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‘Beckh ventures into provinces that I have not had the opportunity of investigating myself…’ – Rudolf Steiner Lost for decades, the manuscript of Hermann Beckh’s final lectures on the subject of music present fundamentally new insights into its cosmic origins. Beckh characterises the qualities of musical development, examines select musical works (that represent for him the peak of human ingenuity), and throws new light on the nature and source of human creativity and inspiration. Published here for the first time, the lectures demonstrate a distinctive approach founded on the raw material of musical perception. Beckh discusses the whistling wind, the billowing wave, the song of the birds and particularly the theme of longing. Never losing the ground from under his feet, he penetrates perennial themes: from the yearning for real spontaneity and the ‘Mystery background’ uniting heaven and earth, to spiritual knowledge that can meet the demands of the twenty-first century. Out of the cosmic context, Beckh writes to the individual situation. From there, he seeks again the re-won cosmic context. He does not write as a musical specialist and then turn to universal human concerns; rather, Beckh writes from universal human concerns and reveals music as of special concern to everyone. In addition to the transcripts of fifteen lectures, this book contains a valuable introduction and editorial footnotes. It also features appendices including Beckh’s essay ‘The Mystery of the Night in Wagner and Novalis’; reminiscences of Beckh by August Pauli and Harro Rückner; Donald Francis Tovey’s ‘Wagnerian harmony and the evolution of the Tristan-chord’, and several contemporaneous reviews of Beckh’s published works.
How do we develop musical creativity? How is musical creativity nurtured in collaborative improvisation? How is it used as a communicative tool in music therapy? This comprehensive volume offers new research on these questions by an international team of experts from the fields of music education, music psychology and music therapy. The book celebrates the rich diversity of ways in which learners of all ages develop and use musical creativity. Contributions focus broadly on the composition/improvisation process, considering its conceptualization and practices in a number of contexts. The authors examine how musical creativity can be fostered in formal settings, drawing examples from primary and secondary schools, studio, conservatoire and university settings, as well as specialist music schools and music therapy sessions. These essays will inspire readers to think deeply about musical creativity and its development. The book will be of crucial interest to music educators, policy makers, researchers and students, as it draws on applied research from across the globe, promoting coherent and symbiotic links between education, music and psychology research.
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.
(Meredith Music Resource). Ed Lisk's latest publication presents the art of musical expression in a unique and understandable way that is easy to apply with student musicians. Through music study, students experience the beauty of musical expression - compassion, feeling, sensitivity, warmth, empathy and respect. These are but a few living or life priorities included in music study that no other discipline addresses. Artistic Nuance exposes the meaning of musical beauty and the art of expression.
How is creativity understood and facilitated across music education settings? What is the power of creativity in enhancing individual and group learning? How is musical creativity used as a tool for cross-community integration? How can we research the interactions of those engaged in musical activities aimed at creative development? These are just some of the questions addressed in this fascinating new monograph. Musical Creativity Revisited is an authoritative volume of insights from theory, practice-based research and methodological analyses. Its chapters celebrate the diversity of the many different ways in which young and adult learners develop musical creativity. Following on from Musical Creativity: Insights from Music Education Research (Ashgate, 2012) Odena offers novel examples from practice and precise suggestions on how to research it. This book will be an essential point of reference for students, researchers, practitioners and practitioner-researchers interested in music education and creativity across the arts and social sciences. The chapters have been organized into three sections – Foundations, Practices and Research – including examples from in-depth studies focussed on a secondary school in England, higher music education in Spain and out-of-school settings in Northern Ireland. This is a book that will fascinate readers, inspiring them to think deeply about the many different ways in which musical creativity can be developed, its purposes and how to research it.
Embodiment of Musical Creativity offers an innovative look at the interdisciplinary nature of creativity in musical composition. Using examples from empirical and theoretical research in creativity studies, music theory and cognition, psychology and philosophy, performance and education studies, and the author’s own creative practice, the book examines how the reciprocity of cognition and performativity contributes to our understanding of musical creativity in composition. From the composer’s perspective the book investigates the psychological attributes of creative cognition whose associations become the foundation for an understanding of embodied creativity in musical composition. The book defines the embodiment of musical creativity as a cognitive and performative causality: a relationship between the cause and effect of our experience when composing music. Considering the theoretical, practical, contextual, and pedagogical implications of embodied creative experience, the book redefines aspects of musical composition to reflect the changing ways that musical creativity is understood and evaluated. Embodiment of Musical Creativity provides a comparative study of musical composition, in turn articulating a new perspective on musical creativity.
The last time you whistled a tune or hummed a song-why did you choose that one? You may not consider yourself a musical person, but your little act of unintended music may be the key to unlocking within you a wealth of unsuspected creativity-a kind of creativity that goes way beyond music, too. Lane Arye, PhD, a musician himself, focuses on the music that people do not intend to make. Using the highly regarded psychological model called Process Work, developed by Arnold Mindell, PhD, Arye has been teaching students around the world how to awaken their creativity, using music as the starting point, but including all art forms and ways of expression. The unintentional appears at moments when some hidden part of us, something beyond our usual awareness, suddenly tries to express itself. If we start paying attention to what is trying to happen rather than to what we think should happen, we open the door to self-discovery and creativity. Sometimes what we regard as "mistakes" in self-expression are in fact treasures. The book is rich with real-life stories, ideas, and practical techniques for unlocking creativity, which Arye dispenses with humor, insight, and enthusiasm.
For half a century, Michael Jackson’s music has been an indelible part of our cultural consciousness. Landmark albums such as Off the Wall and Thriller shattered records, broke racial barriers, amassed awards, and set a new standard for popular music. While his songs continue to be played in nearly every corner of the world, however, they have rarely been given serious critical attention. The first book dedicated solely to exploring his creative work, Man in the Music guides us through an unparalleled analysis of Jackson’s recordings, album by album, from his trailblazing work with Quincy Jones to his later collaborations with Teddy Riley, Jimmy Jam, Terry Lewis, and Rodney Jerkins. Drawing on rare archival material and on dozens of original interviews with the collaborators, engineers, producers, and songwriters who helped bring the artist’s music into the world, Jackson expert and acclaimed cultural critic Joseph Vogel reveals the inspirations, demos, studio sessions, technological advances, setbacks and breakthroughs, failures and triumphs, that gave rise to an immortal body of work.
The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate.
Amadeus . . . Yankee Doodle Dandy . . . Swanee River . . . Rhapsody in Blue. Even before movies had sound, filmmakers dramatized the lives of composers. Movie biographies—or biopics—have depicted composers as diverse as Wolfgang Amadeus Mozart, George M. Cohan, Stephen Foster, and George Gershwin. In this enticing book, the first devoted entirely to such films, John C. Tibbetts surveys different styles and periods from the Hollywood of the 1920s and 1930s to the international cinema of today, exploring the role that film biographies play in our understanding of history and culture. Tibbetts delves into such questions as: How historically accurate are composer biopics? How and why have inaccuracies and distortions been perpetrated? What strategies have been used to represent visually the creative process? The book examines the films in several contexts and considers their role in commodifying and popularizing music. Extensive archival research, dozens of illustrations, and numerous interviews make this an appealing book for film and music enthusiasts at all levels.