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Fazıl Say and the Classical Music Stage as Informal Learning Space

Second, revised edition


Aylin Buran

Fazıl Say and the Classical Music Stage as Informal Learning Space is an exploration of the classical music stage within a framework of informal learning through the interactive concert performances of Fazıl Say. It delves into the artist’s conceptualization of the music-audience nexus along with his motivation for adopting an interactive manner that emerges through a verbal interaction between performer and listener during the concert performances. Using specific concert performances given in Malatya in Turkey, this book presents a detailed demonstration of such a space as a learning medium; and interprets its pedagogical meaning from both the artist’s and the audience’s perspectives.


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Chapter II: The Performance Stage As An Informal Learning Space


Chapter II THE PERFORMANCE STAGE AS AN INFORMAL LEARNING SPACE Obviously, a work of art is not apprehended by an utterly passive individual, and not just by the eyes and the ears, but through unimaginably complex interior activity in which listening and looking are only the first step, the first impetus, the elemental impulse. Lev Vygotsky This chapter addresses the question of the likely pedagogical influences of the interactive stage, with its unique dynamics over the actors, mainly within the framework of informal learning. The first part of this chapter will begin with a focus on Say’s interactive stage in as much detail as possible based on his Malatya16 student and public concerts since one of the assumptions is that Say’s interactive concert atmosphere can be discussed within informal learning frame. The analysis will include the physical setting of the concert environment such as the seating arrangement of the audience, the set-up of the stage, and the physical appearance of the artist including his clothing style and body language. Then the artist’s choice of repertoire will be interpreted in order to delve into what these concerts signified for him, and there is a detailed demonstration of his verbal interaction with the listeners. The second part of the chapter will seek to arrive at an accurate definition of informal learning along with the Vygotskian con­ structs that lie behind the artist’s manner, and finally a parallel between the interactive stage of Say and informal learning, mainly from the artist’s per­ spective...

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