Joseph O'Connor The Structure Of Musical Talent (NLP)

Podstrony

[ Pobierz całość w formacie PDF ]
.I think this process of identifying chord types by feel, followed by aspatial and visual check can be used for any type of chord.The process of giving students an immediate way of recognising major and minorchords is shown on the video.1) Play a root position major triad and a root position minor triad and systematically gothrough the possible distinctions: feeling, taste, picture, brightness or colour, kind of8person.Do not suggest specific answers.The process that the teacher uses to distinguishthe chords will not necessarily work for every student.2) When you have made all the distinctions, go through a number of closed positionpaired major and minor triads saying which one is which and inviting the student to findthe distinction that works best for them.After a number of these trials, you can tryplaying the two and inviting the student to distinguish which is which.Lastly play asingle chord and ask them which it is.From there you can go into inversions.The spatialcheck comes later with the explanation of how the chords are formed.This work needs time to be tested and evaluated by many teachers.I would inviteyou to try them as another choice in the ways you have for doing aural training and Iwelcome any feedback about where these ideas work, where they do not work, and howthey might be refined.The method used to obtain these results is also important, andforms an integral part of the whole project.Take people who excel in the field youwish to study.Observe, question, and notice the ways their replies are phrased.Particularly notice the non-verbal signals such as eye movements.These are powerfultools to give a greater understanding of any thought process.I believe this method hasgreat potential in education, it has already been used in such fields as psychotherapy,communication and business with excellent results." All this fires my soul, and provided I am not disturbed, my subject enlarges itself,becomes methodised and defined, and the whole, though it be long, stands almostcomplete and finished in my mind, so that I can survey it like a fine picture or a beautifulstatue at a glance.Nor do I hear in my imagination the parts successively, but I hear themas it were, all at once.What a delight this is I cannot tell!" (From a letter Mozart wrote in1789, quoted in E.Holmes 1878)AcknowledgementsI would like to thank David and Leora Gaster, whose advice and encouragementthroughout the project were invaluable.I would also like to thankRobert Dilts who watched the videos and helped us to interpret the results.Thanks to Jonathan Varcoe, director of music at St.Paul's School, and Nicholas Chisolm,Head of the Menuhin school for their hospitality in allowing me to conduct theinterviews.The research was funded by:Sundridge Park Management CentrePlaistow Lane,Bromley, Kent,BR1 3TPMy thanks particularly to Justin Benn, from St.Paul's School and Malcolm Alison of theMenuhin School for permission to use sections of the interviews on this video.Also to Adrian Baulch and Rebecca Hickson who took part in the trial individual lessons,and Sarah Harrison, Rebecca Hickson, Abigail Lock, John Morrison, Nicholas Vardy andAdam Hicks, who took part in the group lesson.9I would like to thank all the students who took part in this project:Justin Benn, Ralph Varcoe, Daniel Lashbrook, Boris Hunka, James Seaward, JeremyBowyer, Simon Mulligan, James Martin, Christopher Allsop, Michael Holland, AdrianMartineau, and Alexander Cameron from St.Paul's School.and:Rebecca Shaw, Sophy Holmes, Malcolm Alison, David Le Page,and Aleksey Igudesman from the Menuhin School.ReferencesD.Galin and R.Ornstein, Individual Differences in Cognitive Style - Reflective EyeMovements, Neuropsychologia 1974 Volume 12 pp.376 -397M.Kinsbourne, Eye and Head Turning Indicates Cerebral Lateralisation, Science 1791976 pp.539 -541George Miller, The Magical Number Seven, Plus or Minus Two, Psychological ReviewVolume 83 1957E.Holmes, The Life of Mozart, Including His Correspondence, Chapman & Hall 1878Joseph O'Connor, Not Pulling Strings, Lambent Books 1987� Lambent Books 198910 [ Pobierz całość w formacie PDF ]

zanotowane.pl

doc.pisz.pl

pdf.pisz.pl

bezglutenowo.pev.pl