The Music Practitioner: Research for the Music Performer, Teacher and ListenerJaneW. Davidson Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual‘s sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves. |
Other editions - View all
The Music Practitioner: Research for the Music Performer, Teacher, and Listener Hubert Eiholzer No preview available - 2004 |
The Music Practitioner: Research for the Music Performer, Teacher and Listener Jane W. Davidson No preview available - 2016 |
Common terms and phrases
Academy of Music analysis approach artistic assessment assessors Audiation Cambridge categorical perception chapter children’s chills Chopin chord Cognitive context Davidson double bassists example experience experimental expression factors feel frequency frissons fundamental frequency harmonic Harmony Signing important indefinite pitch individual instrumental interpretation intervals interviews investigated Journal learning listeners means meantone temperament melody memorization methods minor music academies music college Music Education Music Perception music practitioner music psychology music theory musical performance musicians Musicology œ œ œ orchestra Oxford Papousˇek Parncutt participants phonation pianists piano pitch class pitch strength pitch-matching playing practice professional Psychology of Music Quartet question recording rehearsal relationship rock music role self-concept Sibelius Academy singer’s formant singers singing skills Sloboda song sound spectrum strategies structure student evaluation Taylor & Francis teachers teaching technique tempo theory tonal tone triads tuning University Press violinists vocal voice