This volume offers new research on musical creativity by experts from the fields of music education, music psychology and music therapy. Contributions focus on the composition/improvisation process, considering its conceptualization and practices in a number of contexts, and draw examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions.
This volume offers new research on musical creativity by experts from the fields of music education, music psychology and music therapy. Contributions focus on the composition/improvisation process, considering its conceptualization and practices in a number of contexts, and draw examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Oscar Odena is Professor of Education at the University of Glasgow, UK. He is past Co-Chair of the Research Commission of the International Society for Music Education (2012-14) and a member of the editorial boards of leading journals including the British Journal of Music Education, Journal of the Musical Arts in Africa and Research Studies in Music Education.
Inhaltsangabe
Contents: Introduction, Oscar Odena; Part I Conceptualising Musical Creativity: Rethinking 'musical creativity' and the notion of multiple creativities in music, Pamela Burnard; Teachers' perceptions of creativity, Oscar Odena and Graham Welch. Part II Examples from Practice: Preparing the mind for musical creativity: early music learning and engagement, Margaret S. Barrett; Music composition as a way of learning: emotions and the situated self, Ana Luísa Veloso and Sara Carvalho; Towards pedagogies of revision: guiding a students' music composition, Peter R. Webster; The nature of the engagement of Brazilian adolescents in composing activities, José Soares; Empathetic creativity in music making, Frederick A. Seddon; Cognition and musical improvisation in individual and group contexts, Su-Ching Hsieh; Music therapy: a resource for creativity, health and well-being across the lifespan, Leslie Bunt. Part III Paths for Further Enquiry: Action-research on collaborative composition: an analysis of research questions and designs, Gabriel Rusinek; Perspectives on musical creativity: where next?, Oscar Odena; Index.
Contents: Introduction, Oscar Odena; Part I Conceptualising Musical Creativity: Rethinking 'musical creativity' and the notion of multiple creativities in music, Pamela Burnard; Teachers' perceptions of creativity, Oscar Odena and Graham Welch. Part II Examples from Practice: Preparing the mind for musical creativity: early music learning and engagement, Margaret S. Barrett; Music composition as a way of learning: emotions and the situated self, Ana Luísa Veloso and Sara Carvalho; Towards pedagogies of revision: guiding a students' music composition, Peter R. Webster; The nature of the engagement of Brazilian adolescents in composing activities, José Soares; Empathetic creativity in music making, Frederick A. Seddon; Cognition and musical improvisation in individual and group contexts, Su-Ching Hsieh; Music therapy: a resource for creativity, health and well-being across the lifespan, Leslie Bunt. Part III Paths for Further Enquiry: Action-research on collaborative composition: an analysis of research questions and designs, Gabriel Rusinek; Perspectives on musical creativity: where next?, Oscar Odena; Index.
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