Music Matters: A New Philosophy of Music Education

By David J. Elliott | Go to book overview

6
Musical Works

Listening for musical performances involves thinking and knowing in relation to several simultaneous dimensions of musical information. Thus, musical works may be conceived as thought generators--as intentionally constructed challenges to our powers of consciousness.

In Chapter 4 I introduced three dimensions of musical information that are part of every musical work: (1) the musical performance-interpretation dimension, (2) the musical design dimension, and (3) the practice-specific dimension of shared musical standards and traditions. In this chapter I explain why some musical works may involve additional dimensions.


1. Form-Content Relationships

In discussions of musical works, the terms form and content refer to the ways in which musical patterns are organized (or formed) in relation to each other (intramusically), in relation to other musical works (intermusically), and in relation to other human interests.

Several factors predict that music makers around the world will organize musical works in more than one way. The first factor is the human tendency to make values of necessities: the tendency to emphasize, extend, or elaborate common needs, actions, and occurrences. This tendency suggests that in addition to purely musical sound patterns, the sounds of everyday existence (e.g., speaking sounds, working sounds) will likely become part of the content of some musical works. The second factor is the wide range of things people can do with sounds intermusically, intramusically, and in relation to all other human interests. This factor suggests that musicians will sometimes link musical patterns to a variety of cultural and personal concerns, including religious, moral, technological, practical, political, and historical ideas or events. The next factor involves the related human tendencies to pursue enjoyment and self-knowledge. These tendencies predict that musicians will often push the limits of composing, improvising, or performing in terms of

-137-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Music Matters: A New Philosophy of Music Education
Table of contents

Table of contents

  • Title Page iii
  • Preface vii
  • Acknowledgments ix
  • Contents xi
  • I - Introduction 1
  • 1 - Philosophy and Music Education 3
  • 2 - Toward a New Philosophy 18
  • II - Music and Music Education 47
  • 3 - Musicing 49
  • 4 - Music Listening 78
  • 5 - Musicers, Listeners, and Musical Values 109
  • 6 - Musical Works 137
  • 7 - Musicing in Context 161
  • 8 - Music Listening in Context 184
  • 9 - Musical Creativity in Context 215
  • III - Music Teaching and Learning 239
  • 10 - Music Education and Curriculum 241
  • 11 - Music Teaching and Learning 269
  • 12 - Music Education and Schooling 296
  • Notes 313
  • Bibliography 347
  • Author Index 363
  • Subject Index 367
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 386

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.