Hostname: page-component-7dd5485656-k8lnt Total loading time: 0 Render date: 2025-10-31T14:16:00.924Z Has data issue: false hasContentIssue false
  • English
  • Français

Kinaesthesia in Music and its Implications for Developments in Microtechnology

Published online by Cambridge University Press:  18 December 2008

Anthony Kemp
Get access Rights & Permissions [Opens in a new window]

Extract

This paper takes the view that kinaesthesia, processes involving neuro muscular sensation, should be the central and unifying component in any psychological model for music learning. It maintains that engagement in music activities, which consciously encourages the processes of kinaesthesia, helps to bring about the closer association of thinking and feeling. The paper develops the notion that this form of musical ‘knowing’, which is based on the interrelationships between muscular, perceptual and cognitive awareness, is the essential ingredient of musically sensitive and imaginative behaviour. Having established these principles, the paper explores those recent developments in music microtechnology which appear to support and develop these processes.

Information

Type
Research Article
Information
British Journal of Music Education , Volume 7 , Issue 3 , November 1990 , pp. 223 - 229
Copyright
Copyright © Cambridge University Press 1990

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

Cattell, R. B. (1973) Personality and Mood by Questionnaire. San Francisco: Jossey-Bass.Google Scholar
Gardner, H. (1983) Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books.Google Scholar
Kemp, A. E. (1981) The personality structure of the musician. II. Identifying a profile of traits for the composer. Psychology of Music, 9, 2, 69–75.CrossRefGoogle Scholar
Kemp, A. E. (1983) Considering the Mind's Ear. London: Curwen Institute.Google Scholar
Kemp, A. E. (1984) Carl Orff: a seminal influence in world music education. International Journal of Music Education, 3, 62–4.Google Scholar
Kemp, A. E. (1986) Microtechnology in music education: possibilities and implications for the curriculum. International Journal of Music Education 8, 39–42.CrossRefGoogle Scholar
Kemp, A. E. & Finney, J. (1989) Music and the performing arts in the curriculum. In Brookes, K. and Stewart, A. (Eds), British Music Education Yearbook 1989/90. London: Rhinegold.Google Scholar
Swanwick, K. (1989) Opening Address at the British Music Educators Conference, Huddersfield, 07/08 1989.Google Scholar