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.
This is an invaluable resource for anyone interested in Irish mandolin playing. As well as being a complete guide for the absolute beginner, this book also contains a mine of information, useful tips and ideas for the experienced player. the book takes the reader from the basics of the mandolin right through to more advanced topics such as creating variations, emphasis, improvisation, playing with other musicians, practicing effectively and much more. All the tunes and key exercises in the book are included on the accompanying 63 track CD. There is no need to read conventional music notation as all the music is written in easy-to-read mandolin tablature. However, for those interested in learning about music notation there is a handy section on this subject tailored specifically to the mandolinist as well as a chapter on modes.