Exploring musical interaction between a teacher and pupil, and her evolving musicality, using a music-theoretical approach

Research Studies in Music Education

Volumn 28, Issue 1, 2007, Pages 51-70

  Ockelford, Adam ^a,b  

^a Rushton School and Children's Home

^b SEMPRE (the Society for Education Music and Psychology Research)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61049510341     PISSN: 1321103X     EISSN: 18345530     Source Type: Journal    
DOI: 10.1177/1321103X070280010205     Document Type: Review

References (38)

1. Barrett, M.S. (2003). Meme engineers: Children as producers of musical culture. International Journal of Early Years Education. 11 (3). 195-212
2. Barrett, M.S. (2006). Inventing songs, inventing worlds: The 'genesis' of creative thought and activity in young children's lives. International Journal of Early Years Education. 14 (3). 201-220
3. Berliner, P.F. (1994). Thinking in jazz: The infinite art of improvisation. Chicago: The University of Chicago Press
4. Bernstein, L. (1976). The unanswered question. Cambridge, Massachusetts: Harvard University Press
5. Borthwick, A. (1995). Music theory and analysis: The limitations of logic. New York: Garland
6. Bregman, A.S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, Massachusetts: MIT Press
7. Cone, E.T. (1987). On derivation: Syntax and rhetoric. Music Analysis, 6, 237-255
8. Deutsch, D. (1999). Grouping mechanisms in music. In D. Deutsch (Ed.), The Psychology of Music (2 nd ed., pp. 299-348). New York: Academic Press
9. Deutsch, D., Henthorn, T., & Dolson, M. (2004). Absolute pitch, speech, and tone language: Some experiments and a proposed framework. Music Perception, 21 (3). 339-356
10. DeWitt, L.A. & Samuel, A.G. (1990). The role of knowledge-based expectations in music perception: Evidence from musical restoration. Journal of Experimental Psychology: General, 119, 123-144
11. Hamilton, R.H., Pascual-Leone, A., & Schlaug, G. (2004). Absolute pitch in blind musicians. NeuroReport, 15 (5). 803-806
12. Hargreaves, D. (1985). The developmental psychology of music. Cambridge: Cambridge University Press
13. Krumhansl, C. (1990). Cognitive foundations of musical pitch. New York: Oxford University Press
14. Mehta, A., & Dattani, M. (2004). Clinical aspects of septo-optic dysplasia. Eye Contact, 38, 5-7
15. Meyer, L. (1967). Music, the arts, and ideas. Chicago: The University of Chicago Press
16. Miller, O., & Ockelford, A. (2005). Visual needs. London: Continuum Press
17. Moog, H. (1976). The musical experiences of the pre-school child (C. Clarke, Trans.). London: Schott
18. Ockelford, A. (1988). Some observations concerning the musical education of blind children and those with additional handicaps. Paper presented at the 32 nd Conference of the Society for Research in Psychology of Music and Music Education (now 'SEMPRE') at the University of Reading
19. Ockelford, A. (1991). The role of repetition in perceived musical structures. In P. Howell, R. West, & I. Cross (Eds.), Representing musical structure (pp. 129-160). London: Academic Press
20. Ockelford, A. (1993). A theory concerning the cognition of order in music. Unpublished PhD dissertation: The University of London
21. Ockelford, A. (1998). Music moves: Music in the education of children and young people who are visually impaired and have learning difficulties. London: Royal National Institute for the Blind
22. Ockelford, A. (1999). The cognition of order in music: A metacognitive study. London: Roehampton Institute
23. Ockelford, A. (2002). The magical number two, plus or minus one: Some limits on our capacity for processing musical information. Musicæ Scientiæ, 6 (2). 177-215
24. Ockelford, A. (2003). Focus on music. Focal Points, 2 (3). Available from www.wisconsinmedicalsociety.org/savant/sodarticle.pdf
25. Ockelford, A. (2004). On similarity, derivation and the cognition of musical structure. Psychology of Music, 32 (1). 23-74
26. Ockelford, A. (2005 a). Repetition in music: Theoretical and metatheoretical perspectives. Aldershot: Ashgate
27. Ockelford, A. (2005 b). Relating musical structure and content to aesthetic response: A model and analysis of Beethoven's Piano Sonata Op. 110. Journal of the Royal Musical Association, 130 (1). 74-118
28. Ockelford, A. (2006 a). Implication and expectation in music: A zygonic model. Psychology of Music, 34 (4). 81-142
29. Ockelford, A. (2006 b). Using a music-theoretical approach to explore the impact of disability on musical development. In N. Lerner, & J. N. Straus (Eds.), Sounding off: Theorizing disability in music (pp. 137-155). New York: Routledge
30. Ockelford, A. (2007). In the key of genius: The extraordinary life of Derek Paravicini. London: Hutchinson
31. Ockelford, A., & Pring, L. (2005). Learning and creativity in a prodigious musical savant. In Proceedings of Vision 2005 Conference London, International Congress Series 1282, 903-907. Amsterdam: Elsevier
32. Ockelford, A., & Pring, L. (forthcoming). Exploring the exceptional musical abilities of Derek Paravicini. London: Royal National Institute of the Blind
33. Ockelford, A., Pring, L., Welch, G., & Treffert, D. (2005). Focus on music: Exploring the musical interests and abilities of blind and partially-sighted children with septo-optic dysplasia. London: Institute of Education
34. Ockelford, A., Welch, G., & Pring, L. (2005). Musical interests and abilities of children with septo-optic dysplasia. In Proceedings of Vision 2005 Conference London, International Congress Series 1282, 894-897. Amsterdam: Elsevier
35. Pring, L., & Ockelford, A. (2005). Children with septo-optic dysplasia - musical interests, abilities and provision: The results of a parental survey. The British Journal of Visual Impairment, 23 (2). 58-66
36. Snyder, B. (2000). Music and memory. Cambridge, Massachusetts: MIT Press
37. Takeuchi, A.H. & Hulse, S.H. (1993). Absolute pitch. Psychological Bulletin, 113 (2). 345-361
38. Welch, G. (1988). Observations on the incidence of absolute pitch (AP) in the early blind. Psychology of Music, 16 (1). 77-80