Structure and form are two words that surface frequently in music analysis and education. Two words should be associated with two different concepts, but these two are frequently used interchangeably. But are they really the same? I maintain that they are not; that there are important differences between their meanings, and today I will discuss … Continue reading Structure and Form: What's The Difference?
There are essentially three things to which a person can respond in music; structure, form, and emotions. Structure are those things in music that we intuitively understand, such as beat, phrasing, and meter. Because of the natural way we perceive these structures, we are able to sort out the musical sounds and organize them in … Continue reading Problems in Responding to Music
We all know that music is comprised of sound; however, many have argued that all sound is not music. Stravinsky advanced this view convincingly when he explained that when we simply hear the rustle of leaves or the sound of a brook, we are not hearing music nor are we utilizing musical ability to hear … Continue reading How Is Music Like Poetry?
Music appreciation as I experienced it as a student was largely a matter of learning how a musical work was put together, and then listening for landmarks along the way. First theme, second theme, development section, modulation to the dominant, recapitulation back to the tonic, and so on. It usually takes a great deal of … Continue reading Are We Misleading Students In How We Teach Them To Appreciate Music?
While both music and visual art, including video, are powerful art forms in their own rights, both capable of eliciting emotional responses and memories of experiences of artistic work, their affects when combined are even more potent. While research in this area has largely been inconclusive, researchers have suggested that videos do influence a listener's … Continue reading What Are Some Effects of Combining Music and Video?
In my previous two posts, I discussed reflective questions for student composers that dealt with the musical work, and with the performance of the musical work. Today I will discuss questions about musical form and about a composer's opinion of his or her own work. These questions are from the ctcurriculum website. The most basic aspect … Continue reading Student Self-Reflection on Music Compositions
Regardless of which methods you use to teach music, movement figures into it, though perhaps in varying degree. Laban and Jaques-Dalcroze in particular have influenced the use of movement as an indispensable component of educating children musically. Though one could go into great detail about the various kinds of movement, four general types of movement … Continue reading What Are Different Kinds of Movement Used in Music Classes?
Movement and music are a natural pair. When we listen to music, we naturally want to move. Researchers have found that just listening to music stimulates the motion center of the brain just as if we were actually moving. There is also an emotional aspect of movement as well. This morning, during my pre-kindergarten class … Continue reading What’s All The Movement About?
In 1958, Leonard Bernstein gave a Young Peoples Concert entitled “What Does Music Mean?” In it, he said that music doesn’t mean anything in the ways language does, but instead means what it is. Today, I will take up the matter of musical meaning, restricting myself to developing Bernstein’s points, and avoiding deeper aesthetic and … Continue reading What Does Music Mean–Revisiting Bernstein’s Lecture