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‘Stories students tell about their lived experiences of spirituality in the Dalcroze class’.
No full textPerforming the Remembered Present: The Cognition of Memory in Dance, Theatre and Music (Chapter)
No full textThis international collection brings together scientists, scholars and artist-researchers to explore the cognition of memory through the performing arts and examine artistic strategies that target cognitive processes of memory. The strongly embodied and highly trained memory systems of performing artists render artistic practice a rich context for understanding how memory is formed, utilized and adapted through interaction with others, instruments and environments. Using experimental, interpretive and Practice-as-Research methods that bridge disciplines, the authors provide overview chapters and case studies of subjects such as:
* collectively and environmentally distributed memory in the performing arts;
* autobiographical memory triggers in performance creation and reception;
* the journey from learning to memory in performance training;
* the relationship between memory, awareness and creative spontaneity, and
* memorization and embodied or structural analysis of scores and scripts.
This volume provides an unprecedented resource for scientists, scholars, artists, teachers and students looking for insight into the cognition of memory in the arts, strategies of learning and performance, and interdisciplinary research methodology
Music therapy as a medicine of the whole person: What can we learn from Paul Tournier?
No full textExploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and educatio
Gabriel Fauré: The Complete Verlaine Settings
No full textTony Boutté (tenor) with Emily Kilpatrick and Roy Howat (piano
Gabriel Fauré: The Complete Verlaine Settings, Complete Songs / Volume 2: 1884-1919.
No full textNumbering more than 100 in total, and composed across a 60-year period, Gabriel Fauré’s songs form the single most influential contribution to the field of French art song. Despite their importance, the songs have long been riddled with misprints and inconsistencies. This first complete
critical edition is based on study of hundreds of manuscript and printed sources, along with evidence and
interpretative advice from artists who worked with Fauré. Above all, it is a practical edition, informed by
extensive work with musicians in performance, masterclasses and workshops.
This second volume comprises the songs of Fauré’s creative maturity, including popular favourites (Les
Roses d’Ispahan, Clair de lune) alongside some lesser-known gems, together with his three vocal duets
and the delightful four-voice Madrigal
"Ecrits de Francis Poulenc", "Entretiens [de Poulenc] avec Claude Rostand"
No full textArticles in an online dictionary about the composer's writings
The Dalcroze Diamond: A theory of spirituality in Dalcroze Eurhythmics.
No full textExploring the spiritual in music: Interdisciplinary dialogues in music, wellbeing and education
Audience reactions to the program notes of unfamiliar music
Get PDFMany classical music listeners attend concerts with some knowledge of the music to be performed, especially when the repertoire is familiar and comes from the Western music canon. In the case of music that is new to the listener and/or sung in an unfamiliar language, program notes may provide essential information; however, there is little understanding of what information should be provided or the impact of this information on the listener. This article presents the findings of practice-led research that sought to determine the types and modes of information that might enhance the experiences of both listeners and performers. Listeners (n = 29) attended a performance of unfamiliar music. The music was performed twice, with program notes shared only after the first performance. All respondents listened differently to the music once they had been given the program notes. Only 39% of listeners reported that the program notes had had a positive impact on their listening experience. More experienced listeners were far more likely to reject the program note information in favour of their own interpretation particularly if they had experiences of music-making