By Keith Swanwick
Designed for all track academics, this booklet presents an exam and research of the basic suggestions serious about track. It investigates questions equivalent to: what's song? Is tune significant? Does song refine our emotions and feelings? if this is the case, how? The dialogue of those questions varieties a conceptual framework which goals to inspire additional considering and improvement in tune schooling.
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Additional info for A Basis for Music Education
We ‘read’ the signals of his actions along with his facial expression and anything he says. This is what his behaviour means to us. What it means for us is quite a different matter. We may correctly recognize the gestures as those of anger but may ‘see him’ as pathetic, mistaken, funny or frightening, depending on our relationship with him, for example, as his wife, a drunken friend, the cause of his anger or a casual passer-by. Reid is quite right when he insists that the direct relationship is central to aesthetic experience, but we must not ignore the importance of the preliminary recognition.
Let us take the situation where a teacher accepts that music is a kind of message from composers about their feeling, or religious beliefs, or political attitudes. Any scheme of work in music built on this is almost bound to involve an emphasis on the lives of composers, their psychological states, their historical and social background, their relationships with other people and any titles and programmes they may give to their works. We would justify music in any curriculum on the grounds that the messages conveyed by musical objects were of benefit to the moral, social or psychological lives of our pupils.
McLAUGHLIN, T. (1970). Music and Communication. Faber. 17. EMPSON, W. (1961). Seven Types of Ambiguity. London. Chapter 3: 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 finger-nail we are left with a slightly damp nothingness. Because music is so ephemeral it presents teachers with severe difficulties. It has to be handled and understood as it moves on through time; managed ‘on the wing’.