The Assessment of Audience‐Listening: testing a model in the educational setting of Brazil

Hentschke, Liane; Ben, Luciana Del

doi:10.1080/1461380990010202

Cited by 3 publications

(3 citation statements)

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“…Swanwick (2002) also notes that the stages are not rigidly linked with ages and suggests ‘once students have developed beyond early childhood, they may move freely between all or any of the layers, provided the activity is rich enough in musical possibilities’ (p. 241). However, Hentschke (1993) argues that ‘in order to reach the higher stages of the spiral, systematic engagement with music is of paramount importance. The more one has access to music in a systematic way, the more one has the chance to develop musical understanding’ (pp.…”

Section: Wider Considerationsmentioning

confidence: 99%

Reflections on New Zealand music education through the lens of Swanwick and Tillman’s model of musical development

Thorpe

McPhail

2022

Brit. J. Music. Ed.

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In this paper, we provide a reflection upon the influence of the Swanwick–Tillman (ST) model (1986) from the perspectives of music research in Aotearoa New Zealand. In this paper we take stock of where music education in New Zealand currently sits in relation to the Swanwick Tillman theory of musical development. We examine the strengths and the weakness of the model 35 years on to ask what it might still offer music educators in a context where issues of culture and colonisation have taken centre stage. We also reflect upon the impact of a visit to New Zealand by Keith Swanwick in 1989. Despite the postmodern or colonial critiques we might make now, we consider if the model may still signify a holistic way of conceiving music development and might still have implications for curriculum design and curriculum making in the 21st century.

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Section: Wider Considerationsmentioning

confidence: 99%

Reflections on New Zealand music education through the lens of Swanwick and Tillman’s model of musical development

Thorpe

McPhail

2022

Brit. J. Music. Ed.

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“…It has been suggested also that how people listen to and perceive music (e.g., Lerdahl and Jeckendoff, 1983 ; Madsen, 1990 ; Madsen et al, 1997 ) and how people evaluate performance as audiences ( Johnson, 1996 ; Thompson et al, 1998 ; Hentschke and Del Ben, 1999 ) may be different from self-assessment in performance (e.g., Bergee, 1997 ; Daniel, 2001 ; Bergee and Cecconi-Roberts, 2002 ; Hewitt, 2011 ). It could be said that performers’ perspectives towards their own performances may be different from how others evaluate them.…”

Section: Introductionmentioning

confidence: 99%

Decisions on the quality of piano performance: Evaluation of self and others

Morijiri

Welch

2022

Front. Psychol.

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In common with other professional musicians, self-evaluation of practise and performance is an integral part of a pianist’s professional life. They will also have opportunities to listen to and evaluate the performances of others based on their own criteria. These self-constructed perspectives towards to a piano performance will have an influence on both self-evaluation and external evaluation, but whether differently or similarly is not known. Consequently, this research study aimed to explore how judgements on the perceived quality of a performance are undertaken by professional standard pianists and what criteria are applied, both with regards their own performances as well as the performance of others. Participants were six professional pianists (3 men, 3 women) who were based in the United Kingdom (Mean age = 31.5 years old. SD = 5.1). They were asked to play individually six trials of a piece of R. Schumann’s “Träumerei” Op. 15 No. 7 in a hired hall for recordings. Then, within 2 months, each participant was asked to come to a self-evaluation session to listen to and evaluate their own six recordings, using a Triadic method as a Repertory Grid. For the external evaluation focused session, the participants were asked to return again to evaluate a further six recordings made up of ‘best’ recordings as selected by each participant from their own individual self-evaluations. Analyses of the resultant data suggest that there was no significant difference between the participants in their overall ratings in the external phase, but that self-evaluation showed significant individual differences amongst several participants. The performance criteria in both self-evaluation and external evaluation predominately overlapped with each other in terms of musical factors, such as tone quality, phrasing, and pedalling. The ranking of the performances was highly correlated with perceptions of overall flow, tone quality and pedalling. It appears that pianists apply similar criteria to decide performance quality when evaluating their own performances as well as others.

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“…The aim of the project was to investigate the possibility of using Swanwick's theory as a theoretical framework to develop and evaluate a music curriculum proposal for primary schools. This project was created based on existing evidence that the Theory of Musical Development and model could be used to assess children's musical products through composing, performing and listening (Swanwick and Tillman, 1986;Swanwick, 1988Swanwick, , 1994Hentschke, 1993;Del Ben, 1997;Silva, 1998;Hentschke and Del Ben, 1999;Swanwick and França, 1999). Another study which discusses the possibility of working with composition, performance and audiencelistening in schools is that of Swanwick and França (1999).…”

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confidence: 99%