Musical Knowledge: Intuition and Analysis in Music Education by Prof K Swanwick

By Prof K Swanwick

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Propositional knowledge—factual knowledge by itself—is very different from musical analysis, which is an activity starting and ending with direct musical experience, thus having the potential to enrich insights and enlarge musical response. But a great deal depends upon our conception of the relationship between analysis and intuitive ways of knowing. This is the main theme of the next chapter. 2 Intuition, analysis and symbolic forms Music Example 4 A mystery piece, by Roger Bullivant In failing to recognise [Example 4], the ordinary music lover may show himself to be more expert in harmony than he had imagined himself to be.

Our immediate intuitive response is given extra levels of significance by layers of previously acquired knowledge; not knowledge about but knowledge of. Aesthetic experience is usually an unlooked-for gift and the first sunset may be the most powerful sunset experience. Artistic rewards are earned by participation in traditions and learned by rubbing up against the artifacts. Intuition, analysis and symbolic forms 35 Unlike the freshness of the sunset, we have to work a little and this work is likely to involve coming to the work more than once and to include an element of analytical sifting as well as intuitive gathering.

But a great deal depends upon our conception of the relationship between analysis and intuitive ways of knowing. This is the main theme of the next chapter. 2 Intuition, analysis and symbolic forms Music Example 4 A mystery piece, by Roger Bullivant In failing to recognise [Example 4], the ordinary music lover may show himself to be more expert in harmony than he had imagined himself to be. (Bullivant in Arnold 1983:825) THE CLAIMS OF INTUITIVE KNOWLEDGE Intuitive, personal or acquaintance knowledge lies at the heart of musical experience; indeed, it can be shown to be crucial for all knowing.

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