Readership: Developmental psychologists, music psychologists and music educators, educational psychologists and teachers
Jeanne Bamberger, Professor Emerita of Music and Urban Education, MIT, USA
Jeanne Bamberger is Emerita Professor of Music and Urban Education at the Massachusetts Institute of Technology, where she taught music theory and music cognition. She is currently Visiting Scholar in the Music Department at UC=Berkeley. Bamberger's research focuses on cognitive aspects of music perception, learning, and development. Her interdisciplinary stance leads her to investigations of learning in other related domains (e.g., cognitive psychology, computer science)and to an interest in young children and their teachers. She
was a student of Artur Schnabel and Roger Sessions and has performed in the US and Europe as piano soloist and in chamber music ensembles. She attended the University of Minnesota, Columbia University and the University of California at Berkeley receiving degrees in philosophy and music theory.
Part I: Beginnings
1: Introduction: Where do our questions come from? Where do our answers go?
2: The first invented notations: Designing the Class Piece
3: Children's drawings of simple rhythms: A typology of children's invented notations
4: The typology revisited
Part II: Developing the musical mind
5: Introduction: What develops in music development?
6: Restructuring conceptual intuitions through invented notations: From path-making to map-making
7: Changing musical perception through reflective conversation
8: Cognitive issues in the development of musically gifted children
9: Developing musical structures: Going beyond the Simples
Part III: Designing educational environments
10: Introduction: Designing educational environments
11: Developing a musical ear: A new experiment
12: Action knowledge and symbolic knowledge: The computer as mediator
13: The collaborative invention of meaning: A short history of evolving ideas
14: Noting Time: The Math, Music, and Drumming Project
Part IV Computer as Sandbox
15: Turning music theory on its ear: Do we hear what we see; do we see what we say?
16: The development of intuitive musical understanding: A natural experiment
17: Music as embodied mathematics: A study of a mutually informing affinity
Part V: Summing Up
18: Engaging complexity: Three hearings of a Beethoven Sonata movement
19: Recapitulation and coda