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Introductions to a variety of texts used for teaching music. Bernarr Rainbow is widely recognised as the leading authority on the history of music education, from the Greeks up to the present day, as attested by his comprehensive study Music in Educational Thought and Practice. His ambitious series, Classic Texts in Music Education, provides editions of manuals covering methods of teaching music from the sixteenth century to the twentieth. Professor Rainbow wrote detailed prefaces to the manuals, which are conveniently collected in this volume, offering insights into and analysis of those who taught music in different times and places and the methods they employed. They have been put into full context by GORDON COX.
First published in 2004, this book demonstrates that while Britain produced many fewer instrumental virtuosi than its foreign neighbours, there developed a more serious and widespread interest in the cultivation of music throughout the nineteenth century. Taking a predominantly historical approach, the book moves from a discussion of general developments and issues to a detailed examination of violin pedagogy, method and content, which indicates society’s influence on cultural trends and informs the discussion of other instruments and institutional training that follows. In the first study of its kind, it examines in depth the inextricable links between trends in society, education and levels of achievement. It also extends beyond profession and ‘art’ music to amateur and ‘popular’ spheres. A useful chronology of developments in nineteenth-century British music education is also included. This book will be of interest to those studying the history of instrumental teaching and Victorian music.
This is an important work that addresses the complex issues surrounding musical meaning and experience, and the Western traditional justification for including music in education. The chapters in this volume examine the important subjects of tradition, innovation, social change, the music curriculum, music in the twentieth century, social strata, culture and music education, psychology, science and music education, including musical values and education. Additional topics include the origins of mania, aesthetics and musical meaning related to concepts that are well-known to the ancient Greeks and Romans, which are compared to contemporary life. The rise of studies of musical behavior by social psychologists has been an important feature for the last two decades, and the relevance of this development to music education is explored. Articulating the difference between education and entertainment has been central to discussions and debates about the role of music in education since Plato and Aristotle first examined the problem. Many of the questions and issues raised by these two Greek philosophers in ancient Greece about the nature of music and its role in education are highly relevant today, and these are examined in the context of the twenty-first century. The writer stresses that music is a product of specific cultural ways of thinking and doing, and its inclusion in education can only be justified in terms of the importance a particular culture places on its music as a valued art form. The implications for music education are that those teaching music should focus in the ways musicians employ special cultural ways of thinking in their compositions and performance practices, whatever the genre. (Contains 28 illustrations and 2 tables.).
This book offers a practical and engaging guide to the Chassevant method of musical education, which emphasizes the development of individual creativity and expression. It includes a range of exercises and activities designed to help students explore their musical potential, and offers insights into the benefits of this approach. This is an essential resource for music teachers and those interested in alternative approaches to music education. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Excerpt from A Guide to the Chassevant Method of Musical Education During the last ten years or so there has been, among musical educationalists, a gradual awakening to the fact that for the most part the teaching of music, which in its very nature depends upon the listening capacity, had been attempted without any special appeal to the ear. I think I do not overstate the case when I say that few grown-up persons, even after years of instrumental study and singing, can write a simple melody from dictation; and only a small proportion of those who have studied harmony can follow a progression of chords by ear. This condition of things may be partly due to the pessimistic idea, which has prevailed in the past, that some people being born with an ear for music and some without, the matter ended there. Probably, however, the true explanation is that the importance of ear training has not, to any great extent, been realised. It is no uncommon experience for a teacher to have a pupil introduced with the remark: "So and so has far too good an ear. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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