Music Performance Research最新文献

Leading with score study: changing priorities in undergraduate conducting curricula 以分数为导向:改变本科指导课程的优先顺序

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.10.2

Brian J. Kaufman, Nell Flanders

{"title":"Leading with score study: changing priorities in undergraduate conducting curricula","authors":"Brian J. Kaufman, Nell Flanders","doi":"10.14439/mpr.10.2","DOIUrl":"https://doi.org/10.14439/mpr.10.2","url":null,"abstract":"The purpose of this study was to examine student learning in an introductory conducting course in which score study was the primary foundational focus; gesture was viewed as part of a larger conducting process and a secondary learning goal to score study. Research has indicated a need for greater emphasis on score study in introductory conducting courses (Silvey, Springer, & Eubanks, 2016; Stewart, 2011). Student reflection is often used to guide students in understanding the relationship of their gesture to the sound of a live ensemble; however, within the studied course, reflection was expanded to focus on the score study process – developing score study skills, practice habits, and concepts. Researchers analyzed student reflections (N = 25) in order to understand student learning and identify potential improvements to the course. Student reflections were coded using a general inductive approach. In their reflections, students discussed evaluating, revising, refining, and integrating approaches; making connections between conducting and other coursework; analyzing the conducting process; and developing their own conducting philosophy. A model that captures the students’ collective learning process is described. Focusing on score study in this introductory conducting course resulted in substantial student learning about an array of conducting skills and concepts in relation to score study. Reflection assisted students in developing a score study process and a growth mindset, both of which support future learning. Findings provide a springboard for future research that examines how a comprehensive and integrated score study process occurring over time can best contribute to the learning of beginning conducting students.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129230951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Performing Beethoven’s musical dynamics 演奏贝多芬的音乐动态

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.11.1

Mine Doğantan-Dack

引用次数: 0

Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs 合作学习与合唱自信:同伴互动在建立自信的业余合唱团中的作用

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.10.4

Michael Bonshor

{"title":"Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs","authors":"Michael Bonshor","doi":"10.14439/mpr.10.4","DOIUrl":"https://doi.org/10.14439/mpr.10.4","url":null,"abstract":"This article describes some of the collaborative processes that take place within adult amateur choirs, and demonstrates some associations between group dynamics, peer learning and the development of choral confidence. Three focus groups and 16 individual interviews provided 40 hours of verbal data. The research aims were: to explore the lived experience of amateur choral singers in relation to their confidence levels; to identify some of the factors affecting singers’ confidence in their vocal skills and choral performance ability; to use the data to extrapolate strategies designed for managing confidence issues amongst amateur choral singers. Data was collected during semi-structured interviews and focus groups with amateur singers. The superordinate themes, which emerged from the data, included collaboration and teamwork, reciprocal peer learning, and the contribution of unofficial team leaders to effective learning and performance. All of these factors were reported as increasing individual and collective confidence levels. The findings highlight the role of peer interactions and social learning in developing the confidence of choral singers, and suggest ways in which conductors might optimize these interactions to build confidence during choir rehearsals and performances.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127776819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

When are initial consonants articulated in choral performance? Cases studies of choral works sung in German 在合唱表演中，声母什么时候发音?德语合唱作品的个案研究

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.10.5

C. Hauck

{"title":"When are initial consonants articulated in choral performance? Cases studies of choral works sung in German","authors":"C. Hauck","doi":"10.14439/mpr.10.5","DOIUrl":"https://doi.org/10.14439/mpr.10.5","url":null,"abstract":"The process of rehearsing and performing a choral piece involves numerous decisions by the conductor. One part of this decision-making is related to the sung text and includes aspects of diction that are not indicated by Western musical notation, for instance the exact instant of articulation of initial consonants. Although choices related to diction have consequences for elements such as clearness of enunciation, rhythmic precision, or intonation, only a few writings on choral conducting are explicit about them. This paper aims to discuss conductors’ choices concerning the instant of articulation of initial consonants in choral performances of works sung in German. It compares conductors’ theoretical suggestions with analyses of six recordings of Johann Sebastian Bach’s movement Trotz dem alten Drachen, BWV 227/5, and four recordings of Franz Schubert’s part-song An die Sonne, D439. Methods include analyses of writings on choral conducting, interviews with conductors, and analyses of recordings using the software programme Sonic Visualiser. Similarities are observed between the theoretical suggestions of conductors and the analysed recordings, however there are some striking differences, including conductors’ underestimations of the actual duration of consonants. Analyses of the recordings reveal that initial consonants are nearly always anticipated (i.e., articulated ahead of the beat to which they are assigned). Exceptions to this concern the plosive [kʰ] and the second consonant of a cluster on occasion. Analyses of recordings also point to the impact on timing anticipation due to the consonant’s surroundings and from the ability or otherwise for the sound of a consonant to be lengthened (i.e., its “lengthenability”). Evidence from the recordings is discussed in relation to conductors’ varying theoretical suggestions on the articulation of consonants, flagging up inconsistencies as well as considering practicalities, and providing insights for choral conductors into the nuances of consonant articulation with ramifications for conducting pedagogy and future research.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123379913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Positioning “conducting studies” in 2020 – where are we and where can we go? 2020年“开展研究”的定位——我们在哪里，我们能去哪里?

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.10.1

{"title":"Positioning “conducting studies” in 2020 – where are we and where can we go?","authors":"","doi":"10.14439/mpr.10.1","DOIUrl":"https://doi.org/10.14439/mpr.10.1","url":null,"abstract":"This special edition positions “conducting studies” in 2020 as a dynamic, multifaceted and multi-disciplinary research field. Shifting the focus of “conducting studies” beyond the longestablished paradigms of (auto)biography and standard technical manuals, it presents distinctive new scholarship drawn from the Oxford Conducting Institute’s (OCI) international conferences. The three OCI conferences to date have provided a melting pot for discussions between practising conductors, those engaged in practice as research, theorists, and musicologists. The range of topics and methodologies captured in the conference programmes (2016, 2018, 2019)1 provides a valuable representation of the ways in which research is developing. The diverse range of methodologies generated across themes and topics signals the potential for dialogue and strengthened links between practice and research: practitioner-researchers are featuring more strongly than ever before. Interdisciplinary tools and approaches are informing and shaping new understandings of an array of issues, including: gender; performance psychology; technologically informed and measured research on gesture, tempi, dynamics, articulation and diction; performance traditions; acoustics; audience response and so on. This special edition therefore shows that conducting studies in 2020 is both building on – and breaking away from – the structures that have determined its preoccupations and characteristics. Fascination with conductors – what they do, and how and why they do it – has occupied writers since the “baton” conductor took centre stage in the mid-nineteenth century.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126880154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Complicating leadership: choral conducting training through movement theatre practice 复杂的领导:通过运动剧场实践合唱指挥训练

Music Performance Research Pub Date : 2020-12-17 DOI: 10.14439/mpr.10.3

Daniel Galbreath, Gavin Thatcher

{"title":"Complicating leadership: choral conducting training through movement theatre practice","authors":"Daniel Galbreath, Gavin Thatcher","doi":"10.14439/mpr.10.3","DOIUrl":"https://doi.org/10.14439/mpr.10.3","url":null,"abstract":"Conductors are typically presumed to possess the physical, interpretative control in choral performance. Questioning that presumption, this article explores how student conductors might be encouraged to engage physically with the musical sound – and sounding bodies – of a choir. It argues that singers’ vocal performance directly and fruitfully impacts on a conductor’s gestural leadership. Borrowing techniques from established physical/movement-based performance and theatre, it explores how conductors might act as the embodied nexus of the poietic and esthesic dimensions of interpretation (Nattiez, 1990), thus collaboratively constructing a performance. To frame the discussion, a conceptualisation of the overlap between body and voice is set out. This conceptualisation emerged during the development of vocal-physical performance projects (2015-16) and was subsequently developed into a broader philosophical orientation. Focusing on issues of embodiment and empathy, this orientation is enlisted to re-examine choral conducting training practices. The influence of these explorations on Daniel Galbreath’s choral conducting teaching is outlined. Additional action-research with theatre practitioner and teacher Gavin Thatcher is then detailed to demonstrate further developments and disruptions to Galbreath’s practice. As a result, a conducting training practice emerges from these practical enquiries that exploits performers’ mutual, direct physical contact via sound.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128002410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla “当我们连接时，只有音乐”:西塔琴和手鼓音乐连接的现象学解释

Music Performance Research Pub Date : 1900-01-01 DOI: 10.14439/mpr.11.2

Alejandro Cooper

{"title":"'When we connect, there is only music': A phenomenological account of musical connectivity in sitar and tabla","authors":"Alejandro Cooper","doi":"10.14439/mpr.11.2","DOIUrl":"https://doi.org/10.14439/mpr.11.2","url":null,"abstract":"This paper explores the complex relationship between improvised musical interaction and social experience in North Indian sitar and tabla duo performance. As a phenomenological analysis, the main goal of this research is to provide a rigorous and detailed description of the experiential patterns that commonly underlie joint music-making in this genre. This is approached by focusing especially on how positive — particularly peak — musical and social experiences feel. Qualitative data gathered through two case studies involving close collaboration with expert informants is presented and analysed in search for recurrent themes pertaining to these performers’ social experiences, particularly those experiences deemed most cohesive and enjoyable. The analysis is framed according to Høffding’s (2018) phenomenological categorization of musical absorption, and to McGuiness and Overy’s (2011) distinction between co-subjective and intersubjective states of shared subjectivity. Specifically, I consider the role of reflection and communication in promoting feelings of connectivity among performers, particularly during altered states of intense absorption. The outcome of this analysis consists of a phenomenological model of musical connectivity which provides a broad topography of the various kinds of social experiences underlying this genre. This model can also be used — with certain adjustments — to describe the topography of social experiences in any other kind of musical ensemble, thereby allowing for comparative analyses of musical connectivity across genres.","PeriodicalId":105032,"journal":{"name":"Music Performance Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134130199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1