A tap of the foot, a rush of emotion, the urge to hum a tune; without instruction or training we all respond intuitively to music. Comparing Notes explores what music is, why all of us are musical, and how abstract patterns of sound that might not appear to mean anything can, in fact, be so meaningful. Taking the reader on a clear and compelling tour of major twentieth century musical theories, Professor Adam Ockelford arrives at his own important psychologically grounded theory of how music works. From pitch and rhythm to dynamics and timbre, he shows how all the elements of music cohere through the principle of imitation to create an abstract narrative in sound that we instinctively grasp, whether listening to Bach or the Beatles. Authoritative, engaging, and full of wonderful examples from across the musical spectrum, Comparing Notes is essential reading for anyone who’s ever loved a song, sonata, or symphony, and wondered why.
Children with autism often have an intense natural musicality. This book explains how music and language 'work' as systems of communication, and why music holds such a fascination for many young people on the autism spectrum. There are strategies for showing how music can be used to support language development and even substitute for verbal communication. Exploring the progression from a young child's intuitive engagement with music, to using it as a scaffold for communication, socialisation and understanding, the book illustrates, through the use of detailed case studies, how music nurtures a sense of self and provides a positive outlet to express inner thoughts and feelings without resorting to challenging or even destructive behaviours. Presenting an innovative approach to the use of music with people on the autism spectrum, this book will be a fascinating resource for speech and language therapists, music therapists, occupational therapists, teachers, teaching assistants, educational psychologists, carers and parents of people with autism.
This engaging, practical resource sets out twelve original projects for making music inclusively with children and young people of all ages who have special abilities or needs, including those with profound and multiple learning difficulties, those on the autism spectrum, those who have a vision or hearing impairment, and those with social, emotional, and mental health needs. Created by leaders in the music and special needs field working with music industry professionals, Count Me In! includes projects with a wide range of musical styles and genres, and there is an accompanying website with hundreds of freely downloadable audio files. The resource is based on the Sounds of Intent framework, which encourages teachers and others to target activities at their pupils’ and students’ particular levels of musical development. The pieces of music are ‘deconstructed’ into separate activities that are individually targeted at sound-makers, pattern-makers, motif-makers and song-makers so that all young people can join in at the same time. Count Me In! is a must-have resource for class teachers, teaching assistants and other non-music-specialist staff supporting children with learning difficulties in special and mainstream schools and colleges, as well as musicians from music services, music hubs and other arts organisations who visit schools. It can be used without needing to be able to read music, though there are scores in simplified and standard notation, as well as chord charts.
A tap of the foot, a rush of emotion, the urge to hum a tune; without instruction or training we all respond intuitively to music. Comparing Notes explores what music is, why all of us are musical, and how abstract patterns of sound that might not appear to mean anything can, in fact, be so meaningful. Taking the reader on a clear and compelling tour of major twentieth century musical theories, Professor Adam Ockelford arrives at his own important psychologically grounded theory of how music works. From pitch and rhythm to dynamics and timbre, he shows how all the elements of music cohere through the principle of imitation to create an abstract narrative in sound that we instinctively grasp, whether listening to Bach or the Beatles. Authoritative, engaging, and full of wonderful examples from across the musical spectrum, Comparing Notes is essential reading for anyone who’s ever loved a song, sonata, or symphony, and wondered why.
This monograph examines the place of repetition in perceived musical structure and in theories of music. Following a preface and introduction, there are four main chapters: 'Theory', 'Analysis', 'Metatheory and Meta-analysis', and 'Cognition and Metacognition'. Chapter 2 (Theory) sets out the principles underlying the creation and cognition of musical structure developed by the author in earlier studies, in the dual context of David Lewin's mathematically based theory of musical intervals and transformations and Gilles Fauconnier's concept of mental spaces (which was formulated in the context of cognitive science). Chapter 3 (Analysis) shows the theory in operation in relation to the first movement of Mozart's piano sonata K.333. It indicates how structural issues may be related to considerations of aesthetic response and musical 'worth' through comparison with J.C. Bach's Sonata op. 5 no. 3. Chapter 4 (Metatheory and Meta-analysis) uses the new theory to interrogate the propositions underpinning set theory and transformations, offering a psychomusicological critique and potential development of, for example, the work of Forte, Morris, Isaacson and Straus. This enables issues raised earlier in relation to the work of Lewin to be addressed. In conclusion, in Chapter 5 (Cognition and Metacognition), the matter of cognitive preferences and constraints is considered in relation to repetition in music, which permits a final investigation of different approaches to musical analysis to be undertaken. In summary, by synthesising the findings of diverse earlier work in the context of the new theory, it proves possible to move thinking forward on a number of fronts, and to indicate potential directions for future empirical and analytical developments.
This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.
People with autism are being left behind today, with only 16 per cent in full-time employment. This inspiring book addresses the lack of understanding of the wonderful contributions people across the autism spectrum can make to the workplace, drawing attention to this vast untapped human resource. Employers who create supportive workplaces can enhance their companies by making use of the talents of people with autism while also helping to produce a more inclusive and tolerant society, and people with autism can themselves benefit materially and emotionally from improved employment opportunities. Packed with real-life case studies examining the day-to-day working lives of people across the autism spectrum in a wide variety of careers, this book provides constructive solutions for both employers seeking to improve their workplaces and for individuals with autism considering their employment options. It dispels popular myths about autism, such as that everyone is good at IT, and crucially tackles the potential job opportunities available across the spectrum, including for those who have no language at all. It also highlights the neglected area of gender differences in the workplace and the costs of autistic females’ ability to 'camouflage' their condition. This book is a must-read for parents, employers and adults with autism, and for anyone interested in the present and future of people with autism in the workplace who will benefit from the positive message that employing autistic people is not an act of charity but one that makes sound economic sense.
Containing 64 songs designed to promote language, social and musical development, this book accompanies the Tuning In Cards so you can perform the songs and integrate the activities into your own practice. When paired with the Tuning In Cards, it will offer an innovative way of developing communication in children with profound disabilities, visual impairment, and autism. These songs have been developed in line with the Sounds of Intent framework and in collaboration with The Amber Trust. A helpful introduction by the composer describes how to adapt the songs and activities to the appropriate developmental level.
Applied Musicology explores and demonstrates how musicology can influence and inform the psychological study of music. Including chapters on a range of topics including, perfect pitch, music and autistic savants, and anticipatory processes in music, the book establishes and lays the foundations for a new field of enquiry
This monograph examines the place of repetition in perceived musical structure and in theories of music. Following a preface and introduction, there are four main chapters: 'Theory', 'Analysis', 'Metatheory and Meta-analysis', and 'Cognition and Metacognition'. Chapter 2 (Theory) sets out the principles underlying the creation and cognition of musical structure developed by the author in earlier studies, in the dual context of David Lewin's mathematically based theory of musical intervals and transformations and Gilles Fauconnier's concept of mental spaces (which was formulated in the context of cognitive science). Chapter 3 (Analysis) shows the theory in operation in relation to the first movement of Mozart's piano sonata K.333. It indicates how structural issues may be related to considerations of aesthetic response and musical 'worth' through comparison with J.C. Bach's Sonata op. 5 no. 3. Chapter 4 (Metatheory and Meta-analysis) uses the new theory to interrogate the propositions underpinning set theory and transformations, offering a psychomusicological critique and potential development of, for example, the work of Forte, Morris, Isaacson and Straus. This enables issues raised earlier in relation to the work of Lewin to be addressed. In conclusion, in Chapter 5 (Cognition and Metacognition), the matter of cognitive preferences and constraints is considered in relation to repetition in music, which permits a final investigation of different approaches to musical analysis to be undertaken. In summary, by synthesising the findings of diverse earlier work in the context of the new theory, it proves possible to move thinking forward on a number of fronts, and to indicate potential directions for future empirical and analytical developments.
This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.
This engaging, practical resource sets out twelve original projects for making music inclusively with children and young people of all ages who have special abilities or needs, including those with profound and multiple learning difficulties, those on the autism spectrum, those who have a vision or hearing impairment, and those with social, emotional, and mental health needs. Created by leaders in the music and special needs field working with music industry professionals, Count Me In! includes projects with a wide range of musical styles and genres, and there is an accompanying website with hundreds of freely downloadable audio files. The resource is based on the Sounds of Intent framework, which encourages teachers and others to target activities at their pupils’ and students’ particular levels of musical development. The pieces of music are ‘deconstructed’ into separate activities that are individually targeted at sound-makers, pattern-makers, motif-makers and song-makers so that all young people can join in at the same time. Count Me In! is a must-have resource for class teachers, teaching assistants and other non-music-specialist staff supporting children with learning difficulties in special and mainstream schools and colleges, as well as musicians from music services, music hubs and other arts organisations who visit schools. It can be used without needing to be able to read music, though there are scores in simplified and standard notation, as well as chord charts.
The landscape of music education in the UK is constantly shifting and developing. This book provides a timely and unique overview of this restless sector by considering the achievements of music education, analysing its current performance and setting out aspirations for the future. Music Education in the 21st Century in the United Kingdom addresses the power of music to influence and change human behaviour, analyses current and future issues in music education and casts a spotlight on particular areas of education, including early years, the primary school, the secondary school, further education, universities and conservatoires, music services, the music studio and the role of music leaders and community musicians. Written by experts in the field of music education, the book provides an authoritative account of the current status of music education in the UK. While essential to understand the current and future context in the UK, the book will be invaluable to those involved in music education internationally, as it includes chapters on the provision of music education for all children, listening, the role of singing, playing an instrument, creativity, the role of technology, issues of performance and assessment, learning through the lifespan and the initial and ongoing education of music teachers. It also includes a range of case study examples and evaluations of practice. The book is a landmark publication in the field of music education and will be essential reading for policy-makers, practitioners, music students, trainee music teachers and those who provide music services in the UK and internationally.
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