Recorded Music in Creative Practices: Mediation, Performance, Education brings new critical perspectives on recorded music research, artistic practice and education into an active dialogue.
Recorded Music in Creative Practices: Mediation, Performance, Education brings new critical perspectives on recorded music research, artistic practice and education into an active dialogue.
Georgia Volioti is a Senior Lecturer in Music at the University of Surrey. Her research interests are interdisciplinary and revolve around music performance studies, music psychology, and education. Her work, which is published in leading peer-reviewed journals and edited collections, explores diverse topics such as the cultural reception, historiography, criticism and analysis of performance, the media and materiality of recording technologies, listening practices, musicians' learning and the evaluation of performance. Daniel Barolsky is a Professor of Music at Beloit College in Wisconsin, USA, and the co-editor and co-founder of Open Access Musicology. His research interests include performance and analysis as well as music history, theory, and pedagogy. He was originally inspired to pursue music studies because of his obsession with Glenn Gould and Jacqueline du Pré.
Inhaltsangabe
List of figures List of tables List of music examples Note for the reader about e-resources List of online video examples Notes on contributors Acknowledgements Introduction: New approaches to integrating the study and practice of recording in higher music education 1. History, imitation, and freedom in classical performers' uses of recordings 2. Reinterpreting the history of the tenor voice: An autoethnographic study using early recordings 3. The enchantment of phonography: Materiality and mediation in early twentieth-century children's recordings 4. Recorded performance reviewed: Discovering classical music recordings through critics' writings 5. Creative processes in recreating early recordings 6. Performing rock in the recording studio: Agency and structure within creative practice 7. Furrowing sound: Performance record cutting 8. From magnetic tape to digital media: Performative approaches to the recorded contents of Constança Capdeville's experimental musical works 9. Nurturing the musical imagination: Listening to recordings for self-regulated and creative learning 10. Early recordings and the training of performers: Lessons from a European conservatoire 11. Teaching the rights way: The case for integrating copyright into the higher music education curriculum 12. The analogue music studio: Education and research as heritage-in-process 13. New approaches to working with recordings in practice-led research and teaching of 'world' musics: A case study of Cuban dance music 14. Afterword: Acknowledging our cyborg identities in the music history curriculum Index
List of figures List of tables List of music examples Note for the reader about e-resources List of online video examples Notes on contributors Acknowledgements Introduction: New approaches to integrating the study and practice of recording in higher music education 1. History, imitation, and freedom in classical performers' uses of recordings 2. Reinterpreting the history of the tenor voice: An autoethnographic study using early recordings 3. The enchantment of phonography: Materiality and mediation in early twentieth-century children's recordings 4. Recorded performance reviewed: Discovering classical music recordings through critics' writings 5. Creative processes in recreating early recordings 6. Performing rock in the recording studio: Agency and structure within creative practice 7. Furrowing sound: Performance record cutting 8. From magnetic tape to digital media: Performative approaches to the recorded contents of Constança Capdeville's experimental musical works 9. Nurturing the musical imagination: Listening to recordings for self-regulated and creative learning 10. Early recordings and the training of performers: Lessons from a European conservatoire 11. Teaching the rights way: The case for integrating copyright into the higher music education curriculum 12. The analogue music studio: Education and research as heritage-in-process 13. New approaches to working with recordings in practice-led research and teaching of 'world' musics: A case study of Cuban dance music 14. Afterword: Acknowledging our cyborg identities in the music history curriculum Index
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