This historical study explores John Dewey’s ideas regarding music and music education through primary sources (his published writings, correspondence, and transcriptions of class lectures) and secondary sources (biographies and related scholarly literature). Dewey’s belief that he was unmusical is presented, including via a consideration of his novel conception of rhythm absent musical examples. Despite this belief, this study posits a case for a musical Dewey. This is presented through examples in his work that, while scattered, demonstrate several themes: that music is rooted in ritual and social experience, that it is embodied with regard both to creation and perception, and that it has important connections to everyday life. Dewey’s dislike of jazz is interpreted as a resistance to commercialized and commoditized mass culture. The progressive music program at the University of Chicago’s Laboratory School that Dewey established exemplifies his commitment to music education, and new research connects that progressive program to Hull House and Jane Addams through the shared employment of music teacher Eleanor Smith. The discussion considers how Dewey’s musical ideas complement his painterly aesthetics and also calls for a resistance to unmusicality as a conception, instead turning toward music as innate to all humans.

中文翻译：

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杜威的音乐过敏症与音乐教育哲学

这项历史研究通过主要来源（他出版的著作、信件和课堂讲座的转录）和次要来源（传记和相关学术文献）探索了约翰·杜威关于音乐和音乐教育的想法。杜威认为他没有音乐性的信念被呈现出来，包括通过考虑他没有音乐示例的新颖节奏概念。尽管有这种信念，但这项研究为音乐剧杜威提出了一个案例。这通过他作品中的例子来呈现，虽然分散，但展示了几个主题：音乐植根于仪式和社会经验，它体现在创作和感知方面，并且与日常生活有着重要的联系。杜威不喜欢爵士乐被解释为对商业化和商品化大众文化的抵制。杜威在芝加哥大学实验室学校开设的渐进式音乐课程体现了他对音乐教育的承诺，新的研究通过音乐教师埃莉诺·史密斯的共同工作，将该渐进式课程与赫尔豪斯和简·亚当斯联系起来。讨论考虑了杜威的音乐思想如何补充他的绘画美学，并呼吁抵制作为一种概念的非音乐性，转而转向所有人类与生俱来的音乐。