this philosophy.

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Professor Emerita of Music in Music Education at the Indiana University Jacobs School of Music and experienced author/researcher; Speaks and Writes about a variety of views and ideas related to a productive and engaging classroom experience.

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Recent Publications:

With Iris M. Yob. Metaphors for a change. Journal of Aesthetic Education, 53 (2) (Summer 2019): 19-39.

Roots and Development of the International Society for the Philosophy of Music Education (1985-2015), Journal of Historical Research in Music Education 39 (1) (April 7, 2017): 25-50.
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Upcoming Publications:

With Iris M. Yob, Editor, Humane Music Education for the Common Good. Bloomington, Indiana: Indiana University Press, In production, 2019.

On making music education humane and good: Gathering threads. In Humane Music Education for the Common Good, edited by Iris M. Yob and Estelle R. Jorgensen (Bloomington and Indianapolis, IN: Indiana University Press), In production.

On the role of religion in music education. In Perspectives on Music, Education, and Religion: A Critical Inquiry edited by Alexis Kallio, Philip Alperson, and Heidi Westerlund (Bloomington and Indianapolis, IN: Indiana University Press), in press.

On mediated qualitative scholarship and marginalized voices in music education. In Tawnya D. Smith and Karen S. Hendricks, eds., (contracted). Narratives and Reflections in Music Education: Listening to Voices Seldom Heard (Cham, Switzerland: Springer), under contract. ​

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Recent Publications: With Iris M. Yob. Metaphors for a change. Journal of Aesthetic Education, 53 (2) (Summer 2019): 19-39. Roots and Development of the International Society for the Philosophy of Music Education (1985-2015), Journal of Historical Research in Music Education 39 (1) (April 7, 2017): 25-50.​ Upcoming Publications: With Iris M.

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Influential philosopher and advocate for aesthetic experiences in the classroom; Believes that experiencing things firsthand is the key to a fluid and engaging classroom

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Professor of numerous institutions and winner of the ISM Lifetime Achievement aware due to his accomplishments in the music education field; Heavily Influenced Music Education in the UK.

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Keith Swanwick, Professor Emeritus, University College London, Institute of Education , previously Professor of Music Education and Dean of Research

After graduating with distinction from the Royal Academy of Music, Keith Swanwick taught in schools and university. At various times he has been a choral and orchestral conductor, an orchestral musician, a church organist and music director and is still involved as a musician. His PhD was a study of Music and the Education of the Emotions and since then this and related areas have been the central focus of his research. From 1984 to 1998, he was, with John Paynter, editor of the British Journal of Music Education. In 1987 he became the first Chair of the British National Association for Education in the Arts and from 1991 to 1995 Chaired the Music Education Council (UK).

Since the publication of A Basis for Music Education in 1979, Keith Swanwick has been a major influence on the theory and practice of music education. The international recognition of his contribution to the philosophy and psychology of music and music education is recognised by invitations from over 20 countries to give presentations, conduct workshops and advise as a consultant. During 1998 he was Visiting Professor, University of Washington and from 1999-2001 Advisory Professor at the Institute of Education in Hong Kong. In 2004 he held in Tokyo a Fellowship of the Japanese Society for the Promotion of Science.

In 2011 the Brazilian government provided Brazil's music teachers with copies of his book Ensinando Música Musicalmente. He is the editor of Music Education, (Routledge 2012) a four-volume collection of significant work in the field. In 2016 Routledge published A Developing Discourse in Music Education, a selection from his writing.

In 2019 the ISM (Incorporated Society of Musicians) presented him with their Lifetime Achievement Award.

Some reviews of books published by Routledge/ Taylor Francis

Professor Swanwick brought to this book the distillation of years of work and experience in the field. He not only grounded his work firmly in that of Langer, Koestler, L.A. Reid, Reimer and others, but having established a theory of music he confidently articulated a rationale for music education. ‑ ‑ Here at last was the curriculum model that music educators had lacked for so long, containing both a clearly stated philosophical base and defined curriculum objectives. (Margaret Metcalfe, )

Music, Mind And Education 1988 (also in Spanish, Portuguese and Japanese)

It represents a major contribution to international music education. The issues it raises and the solutions it proposes deserve the attention of every music educator. (Paul Lehman, International Journal of Music Education )

The range of sources, application of thought and sheer erudition exhibited in this work are, at times, quite overwhelming - - a new star in the firmament of pedagogy, musicology and psychology. (Miles Krusznski, Educational Psychology in Practice)

Keith Swanwick presents us with a stimulating theory of music education. Furthermore, he advances a keen perspective on the role of music in human development and its unique function in the public school curriculum. Finally, he provides a steadfast beacon to enlighten the quest for a new paradigm for the arts in education. (Marie F. McCarthy, Harvard Educational Review)

(This) represents a monumental undertaking, and explains why the book appears so compressed, so tightly packed with information and argument. - - It is a creative and engaging book and in this sense quite unlike many other books which purport to explain what music education research is and how one should do it. - - it is always refreshing to read something which has the avowed aim of changing the face of quantitative, normative music education research - -This book certainly contributes significantly to the debate in music education. (Robert Walker, )

For over two decades, music educator Keith Swanwick has published literate articles and books and has been active on the political scene of music educational curriculum criticism and change in England. He successfully brings this experience to bear on his latest effort, Musical Knowledge. - - - Swanwick's strengths lie in his ability to transform esoteric issues into very readable English. (Lawrence Ferrara, Philosophy of Music Education Review)

Teaching Music Musically 1999 (also in Portuguese, Russian, Japanese and Farsi)

Keith Swanwick is clear-headed (and sometimes clairvoyant!) in his analysis of the state of 'the art' of music education, and brings to the forefront of the profession some of the greatest challenges facing practitioners today. There are countless gems within these pages. . . The three principles are the key to the success of beginning and experienced teachers both. I'm amazed at how well it aligns with the most reasonable and practical ways of thinking about music and its transmission; Swanwick seems to write from more experience as a musician and teacher than most others who write for this audience. There is a real sense of his having 'been there'. (Professor Pat Shehan Campbell, University of Washington)

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Keith Swanwick, Professor Emeritus, University College London, Institute of Education, previously Professor of Music Education and Dean of Research After graduating with distinction from the Royal Academy of Music, Keith Swanwick taught in schools and university. At various times he has been a

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Focusing on happiness and general wellbeing of students and teachers to achieve social and individual wellbeing.

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Focuses on beauty, expression, and perception via the development of senses to experience and appreciate music.

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Focus on learning the cultural and historical significance behind music, while experiencing, reflecting, and assessing your prior experiences.

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Focuses on learning through the observing and discussing the experiences of those around you while encouraging classroom collaboration.