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Discovering the Musical MindA view of creativity as learning$
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Jeanne Bamberger

Print publication date: 2013

Print ISBN-13: 9780199589838

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199589838.001.0001

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Turning music theory on its ear: Do we hear what we see? Do we see what we say?

Turning music theory on its ear: Do we hear what we see? Do we see what we say?

Chapter:
(p.251) Chapter 15 Turning music theory on its ear: Do we hear what we see? Do we see what we say?
Source:
Discovering the Musical Mind
Author(s):

Jeanne Bamberger

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199589838.003.0015

There is a question being asked more and more frequently in the music education literature (and often echoed in the math and science education literature). Why do fundamentals courses, which are intended to begin at the beginning, so often become problematic? Why do they so often seem irrelevant, especially to those students who have already been identified as “gifted?” Why do they become more like therapy sessions treating student stress instead of an environment in which students are developing the healthy, powerful intuitions that they bring with them to these classes? This chapter argue that the kinds of elements and relations that untrained listeners and also self-taught players are attending to in making musical sense are closer to those we associate with the artist who plays “really musically”—the ability to shape a phrase, to follow the musical line, and to expressively project feeling and meaning.

Keywords:   education, learning, teaching, therapy, giftedness

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