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International Society for Music Education: Not for commercial use or unauthorized distribution. Although many take it to be quite straightforward and pragmatic, performance is an area that encompasses many important practical, philosophical, aesthetical and psychological issues.
In this very poetic and rich article, Silverman considers some of these issues in order to discuss musical interpretation.
Her purpose is to examine the nature of musical interpretation in light of philosophical themes borrowed from literary theory and criticism. Silverman opens by suggesting that there are two divergent views of musical performance currently in vogue: From these definitions she moves on to discuss the ways in which the teaching and evaluating of performance have been viewed by music education.
This discussion serves as background for Silverman to introduce readers to a theory proposed by literature scholar Louise Rosenblatt, which, according to her, has many parallels in music interpretation. According to Silverman, the theory is based on three main principles that may be applied to musical interpretation: These examples certainly bring a very vivid dimension to the article — something that readers who are unfamiliar with philosoph- ical music education research will certainly appreciate.
These examples also sustain her interpretive view of musical interpretation. Music educators are likely to enjoy reading this paper and to reflect on many issues. The article is of an inquisitive nature, and as such, Silverman asks many important questions that are central to music education: What are the processes of and conditions for musical performance-as-interpretation?
How can these processes and conditions be recognized and realized in music education? These implications are very important for music education, because implications for practice are not always drawn upon philosophical papers.
Needless to say, this is a paper that is worth reading. Abstract This article builds an interdisciplinary perspective on the nature of western classical music performance by combining concepts from literary theory, music philosophy and music education philosophy.
The article concludes with practical proposals for the education of music performers. Key words aesthetic, efferent, musical expression, musical meaning, performance, transactionalism Given its long history and ubiquity, one might reasonably assume that all questions about western classical performance have been asked and answered.
In fact, there is considerable evidence to the contrary. For example, a wide variety of publications in music education, music psychology and music philosophy during the last 15 years offer teachers, performers and scholars competing views on the nature and teaching of western classical performance.
Music philosopher Stephen Davies a seems to support this view:While reading, record claims and main ideas that Brown is bringing across to his audience. for our next class project, you will be reading a memoir.
Consider the following statement to help you distinguish between a memoir and an autobiography. Efferent reading 3.
Aesthetic reading 4. Stance 5. Irony 6. Implied metaphor 7.
Simile 8. One important difference between our study and previous work focusing on the relationship of stance and response is that we have designed prompts explicitly intended to induce readers to adopt a more efferent or a more aesthetic stance prior to reading and again immediately before completion of an essay response task.
The primary, short-term goal of the approach is to foster strong reasoning skills in children, help them distinguish between good and poor reasoning, and “foster congruence between thought and action” (Wilkinson et al., , p.
). An efferent reading will be useful once the reading process ends as we read systematically only to abstract information or ideas. While, an aesthetic reading is a kind of reading that focusing on the reading process, from the start throughout the whole text .
efferent reading Rosenblatt’s terms, not starkly opposed, but representing different tendencies in reading, where an ‘aesthetic’ as the quality which would distinguish literary texts from non-literary texts, and was originally expected to be linguistic (poetic language).
In this article, we identify one such reading event, termed reading-for-the-writer, and analyze the specific point it occupies on an efferent-aesthetic continuum, a continuum that we view as more three-dimensional than linear and that includes both reader stances and writer stances.