Author: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music)Publish On: 2021-01-21
Methods in Music Education, Psychology, and Performance Science Aaron (
Professor of Performance Science Williamon, ... “Performing Music Research
provides a comprehensive, accessible, and brilliantly written explanation of
Author: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music)
Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.
It is written in non-technical language in order that the lay reader may easily gain an insight into how performers think, and what they think about.
Author: Jonathan Dunsby
Publisher: Oxford University Press
It is written in non-technical language in order that the lay reader may easily gain an insight into how performers think, and what they think about. It is performers who bring classical music to a worldwide public, and yet the public is largely unaware of what it feels like to perform music, what aspects of the activity are a mystery even to the musicians themselves, and which are amenable to scrutiny, experiment, and improvement.
What is the relationship between performance and recording?
Author: Robert Philip
Publisher: Yale University Press
What is the relationship between performance and recording? What is the impact of recording on the lives of musicians? Comparison of the lives of musicians and audiences in the years before recordings with those of today. Survey of the changing attitudes toward freedom of expression, the globalization of performing styles and the rise of the period instrument movement.
Electronic formats are included in the section on music literature. Sadie, Stanley,
ed. 1980. The New Grove Dictionary of Music and Musicians. Washington, DC:
Grove's Dictionaries of Music. Although a bit daunting for a newcomer to the field,
Author: Carolyn A. Sheehy
Publisher: Libraries Unlimited
Category: Language Arts & Disciplines
This professional reference provides solid advice to academic and public librarians for managing performing arts collections. The volume is divided into sections on the history of performing arts librarianship, dance collections, film studies collections, music collections, and theater collections. Each chapter is written by one or more expert contributors and presents current and reliable information on collection management. They discuss personnel management, collection development, technical services, public services, the impact of new technologies, facilities management, financial planning, and political considerations. Each chapter closes with references cited in the chapter, and the volume concludes with a valuable selected, annotated bibliography of important background sources and management tools.
35 ) that when performing music notated in ¢ « the majority of singers » ( « la
maggior parte de gli cantori » ) mentally construed the beat as falling not on the
breve but on the semibreve . This they could undertake with impunity , he
This volume offers articles that combine the responses of music psychologists and music educators to the use of research in music psychology to the teaching, learning, and making of music at all educational levels.
Author: Richard Parncutt
Publisher: Oxford University Press, USA
Music educators and practicing musicians have failed to benefit as much as they could from the past two decades of music psychology research. In this volume, Parncutt and McPherson propose to improve the situation by describing new approaches, informed by recent psychological research, to teaching music, learning music, and making music at all educational levels.
Author: Beth Abelson MacleodPublish On: 2000-12-01
This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the ...
Author: Beth Abelson Macleod
Category: Social Science
This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the parlor. Certain instruments had historically evolved as "appropriate for women," and the flamboyant personalities and extroverted emotionalism of Romantic virtuosos and conductors were the antithesis of those qualities traditionally admired in women. However, this work presents an unusual group of young women who nonetheless became noted virtuosos, studying abroad as teenagers and touring North America upon their return. Detailed profiles are given of three remarkable musicians from among that unusual group: Fannie Bloomfield-Zeisler (1863-1927)--virtuoso pianist, wife and mother; Ethel Leginska (1886-1970)--pianist, conductor, and 1920s "new woman"; and Antonia Brico (1902-1989)--conductor and transitional figure to the late twentieth century. A concluding chapter contrasts the experiences of women classical musicians in the late nineteenth and the late twentieth centuries. Included are a number of photographs and drawings which impart the perceptions of audiences and critics of the stage presence of these performers.
The book covers music history through lenses that include “authentic” performance, original instrumentation, and social context.
Author: John C. Tibbetts
Category: Social Science
Performing Music History offers a unique perspective on music history and performance through a series of conversations with women and men intimately associated with music performance, history, and practice: the musicians themselves. Fifty-five celebrated artists—singers, pianists, violinists, cellists, flutists, horn players, oboists, composers, conductors, and jazz greats—provide interviews that encompass most of Western music history, from the Middle Ages to contemporary classical music, avant-garde innovations, and Broadway musicals. The book covers music history through lenses that include “authentic” performance, original instrumentation, and social context. Moreover, the musicians interviewed all bring to bear upon their respective subjects three outstanding qualities: 1) their high esteem in the music world as immediately recognizable names among musicians and public alike; 2) their energy and devotion to scholarship and the recovery of endangered musical heritages; and 3) their considerable skills, media savvy, and showmanship as communicators. Introductory essays to each chapter provide brief synopses of historical eras and topics. Combining careful scholarship and lively conversation, Performing Music History explores historical contexts for a host of fascinating issues.
Instead of dismissing emotional response and personal taste as inaccessible to academic critics, Frith takes these forms of engagement as his subject—and discloses their place at the center of the aesthetics that structure our culture and ...
Author: Simon Frith
Publisher: Harvard University Press
An influential writer on popular music asks what we talk about when we talk about music. Instead of dismissing emotional response and personal taste as inaccessible to academic critics, Frith takes these forms of engagement as his subject--and discloses their place at the center of the aesthetics that structure our culture and color our lives.
First , they ' re the only areas of guitar study which center upon the emotional
aspects of playing music : In interpretation , students must learn to organize and
convey to the listener their emotional response to music — in performance ...
This text situates the glam rock phenomenon historically and examines it as a set of performance strategies.
Author: Philip Auslander
Publisher: University of Michigan Press
This text situates the glam rock phenomenon historically and examines it as a set of performance strategies. It explores the ways in which glam rock, while celebrating the showmanship of 1950s rock and roll, began to undermine rock's adherence to the ideology of authenticity in the late 1960s.
The book''s companion website provides information designed to facilitate access to original research and to test knowledge and understanding.
Author: Aaron Williamon
Publisher: Oxford University Press
What is it that drives people to undertake music research? Such interest frequently grows from on-the-ground experiences as learners, performers, facilitators, composers, arts administrators, and educators. It can emerge, for example, from music teachers trying out new teaching methods, performers wishing to know more about how to improvise effectively, educators pursuing the most effective ways to structure music curricula, musicians aiming to explain why their music enhances wellbeing among different groups of people, and orchestral managers seeking to promote and protect the health of their players. At the heart of all of these enquiries lies a question of some sort, and it is these research questions that determine the direction of the research to be undertaken. Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science. It reviews the knowledge and skills needed to critique existing studies in these fields and to design and carry out new investigations. Perspectives on qualitative, quantitative, and multistrategy methodologies are highlighted across the book in ways that help aspiring researchers bring precision to their research questions, select methods that are appropriate for addressing their questions, and apply those methods systematically and rigorously. Each chapter contains a study guide, comprising a chapter summary, a list of keywords, and suggestions for further discussion, and the book concludes with a resources section, including a glossary and supplementary material to support advanced statistical analysis. The book''s companion website provides information designed to facilitate access to original research and to test knowledge and understanding.
cussion we will call this a music object . Such an object may represent any
pattern of music , from a single note to a complex phrase . Our object needs to
describe everything that is required to both perform the music and print or display
Author: David Brian Williams
Accompanying CD-ROM, organized in files to parallel the textbook organization, covers computer-assisted instruction in music, desktop publishing for musicians, music notation, music sequencing and MIDI, creating sounds and music with digital audio, and authoring systems and multimedia. Each section includes tutorial projects, graphics, project worksheets, and specially prepared files for project activities.
On the one hand , performing music can be most empowering and constructive of
self - identity . For example , it can mean “ having control over my time and
energy and working at home , being paid to do something that felt like an
A study of the reflexive relationship between music and language in the nineteenth century, this book maintains a discrete historical focus while drawing upon an aesthetic going back to problems of epic delivery in ancient Greece.
Author: Susan Bernstein
Publisher: Stanford University Press
A study of the reflexive relationship between music and language in the nineteenth century, this book maintains a discrete historical focus while drawing upon an aesthetic going back to problems of epic delivery in ancient Greece. Reading Romantic reactions to music together with linguistic and economic conflicts brought about by the rise of journalism, the book pursues the tension around performativity that both connects and separates music and writing. Franz Liszt is the organizing figure in this detailed study of music in Heine and Baudelaire. The acclaimed virtuoso functions both as a metaphor for a musical mode of enunciation and as a historical referent. This dual status dramatizes the struggle at the heart of nineteenth-century aesthetics between poetic self-reference and realism’s efforts to report the world accurately. Debates surrounding Liszt pinpoint the conflict between the view that locates sense in the process of its production and the contrary judgment privileging a stable meaning over the exteriority of its execution. This dualism also articulates the problematic relationship of the individual to general social and linguistic structures. The book’s analyses of nineteenth-century theories of correspondence, along with the thematization of the “other arts,” point to the limitations of analogy, the impossibility of a general theory of art, and a crisis of identity—that is, a shared non-identity—that can be the only common property among different discourses, genres, and media. Virtuosity of the Nineteenth Century offers a fresh reading of relatively marginal texts by canonical figures, addressing questions about the relation between the arts, the possibility of critical description, and the function of performativity.
The performance of the elaborate and exalted Te Deum is a little disappointing .
On the ... we listen to this recording : the fact is that in performing music of the
grand classic school , good intentions and a sure sense of style are not enough .
Music teachers and presenters of concerts for children should be aware of the
nature of children ' s verbal responses to music so that they can tailor music
listening activities accordingly . 4 . Performing arts organizations and musicians
Author: California. Visual and Performing Arts Curriculum Framework and Criteria CommitteePublish On: 1989
Creative skills , which include producing both improvised and written music : A
correlative of prime importance to listening attentively , to performing music , and
to reading music is creating music , whose development should parallel other ...
Author: California. Visual and Performing Arts Curriculum Framework and Criteria Committee
Two approaches to teaching dance, drama/theatre, music, and the visual arts are interwoven into a comprehensive whole in the framework described in this document. The first approach views arts instruction as direct student involvement in the expressive modes of the arts. The second approach views the arts as a means of acquiring cultural literacy. The framework is constructed on these two complementary approaches, which are expressed in four components of arts education: aesthetic perception; creative expression; arts heritage; and aesthetic valuing. The framework is organized to assist curriculum planners design an arts curriculum that has a triple thrust that: (1) develops the unique characteristics of each of the arts; (2) interrelates the arts; and (3) infuses the arts into the general curriculum. Chapter 1 addresses the commonalities among the arts; chapters 2 through 5 present the unique aspects of each discipline. The individual discipline sections follow similar formats to assist teachers and curriculum developers build a balanced curriculum that includes all four areas of the arts. Chapter 6 provides a guide for interrelating the arts and for integrating the arts into the total learning process. The concluding chapter articulates what is needed to develop an adequate program for the arts. (JB)
Dannenbring GL , Bregman AS : Stream segregation and the illusion of overlap .
J Exp Psychol Hum Percept Perform 2 : 544 - 555 , 1976 . 9 . Deutsch D :
Grouping mechanisms in music . In Deutsch D ( ed ) : Psychology of Music . New