A Philosophy of Music Education |
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Page 53
... aesthetic experience , as briefly mentioned in this chapter . Some further comments will be made about this aspect of aesthetic creation in Chapter Six . The major function of aesthetic education , it has been suggested , is to promote ...
... aesthetic experience , as briefly mentioned in this chapter . Some further comments will be made about this aspect of aesthetic creation in Chapter Six . The major function of aesthetic education , it has been suggested , is to promote ...
Page 79
... aesthetic . Some people would take the position that unless the experience satisfies all the conditions of aesthetic experience it should not be called by that name . They would argue that it is possible for an experience to have aesthetic ...
... aesthetic . Some people would take the position that unless the experience satisfies all the conditions of aesthetic experience it should not be called by that name . They would argue that it is possible for an experience to have aesthetic ...
Page 163
... aesthetic education : the only change would be that each arrow would stand for each art ( with another arrow for the aesthetic qualities of non - art ) , with the seven major ... education as aesthetic education : music among the arts 163.
... aesthetic education : the only change would be that each arrow would stand for each art ( with another arrow for the aesthetic qualities of non - art ) , with the seven major ... education as aesthetic education : music among the arts 163.
Contents
CHAPTER SEVEN | 32 |
musical meaning and musical experience | 89 |
CHAPTER EIGHT | 110 |
Copyright | |
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ability activities aesthetic creation aesthetic education aesthetic experience aesthetic meaning aesthetic perception aesthetic qualities aesthetic sensitivity aesthetic sharing aesthetician approach art-symbol artistic aspects become behaviors called Chapter communication complex composer conception contains conventional symbols course curriculum Deryck Cooke discussion educa effective elements embodied emotion example exist experienced experiences of music exploration Expressionism expressive form feelingfulness Formalist function give human feeling idea important insights involved John Dewey Langer language listening major matter melody minimally musical mode music program music teacher musical experience musical expressiveness musical perception musical sensitivity nature and value non-aesthetic non-artistic non-musical one's particular perceived performance program philosophy of music pop music possible practices present program music react realm Referentialism Referentialist regarded response rhythm sense sensuous Socialist Realism sounds style subjective reality Susanne teaching and learning thetic thing tion value of music words