Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-27T19:52:56.406Z Has data issue: false hasContentIssue false
  • English
  • Français

The form of finality: a context for musical education

Published online by Cambridge University Press:  18 December 2008

John Paynter
Get access Rights & Permissions [Opens in a new window]

Abstract

Music is supremely a manifestation of thought and perceptual judgement. Yet – and in spite of the good intentions of the National Curriculum - because the importance of these qualities is not generally acknowledged, musical education is in danger of being marginalized. Drawing on the work of W.E. Johnson and F.N. Sibley in logic and aesthetics, the author formulates a hierarchy of musical perception corresponding to Abraham Maslow's hierarchy of basic human needs and suggests that the future status of musical education could depend upon the extent to which teaching can be focused at a level of perception where musk as thought is most evident.

Type
Research Article
Information
British Journal of Music Education , Volume 14 , Issue 1 , March 1997 , pp. 5 - 21
Copyright
Copyright © Cambridge University Press 1997

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbs, P. (1989). A is for Aesthetic: essays on creative and aesthetic education. London:The Falmer PressGoogle Scholar
Cather, W. (1989). The Song of the Lark. New York: ViragoGoogle Scholar
Copland, A. (1939/R1957). What to listen for in music. New York: McGraw-HillGoogle Scholar
Hindemith, P. (1951). A composer's world. Cambridge University PressGoogle Scholar
Johnson, W.E. (1921). Logic Part I. Cambridge University PressGoogle Scholar
Johnson, W.E. (1924). Logic Part III: the logical foundations of science. Cambridge University PressGoogle Scholar
Kant, T. (transl. Meredith, J.C. 1928/R1973). The Critique of Judgement. Oxford: Clarendon PressGoogle Scholar
Langer, S.K. (1942/3rd edn 1969). Philosophy in a new key: a study in the symbolism of reason, rite, and art. Cambridge, Mass: Harvard University PressGoogle Scholar
Langer, S.K. (1953). Feeling and Form. London:Routledge & Kegan PaulGoogle Scholar
Maslow, A.H. (1970). Motivation and personality (Second edition). New York: Harper & RowGoogle Scholar
Orledge, R. (1986). Satie's approach to composition in his later years (1913–24), in Greer, D. (Ed.) Proceedings of the Royal Musical Association, 111, 155–179Google Scholar
Pater, W. (1873/R1912). The Renaissance: studies in art and poetry. London:MacMillanGoogle Scholar
Paynter, J. (1982). Music in the secondary school curriculum. Cambridge University PressGoogle Scholar
Schoenberg, A. (ed. Stein, L. 1975). Style and Idea: selected writings of Arnold Schoenberg. London:Faber & FaberGoogle Scholar
Sibley, F.N. (1968). 'Objectivity and Aesthetics’ in Proceedings of the Aristotelian Society, supplementary volume 42Google Scholar
Storr, A. (1988). 'Music in relation to self in Music and the cycle of life. London:BSMTGoogle Scholar
Stravinsky, I. (1936). Chronicle of my life. London:GollanczGoogle Scholar
Stravinsky, I. (1962). An Autobiography. New York: W.W. NortonGoogle Scholar
Wittgenstein, L. (1975/R1990). Philosophical Remarks. Oxford: Basil BlackwellGoogle Scholar
Zaslaw, N. & Cowdery, W. (1990). The Compleat Mozart. New York: W.W. NortonGoogle Scholar