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Education StudiES
Typeset in Bembo
by Cenveo Publisher Services
c ontEntS
Personal 1
Key concept: adult education 2
Key concept: attachment 7
Key concept: Behaviour 14
Key concept: childhood 21
Key concept: consent 28
Key concept: creativity 35
Key concept: Family 40
Key concept: Gender 46
Key concept: identity 53
Key concept: imagination 59
Key concept: Motivation 63
Key concept: neuroscience 68
Key concept: Performativity 73
Key concept: Psychoanalysis 77
Key concept: Relationships 82
Key concept: Sexuality 87
Key concept: transformation 94
Philosophy 99
Key concept: Bildung 100
Key concept: critical theory 104
Key concept: Educational theory 109
Key concept: Epistemology 114
Key concept: Ethics 118
Key concept: Literacy 124
Key concept: ontology 128
v
Contents
Practice 133
Key Concept: Alternative education 134
Key Concept: Assessment 140
Key Concept: Care 145
Key Concept: Curriculum 150
Key Concept: Democratic education 154
Key Concept: Diversity 160
Key Concept: Education research 165
Key Concept: Elective home education 170
Key Concept: Exclusion 176
Key Concept: Inclusion 181
Key Concept: Learning 186
Key Concept: Pastoral welfare 192
Key Concept: Pedagogy 196
Key Concept: Play 201
Key Concept: Profession 206
Key Concept: School 211
Key Concept: Special educational needs 216
Key Concept: Technology 221
Key Concept: Unschooling 226
Power 231
Key Concept: Class 232
Key Concept: Colonialism 236
Key Concept: Equality 242
Key Concept: Hegemony 246
Key Concept: Law 251
Key Concept: Policy 255
Key Concept: Politics 259
Key Concept: Power 263
Key Concept: Race 268
Key Concept: Selection 273
Key Concept: Silence 278
Key Concept: Social capital 283
Key Concept: Social justice 287
Key Concept: Society 292
Glossary 297
List of contributors 311
Index 313
vi
In t roduc t Ion and g u I de
to us Ing the bo o k
vii
IntroductIon
viii
IntroductIon
ix
Personal
Key ConCept: Adult eduCAtion
Peter Harris
Concept origins
savicevic (1999) suggests that the origins of adult education
can be traced back to Greek, romantic and humanistic phi-
losophers who all maintained that learning extends, and should
extend, beyond childhood. This understanding of education as
an aspect of everyday life, continuing throughout the lifespan
can also be viewed as broadly derivative of John Dewey’s cri-
tique of traditional education and his notion of a ‘progressive’
education (1944). Different traditions of adult education have
evolved globally and over time. In north america and the UK,
the related notion of ‘andragogy’—the art and science of helping
adults to learn—was popularised by eduard lindeman in 1926
and then Malcolm Knowles (1950) and others (Bruner, 1959;
Kidd, 1973). Parallel movements developed in europe, such as in
France with ‘education permanente’ (Conseil de l’europe, 1970);
in scandinavia, with the Folk High School Movement founded
in Denmark by nikolai Grundtvig, as well as in africa (Kabuga,
1977) and south america (Freire, 1970).
2
aDUlT eDUCaTIon
How can adult education be described and delineated? elias and Mer-
riam (1980) identify several broad philosophical strands of adult educa-
tion, each with related but distinct emphases. Liberal adult education
is focused in distinct subject disciplines, and is concerned with the
intellectual, spiritual and moral development of the individual person
(see also Jarvis, 1995). Typically, it often incorporates the cultivation of
artistic and aesthetic sensibility, thereby ‘liberating’ the adult learner
from ignorance. an example of a liberal adult education programme
would be the Great Books Program in Chicago (1947). Progressive adult
education is more concerned with social reform and the progression of
mutual interests through democracy. engagement in democratic pro-
cesses in wider society is promoted through a relationship between
teacher and the adult learner, which places the learner and their
experiences at the centre of educational concern. The emphasis of the
Humanistic adult educator is in the development of individual potential
or ‘self-actualisation’ (Maslow, 1954), but often through supportive peer
group work processes designed to encourage self-evaluation and dis-
covery (rogers, 1973). Proponents of Radical adult education (Freire,
1970) see it as a force for social and economic change via the raising of
political awareness within oppressed groups, which then leads them to
take personal and political action to challenge that oppression.
3
PeTer HarrIs
4
aDUlT eDUCaTIon
Questions to consider
1. Can adult education be distinguished from education in
general?
2. are andragogy and heutagogy the antithesis of pedagogy?
3. In what ways are adult learners different to child learners?
4. Does becoming an adult mean becoming more education-
ally self-directed?
5. How does adult education operate within a late modern
context?
5
PeTer HarrIs
Hayes, C. (1998) Beyond the American dream: Lifelong learning and the
search for meaning in a postmodern world. Wasilla, aK: autodidactic
Press.
Illich, I. (1976) De-schooling society. london: Penguin.
Jarvis, p. (1995) Adult and continuing education:Theory and practice,
2nd edn. london: Routledge.
Kabuga, C. (1977) ‘Why andragogy?’, Adult Education and Development:
Journal for Adult Education in Africa, Asia, and Latin America, 9, pp.1–3.
reprinted in Knowles, M.s. (1990) The adult learner: A neglected spe-
cies, 4th edn. Houston, TX: Gulf Publishing Company, pp.233–239.
Kidd, J.r. (1973) How adults learn. new York: association Press.
Knowles, M. (1950) Informal adult education. new York: association
Press.
Knowles, M. (2015) The adult learner: The definitive classic in adult educa-
tion and human resource development. london: routledge.
lindeman, e.C. (1926) The meaning of adult education. new York: new
republic. new edn. norman, oK:The oklahoma research Cent-
er for Continuing Professional and Higher education, 1989.
lovett, t. (ed.) (1988) Radical approaches to adult education.
london: Hutchinson.
Maslow, a.H. (1954) Motivation and personality. new York: Harper and
row.
Merriam, s.B. and Brockett, r.G. (1996) The profession and practice of
adult education. san Francisco: Jossey-Bass.
rogers, C. (1973) Encounter groups. Harmondsworth: Penguin.
savicevic, D.M. (1999) Adult education: From practice to theory building.
Frankfurt am Main: Peter lang.
Usher, r. and edwards, r. (1994) Post modernism and education, london:
routledge.
6
Key ConCept: AttACHment
Roger Willoughby
Concept origins
Developed by John Bowlby, attachment theory emerged gradu-
ally during the two decades following the second World War.
Drawing on psychoanalysis, ethology, developmental and
cognitive psychology, cybernetics and information processing
(Bretherton, 1992), Bowlby’s (1944, 1951) early studies of the
negative impact of parent–child separation on the subsequent
emotional health of children were groundbreaking and con-
troversial. By the end of the 1950s Bowlby (1958, 1959, 1960)
gave his initial articulation of attachment theory as the growing
child’s tie to its mother forming the basis for relational security,
confidence, morale, curiosity and love. at its simplest, an infant’s
attachment behaviour promoted closeness to the attachment
figure, which—from an evolutionary perspective—increased
chances of survival. This served a protective function and as a
secure base for exploration of the environment. numerous other
researchers joined Bowlby in investigating and refining attach-
ment theory. Patterns that Mary ainsworth and others observed
in ‘strange situation’ (ainsworth and Wittig, 1969) encounters
initially resulted in attachment being broadly classified as either
secure, insecure avoidant, or insecure ambivalent (ainsworth and
Bell, 1970; ainsworth et al., 1978). This classification was later
further refined. The opening period of work on attachment the-
ory was summarised in Bowlby’s (1969, 1973, 1980) Attachment
and Loss trilogy. By this time the body of this work was already
significantly impacting not only on psychological therapy with
children, but far more broadly on the management and care
of children in nurseries and other early years settings, hospitals,
and within educational provision; helping teachers and other
stakeholders understand and better utilise the human affective
dimensions of their practice.
7
roGer WIlloUGHBY
8
aTTaCHMenT
9
roGer WIlloUGHBY
Questions to consider
1. are teachers aware of attachment theory and should they
be? Why?
2. Physical contact experiences with parents offer reassurance
and promote security, so should teachers do this across the
various phases of education?
3. attachment theory uses technical terms (e.g., ‘affectional
bonds’ for ‘love’): discuss the advantages and shortcomings
of such subject specific vocabulary.
4. What are the differences between Bowlby’s ideas on attach-
ment relationships, Piaget’s notion of schemas, Vygotsky’s
ZPD, and psychoanalytic object relations theory?
10
aTTaCHMenT
11
roGer WIlloUGHBY
12
aTTaCHMenT
13
Key ConCept: BeHAviouR
Roger Willoughby
Concept origins
Behaviour refers to observable actions which are classified and
understood in relation to commonly accepted standards and
norms. The adaptation of behaviour in relation to environ-
mental demands (Darwin, 1859, 1871), can be seen as one of
the distinguishing features of early hominids, our early bipedal
human ancestors, along with tool making, rudimentary lan-
guage development, and art (Catania, 1985; Potts, 2002). In
philosophy, Plato in 380BC depicted adaptation to one’s
appropriate position within society and playing one’s ‘proper’
function as conducive to a good life (2008). similar precursors
to functionalism are evident, particularly in the ethics-led
naturalism of Hobbes (1651), who argued that human behav-
iour in the ‘state of nature’ would involve incessant conflict, the
pursuit of power and individual interests. life as a result would
be ‘solitary, poor, nasty, brutish, and short’ (Hobbes, 1994, p.76).
Behaviour, Hobbes argued, was only held in check through a
form of social contract, supported by authority through poli-
tics. More optimistic views of human nature and behaviour
were articulated by David Hume (1751), among others, whose
emphasis on sympathy or fellow-feeling, what we would now
refer to as empathy, he saw as driving action (1998). such diver-
gent views on our underlying human nature and its expression
in behaviour inevitably pulled education policy and praxis in
competing directions.
14
BeHaVIoUr
15
roGer WIlloUGHBY
16
BeHaVIoUr
17
roGer WIlloUGHBY
Questions to consider
1. are people more than their behaviour?
2. If left to our own devices, would life be ‘solitary, poor, nasty,
brutish, and short’?
3. What are the benefits of restraint on our behaviour over the
lifespan?
4. To what extent should schools be in the business of shaping
behaviour?
5. Why is some people’s objectionable behaviour tolerated
more than others?
18
BeHaVIoUr
19
roGer WIlloUGHBY
20
Key ConCept: CHildHood
Leoarna Mathias
Concept origins
an understanding of the term ‘childhood’, as defining young
human beings prior to the onset of puberty, was established in the
late old english period (11th century). some 500 years later in
1550, Thomas Becon, an english cleric and Protestant reformer,
asks within his writings ‘What is a child, or to be a child?’ (cited
in Cunningham, 2006, p.12). In posing such a question, Becon
hints at the challenges of defining the concept of childhood, and
in particular, the binary nature of the term; children live real
lives in real time, childhoods are theoretical and endure beyond
individual experiences (Corsaro, 2011).The Greeks had no word
for childhood, though they developed clear philosophical ideas
about education which centred on preparing young citizens for
their future role in society (Postman, 1982). Plato and his con-
temporaries, in emphasising only this preparatory nature of our
earliest years, underpin the work of aries (1962) and Cunning-
ham (2006) who have argued persuasively that childhood, as an
acknowledged and distinct stage in the human life-span, did not
exist prior to the 17th century. Defining the nature of childhood
remains difficult as debates about when childhood starts or ends,
what it should contain, and what it should not, are far from set-
tled, because we are ‘heirs to so many conflicting views of child-
hood from the past’ (Cunningham, 2006, p.14).
21
leoarna MaTHIas
Childhood is, and has been, ‘eulogised for qualities … sorely missing
in adults’ (Bauman 2006, p.8). It was romanticised by rousseau, in his
educational treatise Emile (1762; see Kelly and Bloom, 2010), for hav-
ing value on its own terms.Yet a survey of the lives of children in any
part of the globe presents the student of education studies with a
rich source of contrary perspectives (Penn, 2005). a variety of news
media informs us daily of the many ways in which children and their
families are suffering, are denied chances to meet their own basic needs,
or assert their rights. In theorising the hierarchy of needs, Maslow in
1943 gave us a way of understanding human need; the 20th century
saw a reconfiguration of these needs as enforceable rights. In 1989,
the United nations established the Convention on the rights of the
Child (UnCrC), the third such iteration of rights for children to be
produced during the 20th century at a global level.Yet the UnCrC’s
(1989) description of children as having (merely) an ‘evolving capacity’
to enforce their rights allows adults to limit children’s opportunities
to experience childhood at many turns. We may agree that children
have a right to food, shelter, bodily integrity, nurture within a familial
context, education and more in principle, and that these are all possible
elements of what we might term a childhood. Yet, today, the realities
faced by young British children excluded from school, or by syrian
children travelling unaccompanied and seeking asylum in europe, or
by young females in sub-saharan africa who become subject to female
genital mutilation, collide head on with any insistence that such rights
are being upheld (loreman, 2009). We are again reminded that there is
a ‘degree of tension between… perceptions of what childhood could
and should be, and [children’s] lived experiences’ (smith, 2010, p.201).
22
CHIlDHooD
The opportunities that children have to lead lives in which they fulfil
the potential accorded to them by the UnCrC vary enormously.This
happens at a global level (compare 5-year-old child labourers in Bang-
ladesh or Pakistan to a similar aged cohort attending Forest school
settings in scandinavia), and at a local level (consider 17-year-olds in
scotland, who were allowed to vote in the recent scottish independ-
ence referendum but then denied a similar vote by the British gov-
ernment in the referendum on membership of the european Union).
Thus ‘the problem … lies not with individual children and their fami-
lies, but with the structural inequalities that mark their lives’ (Wells,
2009, p.184), and in turn, such inequalities shape our ongoing under-
standing of the nature of childhood.
23
leoarna MaTHIas
in the latter part of the 20th century that determines children’s lives
as both producers and consumers, but no more; children are valuable
only for the potential of their human capital once they reach maturity.
This perspective leads Bauman to argue that childhood has ‘become
merely a preparatory stage for the selling of the self ’ (2006, p.9), and
Waters to suggest that children are now ‘the currency for [schools]
rather than the beneficiaries of education’ (2013, p.u.). Postman (1982),
Buckingham (2007) and others take this argument further by warning
of the disappearance or death of childhood, as children access knowl-
edge through unmediated platforms, and take on adult ways of operat-
ing at ever earlier ages, particularly through the conduit of information
technology.
24
CHIlDHooD
Questions to consider
1. Why, until recently, was childhood not recognised as a stage
in its own right?
2. Which discourses dominate our understanding of the
nature of childhood in the 21st century?
3. What problems arise with an instrumental approach to
appreciating children’s potential?
4. Is it true we view all childhoods through a Western, middle-
class normative ideal?
5. How can we support children to become active agents in
their own lives?
25
leoarna MaTHIas
26
CHIlDHooD
27
Key ConCept: ConSent
Helen E. Lees
Concept origins
Consent is a word from old French ‘consentir,’ and latin
‘consentīre’ meaning ‘to feel together, agree’ (Collins Diction-
ary). as an educational concept, consent is found historically
in the work of rousseau and Dewey where consensus is val-
ued (Dewey, 1916; Bertram, 2012). education policy—which
affects schools—has historically used the illusion of ‘compulsory
education’ in law as signifying school attendance (see elective
home education) to justify particular educational methods,
pedagogy and assessments as normal and required, when
greater choice is in fact possible if not pursued (lees, 2014).
nevertheless, the long social history of co-operative working—
consensual co-operation—has translated into more than 850
co-operative schools in the UK alone and a global co-operative
higher education movement (see e.g., www.co-operativeschools.
coop; Facer et al., 2012; neary and Winn, 2016). In the lives
of teachers wishing to express their child-centred pedagogy,
consent in education started perhaps with their sense of vocation
for the profession and their own educational theory.
28
ConsenT
29
Helen e. lees
30
ConsenT
Thus we could feasibly ask: If a student felt more freedom (with con-
sent seeking in place to allow for this), could education be improved?
31
Helen e. lees
Questions to consider
1. Who has the right to curtail personal consent in education?
2. What is consent?
3. Is consent educationally important?
4. What is the relationship of schooling to consent nego-
tiations at the level of learning, personal appearance and
interpersonal communication style?
5. What would education be if consent-seeking protocols (see
democratic education) were the means of creating edu-
cational organisation?
32
ConsenT
Flint, K.J. and Peim, n. (2012) Rethinking the education improvement agen-
da: A critical philosophical approach. london: Continuum.
Harber, C. (2009) ‘“revolution, what revolution?”: Contextual issues
in citizenship education in schools in england’, Citizenship, Social
and Economics Education, 8 (1), pp.42–53.
Herman, e.s. and Chomsky, n. (1988) Manufacturing consent:The politi-
cal economy of the mass media. new York: Pantheon Books.
Hirschman, a.o. (1970) Exit, voice, and loyalty. Cambridge, Ma:
Harvard University Press.
Humphreys, J. (2016) ‘Teach philosophy to heal our “post-truth” soci-
ety, says President Higgins’, Irish Times, 19 november.
Knapton, s. (2014) ‘Teenagers to start school at 10am in oxford
University sleep experiment’, The Telegraph, 9 october.
lees, H.e. (2014) Education without schools: Discovering alternatives.
Bristol: Policy Press.
lees, H.e. (2016) ‘educational mutuality’, in lees, H.e. and
noddings, n. (eds) The Palgrave international handbook of alter-
native education. london: palgrave macmillan, pp.159–175.
lewis, a. (2010) ‘silence in the context of “child voice”’, Children &
Society, 24, pp.14–23.
lipsett, a. (2008) ‘sikh schoolgirl wins bangle court case’, Guardian,
29 July.
Miedema, e.l. (2016) ‘exploring moral character in everyday life: For-
mer democratic school student’s understandings and school experi-
ences’, unpublished MPhil thesis, University of Brighton, Brighton.
montgomery, C. and Hope, m. (2016) ‘Creating spaces for
autonomy: the architecture of learning and thinking in
danish schools and universities’, in lees, H.e. and nod-
dings, n. (eds) The Palgrave international handbook of alternative
education. london: palgrave macmillan, pp.305–319.
neary, M. and Winn, J. (2016) ‘Beyond public and private: a frame-
work for co-operative higher education’, Co-operative education con-
ference, Manchester, 21–22 april.
Powell, a. (2010) Sex, power and consent: Youth culture and the unwritten
rules. Cambridge: Cambridge University Press.
smyth, J. (2016) ‘Geographies of trust: a politics of resistance for an
alternative education’, in lees, H.e. and noddings, n. (eds) The Pal-
grave international handbook of alternative education. london: Palgrave
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33
Helen e. lees
34
Another random document with
no related content on Scribd:
A Long Journey
At any rate the Gregorian chant flourished and was so loved that
Benedict Biscop, and other monks interested in music, came from
far-off England to learn the chant invented by St. Gregory. A long
journey! In 675 Biscop sent to Rome for singers and built
monasteries very close to a pagan temple, where the Anglo-Saxons
still worshipped the Roman Sun god, Apollo, also god of music.
These he filled with beautiful relics, paintings and stained glass
windows, Bibles and service books illuminated in gold and color,
which he brought from Rome.
Bringing things from Rome may sound easy to you, but fancy the
travel and inconvenience when there were no steamships, no
railroads, no aeroplanes, but only Roman roads, which however
marvelous, were long and wearisome by foot or by horse, or mule
and rude wagons. This shows how much the people of Britain desired
music and beauty in their church services.
Venerable Bede
Diaphony
Discant (XIIth Century)
In the Middle Ages, the men did most of the singing so the music
was written in a range to suit their voices. C is middle C, and F the
bass clef.
All music had to be written by hand and the monks made
wonderful parchment copies of works composed for the church
services. They soon grew careless about the yellow lines and red
lines, so Guido placed the letters C and F at the beginning of the lines
instead of using the colored lines.
Sometimes there were three lines to a staff, sometimes four, five,
and even eleven! The use of clefs showing which line was C or F,
made reading of music much easier. At the end of the 16th century
the question of the number of lines to the staff was definitely
decided, then they used four lines for the plain chant and five for all
secular music. By calling the fifth line of the eleven, middle C, two
staffs of five lines resulted—the grand staff of today.
Here is a table to show you how clefs grew:
Hucbald built his scales in groups of four tones like the Greek
tetrachords but Guido extended this tetrachord to a hexachord or
six-toned scale, and by overlapping the hexachords, he built a series
of scales to which he gave the name, gamut, because it started on the
G which is the first note of our grand staff (lowest line, bass clef) and
the Greek word for G is “Gamma.”
Here is a translation:
Grant that the unworthy lips of Thy servant
May be gifted with due harmony,
Let the tones of my voice
Sing the praises of Thy wonders.
We still call our scale degrees ut (frequently changed to do), re, mi,
fa, sol, la. The French today use these syllables instead of the letters
of the alphabet, and Guido is known as the man who originated this
solmization (the word taken from the syllables sol and mi).
Where did the syllable si, the seventh degree of the scale, come
from? This hymn was written to St. John and in Latin his name is
Sancte Ioannes, the initials of which form the syllable si which came
into use long after Guido’s time.
This system was very difficult for the singers to learn as it was
quite new to them, so Guido used his hand as a guide to the singers.
Each joint represented a different syllable and tone, and a new scale
began on every fourth tone. Look at the Guidonian hand on the next
page.
Guido was so great a teacher and musician that he was given credit
for inventing much that already existed. He gathered all the
knowledge he could find into a book, that was sent to the
monasteries and music schools. He put in much that never before
had been written down, explained many things that had never been
clear, and added much that was new and useful.
Sometimes his name was written Gui or Guion. When he lived
people had no last names but were called by the name of their native
towns; as Guido was born in Arezzo, a town of Tuscany, he was called
Guido d’Arezzo; Leonardo da Vinci, the great painter, was born in
the village of Vinci; and the great Italian composer Pierluigi da
Palestrina came from Palestrina.
Guido’s work was considered revolutionary and not in accord with
the old ways which the church fathers reverenced. Because of plots
against him, he was cast into prison. But the Pope, realizing his
greatness and value, saved him. The inventors of new ideas always
suffer!
Mensural Music or Timed Music
In the 10th century, organs came into use in the churches, but they
were ungainly and crude, sounding only a few tones, and were
probably only used to keep the singers on pitch. The organ had been
invented long before this, and had been used in Greece and Egypt. It
was built on the principle of Pan’s Pipes and was very simple. There
were many portable organs, called portatives, small enough to be
carried about.
One organ (not a portative!) at Winchester, England, had four
hundred pipes and twenty-six pairs of bellows. It took seventy men
to pump air into it and two men to play it by pounding on a key with
their fists or elbows. The tone was so loud that it could be heard all
over the town. Fancy that!
During these centuries, music was growing slowly but surely. Out
of organum and discant and faux bourdon, arose a style called
counterpoint, in which three, four or more melodies were sung at the
same time. The writing of counterpoint, or line over line, is like a
basket weave for the different melodies weave in and out like pieces
of willow or raffia forming the basket. Later will come the chorale,
written in chords or up and down music like a colonnade or series of
columns. Keep this picture in mind. (St. Nicolas Tune, Chapter XI.)
The word point means note so counterpoint means note against
note. The word was first applied in the 13th century to very crude
and discordant part-writing. But, little by little the monks learned
how to combine melodies beautifully and harmoniously and we still
use many of their rules.
Gradually great schools of church music flourished in France,
Germany, Spain, England, Italy and the Netherlands in the 14th, 15th
and 16th centuries.
Bit by bit this vast musical structure was built. It did not grow
quickly; each new idea took centuries to become a part of music, and
as often the idea was not good, it took a long time to replace it.
CHAPTER VIII
Troubadours and Minnesingers Brought Music to Kings and People
Except for the first few chapters in this book, we have told you of
music made by men who wanted to improve it. You have seen how
the fathers of the Church first reformed music, and gave it a
shorthand called neumes; before that, the music laws of the
Egyptians, the scales and modes of the Arab, the Greek scales which
the churchmen used in the Ambrosian and the Gregorian modes.
Then came the two-lined staff, and the beginnings of mensural or
measured music by which they kept time. Then you saw how two
melodies were fitted together and how they grew into four parts. All
this we might call “on purpose” music. At the same time, in all the
world, in every country, there was Song ... and never have the world
and the common people (called so because they are neither of the
nobility nor of the church) been without folk song which has come
from the folks of the world, the farmers, the weavers, and the
laborers.
The best of these songs have what the great composers try to put
into their music—a feeling of fresh free melody, design, balance, and
climax, but more of this in the chapter on Folk Song.
This chapter is to be about Troubadours, Trouvères, and
Minnesingers, who have left over two thousand songs. In most of
these, they made up both words and music, but sometimes they used
new words made up for folk tunes that everyone knew, or for
melodies from the plain-chants which they had heard in church;
sometimes they used the same melody for several different poems,
and often they set the same words to several melodies. Many of these
troubadour songs and minnelieder became the people’s own folk
songs.
But now you must hear of the folk who lived hundreds of years
before these poet singers. Unknowingly, out of the heart and soul
and soil of their native lands, they made songs and sang poetry and
played sometimes other peoples’ song, scattering their own wherever
they went.
From these traveling singers and players, in all countries, came the
professional musicians who were minstrels, bards, troubadours, etc.,
according to when, where and how they lived.
The Why of the Minstrel
The people sang and played not only because they wanted to, or
because they loved it, but because they were the newspaper and the
radio of their time, singing the news and doings of the day. These
minstrels who traveled from place to place “broadcasted” the events.
No music was written down and no words were fastened by writing
to any special piece. The singer would learn a tune and when he sang
a long story (an epic) he would repeat the tune many times so it was
necessary to find a pleasing melody, or singers would not have been
very welcome in the courts and market places. These musical news
columns entertained the people who had few amusements. The
wandering minstrels with their harps or crwth (Welsh harps), or
whatever instrument they might have used in their particular
country, were welcomed with open arms and hearts.
This sounds as if these singers and players traveled, and indeed
they did! They sprang up from all parts of Europe and had different
names in different places. There were bards from Britain and
Ireland, skalds from the Norse lands, minstrels from “Merrie
England,” troubadours from the south of France, trouvères from the
north of France, jongleurs from both north and south who danced
and juggled for the joy of all who saw them, and minnesingers and
meistersingers in Germany.
Druids and Bards
Centuries before this, Homer the great Greek poet was called the
Blind Bard and he chanted his poems, the Iliad and the Odyssey, to
the accompaniment of the lyre, the favorite instrument of the Greeks.
But when we speak of bards in this chapter we mean the poets and
musicians of ancient Britain, when that island was inhabited and
ruled by the Druids, 1000 B.C. We do not know when the bards first
began to make music or when they were first called bards, but it is
certain that for many centuries before the Christian era, these rude,
barbarous people of the countries we know as Wales, England,
Ireland and Scotland, had many songs, dances and musical
instruments.
Look at a map of France, and see how much like a teapot it is
shaped. The western part, the spout, is Brittany! As its name shows,
this part of France was inhabited by the same race of people as were
in Britain, they spoke the same language, had the same religion and
made the same music. These people were Celts and their priests were
called Druids. Much we said about primitive people is true of these
early Britons. They expressed their feelings, and tried to protect
themselves from Nature and human foes by means of religious rites
and ceremonies in which music and dancing played the leading part.
They had no churches, but held religious services in the open
under the oak trees. They piled boulders on top of each other to form
altars, or built large circular enclosures of huge flat rocks, inside of
which they gathered for worship, or to assist at some ceremonial in
which sacrifices of animals and occasionally of human beings were
made. These human sacrifices occurred once a year at the Spring
Festival which was celebrated in much the same fashion as in Greece.
These masses of stone are found not only in the British Isles, the
most famous of which is Stonehenge (which was recently bought by
an American), but there are also many of these so-called cromlechs
and menhirs in Brittany.
It is curious how often men and women do the same things at
times and places so completely separated that they could not have
been influenced by each other, but did what was natural for them. It
seems that between the state of being primitive or savage and of
being cultured, mankind must pass through certain states of mind
and certain bodily actions common to all men. In tracing the growth
of any habits and actions of people,—in government, religion,
amusements, art, music, manners and customs, and language, we
find the same customs constantly repeated among different races. If
you remember this point, you will be interested to watch, in this
book, the difference between these experiences common to all
mankind and those which later on, were caused by the influence that
one race had on another through meeting, through conquest and
through neighborly contact.
The bards belonged to the priesthood and were Druids. They sang
in verse the brave deeds of their countrymen, praises of the gods and
heroes, and legends of war and adventure, accompanying themselves
on primitive harps, or on an instrument something like the violin
without a neck, called a crwth. They wore long robes and when they
were acting as priests, these were covered with white surplices
somewhat like the gowns of our own clergy. From a bit of
information handed down by the bards, we learn that in Ireland, the
graduate bard wore six colors in his robes, said to be the origin of the
plaid of the Scotch Highlanders; the king wore seven colors; lords
and ladies, five; governors of fortresses, four; officers and gentlemen,
three; soldiers, two, and the people were allowed to wear only one.
Even their dress seemed important and marked the rank!
There were three kinds of bards: priestly bards who took part in
the religious rituals and were also the historians, domestic bards who
made music in honor of their masters, and heraldic bards whose
duties were to arouse patriotism through songs in praise of their
national heroes. They had to pass examinations to become bards,
and the lower ranks were tested for knowledge and ability before
being promoted to the higher ranks. Recently there has been a
revival in Wales of the Eisteddfod, or song contests of the Druids.
“Minstrelsy,” or singing to the crwth or harp, lived on long after
Druidism had been replaced by the Christian faith. Did you ever
wonder where the custom came from of mistletoe at Christmas time?
Or of dancing around a Maypole? Or building bonfires for May-day
and St. John’s eve? Celebrating All-Hallowe’en with pumpkins and
black cats? And of having Christmas trees? Well, these customs are
all relics of Druidism of 2000 or more years ago.
Skalds