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Turning music theory on its ear Do we hear what we see; Do we see what we say?

Turning music theory on its ear Do we hear what we see; Do we see what we say? JEANNE BAMBERGER TURNING MUSIC THEORY ON ITS EAR Do we hear what we see; Do we see what we say? Revisiting some of the hundreds of children's drawings of simple rhythms and melodies that I have collected over the years, I found myself marveling all over again at how it is we ever learn to turn the continuous flow of our own singing or our inner, bodily feel for continuous, rhythmic actions - clapping, bouncing a ball, swinging on the park swing - into static, discrete descriptions that hold still to be looked at "out there." I continue to be fascinated by children's spontaneous invention of notations because they show the complexity of this conceptual work and the evolution of leaming involved as it is happening. Sometimes this complexity emerges by comparing one child's work with that of another's, and sometimes it can be seen in watching one child as from moment-to-moment she transforms for herself the very meaning of the phenomena she is working with (Bamberger, 1991 a). But in looking back at all these drawings, I was struck once again by how easy it is to miss these marvelous transformations from action into description if we limit http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png "Technology, Knowledge and Learning" Springer Journals

Turning music theory on its ear Do we hear what we see; Do we see what we say?

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References (12)

Publisher
Springer Journals
Copyright
Copyright
Subject
Education; Learning and Instruction; Mathematics Education; Educational Technology; Science Education; Creativity and Arts Education
ISSN
2211-1662
eISSN
1573-1766
DOI
10.1007/BF00191471
Publisher site
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Abstract

JEANNE BAMBERGER TURNING MUSIC THEORY ON ITS EAR Do we hear what we see; Do we see what we say? Revisiting some of the hundreds of children's drawings of simple rhythms and melodies that I have collected over the years, I found myself marveling all over again at how it is we ever learn to turn the continuous flow of our own singing or our inner, bodily feel for continuous, rhythmic actions - clapping, bouncing a ball, swinging on the park swing - into static, discrete descriptions that hold still to be looked at "out there." I continue to be fascinated by children's spontaneous invention of notations because they show the complexity of this conceptual work and the evolution of leaming involved as it is happening. Sometimes this complexity emerges by comparing one child's work with that of another's, and sometimes it can be seen in watching one child as from moment-to-moment she transforms for herself the very meaning of the phenomena she is working with (Bamberger, 1991 a). But in looking back at all these drawings, I was struck once again by how easy it is to miss these marvelous transformations from action into description if we limit

Journal

"Technology, Knowledge and Learning" – Springer Journals

Published: Jul 11, 2004

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