Keith Swanwick's A Developing Discourse in Music Education: The selected PDF

By Keith Swanwick

ISBN-10: 1138906433

ISBN-13: 9781138906433

ISBN-10: 1315695499

ISBN-13: 9781315695495

ISBN-10: 1317443128

ISBN-13: 9781317443124

In the World Library of Educationalists series, foreign specialists assemble career-long collections of what they pass judgement on to be their most interesting items – extracts from books, key articles, salient examine findings, significant theoretical and sensible contributions – so the area can learn them in one achievable quantity. Readers may be in a position to persist with the subjects and strands and spot how their paintings contributes to the improvement of the field.

Since the e-book of A foundation for tune Education in 1979, Keith Swanwick has persisted to be a huge effect at the conception and perform of track schooling. The overseas charm of his insights into the basics of tune and track schooling is acknowledged in invites from greater than twenty nations to provide Key observe shows, behavior workshops, and recommend as a expert. those comprise such diversified locations as Kazakhstan, Colombia, Iceland and Papua New Guinea. in the course of 1998 he was once vacationing Professor, collage of Washington.

In this assortment, Swanwick brings jointly 12 of his key writings to provide an summary of the advance of his personal paintings and of the sector of tune schooling. The textual content permits the reader to contemplate Swanwick’s method of tune schooling and the way it truly is characterized by means of a priority for musical, and to some degree wider inventive, methods, formed by way of his event as a instructor and appearing musician in numerous settings, and in addition by means of the impacts of philosophers, psychologists and sociologists.

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Additional info for A Developing Discourse in Music Education: The selected works of Keith Swanwick

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The most reward­ing areas of atten­tion for music educat­ors are the activ­it­ies of compos­i­tion, audi­tion and perform­ance at the first level of mean­ing­ful­ness, the search for clarity, meaning ‘to’ and projec­tion of musical image. The second level, of intens­ity, meaning ‘for’ and impact, is a highly personal affair and is psycho­lo­gic­ally very complex. We are not able to work directly in this area as teach­ers and it is highly danger­ous to believe that we can. Some inter­est­ing attempts have been made to cope with this problem, notably by Witkin (1974)3 and Ross (1978)4, and we shall consider these in the final chapter.

We can obvi­ously take imit­a­tion as a focus for classroom or studio work. Thus, in drama we might initi­ate role-playing, acting like someone else. In liter­at­ure we might tell a story from another’s point of view. In the visual arts we might try to repres­ent a partic­u­lar incid­ent or person; or, in a more abstract way, seek to render an impres­sion, a feeling, a quality of exper­i­ ence. In dance and music we might set the problem of commu­nic­at­ing a partic­ u­lar dynamic process: the coming of dark­ness or dawn, the act of shriv­el­ling up or of opening out, a sense of increas­ing still­ness or activ­ity.

Cit. 105. 23 Richards, I. A. Principles of Literary Criticism. 185. 24 Forster, E. M. ‘A Note on the Way’ in Abinger Harvest. 85–89. 25 Dewey, J. Art as Experience. New York: Capricorn Books, 1958, first published 1934. CHAPTER 2 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 fingernail we are left with a slightly damp noth­ing­ness. Because music is so ephem­eral it presents teach­ers with severe diffi­culties.

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