Music in the Schools

Ernst, Karl D.

doi:10.2307/3389632

Cited by 2 publications

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“…Because of the growth of specialization, of wealth, of leisure time, and because of the near universality of education in the West, this is a striking underestimate. It is suggested that of all scientists who ever lived, 90% are alive today (Price, 1963), and the same may be true in each of the arts (e.g., Ernst, 1962)-composers, poets, novelists, playwrights, sculptors, architects, and choreographers. If the arts had truly ended, shouldn't at least some of these people have figured it out?…”

Section: Population Growthmentioning

confidence: 99%

The End of Art?

Cutting

2009

Empirical Studies of the Arts

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Martindale (2009) suggests that all of art is coming, or has already come, to an end. Following Hegel's lead, he suggests that all new art must communicate while being recognizably new. These two criteria-communication and noveltycannot provoke any Hegelian synthesis because eventually one of these criteria must be consistently violated. As arts evolve, the likelihood of communicative value in a particular new artwork decreases significantly if it is not sufficiently new, and newness is increasingly hard to obtain. Moreover, because art has continually sought out new venues, these venues will be at increasing distance from some norm. Thus, a particular new and novel artwork runs the risk of no longer communicating.One might be skeptical of such a bold view but Martindale also summarizes much data-most of it his own-in support of part of his claim. He finds increases in unpredictability and/or novelty in French, British, and American poetry; English, French, and German music; Italian, French, English, and American painting; Japanese graphic works; and diverse sculpture-all over many centuries.All of these data are entirely believable, and they are wonderful to have. And importantly, they support Martindale's (1975Martindale's ( , 1990 view of the evolution of the arts. But do they also support their demise? Martindale has only predicted (for poetry) or claimed (for classical music, painting, and sculpture) such ends. How to assess this?If the arts have ended, such a conclusion depends entirely on what is meant by the two critical terms-the end and the arts. In response I offer five gambits: the first three suggest that the end of art seems not to be near; on the other hand, the fourth suggests that the end of older art is tautologically defined; and the last 153

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Section: Population Growthmentioning

confidence: 99%

The End of Art?

Cutting

2009

Empirical Studies of the Arts

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Two Instructional Approaches to the Development of Aural and Instrumental Performance Skills

Kendall

1988

Journal of Research in Music Education

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The purpose of this study was to determine whether beginning instrumental students taught with a modeling (aural and kinesthetic) mode of instruction would develop better aural musicianship and instrumental performance skills than would beginning instrumental students taught with a comprehensive (aural, kinesthetic, and visual) mode of instruction. The author randomly assigned students from four intact instrumental classes ( N = 76) to either a modeling or a comprehensive treatment. The instructional activities for these treatments consisted of a sequence of imitation, discrimination, and association activities. The primary difference between the groups was that the comprehensive treatment included music reading activities but the modeling treatment did not. Test score analyses indicated that differences between the groups were not significant on the ear-to-hand coordination test and the performance test but were significant, favoring the comprehensive treatment, on the verbal association test and the sight-reading test. The data indicated that the introduction of music reading activities did not impede the development of students' aural and instrumental performance skills.

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Music in the Schools

Cited by 2 publications

References 0 publications

The End of Art?

The End of Art?

Two Instructional Approaches to the Development of Aural and Instrumental Performance Skills

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