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- As an umbrella term, “the learned style” can be defined narrowly or broadly. In its narrow definition, it draws on prestigious techniques of imitative and invertible counterpoint, especially fugue and canon.
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This article considers the concepts of “learning style” and “learning strategy”. The former connotes an inbuilt trait which tends to remain fundamental to the way an individual approaches learning.
Eighteenth-century writers on music recognized a spectrum of learned styles. These included not only the imitative counterpoint characteristic of the fugue and the species counterpoint associated with a cappella polyphony, but also a broad range of other styles, such as strict style, church style, or stile antico, transmitted from specialist to ...
- Keith Chapin
- Publication
- 2014
- Book Section
- Why Is Musical Intelligence Important?
- How Do People with Musical Intelligence Learn?
- How to Improve Musical Intelligence
- References
Young students with this kind of intelligence can bring a wide range of skill sets into the classroom, including rhythm and a fondness for patterns. Gardner claimed that musical intelligence was akin to having higher linguistic intelligence. When playing an instrument, including the voice, the brain works at a high-functioning level, supporting abs...
Musical learning style refers to an individual’s capacity to understand and process sound, rhythm, patterns in sound, connections between sounds, and the ability to process rhymes and other aural information. People with solid musical intelligence have an aptitude for learning and playing musical instruments, identifying melodies and rhythms, singi...
There are definitely some people who are born with a natural musical ability. There are some remarkable examples, such as Anthony Thomas DeBlois. DeBlois is a blind boy with Autistic Spectrum Disorder, and incredibly, he knows how to play over 20 different musical instruments and can play over 8,000 compositions just from memory. The fact that one ...
Armstrong, T. (2009). Multiple intelligences in the classroom. Ascd. Cope, D. (1989). Experiments in musical intelligence (EMI): Non‐linear linguistic‐based composition. Journal of New Music Research, 18(1-2), 117-139. Cope, D. (1992). Computer modeling of musical intelligence in EMI. Computer Music Journal, 16(2), 69-83. Darling-Hammond, L. (2010)...
Active listening to music, featuring the discerning of sounds, musical structures, harmonies, and the interrelations between the sounds, is akin to contemplating complex ideas.
Oct 11, 2012 · Abstract. Implicit learning is a core process for the acquisition of a complex, rule-based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert ...
Oct 2, 2014 · Musical identities are defined as being performative, constantly evolving and negotiated across a range of social contexts. The chapter presents an exploration of three broad topics: the development of musical identities, individual differences in musical identities, and musical identities in applied settings.
