|dc.description.abstract||In Music Education, the concept of Reason and
that of Emotion are implicitly regarded as synonymous
to the notion of 'ideas' and that of 'feelings'
respectively. This is evident in the music syllabi
for primary, secondary and tertiary levels of education
in Kenya, whereby, 'ideas' and 'feelings' are portrayed
as self-evident concepts. Music educators are therefore,
expected to comprehend and to apply these concepts
appropriately in the practice of their profession.
However, it is not clear how 'ideas' and 'feelings'
which are conceptualized differently are to be treated
within the context of Music Education.
The basic position of this thesis is that, the
concept of ~deas' is based on the fundamental concept
of Reason and that, Emotions beiong to the category
of 'feelings' that- are relatively most crucial in view
of music creativity. It is also the standpoint of
this thesis that a moment of complementarity between
our Reason and our Emotions is a fundamental condition
for creativity. Our study therefore endeavours to
demonstrate that there is a synthetic relation between
Reason and Emotions in any creative undertaking.
First, the thesis develops a conceptual framework
which serves as a point of reference for the entire
Second, an analysis of the concept of Reason as
a mental quality that manifests itself in our ·various
abilities to perform certain tasks is given. Since
the functional qualities of Reason are multifarious,
we have only addressed ourselves to nine ways which
exemplify Reason as a human ability.
Third, the concept of Emotion is elucidated as
a mental quality that manifests itself as the basic
impetus for our various activities. This study
adopts three categories of Emotions namely Emotions
Proper, Moods and Agitations. Emotions Proper are
experienced as momentary and intense. They are also
directed towards a specific object or a situation.
Moods are experienced as Emotions that linger on in
the consciousness. Agitations, like Emotions Proper, are
momentary and intense but they have a causal relationship
with objects or situations.
Fourth, the conceptual differences between
Reason and Emotion are highlighted. Qualities that
are shared by Reason and Emo~ion are also highlighted.
This brings us to our basic under~aking in this study
whereby Reason and Emotion are brought together by
way of synthesis.
In this part of the study, we argue that
Emotions have a certain power of force that makes
us act, albeit not in any structured manner. We
also argue that Reason has the controlling strength
by which our activities are clearly guided and clearly
directed towards something that is specific. However,
unlike Bmotion, Reason lacks the so crucial ana
initial impulse that prompts our activities. Emotion
also lacks the controlling quality ~hat guides our
It follows from the foregoing that Reason and
Emotion are necessarily complementary qualities in
any human activity that is creative. We contend
that a person is in a creative mode of being if he
actively and innovatively responds to the complimentariness
of his Reason and his Emotion. Such a
person then, responds to the initial impulse that
emanates from Emotion and he also responds to the
sustained control that is.provided by Reason.
Fifth, the synthetic relationship between Reason
and Emotion in our creative modes of being is explicitly
applied as an educational guide for the proper
interpretation and implementation of the music syllabi.
Finally, the thesis concludes by rejecting the
vague use of the terms 'ideas' and 'feelings' as
juxtaposed concepts in music education. We maintain
that the rec i.prcca.Lne ss of Reason and Emotion is
the foundation of creativity that music education
seeks to enhance.||