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Scientific approach to musical esthetics.
The second edition of The Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast-growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area. The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future. The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.
A little-known fact about the prominent US psychologist and educator Carl E. Seashore (1866–1949) is that he was deeply involved in the American eugenics movement. He was among the US academics to support eugenics long before German Nazis embraced it. A titan in a host of disciplines and a proponent of radical education reform, Seashore used his positional power to promote a constellation of education reforms consistent with central precepts of eugenics. Many of these reforms, including tracking, gifted and talented programs, and high-stakes standardized testing, were adopted and remain standard practice in the United States today. He promulgated the idea that musical talent is biologically inheritable, and he developed the first standardized tests of musical talent; these tests were used by early-twentieth-century researchers in their attempts to determine whether there are race differences in musical talent. Seashore’s ideas and work profoundly shaped music education’s research trajectory, as well as enduring “commonsense” beliefs about musical ability. An intersectional analysis, “Destined to Fail” focuses on the relationship between eugenics and Seashore’s views on ability, race, and gender. Koza concludes that Seashore promoted eugenics and its companion, euthenics, because he was a true believer. She also discusses the longstanding silences surrounding Seashore’s participation in eugenics. As a diagnosis and critique of the present, “Destined to Fail” identifies resemblances and connections between past and present that illustrate the continuing influence of eugenics—and the systems of reasoning that made early-twentieth-century eugenics imaginable and seem reasonable—on education discourse and practice today. It maps out discursive, citational, and funding connections between eugenicists of the early twentieth-century and contemporary White supremacists; this mapping leads to some of Donald Trump’s supporters and appointees.
Music in the Human Experience: An Introduction to Music Psychology, Second Edition, is geared toward music students yet incorporates other disciplines to provide an explanation for why and how we make sense of music and respond to it—cognitively, physically, and emotionally. All human societies in every corner of the globe engage in music. Taken collectively, these musical experiences are widely varied and hugely complex affairs. How did human beings come to be musical creatures? How and why do our bodies respond to music? Why do people have emotional responses to music? Music in the Human Experience seeks to understand and explain these phenomena at the core of what it means to be a human being. New to this edition: Expanded references and examples of non-Western musical styles Updated literature on philosophical and spiritual issues Brief sections on tuning systems and the acoustics of musical instruments A section on creativity and improvisation in the discussion of musical performance New studies in musical genetics Greatly increased usage of explanatory figures
Analytical Essays on Music by Women Composers: Concert Music, 1960-2000 is the first to appear in an exciting a four volume series devoted to the work of women composers across Western art music history. Featuring rich analyses and detailed study by the most reputed music theorists in the field, along with brief biographical sketches for each composer, this collection brings to the fore the essential repertoire of a range of important composers, many of whom otherwise stand outside the standard canon.
In the music classroom, instructors who hope to receive aid are required to provide data on their classroom programs. Due to the lack of reliable, valid large-scale assessments of student achievement in music, however, music educators in schools that accept funds face a considerable challenge in finding a way to measure student learning in their classrooms. From Australia to Taiwan to the Netherlands, music teachers experience similar struggles in the quest for a definitive assessment resource that can be used by both music educators and researchers. In this two-volume Handbook, contributors from across the globe come together to provide an authority on the assessment, measurement, and evaluation of student learning in music. The Handbook's first volume emphasizes international and theoretical perspectives on music education assessment in the major world regions. This volume also looks at technical aspects of measurement in music, and outlines situations where theoretical foundations can be applied to the development of tests in music. The Handbook's second volume offers a series of practical and US-focused approaches to music education assessment. Chapters address assessment in different types of US classrooms; how to assess specific skills or requirements; and how assessment can be used in tertiary and music teacher education classrooms. Together, both volumes of The Oxford Handbook of Assessment in Music Education pave the way forward for music educators and researchers in the field.
What makes a prodigy? Although child prodigies can be found in various disciplines such as music, mathematics, chess, and art, the origins of exceptional has long been controversial. Some have dismissed the notion of innate talent, arguing that prodigies benefit from strong parental, cultural, and environmental influences that helped them develop their extraordinary abilities. Others emphasize the role of genes supported by inborn predispositions. And what role do cognitive processes, from memory to the use of imagery and language, play in such rapid and early talent development? The notion of prodigy reaches to the heart of questions about creativity, intelligence, development, and the relationship between nature and nurture. This ground-breaking book presents the first scientific exploration of musical prodigies, bringing together research from psychology, neurobiology, genetics, education, musicology, and ethnomusicology, to provide a thorough exploration of prodigious talent. With fascinating case studies of prodigies and their often complex transitions into adolescence and adulthood, this is a unique investigation of a remarkable phenomenon, for anyone interested in child development, music, and the arts. --Cover.
The two-volume Oxford Handbook of Music Performance provides a resource that musicians, scholars and educators will use as the most important and authoritative overview of work within the areas of music psychology and performance science. The 80 experts from 13 countries who prepared the 53 chapters in this handbook are leaders in the fields of music psychology, performance science, musicology, psychology, education and music education. Chapters in the Handbook provide a broad coverage of the area with considerable expansion of the topics that are normally covered in a resource of this type. Designed around eight distinct sections - Development and Learning, Proficiencies, Performance Practices, Psychology, Enhancements, Health & Wellbeing, Science, and Innovations - the range and scope of The Oxford Handbook of Music Performance is much wider than other publications through the inclusion of chapters from related disciplines such as performance science (e.g., optimizing performance, mental techniques, talent development in non-music areas), and education (e.g., human development, motivation, learning and teaching styles) as well as the attention given to emerging critical issues in the field (e.g., wellbeing, technology, gender, diversity, inclusion, identity, resilience and buoyancy, diseases, and physical and mental disabilities). Within each chapter, authors have selected what they consider to be the most important scientific and artistic material relevant to their topic. They begin their chapters by surveying theoretical views on each topic and then, in the final part of the chapter, highlight practical implications of the literature that performers will be able to apply within their daily musical lives.
In this well documented and highly readable book, James Stark provides a history of vocal pedagogy from the beginning of the bel canto tradition of solo singing in the late sixteenth and early seventeenth centuries to the present. Using a nineteenth-century treatise by Manuel Garcia as his point of reference, Stark analyses the many sources that discuss singing techniques and selects a number of primary vocal 'problems' for detailed investigation. He also presents data from a series of laboratory experiments carried out to demonstrate the techniques of bel canto. The discussion deals extensively with such topics as the emergence of virtuoso singing, the castrato phenomenon, national differences in singing styles, controversies regarding the perennial decline in the art of singing, and the so-called secrets of bel canto. Stark offers a new definition of bel canto which reconciles historical and scientific descriptions of good singing. His is a refreshing and profound discussion of issues important to all singers and voice teachers.
A Concise Survey of Music Philosophy helps music students choose a philosophy that will guide them throughout their careers. The book is divided into three sections: central issues that any music philosophy ought to consider (e.g., beauty, emotion, and aesthetics); secondly, significant philosophical positions, exploring what major thinkers have had to say on the subject; and finally, opportunities for students to consider the ramifications of these ideas for themselves. Throughout the book, students are encouraged to make choices that will inform a philosophy of music and music education with which they are most comfortable to align. Frequently, music philosophy courses are taught in such a way that the teacher, as well as the textbook used, promotes a particular viewpoint. A Concise Survey of Music Philosophy presents the most current, prevalent philosophies for consideration. Students think through different issues and consider practical applications. There are numerous musical examples, each with links from the author’s home website to online video performances. Examples are largely from the Western classical canon, but also jazz, popular, and world music styles. In the last two chapters, students apply their views to practical situations and learn the differences between philosophy and advocacy. "Hodges has written an excellent resource for those wanting a short—but meaningful—introduction to the major concepts in music philosophy. Applicable to a number of courses in the music curriculum, this much-needed book is both accessible and flexible, containing musical examples, tables and diagrams, and additional readings that make it particularly useful for a student's general introduction to the topic. I especially like the emphasis on the personal development of a philosophical position, which makes the material especially meaningful for the student of music." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA