Kirjahaku

Explores the psychological and sociological dimensions of musical experience and their implications for music teachers.

First Published in 1979. Designed for all music teachers, this book provides a careful and clear examination of the fundamental concepts involved in music. Keith Swanwick investigates questions such as: What is music? Is music meaningful? Does music refine our feelings and emotions? If so, how? The discussion of questions forms a conceptual framework which will motivate further thinking and development in music education.

'There are countless gems within these pages ... Swanwick seems to write from more experience as a musician and teacher than most others who write for this audience. There is a real sense of his having been there.’ - Patricia Shehan Campbell, Professor of Music, University of Washington, USA'... contains the essential and highly valued hallmark of its author: well-articulated philosophy that will surely filter through to practical work in classrooms.'- British Journal of Music Education'Among the virtues of this thoughtful study is that Swanwick supplies the terminology and the arguments to turn the potentially commonplace into fresh thought.' - Times Educational SupplementThis classic text is essential reading for all music educators, including practising and intending teachers in schools and colleges, and instrumental teachers. It is re-released in this special edition with a new preface by the author exploring what’s changed since the book was first published, where the field might go from here and why the themes and idea are as relevant now as ever. Teaching Music Musically considers: The nature of music itself, its value and metaphorical significance and the social context of musical understanding The interrelated layers of musical experience and fundamental principles for music educators, whatever the particular context of music teaching The demand for accountability and the development of state guidelines, national curricula or 'standards' Valid and reliable assessment of students' work The relationship between institutionalised music education and the wider community.Illustrated throughout with practical examples, Teaching Music Musically introduces important ideas about music education to all those curious about the role of music in our lives.

'There are countless gems within these pages ... Swanwick seems to write from more experience as a musician and teacher than most others who write for this audience. There is a real sense of his having been there.’ - Patricia Shehan Campbell, Professor of Music, University of Washington, USA'... contains the essential and highly valued hallmark of its author: well-articulated philosophy that will surely filter through to practical work in classrooms.'- British Journal of Music Education'Among the virtues of this thoughtful study is that Swanwick supplies the terminology and the arguments to turn the potentially commonplace into fresh thought.' - Times Educational SupplementThis classic text is essential reading for all music educators, including practising and intending teachers in schools and colleges, and instrumental teachers. It is re-released in this special edition with a new preface by the author exploring what’s changed since the book was first published, where the field might go from here and why the themes and idea are as relevant now as ever. Teaching Music Musically considers: The nature of music itself, its value and metaphorical significance and the social context of musical understanding The interrelated layers of musical experience and fundamental principles for music educators, whatever the particular context of music teaching The demand for accountability and the development of state guidelines, national curricula or 'standards' Valid and reliable assessment of students' work The relationship between institutionalised music education and the wider community.Illustrated throughout with practical examples, Teaching Music Musically introduces important ideas about music education to all those curious about the role of music in our lives.

In the World Library of Educationalists series, international experts compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume. Readers will be able to follow the themes and strands and see how their work contributes to the development of the field.Since the publication of A Basis for Music Education in 1979, Keith Swanwick has continued to be a major influence on the theory and practice of music education. The international appeal of his insights into the fundamentals of music and music education is recognised in invitations from more than twenty countries to give Key Note presentations, conduct workshops, and advise as a consultant. These include such diverse places as Kazakhstan, Colombia, Iceland and Papua New Guinea. During 1998 he was Visiting Professor, University of Washington. In this collection, Swanwick brings together 12 of his key writings to present an overview of the development of his own work and of the field of music education. The text allows the reader to consider Swanwick’s approach to music education and how it is characterised by a concern for musical, and to some extent wider artistic, processes, shaped by his experience as a teacher and performing musician in a variety of settings, and also by the influences of philosophers, psychologists and sociologists.

Keith Swanwick explores the psychological and sociological dimensions of musical experience and the implications of these for children's development and music education in schools and colleges. Music is seen, with the other arts, as contributing to the growth of mind, with deep psychological roots in play. Swanwick examines the ways in which children make their own music, and confirms that there is an observable sequence of development. His insights into musical experience help to draw together and interpret fragmented psychological work that has been done in the field and make it possible to plan music education in schools, colleges and studios in a more purposeful way. His analysis of the nature of musical experience and music education has consequences both for curriculum development and the assessment of students' work, with special reference given to the National Curriculum and GCSE.

First Published in 1979. Designed for all music teachers, this book provides a careful and clear examination of the fundamental concepts involved in music. Keith Swanwick investigates questions such as: What is music? Is music meaningful? Does music refine our feelings and emotions? If so, how? The discussion of questions forms a conceptual framework which will motivate further thinking and development in music education.

In the World Library of Educationalists series, international experts compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume. Readers will be able to follow the themes and strands and see how their work contributes to the development of the field.Since the publication of A Basis for Music Education in 1979, Keith Swanwick has continued to be a major influence on the theory and practice of music education. The international appeal of his insights into the fundamentals of music and music education is recognised in invitations from more than twenty countries to give Key Note presentations, conduct workshops, and advise as a consultant. These include such diverse places as Kazakhstan, Colombia, Iceland and Papua New Guinea. During 1998 he was Visiting Professor, University of Washington. In this collection, Swanwick brings together 12 of his key writings to present an overview of the development of his own work and of the field of music education. The text allows the reader to consider Swanwick’s approach to music education and how it is characterised by a concern for musical, and to some extent wider artistic, processes, shaped by his experience as a teacher and performing musician in a variety of settings, and also by the influences of philosophers, psychologists and sociologists.