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Gordon music learning theory. Gordon music-learning theory is a model for music education based on Edwin Gordon's research on musical aptitude and achievement in the greater field of music learning theory. [1][2] The theory is an explanation of music learning, based on audiation (see below) and students' individual musical differences.
Music education is a field of practice in which educators are trained for careers as elementary or secondary music teachers, school or music conservatory ensemble directors. Music education is also a research area in which scholars do original research on ways of teaching and learning music. Music education scholars publish their findings in ...
v. t. e. Semiotics (/ ˌsiːmiˈɒtɪks, ˌsɛm -, - maɪ -/ SEE-mee-OT-iks, SEM-, -my-) is the systematic study of sign processes and the communication of meaning. In semiotics, a sign is defined as anything that communicates intentional and unintentional meaning or feelings to the sign's interpreter.
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
In modern academia, music theory is a subfield of musicology, the wider study of musical cultures and history. Music theory is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonance, and rhythmic relationships. In addition, there is also a body of theory concerning practical aspects ...
Contemporary music pedagogies emphasize sound before sight, or the idea that in order to develop an understanding of music and music notation, individuals must first become comfortable with listening to, singing, and performing tonal and rhythm patterns before reading and writing music. [19] [20] [21] Modern studies by Luce (1965), McPherson ...
Aesthetics of music is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. [1] In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization.
Following Roman Jakobson, Kofi Agawu adopts the idea of musical semiosis being introversive or extroversive—that is, musical signs within a text and without. [1] ". Topics", or various musical conventions (such as horn calls, dance forms, and styles), have been treated suggestively by Agawu, among others. The notion of gesture is beginning to ...