Music, Mind and Education

Swanwick, Keith

doi:10.4324/9780203402894

Cited by 180 publications

(63 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…This resonates clearly with the assertions of those music educationalists such as Swanwick (1988aSwanwick ( , 1988b, Paynter and Aston (1970), Green (2005), Wright (2010), Finney and Laurence (2013) who claim that the act of making music can positively impact on and express a child's feelings.…”

Section: Empathy and Imaginationsupporting

confidence: 77%

Sound and Performance in Public Archaeology: Examining the Benefits of Outdoor Learning with Creative Engagement at the Neolithic Site of Tinkinswood Burial Chamber, Vale of Glamorgan

Reynolds

Adams

2014

Time and Mind

View full text Add to dashboard Cite

Freelance sound artist and teacherThis paper explores a community archaeology project which took place at Tinkinswood chambered tomb and its surrounding landscape in the Vale of Glamorgan, Wales. The project formed the school outreach element of the Tinkinswood Community Archaeology Project which included the excavation of three particular areas -two possible fallen burial chambers and the possible quarry for the 40-ton capstone used at Tinkinswood. The schools engaged in the project were the two closest primary schools to the sites: St Nicholas and Peterson-Super-Ely, in the Vale of Glamorgan. The children involved were given the chance to explore different ways of experiencing and interacting with the past through music and drama and by working outside of the school environment at Tinkinswood itself. The collection of interviews gathered reveal how the children perceive the Neolithic past, and especially about the way they felt more free, spontaneous, and natural through expressing ideas about the past at Tinkinswood itself, as opposed to being in the classroom. The results suggest that community archaeology can be used to ask bigPhilosophical questions about mortality and religion, providing a new way to approach sensitive topics, without privileging one worldview over another.

show abstract

Section: Empathy and Imaginationsupporting

confidence: 77%

Sound and Performance in Public Archaeology: Examining the Benefits of Outdoor Learning with Creative Engagement at the Neolithic Site of Tinkinswood Burial Chamber, Vale of Glamorgan

Reynolds

Adams

2014

Time and Mind

View full text Add to dashboard Cite

show abstract

“…In music education research improvised vocalisations have traditionally been understood as early attempts at mastering a musical expression (e.g. Swanwick, 1988). Campbell's (1998) ethnography of children's song points toward a reconceptualisation of music education which recognises children's own musical expressions as valid and worthy of attention in the school curriculum.…”

Section: Introductionmentioning

confidence: 99%

Children's Improvised Vocalisations: Learning, Communication and Technology of the Self

Knudsen

2008

Contemporary Issues in Early Childhood

View full text Add to dashboard Cite

The intention of this article is to explore, challenge and expand our understandings of children's improvised vocalisations, a fundamentally human form of expression. Based on selected examples from observation and recording in non-institutional settings, the article outlines how this phenomenon can be understood as learning and as communication. This is supplemented by suggesting a third possible approach which places these vocal forms within the frame of understanding implied by Foucault's term 'technology of the self'. This theoretical perspective entails recognising improvised vocalisations as tools used to 'act upon the self' in order to attain or reinforce a certain mental state or mood -happiness, satisfaction, anger or longing -in short, as a way in which children learn to know the self as a self. In line with a Foucauldian perspective is also a focus on the negotiation of power and how music serves as an empowering agent in children's everyday social interaction. Finally, informed by Vygotsky's approach to understanding the relationship between language and mental development, the author discusses the gradual disappearance of improvised vocalisations.

show abstract

“…Lyd blir da mer enn svingninger og bølger. En lignende forståelse finner vi også hos Swanwick (1988) som hevder at fokus i toddlernes musikkopplevelse saerlig dreier seg om å persipere lyd som interessant klang. Swanwick utviklet sammen med Tillmann (1986) en spiralmodell som viser sekvenser og saertrekk i den musikalske utviklingen.…”

Section: Forskning Om Små Barn Og Kunstunclassified

En musikers møte med de yngste barna i barnehgen

Sæther¹

2017

Journal for Research in Arts and Sports Education

View full text Add to dashboard Cite

En musikers møte med de yngste barna i barnehagenOm ikke å vite på forhånd hvilke ideer som kan komme til å fungere.Morten Saether*, Dronning Mauds Minne Høgskole for barnehagelaererutdanning, Trondheim, Norge Sammendrag Hensikten med studien som presenteres i denne artikkelen er å utforske hvordan en musiker, to barnehagelaerere og en forsker og kunstpedagogisk veileder forstår en musikers musikalske møter med de yngste barna i barnehagen. Forskningen baseres på et praksisbasert utviklingsprosjekt, og intervensjonen omfatter seks musikksamlinger. Barnehagelaererne, musikeren og veilederen reflekterer over de musikalske møtene for å finne ut av hva som karakteriserer disse møtene, og for å laere av toddlernes egne uttrykk om hva som kan gi musikkopplevelser. Bourriauds begrep relasjonell estetikk, og Valbergs utvikling av begrepet som relasjonell musikkestetikk utgjør forståelsesramme for analysen. De karakteristiske trekkene i de musikalske møtene som forskningsdeltakerne observerte kan oppsummeres i improvisasjon og skapende medvirkning. En konklusjon er at det ikke er selvsagt at en profesjonell musiker kan bidra til musikkopplevelser. I denne studien har et profesjonelt laeringsfelleskap mellom musiker og barnehagelaerere bidratt til utvikling av innholdet i de musikalske møtene i dette prosjektet.Nøkkelord: Musikalske møter med toddlere; improvisasjon; barns skapende medvirkning i musikk; relasjonell musikkestetikk; profesjonelle laeringsfellesskap AbstractThe purpose of the study presented in this article is to explore how a musician, two Early Childhood Education teachers and an arts educational tutor and researcher in an Early Childhood and Care setting understand the musician's encounters in music with the youngest children, the toddlers. The research and development project is practice led, and the intervention embraces six improvised musical encounters. The teachers, the tutor and the musician reflect upon the encounters in order to find out characteristics of the encounters, and to learn from the toddlers about what might produce musical experiences. Bourriaud's notion of relational aesthetics, and Valberg's development of the concept as relational music aesthetics inform the interpretive analysis. The characteristics observed by the research participants regarding the musical encounters in this study can be summed as improvisation and creative participation. It is not granted that a musician can reach out to the toddlers in 'musicking'. In the light of a relational music aesthetics the importance of the dialogue within the professional learning community and the toddlers was of decisive importance in this study.

show abstract

Music, Mind and Education

Cited by 180 publications

References 0 publications

Sound and Performance in Public Archaeology: Examining the Benefits of Outdoor Learning with Creative Engagement at the Neolithic Site of Tinkinswood Burial Chamber, Vale of Glamorgan

Sound and Performance in Public Archaeology: Examining the Benefits of Outdoor Learning with Creative Engagement at the Neolithic Site of Tinkinswood Burial Chamber, Vale of Glamorgan

Children's Improvised Vocalisations: Learning, Communication and Technology of the Self

En musikers møte med de yngste barna i barnehgen

Contact Info

Product

Resources

About