Log in

Relevant bibliographies by topics / Collaborative music performance

Contents

Books

Academic literature on the topic 'Collaborative music performance'

Author: Grafiati

Published: 19 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Collaborative music performance.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Books on the topic "Collaborative music performance"

1

Cook, Nicholas. Making music together. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0002.

Full text

Abstract:

This first chapter of Music as Creative Practice sets out a social and performative approach to creativity in music. It develops the idea of emergence, the generation of unpredicted and unpredictable outcomes, within the context of collaborative performance, but extends it into a broad concept of real-time musical creativity. This is achieved through the idea of the musical assemblage, in which interactions between people are extended through the role of instruments, scores and other ‘outside the room’ factors: creativity is a property of the total human and nonhuman system. The argument is de

APA, Harvard, Vancouver, ISO, and other styles

2

Cook, Nicholas. Music as Creative Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.001.0001.

Full text

Abstract:

Until recently, ideas of creativity in music revolved around composers in garrets and the lone genius. But the last decade has witnessed a sea change: musical creativity is now overwhelmingly thought of in terms of collaboration and real-time performance. Music as Creative Practice is a first attempt to synthesize both perspectives. It begins by developing the idea that creativity arises out of social interaction—of which making music together is perhaps the clearest possible illustration—and then shows how the same thinking can be applied to the ostensively solitary practices of composition.

APA, Harvard, Vancouver, ISO, and other styles

3

Cayari, Christopher. Music Making on YouTube. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.15.

Full text

Abstract:

People are making music at their leisure and publishing it online. YouTube has provided a space for musicians to publish multitrack music videos, join collective musical ensembles, and collaboratively perform with others. This chapter explores three trends of how musicians are creating music videos and forming virtual ensembles and music making communities: they are showing off their skills through music videos; they are creating videos to join large collective multitrack ensembles of hundreds or even thousands of others; and they are actively collaborating with small groups to create mediated

APA, Harvard, Vancouver, ISO, and other styles

4

Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.

Full text

Abstract:

Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed crea

APA, Harvard, Vancouver, ISO, and other styles

5

Creech, Andrea, and Susan Hallam. Facilitating learning in small groups. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0004.

Full text

Abstract:

Musical ensemble performance is an inherently social activity, offering a rich context for fostering deep learning. Yet, musicians need to be supported in developing the skills that underpin negotiation and collaboration in generating musically cohesive, imaginative and convincing performances. This chapter focuses on the role of the coach or facilitator in maximizing the potential for collaborative and creative music-making in groups. The group processes and roles found in ensembles of varying types are considered within a framework comprising musical, perceptual and social skills required fo

APA, Harvard, Vancouver, ISO, and other styles

6

Leong, Daphne. Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.001.0001.

Full text

Abstract:

This book brings a theorist and performers together to examine the interface of analysis and performance in music of the twentieth century. Nine case studies, of music by Ravel, Schoenberg, Bartók, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris, are co-authored with performers (or composers) of those works. The case studies revolve around musical structure, broadly defined to comprise relations among parts and whole created in the process of making music, whether by composers, performers, listeners, or analysts. Knowledge that is produced in the course of relating analysis and perfo

APA, Harvard, Vancouver, ISO, and other styles

7

Davidson, Jane W. Movement and collaboration in musical performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0034.

Full text

Abstract:

The body has a crucial role in the production and perception of musical performance that has been recognized for centuries. Research in the field of music psychology on the body has reflected some of the recent social anthropology and critical musicology trends, and so has developed a strand of socially focused enquiry. These ideas are explored in this article, which begins with research on motor programming, moves to more social aspects of performance and bodily movement, and finishes by considering musical collaborations.

APA, Harvard, Vancouver, ISO, and other styles

8

Wolfe-Hill, Nana. Collaboration and Meaning Making in the Women’s Choral Rehearsal. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.10.

Full text

Abstract:

This chapter gives examples of collaborative choral methods that impact female singers positively and holistically as individuals and musicians. A brief overview of the inception and facets of feminist pedagogy reveal its potential influence on singers and lays the groundwork for a qualitative research study of a collegiate women’s choir led by a conductor who has adopted the values of feminist pedagogy. The case study illustrates ways in which feminist pedagogy can be implemented in the choral rehearsal through collaborative methods that give singers the opportunity to make their own decision

APA, Harvard, Vancouver, ISO, and other styles

9

Davidson, Jane W., and Mary C. Broughton. Bodily Mediated Coordination, Collaboration, and Communication in Music Performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780198722946.013.35.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Erickson, Kristin. Performing Algorithms. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.32.

Full text

Abstract:

The chapter considers algorithmic music as the ‘sonification’ of algorithms, a term coined by Carla Scaletti to describe the mapping of numerically represented relations in some domain to relations in an acoustic domain. The chapter looks at the range of ways this concept has been used by the author in composing her works. The chapter identifies isomorphic relationships between algorithms and collaboration, music, and performance, and extends the boundary of the computer to include systems of people and sound. The definition of music and performance is extended to include process, rules, machi

APA, Harvard, Vancouver, ISO, and other styles

More sources

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!