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British Journal of Music Education 2000: Vol 17 Index PDF

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B. J. Music Ed. 2000 17:3, 321-327 Copyright © 2000 Cambridge University Press Index access issues, 176, 28-89 Birtwistle, Harrison, 213 action/labour/work distinction, 44—5, 46, 47, 48 Blair, Tony, 270, 273 Adelson, E. H., 160, 161 Blunkett, David, 33, 34, 36, 270, 272 Adés, Thomas, 213 Boulez, Pierre, 213 ADT (Artificial Double-Tracking), 204 Brandstrém, S., 70-1 adult beginners, 295 Brazil, 45-7 Allen, Patrick, 98-100 Bruner, E. M., 282 analog tape machines, 197-207 Bruner, Jerome, 70 Anderson, W. H., 278 Buber, Martin, 44, 47 anthropology, 94—5, 280-1, 282; see also authenticity Cage, John, 47, 110, 121, 213, 302 Appreciation Movement, 301 calypso, 209-10 Arendt, Hannah, 43, 44-5, 46, 48 Campbell, P. S., 278 Aristoxenus, 213 Carnival culture, 209-10, 212 Armstrong, Kathy, 279-80 Carter, Elliott, 19, 29, 213 arts education and subjects, 37, 79-88, 96-8, censorship, 211 191, 194, 301; National Curriculum and, children: compositional strategies, 225-7; 271-2; status, 194; teacher education and, developing listening skills, 162—78; early 183, 188, 190, 191, 273; and teaching of speech/singing development, 294-5; composition, 111, 114, 121; see also music interpersonal issues, 118, 127, 161, 165-6, education 259; music activity preferences, 51-9; assessment, 5, 92, 178; by students of peers’ musical tastes and interests outside school, 37, compositions, 248-59; see also evaluation 65, 86; in paid employment, 46-7; as present- and under composition state beings, 37, 43-4, 45, 48, 159, 226; self- Aston, Peter, 110-11, 302 perception, 20, 157, 166-71, 173-5, 176, asymmetry, 18-19; see also proportion 177-8; views of musical ability, 184; see also attitudes, 52 students aural competence, 120-1, 124, 290 Coleman, Michael, 212 Australia, goals for arts education, 290 Coleman, Satis, 109 authenticity, 275-83; see also historical collaboration, 114; in improvisation, 23 performa nce movement 234-8; see also group work Colleran, Bill, 110, 126 Bach, J. S., 29 colonialism, 209-12, 283, 290 backing tracks, 100, 135, 140-1, 147, 149 colour, music and, 158, 162, 164, 165, 176 Bacon, Francis, 18 community, musical, 45, 46-7 Barnes, Norman, 301-2 competitions, 122, 212 Bartok, Béla, 27, 29 composing/composition and its teaching, 5-22, Bateson, Gregory, 94 25, 27,47, 109-27, 240-1; assessment of, 5, Bayle, Frangois, 207 7-8, 122, 248-57, 258-9; and balance in Beach Boys, the, 207 curriculum, 112, 126; children’s Beatles, the, 197, 198, 204, 206, 207 compositional strategies, 225-7; describing, Beethoven, Ludwig van, 20, 27-8 247-60; effects on teachers, 112; hearing in Bendix, R., 280-1, 282 the head, 120-1, 124; ICT in, 135-6, 141; improvisation and, 27, 225-41, 256; as environment, 57, 117-18 intuitive, 6—7; mental models and, 236, equal opportunities, 176 238-9, 241; originality issues, 2322 -3, 256-7; essentialism, 279, 280; see also authenticity planning, 121, 123, 124; presentation of, 122, evaluation, 5, 248, 256-8; see also assessment 124; progrien,s5 s, a7-8, 121-2; revision examinations: in music theory, 290; option following performance, 20-1, 232-3, 238; choices, 86, 87; see also GCSE singing and, 62, 63, 125; spontaneous expectations, 184, 188-92, 194, 210; children’s, composition by children, 21-2; student of peers, 257, 258, 259 views of, 120-1, 122-3, 232-4, 235 236-7, 238-41; style issues, 121; uses of, Feis Ceoil, 211 122-3, 124 Feldman, Morton, 213 computers, 107, 116-17, 129; see also ICT films, music used for, 22, 24, 199 concentration, 176, 178 folk music, see traditional music context, 9-10, 26, 28; situated, 228 foreign language learning, 296 co-operative learning, 114, 118, 127; see also freedom, pedagogy and, 43-50, 67—76 group work Freire, Paulo, 49, 50 Cross, lan, 293 Fromm, Erich, 70 cultural values and identity, 33, 34-7, 121 curriculum: pressure in, 263-73; see also Gable, E., 282 National Curriculum Galton, M. J., 246, 294, 295 Curwen, John, 26, 212 Gardner, Howard, 294, 295, 298 GCSE, 79-88, 96, 98; see also GCSE Music Dalcroze, see Jaques-Dalcroze, Emile GCSE Music: students’ views of, 5—6; success in, Dalhaus, Carl, 27 correlations, 98; uptake rates, 79-88 dance, 188, 191; see also moving to music Geertz, Clifford, 94, 95 Davies, C., 225-6 gender issues, 88 Davies, Henry Walford, 109 Ghanaian music, 279-80, 281 Davies, Niki, 307, 308-9 Gilbert, L., 159-60 Davies, Peter Maxwell, 109 10, 126, 272, 302 Giomo, C. J., 161, 176 de Brett, Tona, 98, 100 Glover, Sarah, 26 Dearing, R., and Dearing Report, 245, 263 Goehr, Alexander, 29 DELTA (Development of Learning and Teaching Golden Section, 16-18, 21 in the Arts) project, 246 Goodkin, Doug, 307-8 Dennis, Brian, 110 Gould, Doris, 110 developmental spiral, 161, 175-6, 177, 302 Gould, S. J., 293 developmental stages, 294-5, 296 graphic scores, 92, 214 Dewey, J., 229 grounded theory, 228 Dolgin, K. G., 160, 161 group practice in music, 114 Drabble, Walter, 110 group work, 111-12, 117-19, 125; and assessment of individuals, 5, 121-2; coasting Emerick, Geoff, 198 in, 122; and individual development, 113-14, emotions, see mood 121-2; interpersonal issues, 118, 127, 161, endings, 213, 231 165-6, 259; for teachers in SAMET project, ensemble playing, resources concerning, 290; see also collaboration 214-16 Groupe de Recherches Musicales, 207 Hallam, S., 69 Janacek, Leos Handler, R., 282 Jaques-Dalcroze, Emile, 109 Hargreaves, David J., 246, 294, 295 Javanese music, 19 Harland, John, 96—8 jazz, 114; attitudes to, 211 Haynes, Jo, 96-8 Johannesen, A. M., 69, 76 hearing in the head, 120-1, 124, 290 Hendrix, Jimi, 206, 207 Kelly, G., 159-60 Hentschke, L., 2,177,246 Kennedy, Nigel, 70 Hevner, K., 158 keyboards6,5 , 116-17, 129, 151-2: students Hindemith, Paul, 23 views of, 143; use in teaching composition Hiscock, Chris, 310-11 112, 196, 147, 120; 247 historical periormance movement, 306 Kinder, Kay, 96-8 Holly, Buddy, 207 Kodaly, Zoltan, 99, 268, 273 Holst, Gustav, 22 Korcezak, Janusz, 43-5, 48, 50 Hullah, John, 26, 211, 21 Kratus, J., 1601, 225, 226 \/Thou level, 44, 47, 50 labour/work/action distinction, 44—5, 46, 47, 48 ICT (information and communications Langer, S. K., 23, 95, 158 technology), 116-17, 124, 125, 129-54; in language, 216—17; children’s, 258; National Curriculum, 129, 130; and singing, development of, 176, 294—5, 296-8; 149; students’ views of, 142-3, 145 describing music, 176, 246-60; singing and, imagination, 272 294-5, 296-8 improvisation: collaborative, 114, 231, 234 awson, Colin, 306 composing and, 27, 225-41, 256 learning, 74—5; co-operative, 118, 127 independence, developing in students, 67—76 eeuwen, Theo van, 216-17 information technology, see ICT endvai, Erné, 29 inspection, 63, 87, 129, 130-2, 270; and Lewis, Jerry Lee, 198, 206 identification of good music teaching, iberty, pedagogy and, 43-50, 67-76 129-44; ‘light’, 272-3 Ligeti, Gyorgy, 23-4 inspectors, training, 273 _innekin, J., 281, 28 instrumental playing, young children’s views of, istening, 157—78, 245-60; young children and, 56, 57 95, 96, 57 instrumental practice, 67-8, 72—4 _iszt, Franz, 28 instrumental teaching/learning, 67—76; iteracy: music and, 271, 307-8; musical, concerning practising, 73—4; institutional teaching project in South Africa, 285-91; values and, 75; responsibility for learning, see also literacy hour 67-76; SAMET project and, 288—9; trainee literacy hour, 125, 264, 270, 272 teachers’ experiences of, 188, 189 Loane, B., 226—7 interpersonal issues, 118, 127, 161, 165-6, 259 MacGregor, Helen, 307-8 lreland, 209, 210-12 MacPherson, S., 35 Irish music, 210-11 McVicker, William, 307, IT, see ICT Maloney, Paddy, 212 ITE (initial teacher education), see teacher Martin, George, 204 education Mason, Peter, 209-10 Maxwell Davies musical developmental spiral, 161, 175 Maxwell musical elements, National Curriculum Mead, G. H., 23, 29 detinitions, 248, 249-54 Mellers, Wilfrid, 110 musical literacy project, 285-91 melody, 213, 216 musical memory, 61 memory, 61, 213 musicality, 21 Menuhin, Yehudi, 288 musicians: levels of independence, 69-70; ways metaphor of working, 114, 197 Metcalte musique concrete, 207 Meyer, L. Muzak 22 Mills, E. myths, 210; see also expectations Mills }., 270 Mithen, Steven National Curriculum, 245-6, 266, 271-3; mood music an composition in, 5, 111; concentration on 6 peripherals of music, 91; definitions of musical Morley Th\ omas. 6 elements, 248, 249-54; ICT in, 129, 130; and motivation 114, 12 language in music education, 246-60; moviton mugsic , 55 listening skills and, 177 178, 245 Mozart, Wolfgang Amadeus resources related to, 309 10; revision of, 245, Murray Andy, 310 263-4, 266, 272-3; singing in, 63 Murray Margaret, 110 National Curriculum Music Working Group, 36 music: as act >; age of Tirst awarenesosl National Songbook and ‘national’ songs, 61, 62, 21; associations from, 22, 165 (see also 301 mood); effects, 15, 29, 271; humanity and Neill, A. S., 69, 302 293; importance of early experiences of Newsom Committee and Report, 37, 302 92-3;) ? as lifelong pursuit, 37; live/recorded Nielsen, Carl, 3 27, 30; meaning/content ot i) Nielsen, Klaus, 69, 71-2, 76 see also mood); moving to ee) noise and noise interference, 57, 117 18, 120, necessity of, 25; responses to, developing 124 i1n5 a te8 , 24554-660: style issues, 121, 248 254-5; works of o2O9 7 33 ) see als IMUSIC Odbert, H., 158 education Oliver, Michael, 212-14 music education: balance in, 112, 126, 176 O'Neill, Francis, 212 178; and curricular pressure, 263 3: orchestral concerts, 94—5 discontinuity and inconsistency in, 183 188, Orff, Carl, 110, 280, 308 191, 268-9; effoen lcitetrac y, 271; history of ownership, 176, 247 in England, 301-3; language in, 246-60 musicality of, 93, 124, 303; philosophieosf Palmer, A. J., 277-9, 280, 281, 282 91-3; psycho-analytical approach to, 43 parental involvement, 124, 126, 288, 289 48—50; reasons for and justifications for place Paterson Anice, 112-13, 123 in curriculum, 26, 33? -41; relationships in patterns, matching to response to music, 164-5, 43-50; status as school/examination subject 172, 173, 174-5, 176, 181 36 9-88, 265-73, 302; street credibility Paul, Les, 201, 203 121; whether specialism, 183—4, 186; see also Paynter, John, 40 110-11, 121, 225, 270, 273, instrumental teaching/learning and singing 302 perception, 24—5; see also self-perception and status in rock music, 197; see also time recordings performance, children’s evaluation of peers’, recording studios, working in, 100, 197, 198, 257-8 203 performance practice, 114, 305, 306 recordings: changing speed of, 150, 198-200, Perkins, Carl, 198, 206 206; use of, 152-3; see also backing tracks personal construct theory, 159-60 and recording Persson, R. S., 68, 70, 76 rhythm, 213; children’s perception of, 250 Pestalozzi, Johann Heinrich, 301 Richardson, Marion, 301 phases of aesthetic development, 246 ritual, 94—5 phasing, 204 , 207 rock bands, ways of working, 114, 197 Phillips, Sam, 198 Rogers, Carl R., 70, 176 Piaget, Jean, 294 Rogers, Kevin, 114-15 Pink Floyd, 206 Rolling Stones, the, 207 Pitts, Stephanie, 301-3 Rosenberg, N., 281 planning, 121, 123, 124, 130 Ross, Malcolm, 6, 87, 246, 302 Plato, 29 poems: conception of, compared to musical Sachs, Curt, 25 composition, 23; use in teaching composition, Salmon, P., 163, 166, 173 47 SAMET (South African Music Education Trust), popular music, musicology of, 206, 207 285-6, 287-91 Posen, I. S., 281 samplers, 142 Potter, John, 303-6 Schafer, R. Murray, 43, 45, 110, 121, 302 practising, 67-8, 72—4; study aims and, 70-1 Schagen, lan, 96-8 Pratt, G., 245-6 Scholes, Percy, 34, 38 pre-school children, music activity preferences, Schubert, Franz, 20-1 51-9 Schumann, Robert, ‘Eusebius’ from Carnaval, 8, Presley, Elvis, 198, 206 11, 14-15, 17-18, 28 programme music, 28 Scotland, 111 proportion, 15—20, 21, 29 second language learning, 296 psycho-analytical approach to education, 43, Self, George, 110 48-50 self-perception, 20, 157, 166-71, 173-5, 176, 177-8; and achievement, 162; and QCA (Qualifications and Curriculum Authority), ownership, 176; singing and, 269—70; student 245, 263, 311 teachers’, 183-94 quantizing, 148-9 semiotics, 216-17 sequencing, 140, 141, 145-8, 151, 310 radio, 211; ‘live broadcasts’, 30 singing, 615, 293-8, 303-6; adult beginners Rainbow, Bernarr, 302 and, 295; and composition, 62, 63, 125; and Rajasthani music, 18 confidence, 269-70; developmental stages Ravel, Maurice, 7 and, 294—5, 296; educational uses, 26, 65, Read, Herbert, 301 268, 273; good practice in teaching in recorder quartets, 214-16 secondary schools, 63—5; ICT and, 149; and recording, 150, 197; manipulating, 150, language development, 294-5, 296-8; 197-207; multi-track, 150, 201-4, 207; materials for teaching, 98-100, 305-6; National Songbook and ‘national’ songs, 61, teacher education, 111-12, 183-94, 268, 273; 62, 301; role in development of all humans, in SAMET project, 290 293-8; teachers and, 270, 273;? use of teachers: composing practice, 121; effects on recordings, 65, 149 (see also backing tracks); students, 273; as facilitators of growth, 48-9; young children’s views of, 56, 57 of instruments, 67—76; perceptions of situated cognition, 185 pressures concerning music in the curriculum, situated context, 228 265-73; reasons for teaching, 40-1, 44, 46; situated learning, 72 and singing, 269-70, 273; see also teacher slap echo, 197-8, 206 education and trainee teachers Sloboda, J. A., 159 teaching: of composition, 123-4, 125 (see also Small, Christopher, 3, 27, 93-6, 17 composing/composition and its teaching); Small Faces, the, 207 examples of good practice using ICT, 130-44; social anthropology, see anthropology of instrumental playing, see instrumental social class, 34-5 teaching/learning; planning in, 121, 123, 124, sol-fa, 26, 212 130; quality of, 130; in South Africa, 289-90 solfege, 109 teaching environment, 117-18 songftiles, 145 teaching materials, 99-100, 214-16, 307-11 sound, 216-17 technology, 107-8, 116-17, 124, 125, 129-54, South Africa, 61-2, 285-91 197-207; support concerning, 310; see als|oC T speech, see language template songfiles, 145 Spencer, Piers, 5, 6 tempo, children’s perception of, 251-2 spiritual issues, 39 Terwogt, M. M., 160, 161, 176 Standard Bank Alex Project, 288 textures, music and, 162, 164 Statham, Heathcote, 26 theory examinations, 290 steel bands, 210 Thou/I level, 44, 47, 50 Stephens, J., 245-6 Tillman, J., 161, 175, 177, 225, 246, 302 Stockhausen, Karlheinz, 213 timbre, children’s perception of, 252-3 Stowell, Robin, 306—7 time: and improvising/composins E23 0-2; ; Stravinsky, Igor, 22-3 measuring, 216; music and, 19, 22—5, 150; stress, 112, 124; on curriculum, 263-73 see also proportion and quantizing structure, children’s perception of, 236, 253-4, time delay, 197-8, 206 256 Tinbergen, N., 293, 295-6 student teachers, see trainee teachers tongue exercises, 296—7 students: coasting in group work, 122; tonic sol-fa, 26, 212 developing independence, 67—76; views of Townsend, Ken, 204 GCSE Music, 5-6; views of ICT, 142-3, 145; traditional music, 209-12, 304; authenticity see also children issues, 275-83; proportion in, 18-20 style, 121, 248, 254-5 traditional musicians, 212, 281 subject choices, 79-88 trainee teachers, 184—94, 259-60; effects of Summerhill School, 69, 302 early experiences, 53, 184, 188, 191 Swanwick, Keith, 91-3, 161, 162, 175, 177, Trinidad, 209-10, 212 225, 246, 280, 302 Trotter, Yorke, see Yorke Trotter, Thomas H. tape recorders, 197-207; see also recording Umansky, Kaye, 307-8 Taylor, Dorothy, 307, 309-10 Universal Edition, 110, 126 Van Grinsven, F., 160, 161, 176 Welch, G., 295 Van Manen, M., 229 West, Jon, 98, 100 Vaughan Williams, Ralph, 29 Winn, C., 35 vernacular musics, see traditional music Witkin, R. W., 39, 302 voice, development of, 293-8; see also singing work/labour/action distinction, 44—5, 46, 47, Voices Foundation, 268 world musics, see traditional music Vygotsky, Lev, 71, 75, 17 Wuorinen, Charles, 213 Wynn, Cyril, 302 Walford Davies, see Davies, Henry Walford Walker, Robert, 290 Xhosa, 296 Ward, D., 159 Waterman, M., 159 Yorke Trotter, Thomas H., 38-9, 301 Wedin, D., 158, 161

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