Contributors |
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xi | |
Introduction to "Together in music: Coordination, expression, participation" |
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xv | |
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PART 1 COORDINATION AND ENSEMBLE ORGANIZATION |
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1 Music ensembles as self-organized groups |
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3 | (10) |
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2 Organizational perspectives on self-organized chamber ensembles (review) 2 Group behaviors as music |
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13 | (11) |
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Social organisation as a framework for musical composition (review) |
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3 Organizational dynamics in community ensembles |
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24 | (11) |
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Organizational perspectives on community ensembles (review) |
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4 Agency in ensemble interaction and rehearsal communication |
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35 | (10) |
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Metaphorical and interactional perspectives on agency in musical ensembles (review and study) |
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5 Investigating emergent coordination in small music groups |
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45 | (9) |
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Methods of research of musical communication and group behavior (review) |
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6 The ministry of sound: Musical mediations in an English parish church |
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54 | (5) |
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Motivation, affordances, and organizational perspectives on church singing (study) |
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7 Playful production: Collaborative facilitation in a music ensemble context |
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59 | (6) |
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Variations of leadership and ensemble organization in educational practice (study) |
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8 Teaching through ensemble performance |
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65 | (6) |
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Variations of leadership in educational practice (study) |
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9 The impact of group identity on the social dynamics and sustainability of chamber music ensembles |
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71 | (6) |
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Relevance of identity and shared goals for chamber ensembles (study) |
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10 Come together: An ethnography of the Seattle Men's Chorus family |
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77 | (6) |
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Social capital and empowerment through leadership (study) |
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11 Working practices of professional piano accompanists outlined through a conceptual framework |
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83 | (6) |
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Communication and support in piano accompaniment (study) |
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12 Developing familiarity: Rehearsal talk in a newly formed duo |
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89 | (10) |
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Communication and support in viola-singer duo (study) |
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PART 2 EXPRESSION, COMMUNICATION, AND INTERACTION |
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13 Embodiment, process, and product in ensemble expression |
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99 | (10) |
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An embodied and enactive perspective on performance (review) |
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14 Gestures in ensemble performance |
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109 | (10) |
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Alexander Refsum Jensenius |
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Musical communication through meaning-bearing bodily actions (review) |
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15 Technologies for investigating large ensemble performance |
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119 | (10) |
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Technologies to study complex musical activity in large ensembles (review) |
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16 Understanding expressive ensemble singingthrough acoustics |
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129 | (10) |
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Using technology to study the process and product of vocal ensembles (review) |
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17 Ensemble timing and synchronization |
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139 | (9) |
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Processes of ensemble synchronization in behavior, sound, and physiology (review) |
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18 Ensemble interaction in indeterminate music: A case study of Christian Wolff's Exercises |
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148 | (7) |
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Interaction and cooperation in experimental music (study) |
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19 Using performance sociograms to investigate inter-performer relationships in music ensembles |
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155 | (7) |
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Visualizing relationships between musicians during ensemble performance (study) |
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20 Together in cyberspace: Collaborative live coding of music |
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162 | (6) |
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Communication and interaction through technology in live coding ensembles (study) |
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21 "Crystal clear" or "as clear as mud!": Verbalized imagery as successful communication between singers and choir directors |
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168 | (7) |
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The use of metaphorical, embodied language in choral rehearsals (study) |
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22 An historical perspective on ensemble performance: Asynchrony in early recordings of the Czech Quartet |
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175 | (7) |
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Asynchrony and stylistic variation in expressive ensemble performance (study) |
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23 Beyond synchronization: Body gestures and gaze direction in duo performance |
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182 | (9) |
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The social context of gestures and gaze beyond synchrony (study) |
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PART 3 PARTICIPATION, DEVELOPMENT, AND WELLBEING |
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24 Ensembles for wellbeing |
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191 | (9) |
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Research into the wellbeing effects of participating in musical ensembles (review) |
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25 Ensemble musicians'health and wellness |
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200 | (10) |
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Factors affecting the health and wellness of musicians (review) |
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26 Musical interaction, social communication, and wellbeing |
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210 | (8) |
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Relationships between synchronization, social communication, and wellbeing (review) |
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27 Ensemble participation and personal development |
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218 | (9) |
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Roles of ensemble participation in personal development (review and study) |
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28 Empowering ensembles: Music and world-building past and present |
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227 | (9) |
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The potential for empowerment from ensemble membership (review and studies) |
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29 Ensembles in music therapy |
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236 | (8) |
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Ensembles as emergent "assemblages" in music therapy practice (review) |
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30 Ensemble participation in late adulthood |
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244 | (6) |
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Experiences of community orchestra musicians in late adulthood (study) |
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31 Emotional, cognitive, and motor development in youth orchestras: A two-year longitudinal study |
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250 | (5) |
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Personal development of children participating in a youth orchestra (study) |
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32 Enhanced learning through joint instrumental education |
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255 | (6) |
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The enhancement of learning through joint music-making (study) |
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33 Collaborative composition and performance in arts and health workshops: How notatingin groups enables creative interaction and communication forsocial wellbeing |
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261 | (6) |
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The potential of a collective, notation-based intervention for social wellbeing (study) |
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34 Encountering the singing body: Vocal physicality and interactivity |
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267 | (5) |
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The potential of interactive improvisation workshops to improve singer wellbeing (study) |
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35 Ensemble singing for wellbeing and social inclusion of street children: Music-based social action research |
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272 | (5) |
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Juliana Moonette Manrique |
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An investigation of the outcomes of ensemble singing for street children in Manila (study) |
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36 Together in music: Embodiment, multidimensionality, and musical-social interaction |
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277 | (6) |
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Discussion of main themes of volume and future directions (conclusion) |
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Index |
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283 | |