1857 research outputs found
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Review of 'Music and theology in nineteenth-century Britain' ed. Martin V. Clarke (Ashgate 2012)
No full textBBC Proms plus intro: Rachmaninov: Symphony No. 2
No full textComposer and musicologist William Mival discusses Rachmaninov and his Symphony No. 2 with Louise Fryer
L'art de préluder: quelques questions de taxonomie chez Debussy [The art of preluding: some questions of taxonomy in the works of Debussy]
No full textDescription of book: Figure majeure dans l’histoire de la musique française au tournant des XIXe et XXe siècles, Claude Debussy (1862-1918), compositeur reconnu de son vivant et jouissant d’une notoriété internationale, a été considéré après la Seconde Guerre mondiale comme un initiateur de l’avant-garde. « Je travaille à des choses qui ne seront comprises que par les petits-enfants du XXe siècle » écrivait-il en 1895 : la prophétie de ce musicien novateur se trouve ainsi réalisée. En 2012, pour le 150e anniversaire de sa naissance, un colloque international a rassemblé une quarantaine de spécialistes. Du chercheur reconnu au doctorant, les contributeurs au présent ouvrage approfondissent la réflexion sur des sujets variés et, forts de problématiques inédites, apportent des éclairages neufs sur le créateur et sur son œuvre, la pluridisciplinarité procurant un enrichissement considérable. De l’étude de la figure du personnage, dans ses dimensions politique, sociale et littéraire, à celle de la réception, de la postérité et de l’influence de sa musique, en passant par l’examen de ses procédés de composition, l’analyse spécifique de certaines de ses œuvres et l’écoute de ses propres enregistrements, il résulte un corpus de textes constituant un éventail significatif de l’état actuel de la recherche debussyste et ouvrant de nouvelles perspectives
Recording review: Pierre Rode (1774–1830): 12 Etudes for Violin Solo; Duos for 2 Violins, performed by Nicolas Koeckert, Rudolf Koeckert (violins)
No full textWhat is generally known of Pierre Rode's significance as a figure in music history is threefold: his Twenty-Four Caprices remain a staple of violin pedagogy, he helped establish a strong violin division along with Baillot and Kreutzer at the Paris Conservatoire, and his particular style of playing inspired Beethoven to compose his Violin Sonata Op. 96 for him
Book review: 'Music education in England, 1950-2010: the child-centred progressive tradition' by John Finney
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Learning cultures and the conservatoire: an ethnographically-informed case study
No full textAs educational institutions, conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, research has paid little attention to in-depth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. This article addresses this gap through seeking to understand the constructed nature of the ‘learning cultures’ – the cultural practices through which students learn – of a UK conservatoire. Working within an ethnographically-informed case study, multiple qualitative methods were employed to collect in-depth data. Key findings from a four-phased analysis procedure reveal that the conservatoire's learning cultures are constructed across four intertwined features: (1) learning cultures of performing specialism, (2) learning cultures of social networking, (3) learning cultures of musical hierarchies and (4) learning cultures of vocational position taking. Implications of the study are discussed, and recommendations made for the introduction of creative and reflective spaces for learning in the conservatoires of the future
Complexity of physiological responses decreases in high-stress musical performance
No full textFor musicians, performing in front of an audience can cause considerable apprehension; indeed, performance anxiety is felt throughout the profession, with wide ranging symptoms arising irrespective of age, skill level and amount of practice. A key indicator of stress is frequency-specific fluctuations in the dynamics of heart rate known as heart rate variability (HRV). Recent developments in sensor technology have made possible the measurement of physiological parameters reflecting HRV non-invasively and outside of the laboratory, opening research avenues for real-time performer feedback to help improve stress management. However, the study of stress using standard algorithms has led to conflicting and inconsistent results. Here, we present an innovative and rigorous approach which combines: (i) a controlled and repeatable experiment in which the physiological response of an expert musician was evaluated in a low-stress performance and a high-stress recital for an audience of 400 people, (ii) a piece of music with varying physical and cognitive demands, and (iii) dynamic stress level assessment with standard and state-of-the-art HRV analysis algorithms such as those within the domain of complexity science which account for higher order stress signatures. We show that this offers new scope for interpreting the autonomic nervous system response to stress in real-world scenarios, with the evolution of stress levels being consistent with the difficulty of the music being played, superimposed on the stress caused by performing in front of an audience. For an emerging class of algorithms that can analyse HRV independent of absolute data scaling, it is shown that complexity science performs a more accurate assessment of average stress levels, thus providing greater insight into the degree of physiological change experienced by musicians when performing in public. ******* This article is available open access on the publisher's website at the Official URL given below. ******
Measuring musical self-regulation: linking processes, skills, and beliefs
Get PDFThis research explores self-regulated learning behaviors as used by 174 students in higher music education during learning and practice, with the aim of demonstrating the interaction between processes, skills, and beliefs. A three-factor structure was identified within a newly adapted, ten-item Musical Self-regulated Learning Questionnaire, illustrating (1) reflection and frameworks for progress, (2) improvement in and outside of practice, and (3) setting the learning context. The four behaviors in Factor 3 least used by these students were arranging/imagining rewards/punishments, rearranging the physical setting, keeping records of events, and reviewing records of past events/performances. Significant positive correlations were found between behaviors and self-ratings of musical skills/attributes and with self-efficacy for musical learning. However, there were no significant correlations with self-efficacy for musical performing. Students’ perception of the importance of self-regulated learning behaviors, their relationships to skills and beliefs, and implications for learning and teaching are discussed
Composing dissent: avant-garde music in 1960s Amsterdam
No full textThe 1960s saw the emergence in the Netherlands of a generation of avant-garde musicians (including figures such as Louis Andriessen, Willem Breuker, Reinbert de Leeuw and Misha Mengelberg) who were to gain international standing and influence as composers, performers and teachers, and who had a defining impact upon Dutch musical life. Fundamental to their activities in the sixties was a pronounced commitment to social and political engagement. The lively culture of activism and dissent on the streets of Amsterdam prompted an array of vigorous responses from these musicians, including collaborations with countercultural and protest groups, campaigns and direct action against established musical institutions, new grassroots performing associations, political concerts, polemicising within musical works, and the advocacy of new, more 'democratic' relationships with both performers and audiences. These activities laid the basis for the unique new music scene that emerged in the Netherlands in the 1970s and which has been influential upon performers and composers worldwide.
This book is the first sustained scholarly examination of this subject. It presents the Dutch experience as an exemplary case study in the complex and conflictual encounter of the musical avant-garde with the decade's currents of social change. The narrative is structured around a number of the decade's defining topoi: modernisation and 'the new'; anarchy; participation; politics; self-management; and popular music. Dutch avant-garde musicians engaged actively with each of these themes, but in so doing they found themselves faced with distinct and sometimes intractable challenges, caused by the chafing of their political and aesthetic commitments. In charting a broad chronological progress from the commencement of work on Peter Schat's Labyrint in 1961 to the premiere of Louis Andriessen's Volkslied in 1971, this book traces the successive attempts of Dutch avant-garde musicians to reconcile the era's evolving social agendas with their own adventurous musical practice. ******* Visit the companion website here: https://global.oup.com/us/companion.websites/9780199981014/ *******