Lee Higgins
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199777839
- eISBN:
- 9780199950218
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777839.001.0001
- Subject:
- Music, Ethnomusicology, World Music, Psychology of Music
This book draws upon his extensive experience to investigate an interventional approach to music making outside of formal teaching and learning situations. Working with historical, ethnographic, and ...
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This book draws upon his extensive experience to investigate an interventional approach to music making outside of formal teaching and learning situations. Working with historical, ethnographic, and theoretical research, the book provides a rich resource for those whom practice, advocate, teach, or study community music, music education, music therapy, ethnomusicology, and community cultural development.Less
This book draws upon his extensive experience to investigate an interventional approach to music making outside of formal teaching and learning situations. Working with historical, ethnographic, and theoretical research, the book provides a rich resource for those whom practice, advocate, teach, or study community music, music education, music therapy, ethnomusicology, and community cultural development.
Lee Higgins
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199777839
- eISBN:
- 9780199950218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777839.003.0007
- Subject:
- Music, Ethnomusicology, World Music, Psychology of Music
This chapter begins by reflecting on two areas of school-music education that are of particular interest to those working in community music, music education and democracy, and life-long learning in ...
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This chapter begins by reflecting on two areas of school-music education that are of particular interest to those working in community music, music education and democracy, and life-long learning in music education, both explored predominantly through an American perspective. It then explores community music therapy (CoMT), cultural diversity in music education, and applied ethnomusicology, outlining their respected modes of practice and exampling projects. As siblings to a larger fields, CoMT, cultural diversity in music education, and applied ethnomusicology have been asking awkward questions surrounding the contemporary role of each respected practice. The chapter concldes by suggesting that in order for the field of community music to contribute more effectively within those domains that it intersects with there needs to be a conceptual framework through which one can argue for both its relevance and its vital and dynamic force.Less
This chapter begins by reflecting on two areas of school-music education that are of particular interest to those working in community music, music education and democracy, and life-long learning in music education, both explored predominantly through an American perspective. It then explores community music therapy (CoMT), cultural diversity in music education, and applied ethnomusicology, outlining their respected modes of practice and exampling projects. As siblings to a larger fields, CoMT, cultural diversity in music education, and applied ethnomusicology have been asking awkward questions surrounding the contemporary role of each respected practice. The chapter concldes by suggesting that in order for the field of community music to contribute more effectively within those domains that it intersects with there needs to be a conceptual framework through which one can argue for both its relevance and its vital and dynamic force.
Michael B. Bakan
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780190855833
- eISBN:
- 9780190855864
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190855833.001.0001
- Subject:
- Music, Psychology of Music
Since the advent of autism as a diagnosed condition in the 1940s, the importance of music in the lives of autistic people has been widely observed and researched. Articles on musical savants, ...
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Since the advent of autism as a diagnosed condition in the 1940s, the importance of music in the lives of autistic people has been widely observed and researched. Articles on musical savants, extraordinary feats of musical memory and pitch recognition, and music-based therapies and interventions abound in the autism literature. Meanwhile, music historians have posited autism-centered explanatory models to account for the unique musical artistry of everyone from Glenn Gould to “Blind Tom” Wiggins. Given all of this attention, it is surprising how infrequently autistic people have been asked to account for how they themselves make and experience music, or for why it matters to them that they do. In Speaking for Ourselves, renowned ethnomusicologist Michael Bakan does just that, engaging in deep conversations—some spanning the course of years—with ten fascinating and very different individuals who share two basic things in common: an autism spectrum diagnosis and a life in which music plays a central part. These conversations offer profound insights into the intricacies and intersections of music, autism, neurodiversity, and life in general, not from an autistic point of view but rather from several different autistic points of view. They invite readers to partake of a rich tapestry of words, ideas, images, and musical sounds (on the companion website) that speak to both the diversity of autistic experience and the common humanity we all share.Less
Since the advent of autism as a diagnosed condition in the 1940s, the importance of music in the lives of autistic people has been widely observed and researched. Articles on musical savants, extraordinary feats of musical memory and pitch recognition, and music-based therapies and interventions abound in the autism literature. Meanwhile, music historians have posited autism-centered explanatory models to account for the unique musical artistry of everyone from Glenn Gould to “Blind Tom” Wiggins. Given all of this attention, it is surprising how infrequently autistic people have been asked to account for how they themselves make and experience music, or for why it matters to them that they do. In Speaking for Ourselves, renowned ethnomusicologist Michael Bakan does just that, engaging in deep conversations—some spanning the course of years—with ten fascinating and very different individuals who share two basic things in common: an autism spectrum diagnosis and a life in which music plays a central part. These conversations offer profound insights into the intricacies and intersections of music, autism, neurodiversity, and life in general, not from an autistic point of view but rather from several different autistic points of view. They invite readers to partake of a rich tapestry of words, ideas, images, and musical sounds (on the companion website) that speak to both the diversity of autistic experience and the common humanity we all share.
Michael B. Bakan
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780190855833
- eISBN:
- 9780190855864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190855833.003.0001
- Subject:
- Music, Psychology of Music
How do autistic people make, experience, and find meaning in music? And why does it matter to them that they do? These are the guiding questions put forth at the beginning of the introductory ...
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How do autistic people make, experience, and find meaning in music? And why does it matter to them that they do? These are the guiding questions put forth at the beginning of the introductory chapter, which establishes the book’s purpose, conceptual framework, and significance. The widely recognized talents and affinities for music that many autistic people exhibit have historically been a focus of therapeutic interventions aimed at ameliorating autistic symptoms. In that context, autism is regarded as a disorder and autistic people as individuals in need of treatment. In this book, however, the conventional paradigm is turned on its head, with autism reconceptualized as a viable manifestation of neurodiversity rather than a disorder rooted in pathology. The ten autistic individuals who throughout the book will speak for themselves on the place, value, and meaning of music in their lives are introduced, and both the structure and rationale for the book’s conversational approach, which is re-presentational rather than representational, are outlined.Less
How do autistic people make, experience, and find meaning in music? And why does it matter to them that they do? These are the guiding questions put forth at the beginning of the introductory chapter, which establishes the book’s purpose, conceptual framework, and significance. The widely recognized talents and affinities for music that many autistic people exhibit have historically been a focus of therapeutic interventions aimed at ameliorating autistic symptoms. In that context, autism is regarded as a disorder and autistic people as individuals in need of treatment. In this book, however, the conventional paradigm is turned on its head, with autism reconceptualized as a viable manifestation of neurodiversity rather than a disorder rooted in pathology. The ten autistic individuals who throughout the book will speak for themselves on the place, value, and meaning of music in their lives are introduced, and both the structure and rationale for the book’s conversational approach, which is re-presentational rather than representational, are outlined.
Michael B. Bakan
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780190855833
- eISBN:
- 9780190855864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190855833.003.0004
- Subject:
- Music, Psychology of Music
Years ago, long before he was diagnosed with Asperger’s syndrome at the age of twenty-one, Donald Rindale described music as “the only love of my life.” It’s different for Donald now. “Honestly, if ...
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Years ago, long before he was diagnosed with Asperger’s syndrome at the age of twenty-one, Donald Rindale described music as “the only love of my life.” It’s different for Donald now. “Honestly, if my trombone got run over by a tank, I’d be delighted,” he asserts, adding that being a musician “was a wonderful chapter of my life, but that page has long been turned.” We first meet Donald as a musicology graduate student on the verge of falling out of love with musicology and in love with the study of law. At chapter’s end some four years later, he has just graduated from law school and is envisioning a legal career involving autism and disability advocacy. But Donald retains a nostalgic fondness for music, which in his reckoning has been kinder to him than most people have: “The music did not laugh, or judge, or make nasty comments, or quizzical facial expressions and gestures at the sight of some unexpected behavioral tendencies, among other things. For those reasons, I will always love it.”Less
Years ago, long before he was diagnosed with Asperger’s syndrome at the age of twenty-one, Donald Rindale described music as “the only love of my life.” It’s different for Donald now. “Honestly, if my trombone got run over by a tank, I’d be delighted,” he asserts, adding that being a musician “was a wonderful chapter of my life, but that page has long been turned.” We first meet Donald as a musicology graduate student on the verge of falling out of love with musicology and in love with the study of law. At chapter’s end some four years later, he has just graduated from law school and is envisioning a legal career involving autism and disability advocacy. But Donald retains a nostalgic fondness for music, which in his reckoning has been kinder to him than most people have: “The music did not laugh, or judge, or make nasty comments, or quizzical facial expressions and gestures at the sight of some unexpected behavioral tendencies, among other things. For those reasons, I will always love it.”
Michael B. Bakan
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780190855833
- eISBN:
- 9780190855864
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190855833.003.0005
- Subject:
- Music, Psychology of Music
“I sort of ‘think in music’ in the same way Temple [Grandin] says she ‘thinks in pictures,’ ” states the autistic professor, social activist, and singer Elizabeth J. “Ibby” Grace. “Music was the ...
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“I sort of ‘think in music’ in the same way Temple [Grandin] says she ‘thinks in pictures,’ ” states the autistic professor, social activist, and singer Elizabeth J. “Ibby” Grace. “Music was the nexus between my self and language for a long time. . . my communicative access,” she explains. “When I relax among myself there are not words going on in my head. There are intervals, tones . . . sometimes in order to think, I structure the thoughts into more like music, or they do themselves like that.” Thinking in music also enables Ibby to function socially “in ways I would have no chance of access to without it . . . . I think I can hear people’s own music sometimes, [which is] how I classify what their soul sounds like to me, [and] I can use this facility to predict if people will be liable to get along with one another.”Less
“I sort of ‘think in music’ in the same way Temple [Grandin] says she ‘thinks in pictures,’ ” states the autistic professor, social activist, and singer Elizabeth J. “Ibby” Grace. “Music was the nexus between my self and language for a long time. . . my communicative access,” she explains. “When I relax among myself there are not words going on in my head. There are intervals, tones . . . sometimes in order to think, I structure the thoughts into more like music, or they do themselves like that.” Thinking in music also enables Ibby to function socially “in ways I would have no chance of access to without it . . . . I think I can hear people’s own music sometimes, [which is] how I classify what their soul sounds like to me, [and] I can use this facility to predict if people will be liable to get along with one another.”
Patricia Shehan Campbell
- Published in print:
- 2016
- Published Online:
- March 2016
- ISBN:
- 9780199328093
- eISBN:
- 9780190464417
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199328093.003.0006
- Subject:
- Music, Psychology of Music
This chapter provides an overview of the movement to multiculturalize the curricular content and process of music in educational setting. Central to the chapter are a description and analysis of ...
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This chapter provides an overview of the movement to multiculturalize the curricular content and process of music in educational setting. Central to the chapter are a description and analysis of world music pedagogy (WMP), including an account of the historical strands that led to its emergence from the scholarly discipline of ethnomusicology and the practice of musically educating students in music as a cross-cultural endeavor. The chapter weaves in the principles of teaching and learning that encompass avenues for building musical skills, music and cultural knowledge, and a sensitivity to music and musicians both local and distant. Illustrations are offered to explain the five domains of WMP. A review of literature is undertaken to document empirically the impact of world music on curricular-instructional practices on student learning. The chapter also discusses the challenges of teaching music in global and multicultural ways and the integration of WMP with other pedagogical approaches.Less
This chapter provides an overview of the movement to multiculturalize the curricular content and process of music in educational setting. Central to the chapter are a description and analysis of world music pedagogy (WMP), including an account of the historical strands that led to its emergence from the scholarly discipline of ethnomusicology and the practice of musically educating students in music as a cross-cultural endeavor. The chapter weaves in the principles of teaching and learning that encompass avenues for building musical skills, music and cultural knowledge, and a sensitivity to music and musicians both local and distant. Illustrations are offered to explain the five domains of WMP. A review of literature is undertaken to document empirically the impact of world music on curricular-instructional practices on student learning. The chapter also discusses the challenges of teaching music in global and multicultural ways and the integration of WMP with other pedagogical approaches.
