Language, Metaphor, and Analogy in the Music Education Research Process

Froehlich, Hildegard; Cattley, Gary

doi:10.2307/3333005

Cited by 1 publication

(2 citation statements)

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“…Make a crescendo at the end and make the hat accents as short as you possibly can. Richard used metaphorical language, an effective practice advocated by Arrais and Rodrigues, (2007), Barten, (1998), Froehlich andCattley (1991), Persson, (1996) and Watson (2008) in the literature review, to try to illustrate for Oscar the expressive content of Coconut Calypso by Wedgwood (2003). Student and teacher discussed this piece in terms of the expressive direction that the composer gave at the start:…”

Section: Teaching Strategies For Teaching Musical Expression To Schoomentioning

confidence: 99%

“…According to Tait (1992), strategies for teaching musical expression involve ‘vocabulary choice and usage, various forms of modeling, and management and implementation strategies’ (p. 525). It has been suggested that teachers use metaphors (Arrais & Rodrigues, 2007; Barten, 1998; Froehlich & Cattley, 1991; Persson, 1996; Watson, 2008), aural modeling (Dickey, 1992; Ebie, 2004; Karlsson & Juslin, 2008), focus on felt emotions (Gabrielson & Juslin, 1996; Juslin, 2003; Sloboda, 1996; Woody, 2000), and verbal direction (Woody, 1999) to provide students with feedback on musical expression.…”

Section: Literature Reviewmentioning

confidence: 99%

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Finding the muse: Teaching musical expression to adolescents in the one-to-one studio environment

McPhee

2011

International Journal of Music Education

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One-to-one music lessons are a common and effective way of learning a musical instrument. This investigation into one-to-one music teaching at the secondary school level explores the teaching of musical expression by two instrumental music teachers of brass and strings. The lessons of the two teachers with two students each were video recorded over a six-week period. This data were transcribed, coded and content analyzed. The results showed that the teachers used a variety of strategies to teach musical expression and the teacher's choice of approach seems less important than ensuring that the student has a good understanding of the approach. Furthermore, the traditional strategies for teaching musical expression may benefit from the inclusion of approaches designed to enable young students to begin to create personal meaning in their music making. Teachers, therefore, might consider reading research findings on creative learning and devise strategies for its application in their music studios.

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Section: Teaching Strategies For Teaching Musical Expression To Schoomentioning

confidence: 99%