ABSTRACT
This chapter describes the values of Western music making, following Bourdieu, termed doxa that are arguably built around talent as a prerequisite for music making, stratifying people into a hierarchy of participation. This is followed by an exploration of the doxic effect that these ideas have on music education and the ways in which contemporary innovations have sought to work against these ideas. Historical accounts of music education philosophy identify two major philosophical movements during the last 50 years Music Education as Aesthetic Education (MEAE) and what is known as the praxial philosophy. Elliott's praxial philosophy emerged as a reaction against MEAE's emphasis on listening and the aesthetic experience. Drawing on the work of Small, Elliott takes the position that music is an action rather than an object, and that musical understanding is developed through praxis. One of the most pervasive global innovations in music education is the Musical Futures programme, developed from the work of Lucy Green.
