Books: 'Musical characteristics'

1

Pearce, Tony Scott. Musical characteristics of Tanana Athabascan dance songs. Fairbanks, Alaska: T.S. Pearce, 1985.

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2

Thai classical singing: Its history, musical characteristics, and transmission. Aldershot, Hampshire, England: Ashgate, 2003.

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3

The American musical and the formation of national identity. Princeton, N.J: Princeton University Press, 2004.

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4

Interpreting the musical past: Early music in nineteenth-century France. New York: Oxford University Press, 2005.

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5

Jan, Steven B. Aspects of Mozart's music in G minor: Toward the identification of common structural and compositional characteristics. New York: Garland, 1995.

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6

Petrás, János. Kárpátok zengjetek!: Petrás Jánossal beszélget Benkei Ildikó. Budapest: Kairosz, 2010.

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7

Trsan, Văn Chi. Tìm hiteu ckai lương: Tâm tình ngưxoi Lục Tkinh : bút khkao. Gardena, CA: Văn Mwoi, 2005.

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8

Race, music, and national identity: Images of Jazz in American fiction, 1920-1960. Madison [N.J.]: Fairleigh Dickinson University Press, 2008.

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9

Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.

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10

Why pamper life's complexities?: Essays on the Smiths. Manchester [Eng.]: Manchester University Press, 2010.

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11

Moira, Maclean, ed. Nurseryland. New York: Kingfisher Books, 1992.

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12

Moira, Maclean, ed. Nurseryland. New York: Kingfisher Books, 1992.

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13

Research and retrieval: Music teacher's guide to material selection and collection, including how to analyze, categorize, and organize musical material in a flexible system capable of handling 1,000 songs with over 10,000 characteristics. 2nd ed. Westborough, MA: Pro Canto Press, 2007.

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14

Wataru, Uenami. The characteristics of Japanese postwar music. Tokyo, Japan: Japan Foundation, Office for the Japanese Studies Center, 1985.

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15

A history of key characteristics in the eighteenth and early nineteenth centuries. 2nd ed. Rochester, NY: University of Rochester Press, 2002.

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16

Steblin, Rita. A history of key characteristics in the eighteenth and early nineteenth centuries. Rochester, N.Y: University of Rochester Press, 1996.

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17

Kratus, John Kevin. Rhythm, melody, motive, and phrase characteristics of original songs by children aged five to thirteen. Evanston, Ill: [s.n.], 1985.

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18

Batrukova, Z. P. Kont︠s︡ept︠s︡ii︠a︡ lichnosti i khudozhestvenno-ėsteticheskai︠a︡ paradigma muzykalʹnoĭ pedagogiki v kontekste nat︠s︡ionalʹno-regionalʹnogo komponenta obrazovanii︠a︡: Na materiale Karachaevo-Cherkesii : monografii︠a︡. Karachaevsk: KChGU, 2007.

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19

Batrukova, Z. P. Kont︠s︡ept︠s︡ii︠a︡ lichnosti i khudozhestvenno-ėsteticheskai︠a︡ paradigma muzykalʹnoĭ pedagogiki v kontekste nat︠s︡ionalʹno-regionalʹnogo komponenta obrazovanii︠a︡: Na materiale Karachaevo-Cherkesii : monografii︠a︡. Karachaevsk: KChGU, 2007.

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20

Sunchu: El Huayno en la formación de la identidad. Lima: Bellido, 2010.

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21

Verdi-Wagner: Imaginaire de l'opéra et identités nationales. [Arles]: Actes sud, 2013.

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22

author, Regev Motti, ed. Musiḳah popularit ṿe-tarbut be-Yiśra'el: Popular music and national culture in Israel. Raʻananah: ha-Universiṭah ha-petuḥah, 2013.

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23

Shishkina, E. M. Tradit︠s︡ionnoe muzykalʹnoe nasledie volzhskikh nemt︠s︡ev v proshlom i sovremennosti: Problemy ėtnicheskoĭ identichnosti. Astrakhanʹ: Astrakhanskiĭ in-t povyshenii︠a︡ kvalifikat︠s︡ii i perepodgotovki, 2007.

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24

Diep, Daniel Diep. El mexicano, según sus canciones. San Luis Potosí, S.L.P: Ediciones Cedrus Libani, 1992.

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25

"--ein Volk von alters her musikbegabt": Der Begriff "Musikland Österreich" im Ständestaat. Frankfurt am Main: Peter Lang, 2008.

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26

"Tone-deafness" and low musical abilities: An investigation of prevalence, characteristics, and tractability. Ottawa, Ont: Canadian Theses Service, National Library of Canada, 1988.

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27

Knapp, Raymond. American Musical and the Formation of National Identity. Princeton University Press, 2018.

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28

American Musical: And the Formation of National Identity. Princeton University Press, 2006.

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29

Caroline, Anderson, Amelia Oldfield, Jo Tomlinson, Dawn Loombe, and Trygve Aasgaard. Flute, Accordion or Clarinet?: Using the Characteristics of Our Instruments in Music Therapy. Kingsley Publishers, Jessica, 2015.

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30

Oldfield, Amelia, Jo Tomlinson, Henry Dunn, Dawn Loombe, and Catrin Piears-Banton. Flute, Accordion or Clarinet?: Using the Characteristics of Our Instruments in Music Therapy. Kingsley Publishers, Jessica, 2015.

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31

Ellis, Katharine. Interpreting the Musical Past: Early Music in Nineteenth Century France. Oxford University Press, Incorporated, 2008.

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32

Ellis, Katharine. Interpreting the Musical Past: Early Music in Nineteenth Century France. Oxford University Press, 2014.

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33

Cultural Identity in British Musical Theatre, 1890-1939: Knowing One's Place. Palgrave Macmillan, 2018.

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34

Macpherson, Ben. Cultural Identity in British Musical Theatre, 1890–1939: Knowing One’s Place. Palgrave Macmillan, 2019.

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35

Gaunt, Helena, and Susan Hallam. Individuality in the learning of musical skills. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0026.

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This article outlines what we know about the way that individual characteristics–including sex differences, physiological characteristics, age, personality, and cognitive and learning styles–impact on engagement with and approaches to learning music. It presents theoretical frameworks that may serve to guide future research in elucidating the way in which different environments interact in a reiterative manner with the individual, leading to different musical engagement outcomes.

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36

Ellis, Katherine. Interpreting the Musical Past: Early Music in Nineteenth-Century France. Oxford University Press, 2005.

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37

Smart, Tim, and Lucy Green. Informal learning and musical performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0007.

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If the adage ‘You live and learn’ reflects any truth, then the vast majority of living and learning must take place informally. This can range from unintentional and nonconscious processes such as enculturation, to intentional and conscious self-teaching. While the study of informal learning in music has tended to focus on popular and other vernacular musicians, this chapter adopts a wider approach, considering the perspectives of a range of musicians across several musical contexts, styles and genres. The authors review key sources of knowledge, skills and abilities relevant to these musicians and to their performance, and consider examples of how informal learning practices are valued in underpinning their work. They also examine the characteristics and prevalence of informal learning, how it interfaces with other practices, and how research in the field of informal music learning may serve to promote and champion a richer perspective on the learning of music for the benefit of all learners, intentional or not.

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38

Wu, Ka-ming. Traditional Revival with Socialist Characteristics. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039881.003.0004.

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This chapter examines the role of northern Shaanxi folk storytelling (Shaanbei shuoshu), a musical drama prevalent in the Yan'an area, in isolated rural communities where villagers actively seek folk storytelling to reflect on new desires and problems. In particular, it considers how both state propaganda and folk cultural tradition continue to intertwine in their contemporary forms and contents, and yet both have been subjected to radical reinterpretations. The chapter explains how northern Shaanxi storytelling remains connected to the Maoist legacy of mass culture, while responding to agrarian change and translocal conditions in rural communities of Yan'an today. It suggests that popular religious revival is not only a rural phenomenon but also rampant in today's urban prosperous Yan'an city. Northern Shaanxi storytelling can be considered a quasi-religious resource with late socialist characteristics, which responds to new social and communal desires in the context of a great rural–urban divide.

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39

Musical portraits: The composition of identity in contemporary and experimental music. 2018.

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40

Swangviboonpong, Dusadee. Thai Classical Singing: Its History, Musical Characteristics, and Transmission (Soas Musicology Series) (Soas Musicology Series) (Soas Musicology Series). Ashgate Publishing, 2004.

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41

Warner, Rebecca. Attracting the Family Market. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.26.

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The musical aimed at the family market is an important part of the landscape of the British musical. This paper seeks to explore some of the key characteristics that can make a musical appeal to a hybrid, cross-generational audience. By employing Tony Graham’s five-step gauge for considering the suitability of particular works for capturing a child’s interest as a framework, the essay explores the musicals Honk!, Mary Poppins, Matilda, and Charlie and the Chocolate Factory as case studies. Special attention is paid to ideas of imagination, transcendence, and the use of a universal topic to appeal to the family market.

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42

McPherson, Gary E., ed. The Oxford Handbook of Music Performance, Volume 1. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190056285.001.0001.

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Volume 1 of the Oxford Handbook of Music Performance is designed around four distinct parts: Development and Learning, Proficiencies, Performance Practices, and Psychology. Chapters cover a range of topics dealing with musical development, talent development, and chapters dealing with learning strategies from a self-directed student learning perspective and high-impact teaching mindframes. Essential proficiencies include coverage of effective practice habits, through to the abilities of being able to play by ear, sight-read, improvise, memorize repertoire, and conduct and chapters that detail the highly personalized forms of musical expression that go beyond the printed notation or stylistic convention of the repetoire being performed. Chapters within the Performance Practices part cover some of the most fundamental aspects of performance practices from Baroque through to New Music repertoire and include chapters dealing with how emotions might be generated as a form of historically informed performance practice, and how creativity unfolds in the real-time dynamics of musical performance. The Psychology part concerns characteristics and individual differences in human behavior, cognition, emotion, and wellness. Across chapters in this part, several common threads and themes are evident: our relationships with music itself and what it means to become and to be a musician, the tensions that can arise between the joy of music and the hard work required to develop musical skills, and the intimate connection between music performance and our social and emotional lives.

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43

Kenny, Dianna T. Optimizing physical and psychological health in performing musicians. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0036.

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Performing musicians face a number of physical, social, and psychological challenges that must be mastered if their musical career is to be both rewarding and sustainable. However, musicians are at high risk of physical and psychological strain and injury in the execution of their art. Physical and psychological stressors exert reciprocal and synergistic effects on the musician, and careful analysis of the intrinsic characteristics of the performer and the extrinsic demands on the musician must be made in order to develop appropriate interventions. This article provides an overview of the risks and challenges facing musicians, with the aim of developing awareness and understanding of how to prevent and manage these challenges. It is divided into two sections: physical challenges and psychological challenges, focusing on music-performance anxiety. Each section outlines the key issues and then provides an overview of evidence-based treatment.

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44

Maclean, Colin. Nurseryland. Barnes & Noble, 1999.

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45

Maclean, Moira, and Colin Maclean. King Cole's Castle (Nursery Land). Kingfisher Books, 1992.

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46

Maclean, Moira, and Colin Maclean. Peter's Pumpkin House (Nursey Land). Kingfisher Books, 1992.

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47

De Souza, Jonathan. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190271114.003.0001.

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This introduction outlines three methodological strands that are central to the book: music theory, phenomenology, and cognitive science. It argues that interdisciplinary blending is characteristic of much music-theoretical research. At the same time, music analysis offers distinctive ways of examining musical data—or, indeed, musical evidence. In this book, such methods are used to investigate body-instrument interaction in diverse musical styles. The book combines performance analysis with philosophical and psychological insights on embodiment, highlighting an interplay of technique and technology that shapes instrumentalists’ musical experience.

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48

Théberge, Paul. The Sound of Nowhere. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0015.

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This chapter traces the development of reverb in music production. Reverberation implicates acoustic space with musical and social places; thus, genres can come to be associated with different locations (e.g., Gregorian chant with cathedrals, orchestras with large concert halls). Sound recordings relocate music to other locales, however, superimposing the reverberant characteristics of one space upon another. Since the 1930s, audio-recording engineers increasingly disengaged recorded sounds from their acoustic environments and replaced them with artificial reverb: through the use of chambers, plates and digital devices, popular recording practices create a complex, multilayered musical space. The chapter traces these developments and links them to contemporary listening practices associated with headphone use, arguing that reverb serves to create an imaginary sonic space for the mobile listener.

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49

Whittall, Arnold. Composer–performer collaborations in the long twentieth century. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0002.

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This account of a musical period centred around a modernist aesthetic provides a historical context for the contemporary case studies which follow in subsequent chapters. It surveys documented interactions of composers and performers in strongly contrasted contexts, from brief encounters to sustained involvement. In the latter case, such associations during the conception as well as the completion of works can have a decisive impact on the musical result. Benjamin Britten’s longstanding relationship with the singer Peter Pears is a well-known instance, and even when the music is less directly connected to the personal characteristics of particular performers, the consequences can be significant. The discussions between Sir Peter Maxwell Davies and the Maggini String Quartet during the composition of the ten Naxos Quartets (2002–07) vividly demonstrate the social dynamics that can be involved as uncompromisingly modernist music is prepared for presentation to an audience.

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50

Shrock, Dennis. Giovanni Pierluigi da Palestrina – Missa Papae Marcelli. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0002.

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The chapter begins with a biographical and compositional overview, including discussions of Palestrina’s various positions in and outside of Rome; his compositional output that numbered 104 Masses, approximately 500 motets, and approximately 140 madrigals; the nature of his Masses, many of which are based on previously composed models; the papacy and the Counter-Reformation; and mandates of the Council of Trent. Musical discussion in this chapter focuses on unique characteristics of the Missa Papae Marcelli and its legacy. Performance practices include: pitch and performing forces; meter and tactus, with considerable focus on syncopation; the importance of oratorical phrasing; tempo and its variability; and musica ficta.

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Books on the topic 'Musical characteristics'

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