By Keith Swanwick
Designed for all tune academics, this e-book presents an exam and research of the basic thoughts fascinated by track. It investigates questions comparable to: what's song? Is tune significant? Does tune 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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Additional resources for A Basis for Music Education
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38ff. 7. LEE, VERNON (1932). Music and its Lovers. Unwin. 44ff. 8. HEAD, H. (1920). Studies in Neurology. Oxford. 605–606. 9. A. (1969). Meaning in the Arts. London. 71. 10. S. (1968). The Logola Symposium on Feeling and Emotions. 11. H. (1967). Education, Culture and the Emotions. Faber. 65–86. 12. S. (1966). Ethics and Education. Allen and Unwin. 13. B. (1965). Emotion and Meaning in Music. Chicago. 14. KELLER, HANS (1970). Towards a Theory of Music in the Listener, 11 June 1970. 15. KOESTLER, A.
His mind may have reached out to us in the act of composition but the response is our contribution. 9 He is particularly concerned with the aspect of direct relationship with art objects which he calls ‘embodied meaning’. We are to imagine we see a man throwing things about. Reid says that we are not particularly concerned with what his actions mean; we just ‘see him as angry’. But that there is some meaning in his behaviour is surely not questionable. After all, it is possible to mistake the meaning: he might be throwing things because he is overjoyed by good news or because he is testing the strength of the furniture.