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Plies da realist rar11/7/2022 In this sense we say that the Orff approach is holistic, i.e. 2) Our focus is not only on the musical product: while teaching we need to take into consideration all the human – cognitive, physical, emotional, social, cultural, therapeutic – factors connected with the enjoyment of music. The Orff-Schulwerk explicitly promotes the creative use of musical materials coming from one's own and other cultures as a matter of fact, ever since its early beginnings in the 1920s it has been conspicuously inter-cultural. plies to join the eercle du Bois de Boulogne will be asked if her father or. In the Orff-Schulwerk tradition we use many procedures that are common to those found by ethnomusicologists in many musical cultures of the world, such as oral learning, improvising, integrating music with movement and other arts, etc. contrasts both with realist or critical representation of the social world. There are two kinds of consideration to be made: 1) We consider the process of teaching music in the first place as a way of bringing someone to enjoy and produce music. It is possible to establish an analogy between this wide, anthropological approach to the human being as a music maker and the pedagogical concept of the Orff-Schulwerk. For this purpose we have to take into account not only the music itself, but also the many different conceptions, uses, behaviours and functions regarding a music within its cultural context (Alan P. The question to be answered is: how musical is man? (John Blacking). It investigates the whole of the interactions among the psychological, social and cultural factors that are at the base of any process of music production and reception. In the last decades Ethnomusicology – or better, Anthropology of Music – has gone beyond the mere study of the musical products of other cultures. I conclude by recommending further research to refine and deepen the understanding of creativity in community music and explore the implications for practitioners and researchers. My literature analysis shows that in the community music literatures there are references to several creativity rhetorics (democratic and political ubiquitous wise humanising creativity) and various areas of usage (musical processes, leadership processes and personal qualities). This chapter reviews current community music literatures on creativity and specifically examines the conceptualisation of creativity in relation to ten rhetorics of creativity (Banaji et al., 2010 Chappell et al., 2016). However, creativity in community music is not often explicitly examined or defined in the literatures. Group improvisation (Higgins
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