Academic literature on the topic 'Reflection (Musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Reflection (Musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Reflection (Musical group)"
1
Barrachina, Solange, and Dominique Saint Martin. "The GRM ‘beyond the walls’?" Organised Sound 12, no. 3 (November 30, 2007): 233–39. http://dx.doi.org/10.1017/s1355771807001896.
Full textAbstract:
AbstractThe technological changes of the twentieth century obliged research institutes to rethink their role in society. A place for invention and reflection, and a centre for the preservation of our musical heritage, the Groupe de Recherches Musicales must open its doors from now on and increase its collaboration with other bodies in an enlarged form: an extended ‘group’, extramural, which shares its tools and thoughts with others.
2
Lampasiak, Aurelia, and Andrea Welte. "Embodied musical improvisation: How the body fosters improvising groups." Journal de recherche en éducations artistiques (JREA), no. 2 (February 6, 2024): 41–52. http://dx.doi.org/10.26034/vd.jrea.2024.4720.
Full textAbstract:
This article explores the question of how the body is involved when improvising together in a group. Focusing on improvisational pedagogical practices, our interest lies particularly in the question in what ways the body empowers participation. With “Embodied participation in musical group improvisation” we are introducing a new model which allows for reflection on musical group improvisation. It also encourages a body-based perspective on improvisation in relation to the facilitation of participation. We illustrate our reasoning with examples from the ImproKultur project. In particular, we take a closer look at two approaches to musical group improvisation : body conducting and improvising with a chair, both as an object and as a musical instrument. Using these two quite different approaches to improvising in a group, we emphasise their specific aspects of embodiment.
3
Have, Iben. "Attitudes towards documentary soundstracks - Between emotional immersion and critical reflection." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2133.
Full textAbstract:
Musical experience is often related to an emotional and imaginative engagement of the listener. Discourses of journalistic documentaries relate primarily to inferential knowledge systems in which the uses of background music as a communicative device become an object of epistemological critique. By listening to different voices – primarily from four focus group interviews – the article will discuss attitudes towards musical soundtracks in documentaries, attitudes being negotiated between emotional immersion and critical reflection, with the concept of manipulation as an underlying theme. In the end, the article will argue for the need for an acoustemological approach (Feld, 1996) to study the epistemological potential of sound in audiovisual media.
4
Kyratsou, Chrysi. "Musical citizenship as a means to disrupt exclusions: Potentials and limitations as understood in times of a pandemic." Citizenship Teaching & Learning 17, no. 1 (February 1, 2022): 145–54. http://dx.doi.org/10.1386/ctl_00086_1.
Full textAbstract:
This article focuses on the potential of in-group music lessons to foster musical citizenship. It further discusses the relation between musical citizenship and conventional citizenship and shows how musical citizenship reorientates our thoughts towards citizenship, particularly in the light of the recent pandemic. The discussion is based upon reflection on semi-structured interviews conducted during my ethnographic fieldwork research on musicking among refugees sheltering in reception centres. The discussion is framed with approaches to citizenship and musical citizenship. The discussion is structured in three parts. First, I conceptualize my interlocutors’ current ‘in limbo’ status. Second, I show how music learning in-group fosters musical citizenship and helps navigate exclusions. Third, the attention shifts on how music learning was impacted by the way that the lockdown was implemented as a measure to limit the spread of the pandemic, highlighting the inclusivity of ‘musical citizenship’ undermined by (conventional) citizenship and the relevant exclusionary policies.
5
Muhammad Syafe’i. "Upaya Mengembangkan Kecerdasan Musikal Melalui Permainan Persepsi Bentuk Musikal Pada Anak Kelomok B di TK Pertiwi Tanjung Juwiring Klaten." SALIHA: Jurnal Pendidikan & Agama Islam 1, no. 2 (July 16, 2018): 71–85. http://dx.doi.org/10.54396/saliha.v1i2.14.
Full textAbstract:
This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through observation methods, and documentation. Data analysis technique used is descriptive qualitative with interactive analysis consisting of data reduction, datapresentation, and conclusion of analysis result. Research results before the implementation of the cycle obtained results of 41.9%, the first cycle reached 56.4%, and the second cycle reached 80.1%. based on research that has been done can be concluded that through the game perception of musical form can improve the musical intelligence of children in kindergarten Pertiwi Village Cape District Juwiring Klaten Lesson Year 2012/2013.
6
Kashina, Natalya I., and Natalia G. Tagiltseva. "Musical culture in the development of the cultural identity of the individual." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 32–40. http://dx.doi.org/10.17223/22220836/45/4.
Full textAbstract:
One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical culture is realized in connection with a number of its other functions. Cumulative function of musical culture is realized in accumulation, storage, generalization in their individual images of value-cognitive outlook of culture. The communicative function of musical culture is manifested in the fact that it is a universal system of communication of people at all levels, from the interindividual to the level of generations. As a result, there is a process of comparing the individual with the “other” (hero of the musical work), identification or vice versa, isolation from him. The communicative function comes close to the consolidating function. In the process of perception of musical work or its performance in the consciousness of the individual, a sense of belonging to the culture of his ethnic group, affinity with his culture is formed. The function of reflecting reality shows itself in reflecting in artistic images ideas, emotions and the subject world. Identifying with them, a person has individually colored associations, and emotional resonance is carried out. This emotional empathy, manifested in identifying the emotional mood of the recipient with the meaningful deployment of the musical work, is a way of ethical influence on the person and causes his cultural selfidentification. Here, the reality reflection function is connected to the emotional function of the music culture. The function of reflection of validity is also related to the cognitive function of musical culture. In modern historical conditions, when the “connection of times and generations” has been interrupted for a long period, musical culture is one of the sources of modern man‘s knowledge of the moral traditions of mankind. Without the knowledge of culture, the formation and formation of cultural identity is impossible. The ethical function shows itself in that it contains cultural specimens of ethnos. Musical culture provides individuals with basic cultural landmarks, distinctive images of cultural identity. Art provides individuals with a set of symbols with which it can associate itself (a set of potential positive and negative identities). The authors also define psychological mechanisms for the formation of cultural identity in the process of musical activity - identification and isolation.
7
Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
Full textAbstract:
Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
8
Archibald, Paul. "Finding the drummer: A reflection during isolation." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 171–86. http://dx.doi.org/10.1386/jpme_00056_1.
Full textAbstract:
Drummers, in providing a cohesive role in a group setting, are generally valued by other instrumentalists depending on their ability to accompany sensitively and supportively; while important to all forms of popular music in which the drum kit features, the part itself is usually not created to exist independently. In recent times of lockdown and enforced isolation during the first half of 2020, drummers have found themselves deprived of the ability to make music with other people in a traditional live setting. This article examines the drummer’s reliance on the group, the value that this gives the drum kit, and the implications for identity and purpose of the drummer. In reflecting on the author’s own situation of musical ‘standstill’, and in conversation with other drummers, this article discusses the consequences this has for the drum kit (creative autonomy as an instrument) and for the drummer (implications for drummer’s self-identity), in how it may be taught, learned and viewed in the wider context of music making.
9
Tawlai, Galina. "The principle of laughter in Byelorussian vocal culture as a form of reflection on images of the world." Muzikologija, no. 17 (2014): 107–27. http://dx.doi.org/10.2298/muz1417107t.
Full textAbstract:
This paper considers particular ways of organizing musical material in songs connected with the culture of laughter, as well as the coordination and interaction of different artistic spheres in this group of traditional Belarus song forms. Our long standing, complex ethno-musicological research, constant documentations of our own field work, comparison of ritual songs? stylistics with their respective cognitive methods, together with observations and generalizations made by the real exponents of traditional Belarus song have given us the possibility to hear and recognize this strict, logically-adjusted selection of forms of musical expressiveness among folk melodies.
10
Toropova, Alla V. "Musical-Psychological Anthropology as an Interdisciplinary Field of Scientific Knowledge." Musical Art and Education 7, no. 2 (2019): 24–40. http://dx.doi.org/10.31862/2309-1428-2019-7-2-24-40.
Full textAbstract:
The article presents the conceptual positions of the interdisciplinary field of knowledge “Musical-Psychological Anthropology” as a scientific field that allows comprehending the history of musical art and ethno-cultural variations of musical traditions, historical and modern musical styles as a representation of the experience of developing consciousness and expressing the key experiences of humanity that form the mentality, psychological needs and values of a particular social or ethnic group. The development of the methodology of Music and Psychological Anthropology makes it possible to study such phenomena as: psychological identity of a certain culture or subculture, psychological roots of musical preferences and inclinations, musical style as the presentation of a “modal personality” of a certain social group or subculture, etc. The article contains a description of the procedure and the main results of the study of value orientations of lovers of different musical styles from the perspective of musical and psychological anthropology. The data obtained made it possible to make a generalization that the differentiation of society according to the types of musical preferences manifests deeper psychological complexes of life positions and anthropological images of virtual communities of people with different ideas about the main values of life and the meaning of life. Pedagogical feasibility of developing a university course Music-Psychological Anthropology is due to the search for a new productive synthesis of knowledge, which gives impetus for the development of the professional-personal reflection of future teachers-musicians, the conscious attitude to “their” and “other” as version of life and cultural practices, tolerance to uncertainty and to the dissimilarity of generational self-presentations with a common denominator – the value of the statement of life itself.
Books on the topic "Reflection (Musical group)"
1
Carruthers, Bob. Pink Floyd: Reflections and echoes. England]: Archive Media Pub., 2005.
Find full text
2
Melinda, Sawers, ed. Reflections & voices: Exploring the music of Yothu Yindi with Mandawuy Yunupingu. Sydney: Sydney University Press, 2009.
Find full text
3
Point of Grace (Musical group). Keep the candle burning: 24 reflections from our favorite songs. New York: Warner Faith, 2003.
Find full text
4
Laurie, Stras, ed. She's so fine: Reflections on whiteness, femininity, adolescence and class in 1960s music. Burlington, VT: Ashgate, 2009.
Find full text
5
Creech, Andrea, and Susan Hallam. Facilitating learning in small groups. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0004.
Full textAbstract:
Musical ensemble performance is an inherently social activity, offering a rich context for fostering deep learning. Yet, musicians need to be supported in developing the skills that underpin negotiation and collaboration in generating musically cohesive, imaginative and convincing performances. This chapter focuses on the role of the coach or facilitator in maximizing the potential for collaborative and creative music-making in groups. The group processes and roles found in ensembles of varying types are considered within a framework comprising musical, perceptual and social skills required for creative music-making. Case-study examples demonstrate how, in a range of musical contexts, musical coaches/facilitators might support group members in developing these skills. The chapter concludes by offering group coaches and facilitators points of reflection with regard to how they might apply the key messages within their own practice.
6
Reuben, Alex. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0024.
Full textAbstract:
I have a background as a DJ and in art and design. I feel there’s a rhythm in a group of people and how they move, a sense of contagion through improvisation and structure passing from one to another, a group experience. My films feature dance and are directed to and by sound. When I DJed, the music spatially cut up the nightclub for me: it created a sculptural sensation, a form, a conjoined physical, emotional weight....
7
Welch, Graham, and Adam Ockelford. The role of the institution and teachers in supporting learning. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0029.
Full textAbstract:
This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within an activity system, i.e. the teacher's understanding of their role is developed both by informal personal reflection of the experience of performance and their own learning, and, more systematically, through their own induction process by attendance at a specialist, pedagogically focused institution.
8
Delargy, David, Eugene O'Hagan, and Martin O'Hagan. Soul Song: Reflections on an Unexpected Journey by the Priests. Transworld Publishers Limited, 2010.
Find full text
9
Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.
Full textAbstract:
This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learning as choral pedagogy to nurture the students’ musicianship in choir. Data consisted of interviews, video recordings, and reflective journals. Results showed a positive impact on group cooperation, peer-directed learning, choral rehearsal strategy, leadership, and personal musical identity. It also served as a catalyst to change perceptions of students and teachers relative to musical skill and ability.
10
Howell, Gillian, Lee Higgins, and Brydie-Leigh Bartleet. Community Music Practice. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.26.
Full textAbstract:
Many people have become disengaged from music making owing to the commercialization and commodification of music practices. This chapter examines a distinctive response to that disengagement, through the work of community music facilitators, who connect on interpersonal and musical levels to encourage community music practice. Four case studies are used to illustrate the central notions of this approach. Underpinning these four case studies is the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience—bonds formed, meaning and enjoyment derived, and sense of agency that emerges for individuals and the group—alongside the musical outcomes created through the music making experience. The chapter concludes by considering the ways in which community music opens up new pathways for reflecting on, enacting, and developing approaches that respond to a wide range of social, cultural, health, economic, and political contexts.
Book chapters on the topic "Reflection (Musical group)"
1
Gibson, Sarah-Jane. "11. Experience, Understanding and Intercultural Competence." In Teaching Music Performance in Higher Education, 271–86. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.14.
Full textAbstract:
Ethno is JM International’s program for folk, world and traditional music. Founded in 1990, it is aimed at young musicians (up to age 30) with a mission to revive and keep alive global cultural heritage. Originating in Sweden, but now present in over 40 countries, Ethno engages young people through a series of annual international music gatherings as well as workshops, concerts and tours, working together with schools, conservatories and other groups of youth to promote peace, tolerance and understanding (https://ethno.world/about/). In this chapter, I consider the research questions to what extent should an intercultural music programme also focus on developing intercultural understanding and competency? Is it enough for participants to have an intercultural musical experience without allowing time for critical reflection to develop intercultural competencies? Further to this I consider how the nonformal approach of Ethno may support intercultural understanding and how this contrasts with intercultural programmes in formal HEI institutions. Research findings are drawn from a four-year international research project exploring the hypothesis that Ethno provides transformational socio-cultural and musical significances for participants (www.ethnoresearch.org ). Findings are based on ethnographic fieldwork at Ethno events and interviews with over 250 participants, organisers and ‘artistic mentors’ (on-site musical leaders). The research was conducted by The International Centre for Community music (ICCM) in collaboration with JM International. I also draw upon my HEI teaching with a particular focus on ‘Ethno inspired’ workshops we ran as a means of contrasting the experience of intercultural learning in a formal institution to demonstrate how this research has broadened sociological and musical understandings of other cultures for my university students. Research findings suggest that those attending Ethno gatherings are ready to have intercultural dialogues, they are curious and open toward people that are different. Our research also highlights the importance participants place on being with ‘like-minded people’. The chapter ultimately considers whether there is value in facilitated time for critical reflection during intercultural music gatherings in order to develop intercultural competencies.
2
Heaney, Maeve Louise. "11. Spiritual Subjects." In Music and Spirituality, 233–54. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.11.
Full textAbstract:
This chapter focusses on and explores the connection between the two core themes at the heart of the book’s research agenda: spirituality and music. Building on broad and intellectually informed definitions of musicking and spirituality, the chapter names three theological categories from the world of Christian theology – Grace, Trinity, and the Ascended Body of Christ – that help ground some commonly-perceived connections between the two, as well as various disciplinary fields from world of music study – musical semiotics, hermeneutics, and history – necessary to explore these connections further. From these preliminary considerations, the chapter makes a case for grounding research into music and spirituality on the source and subject of that work: the very person of the researcher. A reflexive and self-appropriated researcher is the foundation of all useful knowledge and the condition of possibility for its clarity and future development. Drawing on the categories of narrative, biography (Metz), the researcher “in conversion” (Lonergan), and a small test-group of reflective responses from scholars at work in this field, I suggest that more awareness of whence our interest in this field will help bridge gaps and advance our quest to understand music, spirituality and the spaces in-between.
3
Thompson-Bell, Jacob. "6. Working Together Well." In Teaching Music Performance in Higher Education, 165–80. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.08.
Full textAbstract:
This chapter interrogates some of the foundational assumptions of student-centred learning environments (SCLEs), with a view to expanding conventional pedagogical models to account for the “distributive” agency of groups of learners assembled in a classroom. In the first part, the author proposes that learner groups be treated as distributive agential networks, braiding together intrinsic, extrinsic and intratrinsic (i.e. motivation distributed between multiple learners) forms of motivation, thereby to sustain both individual and collective forms of agency. It is argued that greater awareness of how motivation emerges across such multi-dimensional agential networks within the learning environment can enable student-teacher and student-student relationships to be established on a more flexible and equitable basis, so that inventive ways of working can be collectively imagined. In the next part, these distributive agential networks are illustrated with reference to the author’s own teaching practice, working with multidisciplinary groups of music students across conservatoire and university settings in the United Kingdom. This section takes the form of an impressionistic vignette outlining a peer-to-peer feedback session using the Critical Response Process (CRP), a group feedback framework for creative work in any media, originally developed by choreographers Liz Lerman and John Borstel. This classroom situation is then analysed as a classroom “assemblage”, to illustrate how pedagogical models such as CRP draw together the bodies and accumulated beliefs of learner groups into a distributive agential network. The chapter concludes with a reflection on how these approaches can lead to a reappraisal of such fundamental academic principles as freedom of expression and equity between learners. Ultimately, it is proposed that the pursuit of creative and expressive freedoms requires that careful attention is paid to the ways in which individual students and teachers can be assembled to form a learner collective.
4
Cassidy Parker, Elizabeth. "Growing Social Identity." In Adolescents on Music, 153–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0019.
Full textAbstract:
Chapter 7 investigates how adolescents reflect the groups in which they participate and how individuals use group characteristics to create and refine self-identity. In this chapter adolescents tell of their musical ingroup and outgroup experiences. Their experiences are then interpreted using a “group in the individual” or social identity perspective, The chapter also focuses on how adolescents use social categorization, social comparison, social mobility, social change, and social creativity to build themselves. At the end of the chapter, there is a discussion of the structural challenges that emerged with adolescent participants in their discussions of social identity. The reader is encouraged to complete a self-reflection and community values exercise.
5
Decker, Todd. "Metered." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0010.
Full textAbstract:
Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.
6
Alne, Rebekka, Heidi Susann Emaus, Anki Godø Giæver, Liv Marit Edvardsen, Åsrun Gjølstad, Gry Årnes, and Tone Vangen Fagerheim. "A small “musical” greeting from “The Chamber Music Group, Seven Sisters”." In Innovations in the Reflecting Process, 186–88. Routledge, 2018. http://dx.doi.org/10.4324/9780429475962-17.
Full text
7
Custodero, Lori A. "Musical Beings." In Before We Teach Music, 1–16. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197557877.003.0001.
Full textAbstract:
Abstract Childhood is a critical period in which music functions to cultivate relationships, support dispositions, and encourage experiences of expression and communication. It also provides a means through which children can be agents in their own self-regulation and comfort. Reflecting on our past experiences in childhood and attending to our immediate experiences with children provide a foundation for sympathetic responsiveness to children’s needs and awareness of (previously hidden) capabilities. The chapter illuminates how and why we are musical beings; how the temporal, dynamic, social, and physical properties of music are aligned with qualities of human existence; and how they are manifested in children’s capabilities for embodiment. Given the broad expanse of music both in everyday life and in its function as a tool for intensifying as well as transcending the present moment, it is important to consider its role in shaping us and the groups to which we belong.
8
Zalar, Konstanca. "Let the Music Speak in Joyful Music Lessons." In Perspectives on Teacher Education and Development, 619–37. University of Maribor,. University Press, 2023. http://dx.doi.org/10.18690/um.pef.1.2023.32.
Full textAbstract:
Many elementary school teachers enjoy the state of students’ immersion in musical activities. However, researchers claim that a state of complete student engagement is difficult to achieve owing to their lack of experience in playing and creating with musical parameters. The aim of the illustrative case study was to explore future teachers’ awareness of music making. The aim was to find out how they included it in their preparations, how they described it in self-reflections, and how they evaluated it in peer descriptions. The analysis of the data revealed that future teachers planned the implementation of musical content carefully but were less aware of the factors that contribute to the achievement of group flow. The future teachers emphasised a lack of non-verbal communication skills in musical language, and a well-conducted lesson, where everyone was equally involved in achieving a common goal. Additionally, the teacher could perceive students’ ideas, and the group could be focused – all of which are elements of group flow. The study enables the planning of teacher education in a way to provide children with quality acquisition of musical experiences.
9
Vaz-Deville, Kim. "How the Baby Dolls Became an Iconic Part of Mardi Gras 1." In Walking Raddy, 141–66. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.003.0010.
Full textAbstract:
This chapter traces the history of the Baby Dolls through their connection to songs, bands, and musical genres. Reflecting its African influence, black music is made in response to those who will be dancing to it. The varying groups of Baby Dolls of New Orleans can be distinguished to a certain extent by the music and the musicians they are connected to.
10
Born, Georgina. "On Music and Politics." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0006.
Full textAbstract:
Reflecting analytically on the practices of the avant-garde socialist rock group Henry Cow and their aftermath, this chapter argues for an expanded account of the multiple mediations of music and politics. Such an account would take account of at least five distinctive orders of musical practice and their non-linear conjunction, each potentially the basis of a politics: first, animating or building alliances with wider political and social movements; second, the politics of music's institutional forms, evident in Henry Cow's practices of self-organisation and self-management, its creation of new labels, performance and distribution networks; third, the politics of the social relations of the performance ensemble, of rehearsal and of the performance event; fourth, the politics of musical materials; and fifth, the politics of lyric writing. What we see in Henry Cow, however imperfectly realised, is a concerted attempt to orchestrate multiple dimensions and forms of political invention and experimentation.
Conference papers on the topic "Reflection (Musical group)"
1
Žitkevičienė, Daiva, and Jolanta Lasauskienė. "The Method of Involving Young Children in Group Musical Activities." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.21.
Full textAbstract:
The possibilities and specific features of enhancing the efficiency of the educational interaction that penetrates the whole educational process by involving children in active musical activities as early as possible have been poorly explored in Lithuania so far. The aim of the research is to highlight educational preconditions of involving 3–4-year-old children in group musical activities by implementation Batia Strauss’s Method of Active Listening to Music in practice with a group of children in early childhood music education. The participants included fifteen children from a kindergarten in Kaunas district (Lithuania). The conducted qualitative case research help to distinguish the following educational preconditions of involving 3–4-year-old children in group musical activities using Strauss’s Method of Active Listening to Music: to feel and express contrasting rhythms through simulated, emotional body movements while listening to music; to conceive and demonstrate spontaneous body movements while listening to music; and to listen to music and express it through artistic expression and language. The aforesaid preconditions are considered as generalised and conceptualised research findings and enrich the didactics of early childhood music education based on reflective thinking, mediation, meta-comments and co-learning principles.
2
Toto, Giusi Antonia, Benedetta Ragni, and Pierpaolo Limone. "Use of Music and Openness in a Group of Teachers-in-Training Receiving a Musical Intervention." In ATEE 2022 Annual Conference. University of Latvia Press, 2023. http://dx.doi.org/10.22364/atee.2022.37.
Full textAbstract:
The effects of music education on cognitive abilities have raised great interest among scholars of education and learning. According to literature, the use of music in pedagogical practices enhances learning processes with positive impact on the intellectual and social development of students. The main objective of this study was to explore the personal experience with music of teachers-in-training while participating in a musical intervention. The intervention, included both theoretical and practical modules, was delivered during a Digital Storytelling (DST) course. Specifically, our main aim was to investigate possible relationships between the personality openness dimension of teachers-in-training, the role of music in their personal life, and rewards they perceived associated with music. 818 teachers-in-training attending the DST class in an online specialisation course at the University of Foggia were enrolled. After their informed consent was obtained, they completed an online survey including three self-report questionnaires: The Big Five Inventory (BFI; John et al., 1991), The Brief Music Experience Questionnaire (Brief-MEQ; Werner et al., 2006 and the Barcelona Music Reward Questionnaire (BMRQ; Mas-Herrero et al., 2013). The research study was approved by the Institutional Review Board of the University of Foggia. In order to test the associations among the studied variables, correlations (Pearson’s r) and a CFA analysis were conducted using the SPSS software. Results showed that teachers who reported to positively use music daily (r = .67), especially enjoy in sharing music with other people, and teachers who reported to use music as a reward in terms of special connection with it (r = .64), also reported higher levels of openness (originality, curiosity, reflective thinking, imagination, invention, giving values to artistic and aesthetic experiences). Our results highlight the importance of including music in learning processes as a possible mediator able to enhance teachers and students’ socio-emotional and cognitive skills.
3
Palacios, Fernando. "Breath: Reciprocities Without Words. Music, sound and videoart as communication paths on migration processes." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13207.
Full textAbstract:
Breath was created during a research stay at Social Sciences department in Roskilde University in Denmark. The challenge was to find ways to disseminate knowledge through artistic resources in a research project under migration topic.European socio-cultural contexts nowadays are established as landscapes of diversity, platforms of social interaction where the confluence of perspectives of diverse cultures are gradually modified, giving rise to new expressive parameters of social groups. This environment allows a dialogue between different cultural musical manifestations and the approaches to the sound phenomenon that each one establishes. These cultural platforms are laboratories par excellence of the transculturation as a place where the exchange of musical identities is more easily produced. They accept (or should accept) diversity not as exoticism or threatening otherness but as a possibility of one's own identity.Under these circumstances, music plays a definitive and fundamental role constituting a purposeful and peaceful way of interaction between different cultural groups. Furthermore, music allows the development of a dialogue in the rethinking process of the collective, related to the individual.Breath is an approach to music in a social perspective, connecting people from different genders, generations and cultures that didn´t know each other before. Together we created a communication path without words, where breath is the guideline for the improvised music. We were all synchronized in a co-creative work. The photos and drawings that appears on the video where chosen and made by the participants afterwards, reflecting what they felt during the experience. Besides, Breath is an interactive work that invites you to participate in it with your own breath. Through a video installation, Breath pretends to arouse our empathy towards an understanding of the other. It aims to visualize our common aspects as humans and living beings, focusing on an existing and basic one: breathing reciprocity.
4
Tseng, Tiffany, Maria Yang, and Stephen Ruthmann. "Documentation in Progress: Challenges With Representing Design Process Online." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34686.
Full textAbstract:
Web-based documentation platforms afford lightweight and visually rich mechanisms for designers to share documentation online, yet present challenges regarding representation, particularly for collaborative teams. This paper highlights some of these issues through a descriptive case study based on the use of a new web-based social media tool for documenting the development of design projects called Build in Progress. Undergraduate students worked in teams to design musical construction kits and documented their process using Build in Progress over the course of three weeks. We examined students’ project pages to determine trends with how students visually represented their design process, and we gathered students’ experiences using the platform through surveys and interviews with select project teams. We found that groups developed their own representations of their design process via tree structures afforded by Build in Progress that present the simultaneous development of distinct elements of their projects and highlight the contributions of each student on the team. The interviews revealed differences between how internal and external documentation are presented and contrasting approaches to creating narrative and instructional documentation based on the intended audience. In particular, we found that students interpreted the tool as one used to help others recreate their design, which led to the omission of several parts of their design process, including experimentation and mistakes. These results suggest the need to further develop tools to support reflection on process rather than product.
5
Joshi, Prachi, Hirak Banerjee, Avdhoot V Muli, Aurobinda Routray, and Priyadarshi Patniak. "Study of Emotional contagion through Thermal Imaging: A pilot study using noninvasive measures in young adults." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004755.
Full textAbstract:
Emotional contagion, the process of unconsciously mirroring others’ emotions [6], occurs through various channels including facial expressions, vocal tone, and body language, influencing social interactions and responses to cultural stimuli like music and movies [3], [4], [1]. Facial expressions, analyzed using the Facial Action Coding System (FACS), provide insights into emotional transmission [2]. Thermal imaging, a technique for measuring facial temperature changes, offers a noninvasive method to study emotional responses [5]. However, the facial thermal response to emotional contagion remains understudied. This study aims to investigate how emotional contagion affects facial blood flow among highly emotionally contagious individuals, identified using noninvasive measures. Thermal imaging will capture temperature changes across ten designated facial regions of interest (ROIs), shed-ding light on facial muscle activation. By interpreting temperature variations in these ROIs, researchers seek to understand the physiological processes underlying emotional contagion. Previous studies have shown inconsistent findings regarding facial temperature changes during emotions like fear and joy, highlighting the need for further investigation. This research aims to clarify these discrepancies and advance our understanding of facial thermal responses to emotional contagion, contributing to the broader field of emotion research and potentially informing therapeutic interventions and communication strategies.Initially, Eighteen participants participated in the study. Two groups of standardized emotionally contagious video stimuli (Happy, Fear) were used to induce emotional contagion.The videos started with a one-minute relaxing clip to help participants achieve a neutral emotional state before watching the emotional contagion clips. Following the two-minute emotional contagion video, a blank screen was displayed for one minute to observe the aftereffects of the emotional contagion on participants. Facial temperature was recorded from Fluke Ti 400, and facial expressions were recorded from the webcam. Participants were asked to fill out an emotion-intensity feedback form to rate the experienced emotion and its intensity during video stimuli. Eight participants’ data was removed from further analysis because of inconsistencies. Out of the remaining ten, we further shortlisted five highly emotionally contagious participants with the help of the emotional contagion scale. Ninety baseline and arousal thermal images (10 seconds each) were identified and analyzed using FACS. Ten important regions of interest(ROIs) were selected for facial thermal variations. The interpretation of temperature patterns on selected ROIs produces a physiological time series signal, reflecting changes in blood flow associated with emotional responses. As previously discussed, blood flow radiates across the blood vessels when an emotion happens, which is why a gradual shift in the baseline occurs when an emotion takes place. To assess significant differences in facial thermal temperatures from baseline to emotional contagion, the Mann-Whitney U test and average temperature differences were used. During both emotions (fear and joy), the temperature of the nose decreased on the faces of participants. However, during fear, the temperature dropped in the forehead, left eye corner, and right cheek, while during joy, it increased in the left eye upper region. Additionally, while in fear, the left eye upper, right eye upper, and nose exhibited decreased temperatures, whereas during joy, the forehead, left and right eye corners and nose showed reduced temperatures. Mann Whitney U test showed significant emotional arousal in all the ROIs. Only the right eye corner and left cheek in two participants during fear and the right eye corner during joy in one participant was showing insignificant differences.[1] Amy Coplan. Catching characters emotions: Emotional contagion responses to narrative fiction film. Film Studies, 8(1):26–38, 2006.[2] Paul Ekman. Facial expression and emotion. American psychologist, 48(4):384,1993[3] [3]Carolina Herrando and Efthymios Constantinides. Emotional contagion: a brief overview and future directions. Frontiers in psychology, 12:2881, 2021[4]Giuliana Isabella and Hamilton C. Carvalho.Chapter 4 - emotional contagion and socialization: Reflection on virtual interaction. In Sharon Y. Tettegah and Dorothy L. Espelage, editors, Emotions, Technology, and Behaviors, Emotions and Technology, pages 63–82. Academic Press, San Diego, 2016 [5]Sophie Jarlier, Didier Grandjean, Sylvain Delplanque, Karim N’diaye, Isabelle Cayeux, Maria Ines Velazco, David Sander, Patrik Vuilleumier, and Klaus R. Scherer. Thermal analysis of facial muscles contractions. IEEE Transactions on Affective Computing, 2:2–9, 2011.Eliska Prochazkova and Mariska [6]E. Kret. Connecting minds and sharing emotions through mimicry,Neuroscience Biobehavioral Reviews2017
Reports on the topic "Reflection (Musical group)"
1
Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
Full textAbstract:
Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.