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Attitudes in Music Education
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Transcript of Attitudes in Music Education
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A report by:
Arielle Baltazar Estefani
II-17 BSE Music Ed.
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One of the most important goals of music
education is the development of positive
attitudes towards music.A teacher can win the battle but lose the
war: if the students are taught cognitive
knowledge and listening skills but end
up disliking music and avoidingwhenever they can.
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II. How attitudes are formed?II. How attitudes are formed?
y Process of association and reinforcement
y The idea of When in Rome, do whatRomans do.
y Consistency in what they encounter
y Feelings towards ones country
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III. Factors affecting attitudeIII. Factors affecting attitudeformationformation
y Family/early contacts
y Teachersy Friends
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IV. Music Instruction and AttitudeIV. Music Instruction and AttitudeFormationFormation
yAttitudes are caught, not taught.
y Limited opportunities to influencestudents.
y Familiarization and comparison
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V. Creativityy Factors (J.P. Guilford)
y Fluency
y The ease with which people can make associations of words or ideas.
y Flexibility
y Involves changing procedures to solve a problem.
y Originality
y A trait involving the ability to think in unusual ways, to see
relationships that others have not seen, and to think of new anddifferent uses for ideas and objects.
y Divergent thinking
y Barron (1969)
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V. Creativityy Four traits of creative persons (John Gardner)
y Openness
y A receptivity to all the sights, sounds, and ideas that oneencounters and to ones own inner feelings.
y Independence
y The ability to be free from social pressures and to questionassumptions
y Flexibility
y The willingness to try ideas and the ability to tolerate internalconflict and to suspend final judgment.
y Capacity to find order in experience
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y Stages in creative behavior (Margery Vaughan)y Acquisitional/precreative
y Basic information and skills are acquired and assimilated.
y
Combinationaly Ideas are shuffled and alternatives considered.
y Developmentaly Insights and intuitions bring forth significant new ideas
y Synergisticy Creative efforts combine with needs and desires of the society
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y Major aspects of the creative process (Sylvia Farnham-Diggory)y Intuition of an order
y
An organization of elements is possible.y Combinational play and self-testing
y Trial organizations are attempted.
y Styles of orderingy Refers to as puzzle forms by Jerome Bruner.
y Virtually, every creative effort contains large doses ofexisting ideas and practices.
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y In Websters model, theword imagery refers to
the ability to imaginevarious aspects of soundsin the mind.
y The box in the center of
the figure presents thestages involved in thecreative process asWebster envisages them.
Websters Model ofcreative thinking in music.
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Plain hard work
10% talent, 90% perspiration
Right place at the right time Personality and the age in which the person
lived
Technological or cultural developments
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VIII. VALUES OF CREATIVITY
Allows and encourages individuals to try out
their own musical ideas.
Provides motivation.
Lets the students learn music better.
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IX. Fostering Creativity
It is not unreasonable to argue thatcreativity is fostered best when people aresubject to restrictions and demands.
Structure (or restrictions, depending onhow you want to look at it) is not harmful tocreativity, and in fact may contribute to it.
Creative efforts appear to be more a matter
of a mental inclination and outlook than ofa technique, although techniques arecertainly desirable.
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IX. Fostering Creativity
Creativity in music is largely an
individual matter.
It is the establishment of the right
atmosphere that appears to be more
significant.
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The interactions of individuals with
society have an important impact on the
culture, when in turn affects the efforts ofmusic teachers. If there are no attitudes
or self-images, no conformist behavior, or
no competitive situations, music teachers
would find their work very different fromwhat it is today.
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Because music teachers can build on
some of these social psychological
factors, and because in other instancesthey can reduce the detrimental effects
of other factors, music educators would
be more effective in their planning and
teaching if they applied informationdrawn from social psychology.
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Foundations of Music Education
By Harold F. Abeles, Charles F. Hotter,and
Robert H. Klotman