Musicality: synonymous with giftedness – or is it? Introduction Music and musicality as universal phenomena Characteristics of musicality Different profiles of musicality Musicality as ‘giftedness’ Notes 12. Embodied musical knowledge: it’s music to my ears – but not only Introduction The role of the body in engaging with music Bodily knowing as a distinct form of knowing Bodily and intellectual musical knowing Bodily musical knowing as socially, culturally, and historically embedded A special case of embodied music perception: deaf musicians Music as embodied experience Notes 11. Music theory: music’s changing shadow Introduction A basic history of music theory Music theory today: issues of relevance Theory at the service of musical understanding Theoretical knowledge and musical intuition Theory in contemporary formal music education Notes 10. Implicit and explicit forms of musical knowing: you can only know what you already know Introduction Implicit (or ‘tacit’) musical knowledge characteristics Explicit musical knowledge characteristics Musical knowledge as a combination of implicit and explicit processes Notes 9. Music notation and literacy: bridge or barrier? Introduction Writing and music How musical reading works A brief history of Western European musical notation Contemporary pedagogical issues Notes 8. Musical mental imagery: the brain’s inner musical life Introduction Musical mental imagery Types of musical imagery in the literature Uses of mental imagery by musicians for various goals Notes 7. Musical memory: much more than playing by heart Introduction A short history of memory Characteristics of human memory Memory and music – a short historical outline Musical memory in psychological and pedagogical literature Notes 6. Aural perception: the human brain, a fascinating sound-processing machine Introduction How hearing works Notes 5. Current views on ‘aural skills’ teaching: a lively, ongoing discourse Introduction The perceived value of ‘aural training’ for the 21st-century musician Desired aims of ‘aural training’ in the literature Problematic aspects of ‘aural training’ Suggested changes for higher relevance of ‘aural training’ Exploring ‘aural training’ from a different angle Notes 4. Tracing the history of ‘aural skills’: solfège and dictation as facilitators of musical learning Introduction Solmisation as an old and global phenomenon Solmisation in the Western world: Guido d’Arezzo The use of sol-fa syllables in the modern era The practice of dictation Solfège and dictation in tertiary music education Modern developments Notes 3. Introduction: how it all started Personal beginnings Teaching ‘ear training’ in higher music education in Greece Embarking on research Research aim and research questions Notes 2. Table of contents : Cover Half Title Series Page Title Page Copyright Page Dedication Table of Contents List of figures List of tables Series editors’ preface Acknowledgements 1.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |