Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings
In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contex...
| Main Authors: | , , , , |
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| Format: | Article |
| Language: | English |
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Frontiers Media S.A.
2019-04-01
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| Series: | Frontiers in Psychology |
| Subjects: | |
| Online Access: | https://www.frontiersin.org/article/10.3389/fpsyg.2019.00737/full |
| _version_ | 1818132274509512704 |
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| author | Andrea Schiavio Dylan van der Schyff Michele Biasutti Nikki Moran Richard Parncutt |
| author_facet | Andrea Schiavio Dylan van der Schyff Michele Biasutti Nikki Moran Richard Parncutt |
| author_sort | Andrea Schiavio |
| collection | DOAJ |
| description | In this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. We then consider the orientation offered by ECS and its relevance for music education. We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. This results in the categories of “instrumental technique,” “expressivity,” and “communication,” which we adopted to examine and categorize the data emerging from our study. In conclusion, we consider the results of our study in light of ECS, discussing what implications can emerge for concrete pedagogical practices in both individual and collective settings. |
| first_indexed | 2024-12-11T08:34:14Z |
| format | Article |
| id | doaj.art-c4a972fad83546078353cfce615ab5f0 |
| institution | Directory Open Access Journal |
| issn | 1664-1078 |
| language | English |
| last_indexed | 2024-12-11T08:34:14Z |
| publishDate | 2019-04-01 |
| publisher | Frontiers Media S.A. |
| record_format | Article |
| series | Frontiers in Psychology |
| spelling | doaj.art-c4a972fad83546078353cfce615ab5f02022-12-22T01:14:24ZengFrontiers Media S.A.Frontiers in Psychology1664-10782019-04-011010.3389/fpsyg.2019.00737438899Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective SettingsAndrea Schiavio0Dylan van der Schyff1Michele Biasutti2Nikki Moran3Richard Parncutt4Centre for Systematic Musicology, University of Graz, Graz, AustriaFaculty of Music, University of Oxford, Oxford, United KingdomDepartment of Philosophy, Sociology, Education and Applied Psychology, School of Human and Social Sciences and Cultural Heritage, University of Padova, Padova, ItalyReid School of Music, The University of Edinburgh, Edinburgh, United KingdomCentre for Systematic Musicology, University of Graz, Graz, AustriaIn this paper, we present a qualitative study comparing individual and collective music pedagogies from the point of view of the learner. In doing so, we discuss how the theoretical tools of embodied cognitive science (ECS) can provide adequate resources to capture the main properties of both contexts. We begin by outlining the core principles of ECS, describing how it emerged in response to the information-processing approach to mind, which dominated the cognitive sciences for the latter half of the 20th century. We then consider the orientation offered by ECS and its relevance for music education. We do this by identifying overlapping principles between three tenets of ECS, and three aspects of pedagogical practice. This results in the categories of “instrumental technique,” “expressivity,” and “communication,” which we adopted to examine and categorize the data emerging from our study. In conclusion, we consider the results of our study in light of ECS, discussing what implications can emerge for concrete pedagogical practices in both individual and collective settings.https://www.frontiersin.org/article/10.3389/fpsyg.2019.00737/fullmusical learningembodimentinstrumental techniqueexpressivitymusical communication |
| spellingShingle | Andrea Schiavio Dylan van der Schyff Michele Biasutti Nikki Moran Richard Parncutt Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings Frontiers in Psychology musical learning embodiment instrumental technique expressivity musical communication |
| title | Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings |
| title_full | Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings |
| title_fullStr | Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings |
| title_full_unstemmed | Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings |
| title_short | Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings |
| title_sort | instrumental technique expressivity and communication a qualitative study on learning music in individual and collective settings |
| topic | musical learning embodiment instrumental technique expressivity musical communication |
| url | https://www.frontiersin.org/article/10.3389/fpsyg.2019.00737/full |
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