‘Working With’ Music: A Heideggerian perspective of music education

Lines, David

doi:10.1111/j.1469-5812.2005.00098.x

Cited by 11 publications

(4 citation statements)

References 6 publications

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“…This interdisciplinary elision has impacted both theoretical and practical pedagogical research (Juntunen and Westerlund, 2001; Bowman, 2004; Juntunen and Hyvönen, 2004; Borgo, 2005, 2007; Schiavio et al, 2018b), stimulating novel approaches that go beyond the traditional focus on individual skill acquisition and development (Burnard and Dragovic, 2014; Elliott and Silverman, 2015). Until relatively recently, Western music education tended focus almost exclusively on developing the technical skills and understandings required for the analysis and correct performance of composed works (Elliott, 1991, 1993; Lines, 2005a,b). Many have argued that this orientation downplays the creative potentials of students and teachers – reducing their status to mere reproducers of externally imposed criteria (the score, established modes of practice and performance, and so on), which often have little to do with their lives or their personal and collective histories (e.g., Regelski, 2012, 2016a,b; van der Schyff et al, 2016).…”

Section: Introductionmentioning

confidence: 99%

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings

et al. 2019

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In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. We then consider the orientation offered by ECS and its relevance for music education. We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. This results in the categories of “instrumental technique,” “expressivity,” and “communication,” which we adopted to examine and categorize the data emerging from our study. In conclusion, we consider the results of our study in light of ECS, discussing what implications can emerge for concrete pedagogical practices in both individual and collective settings.

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Section: Introductionmentioning

confidence: 99%

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings

et al. 2019

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“…Music teaching is a form of artistic activity of human, combining the characteristics of brainstorming with language teaching is a re-creation of human thinking and expression methods [17]. Music teaching is also a process containing teaching environment, teaching content, teaching methods, teaching activities and teacher-student interaction, and the application of brainstorming can effectively connect all teaching activities in this process [18]. Applying brainstorming to music teaching is an embodiment of music teaching methods and theories [19,20].…”

Section: Introductionmentioning

confidence: 99%

Application of the Theory of Brainstorming in Visual Teaching of Music

Lin

2021

Int. J. Emerg. Technol. Learn.

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Visual teaching is a teaching method or teaching tool that presents a clearer and more intuitive image of music works to students. Drawing on the theory of brainstorming, this paper explores the application of brainstorming, a brain stimulation method, in visual teaching of music. The main results are as follows: visual music teaching mainly improves music skills, cultivates music aesthetics, and enhances communicative competence. Once introduced to music class, the creative thinking method of brainstorming enables the teacher to train the divergent and creative thinking of students. During music teaching, brainstorming stimulates the learning interest, boosts the learning confidence, and cultivates the independent thinking of students. The research findings lay a theoretical basis for music course reform.

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“…11Bowie ( 2007 ) presents a profound philosophical argument as to why music might be able to transcend modernism's challenge to the limits of language. An interesting application of Heideggerian thought to music education, this time in relation to composition, is to be found inNaughton ( 2012 ); and a discussion of the importance of the processes of musical engagement in relation to Heidegger's thinking and music education is provided inLines ( 2005 ).12 Both the necessity and the vagary of the preconceptual world are illuminated by the ideas of 'God' in Christian theology, and 'Tao'. See LaoTzu ( 1963 ), especially paragraph XXI, p. 78 and XXV, p. 82.…”

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confidence: 99%

The Phenomenology of Music: Implications for Teenage Identities and Music Education

Ford

Green

2014

Philosophy of Music Education Challenged: Heideggerian Inspirations

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Many writings about the philosophy of music and music education have focussed on concepts of meaning, metaphor, emotions and expression, invariably from the perspective of the individual listener or composer. This essay develops an alternative, phenomenological approach grounded in the writings of Hegel, Husserl and Heidegger. On the basis of these writers' discussions of musical being, the time of music, and its internal dialectics, we present an understanding of "style" as the primary basis for the mediation between production, musical experience and music learning. The essay suggests that music comes into presence within, and resounds, a nonconceptual and collective socio-historical world, feeding into the identity-formation of, in particular, teenagers. Through this, we offer a way of understanding why, as has often been argued, a purely conceptual music education can never be entirely satisfactory.

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‘Working With’ Music: A Heideggerian perspective of music education

Cited by 11 publications

References 6 publications

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings

Application of the Theory of Brainstorming in Visual Teaching of Music

The Phenomenology of Music: Implications for Teenage Identities and Music Education

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