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However, the fact remains that the concept is being taught separately from any musical context which the learner recognises and < previous page page_39 next page > < previous page page_40 next page > Page 40 can relate to and therefore be able to engage with critically. The musical concept or idea is not experienced within a musical context: it has no meaning and as it has no meaning it cannot be critically engaged with. Musical ideas and concepts are re-realised, re-experienced and understood in different ways every time they are personally experienced .
G. pentatonic ACDEG. 3 The activity is then developed using a harmonic framework. g. g. guitars / keyboards play chords; bass instruments play riffs; voices / melodic instruments perform simple improvised melodies). g. C / G / C / G / C / G / C - G / C / or Dm / Am / Dm / Am / Dm / Am / Dm - Am / Dm / (c) Returning to the chord sequence in stage 3(a), pupils work collectively to compose a main rondo theme for the instruments available. They improvise and later ‘fix’ their own (unaccompanied) episodes in between with the specific brief of exploiting the characteristics of their instrument.
CULTURE IS ORDINARY ‘Culture’ is one of the two or three most difficult words in the English language. In response, Raymond Williams (1980) maintains that culture is best thought of as ‘ordinary’. In this way, we avoid paying too much attention to cultural objects, pieces of music detached from time and place. We avoid reducing music to a set of conventions without regard for the social conditions in which the music was created and recreated. Williams also writes about the ‘selective tradition’.