NSSMusicTeachingLearning课件.pptVIP

NSS Music  Teaching Learning Listening 22 May 2008 Mrs. Ruth YU Part I Thinking About Teaching Learning of Listening What happens when we listen to Music? Some Psychological Aspects of Music Listening A Model of Aural Perception About Music Listening Listening is the foundation of music learning. (NSS Music C A Guide, p.31) Audition (responsive listening as an audience) is the central reason for the existence of music and the ultimate and constant goal in music education (Swanwick, 1996) Time and temporal relations Attending to music involves time and temporal relations. As the music unfolds, it is possible for a listener to attend to the local details of note-to-note changes (happen in short time span) but at times miss some large aspects of form (happen in long time span). The listener’s achievement in different temporal perspectives may be partly controlled by the composer, via the score, and partly modulated by artistic devices of the performer. Music, then, may be indeterminate, affording multiple interpretations. (Jones, 1992) Patterns repetition Music listening involves the recognition of patterns and relationships, with repetition being the most important. Listening is largely a matter of finding and organizing structural relationships that is given rise by musical repetition in order to construct an “explanation” of the music in terms of how each part relates to some other part. (Dannenberg, 2002) Sensitivity to sound and memory facilitate perceptions and concept formation On pitch and timbre Listeners seem to be able to form patterned groupings of tones on several bases such as pitch proximity (registral and/or melodic coherence) The perception of timbre is much more complex than recognizing just a catalogue of instrumental and vocal sounds (Butler, 1992) Multi-dimensions of musical work There is no one way to listen for all music everywhere. D. J. Elliot summarizes a multilayered concept of what to