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This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.
This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research. It is essential reading for academics and postgraduate students working in these fields. The topics covered include a new study on the emergence of musical abilities in the early years, using the Sounds of Intent framework of musical development; an exploration of how the Sounds of Intent model can be extended to map how people with learning difficulties engage in creative multisensory activities; an investigation of the expectations generated on hearing a piece of music more than once evolve in cognition, using evidence from a musical savant; and a report on the effect on listeners of repeated exposure to a novel melody. Data are drawn from the findings of postgraduate and postdoctoral projects. It is hoped that this exciting new work will act as a catalyst in the emerging field of applied musicological research, and bring recognition to a group of new young academics.
The Routledge Companion to Applied Musicology brings together academics, artist-researchers, and practitioners to provide readers with an extensive and authoritative overview of applied musicology. Once a field that addressed music’s socio-political or performative contexts, applied musicology today encompasses study and practice in areas as diverse as psychology, ecomusicology, organology, forensic musicology, music therapy, health and well-being, and other public-oriented musicologies. These rapid advances have created a fast-changing field whose scholarship and activities tend to take place in isolation from each other. This volume addresses that shortcoming, bringing together a wide-ranging survey of current approaches. Featuring 39 authors, The Routledge Companion to Applied Musicology falls into five parts—Defining and Theorising Applied Musicology; Public Engagement; New Approaches and Research Methods; Representation and Inclusion; and Musicology in/for Performance—that chronicle the subject’s rich history and consider the connections that will characterise its future. The book offers an essential resource for anyone exploring applied musicology.
Applied Musicology explores and demonstrates how musicology can influence and inform the psychological study of music. Including chapters on a range of topics including, perfect pitch, music and autistic savants, and anticipatory processes in music, the book establishes and lays the foundations for a new field of enquiry
Investigation of the role of music in early life and learning has been somewhat fragmented, with studies being undertaken within a range of fields with little apparent conversation across disciplinary boundaries, and with an emphasis on pre-schoolers' and school-aged childrens' learning and engagement. The Oxford Handbook of Early Childhood Learning and Development in Music brings together leading researchers in infant and early childhood cognition, music education, music therapy, neuroscience, cultural and developmental psychology, and music sociology to interrogate questions of how our capacity for music develops from birth, and its contributions to learning and development. Researchers in cultural psychology and sociology of musical childhoods investigate those factors that shape children's musical learning and development and the places and spaces in which children encounter and engage with music. These issues are complemented with consideration of the policy environment at local, national and global levels in relation to music early learning and development and the ways in which these shape young children's music experiences and opportunities. The volume also explores issues of music provision and developmental contributions for children with Special Education Needs, children living in medical settings and participating in music therapy, and those living in sites of trauma and conflict. Consideration of these environments provides a context to examine music learning and development in family, community and school settings including general and specialized school environments. Authors trace the trajectories of development within and across cultures and settings and in that process identify those factors that facilitate or constrain children's early music learning and development.
Music is said to be the most autonomous and least representative of all the arts. However, it reflects in many ways the realities around it and influences its social and cultural environments. Music is as much biology, gender, gesture - something intertextual, even transcendental. Musical signs can be studied throughout their history as well as musical semiotics with its own background. Composers from Chopin to Sibelius and authors from Nietzsche to Greimas and Barthes illustrate the avenues of this new discipline within semiotics and musicology.
This volume seeks to offer a new approach to the study of music through the lens of recent works in science and technology studies (STS), which propose that facts are neither absolute truths, nor completely relative, but emerge from an intensely collective process of construction. Applied to the study of music, this approach enables us to reconcile the human, social, factual, and technological aspects of the musical world, and opens the prospect of new areas of inquiry in musicology and sound studies. Rethinking Music through Science and Technology Studies draws together a wide range of both leading and emerging scholars to offer a critical survey of STS applications to music studies, considering topics ranging from classical music instrument-making to the ethos of DIY in punk music. The book’s four sections focus on key areas of music study that are impacted by STS: organology, sound studies, music history, and epistemology. Raising crucial methodological and epistemological questions about the study of music, this book will be relevant to scholars studying the interactions between music, culture, and technology from many disciplinary perspectives.
Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.
Blending the insights of musicians and psychologists from D.W. Winnicott to Gregory Bateson to Ornette Coleman, Jazz and Psychotherapy is a groundbreaking exploration of improvisation that reveals its potential to transform our experience of ourselves and the challenges we face as a species. What we all share with the professional improvisers known as "psychotherapists" and "jazz musicians" is the reality of not knowing what those around us—or even we ourselves—are going to do next. Rather than avoiding it, however, these practitioners have learned to revere our inherent unpredictability as precisely the feature of human living that makes transformative change possible, fully incorporating it into the theories and practices that constitute their disciplines. Jazz and Psychotherapy provides a sophisticated but accessible overview of the revolutionary approaches to human development and creative expression embodied in these two seemingly disparate twentieth-century cultural traditions. Readers interested in music, psychotherapy, social psychology and contemporary theories of complexity will find Jazz and Psychotherapy engaging and useful. Its colorful synthesis of perspectives and multidimensional scope make it an essential contribution to our understanding of improvisation in music and in life.
This book studies recent music in the western classical tradition, offering a critique of current analytical/theoretical approaches and proposing alternatives. The critique addresses the present fringe status of recent music sometimes described as crossover, postmodern, post-classical, post-minimalist, etc. and demonstrates that existing descriptive languages and analytical approaches do not provide adequate tools to address this music in positive and productive terms. Existing tools and concepts were developed primarily in the mid-20th century in tandem with the high modernist compositional aesthetic, and they have changed little since then. The aesthetics of music composition, on the other hand, have been in constant transformation. Lochhead proposes new ways to conceive musical works, their structurings of musical experience and time, and the procedures and goals of analytic close reading. These tools define investigative procedures that engage the multiple perspectives of composers, performers, and listeners, and that generate conceptual modes unique to each work. In action, they rebuild a conceptual, methodological, and experiential place for recent music. These new approaches are demonstrated in analyses of four pieces: Kaija Saariaho’s Lonh (1996), Sofia Gubaidulina’s Second String Quartet (1987), Stacy Garrop’s String Quartet no.2, Demons and Angels (2004-05), and Anna Clyne’s "Choke" (2004). This book defies the prediction of classical music’s death, and will be of interest to scholars and musicians of classical music, and those interested in music theory, musicology, and aural culture.