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Showing 1 - 14 of
14 matches in All Departments
Musical Sense-Making: Enaction, Experience, and Computation
broadens the scope of musical sense-making from a disembodied
cognitivist approach to an experiential approach. Revolving around
the definition of music as a temporal and sounding art, it argues
for an interactional and experiential approach that brings together
the richness of sensory experience and principles of cognitive
economy. Starting from the major distinction between in-time and
outside-of-time processing of the sounds, this volume provides a
conceptual and operational framework for dealing with sounds in a
real-time listening situation, relying heavily on the theoretical
groundings of ecology, cybernetics, and systems theory, and
stressing the role of epistemic interactions with the sounds. These
interactions are considered from different perspectives, bringing
together insights from previous theoretical groundings and more
recent empirical research. The author's findings are framed within
the context of the broader field of enactive and embodied
cognition, recent action and perception studies, and the emerging
field of neurophenomenology and dynamical systems theory. This
volume will particularly appeal to scholars and researchers
interested in the intersection between music, philosophy, and/or
psychology.
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Music and Mental Imagery (Hardcover)
Graham Welch; Edited by Liila Taruffi; Series edited by Ian Cross, Adam Ockelford; Edited by Mats B. Kussner, …
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R3,858
Discovery Miles 38 580
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Ships in 12 - 17 working days
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Drawing on perspectives from music psychology, cognitive
neuroscience, philosophy, musicology, clinical psychology, and
music education, Music and Mental Imagery provides a critical
overview of cutting-edge research on the various types of mental
imagery associated with music. The four main parts cover an
introduction to the different types of mental imagery associated
with music such as auditory/musical, visual, kinaesthetic, and
multimodal mental imagery; a critical assessment of established and
novel ways to measure mental imagery in various musical contexts;
coverage of different states of consciousness, all of which are
relevant for, and often associated with, mental imagery in music,
and a critical overview of applications of mental imagery in
health, educational, and performance settings. By both critically
reviewing up-to-date scientific research and offering new empirical
results, this book provides a unique overview of the different
types and origins of mental imagery in musical contexts, various
ways to measure them, and intriguing insights into related mental
phenomena such as mind-wandering and synaesthesia. This will be of
particular interest for scholars and researchers of music
psychology and music education. It will also be useful for
practitioners working with music in applied health and educational
contexts.
Expertise in Jazz Guitar Improvisation is an examination of musical
interplay and the ways implicit (sub-conscious) and explicit
(conscious) knowledge appear during improvisation. The
practice-based research inquiry includes: interviews and interplay
with five world-class jazz guitarists, Lage Lund, Jack Wilkins, Ben
Monder, Rez Abbasi and Adam Rogers; a modal matrix for analyzing
structure, time and form in jazz guitar improvisation, and musical
analysis based on cognitive theories. By explaining the cognitive
and musical foundations for expertise in jazz guitar improvisation,
this book illuminates how jazz guitarists' strategies are crucially
dependent on context, style and type of interplay. With
accompanying video provided as an e-resource, this material will be
of interest to anyone fascinated by Jazz and Psychology of Music.
Aural Education: Reconceptualising Ear Training in Higher Music
Learning explores the practice of musical 'aural training' from
historical, pedagogical, psychological, musicological, and cultural
perspectives, and uses these to draw implications for its pedagogy,
particularly within the context of higher music education. The
multi-perspective approach adopted by the author affords a broader
and deeper understanding of this branch of music education, and of
how humans relate to music more generally. The book extracts and
examines one by one different parameters that appear central to
'aural training', proceeding in a gradual and well-organised way,
while at the same time constantly highlighting the multiple
interconnections and organic unity of the many different operations
that take place when we interact with music through any
music-related activity. The resulting complex profile of the nature
of our relationship with music, combined with an exploration of
non-Western cultural perspectives, offer fresh insights on issues
relating to musical 'aural training'. Emerging implications are
proposed in the form of broad pedagogical principles, applicable in
a variety of different music educational settings. Andrianopoulou
propounds a holistic alternative to 'aural training', which
acknowledges the richness of our relationship to music and is
rooted in absorbed aural experience. The book is a key contribution
to the existing literature on aural education, designed with
researchers and educators in mind.
This book presents four extended essays that are rooted in the
growing interdisciplinary field of applied musicology, in which
music theory - in particular, the zygonic conjecture - is used to
inform thinking in the domains of music psychology, music education
and music therapy research. It is essential reading for academics
and postgraduate students working in these fields. The topics
covered include a new study on the emergence of musical abilities
in the early years, using the Sounds of Intent framework of musical
development; an exploration of how the Sounds of Intent model can
be extended to map how people with learning difficulties engage in
creative multisensory activities; an investigation of the
expectations generated on hearing a piece of music more than once
evolve in cognition, using evidence from a musical savant; and a
report on the effect on listeners of repeated exposure to a novel
melody. Data are drawn from the findings of postgraduate and
postdoctoral projects. It is hoped that this exciting new work will
act as a catalyst in the emerging field of applied musicological
research, and bring recognition to a group of new young academics.
Musical Sense-Making: Enaction, Experience, and Computation
broadens the scope of musical sense-making from a disembodied
cognitivist approach to an experiential approach. Revolving around
the definition of music as a temporal and sounding art, it argues
for an interactional and experiential approach that brings together
the richness of sensory experience and principles of cognitive
economy. Starting from the major distinction between in-time and
outside-of-time processing of the sounds, this volume provides a
conceptual and operational framework for dealing with sounds in a
real-time listening situation, relying heavily on the theoretical
groundings of ecology, cybernetics, and systems theory, and
stressing the role of epistemic interactions with the sounds. These
interactions are considered from different perspectives, bringing
together insights from previous theoretical groundings and more
recent empirical research. The author's findings are framed within
the context of the broader field of enactive and embodied
cognition, recent action and perception studies, and the emerging
field of neurophenomenology and dynamical systems theory. This
volume will particularly appeal to scholars and researchers
interested in the intersection between music, philosophy, and/or
psychology.
To reach the highest standards of instrumental performance, several
years of sustained and focused learning are required. This requires
perseverance, commitment and opportunities to learn and practise,
often in a collective musical environment. This book brings
together a wide range of enlightening current psychological and
educational research to offer deeper insights into the mosaic of
factors and related experiences that combine to nurture (and
sometimes hinder) advanced musical performance. Each of the book's
four sections focus on one aspect of music performance and
learning: musics in higher education and beyond; musical journeys
and educational reflections; performance learning; and developing
expertise and professionalism. Although each chapter within its
home section offers a particular focus, there is an underlying
conception across all the book's contents of the achievability of
advanced musical performance and of the important nurturing role
that higher education can play, particularly if policy and practice
are evidence-based and draw on the latest international research
findings. The narrative offers an insight into the world of
advanced musicians, detailing their learning journeys and the
processes involved in their quest for the development of expertise
and professionalism. It is the first book of its kind to consider
performance learning in higher education across a variety of
musical genres, including classical, jazz, popular and folk musics.
The editors have invited an international community of leading
scholars and performance practitioners to contribute to this
publication, which draws on meticulous research and critical
practice. This collection is an essential resource for all
musicians, educators, researchers and policy makers who share our
interest in promoting the development of advanced performance
skills and professionalism.
To reach the highest standards of instrumental performance, several
years of sustained and focused learning are required. This requires
perseverance, commitment and opportunities to learn and practise,
often in a collective musical environment. This book brings
together a wide range of enlightening current psychological and
educational research to offer deeper insights into the mosaic of
factors and related experiences that combine to nurture (and
sometimes hinder) advanced musical performance. Each of the book's
four sections focus on one aspect of music performance and
learning: musics in higher education and beyond; musical journeys
and educational reflections; performance learning; and developing
expertise and professionalism. Although each chapter within its
home section offers a particular focus, there is an underlying
conception across all the book's contents of the achievability of
advanced musical performance and of the important nurturing role
that higher education can play, particularly if policy and practice
are evidence-based and draw on the latest international research
findings. The narrative offers an insight into the world of
advanced musicians, detailing their learning journeys and the
processes involved in their quest for the development of expertise
and professionalism. It is the first book of its kind to consider
performance learning in higher education across a variety of
musical genres, including classical, jazz, popular and folk musics.
The editors have invited an international community of leading
scholars and performance practitioners to contribute to this
publication, which draws on meticulous research and critical
practice. This collection is an essential resource for all
musicians, educators, researchers and policy makers who share our
interest in promoting the development of advanced performance
skills and professionalism.
This book presents four extended essays that are rooted in the
growing interdisciplinary field of applied musicology, in which
music theory - in particular, the zygonic conjecture - is used to
inform thinking in the domains of music psychology, music education
and music therapy research. It is essential reading for academics
and postgraduate students working in these fields. The topics
covered include a new study on the emergence of musical abilities
in the early years, using the Sounds of Intent framework of musical
development; an exploration of how the Sounds of Intent model can
be extended to map how people with learning difficulties engage in
creative multisensory activities; an investigation of the
expectations generated on hearing a piece of music more than once
evolve in cognition, using evidence from a musical savant; and a
report on the effect on listeners of repeated exposure to a novel
melody. Data are drawn from the findings of postgraduate and
postdoctoral projects. It is hoped that this exciting new work will
act as a catalyst in the emerging field of applied musicological
research, and bring recognition to a group of new young academics.
Expertise in Jazz Guitar Improvisation is an examination of musical
interplay and the ways implicit (sub-conscious) and explicit
(conscious) knowledge appear during improvisation. The
practice-based research inquiry includes: interviews and interplay
with five world-class jazz guitarists, Lage Lund, Jack Wilkins, Ben
Monder, Rez Abbasi and Adam Rogers; a modal matrix for analyzing
structure, time and form in jazz guitar improvisation, and musical
analysis based on cognitive theories. By explaining the cognitive
and musical foundations for expertise in jazz guitar improvisation,
this book illuminates how jazz guitarists' strategies are crucially
dependent on context, style and type of interplay. With
accompanying video provided as an e-resource, this material will be
of interest to anyone fascinated by Jazz and Psychology of Music.
Aural Education: Reconceptualising Ear Training in Higher Music
Learning explores the practice of musical 'aural training' from
historical, pedagogical, psychological, musicological, and cultural
perspectives, and uses these to draw implications for its pedagogy,
particularly within the context of higher music education. The
multi-perspective approach adopted by the author affords a broader
and deeper understanding of this branch of music education, and of
how humans relate to music more generally. The book extracts and
examines one by one different parameters that appear central to
'aural training', proceeding in a gradual and well-organised way,
while at the same time constantly highlighting the multiple
interconnections and organic unity of the many different operations
that take place when we interact with music through any
music-related activity. The resulting complex profile of the nature
of our relationship with music, combined with an exploration of
non-Western cultural perspectives, offer fresh insights on issues
relating to musical 'aural training'. Emerging implications are
proposed in the form of broad pedagogical principles, applicable in
a variety of different music educational settings. Andrianopoulou
propounds a holistic alternative to 'aural training', which
acknowledges the richness of our relationship to music and is
rooted in absorbed aural experience. The book is a key contribution
to the existing literature on aural education, designed with
researchers and educators in mind.
The National Singing Programme Sing Up was officially launched in
November 2007 and a team from the Institute of Education,
University of London were appointed early that academic term to
undertake a research evaluation of key elements of the Programme.
One key component of the UK Government's National Singing Programme
Sing Up (produced by Youth Music in partnership with Abbot Mead
Vickers, Faber Music and The Sage Gateshead) is to ensure that
children's singing development is fostered by adults who have
appropriate musical knowledge, skills and understanding. Its stated
role is to: 'deliver inclusive, learner-centred training for
leaders singing with primary-age children in 60 target areas across
England from September 2007 to March 2011, and each project runs
for two years.' The workforce development - embracing 'Vocal Force'
- draws on principles developed through 'Vocal Union', part of the
Sage Gateshead's 'Access to Excellence Music Manifesto Pathfinder
Programme'. Vocal Force is working in collaboration with existing
schemes, projects, organisations and individuals across England as
part of Sing Up. The Institute of Education, University of London
agreed to undertake an external evaluation of a significant number
of workforce development participants that was complimentary to,
but separate from, the Sage Gateshead's own internal evaluation
processes.
The National Singing Programme Sing Up was officially launched in
November 2007 and a team from the Institute of Education,
University of London were appointed early that academic term to
undertake a research evaluation of key elements of the Programme.
Across the first three years of the research-based Sing Up impact
evaluation, data have been collected from 9,979 children, involving
11,388 individual singing assessments and the completion of 10,245
singing and self focused attitudinal questionnaires. Analyses of
the data provide evidence that those children who have participated
in the Sing Up programme are approximately two years in advance
developmentally in their singing compared to their peers of the
same age outside the programme. In addition, Sing Up experienced
children have more positive attitudes to singing in school and
appear to have a more positive self-image as a result of these
experiences.
Music education takes place in many contexts, both formal and
informal. Be it in a school or music studio, while making music
with friends or family, or even while travelling in a car, walking
through a shopping mall or watching television, our myriad sonic
experiences accumulate from the earliest months of life to foster
our facility for making sense of the sound worlds in which we live.
The Oxford Handbook of Music Education offers a comprehensive
overview of the many facets of musical experience, behavior and
development in relation to this diverse variety of contexts. While
the first volume primarily focuses on children during school-age
years, this second collects an international list of contributors
to explore how music learning takes place outside of the
traditional classroom environment. Discussing a range of issues
such as music education for the special needs population, music
learning in adulthood, and music learning through media and
technology these chapters help to broaden conceptions of music and
musical involvement. Whether they are used individually or in
tandem, the two volumes of The Oxford Handbook of Music Education
update and redefine the discipline, and show how individuals across
the world learn, enjoy and share the power and uniqueness of music.
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