Experiential and theoretical approach to the interactions between listening music and performing music with elements of music pedagogy and musical psychology. This course aims at exploring the two-way relationship between performing music and listening. The objectives of the course include the students' well-kinetic and perceptual education, achieved by following the theoretical lectures, participating in the experiential applications, analyzing the relevant literature and examining / evaluating after the end of the semester. Students will be able to organize their artistic presentations taking into account both their own needs and perceptions as well as their listeners / viewers. They will also get acquainted with exposure to the public. They will gain better knowledge and use of the necessary vocabulary to describe and analyze musical performances.
Course Content (Syllabus)
The music performer is traditionally conceived as “active” while the listener “passive”; that is not necessarily accurate.
The «passive» listener creates her/his own perception of the attended performance while the «active» performer, through the entirety of her/his presence, gives away much more than just the sound of a musical instrument or a voice. The bipolarity of the relationship between performer and listener guides the discussion on two main axes: on the one hand, the preparation of a performance from the perspective of the performer and, on the other hand, the process of attentive music listening.
The semester begins with lectures- discussions and musical material selection, followed by open interactive rehearsals and presentation of an accompanying written essay to conclude with a final presentation in the form of a concert.
During the last decades, scientific studies have produced ample evidence that music perception and performance influences the human brain and its development. The above findings confirm the critical importance of early introduction of musical stimuli to the developing child. They also demonstrate why musical activities differ from other cognitive activities as well as the essential role music education can play in a rounded development of the individual.
Whether referring to singing or instrumental playing, musical performance demands body control and precision of a high degree. The musician must make several choices every second and act upon them continuously, for longer periods of time. This combination renders music unique also in the educational practice.In this course, students have the opportunity to experience the preparation, presentation and development of their musical performance within a project.
Additional bibliography for study
Gardner, H. (1983). Frames of mind: the theory of multiple intelligences. Basic Books, New York
Green, B. & Galley, W.T. (1986). The Inner Game of Music. Pan Macmillan, London
Parncutt R. & McPherson G. E. (eds.) (2002). The science and psychology of music performance: creative strategies for teaching and learning. Oxford University Press, New York.
Van den Hoek, M. (2005). Ους & Οφθαλμός: Η τέχνη της μουσικής ακρόασης. Εκδόσεις Φυτράκη, Αθήνα
Hallam, S. (2006). Music psychology in education. Bedford Way Papers, London
Harris, M. (2009). Music and the young mind: enhancing brain development and engaging learning. Rowman & Littlefield Education, Lanham
Jensen, E. (2001). Arts with the brain in mind. ASCD, Virginia
Levitin, D. J. (2007). This is your brain on music: the science of a human obsession. Dutton, London
Perez, I. & Zattore, R. J. (eds.) (2003). The cognitive neuroscience of music. Oxford University Press, New York
Patel, A. D. (2008). Music, language and the brain. Oxford University Press, New York
Sloboda, J. (2005). Exploring the musical mind: cognition, emotion, ability, function. Oxford University Press, New York