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How do we learn to make music, to sing and play — alone or together with others? This anthology explores the question through practices that center on musical imitation-based learning. It highlights the value of learning music ""by ear"" — through active listening and with the body as the primary in...

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Autori principali: Solli, Mattias, Aarø Engen, Dagrun Astrid, Finke, Ståle, Aksdal, Erling, Bandlien, Bjørn-Terje, Dalane, Petter, Frøysa, Jenny, Inderberg, John Pål, Jakobsen, Marte Therese, Kibirige, Ronald, Bilalovic Kulset, Nora, Baudouin Lie, Marianne, Skaaret, Gustav, Overvik Stuberg, Peder, Ølnes, Njål, Storløkken Åse, Amund
Natura: Online
Lingua:inglese
norvegese nynorsk
norvegese bokmål
Pubblicazione: Cappelen Damm Akademisk/NOASP (Nordic Open Access Scholarly Publishing) 2025
Soggetti:
aural imitation method, didactic design theory, musikalsk imitasjon, imitasjonslæring, planking, gehørbasert metodikk, estetiske læringsprosesser
thema EDItEUR::A The Arts::AV Music::AVA Theory of music and musicology
thema EDItEUR::A The Arts::AV Music::AVS Techniques of music / music tutorials / teaching of music
thema EDItEUR::J Society and Social Sciences::JN Education
thema EDItEUR::J Society and Social Sciences::JN Education::JNT Teaching skills and techniques
Accesso online:https://library.oapen.org/handle/20.500.12657/105087
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Riassunto:How do we learn to make music, to sing and play — alone or together with others? This anthology explores the question through practices that center on musical imitation-based learning. It highlights the value of learning music ""by ear"" — through active listening and with the body as the primary instrument. The chapters are written by musicians, educators, musicologists, pedagogues, and philosophers who share an interest in imitation-based learning and musical understanding across genres, traditions, and institutions. Drawing on recent research into pedagogical aspects of musicality development and creative interplay, the authors discuss: - the role of aural imitation in higher education, and its potential influence on learning environment, artistic research, and policy-making; - how teachers and music pedagogy students can engage younger learners with aural imitation in municipal music schools and through genre-transcending methods; - how Sub-Saharan African traditions emphasize embodied, interactive musicking and imitation as pathways to shared musical flow states; - how early imitation and rhythmic learning foster potent and open-ended musical learning later in life, as well as musical identities and communal bonds; - how an emphasis on aural imitation indirectly offers critical perspectives on ‘aesthetic learning processes’ in primary and secondary education; - and how different theoretical models of aural imitation can both reveal and obscure understandings of musicality as communicative, embodied, rhythmic, and relational practice. The book also includes an instructive pedagogical text and a QR code linking to a video demonstrating how to learn music through imitation.

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