A Philosophy of Music Education |
From inside the book
Results 1-3 of 20
Page 45
... communication is taking place . If communication is to be good communication , the communicator must begin with a clear idea of what is to be transmitted ; he must translate the message into signals which exactly represent his message ...
... communication is taking place . If communication is to be good communication , the communicator must begin with a clear idea of what is to be transmitted ; he must translate the message into signals which exactly represent his message ...
Page 50
... communication . " What takes place between the artist and the perceiver , then , is not communication but " sharing . " The sharing occurs by means of the art work , which contains an embodiment of insight about feeling , this em ...
... communication . " What takes place between the artist and the perceiver , then , is not communication but " sharing . " The sharing occurs by means of the art work , which contains an embodiment of insight about feeling , this em ...
Page 52
... communication and aesthetic creation , of course , but choose to continue to use the word “ communication " as descriptive of the particular kind of sharing which takes place in the art process . The reader must exercise his own ...
... communication and aesthetic creation , of course , but choose to continue to use the word “ communication " as descriptive of the particular kind of sharing which takes place in the art process . The reader must exercise his own ...
Contents
CHAPTER SEVEN | 32 |
musical meaning and musical experience | 89 |
CHAPTER EIGHT | 110 |
Copyright | |
3 other sections not shown
Other editions - View all
Common terms and phrases
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