Aaron Williamon
Allan Vurma
Andrzej Rakowski
Anna-Karin Gullberg
Antnio G. Salgado
Bernhard Billeter
Categorical Perception
Category=AVS
Chopin
cognitive processes in music
Daina Langner
Daniela Coimbra
Double Bassists
empirical research in music practice
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Expressive Intonation
Flow Phonation
Franz-Josef Elmer
George Papadelis
George Papanikolaou
Harmonic Complex Tones
Harmony Signing
Heiner Gembris
Historical Performance Practice
Ingrid Maria Hanken
Interpretative Phenomenological Analysis
Jaan Ross
Jane Ginsborg
Jane W. Davidson
Jerrold Levinson
John Rink
Kacper Miklaszewski
Karen Burland
Kari Kurkela
Matthew M. Lavy
Meantone Temperament
Minor Prelude Op
Music Academies
music education methods
Music Practitioner
music psychology
Music Psychology Research
Musical Notation Conventions
musician
musician identity research
Nicholas Bannan
performance studies
Peter Johnson
Pitch Strength
practical
Professional Performing Career
qualitative music research
Rhythm Categories
Richard Parncutt
Sam Thompson
Sibelius Academy
Singer's Formant
Singer’s Formant
Stefanie Stadler Elmer
Stephanie E. Pitts
Sture Brandstrom
Vocal Folds
Voice Categories
Western Art Music Tradition
Western Tonal Music
Product details
- ISBN 9780754604655
- Weight: 890g
- Dimensions: 156 x 234mm
- Publication Date: 13 Jul 2004
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners’ use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual’s sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves.
Jane W. Davidson, University of Sheffield, UK Jane W. Davidson, Aaron Williamon, Sam Thompson, Kacper Miklaszewski, John Rink, Kari Kurkela, Andrzej Rakowski, Peter Johnson, Bernhard Billeter, Richard Parncutt, George Papadelis, George Papanikolaou, Jane Ginsborg, Anna-Karin Gullberg, Sture Brandstrom, Allan Vurma, Jaan Ross, Antonio G. Salgado, Daniela Coimbra, Stephanie E. Pitts, Karen Burland, Daina Langner, Stefanie Sadler Elmer, Franz-Josef Elmer, Ingrid Maria Hanken, Nicholas Bannan, Heiner Gembris, Matthew M. Lavy, Jerrold Levinson.
