By Keith Swanwick
Designed for all tune lecturers, this e-book presents an exam and research of the elemental innovations concerned about tune. It investigates questions reminiscent of: what's song? Is song significant? Does track refine our emotions and feelings? if that is so, how? The dialogue of those questions varieties a conceptual framework which goals to inspire additional pondering and improvement in song schooling.
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Additional resources for A Basis for Music Education
14. KELLER, HANS (1970). Towards a Theory of Music in the Listener, 11 June 1970. 15. KOESTLER, A. (1949). Insight and Outlook. Macmillan: London, and (1964). The Act of Creation. Pan Books. 16. McLAUGHLIN, T. (1970). Music and Communication. Faber. 17. EMPSON, W. (1961). Seven Types of Ambiguity. London. Chapter 3: The Parameters of Music Education Music is queer stuff, something like a soap-bubble in a way: when floating about it appears real and substantial but when ‘analysed’ with a pin or finger-nail we are left with a slightly damp nothingness.
Even in the act of performing and rehearsing we need to play the role of auditors, responsive to the aesthetic possibilities of the work. Although the situation of these composers is very different from that of students, especially children in school, yet it would surely be wrong to assume that there is no resemblance between them. After all, children are not completely different from adults and the psychological act of composing or performing has not fundamentally changed over the years and does not alter radically across an age range.
8 This schema will combine with previous remembered experiences to form an ever-developing set of schemata which form the basis for recalling the past and planning any future actions. For example, when I get up and walk over to the door I am bringing to the action the schemata of many similar experiences, and though I shall not repeat exactly any one of these yet the new pattern or schema of movements involved is determined and made possible by them. In other words, all of our experiences leave us with particular patterns of activity in terms of their traces or ‘ghosts’, which haunt our nervous and muscular systems.
A Basis for Music Education by Keith Swanwick