Download Free Thought And Play In Musical Rhythm Book in PDF and EPUB Free Download. You can read online Thought And Play In Musical Rhythm and write the review.

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.
Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.
From Grammy-winning musical icon and legendary bassist Victor L. Wooten comes an inspiring parable of music, life, and the difference between playing all the right notes…and feeling them. The Music Lesson is the story of a struggling young musician who wanted music to be his life, and who wanted his life to be great. Then, from nowhere it seemed, a teacher arrived. Part musical genius, part philosopher, part eccentric wise man, the teacher would guide the young musician on a spiritual journey, and teach him that the gifts we get from music mirror those from life, and every movement, phrase, and chord has its own meaning...All you have to do is find the song inside. “The best book on music (and its connection to the mystic laws of life) that I've ever read. I learned so much on every level.”—Multiple Grammy Award–winning saxophonist Michael Brecker
Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought. Holding the poetry of Stéphane Mallarmé, the paintings of Paul Cézanne, the prose of Marcel Proust, and the music of Claude Debussy under Merleau-Ponty’s phenomenological light, she offers innovative interpretations of some of these artists’ masterworks, in turn articulating a new perspective on Merleau-Ponty’s philosophy. More than merely recovering Merleau-Ponty’s thought, Wiskus thinks according to it. First examining these artists in relation to noncoincidence—as silence in poetry, depth in painting, memory in literature, and rhythm in music—she moves through an array of their artworks toward some of Merleau-Ponty’s most exciting themes: our bodily relationship to the world and the dynamic process of expression. She closes with an examination of synesthesia as an intertwining of internal and external realms and a call, finally, for philosophical inquiry as a mode of artistic expression. Structured like a piece of music itself, The Rhythm of Thought offers new contexts in which to approach art, philosophy, and the resonance between them.
Created for drumset players who find themselves in a creative rut, this book and audio package easily breaks down the mystery behind subdivisions, rhythmic modulation, rhythmic scales and beat displacement. The author makes the transition from mathematics to musicality with an easy and systematic approach.
This text presents intriguing explanations of extraordinary musical creations from diverse cultures across the world. It recounts the contexts in which the music is created and performed and then hones in on elucidating how the music works as sound in process.
Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience.
An exploration of rhythm and the richness of musical time from the perspective of performers, composers, analysts, and listeners.
How do children learn music? And how can music teachers help children to become independent and self-sufficient musical thinkers? Author Eric Bluestine sheds light on these issues in music education.
Human speech and music share a number of similarities and differences. One of the closest similarities is their temporal nature as both (i) develop over time, (ii) form sequences of temporal intervals, possibly differing in duration and acoustical marking by different spectral properties, which are perceived as a rhythm, and (iii) generate metrical expectations. Human brains are particularly efficient in perceiving, producing, and processing fine rhythmic information in music and speech. However a number of critical questions remain to be answered: Where does this human sensitivity for rhythm arise? How did rhythm cognition develop in human evolution? How did environmental rhythms affect the evolution of brain rhythms? Which rhythm-specific neural circuits are shared between speech and music, or even with other domains? Evolutionary processes’ long time scales often prevent direct observation: understanding the psychology of rhythm and its evolution requires a close-fitting integration of different perspectives. First, empirical observations of music and speech in the field are contrasted and generate testable hypotheses. Experiments exploring linguistic and musical rhythm are performed across sensory modalities, ages, and animal species to address questions about domain-specificity, development, and an evolutionary path of rhythm. Finally, experimental insights are integrated via synthetic modeling, generating testable predictions about brain oscillations underlying rhythm cognition and its evolution. Our understanding of the cognitive, neurobiological, and evolutionary bases of rhythm is rapidly increasing. However, researchers in different fields often work on parallel, potentially converging strands with little mutual awareness. This research topic builds a bridge across several disciplines, focusing on the cognitive neuroscience of rhythm as an evolutionary process. It includes contributions encompassing, although not limited to: (1) developmental and comparative studies of rhythm (e.g. critical acquisition periods, innateness); (2) evidence of rhythmic behavior in other species, both spontaneous and in controlled experiments; (3) comparisons of rhythm processing in music and speech (e.g. behavioral experiments, systems neuroscience perspectives on music-speech networks); (4) evidence on rhythm processing across modalities and domains; (5) studies on rhythm in interaction and context (social, affective, etc.); (6) mathematical and computational (e.g. connectionist, symbolic) models of “rhythmicity” as an evolved behavior.