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Author: Per Dahl
Publisher: BRILL
ISBN: 946300887X
Category : Education
Languages : en
Pages : 171
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Book Description
FREELY AVAILABLE ONLINE AS OPEN ACCESS BOOK! This book illustrates the acquisition of knowledge in a musician’s performative practice, and how this can contribute to the development of Artistic Research. Using a broad understanding of ‘knowledge,’ the first part of the book presents aspects of the practitioner knowledge a musician develops through daily exercises and performances. Technical and practical skills, creativity and music reading are central topics. Part II describes four different methodologies of knowledge accumulation. First is the hypothetico-deductive method (music as object). Then the author asks, “Where is the musical work?” After an introduction to semiotics, the question that must follow is “Is music a language?” Following up methodologies focusing on intersubjective and contextual topics, the presentation of hermeneutics generates the question “What happens to the music when you are listening?” Being the most subjective, phenomenology is the last methodology to be presented. The question it poses is “Are analysis and interpretation two sides of the same coin?” Artistic research is a new perspective in knowledge acquisition, and the performing artist is the pivot point. The obvious insight positioning music beyond the score is elaborated into a critique of the representational theory as a relevant ontological discourse in music. As an alternative, the potential in embodied meaning theories is discussed through cognitive, linguistic and artistic approaches. Artistic expressions convey the subjective practitioner knowledge based on the difference between the objective sign and the intersubjective expression. This makes music as communication the ultimate topic. In conclusion, understanding the meaning construction and the conditions of artistic content are both of importance in artistic research.
Author: Per Dahl
Publisher: BRILL
ISBN: 946300887X
Category : Education
Languages : en
Pages : 171
Get Book Here
Book Description
FREELY AVAILABLE ONLINE AS OPEN ACCESS BOOK! This book illustrates the acquisition of knowledge in a musician’s performative practice, and how this can contribute to the development of Artistic Research. Using a broad understanding of ‘knowledge,’ the first part of the book presents aspects of the practitioner knowledge a musician develops through daily exercises and performances. Technical and practical skills, creativity and music reading are central topics. Part II describes four different methodologies of knowledge accumulation. First is the hypothetico-deductive method (music as object). Then the author asks, “Where is the musical work?” After an introduction to semiotics, the question that must follow is “Is music a language?” Following up methodologies focusing on intersubjective and contextual topics, the presentation of hermeneutics generates the question “What happens to the music when you are listening?” Being the most subjective, phenomenology is the last methodology to be presented. The question it poses is “Are analysis and interpretation two sides of the same coin?” Artistic research is a new perspective in knowledge acquisition, and the performing artist is the pivot point. The obvious insight positioning music beyond the score is elaborated into a critique of the representational theory as a relevant ontological discourse in music. As an alternative, the potential in embodied meaning theories is discussed through cognitive, linguistic and artistic approaches. Artistic expressions convey the subjective practitioner knowledge based on the difference between the objective sign and the intersubjective expression. This makes music as communication the ultimate topic. In conclusion, understanding the meaning construction and the conditions of artistic content are both of importance in artistic research.
Author: Per Dahl
Publisher:
ISBN: 9789463008853
Category : Education
Languages : en
Pages : 172
Get Book Here
Book Description
This book illustrates the acquisition of knowledge in a musician's performative practice, and how this can contribute to the development of Artistic Research. Using a broad understanding of 'knowledge, ' the first part of the book presents aspects of the practitioner knowledge a musician develops through daily exercises and performances. Technical and practical skills, creativity and music reading are central topics. Part II describes four different methodologies of knowledge accumulation. First is the hypothetico-deductive method (music as object). Then the author asks, "Where is the musical work?" After an introduction to semiotics, the question that must follow is "Is music a language?" Following up methodologies focusing on intersubjective and contextual topics, the presentation of hermeneutics generates the question "What happens to the music when you are listening?" Being the most subjective, phenomenology is the last methodology to be presented. The question it poses is "Are analysis and interpretation two sides of the same coin?" Artistic research is a new perspective in knowledge acquisition, and the performing artist is the pivot point. The obvious insight positioning music beyond the score is elaborated into a critique of the representational theory as a relevant ontological discourse in music. As an alternative, the potential in embodied meaning theories is discussed through cognitive, linguistic and artistic approaches. Artistic expressions convey the subjective practitioner knowledge based on the difference between the objective sign and the intersubjective expression. This makes music as communication the ultimate topic. In conclusion, understanding the meaning construction and the conditions of artistic content are both of importance in artistic research.
Author: Daphne Leong
Publisher:
ISBN: 019065354X
Category : Music
Languages : en
Pages : 433
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Book Description
Performing Knowledge explores the relationship between musical performance and analysis through a unique collaboration between a music theorist and a cast of internationally renowned performers, investigating major musical works of the twentieth century--Ravel, Schoenberg, Bartók, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris. The book is a brave crossing of disciplinary divides between scholarship and practice, a theory text enlivened by the voices of performers who create, interpret, and articulate structure.
Author: Robert Burke
Publisher: Lexington Books
ISBN: 1498544827
Category : Music
Languages : en
Pages : 245
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Book Description
The increasing interest in artistic research, especially in music, is throwing open doors to exciting ideas about how we generate new musical knowledge and understanding. This book examines the wide array of factors at play in innovative practice and how by treating it as research we can make new ideas more widely accessible. Three key ideas propel the book. First, it argues that artistic research comes from inside the practice and exists in a space that accommodates both objective and subjective observation and analyses because the researcher is the practitioner. It is a space for dialogue between apparently opposing binaries: the composer and the performer, the past and the present, the fixed and the fluid, the intellectual and the intuitive, the abstract and the embodied, the prepared and the spontaneous, the enduring and the transitory, and so on. It is not so much constructed in a logical, sequential manner in the way of the scientific method of doing research but more as a “braided” space, woven from many disparate elements. Second, the book articulates the notion that artistic research in music has its own verification procedures that need to be brought into the academy, especially in terms of the moderation of non-traditional research outputs, including the description of the criteria for allocation of research points for the purposes of data collection, as well as real world relevance and industry engagement. Third, by way of numerous examples of original and creative music making, it demonstrates in practical terms how exploration and experimentation functions as legitimate academic research. Many of the case studies deliberately cross boundaries that were previously assumed to be rigid and definite in order to blaze new musical trails, creating new collaborations and synergies.
Author: Alex McLean
Publisher: Oxford University Press
ISBN: 0190227001
Category : Music
Languages : en
Pages : 713
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Book Description
With the ongoing development of algorithmic composition programs and communities of practice expanding, algorithmic music faces a turning point. Joining dozens of emerging and established scholars alongside leading practitioners in the field, chapters in this Handbook both describe the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music. Organized into four sections, chapters explore the music's history, utility, community, politics, and potential for mass consumption. Contributors address such issues as the role of algorithms as co-performers, live coding practices, and discussions of the algorithmic culture as it currently exists and what it can potentially contribute society, education, and ecommerce. Chapters engage particularly with post-human perspectives - what new musics are now being found through algorithmic means which humans could not otherwise have made - and, in reciprocation, how algorithmic music is being assimilated back into human culture and what meanings it subsequently takes. Blending technical, artistic, cultural, and scientific viewpoints, this Handbook positions algorithmic music making as an essentially human activity.
Author: Elaine King
Publisher: Routledge
ISBN: 1317088212
Category : Music
Languages : en
Pages : 327
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Book Description
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.
Author: Gary McPherson
Publisher: Oxford University Press
ISBN: 0190058862
Category : Music
Languages : en
Pages : 649
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Book Description
The two-volume 'Oxford Handbook of Music Performance' provides the most comprehensive and authoritative resource for musicians, educators and scholars currently available. It is aimed primarily for practicing musicians, particularly those who are preparing for a professional career as performers and are interested in practical implications of psychological and scientific research for their own music performance development; educators with a specific interest or expertise in music psychology, who will wish to apply the concepts and techniques surveyed in their own teaching; undergraduate and postgraduate students who understand the potential of music psychology for informing music education; and researchers in the area of music performance who consider it important for the results of their research to be practically useful for musicians and music educators.
Author: Roger Mills
Publisher: Springer
ISBN: 3319710397
Category : Computers
Languages : en
Pages : 227
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Book Description
This research monograph explores the rapidly expanding field of networked music making and the ways in which musicians of different cultures improvise together online. It draws on extensive research to uncover the creative and cognitive approaches that geographically dispersed musicians develop to interact in displaced tele-improvisatory collaboration. It presents a multimodal analysis of three tele-improvisatory performances that examine how cross-cultural musician’s express and perceive intentionality in these interactions, as well as their experiences of distributed agency and tele-presence. Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session will provide essential reading for musician’s, postgraduate students, researchers and educators, working in the areas of telematic performance, musicology, music cognition, intercultural communication, distance collaboration and learning, digital humanities, Computer Supported Cooperative Work and HCI.
Author: J.Murphy McCaleb
Publisher: Routledge
ISBN: 1351568426
Category : Music
Languages : en
Pages : 160
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Book Description
Performing in musical ensembles provides a remarkable opportunity for interaction between people. When playing a piece of music together, musicians contribute to the creation of an artistic work that is shaped through their individual performances. However, even though ensembles are a large part of musical activity, questions remain as to how they function. In Embodied Knowledge in Ensemble Performance, Murphy McCaleb explores the processes by which musicians interact with each other through performance. McCaleb begins by breaking down current models of ensemble interaction, particularly those that rely on the same kind of communication found in conversation. In order to find a new way of describing this interaction, McCaleb considers the nature of the information being shared between musicians during performance. Using examples from postgraduate ensembles at Birmingham Conservatoire as well as his own reflective practice, he examines how an understanding of the relationship between musicians and their instruments may affect the way performers infer information within an ensemble. Drawing upon research from musicology, occupational psychology, and philosophy, and including downloadable resources of excerpts from rehearsals and performances, Embodied Knowledge provides an holistic approach to ensemble research in a manner accessible to performers, researchers and teachers.
Author: Gilvano Dalagna
Publisher: Routledge
ISBN: 0429619464
Category : Music
Languages : en
Pages : 219
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Book Description
Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.
