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E-raamat: Together in Music: Coordination, expression, participation

Edited by (Professor of Psychology of Music, Department of Music, The University of Sheffield), Edited by (Associate Professor in Music Psychology, School of Music, University of Leeds), Edited by (Associate Professor in Audio and Music Technology, Department of El)
  • Formaat: 320 pages
  • Ilmumisaeg: 04-Nov-2021
  • Kirjastus: Oxford University Press
  • Keel: eng
  • ISBN-13: 9780192605177
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  • Formaat: 320 pages
  • Ilmumisaeg: 04-Nov-2021
  • Kirjastus: Oxford University Press
  • Keel: eng
  • ISBN-13: 9780192605177

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Recent years have seen a rise in interest, from a diversity of fields, in the musical ensemble as an exemplary form of creative group behavior. Musical ensembles can be understood and investigated as high functioning small group organizations that have coordinative structures in place to
perform under pressure within strict temporal boundaries. Rehearsals and performances exemplify fruitful contexts for emergent creative behaviour, where novel musical interpretations are negotiated and discovered through improvisatory interaction. Furthermore, group music-making can be an
emotionally and socially rewarding experience that enables positive outcomes for wellbeing and development.

This book brings together these different perspectives into one coherent volume, offering insight into the musical ensemble from different analytical levels. Part 1 starts from the meso-level, considering ensembles as creative teams and investigating how musical groups interact at a social and
organizational level. Part 2 then zooms in to consider musical coordination and interaction at a micro-level, when considering group music-making as forms of joint action. Finally, a macro-level perspective is taken in Part 3, examining the health and wellbeing affordances associated with
acoustical, expressive, and emotional joint behavior. Each part contains a balance of review chapters showcasing the most recent developments in each area of research, followed by demonstrative case studies featuring various ensemble practices and processes.

A rich and multidisciplinary reflection on ensemble music practice, this volume will be an insightful read for music students, teachers, academics, and professionals with an interest in the dynamics of group behavior within a musical context.
Contributors xi
Introduction to "Together in music: Coordination, expression, participation" xv
Renee Timmers
Freya Bailes
Helena Daffern
PART 1 COORDINATION AND ENSEMBLE ORGANIZATION
1 Music ensembles as self-organized groups
3(10)
Nicola Pennill
Dermot Breslin
2 Organizational perspectives on self-organized chamber ensembles (review) 2 Group behaviors as music
13(11)
James Saunders
Social organisation as a framework for musical composition (review)
3 Organizational dynamics in community ensembles
24(11)
David A. Camlin
Organizational perspectives on community ensembles (review)
4 Agency in ensemble interaction and rehearsal communication
35(10)
Su Yin Mak
Hiroko Nishida
Daisuke Yokomori
Metaphorical and interactional perspectives on agency in musical ensembles (review and study)
5 Investigating emergent coordination in small music groups
45(9)
Nicola Pennill
Jane W. Davidson
Methods of research of musical communication and group behavior (review)
6 The ministry of sound: Musical mediations in an English parish church
54(5)
Kathryn King
Motivation, affordances, and organizational perspectives on church singing (study)
7 Playful production: Collaborative facilitation in a music ensemble context
59(6)
Elizabeth Haddon
Catherine Laws
Variations of leadership and ensemble organization in educational practice (study)
8 Teaching through ensemble performance
65(6)
J. Murphy McCaleb
Variations of leadership in educational practice (study)
9 The impact of group identity on the social dynamics and sustainability of chamber music ensembles
71(6)
Alana Blackburn
Relevance of identity and shared goals for chamber ensembles (study)
10 Come together: An ethnography of the Seattle Men's Chorus family
77(6)
Wendy K. Moy
Social capital and empowerment through leadership (study)
11 Working practices of professional piano accompanists outlined through a conceptual framework
83(6)
Evgenia Roussou
Communication and support in piano accompaniment (study)
12 Developing familiarity: Rehearsal talk in a newly formed duo
89(10)
Jane Ginsborg
Dawn Bennett
Communication and support in viola-singer duo (study)
PART 2 EXPRESSION, COMMUNICATION, AND INTERACTION
13 Embodiment, process, and product in ensemble expression
99(10)
Renee Timmers
An embodied and enactive perspective on performance (review)
14 Gestures in ensemble performance
109(10)
Alexander Refsum Jensenius
Cagri Erdem
Musical communication through meaning-bearing bodily actions (review)
15 Technologies for investigating large ensemble performance
119(10)
Cayenna Ponchione-Bailey
Eric F. Clarke
Technologies to study complex musical activity in large ensembles (review)
16 Understanding expressive ensemble singingthrough acoustics
129(10)
Helena Daffern
Sara D'Amario
Using technology to study the process and product of vocal ensembles (review)
17 Ensemble timing and synchronization
139(9)
Sara D'Amario
Preya Bailes
Processes of ensemble synchronization in behavior, sound, and physiology (review)
18 Ensemble interaction in indeterminate music: A case study of Christian Wolff's Exercises
148(7)
Emily Payne
Philip Thomas
Interaction and cooperation in experimental music (study)
19 Using performance sociograms to investigate inter-performer relationships in music ensembles
155(7)
Christoph Seibert
Visualizing relationships between musicians during ensemble performance (study)
20 Together in cyberspace: Collaborative live coding of music
162(6)
Ryan Kirkbride
Communication and interaction through technology in live coding ensembles (study)
21 "Crystal clear" or "as clear as mud!": Verbalized imagery as successful communication between singers and choir directors
168(7)
Mary T. Black
The use of metaphorical, embodied language in choral rehearsals (study)
22 An historical perspective on ensemble performance: Asynchrony in early recordings of the Czech Quartet
175(7)
Christopher Terepin
Asynchrony and stylistic variation in expressive ensemble performance (study)
23 Beyond synchronization: Body gestures and gaze direction in duo performance
182(9)
Laura Bishop
Carlos Cancino-Chacon
Werner Goebt
The social context of gestures and gaze beyond synchrony (study)
PART 3 PARTICIPATION, DEVELOPMENT, AND WELLBEING
24 Ensembles for wellbeing
191(9)
Gunter Kreutz
Michael Bonshor
Research into the wellbeing effects of participating in musical ensembles (review)
25 Ensemble musicians'health and wellness
200(10)
Naomi Norton
Factors affecting the health and wellness of musicians (review)
26 Musical interaction, social communication, and wellbeing
210(8)
Tal-Chen Rabinowitch
Satinder Gill
Relationships between synchronization, social communication, and wellbeing (review)
27 Ensemble participation and personal development
218(9)
Karen Burland
Roles of ensemble participation in personal development (review and study)
28 Empowering ensembles: Music and world-building past and present
227(9)
Helen J. English
The potential for empowerment from ensemble membership (review and studies)
29 Ensembles in music therapy
236(8)
Stuart Wood
Irene Pujol Torras
Ensembles as emergent "assemblages" in music therapy practice (review)
30 Ensemble participation in late adulthood
244(6)
Jennifer MacRitchie
Sandra Garrido
Experiences of community orchestra musicians in late adulthood (study)
31 Emotional, cognitive, and motor development in youth orchestras: A two-year longitudinal study
250(5)
Donald Glowinski
Cecile Levacher
Florian Buchheit
Chiara Malagoli
Benjamin Matuszewski
Simon Schaerlaeken
Chiara Noera
Katie Edwards
Carlo Chiorri
Fridiric Bevilacqua
Didier Grandjean
Personal development of children participating in a youth orchestra (study)
32 Enhanced learning through joint instrumental education
255(6)
Andrea Schiavio
The enhancement of learning through joint music-making (study)
33 Collaborative composition and performance in arts and health workshops: How notatingin groups enables creative interaction and communication forsocial wellbeing
261(6)
James Williams
The potential of a collective, notation-based intervention for social wellbeing (study)
34 Encountering the singing body: Vocal physicality and interactivity
267(5)
Daniel Galbreath
Gavin Thatcher
The potential of interactive improvisation workshops to improve singer wellbeing (study)
35 Ensemble singing for wellbeing and social inclusion of street children: Music-based social action research
272(5)
Juliana Moonette Manrique
Angelina Gutierrez
An investigation of the outcomes of ensemble singing for street children in Manila (study)
36 Together in music: Embodiment, multidimensionality, and musical-social interaction
277(6)
Renee Timmers
Freya Bailes
Helena Daffern
Discussion of main themes of volume and future directions (conclusion)
Index 283
Renee Timmers is Professor of Psychology of Music at The University of Sheffield, where she directs the Music, Mind, Machine research centre. Her research uses interdisciplinary methods to investigate expression, emotion and wellbeing in and through music with a specific focus on music as a multisensory experience. She served on the editorial board of several journals, including acting as Co-Editor of Empirical Musicology Review and Associate Editor of Psychomusicology: Music, Mind, & Brain. She is currently President of the European Society of the Cognitive Sciences of Music in which capacity she promotes inclusive and climate friendly international knowledge dissemination.

Freya Bailes is an Associate Professor in Music Psychology at the University of Leeds. She is a founder and co-director of the 'Music for Healthy Lives Research & Practice network'. Freya has held research positions in Australia, France, and the USA. Her interests include cognitive and social processes in performance, mental representations in musical creativity, cognition and perception of musical structures, musical imagery, and music and wellbeing.

Helena Daffern is an Associate Professor in Audio and Music Technology in the AudioLab, Department of Electronic Engineering at the University of York. She received a BA (Hons.) degree in Music, an M.A. degree in Music, and PhD in Music Technology, all from the University of York, UK, before completing postgraduate training as a classical singer at Trinity College of Music, London. Her research utilises interdisciplinary approaches with virtual reality technology to investigate voice science and acoustics, particularly singing performance, vocal pedagogy, choral singing and singing for health and wellbeing.