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Livros sobre o tema "Listening style"

Autor: Grafiati
Publicado: 25 de julho de 2024

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1

Moran, Frances M. Listening: A pastoral style. Alexandria, NSW: E.J. Dwyer, 1997.

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2

Philip, Collins. Radios redux : listening in style. San Francisco: Chronicle Books, 1991.

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3

Sam, Sargent, ed. Radios redux: Listening in style. San Francisco: Chronicle Books, 1991.

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4

Listening to the Text: Oral Patterning in Paul's Letters. Grand Rapids, Mich: Baker Books, 1998.

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5

Bruce, Okkema, ed. Listening to the language of the Bible: Hearing it through Jesus' ears. Holland, MI: En-Gedi Resource Center, 2004.

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6

1941-, Barker Larry Lee, ed. Listening styles profile. [San Diego, Calif.]: Pfeiffer & Company, 1995.

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7

Escuta e subjetivação: A escritura de pertencimento de Clarice Lispector. Sao Paulo: Casa do Psicologo, 2002.

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8

The listening experience: Elements, forms, and styles in music. New York: Schirmer Books, 1987.

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9

The listening experience: Elements, forms, and styles in music. 2a ed. New York: Schirmer Books, 1995.

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10

Steel, Lindsay. Listening for a change: Multiple intelligences and learning styles. Horsham: YSP Ltd, 2000.

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11

Burton, Leon. Bowmar's adventures in music listening. Miami, Fla: Warner Bros. Publications, 1997.

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12

Burton, Leon. Bowmar's adventures in music listening. Miami: Belwin-Mills Pub., 1996.

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13

Burton, Leon. Bowmar's adventures in music listening. Miami, FL: Belwin-Mills Pub. Corp., 1999.

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14

Listening in Paris: A cultural history. Berkeley: University of California Press, 1995.

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15

Listening to salsa: Gender, Latin popular music, and Puerto Rican cultures. Hanover, NH: University Press of New England, 1998.

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16

1940-, Hanning Barbara Russano, ed. Study and listening guide for Concise history of western music, by Barbara Russano Hanning, and Norton anthology of western music, third edition, by Claude V. Palisca. New York: W.W. Norton, 1998.

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17

Dunscomb, J. Richard. Jazz pedagogy: The jazz educator's handbook and resource guide. Miami, Fl: Warner Bros. Publishers, 2002.

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18

Willie, Hill, ed. Jazz pedagogy: The jazz educator's handbook and resource guide. Miami, Fla: Warner Bros. Publications, 2002.

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19

Conference, Ontario Educational Research Council. [Papers presented at the 31st Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 8-9, 1989]. [Toronto, ON: s.n.], 1989.

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20

Conference, Ontario Educational Research Council. [Papers presented at the 30th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1988]. [Toronto, ON: s.n.], 1988.

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21

Ontario Educational Research Council. Conference. [Papers presented at the 32nd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 7-8, 1990]. [Ontario: s.n.], 1990.

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22

Ontario Educational Research Council. Conference. [Papers presented at the 36th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 2-3, 1994]. [Toronto, ON: s.n.], 1994.

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23

Ontario Educational Research Council. Conference. [Papers presented at the 34th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 4 - 5, 1992]. [Ontario: s.n.], 1992.

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24

Ontario Educational Research Council. Conference. [Papers presented at the 35th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 3-4, 1993]. [Toronto, Ont: s.n, 1993.

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25

Ontario Educational Research Council. Conference. [Papers presented at the 28th Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, Dec. 1986]. [Toronto, ON: s.n.]., 1986.

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26

Ontario Educational Research Council. Conference. [Papers presented at the 33rd Annual Conference of the Ontario Educational Research Council, Toronto, Ontario, December 6-7, 1991]. [Ontario: s.n.], 1991.

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27

Tverberg, Lois, e Bruce Okkema. Listening to the Language of the Bible. En-Gedi Resource Center, 2004.

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28

Melamed, Daniel R. Listening to Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.001.0001.

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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral arias, and how Bach put these types to use. A sensitivity to musical style also offers ways to listen to and think about music created by parody—the reuse of music with new words—like almost all of the Mass in B Minor and most of the Christmas Oratorio. Parody, though interesting, is almost never audible and is of little consequence compared with what listening tells us about a piece. Modern performances are stamped with audible consequences of our place in the twenty-first century. The ideological choices we make in performing the Mass and the Oratorio, the present-day way of performing the Christmas work in relation to the calendar, and the legacy of reception and interpretation have all affected the way his music is understood and heard today.
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29

Listening to Jennifer Higdon: The Musical Style of the Pulitzer Prize Winning Composer. McFarland & Company, Incorporated Publishers, 2018.

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30

Starr, Larry. Listening to Bob Dylan. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043956.001.0001.

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This book presents the importance of listening to Bob Dylan’s recorded work as the essential basis for a deeper understanding and appreciation of his achievements. Here is a guide for both the curious listener and the enthusiastic Dylan fan, for both the nonspecialist who enjoys music and the professional. While fully acknowledging his celebrated gifts as a lyricist, this book embraces Dylan’s primary identity as a performing songwriter. For Bob Dylan, the creation of music, and its interpretation by voice and instruments, are as important as the words he sings. His performances offer inspired examples of an inclusive art form that is much more than the simple sum of its individual parts. Dozens of individual songs receive detailed attention, ranging from those released on Bob Dylan’s first album (1962) to those heard on his latest (2020) and including widely heralded selections like “Blowin’ in the Wind” and “Like a Rolling Stone” along with lesser-known numbers equally worthy of discussion. Individual chapters explore Dylan’s recordings from multiple standpoints: his vocal style, the role of his harmonica, the songs as musical compositions, the instrumental arrangements, and the differences between live and studio performances of particular songs. A composite picture emerges of Dylan as a versatile, astute, and expressive artist, truly a man (in Duke Ellington’s words) “beyond category.”
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31

Duff, Jeremy. New Testament Greek Listening Materials: For the Elements of New Testament Greek. 3a ed. Cambridge University Press, 2005.

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32

Crash Course for Study Skills: Setting Goals, Managing Time, Listening, Taking Notes, Studying, Taking Tests, Learning Attitude, Learning Style. LinguiSystems, 1993.

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33

Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. Editado por Jonathan Dueck e Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.

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This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance in contemporary performance styles, even those most closely related to colonial repertoires.
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34

Waltham-Smith, Naomi. The Sound of Belonging. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0001.

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This chapter establishes the theoretical frame for the book: a nexus a belonging-as-membership and belonging-as-ownership. Developing theories of musical style and convention, it argues that listening exposes this double relation of belonging and that this relation appears with particular acuity in the instrumental music of Haydn, Mozart, and Beethoven. This opening chapter introduces the idea of listening as exappropriation and sets out the various guises in which this concept will materialize in the chapters ahead. It concludes by locating this politics of listening alongside the concepts of revolution, restoration, and resistance.
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35

Watosn. Listening Styles Profile - Facilitator's Guide. Pfeiffer Wiley, 1996.

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36

Watson. Listening Styles Profile - Interpretation Guide T. Pfeiffer Wiley, 1994.

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37

Waltham-Smith, Naomi. Music and Belonging Between Revolution and Restoration. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.001.0001.

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In what ways is music implicated in the politics of belonging? How is the proper at stake in listening? What role does the ear play in forming a sense of community? Music and Belonging argues that music, at the level of style and form, produces certain modes of listening that in turn reveal the conditions of belonging. Specifically, listening shows the intimacy between two senses of belonging: belonging to a community is predicated on the possession of a particular property or capacity. Somewhat counterintuitively perhaps, Waltham-Smith suggests that this relation between belonging-as-membership and belonging-as-ownership manifests itself with particular clarity and rigor at the very heart of the Austro-German canon, in the instrumental music of Haydn, Mozart, and Beethoven. Music and Belonging provocatively brings recent European philosophy into contact with the renewed music-theoretical interest in Formenlehre, presenting close analyses to show how we might return to this much-discussed repertoire to mine it for fresh insights. The book’s theoretical landscape offers a radical update to Adornian-inspired scholarship, working through debates about relationality, community, and friendship between Derrida, Nancy, Agamben, Badiou, and Malabou. Borrowing the deconstructive strategies of closely reading canonical texts to the point of their unraveling, the book teases out a new politics of listening from processes of repetition and liquidation, from harmonic suppressions, and even from trills. What emerges is the enduring political significance of listening to this music in an era of heightened social exclusion under neoliberalism.
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38

Weaver, James, Larry L. Barker e Kittie W. Watson. Listening Styles Profile, Includes One Answer Sheet, One Interpretation Guide Sheet, and the Facilitator's Guide Booklet. Pfeiffer, 1995.

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39

O'Brien, James P. The Listening Experience: Elements, Forms, and Styles in Music. 2a ed. Schirmer Books, 1996.

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40

O'Brien, James P. The Listening Experience: Elements, Forms, and Styles in Music. Schirmer Books, 1996.

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41

(Editor), Debbie Cavalier, e Jeannette Aguino (Illustrator), eds. Adventures in Music Listening: Level 1 (Adventures in Music Listening). Alfred Publishing Company, 1996.

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42

(Compiler), William Hughes, Leon Burton (Composer), Charles Hoffer (Composer) e June Hinckley (Editor), eds. Bowmar's Adventures in Music Listening: Level 3 (Adventures in Music Listening). Alfred Publishing Company, 1999.

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43

Watson. Listening Styles Profile Interpretation Guide Shee T Package of 25. Pfeiffer Wiley, 1994.

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44

Graham, Norris Arnold. Learning styles and attentional lateralization in dyslexia. 1993.

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45

Thorau, Christian, e Hansjakob Ziemer, eds. The Oxford Handbook of Music Listening in the 19th and 20th Centuries. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.001.0001.

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This handbook takes on the task of examining the history of music listening over the past two hundred years. It uses the “art of listening” as a leitmotif encompassing an entanglement of interdependent practices and discourses about a learnable mode of perception. The art of listening first emerged around 1800 and was adopted and adapted across the public realm to suit a wide range of collective listening situations from popular to serious art forms up to the present day. Because this is a relatively new subject in historical research, the volume combines case studies from several disciplines in order to investigate whether, how, and why practices of music listening changed. Focusing on a diverse set of locations and actors and using a range of historical sources, it attempts to historicize and reconstruct the evolution of listening styles to show the wealth of variants in listening. In doing so, it challenges the inherited image of the silent listener as the dominant force in musical cultures.
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46

Walden, Joshua S. Listening in on Composers’ Self-Portraits. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190653507.003.0004.

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Chapter 3 explores the methods by which composers have depicted themselves and their compositional styles in musical self-portraits. It views musical self-portraits in relation to self-portraiture in visual art to identify techniques shared by the two art forms. The chapter focuses in particular on two self-portraits, György Ligeti’s “Selbstportrait mit Reich und Riley (und Chopin ist auch dabei),” from Drei Stücke, and Peter Ablinger’s “Quadraturen IV: ‘Selbstportrait mit Berlin.’ ” In their self-portraits, Ligeti and Ablinger reflect on their professional and artistic identities in the context provided by the music and sounds that they hear around them. The study of these musical self-portraits reveals some of the ways recent and contemporary composers view the role of their art and of the sense of hearing in the construction of their own identities.
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47

Watson. Listening Styles Profile - Answer Sheet X25 + Non Carbon Reproductive Attachments (Paper Only). Pfeiffer Wiley, 1995.

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48

Radios Redux Listen'g In Style (Hubei ge ming shi cong shu). Ramboro Books PLC, 1997.

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49

Listening to Charles Ives: Variations on His America. Rowman & Littlefield Publishers, Incorporated, 2021.

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50

O'Brien, James Patrick. Instructor's manual to accompany The listening experience: Elements, forms, and styles in music. Schirmer, 1987.

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