Download e-book for iPad: A Developing Discourse in Music Education: The selected by Keith Swanwick

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, overseas specialists assemble career-long collections of what they pass judgement on to be their most interesting items – extracts from books, key articles, salient study findings, significant theoretical and functional contributions – so the realm can learn them in one possible quantity. Readers might be in a position to persist with the topics and strands and notice how their paintings contributes to the improvement of the field.

Since the e-book of A foundation for track Education in 1979, Keith Swanwick has endured to be a big impression at the thought and perform of tune schooling. The foreign allure of his insights into the basics of song and track schooling is recognized in invites from greater than twenty international locations to offer Key notice shows, behavior workshops, and propose as a specialist. those contain such diversified areas as Kazakhstan, Colombia, Iceland and Papua New Guinea. in the course of 1998 he used to be vacationing Professor, college of Washington.

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

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

Sample text

Worse than this, it is possible to find instances where anything but music is taught and, instead, the subject content is trans­ formed into the history of music, or acous­tics, or the biograph­ies of composers, or the soci­ology of rock and pop. On the other hand, art and drama seemed to move long ago towards imagin­ at­ive play, some­times called ‘creativ­ity’, or ‘free-expression’, and may have neglected the import­ance of mastery and imit­a­tion in the educa­tional process, by giving scant atten­tion to the works of others, that is to say, being ‘in audi­ ence’ to them.

I ought to make clear what I am not saying. Firstly, there is no sugges­tion that students should not special­ize in some single area of C(L)A(S)P. This is bound to happen almost from the begin­ning of involve­ment with music. Secondly, I am not insist­ing that every­one should neces­sar­ily have substan­tial exper­i­ence in all five areas, only that wherever possible people ought to be encour­aged to be involved with music in as many ways as possible, espe­cially in the early form­at­ive years.

Thus the act of compos­ i­tion is possible only when altern­ated with audi­tion and possibly perform­ance. A composer must surely sample his own work as auditor and try it out as performer. The parameters of music education 35 The act of perform­ance can be seen in a similar light. We have already noted that perform­ance involves a sense of pres­ence, the pres­ence of a vital musical object, devel­op­ing and on the move; and that this differs from a merely accur­ate render­ing, in that it is alive.

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