Music, Psychology and Education

Musical Perspectives on Psychological Research and Music Education

Robert Walker

Faculty of Education, Simon Fraser University, Burnaby, British Columbia

Psychology of Music October 1987 vol. 15 no. 2 167-186

http://pom.sagepub.com/content/15/2/167.abstract

It is argued that psychological research in music tends to ignore musical matters. In modern Western culture music is prized for qualities of uniqueness and individualism, and musicians are regarded more for their giftedness than their training. In other cultures social acceptability is more important and everyone performs as an essential part of everyday life. Researchers into visual perception and visual art utilise art from any source aS base-lines or guides in their interpretation of children’s drawings. In contrast, psychological researchers in music tend to be constrained by narrow definitions of music. It iS also argued that psychological research in mUsiC has resulted in musically undesirable applications in education. The basic point is that the musical inadequacy of such research stems from the applications, in scientific method, of rationalism and empiricism to a study of mUStC Music is a product of mans unique, intuitive and irrational imagination. The traditions of rationalism and empiricism and the artistic products of mans irrational imagination are in opposition. It is not possible, therefore, to promote understanding of the latter from the tenets of the former. This clearly calls into question the efficacy of relying solely on modes of rational enquiry and utilising models based on scientific empiricism in psychological research in music. Examples are cited to defend this viewpoint.