---
product_id: 15698177
title: "Learning Sequences in Music: A Contemporary Music Learning Theory 2012 Edition/G2345 Hardcover – August 11, 2011"
brand: "edwin e. gordon"
price: "377 zł"
currency: PLN
in_stock: true
reviews_count: 8
url: https://www.desertcart.pl/products/15698177-learning-sequences-in-music-a-contemporary-music-learning-theory-2012
store_origin: PL
region: Poland
---

# Learning Sequences in Music: A Contemporary Music Learning Theory 2012 Edition/G2345 Hardcover – August 11, 2011

**Brand:** edwin e. gordon
**Price:** 377 zł
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Learning Sequences in Music: A Contemporary Music Learning Theory 2012 Edition/G2345 Hardcover – August 11, 2011 by edwin e. gordon
- **How much does it cost?** 377 zł with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.pl](https://www.desertcart.pl/products/15698177-learning-sequences-in-music-a-contemporary-music-learning-theory-2012)

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- edwin e. gordon enthusiasts

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## Customer Reviews

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Absolutely invaluable for any serious music teacher - BUY THIS ORIGINAL WORK
  

*by M***E on Reviewed in the United States on November 1, 2016*

This book is not easy to read. Edwin Gordon clearly was a genius, but you have to put the work in - he doesn't make it easy for you (to give you an example, for some reason the word "the" seems to have been omitted from many sentences in the book. I have no idea why)However it gets 5-stars from me because it stands conventional music teaching on its head, based on 30 years of research, and, to put it bluntly, in my opinion, Edwin Gordon was right about many things, such as:Moveable do based on a La-based minorDu-ta-de-ta rhythm syllablesThe central importance of audiationThe need to delay instrumental teachingThe need to delay learning to read musicThe sight before sound principleThe need for aptitude testing in music educationI could go on...Don't buy the books that proport to be a bite-size introduction to Gordon's ideas. Buy this book and roll your sleeves up for a difficult, but extremely enlightening read. If you're serious about teaching music RIGHT you need this book. I wish I had read it years ago.To get a general idea of Gordon's ideas, search for a series of videos on youtube entitled "Edwin E. Gordon Music Learning Theory Overview"

### ⭐⭐⭐⭐⭐ 5.0 out of 5 stars







  
  
    Serious Applicational Value
  

*by A***R on Reviewed in the United States on December 12, 2016*

If you are seriously interested in pondering Music Education methodology, you will love this profound resource.  Allow ample time to read a sentence and consider what it means.  I highly recommend this study to those who seek to refine their conception of instructional delivery via the music classroom.

### ⭐ 1.0 out of 5 stars







  
  
    Could use a rewrite
  

*by S***E on Reviewed in the United States on January 9, 2020*

IMO, this book would benefit from a rewrite. If not a rewrite, then a deep edit pass. Gordon's writing is very far from adequate. It's elliptical for one thing, requiring the reader to insert words as they go (if they can figure out what's missing), in order to parse it. It omits hyphens, articles ("the"/"a"), commas, and more, which really slows down the (or at least this) reader. To me, it comes across as amateurish, very awkward, and very alien-sounding.Also, again IMO, Gordon seems not to have correctly analyzed nor understood some fundamental realities of music. He repeatedly draws analogies between "understanding" music and "understanding" human language. That alone is a serious Achilles' heel in any inference he makes based on that parallel, because those two kinds of understanding are *very* different. When it comes to human language, both authors and consumers understand it in such a way that they can reason about it consciously. With music, on the other hand, everyone can understand music well enough to enjoy it when they hear it, even if it's done unconsciously. This is the blessing of the human brain: that we can *all* understand and enjoy music. If you happen to be talented or educated enough, then you can raise that understanding and enjoyment of music from the unconscious to the conscious level, and you can then reason out loud about the music you hear/compose. But Gordon's analysis of what I've just described is entirely different (and, ultimately, wrong). On the one hand, he recognizes that a small set of folks are talented/educated enough to properly understand and reason consciously (and out loud) about music. So far, so good. But then he writes that the inability of regular folks to be able to explain *why* they like a piece of music suggests that they're only enjoying it emotionally due to its tone and/or dynamics. Which is incorrect. And it's like arguing that if you can't explain the physics of trajectories then you can't catch a ball. Gordon doesn't seem to acknlowedge that there are qualitatively different levels and layers to the working of the brain.Anyway, the obvious difference between language and music, and the levels of consciousness in which those two things function, explain why most folks (not people working at the level of a trained and experienced musician) tend to latch only on to the lyrics in music that they like. They think of themsvels as singing the lyrics, rather than thinking of themselves as singing the melody. And they praise and debate about the lyrics, because those are things they can reason about, instead of the music, which they can enjoy only subconsciously and not verbally.And Gordon says 'tonality' when he means 'modality', thereby needing to invent the term 'keyality' to serve where 'tonality' should. I've described only the tip of the iceberg of issues with this book here, but I feel that even this tip is enough to seriously rethink whether you want to approach it, and whether you'll get value from it.It's a very disappointing, hard-going book.

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*Last updated: 2026-03-20*