Huib Schippers
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195379754
- eISBN:
- 9780199864386
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195379754.001.0001
- Subject:
- Music, Ethnomusicology, World Music
Facing the Music investigates the practices and ideas that have grown from some five decades of cultural diversity in music education, developments in ethnomusicology, and the rise of ...
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Facing the Music investigates the practices and ideas that have grown from some five decades of cultural diversity in music education, developments in ethnomusicology, and the rise of ‘world music.’ It makes a case for the crucial role of learning music in shaping rich and diverse musical environments for the twenty‐first century, both in practical terms and at a conceptual level: “what we hear is the product of what we believe about music.” Advocating a contemporary, positive and realistic approach to cultural diversity in music education and transmission, the book takes into account and celebrates the natural dynamics of music, regarding every musical act as an expression of its current contexts in terms of cultures, communities, and underlying constructs, and establishing that “most music travels remarkably well.” In seven chapters that each approach the issues from a different angle, the book gradually unfolds the complexities of learning and teaching music ‘out of original context’ in an accessible manner, and presents a coherent model to approach these, as well as lucid suggestions for translating the resulting ideas in practice. While mapping the various factors that determine all acts of music transmission, it also comes to surprising insights into the nature and preconceptions underlying much formal music education settings across the world, including those focusing on western classical music. Based on an insider's view of both the delights and challenges of music in multicultural societies, Facing the music provides a rich resource for reflection and practice for all those involved in teaching and learning music, from policy maker to classroom teacher.Less
Facing the Music investigates the practices and ideas that have grown from some five decades of cultural diversity in music education, developments in ethnomusicology, and the rise of ‘world music.’ It makes a case for the crucial role of learning music in shaping rich and diverse musical environments for the twenty‐first century, both in practical terms and at a conceptual level: “what we hear is the product of what we believe about music.” Advocating a contemporary, positive and realistic approach to cultural diversity in music education and transmission, the book takes into account and celebrates the natural dynamics of music, regarding every musical act as an expression of its current contexts in terms of cultures, communities, and underlying constructs, and establishing that “most music travels remarkably well.” In seven chapters that each approach the issues from a different angle, the book gradually unfolds the complexities of learning and teaching music ‘out of original context’ in an accessible manner, and presents a coherent model to approach these, as well as lucid suggestions for translating the resulting ideas in practice. While mapping the various factors that determine all acts of music transmission, it also comes to surprising insights into the nature and preconceptions underlying much formal music education settings across the world, including those focusing on western classical music. Based on an insider's view of both the delights and challenges of music in multicultural societies, Facing the music provides a rich resource for reflection and practice for all those involved in teaching and learning music, from policy maker to classroom teacher.
Stephanie Pitts
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199838752
- eISBN:
- 9780199950065
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199838752.001.0001
- Subject:
- Music, Psychology of Music
This book considers the aims and impact of formative musical experiences, evaluating the extent to which music education of various kinds provides a foundation for lifelong involvement and interest ...
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This book considers the aims and impact of formative musical experiences, evaluating the extent to which music education of various kinds provides a foundation for lifelong involvement and interest in music. The discussion draws upon rich qualitative data, in which over 100 adults with an active interest in music reflect upon the influences and opportunities that shaped their musical life histories. The book addresses the relationship between the claims made for music education, the practice and policy through which those aims are filtered, and recollections of the lived experiences of learning music in a variety of contexts. This consideration of school music is set in the broader context of learning in the home and community, and illustrates the circumscribed yet immensely powerful role that music teachers and other potential role models can play in nurturing open-minded, active musicians. The four central chapters focus on generational change in home and school experiences of music; the locations in which musical learning takes place, including a cross-cultural comparison with respondents from Italy; the characteristics of teachers, parents and others as musical mentors and role models; and the lifelong outcomes of musical engagement for performers, teachers, listeners and adult learners. This analysis is then used to illuminate the claims made for music education in historical and contemporary debate, and to propose ways in which school music might better prepare young people for lifelong engagement in music. The book takes a long-term perspective on how formative musical experiences and opportunities have a lifelong impact on musical values, skills and attitudes.Less
This book considers the aims and impact of formative musical experiences, evaluating the extent to which music education of various kinds provides a foundation for lifelong involvement and interest in music. The discussion draws upon rich qualitative data, in which over 100 adults with an active interest in music reflect upon the influences and opportunities that shaped their musical life histories. The book addresses the relationship between the claims made for music education, the practice and policy through which those aims are filtered, and recollections of the lived experiences of learning music in a variety of contexts. This consideration of school music is set in the broader context of learning in the home and community, and illustrates the circumscribed yet immensely powerful role that music teachers and other potential role models can play in nurturing open-minded, active musicians. The four central chapters focus on generational change in home and school experiences of music; the locations in which musical learning takes place, including a cross-cultural comparison with respondents from Italy; the characteristics of teachers, parents and others as musical mentors and role models; and the lifelong outcomes of musical engagement for performers, teachers, listeners and adult learners. This analysis is then used to illuminate the claims made for music education in historical and contemporary debate, and to propose ways in which school music might better prepare young people for lifelong engagement in music. The book takes a long-term perspective on how formative musical experiences and opportunities have a lifelong impact on musical values, skills and attitudes.
Magne Espeland
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0007
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter examines the practice most often called ‘music listening’ in Western school music education. The first part of the chapter focuses on early developments of music listening practices in ...
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This chapter examines the practice most often called ‘music listening’ in Western school music education. The first part of the chapter focuses on early developments of music listening practices in modern schooling and serves as a historical backdrop for the last part of the chapter, which reflects on past and present practices of music listening in schools from the perspective of ‘cultural psychology’. The field of cultural psychology is by no means clear-cut in terms of tenets, theories, and connections to other fields of psychology. Jerome Bruner (1996), however, identifies nine different tenets — drawn from different theories — as a sort of common denominator guiding a psychocultural approach to education. These are the perspectival tenet, constraints tenet, constructivism tenet, interactional tenet, externalization tenet, instrumentalism tenet, institutional tenet, tenet for identity and self-esteem, and narrative tenet. The chapter draws on these tenets in order to frame the history of music listening practices in music education and outline a potential application of the tenets to future music education work.Less
This chapter examines the practice most often called ‘music listening’ in Western school music education. The first part of the chapter focuses on early developments of music listening practices in modern schooling and serves as a historical backdrop for the last part of the chapter, which reflects on past and present practices of music listening in schools from the perspective of ‘cultural psychology’. The field of cultural psychology is by no means clear-cut in terms of tenets, theories, and connections to other fields of psychology. Jerome Bruner (1996), however, identifies nine different tenets — drawn from different theories — as a sort of common denominator guiding a psychocultural approach to education. These are the perspectival tenet, constraints tenet, constructivism tenet, interactional tenet, externalization tenet, instrumentalism tenet, institutional tenet, tenet for identity and self-esteem, and narrative tenet. The chapter draws on these tenets in order to frame the history of music listening practices in music education and outline a potential application of the tenets to future music education work.
David J Elliott (ed.)
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195385076
- eISBN:
- 9780199865512
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385076.001.0001
- Subject:
- Music, Psychology of Music
This book contains a collection of essays by nineteen internationally recognized scholars in music education. The writers speak for those in the profession who believe that critical thinking, ...
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This book contains a collection of essays by nineteen internationally recognized scholars in music education. The writers speak for those in the profession who believe that critical thinking, constructive debate, and dialogues are the lifeblood of music education. By means of their essays, they also speak for those who believe that future music teachers must learn to think for themselves and develop their own philosophies based on their own careful reflections. One of the goals of the book is to provide the field of music education with good models of constructive criticism and mutually enlightening dialogues on basic issues in music education. The unifying element in this collection is praxialism as it relates to the many complex concepts and issues that constitute the nature and significance of music education. Each contributor offers critical reflections on a key topic in contemporary music education. The praxial philosophy of music education argues for a socially and artistically grounded concept of music and music education, challenging the field's traditional “absolutist” foundations. Among the themes discussed are multiculturalism in music education, the nature of musical understanding, early childhood education, the nature and teaching of music listening, music curriculum development, and musical creativity. Praxial music education is a living theory.Less
This book contains a collection of essays by nineteen internationally recognized scholars in music education. The writers speak for those in the profession who believe that critical thinking, constructive debate, and dialogues are the lifeblood of music education. By means of their essays, they also speak for those who believe that future music teachers must learn to think for themselves and develop their own philosophies based on their own careful reflections. One of the goals of the book is to provide the field of music education with good models of constructive criticism and mutually enlightening dialogues on basic issues in music education. The unifying element in this collection is praxialism as it relates to the many complex concepts and issues that constitute the nature and significance of music education. Each contributor offers critical reflections on a key topic in contemporary music education. The praxial philosophy of music education argues for a socially and artistically grounded concept of music and music education, challenging the field's traditional “absolutist” foundations. Among the themes discussed are multiculturalism in music education, the nature of musical understanding, early childhood education, the nature and teaching of music listening, music curriculum development, and musical creativity. Praxial music education is a living theory.
Katharine Ellis
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195365856
- eISBN:
- 9780199867738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365856.003.0002
- Subject:
- Music, History, Western
This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to ...
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This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to a burgeoning domestic and performance market; the performed repertory both diversifies and becomes more selective, with keyboard and other instrumental music appearing more frequently (but provoking gender-related protest) on the concert stage; amid expressions of self-doubt about musical richness nationwide and the quality of new composition, there are concerted attempts to create a musical France via amateur and orphéon performance of early choral masterworks. The chapter extends from the demise of La Moskova's “Palestrinian” society and the end of the July Monarchy, beyond the Franco-Prussian War, to the eve of stable Republican government in France. Change is most clearly signalled in new Second-Empire educational ventures in sacred music (the École Niedermeyer, with its focus on plainchant, Palestrina, and Bach; the rise of “Palestrinian” maîtrises at Langres, Rouen, Moulins, and Autun); transition is evident in continued attention to democratization, in repeated attempts to rehabilitate “la musique française” and in the increasingly nationalist rhetorics of historical and critical writings on early music.Less
This chapter focuses on a period when the expansion of early music activity began to cause adverse comment: was it a reactionary threat to living composers? Developments in music publishing attest to a burgeoning domestic and performance market; the performed repertory both diversifies and becomes more selective, with keyboard and other instrumental music appearing more frequently (but provoking gender-related protest) on the concert stage; amid expressions of self-doubt about musical richness nationwide and the quality of new composition, there are concerted attempts to create a musical France via amateur and orphéon performance of early choral masterworks. The chapter extends from the demise of La Moskova's “Palestrinian” society and the end of the July Monarchy, beyond the Franco-Prussian War, to the eve of stable Republican government in France. Change is most clearly signalled in new Second-Empire educational ventures in sacred music (the École Niedermeyer, with its focus on plainchant, Palestrina, and Bach; the rise of “Palestrinian” maîtrises at Langres, Rouen, Moulins, and Autun); transition is evident in continued attention to democratization, in repeated attempts to rehabilitate “la musique française” and in the increasingly nationalist rhetorics of historical and critical writings on early music.
Lawrence M. Zbikowski
- Published in print:
- 2002
- Published Online:
- May 2008
- ISBN:
- 9780195140231
- eISBN:
- 9780199871278
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195140231.003.0008
- Subject:
- Music, Theory, Analysis, Composition
This chapter begins by exploring static and dynamic models of musical form that emerged in the 18th century and the way these models were transformed by changes in ideology and music education that ...
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This chapter begins by exploring static and dynamic models of musical form that emerged in the 18th century and the way these models were transformed by changes in ideology and music education that took place beginning late in that century. It then considers two models of musical hierarchy that were initially developed to apply to domains other than music. It was only in the early 19th century that they were applied to music, and then to two rather different aspects of musical organization. The first model views hierarchy as a matter of control: each level in a hierarchy (with the exception of those at the extremes) controls the next-lower level and is itself controlled by the next-higher level. This model stretches back at least to the Middle Ages and is most often used to account for tonal organization. The second model of hierarchy relies on a more componential approach: the elements of level A of the hierarchy combine to make up individual elements at the next-higher level (level B of the hierarchy); the elements of level B then combine to make up individual elements at the next higher level (level C of the hierarchy), and so on, until the account of structure is exhausted. This model emerged during the 17th century and is most often used to explain music's metrical structure.Less
This chapter begins by exploring static and dynamic models of musical form that emerged in the 18th century and the way these models were transformed by changes in ideology and music education that took place beginning late in that century. It then considers two models of musical hierarchy that were initially developed to apply to domains other than music. It was only in the early 19th century that they were applied to music, and then to two rather different aspects of musical organization. The first model views hierarchy as a matter of control: each level in a hierarchy (with the exception of those at the extremes) controls the next-lower level and is itself controlled by the next-higher level. This model stretches back at least to the Middle Ages and is most often used to account for tonal organization. The second model of hierarchy relies on a more componential approach: the elements of level A of the hierarchy combine to make up individual elements at the next-higher level (level B of the hierarchy); the elements of level B then combine to make up individual elements at the next higher level (level C of the hierarchy), and so on, until the account of structure is exhausted. This model emerged during the 17th century and is most often used to explain music's metrical structure.
Katharine Ellis
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195365856
- eISBN:
- 9780199867738
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365856.003.0001
- Subject:
- Music, History, Western
The chapter begins with a discussion of the French museum concept, moving to an explanation of why the musical survivors from the ancien régime were all Italian or Italianate (mostly Pergolesi and ...
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The chapter begins with a discussion of the French museum concept, moving to an explanation of why the musical survivors from the ancien régime were all Italian or Italianate (mostly Pergolesi and Jommelli, but also Rousseau). Discussion of the work of Alexandre-Étienne Choron, the first wave of concerts historiques under François-Joseph Fétis, and the concert series of the Société de Musique Vocale Religieuse et Classique, illustrates how and why some categories of French music of the recent and more distant past were expunged from French collective memory, replaced by a (sometimes fake) Italian musical heritage that was promoted as superior, while other categories were marked out for nationalist celebration. The chapter discusses the rise of ultramontanism, and traditions in publishing and education, in relation to patterns in early-music revivalism, and ends with discussion of regional practices, especially at Carpentras (with its long-standing Cathedral tradition of performing the unfashionable Lalande) and Rouen (the pianist Amédée Méreaux's revivals of the Fétisian concert historique).Less
The chapter begins with a discussion of the French museum concept, moving to an explanation of why the musical survivors from the ancien régime were all Italian or Italianate (mostly Pergolesi and Jommelli, but also Rousseau). Discussion of the work of Alexandre-Étienne Choron, the first wave of concerts historiques under François-Joseph Fétis, and the concert series of the Société de Musique Vocale Religieuse et Classique, illustrates how and why some categories of French music of the recent and more distant past were expunged from French collective memory, replaced by a (sometimes fake) Italian musical heritage that was promoted as superior, while other categories were marked out for nationalist celebration. The chapter discusses the rise of ultramontanism, and traditions in publishing and education, in relation to patterns in early-music revivalism, and ends with discussion of regional practices, especially at Carpentras (with its long-standing Cathedral tradition of performing the unfashionable Lalande) and Rouen (the pianist Amédée Méreaux's revivals of the Fétisian concert historique).
Eugenia Costa-Giomi
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199586974
- eISBN:
- 9780191738357
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586974.003.0023
- Subject:
- Psychology, Music Psychology, Health Psychology
This chapter provides a historical overview of research on the intellectual benefits of music and the most popular interpretations of the research findings. After questioning such interpretations and ...
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This chapter provides a historical overview of research on the intellectual benefits of music and the most popular interpretations of the research findings. After questioning such interpretations and providing alternative explanations, it describes selected experimental studies that were focused on the causal relationship between music instruction and intellectual prowess. The results of the many studies that observed children for a short period of time (i.e., up to one year), have shown convincing evidence that there are temporary cognitive benefits associated with music instruction. Such benefits include improvements in general IQ, spatial skills, and verbal tasks. Additionally, learning music produces structural and functional changes in the brain. Such changes are associated with improvements in sound processing, motor skill, and melodic and rhythmic discrimination. However, neurological investigations do not support the claim that music makes children smarted as the results have failed to show any neurological changes associated with improvements in IQ.Less
This chapter provides a historical overview of research on the intellectual benefits of music and the most popular interpretations of the research findings. After questioning such interpretations and providing alternative explanations, it describes selected experimental studies that were focused on the causal relationship between music instruction and intellectual prowess. The results of the many studies that observed children for a short period of time (i.e., up to one year), have shown convincing evidence that there are temporary cognitive benefits associated with music instruction. Such benefits include improvements in general IQ, spatial skills, and verbal tasks. Additionally, learning music produces structural and functional changes in the brain. Such changes are associated with improvements in sound processing, motor skill, and melodic and rhythmic discrimination. However, neurological investigations do not support the claim that music makes children smarted as the results have failed to show any neurological changes associated with improvements in IQ.
Adam Ockelford and Kyproulla Markou
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199586974
- eISBN:
- 9780191738357
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586974.003.0026
- Subject:
- Psychology, Music Psychology, Health Psychology
This chapter reviews research on music education and therapy for children and young people with severe or profound cognitive impairments. It considers the findings of the PROMISE research project, ...
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This chapter reviews research on music education and therapy for children and young people with severe or profound cognitive impairments. It considers the findings of the PROMISE research project, which was set up to investigate what music provision was being made for children and young people with learning difficulties in special schools in England.Less
This chapter reviews research on music education and therapy for children and young people with severe or profound cognitive impairments. It considers the findings of the PROMISE research project, which was set up to investigate what music provision was being made for children and young people with learning difficulties in special schools in England.
David J. Elliott
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195385076
- eISBN:
- 9780199865512
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385076.003.13
- Subject:
- Music, Psychology of Music
Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before ...
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Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before we used to believe, and that it takes place as a result of children's innate propensity for learning. Indeed, children's spontaneous music making, from the first mother-infant musical interactions to playground rhymes and jeers, is the springboard of music learning. However, the contexts in which early musical experiences occur are critical, and adult interventions require balancing challenge and skill to achieve musical focus and self-growth in young children, as David Elliott suggests teachers should do at all ages. This chapter examines children's musical understanding, memory, and spontaneity, early childhood music education and its relation to Elliott's praxial philosophy, musical experiences based on context, “flow” in early childhood music experiences, multiculturalism in early childhood music education, music making and music listening in early childhood, and musical creativity in children.Less
Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before we used to believe, and that it takes place as a result of children's innate propensity for learning. Indeed, children's spontaneous music making, from the first mother-infant musical interactions to playground rhymes and jeers, is the springboard of music learning. However, the contexts in which early musical experiences occur are critical, and adult interventions require balancing challenge and skill to achieve musical focus and self-growth in young children, as David Elliott suggests teachers should do at all ages. This chapter examines children's musical understanding, memory, and spontaneity, early childhood music education and its relation to Elliott's praxial philosophy, musical experiences based on context, “flow” in early childhood music experiences, multiculturalism in early childhood music education, music making and music listening in early childhood, and musical creativity in children.
David J. Elliott
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195385076
- eISBN:
- 9780199865512
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385076.003.01
- Subject:
- Music, Psychology of Music
This book is a collection of critically reflective essays on the praxial philosophy of music and music education. The contributors are an international and interdisciplinary group of scholars who ...
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This book is a collection of critically reflective essays on the praxial philosophy of music and music education. The contributors are an international and interdisciplinary group of scholars who believe that critical thinking, constructive debate, and dialogues are the lifeblood of music education. By means of their essays, they also speak for those who believe that future music teachers must learn to think for themselves and develop their own philosophies based on their own careful reflections. One of the goals of this book is to contribute to music education philosophy generally and the literature of praxialism in music education specifically. The contributors evaluate the praxial philosophy, pro and con, from the viewpoint of their area(s) of interest and expertise such as philosophical foundations, musical performance, music listening, early childhood education in music, multiculturalism in music education, and curriculum development and offer criticisms.Less
This book is a collection of critically reflective essays on the praxial philosophy of music and music education. The contributors are an international and interdisciplinary group of scholars who believe that critical thinking, constructive debate, and dialogues are the lifeblood of music education. By means of their essays, they also speak for those who believe that future music teachers must learn to think for themselves and develop their own philosophies based on their own careful reflections. One of the goals of this book is to contribute to music education philosophy generally and the literature of praxialism in music education specifically. The contributors evaluate the praxial philosophy, pro and con, from the viewpoint of their area(s) of interest and expertise such as philosophical foundations, musical performance, music listening, early childhood education in music, multiculturalism in music education, and curriculum development and offer criticisms.
Margaret S. Barrett (ed.)
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.001.0001
- Subject:
- Psychology, Social Psychology, Music Psychology
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book ...
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Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.Less
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.
Susan O’Neill
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0008
- Subject:
- Psychology, Social Psychology, Music Psychology
Recent work in cultural psychology has begun to explore theoretical frameworks that involve the mutual inclusion of self and culture in action. These frameworks draw on the concepts of dialogue and ...
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Recent work in cultural psychology has begun to explore theoretical frameworks that involve the mutual inclusion of self and culture in action. These frameworks draw on the concepts of dialogue and experience-based inquiry to illustrate the ways that learning in and through our experiences offers the potential and possibility for changing our perceptions of both self and other. This chapter discusses these ideas in relation to music performance and cultural diversity in education. It begins by describing some of the challenges that music performance educators face as they respond to the growing and problematic cultural-political agendas associated with multiculturalism.Less
Recent work in cultural psychology has begun to explore theoretical frameworks that involve the mutual inclusion of self and culture in action. These frameworks draw on the concepts of dialogue and experience-based inquiry to illustrate the ways that learning in and through our experiences offers the potential and possibility for changing our perceptions of both self and other. This chapter discusses these ideas in relation to music performance and cultural diversity in education. It begins by describing some of the challenges that music performance educators face as they respond to the growing and problematic cultural-political agendas associated with multiculturalism.
Lynn M. Sargeant
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199735266
- eISBN:
- 9780199894505
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199735266.001.0001
- Subject:
- Music, Ethnomusicology, World Music, History, Western
This book explores the complex development of Russian musical life during the nineteenth and early twentieth centuries. It focuses on the Russian Musical Society, which was both unique as a driving ...
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This book explores the complex development of Russian musical life during the nineteenth and early twentieth centuries. It focuses on the Russian Musical Society, which was both unique as a driving force behind the institutionalization of musical life and representative of the growing importance of voluntary associations in public life. Sustained by both private initiative and cooperative relationships with the state, the Russian Musical Society played a key role in the creation of Russia's infrastructure for music and music education. The book's exploration of the broad scope of musical life, including not only the “leading lights” of the era but also rank‐and‐file musicians, teachers, and students, prompts a consideration of the fluid nature of Russian social identity. Although Russian musicians longed for a secure place within the new hierarchy of professions, their social status remained ambiguous throughout the nineteenth century; the traditional reliance on serf musicians and foreigners left lasting scars that drove musicians' efforts to secure both legal rights and social respectability. The increasing visibility of women in musical life provoked acrimonious debates that were, at heart, efforts by male musicians to strengthen their claims to professional status by denying the legitimacy of female participation. At the same time, the successful development of a Russian musical infrastructure salved persistent anxieties about Russia's place vis‐à‐vis its European cultural competitors. Remarkably, the institutions developed by the Russian Musical Society survived the upheavals of war and revolution to become the foundation for the Soviet musical system.Less
This book explores the complex development of Russian musical life during the nineteenth and early twentieth centuries. It focuses on the Russian Musical Society, which was both unique as a driving force behind the institutionalization of musical life and representative of the growing importance of voluntary associations in public life. Sustained by both private initiative and cooperative relationships with the state, the Russian Musical Society played a key role in the creation of Russia's infrastructure for music and music education. The book's exploration of the broad scope of musical life, including not only the “leading lights” of the era but also rank‐and‐file musicians, teachers, and students, prompts a consideration of the fluid nature of Russian social identity. Although Russian musicians longed for a secure place within the new hierarchy of professions, their social status remained ambiguous throughout the nineteenth century; the traditional reliance on serf musicians and foreigners left lasting scars that drove musicians' efforts to secure both legal rights and social respectability. The increasing visibility of women in musical life provoked acrimonious debates that were, at heart, efforts by male musicians to strengthen their claims to professional status by denying the legitimacy of female participation. At the same time, the successful development of a Russian musical infrastructure salved persistent anxieties about Russia's place vis‐à‐vis its European cultural competitors. Remarkably, the institutions developed by the Russian Musical Society survived the upheavals of war and revolution to become the foundation for the Soviet musical system.
Pamela Burnard
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199583942
- eISBN:
- 9780191740671
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199583942.003.0011
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter explains some of the educational applications of musical creativities, which are broadly interpreted as a composite of practices. It shows how the three dimensions of authorship, ...
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This chapter explains some of the educational applications of musical creativities, which are broadly interpreted as a composite of practices. It shows how the three dimensions of authorship, practice, and mediation basically change the way musical creativities can be used. It tries to describe the guidelines that have sufficient utility, and still resist the tendency to prescribe methods. The chapter also provides some narratives and sketches from the field of music in education.Less
This chapter explains some of the educational applications of musical creativities, which are broadly interpreted as a composite of practices. It shows how the three dimensions of authorship, practice, and mediation basically change the way musical creativities can be used. It tries to describe the guidelines that have sufficient utility, and still resist the tendency to prescribe methods. The chapter also provides some narratives and sketches from the field of music in education.
Margaret S. Barrett
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0001
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of ...
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This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of the theory and practice of cultural psychology to music education. An overview of the subsequent chapters is presented.Less
This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of the theory and practice of cultural psychology to music education. An overview of the subsequent chapters is presented.
Hallam Susan
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780199230143
- eISBN:
- 9780191696435
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199230143.003.0028
- Subject:
- Psychology, Music Psychology
Studies show that music plays an important role throughout our lives, and
that typically the impact is affective rather than intellectual, with
the widest range of benefits accruing to those who ...
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Studies show that music plays an important role throughout our lives, and
that typically the impact is affective rather than intellectual, with
the widest range of benefits accruing to those who actively participate
in making music. Adult participation is an extension of engagement with
active music making in childhood in the home or at school. Accordingly,
the musical education offered during compulsory schooling should, at
least in part, be concerned with inculcating a love of music. This
chapter reviews the research evidence considering: the aims and
provision of music education; opportunities for experiencing and
expressing emotion in music education; students' affective experiences
in music education; teaching to generate positive affective outcomes;
the benefits of a greater emphasis on the emotions in music education;
and directions for future research.Less
Studies show that music plays an important role throughout our lives, and
that typically the impact is affective rather than intellectual, with
the widest range of benefits accruing to those who actively participate
in making music. Adult participation is an extension of engagement with
active music making in childhood in the home or at school. Accordingly,
the musical education offered during compulsory schooling should, at
least in part, be concerned with inculcating a love of music. This
chapter reviews the research evidence considering: the aims and
provision of music education; opportunities for experiencing and
expressing emotion in music education; students' affective experiences
in music education; teaching to generate positive affective outcomes;
the benefits of a greater emphasis on the emotions in music education;
and directions for future research.
Stephanie E. Pitts
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199838752
- eISBN:
- 9780199950065
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199838752.003.0002
- Subject:
- Music, Psychology of Music
This chapter focuses on the UK sample of 72 responses from individuals aged between 19 and 86 who are mainly involved in classical music. An overview of their changing experiences is given, in which ...
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This chapter focuses on the UK sample of 72 responses from individuals aged between 19 and 86 who are mainly involved in classical music. An overview of their changing experiences is given, in which the retrospective accounts are compared with the stated aims and practices of music education in the UK throughout the twentieth century, raising questions about the intended, delivered and received music curriculum across the decades. Changes in family and school attitudes are traced through the generations, with an increasing divergence and variety of experience identified as a challenge to contemporary music teachers. The overview of data provided in this chapter is used to introduce the themes of the rest of the book in more detail, relating to music in and out of school, music in the home, and music for lifelong learning and engagement.Less
This chapter focuses on the UK sample of 72 responses from individuals aged between 19 and 86 who are mainly involved in classical music. An overview of their changing experiences is given, in which the retrospective accounts are compared with the stated aims and practices of music education in the UK throughout the twentieth century, raising questions about the intended, delivered and received music curriculum across the decades. Changes in family and school attitudes are traced through the generations, with an increasing divergence and variety of experience identified as a challenge to contemporary music teachers. The overview of data provided in this chapter is used to introduce the themes of the rest of the book in more detail, relating to music in and out of school, music in the home, and music for lifelong learning and engagement.
Adrian C. North and David J. Hargreaves
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780198567424
- eISBN:
- 9780191693656
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198567424.003.0006
- Subject:
- Psychology, Music Psychology
This chapter discusses the vast and interrelated topics of developmental social psychology of music and music education. This chapter has two broad sections: the approach adopted in the chapter to ...
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This chapter discusses the vast and interrelated topics of developmental social psychology of music and music education. This chapter has two broad sections: the approach adopted in the chapter to musical development literature and how social perspective has influenced developmental psychology and education as a whole; and the chapter's views on musical development from infancy through to adulthood. The chapter also comments on some of the main theoretical models of musical development and evaluates their usefulness from a social psychological standpoint. The chapter discusses its outlook on the formal and informal learning processes in the field of music education. The chapter examines the international variations in music educational practices and institutions. Finally, the chapter deliberates the processes of learning and teaching music in different learning environments and the role of teachers and pupils in setting the music learning agenda.Less
This chapter discusses the vast and interrelated topics of developmental social psychology of music and music education. This chapter has two broad sections: the approach adopted in the chapter to musical development literature and how social perspective has influenced developmental psychology and education as a whole; and the chapter's views on musical development from infancy through to adulthood. The chapter also comments on some of the main theoretical models of musical development and evaluates their usefulness from a social psychological standpoint. The chapter discusses its outlook on the formal and informal learning processes in the field of music education. The chapter examines the international variations in music educational practices and institutions. Finally, the chapter deliberates the processes of learning and teaching music in different learning environments and the role of teachers and pupils in setting the music learning agenda.
John Sloboda
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780198530121
- eISBN:
- 9780191689741
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198530121.001.0001
- Subject:
- Psychology, Music Psychology
Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive ...
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Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive neuroscience. This new book brings together twenty-three chapters and reviews on music and the mind, focusing on ideas, interpretation, argument and application rather than on technical issues.Less
Since the publication in 1986 of the book The Musical Mind, music psychology has developed as a vibrant area of research, exerting influence on areas as diverse as music education and cognitive neuroscience. This new book brings together twenty-three chapters and reviews on music and the mind, focusing on ideas, interpretation, argument and application rather than on technical issues.
