By Keith Swanwick
Designed for all song academics, this e-book presents an exam and research of the elemental recommendations interested by track. It investigates questions reminiscent of: what's song? Is song significant? Does tune refine our emotions and feelings? if that is so, how? The dialogue of those questions varieties a conceptual framework which goals to inspire extra pondering and improvement in tune schooling.
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Extra resources for A Basis for Music Education
Example text
New York. 597. 3. COOKE, D. (1959). The Language of Music. OUP. 4. SCHOPENHAUER. The World as Will and Idea. 5. HEGEL. Aesthetics. 6. HINDEMITH (1952). The Composer’s World. Harvard. 38ff. 7. LEE, VERNON (1932). Music and its Lovers. Unwin. 44ff. 8. HEAD, H. (1920). Studies in Neurology. Oxford. 605–606. 9. A. (1969). Meaning in the Arts. London. 71. 10. S. (1968). The Logola Symposium on Feeling and Emotions. 11. H. (1967). Education, Culture and the Emotions. Faber. 65–86. 12. S. (1966). Ethics and Education.
Nor is music merely sounds in formal configurations, handled by skilled practitioners and appreciated intellectually. It may not have a simple ‘message’ but it certainly conveys and brings about meaningful experiences for those who can ‘tune in’ appropriately. 8 Donald Ferguson (1960)9 puts it this way: ‘music is not a portrayal of chemically compounded emotions. It is a metaphor of experience’. What this means and how it happens is something of a mystery, though not entirely obscure. Notions of feeling and emotion are frequently brought into play when music and arts education are under scrutiny.
Firstly, there has to be on the part of the listener a recognition of the presented ‘gestures’ that help to form the fabric of a work. This is fundamentally a cognitive as well as an affective process. Secondly, the listener has to build up norm concepts as a general frame of reference in which he locates such ‘meaning’ as is presented in the work. Thirdly, he has to be able to predict a future during the work as it progresses in order to formulate expectations which may or may not be met in the course of the music.