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A comprehensive, up-to-date introduction to the psychology of musical development in children and adults, from theory to research and applications.
Approx.542 pages
Children are inherently musical. They respond to music and learn through music. Music expresses children's identity and heritage, teaches them to belong to a culture, and develops their cognitive well-being and inner self worth. As professional instructors, childcare workers, or students looking forward to a career working with children, we should continuously search for ways to tap into children's natural reservoir of enthusiasm for singing, moving and experimenting with instruments. But how, you might ask? What music is appropriate for the children I'm working with? How can music help inspire a well-rounded child? How do I reach and teach children musically? Most importantly perhaps, how can I incorporate music into a curriculum that marginalizes the arts?This book explores a holistic, artistic, and integrated approach to understanding the developmental connections between music and children. This book guides professionals to work through music, harnessing the processes that underlie music learning, and outlining developmentally appropriate methods to understand the role of music in children's lives through play, games, creativity, and movement. Additionally, the book explores ways of applying music-making to benefit the whole child, i.e., socially, emotionally, physically, cognitively, and linguistically.
I acknowledge a deep debt of gratitude to my coeditors: my wife Irene, and my friend and colleague Tom Draper. They have worked with diligence and insight to bring this work to completion. They have delegated the task of writing the Preface to me. As the scientific study of human development matures it is not only natural, but it is necessary to reach beyond understanding the ways humans develop capacities, to study the ways emerging capacities fit into the larger sphere of human undertakings. Music is one of the most significant of those endeavors. As I attend the several piano competitions that are on my agenda each year, and see children seated at the keyboard drawing forth the magnificent sounds of Bach, Chopin, and Ravel, I am always a little awed. Surely, it seems to me, the piano* is among the best of man's creations; the creative energies of great composers are among mankind's greatest expressions; and encouraging children to associate themselves seriously with both instrument and composer can be one of the great blessings to their young lives and, by association, to the larger society. Music touches the entire range of our lifespan on a daily basis. Involving chil dren with music and music training has high market, and common sense, validity. Parents understand intuitively that children will benefit, and their lives will be enriched, if they are influenced by music and music training.
IN reading any history of the development of music as an art one must ever bear in mind the fact that music was also developing at the same time as a popular mode of expression, and that the two processes were separate. The cultivation of modern music as an art was begun by the medieval priests of the Roman Catholic Church, who were endeavoring to arrange a liturgy for their service, and it is due to this fact that for several centuries the only artistic music was that of the Church, and that it was controlled by influences which barely touched the popular songs of the times. In the course of years the two kinds of music came together, and important changes were made. But any account of the development of modern music as an art is compelled to begin with the story of the medieval chant. In the beginning the chants of the Christian Church, from which the medieval chant was developed, were without system. They were a heterogeneous mass of music derived wholly from sources which chanced to be near at hand. The early Christians in Judea must naturally have borrowed their music from the worship of their forefathers, who were mostly Jews. The Christians in Greece naturally adapted Greek music to their requirements, while those in Rome made use of the Roman kithara (lyre) songs, which in their turn were borrowed from the Greeks. Christ and the apostles at the Last Supper chanted one of the old Hebrew psalms. Saint Paul speaks also of "hymns and spiritual songs," by one of which designations he certainly means the hymns of the early Christians founded on Roman lyre songs. It is also on record that the Christian communities of Alexandria as early as 180 A. D. were in the habit of repeating the chant of the Last Supper with an accompaniment of flutes, and Pliny, the Younger (62-110 A. D.), describes the custom of singing hymns to the glory of Christ.
The new edition of 'The Child as Musician' celebrates the richness and diversity of the many different ways in which children can engage in and interact with music. It presents theory - both cutting edge and classic - in an accessible way for readers by surveying research concerned with the development and acquisition of musical skills.