Abstract
Performance/analysis discourse has largely overlooked one crucial area of potential relationship; that between music analysis and music education. After assessing the notion that music analysis may help performance teachers to fulfil their role as music educators, this article presents a study which would begin to assess (a) the effects of an analytical approach on one-to-one instrumental lessons, and (b) the general attitudes of performance teachers towards music analysis, continuing on to suggest ways in which music analysis and instrumental teaching might be integrated.
|
Aiello, R. , & Williamon, A. (2002). Memory. In R. Parncutt , & G. McPherson (Eds.), The science and psychology of music performance: Creative strategies for teaching and learning (pp. 167-181). Oxford: Oxford University Press. Google Scholar | Crossref | |
|
Aitken, H. (1997). The piece as a whole: Studies in holistic musical analysis. Westport, CT: Praeger Publishers. Google Scholar | |
|
Berry, W. (1989). Musical structure and performance. Yale, CT: Yale University Press. Google Scholar | Crossref | |
|
Burwell, K. , Young, V. , & Pickup, D. (2003, April). Taking the lead: The development of student as reflective practitioner in instrumental lessons at H.E. level. Paper presented at the Research in Music Education Conference, Exeter, UK. Google Scholar | |
|
Cook, N. (1999). Analysing performance, and performing analysis. In N. Cook, & M. Everist, Rethinking Music (pp. 239-261). Oxford: Oxford University Press. Google Scholar | |
|
Dunsby, J. (1995). Performing music: Shared concerns. Oxford: Clarendon Press. Google Scholar | |
|
Durrant, C. , & Welch, G. (1995). Making sense of music: Foundations for music education. London: Cassell. Google Scholar | |
|
Gagné, R. (1985). The conditions of learning and theory of instruction (4th ed.). New York: Holt-Saunders International Editions. Google Scholar | |
|
Hallam, S. (1998). Instrumental teaching: A practical guide to better teaching and learning. Oxford: Heinemann Educational Publishers. Google Scholar | |
|
Hargreaves, D. (1996). The developmental psychology of music: Scope and aims. In G. Spruce, Teaching music (pp. 49-62). London: Routledge. Google Scholar | |
| Hepler, L. E. (1986). The measurement of teacher/student interaction in private music lessons and its relation to teacher field dependence/independence, Dissertation Abstracts International, 47, 2939-A. Google Scholar | |
|
Howell, T. (1992). Analysis and performance: The search for a middleground. In J. Paynter , T. Howell , R. Orton , & P. Seymour (Eds.), Companion to contemporary musical thought, Vol. II (pp. 692-714). London: Routledge. Google Scholar | |
|
Howell, T. (1996). Musical analysis: Back to basics? British Journal of Music Education, 13(2), 123-134. Google Scholar | Crossref | |
|
Kolb, D. (1984). Experiential learning: Experience as the source of learning and development. Englewood Cliffs: Prentice-Hall. Google Scholar | |
|
Langer, S. (1942). Philosophy in a new key. Cambridge, MA: Harvard University Press. Google Scholar | |
|
Lerdahl, F. , & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press. Google Scholar | |
|
Lester, J. (1998). How theorists relate to musicians. Music Theory Online, 4(2). Retrieved 1 December 2000 from www.societymusictheory.org/mto Google Scholar | |
|
Mawer, D. (1999). Bridging the divide: Embedding voice-leading analysis in string pedagogy and performance. British Journal of Music Education, 16(2), 179-195. Google Scholar | Crossref | |
|
Meyer, L. (1956). Emotion and meaning in music. Chicago: University of Chicago Press. Google Scholar | |
|
Meyer, L. (1973). Explaining music. Berkeley and Los Angeles, CA: University of California Press. Google Scholar | |
|
Narmour, E. (1988). On the relationship of analytical theory to performance and interpretation. In E. Narmour , & R. Solie (Eds). Explorations in music, the arts, and ideas (pp. 317-340). Stuyvesant, NY: Pendragon Press. Google Scholar | |
|
Nattiez, J. (1987). Music and discourse: Towards a semiology of music. Princeton, NJ: Princeton University Press. Google Scholar | |
|
Persson, R. S. (1994). Control before shape - on mastering the clarinet: A case study on commonsense teaching, British Journal of Music Education, 11(3), 223-238. Google Scholar | Crossref | |
|
Plummeridge, C. (1991). Music education in theory and practice. London: Falmer. Google Scholar | |
|
Repp, B. (1992). Diversity and commonality in music performance: An analysis of timing microstructure in Schumann’s ‘Träumerei’, Journal of the Acoustical Society of America, 92(5), 2546-2568. Google Scholar | Crossref | Medline | ISI | |
|
Rink, J. (1990). Review of Berry: Musical structure and performance. Music Analysis, 9(3), 319-339. Google Scholar | Crossref | ISI | |
|
Rink, J. (2002). Analysis and (or?) performance. In J. Rink (Ed.), Musical performance: A guide to understanding (pp. 35-58). Cambridge: Cambridge University Press. Google Scholar | Crossref | |
|
Schmidt, C. (1989). Individual differences in perception of applied music teaching feedback. Psychology of Music, 17(2), 110-122. Google Scholar | SAGE Journals | |
|
Siebenaler, D. (1997). Analysis of teacher-student interactions in the piano lessons of adults and children. Journal of Research in Music Education, 45(1), 6-20. Google Scholar | SAGE Journals | ISI | |
|
Swanwick, K. (1999). Teaching music musically. London: Routledge. Google Scholar | Crossref | |
|
Tait, M. (1992). Teaching strategies and styles. In R. Cowell (Ed.), Handbook of research on music teaching and learning (pp. 525-534). New York: Schirmer. Google Scholar | |
|
Vaughan, V. (2002). Music analysis in the practice room. British Journal of Music Education, 19(3), 255-268. Google Scholar | Crossref | |
|
Ward, V. (2004). Good performance, music analysis and instrumental teaching: Towards an understanding of the aims and objectives of instrumental teachers. Music Education Research, 6(2), 191-215. Google Scholar | Crossref |

