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The Musical Experience proposes a new concept - musical experience
- as the most effective framework for navigating the shifting
terrain of educational policy as it is applied to music education.
Other books that deal with music education reform often concentrate
on non-musical topics at the expense of music listening,
performance, and composition, or concentrate on only one of these
at the expense of the others. This book, however, works with
musical experience as a comprehensive framework for all aspects of
music education. The editors and their contributors define musical
experience as being characterized by the depth of affective and
emotional responses that music engenders, and illustrate that its
breadth is embodied in the infinite variety of meanings - both
personal and communal - that music evokes. The essays map out the
primary forms of musical engagement (performing, listening,
improvising, composing, etc.) as activities which play a key role
in classroom teaching. The chapters also address the cultural
dimensions of musical experience, which call for consideration of
time, place, beliefs, and values placed upon musical activities,
works, and genres. The book discusses how music teachers can most
effectively rely on means of musical communication to lead students
toward the development and refinement of musical skills,
understandings, and expression in educational settings. As a whole,
the book expands upon the dimensions of musical experience and
provides, from the forefront of the field, an integrated yet
panoramic view of the educational processes involved in music
teaching and learning.
The MENC Handbook of Research on Music Learning, Volume 1:
Strategies brings together the best and most current research on
methods for music learning, focusing squarely on the profession's
empirical and conceptual knowledge of how students gain competence
in music at various ages and in different contexts. The collection
of chapters, written by the foremost figures active in the field,
takes a broad theoretical perspective on current, critical areas of
research, including music development, music listening and reading,
motivation and self-regulated learning in music, music perception,
and movement. The book's companion volume, Applications, builds an
extensive and solid position of practice upon the frameworks and
research presented here.
Throughout both volumes in this essential set, focus is placed on
the musical knowledge and musical skills needed to perform, create,
understand, reflect on, enjoy, value, and respond to music. A key
point of emphasis rests on the relationship between music learning
and finding meaning in music, and as music technology plays an
increasingly important role in learning today, chapters move beyond
exclusively formal classroom instruction into other forms of
systematic learning and informal instruction.
Either individually or paired with its companion Volume 2:
Applications, this indispensable overview of this growing area of
inquiry will appeal to students and scholars in Music Education, as
well as front-line music educators in the classroom.
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