104 research outputs found
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(Re)Visiting the (Jewish) Archive of Gideon Klein – Terezín, 1941-1944
Get PDFThe chapter is based on the outcomes of David’s recent research at the archives of Prague’s Jewish Museum into Klein’s Trio for Violin, Violin and Cello, the final work he composed before being deported from the Terezín ghetto in Czechoslovakia, to Auschwitz, where he was murdered in 1945
“Francis Poulenc en tournée : questions de répertoire. Le cas des mélodies de Gabriel Fauré"
No full text"Francis Poulenc"
No full textPoulenc, including several articles about his biography, style and works, and a bibliograph
A preliminary comparison study of burnout and engagement in performance students in Australia, Poland and the UK
Get PDFWhile there is a growing body of research concerning the well-being of music students, burnout
and engagement remain largely unexplored. Likewise, cross-national variations in approaches to
music education, and different educational experiences of men and women may influence burnout
and engagement. This preliminary study aimed to inform further research by establishing the
levels of, and exploring cross-national and sex differences in burnout and engagement in music
performance students at conservatoires in Australia, Poland and the UK (n = 331). Self-reported
levels of burnout were, typically, low to moderate. Nevertheless, one in ten students reported
symptoms such that they could be classified as burned out. Australian and UK students displayed
more burnout than students in Poland, although Australian students reported lower levels of
reduced sense of accomplishment than Polish and UK students. Self-reported engagement was,
typically, moderate to high. Students in Poland reported higher levels of engagement than those
in the UK. Women displayed higher levels of global burnout and emotional/physical exhaustion,
while men reported lower levels of reduced sense of accomplishment. Further research on
burnout and engagement could build on this investigation to gain a better understanding of their
impact and the influence of the educational experience on students’ music-related well-being
“The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians.
Get PDFThe concept of virtuosity has been explored by music historians and theorists from disciplines ranging from aesthetics and anthropology to semiotics. Its history goes back to ancient times, although it is often thought to culminate in the 19th century with Liszt and Paganini. Many historical sources quote well-known performers and composers but little is known as to how music students and professional musicians define virtuosity today, and what it means to them as performers and audiences. The present study was exploratory, employing a mixed methods approach. A total of 102 musicians provided open-ended responses to a short questionnaire. A keyword-in-context analysis of content was undertaken, followed by a more in-depth thematic analysis. Five main themes emerged: characteristics of virtuosity; relationship between virtuosity and (“magical”) music making; aspirations towards virtuosity; how virtuosity is achieved; and communication. Responses from students and professionals were compared and are discussed with reference to historical and current theoretical models
25 years of ESCOM: Achievements and challenges
Get PDFThis reflection on the first 25 years of ESCOM’s activities is in two parts. In the first part we analyse the country and discipline spread of contributors to its journal Musicae Scientiae and its formal membership. In the second we address the choice of “cognitive sciences of music” as the initial focus of both Society and journal by comparing the topics of early meetings and publications with those that are current now. Journal contributors and members are both concentrated in a small number of countries. When corrected for population size, the countries with the highest levels of activity are, in order: Finland, Estonia, UK, Sweden, Germany, Belgium, Switzerland, and Austria. This has not changed substantially over the duration of ESCOM’s existence. In contrast, there have been significant changes in the disciplinary spread of contributions, psychology becoming increasingly popular in recent years to the near exclusion of some other disciplinary approaches including ethnomusicology, computational modelling and theoretical musicology. Current topics include performance and composition, emotion, musical development, perception, music therapy and well-being, music learning, preferences, cognition, and neuropsychological approaches. An early aspiration of the Society was that the wide range of disciplines represented by the cognitive sciences of music might eventually converge, but this has proved difficult to achieve. An increasing convergence on the use of English as its normative language, however, has provided ESCOM with both new challenges and some opportunities
Music Criticism In france, 1918-1939: Authority, Advocacy, Legacy
No full textMusic Criticism in France examines the aesthetic battles that animated and informed French musical criticism during the interwar period (1918-1939). Drawing upon a rich corpus of critical writings and archival documents, the book uncovers some of the public debates surrounding classical music in the immediate aftermath of the Great War until the eve of World War II. As such, it provides new insights into the priorities, values and challenges that affected the musical milieu of this war-bound generation.
This collection of essays brings together scholars from different areas of musicology and related humanities disciplines; it also draws on different anglophone and francophone intellectual traditions. As well as considering the reception of individual works, the contributors examine key individuals, composer-critic pairings, the composer as critic and technician, the role of influential journals, and music criticism as a pedagogical tool for concert-going and radio audiences.
Focusing on the themes of authority, advocacy and legacy, it shows the contribution of principal critics such as Vuillermoz, Vallas, Prunières, Schloezer and Koechlin to shaping our understanding of music in the first half of the twentieth century in France. We see how criticism contributes to national and transnational preoccupations and agendas, which were of considerable importance throughout the interwar period and continue to have relevance today
Promoting well-being through group drumming with mental health service users and their carers
No full textPurpose: Music has been linked with well-being across clinical and community settings. Yet, research has focused on assessment of single dimensions of well-being and on the typical receiver of support services. Acknowledging the burden that a caring role encompasses and integrating recent proposals for a multifaceted definition of well-being, we explore the extent to which group drumming interventions translate into multidimensional well-being change for both mental health service users and carers.
Method: Thirty-nine participants engaged in one of a series of community drumming programmes were assessed via semi-structured interviews (n = 11) and focus groups (n = 28) at the end of each programme. Data were analysed using IPA.
Results and conclusion: Emotional, psychological and social dimensions of well-being emerged for both patients and carers, accounted for through six themes: (1) hedonia: positive affect and pleasant physical effects of drumming; (2) agency: initiative and sense of control; (3) accomplishment: non-specific and in relation to musical goals; (4) engagement, through focus and flow; (5) a redefinition of self, through self-awareness, construction of a positive identity, self-prospection and incorporation of a musical identity; and (6) social well-being, through connectedness and positive relationships. The potential of such interventions for clinical contexts is discussed.
Keywords: Well-being; group drumming; music; mutual recovery; positive mental health
Composition as Improvisation/Improvisation as Composition.
Get PDFExperimental Encounters in Music and Beyond opens a necessary dialogue on experimental practices in the arts and negotiates their place in contemporary society. Going beyond the music-historical usage of the term "experimental", this book reimagines experimentation as an open working definition encompassing multiple forms of artistic attitudes and processes. The texts, images, and sounds offer multiple traces, faces, and spaces, revealing what experimentalism in music and the wider arts entails today. With perspectives from a range of disciplines—from choreography through composition to philosophy and beyond—the different experiences and artistic projects documented and discussed explore the complexity of experimentation in a way that is all the richer for being never-ending