By Keith Swanwick
Designed for all track lecturers, this ebook offers an exam and research of the elemental options fascinated about track. It investigates questions corresponding to: 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 encourage additional considering and improvement in song schooling.
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Extra resources for A Basis for Music Education
Yet we acknowledge that these alternatives are by themselves insufficient and that we do have other criteria in mind when we say things like ‘he has a good technique but plays so unmusically’, or ‘her sense of style seems impeccable but there was no sense of performance’, or ‘it is a very clever composition but it leaves me cold’. Like money in general and ‘discipline’ in schools, we affirm the existence and value of real musical experience when we cannot get any. Because this experience is sometimes elusive and because music is manifested in such a variety of settings and takes on many different ways of functioning, it is crucial for those of us concerned with music education to evolve a clear view of our procedures which may be held steady, no matter in what particular situation we may find ourselves.
Emotions in ‘life’, emotions as they may be identified in music, and any emotion we might experience as a result of engaging with music are not the same, though we can see how confusions may arise. Let us return to Cooke and the Eroica Funeral March. We might think in the following way: I recognize in the music the heavy, dull stiffness of grief; I experience a strong emotion; therefore I experience the emotion of actual grief. This of course just does not follow and is a muddling of the three uses of the word emotion.
The level of predictability varies and fluctuates continually in music experience, thus promoting an active kind of relationship with the 38 A Basis for Music Education work. We are continually reminded that music is not just a vehicle for our fantasy life. The work is seen to have a ‘life’ of its own. 4. The highest peak of aesthetic experience is an excitement caused by fundamental re-alignment of the schemata we hold to represent past experience. In this way a musical object may be said to have ‘meaning’ for the individual on a different level of significance from the presentation of feeling gestures in the work.