Advanced Search

Journal Navigation

Journal Home

Subscriptions

Archive

Contact Us

Table of Contents

Click here for more information on Music Business Handbook and Career Guide

Sign In to gain access to subscriptions and/or personal tools.
International Journal of Music Education
This Article
Right arrow Full Text (PDF)
Right arrow References
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Similar articles in Web of Science
Right arrow Alert me to new issues of the journal
Right arrow Add to Saved Citations
Right arrow Download to citation manager
Right arrowRequest Permissions
Right arrow Request Reprints
Right arrow Add to My Marked Citations
Citing Articles
Right arrow Citing Articles via HighWire
Right arrow Citing Articles via Google Scholar
Right arrow Citing Articles via Scopus
Google Scholar
Right arrow Articles by Gould, E.
Right arrow Search for Related Content
Social Bookmarking
Add to CiteULike   Add to Complore   Add to Connotea   Add to Del.icio.us   Add to Digg   Add to Reddit   Add to Technorati   Add to Twitter  
What's this?

Dancing composition: pedagogy and philosophy as experience

Elizabeth Gould

University of Toronto, Canada

For philosopher Gilles Deleuze, the work of philosophy consists of affirmatively and artistically creating and reworking concepts in response to real-life problems in an ongoing process that invites new perspectives and ways of thinking. Carol Matthews's music composition pedagogical practices reflect these processes, arguing that they demonstrate the philosophical construct called ‘philosophy as experience.’ Through interaction – or dance – Matthews and her students in Primaries (grades K–1, approximately 5–7 years old) and Juniors (grades 2–3, approximately 8–10 years old) engage in philosophy by making informed, mindful musical decisions in response to lived musical problems in the material process of composing two songs, ‘Plants, Plants' by the Primaries and ‘Remembering Flight’ by the Juniors. Empirically enacting philosophy as experience, Matthews's practices and her students' responses reveal ways of thinking and being related to teaching and learning music composition that may inform the practices of other music educators and students, with implications for music teacher preparation.

Key Words: music composition • music concepts • Reggio Emilia

International Journal of Music Education, Vol. 24, No. 3, 197-207 (2006)
DOI: 10.1177/0255761406069639
Add to CiteULike CiteULike   Add to Complore Complore   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us   Add to Digg Digg   Add to Reddit Reddit   Add to Technorati Technorati   Add to Twitter Twitter    What's this?


This article has been cited by other articles:


Home page
 General Music TodayHome page
B. Bolden
Body Parts, the Water Cycle, Plants, and Dolphins: Adventures in Primary-Grade Whole-Class Composing
General Music Today, April 1, 2009; 22(3): 8 - 13.
[Abstract] [PDF]