Journal articles on the topic 'Musical practices'
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Ng'andu, Joseph, and Anri Herbst. "Lukwesa ne Ciwa – The story of Lukwesa and Iciwa: musical storytelling of the Bemba of Zambia." British Journal of Music Education 21, no. 1 (March 2004): 41–61. http://dx.doi.org/10.1017/s0265051703005576.
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This article describes inshimi – a musical storytelling practice of the Bemba people in Zambia. It gives a general perspective on the whole practice and some details on the ‘MUSIC’ as contained in the practice. The article further encourages the idea that inshimi represents a nucleus of the ‘MUSIC’ practices of the Bemba people and therefore plays a vital role in the transmission of musical arts practices. Embedded in musical storytelling are educational principles that could and should guide musical arts education in Africa and the rest of the world.
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MEDEIROS, ALAN RAFAEL DE, and ÁLVARO LUIZ RIBEIRO DA SILVA CARLINI. "A modernidade em questão: música de concerto em Curitiba – coexistência e especificidades entre a "SCABI" e "SPMC" * Modernity in question: concert music in Curitiba - coexistence and specificity between "SCABI" and "SPMC"." História e Cultura 2, no. 1 (August 19, 2013): 44. http://dx.doi.org/10.18223/hiscult.v2i1.939.
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<p><strong>Resumo:</strong> O presente trabalho tem como objetivo a análise da mudança de enfoque estético das entidades musicais civis em relação ao público curitibano no tocante às práticas musicais, em especial durante o período de coexistência de duas destas entidades, representativas no cenário local: a SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba).</p><p><strong>Palavras-chave:</strong> Entidades musicais civis – Curitiba/PR - SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba) - Música de concerto: dicotomia entre o repertório tradicional e contemporâneo.</p><p> </p><p><strong>Abstract:</strong> This work aims to analyze the change of an esthetical focus of civilian musical entities in relation to the public from Curitiba in regard of musical practices, particularly during the period of coexistence of these two entities, both representative of the local scene: the SCABI (Society for Artistic Culture Brasílio Itiberê – "Sociedade de Cultura Artística Brasílio Itiberê") and SPMC (Pro-Music Society of Curitiba – "Sociedade Pró Musica de Curitiba").</p><p><strong>Keywords:</strong> Civilian Musical Entities – Curitiba/PR - SCABI (Society for Artistic Culture Brasílio Itiberê) and SPMC (Pro-Music Society of Curitiba) - Concert Music: dichotomy between traditional and contemporary repertoire.</p>
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Karl, Brian. "Technology in Modern Moroccan Musical Practices." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 790–93. http://dx.doi.org/10.1017/s0020743812000918.
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The proliferation of technologies in use for popular music in Morocco points to cultural interactions beyond the most local or national influences that inform musical practices there. Examining the integration of technologies from outside Morocco—including musical instruments, recording media, and distribution systems—sheds light on negotiations of novelty and difference in contemporary Moroccan social and political life and thus on multiple facets of how late modernity has played out there. Among other broad areas of significance that musical practices help illuminate are the social and economic effects of colonial and postcolonial interactions, including the development of cash economies, globalized exchange, and cultural tourism; nationalist initiatives to define culture; and large-scale migration to Europe and elsewhere in recent decades, following a longer population shift in 20th-century Morocco from primarily rural locales to burgeoning urban centers.
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Fogarty, Mary. "Musical Tastes in Popular Dance Practices." Congress on Research in Dance Conference Proceedings 2012 (2012): 70–75. http://dx.doi.org/10.1017/cor.2012.7.
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This paper explores the relationship between musical tastes and dance practices in popular dance practices. It is based on ideas that emerged from a multisited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often traveled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central.
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Charles, Brigitte. "Boys' and girls' constructions of gender through musical composition in the primary school." British Journal of Music Education 21, no. 3 (November 2004): 265–77. http://dx.doi.org/10.1017/s0265051704005820.
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The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered musical meaning and experience. One outcome of the analysis is the development of a concept of ‘female musical subculture’ to interpret girls' and women's participation in the compositional world. Secondly, the findings strongly suggest that in their musical practice, the children in the research are not reproducing ideological assumptions about gendered musical practices, which contradicts how they operate discursively, for their discourse lies within the bounds of gendered musical ideology. Thirdly, the findings also indicate that the teachers are strongly affected by gendered musical ideologies, and have concomitant expectations about the music girls and boys produce.
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Veblen, Nora Bryant, Olivia Swedberg Yinger, and Martina Vasil. "Musical Authenticity: Music Therapists’ Perceptions and Practices." Music Therapy Perspectives 39, no. 1 (March 1, 2021): 51–60. http://dx.doi.org/10.1093/mtp/miaa028.
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Abstract Board-certified music therapists (MT-BCs) are expected to provide live music in numerous client-preferred genres, yet often face barriers that prevent them from recreating this music with musical authenticity, defined here as adhering to the expectations of the genre. The purpose of this survey was to investigate the perceptions and practices of MT-BCs (n = 904, 12%) regarding musical authenticity in their own practice. We collected quantitative and qualitative survey data on the importance of musical authenticity, barriers to and strategies for providing music authentically, and the use of electronic technology and the iPad. Descriptive and thematic analyses revealed that MT-BCs value musical authenticity but balance its importance with therapeutic needs and other types of authenticity that are deemed more important. Participants reported that they lacked knowledge of popular genres, functional musicianship, and electronic technology, which created major barriers to providing musical authenticity. Additionally, we found trends related to gender identity and the use of electronic technology in that significantly more male MT-BCs reported using electronic technology compared with female MT-BCs. Overall, however, less than half of the participants reported using either electronic technology or the iPad to increase musical authenticity. With these results in mind, and building on the results of Schippers and Fetterley, we created a model of recontextualization for music therapy practice. This practical tool is intended to guide music therapists to consider multiple issues of authenticity when learning music for clients.
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Povedak, Kinga. "Rockin' the Church: Vernacular Catholic Musical Practices." Journal of Global Catholicism 4, no. 1 (March 6, 2020): 42–63. http://dx.doi.org/10.32436/2475-6423.1066.
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Powell, John S. "Musical Practices in the Theater of Molière." Revue de musicologie 82, no. 1 (1996): 5. http://dx.doi.org/10.2307/947203.
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Knudsen, Jan Sverre, Gry Sagmo Aglen, Ingrid Danbolt, and Nina Engesnes. "Musical pathfinders of the kindergarten." Contemporary Issues in Early Childhood 20, no. 2 (February 12, 2018): 163–76. http://dx.doi.org/10.1177/1463949118756369.
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Based on an empirical study in selected Norwegian kindergartens, this article investigates the practice of musically active employees, with or without professional training. The overarching aim is to develop an understanding of early childhood music practitioners that may challenge dominant views of professional identity and provide some new images of what it means to work musically in a kindergarten. Departing from a sociological approach, five different ‘musical pathfinders’ are identified: the disc jockey, the facilitator, the choir leader, the caregiver and the performer. These ‘ideal types’ are discussed in the light of issues concerning cultural diversity, negotiations of professionalism, repertoire selection, the use of music technology, children’s participation, and the relationship between formal and informal learning. The discussion raises critical questions concerning music activity in early childhood institutions, highlighting professionals’ personal cultural experiences, preferences and practices as legitimate points of reference in the development of professional identity.
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Novembre, Giacomo, Manuel Varlet, Shujau Muawiyath, Catherine J. Stevens, and Peter E. Keller. "The E-music box: an empirical method for exploring the universal capacity for musical production and for social interaction through music." Royal Society Open Science 2, no. 11 (November 2015): 150286. http://dx.doi.org/10.1098/rsos.150286.
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Humans are assumed to have a natural—universal—predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention—the E-music box—that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user’s movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings ‘active’ and ‘interactive’ musical capacities within everyone’s reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.
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Araújo, Marcos V., and Christopher F. Hein. "A survey to investigate advanced musicians’ flow disposition in individual music practice." International Journal of Music Education 37, no. 1 (December 2, 2018): 107–17. http://dx.doi.org/10.1177/0255761418814563.
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This study explored advanced musicians’ dispositions to flow in musical practice. A total of 168 classically trained musicians answered a questionnaire assessing their proneness for flow experience during musical practice and associations between flow and demographic factors, practice routines and musical instruments. Dispositions to flow in musical practice did not vary across musical instrument groups, age or gender. Positive associations were found between daily practice time and flow, suggesting that flow may contribute to engagement with daily practice. Negative associations between music practice experience and loss of self-consciousness and challenge–skill balance were found, suggesting that even among experts the level of task complexity during practice may affect perceptions of competence. While six individual flow indicators were frequently experienced, three indicators were much less experienced, pointing to the existence of another similar relevant experience in the practice of expert performers, named as optimal practice experience. The article finishes with implications regarding the benefits of flow for teaching and learning practices.
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Lippit, Takuro Mizuta. "Ensembles Asia: Mapping experimental practices in music in Asia." Organised Sound 21, no. 1 (March 3, 2016): 72–82. http://dx.doi.org/10.1017/s1355771815000394.
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In Western countries and in Japan, experimental practices of music have developed into larger communities that share a common musical aesthetic and language, and are generally associated with genres such as noise music, free improvisation, or experimental music. However in South East Asia, and particularly in Indonesia, these categories are of little use for finding artists making unique music. Instead, distinctly individualistic styles and a form of musical experimentalism is found at the edge of more popular genres such as punk, metal, or as a result of incorporating traditional and indigenous musical influences. Ensembles Asia is project that aims to explore these forms of musical experimentations that slip through conventional categorisations of music. The project also tries to cultivate a new network of musicians through playing together in a large improvising ensemble.
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BRACKETT, JOHN. "Examining rhythmic and metric practices in Led Zeppelin’s musical style." Popular Music 27, no. 1 (December 13, 2007): 53–76. http://dx.doi.org/10.1017/s0261143008001487.
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AbstractIn this essay, I examine how aspects of rhythm and metre play a fundamental role in shaping and defining Led Zeppelin’s musical style. At the same time, I will show how Led Zeppelin was able to modify, manipulate, and develop pre-existing musical models and forms through various rhythmic and metric strategies. Comparative analyses will be used in an effort to show how Led Zeppelin’s flexible conception of rhythm and metre enabled the band to put their own stylistic ‘stamp’ on (i) specific musical genres (‘The Crunge’ and the song’s relation to James Brown-style funk), (ii) their riff constructions (‘Black Dog’ in relation to Fleetwood Mac’s ‘Oh Well’), and (iii) their cover versions (‘Dazed and Confused’). Drawing upon my analytical points, I re-visit the complex issues that persist regarding the possibility that Led Zeppelin even has an ‘original’ or ‘unique’ style given their often overt reliance upon earlier musical models and forms. Therefore, in my conclusion, I argue that the development of any artist or group’s individual style necessarily involves the ability to assimilate and transform pre-existing musical features – features such as rhythm and metre – in novel ways and where issues relating to musical style intersect with influence.
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Deo, Aditi, and Lakshmi Subramanian. "Practice, performance and the archive: Cases from Indian classical music genres." Indian Theatre Journal 4, no. 1 (August 1, 2020): 11–17. http://dx.doi.org/10.1386/itj_00003_2.
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Given their emphasis on oral pedagogy and improvisatory approaches, Indian classical music genres present a challenge for constructing historically nuanced studies of musical practices, shifts in them over time and their links to broader developments. Much scholarship on Indian classical music tends to maintain loyalties to disciplinary silos such as social and cultural history, cultural studies and ethnomusicology, often sacrificing aspects of the spectrum of musical experiences. The dispersed nature of musical networks has meant that the archive for studying the phenomena of listening to, learning and disseminating music is fragmented, mobile and multi-local, not easy to capture with conventional methodologies of historical reconstruction or even purely ethnographic fieldwork. A central concern that drives the articles in this issue is a focus on exploring musical sound, repertoire and practices as archives. Such a focus raises two kinds of challenges. One is the identification of archives that can capture the ephemerality and immediacy of these musical practices; the other is the question of interpretive methods that can faithfully reflect the aesthetic and affective dimensions of musical practice. The contributors to this Special Issue explore a range of historical records centred on music ‐ notations, compilations, repertoires, biographies, texts, anecdotes, performances, recordings, pedagogic tools ‐ as their primary archives. Drawing upon disciplinary insights from cultural history, ethnomusicology and sound studies, and often in conversation with musicians and listeners, they offer conceptual and methodological lenses for reading such archives productively.
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Martí. "Beyond Representation: Relationality and Affect in Musical Practices." Journal of Posthuman Studies 3, no. 2 (2019): 159. http://dx.doi.org/10.5325/jpoststud.3.2.0159.
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Derbaix, Christian, and Maud Derbaix. "Intergenerational transmissions and sharing of musical taste practices." Journal of Marketing Management 35, no. 17-18 (October 3, 2019): 1600–1623. http://dx.doi.org/10.1080/0267257x.2019.1669691.
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SMITH, CHRISTOPHER. ":Going for Jazz: Musical Practices and American Ideology." Journal of the American Musicological Society 58, no. 2 (August 2005): 476–88. http://dx.doi.org/10.1525/jams.2005.58.2.476.2.
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Ochoa, Ana María, and Carolina Botero. "Notes on Practices of Musical Exchange in Colombia." Popular Communication 7, no. 3 (July 21, 2009): 158–68. http://dx.doi.org/10.1080/15405700903023400.
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Harris, Louise. "Musical creativity revisited: Educational foundations, practices and research." Music Education Research 22, no. 2 (February 28, 2020): 242–43. http://dx.doi.org/10.1080/14613808.2020.1732318.
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Evans, N. M. "Going for Jazz: Musical Practices and American Ideology." Genre 37, no. 2 (January 1, 2004): 347–49. http://dx.doi.org/10.1215/00166928-37-2-347.
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Gruenhagen, Lisa M. "Developing Musical Creativity through Reflective and Collaborative Practices." Music Educators Journal 103, no. 3 (March 2017): 40–45. http://dx.doi.org/10.1177/0027432116685158.
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Šavėla, Šarūnas. "The Scope of Philosophical Conceptualisation of Music in Classical Greece." Literatūra 62, no. 3 (December 14, 2020): 8–17. http://dx.doi.org/10.15388/litera.2020.3.1.
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This article addresses the concept of music (μουσική), the problematics of its definition and ambiguities of its conceptual content. Here we discuss the philosophical treatises of Classical Greece, question the conflicting values attributed to the phenomenon of music, and analyse the relationship between music and text in a musical-poetical performance. Due to the very broad understanding of what music is and how it functions, the philosophical treatises discuss music both as a practice that corresponds to the divine laws of kosmos and as an activity of doubtful significance. Such opposing values attributed to musical practices render the discussion of the phenomenon in its entirety more difficult. This article proposes reconsidering the approaches towards musical thinking, musical practices, and literary texts that were followed by music, suggests to distinguish the conceptual layers based on the different meanings of the term, and to analyse these layers in a clearly defined, yet interlinked, way.
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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (January 7, 2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.
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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result of specific instructional practices that utilized cognitive modeling, scaffolded instruction, and authentic, regular, student-led music-making in curricular ensembles to promote student agency and decision making. These instructional practices relied upon preconditions for independence, including musical, social, and 21st-century skills foundations frequently found in large-ensemble classrooms. This study provides a model that can be situated within current large-ensemble practices to support the development of musical independence.
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Zapata Restrepo, Gloria Patricia. "Arte y construcción de paz: la experiencia musical vital." Calle 14 revista de investigación en el campo del arte 12, no. 2 (August 3, 2017): 67. http://dx.doi.org/10.14483/21450706.12356.
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ResumenEste artículo propone diversos elementos que contribuyen, desde las prácticas artísticas, a la construcción de paz. Partiendo de múltiples investigaciones, analiza el rol de las artes y, más específicamente, el papel de la experiencia musical vital, señalando niveles de investigación, ámbitos, teorías (como las ciencias cognitivas y la psicología del desarrollo), así como retos desde los cuales estas prácticas pueden cumplir un papel fundamental en dicha tarea. De esta forma, se clarifican los distintos aspectos en los que es preciso poner la mirada; con la fenomenología como soporte teórico del concepto de experiencia musical vital, se señalan algunos ámbitos posibles para la investigación, como también los dispositivos propios de las prácticas artísticas que son útiles en la construcción de paz. Con esto se espera aportar en el desarrollo del conocimiento sobre la relación entre arte y paz.Palabras clavesExperiencia musical vital; prácticas artísticas; construcción de paz; experiencia humana ARTE E CONSTRUÇÃO DE PAZ: A EXPERIÊNCIA MUSICAL VITALGloria Patricia Zapata RestrepoResumoEste artigo propõe diversos elementos que contribuiem desde as praticas, à construção de paz. Partindo de Múltiplas investigações, analisa o papel das artes e, más especificamente, a da experiência musical vital, assinalando níveis de investigação, âmbitos, teorias (como as ciências cognitivas e a psicologia do desenvolvimento), assim como propósitos desde os quais estas praticas podem cumprir um papel fundamental em dita tarefa. Desta forma, se clarificam os diferentes aspectos nos que é preciso pôr a mira, com a fenomenologia como suporte teórico do conceito de experiência musical vital, se assinalam alguns âmbitos possíveis para a investigação, como também os dispositivos próprios das práticas artísticas que são úteis na construção de paz. Com isto se espera aportar no desenvolvimento do conhecimento sobre a relação entre arte e paz.Palavras-chaveExperiência musical vital; práticas artísticas; construção de paz; experiência humana. Art and Peacebuilding: The Vital Musical Experience Gloria Patricia Zapata Restrepo AbstractThis article proposes diverse elements that contribute, from the artistic practice, to the construction of peace. Based on multiple researches, it analyzes the role of the arts and, more specifically, the role of vital musical experience, pointing to levels of research, fields, theories (such as the cognitive sciences and developmental psychology) as well as challenges from which These practices can play a key role in this task. In this way, they clarify the different aspects where it is necessary to look. With phenomenology as a theoretical support of the concept of vital musical experience, some possible fields for research are pointed out, as well as the devices of the artistic practices that are useful in the construction of peace. This is expected to contribute to the development of knowledge about the relationship between art and peace.Keywords Vital music experience; artistic practice, peacebuilding; human experienceArte y uinahii pazmanda: sug experiencia Tunai VitalGloria Patricia Zapata RestrepoMaillallachiska:Kai articulok proponekume diversos elementokuna que contribuyen, sug practica artistikunana, uiñachingapa paz kallarispa Achka investigacionkuna, analiza chi rol artekunape y más específicamente, sug papel experiencia tunaikuna vital, señalaska nivelkuna investigación, ámbitos, teorías (chi cienciakuna cognitiva y psicología del desarrollo), chasa retocena chimanda chi practicakuna cumplenkuna sug papel fundamental chi tareape. Chasapek clarifikarenme sugrigcha aspectokuna y ka preciso churangapa kauai, chi fenomenologiak sug soporte teorikocena de experiencia tunaikuna vital, kauachimi sug ambitokuna allikai investigacionpepa, chasallata chi dispositivo propio chi practika artistikakuna y ka ministido uiñachingapa paz. Kaiua suiarikumi aportangapa sug desarrollo resengapa chi realcion entre arte y paz.Rimangapa Ministidukuna:Experiencia tunaikuna vital; practicas artísticas, uiñachii paz; experiencia humanaArt et construction de la paix : l'expérience musique vitale Gloria Patricia Zapata Restrepo Résumé Cet article propose divers éléments qui contribuent, dès les pratiques artistiques, à la construction de la paix. Sur la base de recherches multiples, il analyse le rôle des arts et, plus particulièrement, le rôle de l'expérience musicale vitale, indiquant des niveaux de recherche, des domaines, des théories (comme les sciences cognitives et la psychologie du développement) ainsi que les défis à partir desquels ces pratiques peuvent jouer un rôle clé dans cette tâche. De cette façon, il clarifie les différents aspects à regarder de près. Avec la phénoménologie en tant que support théorique du concept d'expérience musicale vitale, certains domaines possibles de recherche sont soulignés, ainsi que les dispositifs des pratiques artistiques utiles à la construction de la paix. Cela devrait contribuer au développement des connaissances sur la relation entre l'art et la paix.Mots clés Expérience musicale vitale; pratiques artistiques; consolidation de la paix; expérience humaine
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Cheng, Lee, Paulina Wai Ying Wong, and Chi Ying Lam. "Learner autonomy in music performance practices." British Journal of Music Education 37, no. 3 (September 1, 2020): 234–46. http://dx.doi.org/10.1017/s0265051720000170.
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AbstractThe language of music shares a number of basic processing mechanisms with natural languages, yet studies of learner autonomy in music education are rare. This study aims to assess the effectiveness of fostering music students’ learner autonomy in performance practice through a series of curriculum changes. A mixed-methods approach, including a questionnaire survey and semi-structured interviews, was used to investigate two cohorts of music education students (N = 74) from Hong Kong. The analysis reveals the students’ autonomous learner characteristics, including the ability to formulate their own learning strategies, identify both musical and non-musical weaknesses and take appropriate steps to improve their performance skills.
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Väkevä, Lauri. "Garage band or GarageBand®? Remixing musical futures." British Journal of Music Education 27, no. 1 (January 26, 2010): 59–70. http://dx.doi.org/10.1017/s0265051709990209.
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In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.
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Ovchinnikova, Yulia S. "Pedagogical Meaning of Study of Transformation Musical Practices of Peoples of the World in Modern Education." Musical Art and Education 7, no. 2 (2019): 57–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-57-76.
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Nowadays the Russian education is living a raw of system changes, where formation of student’s personal agency, of skill for learning and for self-development during the whole life, for elaborating the way of actualization of their own intentions are becoming the main tasks of the learning process. The abilities for self-understanding, self-development and self-actualization are connected with a category of personal transformation. The keys for its understanding could be found in the experience of traditional cultures that despite their bent for constancy are full of transformational motifs. The important role in this process belongs to “symbols of transformation”. One of the most effective between them is music that accompanies all the important events of human life in the context of traditional culture. The main mechanism for personal transformation is activity of musical experiencing. The comparative study of traditional cultures gives possibility to offer the following typology of transformational practices of work with musical experiencing: 1. Musical practices for passing the borderline states between dream and wakefulness. 2. Rites of passage and initiation. 3. Practices of individual and joint intoning of experiencing. 4. Healing practices. 5. Transformational practices of storytelling sessions. 6. Rituals of spiritual renovation. 7. Spiritual musical practices in education. 8. Dance transformational practices. In all of them music takes on the role: of internal subjective experience; of “live sound” that influences the whole human organism but not only the acoustic analyzer; of means for symbolization of experiencing; of a way of internal “growing” – from concentration in point of painful experiencing into the wide, endless “Self”; of marker of internal changes; of a metaphor of experiencing activity for transformation of internal world. The study of transformational musical practices in modern education helps to achieve the deeper level in world culture study, to understand the variety, typology and mechanisms of musical influence on a human in different traditions; widens the range of methods for work with musical experiencing; forms pedagogical tools for modern developmental, psychotherapeutic and educational practices; reveals the role of music as means for symbolization of experiencing; shows spiritual foundations of musical traditions of different peoples that form emotional and axiological attitude to them; enriches with wide range of cultural symbols for understanding and composing person’s own life.
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Dahl, Luke. "Designing New Musical Interfaces as Research: What’s the Problem?" Leonardo 49, no. 1 (February 2016): 76–77. http://dx.doi.org/10.1162/leon_a_01118.
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Practice-based research in NIME is rooted in the practices of design and musical performance. Perspectives from HCI on the relationship between design and research, examining the role of questions or design problems in research, and considering the wickedness of the task help us frame and understand our work.
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Keller, Damián, and Victor Lazzarini. "Ecologically Grounded Creative Practices in Ubiquitous Music." Organised Sound 22, no. 1 (March 7, 2017): 61–72. http://dx.doi.org/10.1017/s1355771816000340.
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Instrumentally oriented and individualistic approaches dominate the current perspectives on musical interaction and technologically oriented composition. A view that focuses on the broad aspects of creativity support is proposed as a viable theoretical and methodological alternative: ubiquitous music practice. This article summarises several findings in ubiquitous music research, pointing to new theoretical frameworks that tackle the volatile and distributed creativity factors involved in musical activities that take place outside of traditional venues, involving the audience as an active creative partner. A new definition of ubiquitous music is proposed encompassing four components related to the human and the material resources, the emergent properties of musical activities and the design strategies involved in supporting distributed decision making. We highlight the application of embedded-embodied cognition in creative practice, arguing for the adoption of an ecologically grounded framework as an alternative to the mainstream anthropocentric and disembodied acoustic-instrumental paradigms. We discuss the relevance of the new materialist concepts of ecologies and meshworks within artistic creative practice, highlighting the implications of the emergent creativity support methods for context-based composition.
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Westerlund, Heidi, and Heidi Partti. "A cosmopolitan culture-bearer as activist: Striving for gender inclusion in Nepali music education." International Journal of Music Education 36, no. 4 (July 30, 2018): 533–46. http://dx.doi.org/10.1177/0255761418771094.
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Although music education scholars have increasingly advised teachers to take heed of values, principles, and strategies of musical practices outside of school, very little has been written in music education regarding the ideological underpinnings of musical practices in these contexts. This article argues that musical practices outside of school do not necessarily provide ideal models to be directly applied in the music classroom, but need to be critically examined and transformed to better align with global imperatives such as inclusiveness. In addressing the imbalance between “inauthentic” learning in school and “authentic” learning outside of school, this article shows how working toward the global ideal of gender inclusion may require radical activism and a cosmopolitan approach countering the right of an ethnic group to practice and preserve their own distinctive culture. The life story of a Newar musician from the Kathmandu Valley is used to illustrate this argument by demonstrating what it takes for a “culture-bearer” to initiate radical processes of social change and transformation. In this qualitative narrative case study, we asked what kind of context-specific, socio-cultural negotiation was required to overcome the challenges the musician faced in including girls and women in musical learning in a Newar community.
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Scherzinger, Martin. "Music in the Thought of Deconstruction / Deconstruction in the Thought of Music (For Joseph Dubiel)." Musicological Annual 41, no. 2 (December 1, 2005): 81–104. http://dx.doi.org/10.4312/mz.41.2.81-104.
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This article critically speculates on points of affinity and difference between, on the one hand, musicological writings and the musical practices they attempt to represent and, on the other, the operation of deconstruction (defined in terms of the differential structure of our grip on presence and plenitude). The article outlines two prominent instances of misreading Derridean deconstruction in the context of musical writing (Subotnik, Korsyn). This is followed by a brief description of music's peculiar resonance with Derrida's model of language; an argument that will be crafted across the terrain of music's modern philosophical history (via Kant, Schopenhauer, Nietzsche, Adorno). The last section of the essay considers how the internal movements of actual musical pieces can (and cannot) articulate with deconstruction; a process that will figure deconstruction as mode of listening. Examples include moments in Mozart, Beethoven, Schubert, Babbitt, Cage, Ligeti, Lachenmann, and others.
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De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (May 2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.
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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a small number of subsequent writings. In Japanese popular music, evidence for musical habitus and residual traits of past practice can be sought not only in characteristics typical of musicological analysis; modal, harmonic and rhythmic structures; but also in aspects of the music's organisation, presentation, conceptualisation and reception. Among these are vocal tone and production techniques, technical and evaluative discourse, and contextual features such as staging, performer-audience interaction, the agency of individual musicians, the structure of corporate music-production, and the use of songs as vehicles for subjectivity. Such an inclusive approach to new and old musical practices in Japan enables demonstration of ways in which popular music is both part of Japanese musical culture and an authentic vehicle for contemporary Japanese identity.
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Miranda, Alejandro. "Movement, Practice, and a Musical Tradition between Mexico and the United States." Transfers 7, no. 2 (June 1, 2017): 21–40. http://dx.doi.org/10.3167/trans.2017.070203.
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Current scholarly work on mobilities has focused largely on how practices of mobility produce space, place, and landscape through their enactment and representation. There has been significantly less attention to the study of how social practices move, that is, how socially recognized ways of doing are produced through mobility. Although the literature of various disciplines generally agrees that practices are on the move at different scales, the mobilities of practice have yet to be developed explicitly. This article contributes to this emerging area of research by examining the case of music making. Drawing on ethnographic research, it analyzes how son jarocho, a musical tradition from southeast Mexico, is currently diffused and re-created across communities of practitioners in the United States. In doing so, the processes of diffusion, reproduction, and transformation of social practice are dependent on, and reciprocally related to, the movement produced during performances.
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Hrvatin, Klara. "Alma Karlin’s Musical Miniatures." Poligrafi 24, no. 93/94 (December 18, 2019): 109–35. http://dx.doi.org/10.35469/poligrafi.2019.193.
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The following article serves as an introduction to one of the world’s greatest traveller Alma Maximiliane Karlin (1889–1950) and her music-religion related objects she probably brought from Japan, where she stayed from the beginning of June 1922 to July 1923. Not numerous, but in comparison to similar objects brought from other countries, the largest in number, the collection shows Karlin’s preference for simple instrument miniatures such as are models or miniatures of instruments shamisen, koto, yakumo-goto. Interesting are as well objects, which are indirectly related to Japanese music; ukiyo-e, postcards and small colored prins on postcards, depicting themes related to Japanese traditional instruments, small bronze tengu mask and others.
In order to better define those instruments and find a possible relation of these instruments and their religious practices to Karlin’s life, the article focuses as well on the Karlin’s non-classical travelogue, Slovenian translations of Einsame Weltreise: Die Tragödie einer Frau (Lonely Travel, 1929), in particular where she depicts her travel and stay in Japan. From her collection of instruments and her writings, the author searches how and to what extent Karlin developed a sense of, or was devoted to certain instruments which express some relation to Shinto or Buddhist religious practices.
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Parent, Marie-Christine. "“MUSIC OF THE SLAVES” IN THE INDIAN OCEAN CREOLE ISLANDS: A PERSPECTIVE FROM THE SEYCHELLES." African Music: Journal of the International Library of African Music 11, no. 2 (December 1, 2020): 1–24. http://dx.doi.org/10.21504/amj.v11i2.2311.
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This article examines the development and expression of the moutya from Seychelles, in relation to the sega from Mauritius and the maloya from Reunion. These musical styles and their associated practices are recognised as evidence of an African heritage in the archipelagos. To better understand their connections and singularities, I utilise a diachronic and synchronic approach, at local and regional levels. The purpose is to demonstrate the mobility of musicians and the permeability of musical practices in these islands over time, using history and narratives from the colonial period (from the end of the seventeenth century) to the present, and fieldwork observations. This approach shows how music and dance elements from Africa are creolised on the islands and how they are further adapted as islanders travel around these islands. In the process one musical practice becomes many, although they fall into a matrix of styles sharing similar features. The article approaches the emergence and the transformation of (what would become) moutya in the Seychelles by first describing the emergence of musical creativity in the Mascarenes and Seychelles. This is followed by a discussion of the transition from a marginal and resistance form of music to new musical categories. Finally, the article describes circulations and musical exchanges between the islands, opening the door to a better understanding of Creole culture and music in the south-western Indian Ocean islands.
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Tahıroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrelfs, and Atau Tanaka. "Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments." Organised Sound 25, no. 1 (March 4, 2020): 64–74. http://dx.doi.org/10.1017/s1355771819000475.
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This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performance practices in different ways, which reflect the changed mode-of-being of new musical instruments and our individual and collective relations with them.
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Mantoan, Lindsey. "The utopic vision of OSF’s Oklahoma!: Recuperative casting practices and queering early American history1." Studies in Musical Theatre 15, no. 1 (April 1, 2021): 41–56. http://dx.doi.org/10.1386/smt_00054_1.
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In the spring of 2018, the Oregon Shakespeare Festival (OSF) realized artistic director Bill Rauch’s decades-long dream: to produce a queer, interracial Oklahoma!. The production participates in a new practice of recasting history through musical theatre, and does so through an innovative approach to representation and character. OSF’s production reimagined Curly as a queer Black woman; the matriarch of the town, Aunt Eller, as a trans woman; and the secondary romantic couple, Will Parker and Ado Annie (here Ado Andy), as an interracial, gay male partnership. This alteration of the characters’ identities takes a bold new step in the trajectory of theatrical casting practices, challenging the entrenched white supremacy and patriarchy of the theatre industry. In this article, I situate OSF’s method of casting Oklahoma!, which I call ‘recuperative casting’, in the landscape of broader discourse related to casting and musicals that represent US history; I argue that this casting strategy seeks to remedy the whitewashing typical of productions of canonical musicals.
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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Askovic, Dragan. "Karlovac chant between tradition and innovation." Zbornik Matice srpske za drustvene nauke, no. 178 (2021): 207–23. http://dx.doi.org/10.2298/zmsdn2178207a.
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Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.
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OhmJungae and 송정. "Kindergarten Teachers' Recognition of Musical Concept and Actual Practices." Journal of Research in Curriculum Instruction 12, no. 2 (June 2008): 471–92. http://dx.doi.org/10.24231/rici.2008.12.2.471.
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Jeong, Eun mi. "Study on Unfair Practices in Musical Production and Distribution." Journal of Korea Culture Industry 18, no. 1 (March 31, 2018): 73–84. http://dx.doi.org/10.35174/jkci.2018.03.18.1.73.
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Grier, James. "Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana." Journal of the American Musicological Society 56, no. 1 (2003): 43–98. http://dx.doi.org/10.1525/jams.2003.56.1.43.
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Abstract Writing in 1027–28, Adémar de Chabannes states in his Chronicon that musicians at the court of Charlemagne knew and used musical notation. Authentic Carolingian sources of the eighth and ninth centuries provide striking corroboration of several elements in Adémar's narrative and so suggest that his version of events may be accurate. More important, however, are the parallels between Adémar and the Carolingian sources regarding the concern of the Frankish monarchs of the period for the quality of singing in the Frankish church, and particularly the adoption of the Roman style of performance. It was in this environment that the Frankish cantors may have developed musical notation, probably at Metz in the last decade of the eighth or first of the ninth century, to assist in the preservation and dissemination of Roman nuances of singing.
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Muhonen, Sari. "Students' experiences of collaborative creation through songcrafting in primary school: Supporting creative agency in ‘school music’ programmes." British Journal of Music Education 33, no. 3 (July 15, 2016): 263–81. http://dx.doi.org/10.1017/s0265051716000176.
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The study reported in this article investigates students’ experiences (n=41) of their primary school songcrafting, examining the potential to support creative agency within school music education programmes. Songcrafting refers to a collaborative composing practice in which everyone is considered to be a capable creator of melodies and lyrics, and where negotiation, collaboration, and openness to the situation are essential. Through semi-structured individual interviews with students who had experienced songcrafting in the past, analysed with qualitative methods, it was found that the students' narration of songcrafting included meanings related to general agency, creative agency, musical participation within the classroom community, and documented and shared collaborative musical products, or ‘oeuvres’.The results of this study illustrate the various often unforeseeable meanings produced through participation in collaborative musical activities. Furthermore, they highlight the potential to enrich meaningful teaching practices and pedagogy through the examination of students' experiences, and exploring the potentials in narrating one's musical stories. These findings suggest that music education practices could benefit from the inclusion of a broader range of opportunities for the students to create their own music, and the sensitive facilitation of collaborative music creation processes.
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Postiga, José Luís. "SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX." Cadernos de Educação Tecnologia e Sociedade 13, no. 1 (April 12, 2020): 23. http://dx.doi.org/10.14571/brajets.v13.n1.23-40.
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When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.
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Park, Leo. "Inside Out: Integrating Creative Practices into the Orchestra Classroom." Music Educators Journal 105, no. 3 (March 2019): 54–59. http://dx.doi.org/10.1177/0027432118817813.
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Improvisation-based exercises may be the key to unlocking students’ innate musical creativities. This article focuses on two exercises—drone improvisation and circle stringing—that can be easily integrated into the orchestra curriculum and adapted to the learning needs of the individual student, small-ensemble, and large-ensemble settings. Of critical importance is fostering an environment of musical discovery and exploration that reaches beyond the purview of traditional ensemble-based classroom experiences. Such an approach promotes a comprehensive pedagogy that honors tradition, values experimentation, and embraces the contemporary.
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Sutopo, Oki Rahadianto. "Young Jazz Musicians and Negotiation of Public Space in Yogyakarta Indonesia." KOMUNITAS: International Journal of Indonesian Society and Culture 9, no. 2 (August 15, 2017): 225–36. http://dx.doi.org/10.15294/komunitas.v9i2.10060.
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Using Bourdieusian approach, this article explores the reflexive strategies of young jazz musicians in order to develop their musical practices in a contemporary urban context of Yogyakarta, a city of culture and activism in Indonesia. In detail, the reflexive strategy (Sweetman 2003; Threadgold & Nilan 2009) will be explained as the manifestation of struggle in the field of cultural production (Bourdieu 1993). As an implication, young jazz musicians have to negotiate their musical practices with the reproduction of doxa and the representation of dominant agents in the jazz music field including the availability of public spaces in contemporary Yogyakarta. The resistance towards doxa will be explained based on the local narratives of the Yogyakarta jazz community as a mixture of the local and the trans-local scene (Bennett & Peterson 2004). Furthermore, the reflexive strategy will be analysed through the lens of the youth culture perspective specifically as a manifestation of a mixture between post-subculture (Bennett 1999) and subculture (Blackman 2005). In their everyday musical practices, young jazz musicians produce their musical practices fluidly and flexibly as a lifestyle distinction as well as a form of everyday life resistance. In summary, this article shows the complexity of the musical processes of young jazz musicians in contemporary urban space of Yogyakarta, Indonesia.
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Kuuse, Anna-Karin. "“We will fight Goliath”: Negotiation of space for musical agency in children’s music education." Research Studies in Music Education 40, no. 2 (May 23, 2018): 140–56. http://dx.doi.org/10.1177/1321103x18771796.
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Following a music philosophy debate deriving from the 1990s, this article puts the extra-musical and social outcomes of situated music educational practices at the fore. The Swedish replica of the choir and orchestra school El Sistema, a programme globally asserting social change and social impact, appeared useful for elaborating such outcomes in practice. Following this, the present study aims to empirically elaborate musical agency as an analytical concept to understand children’s experiences, while at the same time discussing musical agency in relation to a social discursive view on practice. A Swedish El Sistema children’s string orchestra was followed for three months and the material for analysis consists of audio recordings and observation notes from lessons, performances and family events, as well as documents surrounding the activities. Constructions of discipline, empowerment and space are revealed as affecting opportunities for musical agency. The study thus elaborates on discursive constraints and opportunities for agency negotiation while discussing social outcomes with and within music education.
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Drèze, Céline. "Musical Practices among Marian Sodalities in the Gallo- and Flandro-Belgian Provinces from the Sixteenth to the Eighteenth Centuries." Journal of Jesuit Studies 3, no. 3 (June 8, 2016): 398–414. http://dx.doi.org/10.1163/22141332-00303004.
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This paper sets forth an initial synthesis of the musical practices of the Marian sodalities established in the two former Belgian provinces. The musical history of the Belgian sodalities has been compiled on the basis of disparate and heterogeneous archival sources, which shed light on the musical practices of the Marian sodalities in two ways. First, they reveal the financial, human, and material resources brought together by the sodalities, as well as the close links maintained by the sodalities with the various local musical bodies. Secondly, the documents indicate two activities for which particular use of music was made: the yearly Marian feasts and the Lenten meetings for meditation. The information gathered from the archival sources can be cross-referenced here with some musical sources, most probably destined for the celebration of these feasts: 1) an international series of litany settings; 2) a corpus of musical works based on texts on the passion of Christ.
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Delalande, François. "The technological era of ‘sound’: a challenge for musicology and a new range of social practices." Organised Sound 12, no. 3 (November 30, 2007): 251–58. http://dx.doi.org/10.1017/s1355771807001926.
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AbstractThe ‘technological revolution’ that took place in music during the twentieth century is equivalent to the revolution that took place between the twelfth and fourteenth century, which transformed musical notation into applications of technology related to creation. This second revolution, as well as the first one, concerns not only musical form, but also the social organisation related to music. The aesthetic of sound is the key factor (in all the genres of contemporary music), which is a major challenge for musical analysis. Society is reorganising itself, favouring the appropriation and amateur practices within musical creation. Musical research institutions – and particularly the GRM – develop new forms of collaboration with their audience and contribute to the constitution of a ‘horizontal’ society, based on exchange, in frank opposition with the ‘vertical’ society, based on a reduced number of producers and a large amount of consumers.
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Dakon, Jacob M., and Elene Cloete. "The Violet experience: Social interaction through eclectic music learning practices." British Journal of Music Education 35, no. 1 (September 7, 2017): 57–72. http://dx.doi.org/10.1017/s0265051717000122.
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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.