The Language of Musical Instruction

Barten, Sybil S.

doi:10.2307/3332923

Cited by 6 publications

(7 citation statements)

References 2 publications

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“…Second, imagery or metaphor to explain what the music should sound like. This is in line with findings from several writers (Barten, 1992; Laukka, 2004; Lindström et al, 2003; Schippers, 2006; Woody, 2000, 2006a). A special form of metaphor is describing music as a conversation : “Play as if you are speaking to someone”.…”

Section: Resultssupporting

confidence: 92%

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Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study

Meissner

2016

International Journal of Music Education

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Section: Resultssupporting

confidence: 92%

“…Verbal teaching using metaphor uses imagery to describe what the music should sound like (e.g. Barten, 1992). Contrastingly, verbal teaching explaining concrete musical properties , aims to describe how to use technical devices to produce specific effects.…”

Section: Literature Reviewmentioning

confidence: 99%

Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study

Meissner

2016

International Journal of Music Education

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“…Melodies 2 and 3 are from the Schubert song cycles Die Winterreise and Die schöne Müllerin, respectively, and were both used in research by Clarke (1993) and Woody (1999). (Die Winterreise was also speci cally mentioned by Barten, 1992b, in a discussion of extramusical imagery in music instruction.) The participating professors received the following directions:…”

Section: Methodsmentioning

confidence: 99%

Emotion, Imagery and Metaphor in the Acquisition of Musical Performance Skill

Woody¹

2002

Music Education Research

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In teaching music students to perform expressively, many instructors use imagery and metaphors to call attention to the emotional qualities of music. This article examines existing theories of emotion, imagery and metaphor in music performance, and reviews empirical studies of expressive performance that have considered these topics. Also presented are the results of a small-scale study of the imagery and metaphors used by college music instructors. Several conclusions are drawn. First, motional aspects of music, seen in imagery using terms such as ' owing' or 'bouncy', are considered crucial in the connection between performed music and felt emotion. Additionally, among advanced musicians, there appears to be a shared and relatively limited affective vocabulary used to elicit expressive performance, perhaps largely drawn from the compositional structure of the piece of music being performed.

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“…Others have documented the ways in which conceptual metaphors grounded in basic human experiences shape our understanding of music (Johnson and Larsen 2003). And it is clear from empirical studies that metaphors play a key role for performers', teachers' and students' musical understanding, especially in relation to musical expression (Barten 1992(Barten , 1998Woody 1992).…”

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confidence: 99%