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Reflections on the sequence of musical development

Reflections on the sequence of musical development Abstract The sequence of musical development is revisited. The origins of the underlying and evolving theory are considered, along with organisation and classification of the data of children’s compositions. The cumulative and recursive nature of the spiral is re-emphasised, and the dynamic relationship between the left and right side is clarified. The essential qualitative nature of the study is asserted and some possibilities for the future are considered, along with a two-dimensional model for curriculum and student evaluation based on spiral-related outcomes and the musical activities that promote and sustain them. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png British Journal of Music Education Cambridge University Press

Reflections on the sequence of musical development

British Journal of Music Education , Volume 39 (1): 7 – Mar 1, 2022

Reflections on the sequence of musical development

sThe contextsIt is indeed a pleasure and privilege to contribute to this celebration of 35 years since the publication of this article by June Tillman and myself (Swanwick & Tillman, 1986). This study involved many hours of work with children, much focussed thinking and a great deal of cooperation. We knew at the time that it might create a stir. When the article was first submitted, among the responses from the editorial board were those that were highly favourable, with comments, such as ‘this is what we have been waiting for’, to ‘this should certainly be published - but’. Among other worries the ‘but’ seemed to question the effect such a model might have on the then ‘creativity movement’ and subsequently we both had long discussions with one colleague who was worried about codifying the compositions of children in this way. My co-editor of BJME at the time seemed concerned that this study may have moved into his territory. In general though, music educators seemed to think that there was something here to which they could relate.sDo we need a map of musical development?sFor a great deal of musical activity, reference to any kind of developmental scheme may well be unnecessary, inappropriate. The author is old enough to have many young relatives. One of them just wants to compose but mainly perform pop and rock songs in a group. Another is an extrovert performer in many settings. A third at one time unhappily nursed a bassoon in the school orchestra and gave it up as soon as possible: he now makes his own music electronically. Yet another has no wish to perform or compose: she really wants to be a pop music journalist. Each finds their own way informally with minimum instruction, and there is no obvious need for complicated models of musical development, even though we might recognise development when we hear it.sHowever, when teaching is involved, when someone is ‘signed up’ into a music...
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Publisher
Cambridge University Press
Copyright
© Cambridge University Press 2022
ISSN
1469-2104
eISSN
0265-0517
DOI
10.1017/S0265051721000279
Publisher site
See Article on Publisher Site

Abstract

Abstract The sequence of musical development is revisited. The origins of the underlying and evolving theory are considered, along with organisation and classification of the data of children’s compositions. The cumulative and recursive nature of the spiral is re-emphasised, and the dynamic relationship between the left and right side is clarified. The essential qualitative nature of the study is asserted and some possibilities for the future are considered, along with a two-dimensional model for curriculum and student evaluation based on spiral-related outcomes and the musical activities that promote and sustain them.

Journal

British Journal of Music EducationCambridge University Press

Published: Mar 1, 2022

Keywords: Musical development; cumulative layers; materials; expression; form; Piaget

References