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A fascinating book for any fan of classical music and the composers that have created some of the most marvelous symphonies, but how did certain people create these quantum leaps in music single handedly? With this classic text discover how people thought the mind of a musical genius worked.
This illuminating study of classical music offers a unique perspective on the works of some of the greatest composers in history. Max Graf's insightful commentary sheds light on the meaning and significance of each piece, making this book a must-read for any music lover. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
'Lies and Epiphanies' offers case studies of 'inspiration' in five composers. Their own tales of their 'epiphanies' played a determining role in the reception history of their works: the finale of Mahler's Second Symphony was supposedly inspired by a 'lightning bolt' of inspiration at the funeral of Hans von Bulow, while Alban Berg's Violin Concerto was purportedly his direct response to the tragic early death of Alma Mahler's daughter. Chris Walton looks behind these lightning bolts to explore instead the composers' dual roles a.
Emotion is an integral aspect of musical experience; music has the power to take us on an emotional and intellectual journey, transforming the listener along the way. The aim of this book is to examine the nature of this journey, using a variety of perspectives. No one discipline can do justice to music's complexity if one is to have a sense of the whole musical experience, even if one has to break up the whole experience into various elements for the purposes of clarification. The issues raised have some relationship to psychoanalytic understanding and listening, as after all psychoanalysis is a listening discipline; its bedrock is listening to the patient's communications. While of course there are significant differences between understanding of, and listening to, a musical performance and a patient in a consulting room, the book explores common ground. Evidence from neuroscience indicates that music acts on a number of different brain sites, and that the brain is likely to be hard-wired for musical perception and appreciation, and this offers some kind of neurological substrate for musical experiences, or a parallel mode of explanation for music's multiple effects on individuals and groups. After various excursions into early mother/baby experiences, evolutionary speculations, and neuroscientific findings, the book's main emphasis is that it is the intensity of the artistic vision which is responsible for music's power. That intense vision invites the viewer or the listener into the orbit of the work, engaging us to respond to the particular vision in an essentially intersubjective relationship between the work and the observer or listener. This is the area of what we might call the human soul. Music can be described as having soul when it hits the emotional core of the listener. And, of course, there is 'soul music', whose basic rhythms reach deep into the body to create a powerful feeling of aliveness. One can truly say that music of all the arts is most able to give shape to the elusive human subject or soul.
This book focuses on creativity and showcases a specific approach to creativity. It uses a new 7 C’s basis for understanding creativity (creators, creating, cooperation, context, creations, consumption, and curricula). This new approach to creativity is an extension of the 4 ‘P’ approach (person, process, press, and product) which has dominated the literature since the 1960s. In each section, there are two chapters, which illustrate work on the topic and focus on some key issues.
The three-volume set CCIS 850, CCIS 851, and CCIS 852 contains the extended abstracts of the posters presented during the 20th International Conference on Human-Computer Interaction, HCI 2018, which took place in Las Vegas, Nevada, in July 2018. The total of 1171 papers and 160 posters included in the 30 HCII 2018 proceedings volumes was carefully reviewed and selected from 4346 submissions. The 207 papers presented in these three volumes are organized in topical sections as follows: Part I: interaction and information; images and visualizations; design, usability and user experience; psychological, cognitive and neurocognitive issues in HCI; social media and analytics. Part II: design for all, assistive and rehabilitation technologies; aging and HCI; virtual and augmented reality; emotions, anxiety, stress and well-being. Part III: learning and interaction; interacting with cultural heritage; HCI in commerce and business; interacting and driving; smart cities and smart environments.
This revised edition of Garland's 1989 publication updates the core bibliography on Gustave Mahler (as well as his spouse and fellow composer Alma Mahler) by incorporating new research gathered over the past dozen years on his life and professional works. Gustave Mahler, renowned conductor and composer of symphonies and song cycles, is one of the foremost musical figures of the late nineteenth and early twentieth centuries. His symphonies continue to be widely performed and studied through the twenty-first century. Organized in sections according to subject matter, references are arranged alphabetically by the names of authors or editors. Filler’s research has produced sources for musicologists and students in nineteen languages, offering a resource that expands traditional English-language music scholarship.
This collection initiates a resolutely interdisciplinary research dynamic specifically concerning musical creativity. Creativity is one of the most challenging issues currently facing scientific psychology and its study has been relatively rare in the cognitive sciences, especially in artificial intelligence. This book will address the need for a coherent and thorough exploration. Musical Creativity: Multidisciplinary Research in Theory and Practice comprises seven sections, each viewing musical creativity from a different scientific vantage point, from the philosophy of computer modelling, through music education, interpretation, neuroscience, and music therapy, to experimental psychology. Each section contains discussions by eminent international specialists of the issues raised, and the book concludes with a postlude discussing how we can understand creativity in the work of eminent composer, Jonathan Harvey. This unique volume presents an up-to-date snapshot of the scientific study of musical creativity, in conjunction with ESCOM (the European Society for the Cognitive Sciences of Music). Describing many of the different aspects of musical creativity and their study, it will form a useful springboard for further such study in future years, and will be of interest to academics and practitioners in music, psychology, cognitive science, artificial intelligence, neuroscience and other fields concerning the study of human cognition in this most human of behaviours.
Arts Education: A Global Affair highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to the changes in arts education practices as a consequence of the global pandemic and its ongoing variants. Moreover, teaching and research in arts education have changed significantly as a consequence of the world-wide pandemic, COVID-19. Emerging variants have exacerbated the situation and show no signs of subsiding. In response to these challenges, arts educators and researchers have developed new modes of instructional delivery and data collection. These include asynchronous, synchronous, hybrid and bi-modal online learning, and online questionnaires, surveys, focus groups, and video interviews. This volume highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to this new reality in education.
First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.