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Foreword: amateur bands, their localities, and their challenges – the lessons of history
No full textDescription of The Routledge Companion to the Study of Local Musicking: The Routledge Companion to the Study of Local Musicking provides a reference to how, cross-culturally, musicking constructs locality and how locality is constructed by the musicking that takes place within it, that is, how people engage with ideas of community and place through music. The term "musicking" has gained currency in music studies, and refers to the diverse ways in which people engage with music, regardless of the nature of this engagement. By linking musicking to the local, this book highlights the ways in which musical practices and discourses interact with people’s everyday experiences and understandings of their immediate environment, their connections and commitment to that locality, and the people who exist within it. It explores what makes local musicking "local." By viewing musicking from the perspective of where it takes place, the contributions in this collection engage with debates on the processes of musicking, identity construction, community-building and network formation, competitions and rivalries, place and space making, and local-global dynamics
Critical reflections on the use of Bourdieu's tools 'in concert' to understand the practices of learning in three musical sites
Get PDFBourdieu’s rich conceptual tools of habitus, capital, and field continue to be useful in multiple areas of sociological research; however, his tools take many shapes within his own writing and different disciplines. In this article, we reflect on our use of Bourdieu’s tools in order to enhance our understanding of how Bourdieu’s notion of ‘practice’ can be applied to practices of learning in sociological studies on music. Through comparisons of three separate studies (a secondary school, a conservatoire, and an industry), we employ a comparative method of analytic induction where we think critically about how we used Bourdieu’s tools in overlapping but analytically distinct ways. After exploring the extent to which Bourdieu’s tools proved productive, or not, to think with, we end with a concluding synthesis, which highlights the challenges associated with representing forms of Bourdieu’s ‘practice’ as they relate to and inhere in practices of learning
What about their performance do free jazz improvisers agree upon? A case study
Get PDFWhen musicians improvise freely together—not following any sort of script, predetermined harmonic structure, or “referent”—to what extent do they understand what they are doing in the same way as each other? And to what extent is their understanding privileged relative to outside listeners with similar levels of performing experience in free improvisation? In this exploratory case study, a saxophonist and a pianist of international renown who knew each other's work but who had never performed together before were recorded while improvising freely for 40 min. Immediately afterwards the performers were interviewed separately about the just-completed improvisation, first from memory and then while listening to two 5 min excerpts of the recording in order to prompt specific and detailed commentary. Two commenting listeners from the same performance community (a saxophonist and drummer) listened to, and were interviewed about, these excerpts. Some months later, all four participants rated the extent to which they endorsed 302 statements that had been extracted from the four interviews and anonymized. The findings demonstrate that these free jazz improvisers characterized the improvisation quite differently, selecting different moments to comment about and with little overlap in the content of their characterizations. The performers were not more likely to endorse statements by their performing partner than by a commenting listener from the same performance community, and their patterns of agreement with each other (endorsing or dissenting with statements) across multiple ratings—their interrater reliability as measured with Cohen's kappa—was only moderate, and not consistently higher than their agreement with the commenting listeners. These performers were more likely to endorse statements about performers' thoughts and actions than statements about the music itself, and more likely to endorse evaluatively positive than negative statements. But these kinds of statements were polarizing; the performers were more likely to agree with each other in their ratings of statements about the music itself and negative statements. As in Schober and Spiro (2014), the evidence supports a view that fully shared understanding is not needed for joint improvisation by professional musicians in this genre and that performing partners can agree with an outside listener more than with each other
Preface to score: Károly (Karl) Goldmark: Psalm 113 Op. 40 for choir and orchestra
No full textPreface to study score for Károly (Karl) Goldmark's Psalm 113 Op. 40 for choir and orchestra
Book review: 'Giacomo Puccini and His World' eds. Arman Schwartz and Emanuele Senici, Princeton University Press.
No full textReview of 'Tracing Tangueros: Argentine Tango Instrumental Music' by K Link, & K Wendland
No full textCo-creating a gamified solution for music learning
No full textThe practices and techniques of learning and teaching a musical instrument are highly tradition driven. Therefore, the use of technology – hardware or software – is often strictly limited to certain instances of students’ or teachers’ practices. Despite technological progress and its application across numerous educational fields, instrumental learning has not yet harvested the full potential of these advancements. To fill this gap, the TELMI (Technology Enhanced Learning of Musical Instrument Performance) project aims to develop a complete technology-enhanced solution for violin learning and teaching. A distinctive feature of the TELMI approach is the application of Co-creation techniques to the design of the learning solution. Co-creation is “an act of collective creativity, shared by two or more people”. Building on Living Lab and Co-design principles, the customized TELMI Co-creation approach involves end-users and domain experts – violin students and teachers – in the design process, allowing them to create their own solution. In this paper, we’ll elaborate on the collaborative Co-creation methods that have been applied thus far in the project, including storyboards, personas, timelines, scenarios, and problem definition. In particular, guidelines and lessons from a series of interviews and workshops carried out with violin students and teachers will be introduced. The main aim of these sessions was the in-depth exploration of the use of technology in instrumental learning, as well as the acceptance of specific gamification techniques
A systematic review of outcome measures in music therapy
Get PDFAssessment, in its different guises and forms, has been a core consideration of music therapy work since the early stages of the discipline. Practitioners have devised assessment tools for different purposes such as outcome measurement. Although an increased number of tools have been published, many do not seem to be used widely in either practice or research. This situation might be connected to limited accessibility to such tools and/or the lack of centralized sources of information about them. This systematic review focuses on 26 music-therapy-specific outcome measures and identifies trends and gaps in their characteristics. The results show that most measures concern work with people with autism, developmental and learning disabilities, and special needs. Most measures have been designed using pilot studies, and most original sources introducing the measures have been published since 2000 and in journal publications. Validation processes are reported in less than half of the original sources. Most measures employ observational ratings and checklists as their data collection method and have five main categories of focus: musical engagement, functioning, communication and/or interaction, relationship, and music therapy process
BBC Radio 3 record review: building a library: Mahler's Symphony No. 2 'Resurrection'
No full textWilliam Mival discusses recordings of Mahler's Symphony No. 2 'Resurrection' in this programme originally broadcast on 22 April 2017. This discussion is also available (UK only) on the Record Review Podcast, see https://www.bbc.co.uk/programmes/p0512flv
Musicians in the making: pathways to creative performance
No full textMusicians are continually 'in the making', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one's musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer.
Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time.
Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book's three parts focus in turn on 'Creative learning in context', 'Creative processes' and 'Creative dialogue and reflection'. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten 'Insights' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content.
Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, 'self-regulated performing', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers' development