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Musical canon --- Fugue --- Canons, fugues, etc --- Bach, Johann Sebastian,
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Pourquoi mettre la musique en répertoire ? Que recherchaient les acteurs de la vie musicale dans ce terme emprunté au théâtre et omniprésent dans le discours des musiciens eux-mêmes depuis la seconde moitié du XVIIIe siècle ? Que change le répertoire à la perception et à la conception de la musique ? Notion polymorphe aux significations historiques complexes, le répertoire exige une approche au croisement de l'histoire, de la musicologie et de la philosophie une esthétique. Remis au coeur de la pensée de la musique, le répertoire devient la pierre angulaire d'une refondation du concept d'oeuvre musicale. En faisant tomber les paradoxes temporels de l'oeuvre, le répertoire permet de penser une temporalité proprement musicale où le classique n'est plus l'imitation extérieure d'un canon. Grâce au répertoire, l'oeuvre plastique n'est désormais plus le modèle de l'oeuvre musicale.
Music --- Musical canon --- Music appreciation --- Musique --- Répertoire classique --- Philosophy and aesthetics --- Philosophie et esthétique --- Appréciation --- Répertoire classique --- Philosophie et esthétique --- Appréciation --- Music appreciation. --- Muziek --- Composition (Music) --- Filosofie en esthetica
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There is no question that music education is in crisis today. The place of music in the national curriculum is controversial; there have been cuts in the provision of individual lessons; and there have been severe reductions in government funding, with more planned. This book, containing the first five Bernarr Rainbow Lectures, makes an important and timely contribution to the debate on music education. Baroness Warnock brings the perspective of a distinguished philosopher to bear on issues about the nature of music and its study; Lord Moser urges us to maintain and expand what has been achieved since World War II; the late Professor John Paynter, responsible for the 1960s surge in creative approaches to music teaching, presents his case in two contributions; John Stephens discusses structures for music teaching and then, in a second contribution, brings everything up to date; and Professor Gavin Henderson traces his own colourful career and supports music for all ages. Also included is the 2005 Royal Philharmonic Society by the Master of the Queen's Music, Sir Peter Maxwell Davies; an assessment from Bernarr Rainbow himself, written late in his life; an indictment from Wilfrid Mellers; and two reviews of Bernarr Rainbow on Music: Memoirs and Selected Writings, showing the continuing importance of his work fifteen years after his death. This book is part of the series Classic Texts in Music Education, edited by Professor Peter Dickinson, and supported by the Bernarr Rainbow Trust. Peter Dickinson is a British composer, writer and pianist and authorand editor of books on Lennox Berkeley, Copland, Cage, Barber and Berners.
School music --- Music --- Education, Musical --- Music education --- Musical education --- Musical instruction --- Instruction and study --- Instruction and study. --- Study and teaching --- History. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Commercial Expansion. --- Contemporary Issues. --- Crisis. --- Educational Policy. --- Government Funding. --- Individual Lessons. --- Music Education. --- Music Nature. --- Musical Canon. --- National Curriculum. --- Philosophical Perspective. --- Study of Music.
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