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Books on the topic 'Reflection (Musical group)'
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1
Carruthers, Bob. Pink Floyd: Reflections and echoes. England]: Archive Media Pub., 2005.
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Melinda, Sawers, ed. Reflections & voices: Exploring the music of Yothu Yindi with Mandawuy Yunupingu. Sydney: Sydney University Press, 2009.
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Point of Grace (Musical group). Keep the candle burning: 24 reflections from our favorite songs. New York: Warner Faith, 2003.
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Laurie, Stras, ed. She's so fine: Reflections on whiteness, femininity, adolescence and class in 1960s music. Burlington, VT: Ashgate, 2009.
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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.
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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.
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Reuben, Alex. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0024.
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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....
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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.
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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.
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Delargy, David, Eugene O'Hagan, and Martin O'Hagan. Soul Song: Reflections on an Unexpected Journey by the Priests. Transworld Publishers Limited, 2010.
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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.
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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.
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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.
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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.
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Grace, Point of. Keep the Candle Burning: 24 Reflections From Our Favorite Songs. Faith Words, 2003.
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Seeman, Sonia Tamar. Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.001.0001.
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Sounding Roman traces the role of music performance in maintaining, shaping, and challenging ascribed social identities of Roman (“Gypsy”) groups, who constitute one of the most socially reviled and yet culturally romanticized minorities in Turkey. Roman communities have been a ubiquitous presence, contributing to social, cultural, and economic life since the Byzantine period in Anatolia up to the present. Alternately exoticized and reviled, Roman communities were valued for their occupational skills and entertainment services. Based on detailed historiographic study and twenty years of ethnographic work, this book examines the issue of cultural and musical representations for creating, maintaining, and contesting social identity practices through philosophical reflections on meaningful symbolic configurations in metaphoricity, iconicity, and mimesis paired with a sociological interrogation of unequal power relationships. Through these lenses, the book investigates the potential of musical performance to configure new social identities and open pathways for political action, while exploring the limits of cultural representation to effect meaningful social change. The book begins with historical representations of çingene as a marked ethnic and social group during the Byzantine to late Ottoman Empire. It then traces how such constructions were revised during the period of the modern Turkish Republic through the creation of a commercial musical genre, the Roman dance tune (Roman oyun havası). The book includes a companion website with illustrative texts, images, and audio examples.
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Rink, John, Helena Gaunt, and Aaron Williamon, eds. Musicians in the Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.001.0001.
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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.
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Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.
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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and exemplars) contribute to a holistic and comprehensive creative process that inspires spontaneous and meaningful music making. The article concludes with recommendations for replication and extension of research to provide insight for improvisation assessment.
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Perone, James E. The Words and Music of Melissa Etheridge. ABC-CLIO, LLC, 2014. http://dx.doi.org/10.5040/9798216038481.
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Songwriter. Pop star. Gay activist. Cancer survivor. Advocate for cancer victims. Human being. Melissa Etheridge is all of these things, and all of these elements of who she is have played an instrumental role in her music from the beginning of her career to the present day. The Words and Music of Melissa Etheridge examines Melissa Etheridge’s contributions to pop music in the tradition of other greats such as Janis Joplin, Bruce Springsteen, and Rod Stewart. Written by a music scholar and Etheridge fan, this book investigates her work chronologically by time period, underscoring her growth as a songwriter and musician and demonstrating how her music reflected the events in her life, both positive and negative. Author James E. Perone spotlights how Etheridge’s songs defy traditional gender roles and stereotypes and appeal to general audiences with their universal themes, yet serve those in the lesbian community because of the specific applicability of her words to the members of this minority group. The book supplies expert, critical, and easy-to-understand analysis of all of the songs of Melissa Etheridge’s studio albums from the 1980s through to her autobiographical and reflective album, 4th Street Feeling, released in 2012.
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She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Taylor & Francis Group, 2017.
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She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Taylor & Francis Group, 2017.
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18
Mondanaro, John, and Joanne Loewy. Music Therapy with Adolescents in Medical Settings. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.43.
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Adolescence is a time of change marking the transition from childhood to adulthood. When a teenager is ill and requiring hospitalization many of the constructs upon which individual identity rests such as contact with peers, and social belonging, can become compromised. Music therapy offers a way to address the personal and psychological stress that can result from hospitalization. In this chapter the authors highlight conditions in medicine that are common to teens. Music psychotherapy approaches are described that promote expression in individual and group modalities, and can also provide avenues for self-reflection related to the disease process, such as the receiving of a new diagnosis, or in cases where traumatic injury has occurred. The role of the music therapist in working with the medical team, the patient, and the patient’s family is presented with reference to the detailed knowledge and experience of the authors in providing music psychotherapy to adolescents.
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Wolf, Richard K. The Manifest and the Hidden. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0008.
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This chapter presents Muharram Ali's reflections on South Asian drumming and music traditions, which he has jotted down in his notes. It first considers the death of Ali's mother Sakina and how this had set his father on a devil's course. It then discusses the publishing of Ali's article “The Drums of Islam in Multan” as well as his write-up on the ʻurs of Madho Lal Husain. It also recalls Ali's decision to pursue formal anthropological training at Lucknow University, where he earned a PhD in anthropology in record time, along with his classical Hindustani music training at the Bhatkhande School of Music. Finally, it describes Ali's observations of the manganhār repertoire demonstrated by Qasim Shah, the Ajmer and Agra Muhajir groups, and drumming in the context of Islam.
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Tkaczyk, Viktoria, and Stefan Weinzierl. Architectural Acoustics and the Trained Ear in the Arts. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.14.
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This chapter shifts perspective from the history of architectural acoustics (as a branch of physics) to the history of architecture and practices of listening from around 1780 to 1830. In this period, operas, concerts, and spoken theater pieces, traditionally performed in the same venue, were increasingly regarded as separate genres, each related to a specific sonic reverberation time. As this chapter illustrates using acoustic data from major venues, this separation corresponded with ever-diverging concepts of acoustic design and the acoustic properties of new buildings. The shift occurred, first, because of the emergence of a bourgeois theater and music culture and, second, due to a fundamental epistemic shift in acoustic theory when sound reflection began to be thought of as a phenomenon related to energy, time, and building materials. The audience was conceived of as a group of genre-specific listening experts who paid attention to sound dying away over time.
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Lambert, Philip. Celebrations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0005.
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This chapter focuses on Wilder's last decade. His catalog of original compositions for instrumental groups, large and small, continued to grow, as did his collection of distinguished contributions to the popular-song genre. His interest in writing for the stage persisted as well. Still more pivotal was a new attitude of reflection and historical contemplation, both personal and professional, and a commitment to preserve his thoughts for posterity. He had always been a writer, but his yield had often been restricted by the dimensions of a postcard or a page of hotel stationery. In the early 1970s, he began to expand his literary medium and his scope in the direction of a comprehensive memoir. He found that he had a lot of stories to tell and insights to share, not only about himself but also about the music that stood at the core of his artistic consciousness.
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Caps, John. Frustration. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0014.
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This chapter focuses on Mancini's work on the large-scale space alien film Lifeforce (1985). Mancini's handwritten sketches for his score to the film reveals how important the job was to him, coming at this stage of his career. At last someone was offering him the kind of blockbuster science fiction epic that John Williams, Jerry Goldsmith, and even the young guys like James Horner (Brainstorm [1984]) and Alan Silvestri (The Abyss [1989]) were getting. With Lifeforce he might join the new ruling class of film composers on its own terms. However, the film was being supervised by Cannon Pictures, part of the infamous movie brokerage firm the Cannon Group. They had made their money by funding quick and cheap genre films on a one-time basis, turning a profit by almost immediately handing them over to their video-release branch. It was decided that Lifeforce would be chopped down to a more manageable length and into a form where most of the long reflective or descriptive visual sequences would be truncated. Along with them, their music had to go.
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Mukenge, Tshilemalema. Culture and Customs of the Congo. Greenwood, 2001. http://dx.doi.org/10.5040/9798400635922.
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The Democratic Republic of Congo, formerly Zaire, continues to struggle with socioeconomic and political development.Culture and Customs of the Congoprovides the full context of traditional culture and modern practices against a backdrop of a turbulent history. The volume opens up a land and peoples little known in the United States. Written expressly to meet the needs of students and the general audience, the work will inform about the geography, economy, political history, and history from the slave trade to dictatorship; ancestral religions and inroads of western faiths; ancestral literary heritage and communication; art, architecture, and housing; diet and dress; marriage, family, and women; lifestyles and life events, and traditional and modern music and dance. Congolese society comprises hundreds of ethnic groups, such as the Luba, the Kongo, and the Kuba. The countryside is largely based on the hunting and gathering, herding, and farming lifestyles. The city is marked by lifestyles reflecting the prevalence of small business activities and increasing cultural sycretism of customs from different parts of the Congo and Western imports. Mukenge's narrative gives the diverse perspectives of their cultures with their fascinating juxtapositions to our familiar western ways. Examples of this are found in the Religion and Worldview chapter, which discusses ancestral religions, the spirits of the land, and supernatural power practitioners. The Literature chapter covers verbal competition and game songs. Congolese cuisine is based on starches such as the cassava root, the corn, and the plantain; green vegetables, insects, fish and, to a lesser extent, meat. Other chapters cover topics from the distinct Congolese dress and symbolic adornments, all-important family lines, to ceremonial music and dance. A chronology and glossary are added value.
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Vince, Ronald W. A Companion to the Medieval Theatre. Greenwood Press, 1989. http://dx.doi.org/10.5040/9798216183846.
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Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume features 30 essays contributed by an international group of specialists and includes many shorter entries as well as systematic cross-referencing, a chronology, a bibliography, and a full complement of indexes. Major entries focus on the theatres of the principal linguistic areas (the British Isles, France, Germany, Iberia, Italy, Scandinavia, the Low Countries, and Eastern Europe), and on dramatic forms and genres such as liturgical drama, Passion and saint plays, morality plays, folk drama, and Humanist drama. Other articles examine costume, acting, pageantry, and music, and explore the theatrical dimension of courtly entertainment, the dance, and the tournament. Short entries supply information on over one hundred playwrights, directors, actors and antiquarians whose contributions to the theatre have been documented. This informative guide brings new depth to our appreciation of the richness and color of medieval public entertainments and the symbolism and pageantry that were a part of daily life in the Middle Ages. Designed to appeal to general reader, this volume is also an attractive choice for libraries serving students and scholars of theatre history, English and European literatures, medieval history, cultural history, drama, and performance.
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Grau, Marion. Pilgrimage, Landscape, and Identity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197598634.001.0001.
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The book explores the ritual geography of a pilgrimage system woven around local medieval saints in Norway and the renaissance of pilgrimage in contemporary majority-Protestant Norway, facing challenges of migration, xenophobia, and climate crisis. The study is concerned with historical narratives and communal contemporary reinterpretations of the figure of St. Olav, the first Christian king who was a major impulse toward conversion to Christianity and the unification of regions of Norway in a nation unified by a Christian law and faith. This initially medieval pilgrimage network, which originated after the death of Olav Haraldsson and his proclamation as saint in 1030, became repressed after the Reformation, which had a great influence on Scandinavia and shaped Norwegian Christianity overwhelmingly. Since the late 1990s, the Church of Norway participated in a renaissance that has grown into a remarkable infrastructure supported by national and local authorities. The contemporary pilgrimage by land and by sea to Nidaros Cathedral in Trondheim is one site where this negotiation is paramount. The study maps how pilgrims, hosts, church officials, and government officials are renegotiating and reshaping narratives of landscape, sacrality, pilgrimage as a symbol of life journey, nation, identity, Christianity, and Protestant reflections on the durability of medieval Catholic saints. The redevelopment of this instance of pilgrimage in a majority-Protestant context negotiates various societal concerns, all of which are addressed by various groups of pilgrims or other actors in the network. One part of the network is the annual festival Olavsfest, a culture and music festival that actively and critically engages the contested heritage of St. Olav and the Church of Norway through theater, music, lectures, and discussions, and features theological and interreligious conversations. This festival is a platform for creative and critical engagement with the contested, violent heritage of St. Olav, the colonial history of Norway in relation to the Sami indigenous population, and many other contemporary social and religious issues. The study highlights facets of critical, constructive engagement of these majority-Protestant actors engaging legacy through forms of theological and ritual creativity rather than mere repetition.