Analyst vs Performer. The Importance of Studying The Music Analysis Discipline for The Development of Critical-Analytical Thinking of Perfomer Students.pdf
This document discusses the relationship between musical analysis and musical performance. It argues that studying musical analysis is important for developing critical thinking in performer students. While musical analysis and performance were seen as incompatible by some in the past, most modern scholars agree they can inform each other. The document outlines skills that musical analysis can help develop in performers, such as understanding musical structure, phrasing, harmony, and developing a personal interpretive concept. It suggests focusing on developing "musical awareness" to make analysis more accessible to performers. Overall, the document argues musical analysis should be an important part of musical training to help performers more fully understand and communicate the music.
The Role of Improvisation in Developing Musical CreativitySunnyLahkar
This essay looks into the pedagogy of improvisation in both the instrumental and vocal contexts of teaching, with the main aim seeking to find out what teachers could do within their pedagogic frame so as to thread improvisation effectively
Edward Kliszus' teaching philosophy emphasizes composition and performance to give students a full understanding of music. He believes students should write and perform their own music to help study various musical elements and techniques. Kliszus also stresses studying music in the context of other art forms and cultures to understand it as a vital art form that has evolved over time. Examining elements of different composers' styles helps students analyze works in different ways. His goal is to provide cognitive skills for lifelong learning about music.
The document summarizes a student project exploring the relationship between architecture and dance. It discusses how dance, like architecture, is experienced over time through movement. Previous studies have used dance to develop creative design processes. The document examines how music has influenced architecture and proposes studying how dance could also influence architectural design to enhance spatial experiences. Terminology and concepts are shared between architecture, music, and dance. Experiencing architecture and dance both develop over time through observation and movement in nonlinear ways.
Autoethnography, Autobiography, and Creative Art as Academic Research in Musi...Lindsey Sais
This ethnodrama explores issues around autoethnography through a dialogue between a fictionalized professor and two doctoral students. In the introduction, the professor outlines his use of autoethnography in published work and introduces the students' research areas relating to their own experiences - one studying violin performance and the other a singer-songwriter. The discussion then follows a fugal structure, with each character presenting their perspective on autoethnography and responding to the others in turn. Key questions raised include the differences between autoethnography and autobiography, and the forms autoethnography can take within academic research.
This article analyzes the importance of expressive abilities and formative meanings of harmonic devices in the initial lessons of Harmony, on the need for methodological analysis and adaptation of their explanatory approaches to the learning process. This necessity arises from the fact that students are able to master science, to guide their artistic and creative imagination and performance. Special attention should be given to the variety of forms and methods of teaching during the course of Harmony. In this respect, the teacher should take into account and continuously analyze such processes as students' perception, thinking, perception and implementation by Sh.Ahmedov 2020. Expressive and formative essence of harmonic vertical . International Journal on Integrated Education. 3, 4 (Apr. 2020), 1-3. DOI:https://doi.org/10.31149/ijie.v3i4.334 https://journals.researchparks.org/index.php/IJIE/article/view/334/327 https://journals.researchparks.org/index.php/IJIE/article/view/334
This document provides a commentary on the paper "The role of embodiment in the perception of music" by Leman and Maes. The commentary discusses two main aspects: 1) the relationship between the embodied music cognition theory proposed and its experimental evidence, arguing that the experiments cited do not fully support an embodied framework. 2) The shift towards a more dynamic framework in Leman and Maes' work, but notes their arguments for this shift seem inconsistent with their presented framework. The commentary suggests a truly embodied account of music cognition would need to abandon some assumptions and seek further empirical evidence from interactive musical sense-making.
This document summarizes the research and career of Dr. Marina Karaseva. It discusses her Fulbright scholarship at the University of Maryland where she researched music psychotechnology. It outlines her research interests in ear training and developing musical perception. It also lists her publications, academic positions in Russia, and work developing interdisciplinary courses between music, psychology, and other fields.
Arts And Learning A Review Of The Impact Of Arts And Aesthetics On Learning ...Angie Miller
This paper reviews research on the impact of arts and aesthetics on learning. It finds that while the learning sciences have traditionally focused more on STEM, the arts offer alternative methods of inquiry, representation, and understanding. The paper summarizes research showing cognitive, social, and transformative benefits of arts education. It argues that arts education research and learning sciences could inform each other, pointing to opportunities to study representations and simulations. The review adopts a feminist communitarian framework to celebrate community ties and understanding between fields.
The Role of Improvisation in Developing Musical CreativitySunnyLahkar
This essay looks into the pedagogy of improvisation in both the instrumental and vocal contexts of teaching, with the main aim seeking to find out what teachers could do within their pedagogic frame so as to thread improvisation effectively
Edward Kliszus' teaching philosophy emphasizes composition and performance to give students a full understanding of music. He believes students should write and perform their own music to help study various musical elements and techniques. Kliszus also stresses studying music in the context of other art forms and cultures to understand it as a vital art form that has evolved over time. Examining elements of different composers' styles helps students analyze works in different ways. His goal is to provide cognitive skills for lifelong learning about music.
The document summarizes a student project exploring the relationship between architecture and dance. It discusses how dance, like architecture, is experienced over time through movement. Previous studies have used dance to develop creative design processes. The document examines how music has influenced architecture and proposes studying how dance could also influence architectural design to enhance spatial experiences. Terminology and concepts are shared between architecture, music, and dance. Experiencing architecture and dance both develop over time through observation and movement in nonlinear ways.
Autoethnography, Autobiography, and Creative Art as Academic Research in Musi...Lindsey Sais
This ethnodrama explores issues around autoethnography through a dialogue between a fictionalized professor and two doctoral students. In the introduction, the professor outlines his use of autoethnography in published work and introduces the students' research areas relating to their own experiences - one studying violin performance and the other a singer-songwriter. The discussion then follows a fugal structure, with each character presenting their perspective on autoethnography and responding to the others in turn. Key questions raised include the differences between autoethnography and autobiography, and the forms autoethnography can take within academic research.
This article analyzes the importance of expressive abilities and formative meanings of harmonic devices in the initial lessons of Harmony, on the need for methodological analysis and adaptation of their explanatory approaches to the learning process. This necessity arises from the fact that students are able to master science, to guide their artistic and creative imagination and performance. Special attention should be given to the variety of forms and methods of teaching during the course of Harmony. In this respect, the teacher should take into account and continuously analyze such processes as students' perception, thinking, perception and implementation by Sh.Ahmedov 2020. Expressive and formative essence of harmonic vertical . International Journal on Integrated Education. 3, 4 (Apr. 2020), 1-3. DOI:https://doi.org/10.31149/ijie.v3i4.334 https://journals.researchparks.org/index.php/IJIE/article/view/334/327 https://journals.researchparks.org/index.php/IJIE/article/view/334
This document provides a commentary on the paper "The role of embodiment in the perception of music" by Leman and Maes. The commentary discusses two main aspects: 1) the relationship between the embodied music cognition theory proposed and its experimental evidence, arguing that the experiments cited do not fully support an embodied framework. 2) The shift towards a more dynamic framework in Leman and Maes' work, but notes their arguments for this shift seem inconsistent with their presented framework. The commentary suggests a truly embodied account of music cognition would need to abandon some assumptions and seek further empirical evidence from interactive musical sense-making.
This document summarizes the research and career of Dr. Marina Karaseva. It discusses her Fulbright scholarship at the University of Maryland where she researched music psychotechnology. It outlines her research interests in ear training and developing musical perception. It also lists her publications, academic positions in Russia, and work developing interdisciplinary courses between music, psychology, and other fields.
Arts And Learning A Review Of The Impact Of Arts And Aesthetics On Learning ...Angie Miller
This paper reviews research on the impact of arts and aesthetics on learning. It finds that while the learning sciences have traditionally focused more on STEM, the arts offer alternative methods of inquiry, representation, and understanding. The paper summarizes research showing cognitive, social, and transformative benefits of arts education. It argues that arts education research and learning sciences could inform each other, pointing to opportunities to study representations and simulations. The review adopts a feminist communitarian framework to celebrate community ties and understanding between fields.
- Thinking Musically and Teaching Music Globally offer concise themes and extensive cross-referencing to provide resources for music educators to achieve educational and musical goals.
- Both books aim to expand students' awareness and understanding of diverse musics from around the world through listening activities, discussions of musical elements, and suggested lessons and projects.
- While the books provide abundant detailed information and activities, the amount of content risks overwhelming teachers and students at times. Selecting key concepts and examples may help alleviate this.
This document discusses issues of equity and purpose in music instruction for children from low socioeconomic backgrounds. It addresses 3 main themes: 1) The benefits of music instruction based on research, though some findings are contested. 2) The Eurocentric bias in most music programs and marginalization of other music. 3) The importance of addressing social justice in music education to empower all students and improve equality of opportunity, regardless of background. It calls for further research and discussion on these themes.
The document explores models of teaching and learning music composition in higher education. It analyzes pedagogical approaches found in the literature and introduces a teaching model with four themes: 1) Learning from the masters, 2) Mastery of techniques, 3) Exploring ideas, and 4) Developing voice. It then presents a learning model developed from a study of students' experiences comprising craft, process and art. The relationship between the models is examined, with implications for composition curricula discussed.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
Aestheticisation Of Everyday Life On The Example Of Musical Practices Among W...Sean Flores
This document summarizes a study on the musical practices of adolescents in Warsaw, Poland. The study found that music is omnipresent in the daily lives of adolescents, who can access music whenever and wherever through portable devices. However, their main musical practice is listening to music, which can be considered the primary way they aestheticize and add meaning to their everyday lives. Music listening helps adolescents regulate their moods and organize activities like traveling, studying, and falling asleep. While some adolescents always listen to music when studying, others find it depends on the subject or their mood, and some never do as they feel it is distracting. The study provides insights into how music supports adolescents' cultural and identity projects.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of fostering creativity in school education. Music inflames the mind and is the key to creativity. Music practices have drawn the attention of many scholars fascinated with their creative properties in both musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city in northern China’s Hebei Province), this study aimed to examine the under-researched connection between gender, education, and creative music practices (broadly described as music as a culture of imagination and real-time practice in the learning of diverse music styles and in the participation of music activities in formal and informal learning contexts) as perceived by young Chinese students. The study employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17 attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in school music education, as well as the music practices of diverse music cultures and music activities. This paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned in response to the students’ influential sources and their preferred school subjects in learning creativity, their preferred music styles, and their preferred participation in music activities in both school music lessons and extracurricular activities in learning creativity in the Chinese context.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of
fostering creativity in school education. Music inflames the mind and is the key to creativity. Music
practices have drawn the attention of many scholars fascinated with their creative properties in both
musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city
in northern China’s Hebei Province), this study aimed to examine the under-researched connection
between gender, education, and creative music practices (broadly described as music as a culture of
imagination and real-time practice in the learning of diverse music styles and in the participation of music
activities in formal and informal learning contexts) as perceived by young Chinese students. The study
employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17
attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted
between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in
school music education, as well as the music practices of diverse music cultures and music activities. This
paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned
in response to the students’ influential sources and their preferred school subjects in learning creativity,
their preferred music styles, and their preferred participation in music activities in both school music
lessons and extracurricular activities in learning creativity in the Chinese context.
This document provides an introduction to semiotic analysis and its application to musical analysis. It defines semiotics as the study of signs and their meanings. Key concepts discussed include the distinction between the signifier and signified, binary oppositions, and the semiotic square as a way to visualize relationships between terms. The document notes that while semiotics has origins in Aristotle and Augustine, it was further developed in the late 19th/early 20th centuries. It provides examples of semiotic analysis and lists several websites for further researching musical semiotics.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of
fostering creativity in school education. Music inflames the mind and is the key to creativity. Music
practices have drawn the attention of many scholars fascinated with their creative properties in both
musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city
in northern China’s Hebei Province), this study aimed to examine the under-researched connection
between gender, education, and creative music practices (broadly described as music as a culture of
imagination and real-time practice in the learning of diverse music styles and in the participation of music
activities in formal and informal learning contexts) as perceived by young Chinese students. The study
employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17
attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted
between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in
school music education, as well as the music practices of diverse music cultures and music activities. This
paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned
in response to the students’ influential sources and their preferred school subjects in learning creativity,
their preferred music styles, and their preferred participation in music activities in both school music
lessons and extracurricular activities in learning creativity in the Chinese context.
This document provides details about Katie Wilkie's PhD research which aims to identify conceptual metaphors used by musicians to understand musical concepts like pitch, melody, and harmony. The research will involve discussions with musicians to elicit these metaphors, which will then be used to evaluate existing music interaction designs and inform the creation of new, more intuitive designs. The contributions will include increased knowledge of how metaphors aid musical understanding and guidelines for designing music interactions based on conceptual metaphors.
This document provides an introduction and overview of the book "Choral Conducting and the Construction of Meaning". It summarizes that:
1) The book examines how gestural languages of choral conducting and associated body languages of choirs are integral to how musicians understand the music and their own identities.
2) It draws on theories of music and identity, performance studies, choral conducting literature, and nonverbal communication to analyze how musical style, social meanings, and performer identity are constructed in choral performance.
3) The book aims to theorize these relationships and draw practical conclusions for transferring conducting skills between musical idioms. It seeks to bridge critical musicology and choral practice.
This document summarizes a study on teachers who regularly incorporate the arts into their classroom teaching. It interviewed six New York City teachers about their motivations and challenges in using arts. Key findings were that creative attitudes, not art skills, enabled arts use. Teachers took risks to maintain creativity despite obstacles. Their main motivation was addressing diverse student needs through different learning styles. Arts professional development encouraged teacher creativity and expanding their teaching repertoire.
A Theory Of Music Analysis On Segmentation And Associative Organization By D...Emily Smith
This document provides a review of Dora A. Hanninen's book "A Theory of Music Analysis: On Segmentation and Associative Organization". The review summarizes that Hanninen provides a comprehensive metatheory of music analysis that aims to formalize segmentation protocols and provide flexibility to encompass different musical traditions and analytical approaches. Key aspects of Hanninen's theory include criteria for segmenting music, the relationship between general and specific analytical theories, and the interaction between segmentation, associative sets, and musical structure. The review evaluates Hanninen's distinction between perceived and potential segments and their relationship to musical analysis versus perception.
This document summarizes a thesis paper that examines how the aesthetic parameters and perceptions of music have changed for the digital generation of students. It discusses how students' artistic and technological experiences have combined to create an interrelated conceptual perception of music. It also explores how digital tools have become part of the music making, listening and sharing process. The implications for music educators are that they need to be cognizant of these changes and account for students' consumerist musical experiences in order to update music curriculum and instruction.
Unveiling the Optimal Approach for Music Theory Instruction: Transitioning fr...AJHSSR Journal
ABSTRACT: This literature review explores the various approaches and methods employed in teaching music
theory and examines the benefits and challenges associated with each approach. The traditional lecture-based
method effectively conveys theoretical knowledge, but supplementary activities may be necessary to encourage
active engagement and practical application. Active learning methods prioritize student participation and
problem-solving, enhancing critical thinking and fostering creativity. Collaborative learning promotes peer
interaction and shared learning experiences, facilitating the development of communication skills and deepening
understanding. The integration of technology provides interactive and personalized learning opportunities, but
attention should be given to technical issues and potential distractions. Contextualization and applied learning
helps students grasp the practical application of theoretical concepts within real-world musical contexts.
Multisensory approaches accommodate diverse learning styles, reinforcing understanding through auditory,
visual, and kinesthetic elements. However, existing literature reveals gaps in research, including the long-term
impact of teaching methods, student perspectives, inclusive practices, assessment strategies, interdisciplinary
approaches, and technology accessibility. Addressing these gaps can inform instructional practices and enhance
student learning experiences in music theory education. Overall, comprehending the benefits and challenges
associated with different teaching methods in music theory enables educators to design effective instructional
strategies that promote student engagement, critical thinking, and the practical application of theoretical
concepts
Andreas c. lehmann, john a. sloboda, robert h. woody psychology for musicians...Valentina Daldegan
This chapter provides an introduction to the field of psychology for musicians. It discusses how psychology can help musicians better understand their own skills and development. The chapter outlines some key concepts in psychology relevant to music, such as cognition, perception, memory, emotion, and motivation. It also introduces the idea that music skills are complex and involve both innate abilities and learning through practice and experience.
Issues of practice and leadership in experimental and community music group a...James Wood
This thesis examines the similarities and differences between experimental music groups and community music groups. The author led four different music groups, two classified as community music groups and one as an experimental music ensemble. A similar program of compositions by experimental musicians was used with each group. The author reflects on the effect of leadership style and repertoire on promoting an inclusive, community music-style ethos. The conclusion is that a community musician prioritizes facilitating a positive experience over repertoire, but experimental music can help achieve an informal style if led with a facilitative approach focused on inclusivity and participation.
ePortfolio as a Tool for Reflecting on Rhetoric across Disciplines Liberal A...Jiyeon Lee
ePortfolio as a Tool for Reflecting on Rhetoric across Disciplines
Liberal Arts Cluster, LaGuardia Community College
Is it possible to deepen students’ understanding of the
formal power of rhetoric by making it the theme of an
interdisciplinary learning community? To investi gate, The
Persuasive Note, a liberal arts cluster with a shared rhetorical
approach, was launched at LaGuardia in 2009. Student
refl ecti ons on rhetoric vis-a-vis their coursework, educati on
and lives were elicited and collected on the students’ ePortfolios.
Results, methodology and musings will be shared.
• Gary Richmond, Lecturer
This document provides an overview of a case study examining dance as a place for learning. The study is being conducted in a school in Finland where dance is integrated into the general curriculum. The study uses collaborative action research methods to investigate how embodied, arts-based knowledge generates meaningful learning. Specifically, it seeks to understand how students describe their dance learning experiences, how the school community views dance's educational value, and what types of learning and knowledge dance can elicit. Data collection involves journals, interviews, videos and observations of students, teachers and parents. The goal is to develop a conception of learning that embraces embodied processes and situates learning in the entire human being.
Worst College Essays Ever Never Make These Mistakes On YourJackie Gold
Good morning. Australia's involvement in defending Papua New Guinea during World War 2 was crucial to preventing Japanese expansion in the South Pacific region. Here are a few key points about Australia's role:
- When Japanese forces invaded Papua New Guinea in 1942, threatening Australia, the Australian government took over responsibility for the defense of the territory from Britain. Australian forces were dispatched to engage the Japanese.
- The Battle of Kokoda Trail was a major turning point that halted the Japanese advance towards Port Moresby via the Kokoda Track. Outnumbered Australian and Papuan troops fought a grueling retreat over the rugged Owen Stanley Ranges.
- At the same time, Australian and allied forces engaged Japanese troops at Buna,
Essay, Term Paper Research Paper On Descriptive Essays. DescriptioJackie Gold
The document discusses findings and suggestions related to increasing financial inclusion in Jammu and Kashmir, India. It finds that many people remain financially excluded despite 68 years of independence. It suggests the bank design tailored policies at the village level to include the poor and disadvantaged. Currently, a large percentage of loans are used for meeting financial emergencies, medical costs, and social obligations like marriages. The document recommends the bank focus on increasing access to financial services for low-income households to improve their financial condition and standard of living.
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Similar to Analyst vs Performer. The Importance of Studying The Music Analysis Discipline for The Development of Critical-Analytical Thinking of Perfomer Students.pdf
- Thinking Musically and Teaching Music Globally offer concise themes and extensive cross-referencing to provide resources for music educators to achieve educational and musical goals.
- Both books aim to expand students' awareness and understanding of diverse musics from around the world through listening activities, discussions of musical elements, and suggested lessons and projects.
- While the books provide abundant detailed information and activities, the amount of content risks overwhelming teachers and students at times. Selecting key concepts and examples may help alleviate this.
This document discusses issues of equity and purpose in music instruction for children from low socioeconomic backgrounds. It addresses 3 main themes: 1) The benefits of music instruction based on research, though some findings are contested. 2) The Eurocentric bias in most music programs and marginalization of other music. 3) The importance of addressing social justice in music education to empower all students and improve equality of opportunity, regardless of background. It calls for further research and discussion on these themes.
The document explores models of teaching and learning music composition in higher education. It analyzes pedagogical approaches found in the literature and introduces a teaching model with four themes: 1) Learning from the masters, 2) Mastery of techniques, 3) Exploring ideas, and 4) Developing voice. It then presents a learning model developed from a study of students' experiences comprising craft, process and art. The relationship between the models is examined, with implications for composition curricula discussed.
American Journal of Multidisciplinary Research and Development is indexed, refereed and peer-reviewed journal, which is designed to publish research articles.
Aestheticisation Of Everyday Life On The Example Of Musical Practices Among W...Sean Flores
This document summarizes a study on the musical practices of adolescents in Warsaw, Poland. The study found that music is omnipresent in the daily lives of adolescents, who can access music whenever and wherever through portable devices. However, their main musical practice is listening to music, which can be considered the primary way they aestheticize and add meaning to their everyday lives. Music listening helps adolescents regulate their moods and organize activities like traveling, studying, and falling asleep. While some adolescents always listen to music when studying, others find it depends on the subject or their mood, and some never do as they feel it is distracting. The study provides insights into how music supports adolescents' cultural and identity projects.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of fostering creativity in school education. Music inflames the mind and is the key to creativity. Music practices have drawn the attention of many scholars fascinated with their creative properties in both musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city in northern China’s Hebei Province), this study aimed to examine the under-researched connection between gender, education, and creative music practices (broadly described as music as a culture of imagination and real-time practice in the learning of diverse music styles and in the participation of music activities in formal and informal learning contexts) as perceived by young Chinese students. The study employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17 attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in school music education, as well as the music practices of diverse music cultures and music activities. This paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned in response to the students’ influential sources and their preferred school subjects in learning creativity, their preferred music styles, and their preferred participation in music activities in both school music lessons and extracurricular activities in learning creativity in the Chinese context.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of
fostering creativity in school education. Music inflames the mind and is the key to creativity. Music
practices have drawn the attention of many scholars fascinated with their creative properties in both
musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city
in northern China’s Hebei Province), this study aimed to examine the under-researched connection
between gender, education, and creative music practices (broadly described as music as a culture of
imagination and real-time practice in the learning of diverse music styles and in the participation of music
activities in formal and informal learning contexts) as perceived by young Chinese students. The study
employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17
attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted
between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in
school music education, as well as the music practices of diverse music cultures and music activities. This
paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned
in response to the students’ influential sources and their preferred school subjects in learning creativity,
their preferred music styles, and their preferred participation in music activities in both school music
lessons and extracurricular activities in learning creativity in the Chinese context.
This document provides an introduction to semiotic analysis and its application to musical analysis. It defines semiotics as the study of signs and their meanings. Key concepts discussed include the distinction between the signifier and signified, binary oppositions, and the semiotic square as a way to visualize relationships between terms. The document notes that while semiotics has origins in Aristotle and Augustine, it was further developed in the late 19th/early 20th centuries. It provides examples of semiotic analysis and lists several websites for further researching musical semiotics.
CREATIVE EDUCATION, MUSIC PRACTICES, AND GENDER DIFFERENCES AMONG YOUNG CHINE...John1Lorcan
Over the last two decades, China has placed more emphasis on learning and practice in the process of
fostering creativity in school education. Music inflames the mind and is the key to creativity. Music
practices have drawn the attention of many scholars fascinated with their creative properties in both
musical and non-musical domains. With particular reference to Shijiazhuang (the capital and largest city
in northern China’s Hebei Province), this study aimed to examine the under-researched connection
between gender, education, and creative music practices (broadly described as music as a culture of
imagination and real-time practice in the learning of diverse music styles and in the participation of music
activities in formal and informal learning contexts) as perceived by young Chinese students. The study
employed a self-reported survey questionnaire distributed to a sample of students aged eight to 17
attending Grade 4 through Grade 9 in 10 schools located in the city of Shijiazhuang (N = 2,015) conducted
between 2019 and 2020. Generally speaking, girls were more positive regarding the value of creativity in
school music education, as well as the music practices of diverse music cultures and music activities. This
paper will conclude with a debate on the ways that “gender” is comprehended, carried out, and discerned
in response to the students’ influential sources and their preferred school subjects in learning creativity,
their preferred music styles, and their preferred participation in music activities in both school music
lessons and extracurricular activities in learning creativity in the Chinese context.
This document provides details about Katie Wilkie's PhD research which aims to identify conceptual metaphors used by musicians to understand musical concepts like pitch, melody, and harmony. The research will involve discussions with musicians to elicit these metaphors, which will then be used to evaluate existing music interaction designs and inform the creation of new, more intuitive designs. The contributions will include increased knowledge of how metaphors aid musical understanding and guidelines for designing music interactions based on conceptual metaphors.
This document provides an introduction and overview of the book "Choral Conducting and the Construction of Meaning". It summarizes that:
1) The book examines how gestural languages of choral conducting and associated body languages of choirs are integral to how musicians understand the music and their own identities.
2) It draws on theories of music and identity, performance studies, choral conducting literature, and nonverbal communication to analyze how musical style, social meanings, and performer identity are constructed in choral performance.
3) The book aims to theorize these relationships and draw practical conclusions for transferring conducting skills between musical idioms. It seeks to bridge critical musicology and choral practice.
This document summarizes a study on teachers who regularly incorporate the arts into their classroom teaching. It interviewed six New York City teachers about their motivations and challenges in using arts. Key findings were that creative attitudes, not art skills, enabled arts use. Teachers took risks to maintain creativity despite obstacles. Their main motivation was addressing diverse student needs through different learning styles. Arts professional development encouraged teacher creativity and expanding their teaching repertoire.
A Theory Of Music Analysis On Segmentation And Associative Organization By D...Emily Smith
This document provides a review of Dora A. Hanninen's book "A Theory of Music Analysis: On Segmentation and Associative Organization". The review summarizes that Hanninen provides a comprehensive metatheory of music analysis that aims to formalize segmentation protocols and provide flexibility to encompass different musical traditions and analytical approaches. Key aspects of Hanninen's theory include criteria for segmenting music, the relationship between general and specific analytical theories, and the interaction between segmentation, associative sets, and musical structure. The review evaluates Hanninen's distinction between perceived and potential segments and their relationship to musical analysis versus perception.
This document summarizes a thesis paper that examines how the aesthetic parameters and perceptions of music have changed for the digital generation of students. It discusses how students' artistic and technological experiences have combined to create an interrelated conceptual perception of music. It also explores how digital tools have become part of the music making, listening and sharing process. The implications for music educators are that they need to be cognizant of these changes and account for students' consumerist musical experiences in order to update music curriculum and instruction.
Unveiling the Optimal Approach for Music Theory Instruction: Transitioning fr...AJHSSR Journal
ABSTRACT: This literature review explores the various approaches and methods employed in teaching music
theory and examines the benefits and challenges associated with each approach. The traditional lecture-based
method effectively conveys theoretical knowledge, but supplementary activities may be necessary to encourage
active engagement and practical application. Active learning methods prioritize student participation and
problem-solving, enhancing critical thinking and fostering creativity. Collaborative learning promotes peer
interaction and shared learning experiences, facilitating the development of communication skills and deepening
understanding. The integration of technology provides interactive and personalized learning opportunities, but
attention should be given to technical issues and potential distractions. Contextualization and applied learning
helps students grasp the practical application of theoretical concepts within real-world musical contexts.
Multisensory approaches accommodate diverse learning styles, reinforcing understanding through auditory,
visual, and kinesthetic elements. However, existing literature reveals gaps in research, including the long-term
impact of teaching methods, student perspectives, inclusive practices, assessment strategies, interdisciplinary
approaches, and technology accessibility. Addressing these gaps can inform instructional practices and enhance
student learning experiences in music theory education. Overall, comprehending the benefits and challenges
associated with different teaching methods in music theory enables educators to design effective instructional
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Andreas c. lehmann, john a. sloboda, robert h. woody psychology for musicians...Valentina Daldegan
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Issues of practice and leadership in experimental and community music group a...James Wood
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ePortfolio as a Tool for Reflecting on Rhetoric across Disciplines Liberal A...Jiyeon Lee
ePortfolio as a Tool for Reflecting on Rhetoric across Disciplines
Liberal Arts Cluster, LaGuardia Community College
Is it possible to deepen students’ understanding of the
formal power of rhetoric by making it the theme of an
interdisciplinary learning community? To investi gate, The
Persuasive Note, a liberal arts cluster with a shared rhetorical
approach, was launched at LaGuardia in 2009. Student
refl ecti ons on rhetoric vis-a-vis their coursework, educati on
and lives were elicited and collected on the students’ ePortfolios.
Results, methodology and musings will be shared.
• Gary Richmond, Lecturer
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Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
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LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
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analyze the transformations that have taken place over the course of a decade.
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population expansion, and economic progress, the effects on natural ecosystems are becoming
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significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
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providing crucial environmental data for scientific, resource management, policy purposes, and
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Accurate understanding of land use and cover is imperative for the development planning
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and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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Liberal Approach to the Study of Indian Politics.pdf
Analyst vs Performer. The Importance of Studying The Music Analysis Discipline for The Development of Critical-Analytical Thinking of Perfomer Students.pdf
1. 69
DOI: 10.2478/RAE-2019-0008 Review of Artistic Education no. 17 2019 69-76
8. ANALYST VS PERFORMER. THE IMPORTANCE OF STUDYING
THE MUSIC ANALYSIS DISCIPLINE FOR THE DEVELOPMENT OF
CRITICAL-ANALYTICAL THINKING OF PERFOMER STUDENTS
Gabriela Vlahopol19
Abstract: In the music higher education, the appearance of a concept of incompatibility
between the performance practice and the studentsʼ theoretical and analytical training is a
phenomenon with multiple consequences on their training, on the way of organizing a
curriculum and a hierarchical deformed attitude on the different subjects in the
curriculum.This study summarizes some of the arguments that emphasize the role played by
the study of the Music Analysis in developing the musicianʼs ability to understand music from
the perspective of the compositional conception, to discover its importance as a stage in the
formation of an original performance concept while highlighting the advantages of a
collaborative approach between the two areas of training of the musician.
Key words: musical analysis, performance, teaching methods
1. Introduction
“Players should understand what they play”. Donald Francis Tovey’s words,
found in one of his studies dating back to the first half of the 20th Century are a
reflection of the researchers’ concerns up to the current times, with regard to the
issues of the relation between understanding a musical work form an analytical
perspective, and the quality of its playing.The discussion related to the relation
musical analysis / performance increased with the evolution in the musicology
field, but also due to the appearance of some branching of psychology, such as
educational psychology and in particular music psychology (that includes
research areas such as Perception and Cognition, Neuropsychology, Cognitive
musicology, Music education, Music performance), that focused on the study of
the connections between the theoretical and practical areas withing the
educational process.
The theoreticians’ opinions evolved along time, from the ideology of a direct
conditioning of playing by the act and result of an opus analysis (thus raising
controversies regarding the role of the instrument player during the performance
process) to the quest for a balance, an area where the two fields can meet. In the
beginning of the 20th Century (1920-1930), Heinrich Schenker and Hugo
Riemann declaimed that music performance should be analytically oriented. In
time, this was the basis of a negative attitude towards the theoretical field and its
implications on performance: “Performance directions are fundamentally
19
Lecturer PhD., “George Enescu” National University of Arts, Iași, Romania, email:
gabrielavlahopol@gmail.com
2. 70
superfluous, since the composition itself express everything that is
necessary...performance must come from within the work; the work must
breathe form its own lungs – from the linear progressions, neighbouring tones,
modulations...About these, naturally, there cannot exist different
interpretations.” (Heinrich Schenker quoted in Howell, 1992, p. 697)
Moreover, Bowen underlined that “for the last theree hundred years,
composers have increasingly tried to exercise more control over the variability
of performance by being more specific in everything from pitch content and
instrumentation to dynamics and even the physical experience of playing.”
(Bowen, 1993, p. 140) Thus, many composers like Leonard Bernstein, Igor
Stravinski and Arnold Schönberg fostered the idea of the supremacy of creation
upon performance, and Schönberg issued one of the toughest statements on the
usefulness of a musician’s existence: “The performer, for all his intolerable
arrogance, is totally unnecessary except as his interpretations make the music
understandable to an audience unfortunate enough not to be able to read it in
print.” (quoted in Cook, 2001, p. 1) In a synthesis of the abovementioned
theories, Cook notices the changes in the general acceptance on music as a
phenomenon with numerous negative side effects: “In short, we seem to have
forgotten that music is a performance art at all, and more than that, we seem to
have conceptualized it in such a way that we could hardly think of it that way
even if we wanted to.” (Cook, 2001, p. 4)
One of the most important titles dedicated to the importance of dialogue
between music analysis and performance belongs to Wallace Barry, Musical
Structure and Performance (1989); at that time it offered no only arguments to
support the relevance of analysis in the performance process, but it also
provided solutions for the switching from theory to practice. Moreover, Eugene
Narmour, in his study called On the Relationship of Analytical Theory to
Performance and Interpretation (1988), conjures numerous negative
consequences that may result from lacking deep understanding of the musical
text, revealed in particular at the level of the artistic concept on the work and the
depth of the message conveyed to the listener. Many studies of authors like Tim
Howell (1992), William Rothstein (1995), Joel Lester (1995, 1998), Nicholas
Cook (1999, 2001),Vicky Ward (2004, 2007), Lawrence Rosenwald (1993)
follow the same direction of congruency of final purposes - understanding the
muscial phenomenon, musical communication and solving the issues related to
these two processes.
2. Music analysis from the performer’s point of view. Opinions and
justifications
“For most performing musicians, analytical theory is largely a study of the
grammar of music. As a utilitarian subject, analysis - wheter of melody,
harmony, rhythm, couterpoint, or musical form – presumably makes it possible
for performers to learn the various languages of musical styles, thereby
3. 71
increasing the liklihood of their producing an informed and aesthetically
satisfying intepretation.” (Narmour, 1988, p. 317) The concept of musical
analysis as a critical instrument, capable of providing and validating a “correct”
performance, contributed to the appearance of a well-documented breach
between the two areas (Dunsby, 1995; Lester, 1995). Two factors can be
identified in this process of separation between the two disciplines, and whose
interaction proved to be decisive in time.
- The attitude of higher education teachers and, by default, of their students
towards Music analysis
In a survey performed among instrument teachers, elements like structure
design, theory, and musical analysis were consistently ranked among the least
important aspects of the performance and in the teaching practice of an
instrument (Ward, 2004). Instrument teachers are in the ideal position to support
the fundamental importance of the structure in understanding a musical score in
a practical way. However, although the Music Analysis discipline offers all the
necessary means for the future performers to notice and understand the
structural elements of music, they face a marginalization attitude, being
considered too “academic”, unrelated to performance (Aiello&Williamon,
2002). The chasm between these two areas risks to overturn the fundamental
concept of education, that of experimental learning, a principle that underlines
the importance of connecting the theoretical knowledge with practical action.
An important factor in increasing the gap between the two areas was the
anchoring of teachers in the traditional methods of teaching the instrument,
which favors the monopoly of the educator and limits the active participation of
the student. Teacherʼs tendency to focus on elements of subjective, personal-
technical nature, imagination, instinct, sound quality – excludes the
simultaneous introduction of a rational, objective aspect represented by musical
analysis. The same above quoted study performed by Ward on instrument
teachers (Ward, 2004) demonstrated that, despite the openness to linking music
analysis with performance, teachers did not have means to integrate theory into
practice, separating analysis from its own performance, and at the same time
failing to achieve the connection between expression and structure.
Another aspect of the issue is the level at which the discourse between the
two areas is projected. Through the studies and research on the topic, the
theoreticians address especially the academic area, most of the time including
only researchers or top performers, leaving aside instrument teachers, those who
have a fundamental role in changing the optics on the relationship between
analysis and interpretation among students. Thus, the failure to transmit an
appropriate attitude in this respect among instrument teachers directly resulted in
similar attitudes in students, which most of the times take on the views of their
educators. As a result, instrumental students have developed over time a reaction
to reject the idea of “linking analysis to performance, considering the analytical
act as a factor that can remove pleasure from the performance experience,
4. 72
suggesting that after detailed explanations, the work becomes boring”.
(Vaughan, 2002, p. 264 quoted in Ward, 2007, p. 1)
- Contribution of theoreticians (musicologists) to creating inaccessible
language and expression, inappropriate for performers
The development of the field of musicology in the last half of the 20th
century and the first half of the 21st century led to a diversification of methods
of analytical approach, to their modernization until their get closer to scientific
research techniques, as well as to a specific grammar of each species. The
phenomenon had important consequences in the intersection of the analytical
sphere with the interpretative area: the focus of theoreticians on the discovery of
hidden structures or the less obvious constructive aspects (the frequent use of a
type of agreement) neglecting or avoiding those obvious aspects but rarely
capturing the interpretersʼ attention (related to the theme, the relationship
between the sound content of some sections); developing a complicated,
tangential or inaccessible analytical language: “terminology is a decisive factor
in teachersʼ perceived negativity towards music analysis.” (Ward, 2004). The
separation between theoreticians and interpreters is due not only to the language
and presentation of musicological studies, but also to their irrelevancy due to the
avoidance of analyzes regarding the performance options (versions) of the works
and the focus on the theories related to the compositional process.
3. Music analysis and musical awareness
Most of the times, in music analysis, the starting point is the score, observed
at the abstract level, analyzed in detail using strict analytical methods. Narmour
(1988, p. 697) argues that “the study of music theory should enable performers
to determine not only how they fit into some stylistic scheme of history but
should also endow performers with the means do discover how different
intepretations alter the listenerʼs pereption and understanding of living works of
art”. In the same sense, Howell emphasizes the need for a wider vision on
musical analysis, which should be seen as a means of achieving a goal and not a
final goal in itself, and the aspects of the analytical process must represent ways
to complement and complete the interpretative study.
In an effort to alleviate the inaccessibility of musical analysis or analytical
language among students and instrument teachers, Howell suggests to focus on
the musical awareness concept. According to Guidlhall School of Music and
Drama Woodwind Syllabus, musical awareness “includes the ability to shape
phrases, a sense of musical coherence, an understanding of overall structure,
sensitivity to the relationship between parts within a texture and an ability to
capture mood and character” (Guildhall School of Music and Drama, 2002, p.
217). Olson defined the concept as being fundamental for understanding music’s
deep meaning: “Awareness is more than listening. Awareness must be
approached as a specific condition of human experience which involves feeling,
analyzing, and judging. (...) Musical awareness exist at three levels: 1) musical
5. 73
details, 2) associations and mental images, and 3) accentuation. The more these
three levels are explored, the closer one comes to a definition of aesthetic
experience.” (Olson, 1984, p. 31)
Starting from the description of the elements that include the musical
awareness expression we can find as many elements of correspondence with the
field of music analysis. Awareness of the musical phenomenon by discovering
the details and their mental association with sound pictures and corresponding
states, a cognitive and affective understanding of music at the same time, is the
ultimate goal for the training of a student playing an instrument.This is done on
an accessible level, familiar to instrument teachers, and in which collaborative
teaching can be developed between them and the educators in the theoretical
fields.
4. The role of Music analysis subject in musical training of performing
students. Developed skills
- Sensing the rhythmic models and structures, their circulation on the part of
the work and the way it relates to the melodic factor;
- Noticing the melodic details - discovering the main motives of the work, their
processing and transformation into the different sections of the work, sensing the
connection between different segments based on the melodic correlations;
- Developing harmonic sense, understanding the option for certain
modulations, harmonic relationships, tonal correlations between sections;
- Developing the ability of phrasing by understanding the principles underlying
the concept of musical phrase: musical sense, cadence principle, constructive
principles specific to each stylistic age, understanding the principle of the
evolution of a musical idea (beginning, development, climax, solving,
conclusion), elements that determine the identity of a musical phrase or a section
(melody, rhythm, harmony, writing) etc .;
- Developing a critical thinking and observation of a work, understanding the
principles of composition construction, general dramaturgy, with its key
moments: expository, developer, conclusive; understanding the correlations
between the sections and their psychological role;
- Understanding and capturing the state and character of a work;
- Memorising capacity (Aiello and Williamon, 2002)
- Understanding the work as a whole, not just the line or voice they are playing.
Understanding the function of each plan, the role of each instrument / participant
in the discourse, the relationship between the soloist and accompaniment and its
changes during the work;
- Internal representation of music;
- Coherence of interpretation;
- Forming a personal interpretative concept on the work, without taking it over
from others: the choice of dynamics, tempo, culminations, accents, digitization,
positions etc.
6. 74
There has been a growing concern among students about the degree of
uniformity of the performance style. Often, their appeal to recordings of top
performers is avoided precisely because of the same phenomenon of the
similarity of interpretative options of a particular opus. The interaction between
music analysis as instrumental training and interpretation theory can facilitate
the young generation a discipline of mixing the expertise of the two domains,
which can develop not only the discovery and assumption of unique personal
interpretations, but also a discovery of oneʼs own artistic personality.
- Awareness of the composer - performer - listener path. Narmour (1988) states
that the temporal materialization of a musical work is not due exclusively to the
composer or performer, but to a relationship of interdependence between the
creator, the interpreter, and the listener. The role of the performer in this triangle
of music completion is to give life to a seemingly schematic score based on
graphical conventions and approximations of the composerʼs intentions, passing
it through a process of transformation according to his own aesthetic
convictions, stylistic experiences and artistic performance traditions.
Consequently, the interpreter must pay special attention not only to the deeper
understanding of the composerʼs intentions, but also he must adapt the message
of the work to auditor’s sensitivity, aesthetic and stylistic experience.
It is especially important for the auditor not to be directly exposed to the
analytical thinking behind the instrument playerʼs conception about
performance. The analysis should be just one of the factors of influence in the
creation of the interpretative vision without becoming its main foundation.
- Understanding the psychological effect that music has on the listener;
- Achieving a balance between aural perception and analytical perception in
the formation of an own interpretative concept. Howell (1992) argues the
importance of linking the two types of perceptions, thus eliminating the
mechanical studying, instinct-based but lacking depth, from the studentsʼ
practice. “From the perspective of aural perception (the ability to hear all the
details of a piece) and that of analytical perception (the ability to relate those
details to a whole), the act of mechanical practice is counterproductive,
preventing the ear from working properly to separate these sounds and the mind
from assimilating significance. The value of aural perception and analytical
understanding in the memorization of a piece is clearly accepted; more
problematic, but of equal value, is their relevance to formation of an individual
interpretation.” (Howell, 1992, p. 699)
- Understanding the expressive structure of the work;
- Noticing details and the ability to link details to the whole. The analysis gives
the performer the ability to discover details in the musical score and relate these
details to the whole; it develops his critical vision and ability to raise various
issues and questions and find viable solutions to them.
7. 75
5. Conclusions. Possible solutions for accessing the Music Analysis field
Insisting on the role that musical analysis should play in the musician's
training, Howell asserts that the analytical study undoubtedly has an educational
role.However, when it becomes irrelevant due to the distraction of the
interpreter's attention from the music itself, it may become counter-educative
(diseducational) (Howell, 1992, p. 702) Also, analysis must be seen as a process
and not as a product (Howell, 1992, p. 702). The search for those analytical
elements that may be useful to the performer is a fundamental part of the Music
Analysis discipline. Analysis and performance must be carried out as
simultaneous and interactive processes, not successively (Cook, 1999). In the
process of teaching the instrument, musical analysis can help teachers develop
more than the psychomotor and interpretative capacities of students by
facilitating their complex exercise of the role of educator by implementing
general principles of education such as the development of musical thinking.
Also, instrument teachers can radically influence the theoretical learning by
experimenting in practice, by encouraging students to explore analytical details
through interpretation, thus achieving the crucial link between experimentation
and learning.
One of the tools offered by instrument teachers to facilitate the relationship
between Music Analysis and the study of the instrument is to change the
teaching concept. Instrument teachers showed a tendency to concentrate, during
teaching, on personal subjective elements: imagination, technique, instinct,
elements which, in the absence of an individual analytical investigation, can lead
to an unconscious (or conscious) option of performance, a reflection of an
existing performance. Teachersʼ tendency to hold the monopoly within the
instrument classes falls in the same traditional view of the act of teaching.
Including analytical discussions can increase students' involvement in the
educational process, leading to greater autonomy in expressing and adopting
their own interpretative options.
An important factor in enhancing the role that Musical Analysis plays in the
training of performing students is the change of the teachers' perspective on this
field.Research has shown the teachers' tendency to have a negative opinion on
musical analysis (Ward 2005), considering it irrelevant, which explains the
difficulty with which they integrate the analysis into the instrument teaching
process. “One solution on this issue might be to focus our collaborative efforts
on how we teach performance rather than how we teach analysis. Specifically, I
will suggest theat one way of moving towards this position is to chart
developement of an analytically based teaching resources.” (Ward, 2007, p. 1)
“Performing students must understand every act that precedes the interpretative
phenomenon as part of a complex analytical process. Performers may not realize
that their choice of fingering or bowing are “analytic”, but in the sense that those
choices affect the projection of structure, they carry the same interpretative
import as analytic notations.” (Lester, 1998, p. 2)
8. 76
The main way to blur the apparent discrepancy between musical analysis
and interpretation is to adopt a different view of the discipline, cancelling its
seemingly prescriptive role and emphasizing its semantic creativity and
versatility in the interpretative process. “Analysis is something which happens
whenever one attends intelligently to the world.”(Meyer, 1973, p. 29)
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