On Repeat offers an in-depth inquiry into music's repetitive nature. Drawing on a diverse array of fields, it sheds light on a range of issues from repetition's use as a compositional tool to its role in characterizing our behavior as listeners, and considers related implications for repetition in language, learning, and communication.
Music has been examined from multiple perspectives: as a product of human history, for example, or a product of human culture. But there is also a long tradition, intensified in recent decades, of thinking about music as a product of the human mind. Whether considering composition, performance, listening, or appreciation, the constraints and capabilities of the human mind play a formative role. The field that has emerged around this approach is known as the psychology of music. Written in a lively and accessible manner, this volume connects the science to larger questions about music that are of interest to practicing musicians, music therapists, musicologists, and the general public alike. For example: Why can one musical performance move an audience to tears, and another compel them to dance, clap, or snap along? How does a "hype" playlist motivate someone at the gym? And why is that top-40 song stuck in everyone's head? ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
This first definitive reference resource to take a broad interdisciplinary approach to the nexus between music and the social and behavioral sciences examines how music affects human beings and their interactions in and with the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields such as anthropology, communications, psychology, linguistics, sociology, sports, political science and economics, as well as biology and the health sciences. Features: Approximately 450 articles, arranged in A-to-Z fashion and richly illustrated with photographs, provide the social and behavioral context for examining the importance of music in society. Entries are authored and signed by experts in the field and conclude with references and further readings, as well as cross references to related entries. A Reader's Guide groups related entries by broad topic areas and themes, making it easy for readers to quickly identify related entries. A Chronology of Music places material into historical context; a Glossary defines key terms from the field; and a Resource Guide provides lists of books, academic journals, websites and cross-references. The multimedia digital edition is enhanced with video and audio clips and features strong search-and-browse capabilities through the electronic Reader’s Guide, detailed index, and cross references. Music in the Social and Behavioral Sciences, available in both multimedia digital and print formats, is a must-have reference for music and social science library collections.
Following her distinguished earlier career as a concert pianist and later as a music theorist, Jeanne Bamberger conducted countless case studies analysing musical development and creativity the results of which were published in important scientific journals. Discovering musical mind draws together in one source these classic studies, offering the chance to revisit and reconsider some of her conclusions. Reviewing the data in light of current theories of cognitive development, she discusses how some of the conclusions she drew stand up to scrutiny, whilst in other cases, anomalies turn out to have greater significance than expected. The book is a collection of Bamberger's papers from 1975 to 2011. It includes her first study of Beethoven's original fingerings, her beginning work with children's invented notations, close observations and analysis of children in the Laboratory for Making Things, studies of musically gifted children, and the emergent musical development of students in elementary-secondary school and university undergraduate and graduate studies. The observations and research lead to the development of an interactive, computer-based music environment that uses her pragmatic theory of musical development as the basis for a project-oriented program for teaching and learning. Unlike other collections, the book is both interdisciplinary and strongly practical. It brings together and integrates Bamberger's background in music theory, research in music perception and music education, performance, cognitive development, artificial intelligence, and procedural music composition. Her multi-faceted approach to music theory and music pedagogy is guided throughout by her commitment to an understanding and respect for an individual's natural, creative musical intelligence. This natural competence becomes the formative ground on which to help people of all ages build an ever growing understanding and engagement with the evolving structures of the world's music. Bringing together a body of research currently scattered across a range of journals, or simply no longer available, the book will make fascinating reading for those in the fields of musical developmental and educational psychology.
Exercises for Improving the Musical Imagination for Performers, Composers, and Listeners
Author: Mr. Bruce Adolphe
Publisher: Oxford University Press
The Mind's Ear offers a unique approach to stimulating the musical imagination and inspiring creativity, as well as providing detailed exercises aimed at improving the ability to read and imagine music in silence, in the "mind's ear." Modeling his exercises on those used in theater games and acting classes, and drawing upon years of experience with improvisation and composition, Bruce Adolphe has written a compelling, valuable, and practical guide to musical creativity that can benefit music students at all levels and help music teachers be more effective and inspiring. The book also provides provocative ideas and useful tools for professional performers and composers, as well as offering games and exercises to serious listeners that can increase their musical understanding and level of engagement with music in a variety of ways.
This book seeks to understand the music of the later Middle Ages in a fuller perspective, moving beyond the traditional focus on the creative work of composers in isolation to consider the participation of performers and listeners in music-making.
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music–heard, imagined, or remembered–to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical sound; the questionable status of audible, earthly music as an echo of celestial harmonies; and one writer's allusions to another. Minear argues that many of the qualities that seem to us characteristically 'Shakespearean' stem from Shakespeare's engagement with how music works-and that Milton was deeply influenced by this aspect of Shakespearean poetics. Analyzing Milton's account of Shakespeare's 'warbled notes,' she demonstrates that he saw Shakespeare as a peculiarly musical poet, deeply and obscurely moving his audience with language that has ceased to mean, but nonetheless lingers hauntingly in the mind. Obsessed with the relationship between words and music for reasons of his own, including his father's profession as a composer, Milton would adopt, adapt, and finally reject Shakespeare's form of musical poetics in his own quest to 'join the angel choir.' Offering a new way of looking at the work of two major authors, this study engages and challenges scholars of Shakespeare, Milton, and early modern culture.
What Is Everyone Talking About? Throughout my forty-five years of life, many people (family, friends, teachers, neighbors, co-workers, bosses, professionals, or others) have made verbal statements regarding how I act, respond, or think. Here is a wide variety of the most common among them: Susan, quit biting yourself! Susan, stop banging your head on the floor! Why are you hurting yourself? Stop flapping your hands in the airyou look like a fairy! Susan doesnt have any sense of pain. Put those shoulders down and stop rocking. Stop kicking your feet and carrying on this temper tantrum. Slow down! Lift up your chin and look at me, not out in space. Stop screaming! Stop yelling! Talk slower! Youre too loud! Stop your damn laughing; there is nothing funny about that. Susan is so sensitive about everything. Stop staring off somewhere and pay attention. Susan is nervous and jerkymostly jerky. Are you deaf? Answer me. Your thinking is backward. You are such a klutz. Why are you so clumsy? What did you do nowcrash? Stop spinning that radio; youre going to break it! Susan, will you stop spinning the dice and take your turn. Stop spinning the spinner; we want to play the game! Stop, Susan, youre going to ruin the record player, turning the turntable by hand! Sue, you talk about the same things over and over. Susie, we are tired of you asking us the same questions. We already answered it. No, the answer didnt change! Susan, get out of that room and socialize! Sue, why are you going on and on about the same thing? We are not even talking about that anymore. Susan is so damn stubborn. Why arent you emotionally sensitive to other people? Do you believe everything people say? You take things people say way too literally! You take things too seriously! You have no sense of humor! Nobody understands what the hell you are talking about! What is wrong with you? Susan, stop making that noise! Susan, will you shut up!!!! Listen to what I saidare you deaf? You are a blockhead! You are a half-wit! Why do you do the same things all the time? Why do you eat the same things all the time? Dont talk to Susan. She wont understand! Susan, we dont want to hear your problems! Will you stop organizing everything! Youre weird! Youre odd! Youre stupid! Youre a retard! Sue, you are so slow. Youre not getting it! Youre always lost; thats why I love you! God, youre so naive! Geez, youre a moron! Stop talking with your hands and tell me what you want! Close your mouth! You look like an idiot! Stop pinching! You are so exasperating! Youre crazy! What is Susan so upset about? Calm down! Youre a pain! Stop pointing at things and speak up if you want something! WellSusan, we thought you were possessed! You never did like change! Susan, you are going to have to adjust to change in order to survive! You are so task oriented. Do you do everything people tell you to do? Susie, do you remember everything people say? Susie, you have a remarkable memory! Youre like a computer! You need to be yourself; you are a chronic people pleaser! Dont touch her; she jumps! Comments like these or others would send an automatic wave of scrambling. The behaviors you want to change would become more intense, or an emotional outburst would follow. If you are displeased about us, then we are displeased with you but for different reasons. Ours are Why? You dont make sense to me. Your words hurt me. Your actions hurt me. Your tone of voice hurts me. Your facial expression (if we can make eye contact) scares me. Leave me alone! We may look at you with intense anger or wave our arms in a panicky motion. We may push things, kick, scream, bite, pinch, cry uncontrollably, or withdraw. Physical contact becomes unbearable. Remember, we are scrambled. The words used by others cause friction in our brain circuits
In this unique collection, theologians born and formed during the Cold War offer their insights and perspectives on theological relationships with such musical artists and groups as Joy Division, U2, Nick Cave, and John Coltrane. These essays demonstrate that one's personal music preferences can inform and influence professional interests.