Musical Creativities in Practice

Musical Creativities in Practice explores the social and the cultural contexts in which creativity in music occurs. It begins by considering what constitutes creativity - taking a cross cultural view

This book uses research-led practice and practice-led research for advancing discrete and diverse musical creativities and entrepreneurship in educating successful musicians for the 21st century.

Activating Diverse Musical Creativities analyses the ways in which music programmes in higher education can activate and foster diverse musical creativities. It also demonstrates the relationship betw

The twelve essays in this volume reflect the most important trends in the study of musical performance.

How have men used art music? How have they listened to and brandished the musical forms of the Western classical tradition and how has music intervened in their identity formations? This collection of

In Creativities in Arts Education, Research and Practice: International Perspectives for the Future of Learning and Teaching, Leon de Bruin, Pamela Burnard and Susan Davis highlight innovative arts pr

In Creativities in Arts Education, Research and Practice: International Perspectives for the Future of Learning and Teaching, Leon de Bruin, Pamela Burnard and Susan Davis highlight innovative arts pr

Studies of pre-existing music in narrative cinema often focus on a single film, composer or director. The approach here adopts a wider perspective, placing a specific musical repertoire - baroque music - in the context of its reception to explore its mobilisation in post-war cinema. It shows how various revivals have shaped musical fashion, and how cinema has drawn on resultant popularity and in turn contributed to it. Close analyses of various films raise issues of baroque musical style and form to question why eighteenth-century music remains an exception to dominant film-music discourses. Account is taken of changing modern performance practice and its manifestation in cinema, particularly in the biopic. This question of the reimagining of baroque repertoire leads to consideration of pastiches and parodies to which cinema has been particularly drawn, and subsequently to the role that neobaroque music has played in more recent films.

In The New Guitarscape, Kevin Dawe argues for a re-assessment of guitar studies in the light of more recent musical, social, cultural and technological developments that have taken place around the in

In the last 50 years the guitar has gone from novelty to massive global popularity. Guitars are found and played everywhere, in a plethora of genres and cultures, for a multitude of cultural and polit

How is creativity understood and facilitated across music education settings? What is the power of creativity in enhancing individual and group learning? How is musical creativity used as a tool for c

Musical notation is a powerful system of communication between musicians, using sophisticated symbolic, primarily non-verbal means to express musical events in visual symbols. Many musicians take the system for granted, having internalized it and their strategies for reading it and translating it into sound over long years of study and practice. This book traces the development of that system by combining chronological and thematic approaches to show the historical and musical context in which these developments took place. Simultaneously, the book considers the way in which this symbolic language communicates to those literate in it, discussing how its features facilitate or hinder fluent comprehension in the real-time environment of performance. Moreover, the topic of musical as opposed to notational innovation forms another thread of the treatment, as the author investigates instances where musical developments stimulated notational attributes, or notational innovations made practic

Musical notation is a powerful system of communication between musicians, using sophisticated symbolic, primarily non-verbal means to express musical events in visual symbols. Many musicians take the system for granted, having internalized it and their strategies for reading it and translating it into sound over long years of study and practice. This book traces the development of that system by combining chronological and thematic approaches to show the historical and musical context in which these developments took place. Simultaneously, the book considers the way in which this symbolic language communicates to those literate in it, discussing how its features facilitate or hinder fluent comprehension in the real-time environment of performance. Moreover, the topic of musical as opposed to notational innovation forms another thread of the treatment, as the author investigates instances where musical developments stimulated notational attributes, or notational innovations made practic

Recent scholarship has vanquished the traditional perception of nineteenth-century Britain as a musical wasteland. In addition to attempting more balanced assessments of the achievements of British co

Alexandra Pierce helps musicians gain a richer understanding of music through the use of the body and gesture. She asserts that expression of character and affect in music corresponds to expression o

This is the first intellectual biography of the French composer and theorist Jean-Philippe Rameau. Rameau synthesised the vocabulary and grammar of musical practice into a concise scientific system, e

The first serious ethnomusicological study of Malagasy music, Recollecting from the Past evokes the complex sound and performative aesthetic in Madagascar called maresaka. Maresaka pertains not only

German music critic and opera producer Paul Bekker (1882–1937) is a rare example of a critic granted the opportunity to turn his ideas into practice. In this first full-length study of Bekker in Engli

Exploring the popular music of Latin America and its diasporic communities as a social practice, 12 essays discuss the transmission, mediation, and positioning of music and the relations between these

Musical notation has not always existed: in the West, musical traditions have often depended on transmission from mouth to ear, and ear to mouth. Although the Ancient Greeks had a form of musical notation, it was not passed on to the medieval Latin West. This comprehensive study investigates the breadth of use of musical notation in Carolingian Europe, including many examples previously unknown in studies of notation, to deliver a crucial foundational model for the understanding of later Western notations. An overview of the study of neumatic notations from the French monastic scholar Dom Jean Mabillon (1632–1707) up to the present day precedes an examination of the function and potential of writing in support of a musical practice which continued to depend on trained memory. Later chapters examine passages of notation to reveal those ways in which scripts were shaped by contemporary rationalizations of musical sound. Finally, the new scripts are situated in the cultural and social con

Conceptually sophisticated and exceptionally musical, Harmonic Practice in Tonal Music provides a thorough treatment of harmony and voice-leading principles in tonal music.

Conceptually sophisticated and exceptionally musical, Harmonic Practice in Tonal Music provides a thorough treatment of harmony and voice-leading principles in tonal music.

This book is a study of the prose writings of Richard Wagner and their relevance to an understanding of his music and drama, as well as their relation to music criticism and aesthetics in the nineteenth century in general. As a by-product of Wagner's many-faceted career as musician, conductor, cultural critic and controversial ideologue, the writings are documents of undisputed interpretative value. This study focuses on Wagner's words on music, and interprets them in the light of the musical, aesthetic and critical contexts that generated them. Professor Grey considers Wagner's ambivalence concerning the idea of 'absolute music' and the capacity of music to project meaning or drama from within its own system of referents. Particularly relevant are Wagner's appropriation of a Beethoven legacy, the metaphors of musical 'gender' and 'biology' in Opera and Drama and the critical background to ideas of 'motive' and 'leitmotif' in theory and practice.

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform.

A course of violin instruction combined with musical theory and practice in duet-playing

This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insigh

"This best-selling text gives music majors and minors a solid foundation in the theory of music. Music in Theory and Practice strengthens their musical intuition, builds technical skills, and helps th

"This best-selling text gives music majors and minors a solid foundation in the theory of music. Music in Theory and Practice strengthens their musical intuition, builds technical skills, and helps th

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including authenticities of intention, sound, practice, and