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Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity within the classroom environment. 'Discovering the musical mind' draws together these classic studies, and offers the chance to revisit and reconsider some of the conclusions she drew at the time.
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Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity within the classroom environment. 'Discovering the musical mind' draws together these classic studies, and offers the chance to revisit and reconsider some of the conclusions she drew at the time.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 374
- Erscheinungstermin: 28. Juni 2013
- Englisch
- Abmessung: 241mm x 170mm x 20mm
- Gewicht: 658g
- ISBN-13: 9780199589838
- ISBN-10: 0199589836
- Artikelnr.: 38142227
- Verlag: Oxford University Press, USA
- Seitenzahl: 374
- Erscheinungstermin: 28. Juni 2013
- Englisch
- Abmessung: 241mm x 170mm x 20mm
- Gewicht: 658g
- ISBN-13: 9780199589838
- ISBN-10: 0199589836
- Artikelnr.: 38142227
Jeanne Bamberger is Emerita Professor of Music and Urban Education at the Massachusetts Institute of Technology, where she taught music theory and music cognition. She is currently Visiting Scholar in the Music Department at UC=Berkeley. Bamberger's research focuses on cognitive aspects of music perception, learning, and development. Her interdisciplinary stance leads her to investigations of learning in other related domains (e.g., cognitive psychology, computer science)and to an interest in young children and their teachers. She was a student of Artur Schnabel and Roger Sessions and has performed in the US and Europe as piano soloist and in chamber music ensembles. She attended the University of Minnesota, Columbia University and the University of California at Berkeley receiving degrees in philosophy and music theory.
* Part I: Beginnings
* 1: Introduction: Where do our questions come from? Where do our
answers go?
* 2: The first invented notations: Designing the Class Piece
* 3: Children's drawings of simple rhythms: A typology of children's
invented notations
* 4: The typology revisited
* Part II: Developing the musical mind
* 5: Introduction: What develops in music development?
* 6: Restructuring conceptual intuitions through invented
notations: From path-making to map-making
* 7: Changing musical perception through reflective conversation
* 8: Cognitive issues in the development of musically gifted children
* 9: Developing musical structures: Going beyond the Simples
* Part III: Designing educational environments
* 10: Introduction: Designing educational environments
* 11: Developing a musical ear: A new experiment
* 12: Action knowledge and symbolic knowledge: The computer as mediator
* 13: The collaborative invention of meaning: A short history of
evolving ideas
* 14: Noting Time: The Math, Music, and Drumming Project
* Part IV Computer as Sandbox
* 15: Turning music theory on its ear: Do we hear what we see; do we
see what we say?
* 16: The development of intuitive musical understanding: A natural
experiment
* 17: Music as embodied mathematics: A study of a mutually informing
affinity
* Part V: Summing Up
* 18: Engaging complexity: Three hearings of a Beethoven Sonata
movement
* 19: Recapitulation and coda
* 1: Introduction: Where do our questions come from? Where do our
answers go?
* 2: The first invented notations: Designing the Class Piece
* 3: Children's drawings of simple rhythms: A typology of children's
invented notations
* 4: The typology revisited
* Part II: Developing the musical mind
* 5: Introduction: What develops in music development?
* 6: Restructuring conceptual intuitions through invented
notations: From path-making to map-making
* 7: Changing musical perception through reflective conversation
* 8: Cognitive issues in the development of musically gifted children
* 9: Developing musical structures: Going beyond the Simples
* Part III: Designing educational environments
* 10: Introduction: Designing educational environments
* 11: Developing a musical ear: A new experiment
* 12: Action knowledge and symbolic knowledge: The computer as mediator
* 13: The collaborative invention of meaning: A short history of
evolving ideas
* 14: Noting Time: The Math, Music, and Drumming Project
* Part IV Computer as Sandbox
* 15: Turning music theory on its ear: Do we hear what we see; do we
see what we say?
* 16: The development of intuitive musical understanding: A natural
experiment
* 17: Music as embodied mathematics: A study of a mutually informing
affinity
* Part V: Summing Up
* 18: Engaging complexity: Three hearings of a Beethoven Sonata
movement
* 19: Recapitulation and coda
* Part I: Beginnings
* 1: Introduction: Where do our questions come from? Where do our
answers go?
* 2: The first invented notations: Designing the Class Piece
* 3: Children's drawings of simple rhythms: A typology of children's
invented notations
* 4: The typology revisited
* Part II: Developing the musical mind
* 5: Introduction: What develops in music development?
* 6: Restructuring conceptual intuitions through invented
notations: From path-making to map-making
* 7: Changing musical perception through reflective conversation
* 8: Cognitive issues in the development of musically gifted children
* 9: Developing musical structures: Going beyond the Simples
* Part III: Designing educational environments
* 10: Introduction: Designing educational environments
* 11: Developing a musical ear: A new experiment
* 12: Action knowledge and symbolic knowledge: The computer as mediator
* 13: The collaborative invention of meaning: A short history of
evolving ideas
* 14: Noting Time: The Math, Music, and Drumming Project
* Part IV Computer as Sandbox
* 15: Turning music theory on its ear: Do we hear what we see; do we
see what we say?
* 16: The development of intuitive musical understanding: A natural
experiment
* 17: Music as embodied mathematics: A study of a mutually informing
affinity
* Part V: Summing Up
* 18: Engaging complexity: Three hearings of a Beethoven Sonata
movement
* 19: Recapitulation and coda
* 1: Introduction: Where do our questions come from? Where do our
answers go?
* 2: The first invented notations: Designing the Class Piece
* 3: Children's drawings of simple rhythms: A typology of children's
invented notations
* 4: The typology revisited
* Part II: Developing the musical mind
* 5: Introduction: What develops in music development?
* 6: Restructuring conceptual intuitions through invented
notations: From path-making to map-making
* 7: Changing musical perception through reflective conversation
* 8: Cognitive issues in the development of musically gifted children
* 9: Developing musical structures: Going beyond the Simples
* Part III: Designing educational environments
* 10: Introduction: Designing educational environments
* 11: Developing a musical ear: A new experiment
* 12: Action knowledge and symbolic knowledge: The computer as mediator
* 13: The collaborative invention of meaning: A short history of
evolving ideas
* 14: Noting Time: The Math, Music, and Drumming Project
* Part IV Computer as Sandbox
* 15: Turning music theory on its ear: Do we hear what we see; do we
see what we say?
* 16: The development of intuitive musical understanding: A natural
experiment
* 17: Music as embodied mathematics: A study of a mutually informing
affinity
* Part V: Summing Up
* 18: Engaging complexity: Three hearings of a Beethoven Sonata
movement
* 19: Recapitulation and coda