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Outline For Research Paper Outline

4466 Words18 Pages

2
Work Plan
Guiding questions before the project begins
Why should I write this dissertation?
How should it be organized?
General Timeline from start to finish
Getting Started: Planning the Dissertation
Introduction:
Thesis Statement
Background
Literature Review
Main Body
How should I explore my topic? Theoretically, empirically or through a combination? Combination:
Begin with theoreticians/philosophers: Establish the theoretical framework
Let my thesis emerge through a combination of these theories and through Dewey.
Reinforce argument with practice and empirical evidence.
Conclusion
Stress the importance of art as a pedagogical tool: evoke Aristotle to reinforce argument
3
Education and the Liberal Arts:
Music’s Aesthetic Import as a Pedagogical …show more content…

The question of the relationship between music’s moving power and the educational value of musical experience subsumes other themes, such as the role of musical taste, style, “quality,” prior musical experience or knowledge, ideological factors, physiological sensations, the “constructed” nature of music’s mode of transmission, the comparative imperviousness of spiritual musical experience to external evaluative criteria, and appropriate pedagogical strategies. Conceptual issues abound regarding the definition of musical transcendence, untangling the relationship between music and emotional expression, emotion and spirituality, spirituality and religion, spirituality and aesthetic experience, music and language, and so on. My conception of “the shiver-shimmer factor” of music’s aesthetic import is intended to delimit the discussion within the context of the educational import as a kind of aesthetic …show more content…

Following the formalist nineteenth-century music critic Eduard Hanslick,2 Kivy represents the opposite end of the spectrum regarding the causal relationship between music and extramusical affective life.3 Whatever stimuli may emanate from immersion in “absolute music,” that is, instrumental music unfettered by an extra-musical program, for Kivy there is no truth-of-correspondence between, say, somber music and somber emotions. If great music can move “to a kind of enthusiasm, excitement, or ecstasy,” it is “directed at the music as its intentional object.”4 On this view, human emotions per se are irrelevant to the music

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