Why Music Matters to Adolescents

2020 ◽  
pp. 221-236
Author(s):  
Elizabeth Cassidy Parker
Keyword(s):  
Philosophical Perspective ◽  
Making Meaning ◽  
Sense Of Competence ◽  
Special Events ◽  
Music Making ◽  
Adolescent Experience

Chapter 10 proposes one philosophical perspective on why adolescents make music. Using Ellen Dissanayake’s writings, five intersections are described that connect art and the adolescent experience, namely, (1) mutuality, (2) belonging and acceptance, (3) finding and making meaning, (4) acquiring a sense of competence, and (5) elaboration. Each intersection weaves adolescents words and understandings to form a philosophy of adolescent music-making. At the end of the chapter, ritualization is introduced to explain how adolescents make their music-making special. Adolescents tell about annual traditions and special events that evoke powerful memories At the end of the chapter, a figure is presented for realizing relationships between and among music-makers.

Making Meaning and Growth Following September 11th

2006 ◽  
Author(s):  
Crystal L. Park ◽  
Carolyn M. Aldwin ◽  
Juliane R. Fenster ◽  
Leslie Snyder
Keyword(s):  
September 11Th ◽  
Making Meaning

Making Meaning of Body Image Experiences for Development

2012 ◽  
Author(s):  
Pamela A. Sarigiani ◽  
Phame M. Camarena ◽  
Rebecca M. Markel ◽  
Danielle L. Rossman
Keyword(s):  
Body Image ◽  
Making Meaning

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

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