語系:
繁體中文
English
說明(常見問題)
回圖書館首頁
手機版館藏查詢
登入
回首頁
到查詢結果
[ subject:"Pedagogy." ]
切換:
標籤
|
MARC模式
|
ISBD
Learning to Listen: Musical Hearing ...
~
Ballance, Sara Elisabeth.
FindBook
Google Book
Amazon
博客來
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century./
作者:
Ballance, Sara Elisabeth.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:
290 p.
附註:
Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
Contained By:
Dissertation Abstracts International78-12A(E).
標題:
Music. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10600366
ISBN:
9780355271515
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century.
Ballance, Sara Elisabeth.
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century.
- Ann Arbor : ProQuest Dissertations & Theses, 2017 - 290 p.
Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
Thesis (Ph.D.)--University of California, Santa Barbara, 2017.
This dissertation examines the construction of skilled musical listening in the nineteenth century through the interrelated lenses of musical aesthetics, pedagogy, and scientific inquiry. I argue that over the course of the century, the ability to hear music in detailed and analytical ways superseded skills of performance as a central hallmark of musicality. This contradicted earlier models of musicality that centered on the production of musical sound, and also revised eighteenth-century beliefs that a "musical ear" was a fixed characteristic that a person either had or did not. What developed during the nineteenth century was a nuanced definition of the musical ear, along with a belief that a person could, and must, develop one through systematic training. I show that these ideals of listening emanated in part from mid-century conservative musical aesthetics. However, they were also enabled by scientific advances in the study of sensation and perception and translated into practice through the emerging discipline of ear training.
ISBN: 9780355271515Subjects--Topical Terms:
516178
Music.
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century.
LDR
:02827nmm a2200313 4500
001
2154943
005
20180426101949.5
008
190424s2017 ||||||||||||||||| ||eng d
020
$a
9780355271515
035
$a
(MiAaPQ)AAI10600366
035
$a
(MiAaPQ)ucsb:13482
035
$a
AAI10600366
040
$a
MiAaPQ
$c
MiAaPQ
100
1
$a
Ballance, Sara Elisabeth.
$3
3342682
245
1 0
$a
Learning to Listen: Musical Hearing and the Construction of Musicality in the Nineteenth Century.
260
1
$a
Ann Arbor :
$b
ProQuest Dissertations & Theses,
$c
2017
300
$a
290 p.
500
$a
Source: Dissertation Abstracts International, Volume: 78-12(E), Section: A.
500
$a
Adviser: David C. Paul.
502
$a
Thesis (Ph.D.)--University of California, Santa Barbara, 2017.
520
$a
This dissertation examines the construction of skilled musical listening in the nineteenth century through the interrelated lenses of musical aesthetics, pedagogy, and scientific inquiry. I argue that over the course of the century, the ability to hear music in detailed and analytical ways superseded skills of performance as a central hallmark of musicality. This contradicted earlier models of musicality that centered on the production of musical sound, and also revised eighteenth-century beliefs that a "musical ear" was a fixed characteristic that a person either had or did not. What developed during the nineteenth century was a nuanced definition of the musical ear, along with a belief that a person could, and must, develop one through systematic training. I show that these ideals of listening emanated in part from mid-century conservative musical aesthetics. However, they were also enabled by scientific advances in the study of sensation and perception and translated into practice through the emerging discipline of ear training.
520
$a
Throughout the project, I consider this new emphasis on analytical listening in the context of larger aesthetic and cultural concerns. In particular, I ask who was excluded from a definition of musicality based on idealized aurality. As the conceptual boundary between musical and unmusical shifted from the production of music to an internal, unseen process of perception, beliefs about listening reinforced the idea that true aesthetic creativity was determined by identity as much as skill. In particular, across multiple discourses, women were judged to be unmusical by their perceived inability to listen. In this way, I interpret musical listening in the nineteenth century as a historicized perceptual process that mediated between social, scientific, and aesthetic concerns.
590
$a
School code: 0035.
650
4
$a
Music.
$3
516178
650
4
$a
Pedagogy.
$3
2122828
690
$a
0413
690
$a
0456
710
2
$a
University of California, Santa Barbara.
$b
Music.
$3
1025024
773
0
$t
Dissertation Abstracts International
$g
78-12A(E).
790
$a
0035
791
$a
Ph.D.
792
$a
2017
793
$a
English
856
4 0
$u
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10600366
筆 0 讀者評論
館藏地:
全部
電子資源
出版年:
卷號:
館藏
1 筆 • 頁數 1 •
1
條碼號
典藏地名稱
館藏流通類別
資料類型
索書號
使用類型
借閱狀態
預約狀態
備註欄
附件
W9354490
電子資源
11.線上閱覽_V
電子書
EB
一般使用(Normal)
在架
0
1 筆 • 頁數 1 •
1
多媒體
評論
新增評論
分享你的心得
Export
取書館
處理中
...
變更密碼
登入