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Experiencing Music – Restoring the Spiritual

Music as Well-being

Series:

June Boyce-Tillman

This book concerns an examination of the totality of the musical experience with a view to restoring the soul within it. It starts with an analysis of the strands in the landscape of contemporary spirituality. It examines the descriptors spiritual but not religious, and spiritual and religious, looking in particular at the place of faith narratives in various spiritualities. These strands are linked with the domains of the musicking experience: Materials, Expression, Construction and Values. The book sets out a model of the spiritual experience as a negotiated relationship between the musicker and the music. It looks in detail at various models of musicking drawn from music therapy, ethnomusicology, musicology and cultural studies. It examines the relationship between Christianity and music as well as examining some practical projects showing the effect of various Value systems in musicking, particularly in intercultural dialogue. It finally proposes an ecclesiology of musical events that includes both orate and literate traditions and so is supportive of inclusive community.

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Chapter Three: The Development of a Phenomenography of the Musical Experience

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Chapter Three The Development of a Phenomenography of the Musical Experience As I developed a critique of Western music, drawing on my experience at Oxford University and the underpinning constructs of musicking in the wider community, my concern was to develop a model of musicking that might restore some of the elements lost in the academic study of music. It started in the area of music education; but it soon expanded beyond that, following my appointment as a music lecturer at what was then King Alfred’s College but later became the University of Winchester. It also developed from my increasing personal development and involvement in the area of the spirituality of music and as a church musician; finally I became ordained as an Anglican priest. A spiral model of children’s musical development had been devel- oped as part of my PhD research in association with my supervisor Keith Swanwick (Swanwick and Tillman 1986, Boyce-Tillman 1991a and b). It was a helix showing the main concerns of children at various points in their development as composers/improvisers. It described children exploring sounds freely individually and in groups in what came to be known as crea- tive music making. My own work charted how pupils developed musically in this environment based on ten years of observation and experiment: 124 Chapter Three It showed how the youngest children explore sound freely as part of a wider sensory exploration of the world and how the development of the ability to control bodily movements is linked...

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