A Philosophy of Music Education |
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Page 48
... involvement with his medium , as he explores its expressive potentials , is of high quality - sensitive and skillful and imaginative ; if his involvement is intense - strong and keen and vivid ; and if it is a profound involvement ...
... involvement with his medium , as he explores its expressive potentials , is of high quality - sensitive and skillful and imaginative ; if his involvement is intense - strong and keen and vivid ; and if it is a profound involvement ...
Page 76
... involvement with the experience to be able to lose himself in its own , immediate power . But while aesthetic experience is intrinsic , disinterested , distanced , it is also involved , outgoing , responsive . Aesthetic experience is ...
... involvement with the experience to be able to lose himself in its own , immediate power . But while aesthetic experience is intrinsic , disinterested , distanced , it is also involved , outgoing , responsive . Aesthetic experience is ...
Page 130
... involved in them . Many music edu- cators , including performance directors , suspect that many if not most children seem to have been untouched in basic aesthetic understandings by their activities as performers . Certainly some ...
... involved in them . Many music edu- cators , including performance directors , suspect that many if not most children seem to have been untouched in basic aesthetic understandings by their activities as performers . Certainly some ...
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