Bücher: „Musical factors“

1

Goetze, Mary. Factors affecting accuracy in children's singing. [Ann Arbor: s.n.], 1985.

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2

Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. [Cleveland, Ohio: s.n.], 1985.

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3

Zimmerman, Sally-Anne. Instrumental music: Factors in learning musical instruments for children and young people who are visually impaired. London: R.N.I.B., 1998.

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4

Stokes, W. Ann. Intelligence and feeling: A philosophical examination of these concepts as interdependent factors in musical experience and music education. Evanston, Ill: [s.n.], 1990.

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5

Baltzer, Samuel W. A factor analytic study of musical creativity in children in the primary grades. [Bloomington: s.n.], 1989.

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6

Dufourcq, Norbert. Les Clicquot, facteurs d'orgues du roi. 2. Aufl. Paris: L'Orgue, 1990.

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7

Lynne, Tillman, Hrsg. The velvet years: Warhol's factory, 1965-67. New York, NY: Thunder's Mouth Press, 1995.

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8

The dream factory: Fender Custom Shop. Wilwaukee, WI: Hal Leonard, 2011.

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9

Caïn, Jean-Robert. Les Isnard: Une révolution dans la facture d'orgues. La Calade, Aix-en-Provence: Edisud, 1991.

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10

Les facteurs d'instruments de musique à Paris au XIXe siècle: Des artisans face à l'industrialisation. Bruxelles, Belgique: Editions de l'Université de Bruxelles, 1985.

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11

Marco, Bracci, Hrsg. Da Modugno a X Factor: Musica e società italiana dal dopoguerra a oggi. Roma: Carocci, 2010.

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12

Girod, L. Connaissance pratique de la facture des grandes orgues. Buren, The Netherlands: F. Knuf Publishers, 1989.

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13

The rap factor. New York: Atlantic Monthly Press, 1993.

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14

L' orgue corse de 1557 à 1963: Histoire, facteurs, esthétique. Ajaccio: A. Piazzola, 2001.

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15

Haine, Malou. Les facteurs d'instruments de musique actifs en Wallonie et à Bruxelles en 1985. Liège: P. Mardaga, 1985.

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16

Michael, Orr. Handmade music factory: The ultimate guide to making foot-stompin'-good instruments. East Petersburg, PA: Fox Chapel, 2011.

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17

Danjou, Félix. De la facture d'orgue au XIXe siècle: Suivi des réponses d'Aristide Cavaillé-Coll. Saint-Geniès-des-Moourges: Editions du Bérange, 1998.

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18

Pastorelli, Elisabeth. Orgues et facteurs de Nice: Fin XVIIIe, début XXe siècle. Béziers [France]: Société de musicologie de Languedoc, 1988.

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19

Dancing in the distraction factory: Music television and popular culture. Minneapolis: University of Minnesota Press, 1992.

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20

Dancing in the distraction factory: Music television and popular culture. London: Routledge, 1993.

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21

Goetze, Mary. Factors affecting accuracy in children's singing. 1990.

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22

McPherson, Gary, und Susan Hallam. Musical potential. Herausgegeben von Susan Hallam, Ian Cross und Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0024.

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An ongoing controversy persists regarding the extent of individual variability in musical potential and the extent to which observable differences in acquiring musical skills result from social contexts that facilitate learning, genetic factors, or interactions between the two. This article outlines key elements of these debates and considers how ‘musical potential’ has been assessed. It argues that what children are born withenablesrather thanconstrainswhat they will eventually be able to achieve. While a range of generalized abilities may come into play when learning music, a host of environmental and personal catalysts work in combination with teaching and learning processes to develop particular types of talent. These talents form the basis of the many professional, amateur, and informal forms of meaningful engagement that individuals can have with music.

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23

Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. 1986.

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24

Klinedinst, Richard E. The ability of selected factors to predict performance achievement and retention of fifth grade instrumental music students. 1989.

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25

Gabrielsson, Alf. The relationship between musical structure and perceived expression. Herausgegeben von Susan Hallam, Ian Cross und Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0013.

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This article discusses the relationship between musical structure and perceived expression. Musical structure is an umbrella term for a host of factors, such as tempo, loudness, pitch, intervals, mode, melody, rhythm, harmony, and various formal aspects (e.g. repetition, variation, transposition). The discussion focuses on perceived expression rather than expression somehow inherent in the music. The listener may apprehend music as ‘pure’ music (absolutism) or as expression of emotions, characters, events, or whatever, and may very well alternate, consciously or unconsciously, between different approaches during the course of a piece. The focus will be on referential meaning.

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26

Goetschius, Percy. Lessons in Music Form (A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition). IndyPublish, 2007.

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27

Goetschius, Percy. Lessons in Music Form (A Manual of Analysis of All the Structural Factors and Designs Employed in Musical Composition). IndyPublish, 2007.

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28

Swecker, John. A study of the effects of home environmental factors on the musical achievement of sixth grade band students in the Arlington and Longview, Washington school districts. 1990.

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29

Platte, Nathan. Conclusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0015.

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Understanding the musical collaboration behind Selznick’s films does not require embracing every one of the producer’s decisions—some missed their mark. But Selznick’s productions do invite a re-evaluation of dominant prejudices in film-music discourse regarding, the involvement of a non-musicians in the scoring process, the sharing of compositional duties among multiple personnel, and film music’s relationship to commercial interests. These factors are crucial to understanding music’s function in Selznick’s films and its success within films and beyond. Although Selznick’s emphasis on film music reflected priorities born of prestige filmmaking (and literary adaptations in particular), his musical ideas spread far beyond these categories in the hands of other filmmakers. A concluding section shows that the mosaic-like construction of scores for Selznick presents not a crisis of authorship, but rather an opportunity to assess the dynamic and messy collaborations that produced some of Hollywood’s most memorable scores.

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30

Caps, John. The Music Factory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0004.

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This chapter details events following Mancini's employment as a Universal Studios staff composer in 1952. The Universal Studios staff composers were a highly organized, well-oiled team, able to score any sort of film, any story or setting, albeit with fairly generic music and always in a rush. Mancini's daily routine at Universal, studying the clichés of Hollywood storytelling music, was the perfect on-the-job training for his career to come. Among his first assignments was to score the studio's glamorous two-reeler films with titles like The World's Most Beautiful Girls, Fun for All, and Calypso Carnival. The first feature-length film receiving more than a handful of music cues from Mancini was called Willie and Joe Back at the Front (1952). As a sign of growing confidence, conductor Joseph Gershenson gradually gave Mancini a shot at writing the opening main title music for several films, including The Raiders, All I Desire, and City Beneath the Sea. Mancini's first onscreen credit would come as an arranger in 1954 for the Universal bio-pic musical The Glenn Miller Story.

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31

Roesner, Walt. Classic musical shorts from the Dream Factory. 2010.

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32

Murphy, Clifford R., Hrsg. “It Beats Digging Clams”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0007.

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This chapter looks at how country and western music has provided a way of making a living for several thousand people in New England over the course of the music's history in the region. Gift exchange and the spirit of community are important elements of the country and western event. And yet, for the New England country and western musician, it is also about the money. Modern-day New England country and western musicians who make a working-class “living” do so by augmenting their earnings from a day job with money earned from music, or they work as musical chameleons ready to adapt to a wide variety of musical shades. Country and western music actually provided a better income and a more cosmopolitan lifestyle than most working-class people could expect from factory, agricultural, woods, or maritime work.

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33

Browner, Tara, und Thomas L. Riis, Hrsg. Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.001.0001.

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Only since the 1970s have the variety of American musical styles and sounds have been allowed to stand on their own two feet in the academic world. Recent efforts to place American music-making within new or heretofore neglected contexts are diverse and inevitably shift our consciousness about music’s meaning and impact in culture. This volume contains a series of commentaries or glosses, chapters about American music broadly understood that seek especially to explore four critical factors beyond the the familiar categories defined by repertory or biography alone: the impact of performance; the role of patronage in the creation of musical objects and events; personal identity; and how larger cultural/ethnographic contexts (community values, ethnic markers, and social relations) determine certain musical results. A related concern in many of the chapters is the way music is disseminated within listening communities—how it was made “popular”—and how it continues to exert a lasting influence across the rest of the globe. The topics to be found here are wide ranging and include many genres and perspectives (hymnody, concert music, jazz, country music, hip-hop, Tin Pan Alley, and Broadway song and dance, among other types), but each chapter is focused on specific performers, patrons, works, conditions, or institutions within its cultural context.

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34

Tenney, James. Meta ⌿ Hodos. Herausgegeben von Larry Polansky, Lauren Pratt, Robert Wannamaker und Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0002.

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In this essay, James Tenney discusses a phenomenology of twentieth-century musical materials and an approach to the study of form. Before describing the musical materials, Tenney examines the factors that account for the increased aural complexity of much of the music of the twentieth century and of some of its effects in our perception of music. He analyzes the gradual use of more and more complex sound-units in place of single tones, one manifestation of which can be seen in the expansion of the very concept of “melodic line” by way of various kinds of doublings. He also talks about the notion of equivalence in Arnold Schoenberg's arguments about consonance/dissonance and compares it with his own principle of equivalence. Tenney goes on to explore the gestalt-factors of cohesion and segregation by referring to the ideas of Max Wertheimer and concludes with an assessment of formal factors in the clang and sequence.

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35

Malone, Thomas. “Singer’s Music”. Herausgegeben von Roger Mantie und Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.27.

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With a turbulent musical fabric of open and parallel fifths, high-decibel vocal production, and a grassroots DIY organizational structure, Sacred Harp singing has been described variously as “Gregorian Chant meets Bluegrass” and “Punk Rock Choral Music.” With historical roots in rural singing schools of New England and the American South, singing from The Sacred Harp tunebook remains a living, growing, and vital musical multinational subculture that operates without auditions, rehearsals, or performances. This chapter discusses participatory and social factors of music outside the presentational frame, the ideas of serious leisure, and philosophical notions of musicking and musical praxis to illuminate ways in which Sacred Harp singing stands apart from the concertizing traditions of Western art music and choral performance.

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36

Küssner, Mats B. Shape, drawing and gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0004.

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This chapter provides a critical overview of how people map sound features and musical excerpts onto the visual, visuo-spatial and kinaesthetic domains. Starting with a brief discussion of why cross-modal correspondences may exist in the first place, the chapter illuminates the rationale of traditional paradigms in experimental psychology before highlighting the revelatory potential of cross-modal drawing and gesture studies, both with children and adults. The influence of personal factors such as musical training as well as experimental factors pertaining to the type of stimulus, setting, instruction and task are highlighted and considerations for future experiments within the embodied cognition research programme are provided. It is concluded that studying systematically the perceived shapes of sound and music by means of drawings and gestures is an overdue step towards understanding linear and spatial aspects of human musical experience.

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37

lyricist, Wittman Scott, Hrsg. Charlie and the chocolate factory: The new musical. Hal Leonard, 2018.

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38

Gimbel, Allen. Broken Facture. Herausgegeben von Blake Howe, Stephanie Jensen-Moulton, Neil Lerner und Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.43.

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Allan Pettersson (1911–1980) was a Swedish composer of distinction who had extensive experience of trauma and disability in his life (physical abuse, rheumatoid arthritis, manic depression, nephritis). His compositions are deeply engaged with the exploration of disability as an expressivetopos, and in his symphonies (the focus of this essay) representations of disability play a central role. The secondary literature on Pettersson is largely skeptical of analytical consideration of “extramusical” features, especially those that bear on Pettersson’s experiences of disability. This essay argues, on the contrary, that these experiences and their musical expressions are central to any satisfactory understanding of this music.

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39

Pitts, Stephanie. “The Violin in the Attic”. Herausgegeben von Roger Mantie und Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.4.

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The motivations and experiences of adults who participate in music making have attracted increasing research attention in recent years, but less is known about the probably far greater number who have “given up” playing an instrument or lapsed in their participation: what are the factors that cause people to cease their involvement in instrumental learning, and how are these different from the views of participation expressed by continuing players? Life history interviews with current and lapsed members of amateur performing groups are used here to explore the long-term impact of music education. Even when the opportunity to make music has been set aside, benefits remain of open-mindedness to the arts, support for children’s musical education, and understanding of the value of leisure and creativity. These findings lead to conclusions about how foundations for musical leisure and lifelong learning could be laid in formative education, and the routes back into musical engagement made more accessible in adulthood.

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40

Martin, Denis-Constant. Sounding the Cape: Music, Identity and Politics in South Africa. African Minds, 2013. http://dx.doi.org/10.47622/978-1-920489-82-3.

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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and 'racial'categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.

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41

Deaville, James, Siu-Lan Tan und Ron Rodman, Hrsg. The Oxford Handbook of Music and Advertising. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190691240.001.0001.

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The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.

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42

Cook, Nicholas. Making music together. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0002.

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This first chapter of Music as Creative Practice sets out a social and performative approach to creativity in music. It develops the idea of emergence, the generation of unpredicted and unpredictable outcomes, within the context of collaborative performance, but extends it into a broad concept of real-time musical creativity. This is achieved through the idea of the musical assemblage, in which interactions between people are extended through the role of instruments, scores and other ‘outside the room’ factors: creativity is a property of the total human and nonhuman system. The argument is developed through case studies that range from rock to contemporary classical music, and from improvisation and the performance of notated music to collaborative composition and studio production. The chapter concludes with recent, technologically afforded collaborations between the living and the dead, which are no different in principle from the classical tradition of collaboration between living performers and dead composers.

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43

Dixie & Sharon Phillips, Lucy Robbins und Leslie Trettin. Barry Sweets and the Candy Cane Factory: A Christmas Musical. Guardian Angel Publishing, Inc, 2016.

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44

Browning, Birch P. What Is Talent? Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.003.0003.

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Although most adults believe that musical ability is a talent—an inherited gif—this chapter discusses how, in fact, musical ability is based on life experiences and hard work. It shows that the acquisition of excellence is almost always the result of deliberate practice, a set of behaviors consciously designed to promote long-term growth. The amounts of practice time of high-achieving and lower-achieving music students are compared. The factors of autonomy, mastery, and purpose are presented; learning how to learn and practice deliberately is itself a process that must be learned and practiced deliberately. A planning process for deliberate practice is presented, and a practice worksheet form is provided.

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45

Linson, Adam, und Eric F. Clarke. Distributed cognition, ecological theory and group improvisation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0004.

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This chapter proposes a way to understand the social, distributed and ecological underpinnings of improvised musical activity. It argues that significant aspects of collaborative performance may arise from perceptual, cognitive and action-orientated factors, in relation to prior experience and the broader historical and cultural context. The chapter illustrates ways in which each improviser in a collaboration may attune to different aspects of the circumstances, with idiosyncratic perceptions of the available affordances guided by attentional processes, physical aspects of the human body and musical instrument, and associations with prior experience. The experience of each musician in a collaborative improvisation thus both overlaps with and diverges from those of other musicians in the ensemble. These divergences are as important as the common ground, and are thus essential to any plausible and comprehensive account of collaborative improvisation.

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46

Lakschevitz, Eduardo. Conducting Corporate Choirs in Brazil. Herausgegeben von Frank Abrahams und Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.14.

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Corporate choirs represent a large part of choral music-making in Brazil. Many Brazilian companies hire choral directors to develop group singing activities with their employees, thanks in part to the recent Music Education Bill. These directors face very particular challenges that are rarely considered in their training at colleges and universities. Nonetheless, they are a significant part of the work of choral directors in Brazil. Leading a peripheral activity in relation to the company’s core business, lack of rehearsal time, volunteer singer participation, inappropriate physical conditions, management that is not akin to the arts field, and easy access to contemporary urban activities and gadgets are some factors that create these particular challenges. The corporate choir director must bridge these factors with musical procedures of their work, and approach with a more critical view issues such as repertory choice, conducting techniques, and rehearsal procedures.

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47

Le primitivisme musical. Facteurs et genèse d'un paradigme esthétique. L'Harmattan, 2000.

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48

Who Killed Martin Hannett?: The Story of Factory Records' Musical Magician. Aurum Press Ltd, 2007.

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49

Yang, Hon-Lun. Curb that Enticing Tone. Herausgegeben von Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.22.

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This chapter examines music censorship in the People’s Republic of China and its relationship to socialist ideology. After assessing the ideology of socialist music in the PRC, the chapter provides some examples of music censorship during the country’s history. It then highlights some of the intricacies and complexities in present-day music censorship in the PRC, including censorship on the Internet. It considers the musical genres that were taken out of the PRC’s soundscape, including Shanghai pop, and the return of pop-style songs after the Cultural Revolution following the adoption of the Reform and Open Policy. It analyzes the factors that explain why rock and roll never quite overcame its marginalized status in the PRC and has always been treated with caution by the state. The chapter concludes by focusing on music censors and censored music in the PRC.

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50

Hill, Juniper. Becoming Creative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.001.0001.

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How are an individual’s ability and motivation to be creative shaped by the world around her? Why does creativity seem to flourish in some environments, while in others it is stifled? Many societies value creativity as an abstract concept and many, perhaps even most, individuals feel an internal drive to be creative; however, tremendous social pressures restrict development of creative skill sets, engagement in creative activities, and willingness to take creative risks. Becoming Creative explores how social and cultural factors enable or inhibit creativity in music. The book integrates perspectives from ethnomusicology, education, sociology, psychology, and performance studies, prioritizing the voices of practicing musicians and music educators. Insights are drawn from ethnographic research and in-depth interviews with classical, jazz, and traditional musicians in South Africa, Finland, and the United States. By comparing and analyzing these musicians’ personal experiences, Becoming Creative deepens our understanding of the development and practice of musical creativity, the external factors that influence it, and strategies for enhancing it. The book reveals the common components of how musical creativity is experienced across these cultures and explains why creativity might not always be considered socially desirable. It identifies ideal creativity-enabling criteria—specific skill sets, certain psychological traits and states, and access to opportunities and authority—and illustrates how these enablers of creativity are fostered or thwarted by a variety of beliefs, learning methods, social relationships, institutions, and social inequalities. Becoming Creative further demonstrates formal and informal strategies for overcoming inhibitors of creativity.

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Bücher zum Thema „Musical factors“

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