By J. Jean Robertson
The Renaissance proved to be a time of serious transformation of the artist as they got here to occupy a distinct position in society, for paintings was once changing into greater than only a craft. The French time period Renaissance emerged within the nineteenth century and used to be used to explain a whole interval of rebirth. Artists of this time regarded again to these prior to them whereas incorporating a better experience of sunshine and colour via new mediums. This identify will let scholars so one can clarify occasions, approaches, rules, or ideas in a ancient textual content, together with what occurred and why, in keeping with particular details within the textual content.
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The Politics of Composition, Performance and Reception, Cambridge: Cambridge University Press. 2 Finding the future in the past Historical perspectives on music education Stephanie E. Pitts Historical Teaching perspectives Music inonsecondary music education schools Introduction: why study the history of music education? For those embarking on a teaching career, it is almost instinctive to engage in historical research. New teachers will look back at their own music education, whether for inspiration or out of a determination not to replicate apparent shortcomings, and will compare contemporary practice with what they remember from their own school days.
1900–35 The beginning of the twentieth century was a time of limited and utilitarian secondary education, where rote learning and firm discipline characterized schooling for those who could afford to attend. Music was largely confined to singing, learning sol-fa and staff notation, and listening to the works of the ‘great composers’. Teachers and inspectors such as MacPherson (1922; 1923), Somervell (1931) and Scholes (1935) were amongst those who promoted the more systematic teaching of music, placing emphasis on children’s acquisition of musical knowledge through singing and listening.
Accompanying the practical developments in music education was an increased tendency to theorize about its nature and purpose, with Swanwick (1979) amongst those seeking a ‘conceptual framework’ within which to evaluate classroom practice. 1980 and beyond The final decades of the twentieth century saw the continued growth of theoretical and practical innovations in music education, assisted by the introduction of the General Certificate of Secondary Education (GCSE) in the mid-1980s. The trinity of composing, performing and listening was established as the foundation of the examination syllabus, providing official credence for the only recently-accepted innovations of the classroom.
A Look at Renaissance Art by J. Jean Robertson