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Sep 19, 2018 · Metaphors are an important linguistic device that can enable music teachers to explain expressive performance features in a way that makes sense to their students. This study extends the limited literature on the application of metaphors within advanced music instruction, providing new insights into the nature and function of metaphor in the way that music is perceived, performed and taught.
- Jocelyn Wolfe
- 2019
His ongoing research focuses on issues relating to improvisation, psychology of music, music health and wellbeing, musical identities and music education. As a saxophonist and composer his work is informed by a view of improvisation as a social, collaborative and uniquely creative process that provides opportunities to develop new ways of working musically.
Estelle. Jorgensen has focused in part and significantly on models and metaphors that undergird music. education.1 Iris Yob has examined the role of higher education generally and music education. specifically in creating positive social change.2 At times, and against the backdrop of recent.
Mar 24, 2021 · “The metaphor helps the student attain an emergent multidimensional grasp of the music. . . .The metaphor creates an affective state within which the performer can attempt to match the model” (Davidson & Scripp, 1989, p. 95). Obviously, using metaphors in music lessons is a task in itself as metaphors are culturally and linguistically specific.
- Simon Schaerlaeken, Donald Glowinski, Didier Grandjean
- 2021
Sep 19, 2018 · Schippers H. (2006). “As if a little bird is sitting on your finger …”. Metaphor as a key instrument in the education of professional musicians. International Journal of Music Education, 24(3), 209–217.
Jan 1, 2010 · The metaphors satisfy the two basic conditions for mixed metaphor: (1) they occur in textual adjacency, i.e. within a single metaphor cluster, and (2) they do not (for the most part) share any imagistic ontology or any direct inferential entailments between them. Mixed metaphors like these have traditionally posed a challenge to theorists.
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Abstract Two common themes emerge in our writings over the past several decades. Estelle Jorgensen has focused partially and significantly on models and metaphors that undergird music education.1 Iris Yob has examined the role of higher education generally and music education specifically in creating positive social change.2 At times, and against the backdrop of recent writing on music ...
