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Epistemology of Music - Georgia Martin s2759844

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Georgia Martin

on 31 January 2013

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Transcript of Epistemology of Music - Georgia Martin s2759844

The essential knowledge needed
in a music classroom: The Epistemology of Music What is music and how does it work? Lets take a closer look Music can be seen as an 'Aural Art form' "Music is sound, and any experience of music is essentially and fundamentally aural"
(QSA, 2004) Implications with implementing curriculum in the music classroom Music and Culture a brief, but excellent explanation on what music is literally: Lets start with the basics And how to implement the curriculum effectively Music Education Why should it be taught? Analysing Repertoire Performance Studying music promotes students’ expression of their innovation and creativity through composing and performing music to communicate feelings, thoughts and ideas (QSA, 2004). References Music Education is a diverse KLA that operates under a thorough framework with three (3) key learning objectives: Composition Kvanvig, J. (2008). Epistemology. Retrieved from:http://philpapers.org/browse/epistemology Epistemology A visual adaption of Platos theory on Epistemology This is a branch off the study of philosophy that is concerned with scope and nature of knowledge. It can be seen as accepted truth or beliefs about the area of knowledge
(Kvanvig, 2004) So why is epistemology important in education? Music is not just works by Bach or Beethoven, musicals by Roger and Hammerstein, classic hits by the Beatles or the Rolling Stones, or even current pop songs on the radio; Music can be identified simply as sounds and silences. It is holistic thinking at its finest. No other part of the curriculum can facsimile this unique and formidable way of knowing
(Kiester, 1995). How are these key knowledge's embedded and implemented into the classroom? John Cage's piece 4'33'' is a unique and controversial example in pushing the boundaries of what is known as 'music' by embracing silence The piece consists of 4'33'' where the orchestra sit in complete silence. Cage anticipates that the 'music' is the sounds unintentionally created around them The 'experience of music' framework (QSA,2004) Task example Task example Task example The current multimodal presentation will aim to define and explore the discipline of music. Through doing this, the epistemology (the knowledge) of the domain will also be analysed in relation to music in classrooms.

The present music curriculum and syllabus documents will also be examined to discuss its benefits and implications/limitations in the music classroom.

All of these concepts will be explored further through the use of multimedia videos and case studies from students in the current senior education system. There is so much more to music than simply 'songs' Music is 'feelingful' intelligence Nantes' (1998) theory on the Epistemology of Music Musical Experience as a Social Filter Musical Experience as
a Tool of Memory Music as a teacher of the present 1 4 Nantes' (1998) is a Finnish music theoretician that has definite and conclusive viewpoints on the epistemology of 'musical experience'. He is able to break these points down into four (4) comprehensive sections: 2 3 Dynamic Social Realisation
of Space and Time Georgia Martin s2759844 But more specifically, what is epistemology in music education? Nantes' states that by determining what 'music really is, certain decisions are thus made about our society and individual value judgements. These judgements are representative of our inner-self. For example, if a person has grown up on pop music and thinks it is fantastic, but cannot appreciate the musical experience of Bach, they have come from a different type of education and certain social class.

These preferences do not label someone as 'unmusical'; rather it is just that there society has a completely different musical epistemology, "Musical experience fills space and time with sound and movement. It makes the present real and sensuous and has a special effect on how we experience them depending on particular circumstances" (Nantes, 1998).

Nantes asserts that when music fills a space, the experience within that space is no longer the same. Music serves a function to make space communal, and allow groups of people to experience moments of space and time together. Nantes, J. (1998). Music as Epistemology. Retrieved from: http://www.nachtschimmen.eu/_pdf/9802_NAN.pdf Nantes' exerts that by knowing a particular music piece, we can refer to the past; they become tools for experiencing particular times and places, dynamic moments in the past.

As we experiencing music in the present, we are also thrown back into the past and referring to past experiences. Music often works as a means in our society to teach individuals. It teaches us how to experience space and time in the present. Nantes provides an example that in the modern genre of 'techno', young people are taught to experience the constantly changing nature of society.

Traditional music (or music of the past) is used by students in their own educational practices through combining previously popular western music and adapting it to their contemporary life. This component of the curriculum has two central objectives: deconstruction and evaluation.

For a student to be competent in this module, they must be able to:
- read a score to correlate the sound with notation
- determine how the mood and character of a composition is achieved through the use of musical elements These are just a few requirements among many for analysing repertoire Composition places particular emphasis on creating and notating rhythms, melodies and harmonic progressions/

For a student to be competent in this module they must be able to:
-create compositions for a specific purpose relative to context, genre and style
-create and arrange music relating to performed and analysed repertoire These are just a few requirements among many for composition Performance focuses on the students playing, singing or conducting too communicate the music to audiences (real or virtual), within a context and genre while expressing style

For a student to be competent in this module they must be able to:
- sing, play or conduct a variety of music
-investigate ways of improving techniques specific to instruments and voice These are just a few requirements among many for performance Why music should be taught in schools Education
vs. Entertainment With the ever expanding genre of pop music fluctuating styles and genres, educators are finding issues with the role and function of popular music in formal education (Walker, 2007)

The curricula feels under pressure to include a lot of popular music, otherwise running the risk of students abandoning school music programs. Walker (2007) distinguishes the difference between education and entertainment between the "quality of the music education experience e.g. music as an expression of cultural values, versus a 'marketplace of music where quality is measures in dollars and sales figures'; rather out perception of musical value and quality is distorted". Walker, R. (2007). Music Education: Cultural Values, Social Changes and Innovation. Charles C Thomas Publisher: Springfield, Illinois

In recent times, music educators have been confronted with questions about 'whose music' should be studied in classrooms.

Dunbar-Hill (2005) asserts that teachers have steeped into a profoundly Western way of thinking and teaching about music

Music curriculum requires be aware of the social and political roles of music in various cultures Dunbar-Hill, P. (2005). Music Curriculum as Cultural Studies. Music Educators Journal, Vol. 91, No. 4 (Mar., 2005), pp. 33-37 The State of Queensland, Queensland Studies Authority. (2004). Music Senior Syllabus. Retrieved from: http://www.qsa.qld.edu.au/downloads/senior/snr_music_04_syll.pdf (Lehman, 1995) Lehman, P. R. (1995). Why Teach Music in School? Gemeinhardt Company: Elkhart, Indiana. Lauras experience with culture in high school music The following presentation has defined, analysed and explored the epistemology of music. Through the use of ICT applications including videos and the 'wordle' program, a strong and persuasive exposition was able to be achieved. Kiester, G. J. (n.d). Teaching music: for ‘feelingful’ intelligence. Alfreds Music Publishing: Northfield, MN.
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