British Journal of Music Education 2000: Vol 17 Index

9 Pages·2000·1.2 MB·English

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