The Music Practitioner (eBook, PDF)

Research for the Music Performer, Teacher and Listener
Redaktion: Davidson, JaneW.

• Format: PDF

Produktbeschreibung

Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual's sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves.

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Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 386
• Erscheinungstermin: 5. Juli 2017
• Englisch
• ISBN-13: 9781351542203
• Artikelnr.: 48802277

Autorenporträt

Jane W. Davidson

Inhaltsangabe

Contents: Foreword; Introduction, Jane W. Davidson; Part 1 The Practitioner
and Research: Psychology and the music practitioner, Aaron Williamon and
Sam Thompson; What and why do we need to know about music psychology
research to improve music instrument teaching?, Kacper Miklaszewski; The
state of play in performance studies, John Rink; A case study of a
practical research environment: Sibelius Academy, Helsinki, Kari Kurkela.
Part 2 Theory and Experimentation: Understanding Pitches, Tuning and
Rhythms: From acoustics to psychology: pitch strength of sounds, Andrzej
Rakowski; 'Expressive intonation' in string performance: problems of
analysis and interpretation, Peter Johnson; Do compositions reveal
information about historical tuning?, Bernhard Billeter; Enrichment of
music theory pedagogy by computer-based repertoire analysis and
perceptual-cognitive theory, Richard Parncutt; The perceptual space between
and within musical rhythm categories, George Papadelis and George
Papanikolaou. Part 3 Practitioners Investigating their Daily Work: Making a
reflexive turn: practical music-making becomes conventional research, Jane
W. Davidson; Singing by heart: memorization strategies for the words and
music of songs, Jane Ginsborg; Formal and non-formal music learning amongst
rock musicians, Anna-Karin Gullberg and Sture Brÿndström; Priorities in
voice training: carrying power or tone quality, Allan Vurma and Jaan Ross.
Part 4 Researching Musician Identity and Perception: Rethinking voice
evaluation in singing, António G. Salgado; Assessing vocal performance,
Daniela Coimbra and Jane W. Davidson; Starting a music degree at
university, Stephanie E. Pitts; Tracing a musical life transition, Karen
Burland and Jane W. Davidson; Flawed expertise: exploring the need to
overcome the discrepancy between instrumental training and orchestral work
- the case of string players, Daina Langner. Part 5 Adopting Innovative
Research Approaches: A new method for analysing and representing singing,
Stefanie Sadler Elmer and Franz-Josef Elmer; The fears and joys of new
forms of investigation into teaching: student evaluation of instrumental
teaching, Ingrid Maria Hanken; A role for action research projects in
developing new pedagogical approaches to aural and musicianship education,
Nicholas Bannan; A new approach to pursuing the professional development of
recent graduates from German music academies: the alumni project, Heiner
Gembris; What music psychology is telling us about emotions and why it
can't yet tell us more: a need for empirical and theoretical innovation,
Matthew M. Lavy. Part 6 A Final Note: Musical chills and other delights of
music, Jerrold Levinson. Index.