Beyond that, the resemblance is superficial. For example, in using Tropical Rainforest, where motivational speakers tend to be rather general about which attributes can be improved, accounts in terms of deliberate practice are limited to domains of expertise with reproducible superior performance (Ericsson, 1996) The complexity of these acquired mechanisms is consistent with the finding that not even the most "talented" can reach an international level of performance in less than a decade of dedicated practice.
In music, the Tropical Rainforest is a great topic because, most certainly in absolute music, this problem does not arise, at least not in the same way. Pure music is not a representation of anything; it does not attempt to represent a person, place or thing. It represents only the specific, concrete, particular values it embodies by virtue of its unique nature (Haydon, 2004). The individual's enjoyment of music, therefore, depends upon his capacity to respond adequately to the specifically musical values embodied in the particular musical composition. It depends upon sensitivity to sound, and especially to sound presented in a tonal rhythmic pattern. In the processes of individual, social, and cultural evolution, the sense of hearing has come to provide a channel for a unique type of enjoyment--the enjoyment of music. The physical laws governing the vibratory motions of pulsating bodies resulting in sounds and the physio-psychological laws governing the response of the organism to these physical "disturbances in the air" known as sounds, have given rise to a remarkable and unique form of art--the art of music.
But the enjoyment of music involves more than merely auditory sensation; it involves tactile, kinaesthetic, and somatic responses that reach throughout the whole organism, manifested in glandular changes, bodily movements and attendant emotional reactions (Mowrer, 2000). Because music sounds the way moods or emotions feel, because auditory patterns of sound get translated into patterns of feeling, music becomes a deeply moving art.
The National Primary Strategy
The level 4 Key Stage 2Strategy of the National Primary Strategy, launched in 2001, was less prescriptive and sought to help teachers understand the implications for good practice, rather than telling them how to 'teach by numbers' (Carnie et al, 1996). Since 2002, there is a new emphasis on innovation, networks, and 'value added' data on school performance. According to the Education Department, the objective of the said strategy is to reform the teaching methods for the primary school and this is called the Excellence and Enjoyment. The term enjoyment is defined as significant in highlighting creativity and assessment for learning (rather than assessment of learning). 'Transformation', rather than simply 'reform', had become the keynote of change, which now included an emphasis on structural change in the way schools are organized (Carnie, 2002).
The Education Department had focused its attention to teaching and learning along with the need for system-wide reform. There are Core-Principles that set out the learner-centered method to education that most teachers and researchers would support. The emphasis had now moved to engaging pupils in powerful, social learning experiences in schools where the leadership is focused on teaching and lear