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Books on the topic 'Collaborative music performance'
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1
Cook, Nicholas. Making music together. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.003.0002.
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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 developed through case studies that range from rock to contemporary classical music, and from improvisation and the performance of notated music to collaborative composition and studio production. The chapter concludes with recent, technologically afforded collaborations between the living and the dead, which are no different in principle from the classical tradition of collaboration between living performers and dead composers.
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Cook, Nicholas. Music as Creative Practice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199347803.001.0001.
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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. The book also emphasizes the contextual dimensions of musical creativity, ranging from the prodigy phenomenon, long-term collaborative relationships within and beyond the family, and creative learning to the copyright system that is supposed to incentivize creativity but is widely seen as inhibiting it.Music as Creative Practice encompasses the classical tradition, jazz and popular music, and music emerges as an arena in which changing concepts of creativity—from the old myths about genius to present-day sociocultural theory—can be traced with particular clarity. The perspective of creativity tells us much about music, but the reverse is also true, and this fifth and last instalment of the Studies in Musical Performance as Creative Practice series offers an approach to musical creativity that is attuned to the practices of both music and everyday life.
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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.
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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 performances. Collective and collaborative music making on the Internet are not only happening among grassroots amateur musicians, but also through educational and commercial institutions. Music making on the Internet allows for global interactions and collaboration, where people come together and enjoy music recreationally, unbound by time and space.
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Clarke, Eric F., and Mark Doffman, eds. Distributed Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.001.0001.
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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 creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes. Organized into three parts, thirteen chapters and twelve shorter Interventions present diverse perspectives on distributed and collaborative creativity in music, on a range of collaborations between composers and performers, and on the place of improvisation within contemporary music, broadly defined. The thirteen chapters provide more substantial discussions of a variety of conceptual frameworks and particular projects, while the twelve Interventions provide more informal contributions from a variety of practitioners (composers, performers, improvisers), giving direct insights into the pleasures and problems of working creatively in music in collaborative and improvised ways.
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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.
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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 for creative music-making. Case-study examples demonstrate how, in a range of musical contexts, musical coaches/facilitators might support group members in developing these skills. The chapter concludes by offering group coaches and facilitators points of reflection with regard to how they might apply the key messages within their own practice.
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Leong, Daphne. Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.001.0001.
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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 performance is conceived in three dimensions: wissen, können, and kennen. The collaborative process itself is viewed through three constructs that facilitate cross-disciplinary collaboration: shared items, shared objectives (activity objects and epistemic objects), and shared agents. The book’s collaborations “thicken” the description of analysis and performance by illuminating key issues around (a) the implicit identity of a work: the role of embodiment, the affordances of a score, the cultural understanding of notation; (b) the use of metaphor in interpretation: here metaphors of memory, of poetry, and of ritual and drama; and (c) the relation of analysis and performance itself: its antagonisms, its fusion, and—rounding out the perspectives of theorist and performer with those of composer and listener—the role of structure in audience response. Along with these broader insights, each collaboration exemplifies processes of analysis and of performance, in grappling with and interpreting particular pieces. Video performances, demonstrations, and interviews; audio recordings; and photographs partner with the book’s written text.
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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.
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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.
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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.
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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 decisions within the music-making process. Through these collaborative learning techniques, singers experience an increase in mental engagement, confidence in their abilities, ownership in the music-making process, and improved musicianship. The exploration of multiple meanings and meaning-making via collaborative methods is a catalyst for self-expression, improved performance experiences, and a greater capacity within choral pedagogy to understand and relate with others.
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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.
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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.
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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, machines, and execution. Examples discussed include performing a bubble sort, pandemic performances (using principles of complex adaptive systems), Mandelbrot music, and M.T.Brain/Telebrain, which send complex algorithmic instructions to multiple performers in real time.
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Young, Michael, and Tim Blackwell. Live Algorithms for Music. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.002.
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Live algorithms are an ideal concept: computational systems able to collaborate proactively with humans in the creation of group-based improvised music. The challenge is to achieve equivalence between human and computer collaborators, both in formal terms and in practice (evident to both performers and audience alike). The fundamental question is the capacity for computational processes to exhibit “creativity.” The problems inherent in computer music performance are considered, in which computers are quasi-instruments or act in proxy for another musician. Theories from social psychology and pragmatics are explored to help understand live music-making as a special case of social organization; namely, Kelley’s covariation model of Attribution Theory and Grice’s Maxims of Cooperation. This chapter outlines a description of how human beings and computers might engage on an equivalent basis and proposes how social psychology theories, rendered in formal language, can point to new horizons in human-computer performance practice.
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Curkpatrick, Samuel. Voices on the wind. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0007.
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The musical project Crossing Roper Bar (CRB) is based on a collaboration between Wägilak songmen from Australia’s Northern Territory and the Australian Art Orchestra (AAO). Individuals drawn into this collaboration bring their distinct voices and histories to performance, while opening themselves to those of others. A new, malleable approach to orchestral performance in Australia is the result of this collaboration, which places improvisation at the centre of conversational musical interaction. This chapter introduces orthodox narrative elements of Wägilak manikay (song) that are creatively renewed and sustained in CRB. It highlights how the collaboration demonstrates the compelling play of musical performance that can generate nuanced, respectful and ongoing interactions between individuals, and between individuals and traditions. Amidst the vibrant, cultural diversity of contemporary Australian society, CRB suggests new possibilities for productive and relevant orchestral music-making.
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Burnim, Mellonnee. Tropes of Continuity and Disjuncture in the Globalization of Gospel Music. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.16.
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This chapter tracks the global circulation of gospel music, a movement enabled in part by the transnational record industry, noting in particular the ways some audiences in the African Diaspora receive and participate in the music in continuity with African American religious practice in the United States. A key interest is the way gospel music reflects religiosity and cultural experience and the transformations that can disrupt the link between these elements in global performances. The chapter traces performances and historical moments that show an encounter with the global in the careers of pioneering gospel performers, including Mahalia Jackson and Rosetta Tharpe. It then describes and analyzes the author’s experience as “performer and culture bearer” of gospel music in two transnational sites: collaborative performances in Malawi and Cuba. The author concludes that the comprehensive integrity of gospel music is presented most coherently when the music is mediated through the lens of both cultural and religious identity.
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Platte, Nathan. “Drama Rising like Mighty Music”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0003.
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Selznick’s move to RKO in 1931 brought the producer in contact with music director Max Steiner. Through their collaborative relationship they defined and directed the role of symphonic underscore in Hollywood. This chapter charts their systematic expansion of background scoring within individual films and the extension of this music beyond films in sheet music and concert performances. Special emphasis is placed on Symphony of Six Million (1932) and the “island-adventure trilogy” of Bird of Paradise (1932), The Most Dangerous Game (1932), and King Kong (1933). Tracking music’s role across these four films reveals how Steiner and Selznick’s experimental use of background scoring creatively reworked silent-era musical practices to produce a widely influential scoring model. Selznick’s RKO productions also feature critical but overlooked contributions from orchestrator Bernhard Kaun, sound engineer Murray Spivack, and African-American choral director Clarence Muse.
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Alge, Barbara, ed. Musikethnographien im 21. Jahrhundert. Rombach Wissenschaft – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783968218182.
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The volume Musikethnographien im 21. Jahrhundert brings together ten contributions by ethnomusicologists from the German-speaking world, who discuss current paradigms of fieldwork such as multi-situated fieldwork, reflexivity, dialogicity, feedback, auto-ethnography, activism and intervention through performance ethnography and collaborative research, as well as questions of repatriation, ethical handling of research data and the role of digital social media. In addition to theories and methodological reflections, the volume also includes reflections on the temporality of ethnographic material as well as ethnographical fieldwork on memory and the past. These reflections are applied to the subject of music and sound. With contributions by Barbara Alge, Stefanie Alisch, Linda Cimardi, Cornelia Gruber, Matthias Lewy, Julio Mendívil, Stefanie Kiwi Menrath, Monika Schoop, Helena Simonett and Britta Sweers.
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Wilson, Oli. Tiki Taane’s With Strings Attached: Alive & Orchestrated and postcolonial identity politics in New Zealand. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0014.
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This chapter explores how the New Zealand popular music artist Tiki Taane subverts dominant representational practices concerning New Zealand cultural identity by juxtaposing musical ensembles, one a ‘colonial’ orchestra, the other a distinctively Māori (indigenous New Zealand) kapa haka performance group, in his With Strings Attached: Alive & Orchestrated album and television documentary, released in 2014. Through this collaboration, Tiki reframes the colonial experience as an amalgam of reappropriated cultural signifiers that enraptures those that identify with colonization and colonizing experiences, and in doing so, expresses a form of authorial agency. The context of Tiki’s subversive approach is contextualized by examining postcolonial representational practices surrounding Māori culture and orchestral hybrids in the western art music tradition, and through a discussion about the ways the performance practice called kapa haka is represented through existing scholarly studies of Māori music.
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Burden, Michael. Dibdin at the Royal Circus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0003.
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In 1782, Dibdin entered into a partnership with Charles Hughes to set up a new entertainment venue, the Royal Circus. Its unique feature was the combination of an equestrian ring with allegorical and musical entertainments on a proscenium-arch stage, an innovative hybrid that drew upon the respective talents of Hughes and Dibdin. This chapter analyses how the Circus sought to compete with its rivals through its architecture and location, spectacle, music, novelties (including performances by children), and the mixing of genres and forms. Ultimately, however, Dibdin’s time at the Circus ended in ignominious disputes, a product of licensing problems, but also a failure to collaborate successfully in the manner demanded by this form of entertainment. Dibdin’s spell as a theatre-manager at the Circus thus reveals the wider driving forces—competition, innovation, miscellany, and collaboration—that lay behind the flourishing of London’s minor theatres in the late eighteenth century.
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Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.
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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of the piece. The chapter demonstrates how the affordances of both the instrument in the hands of Östersjö and the particular tuning specified by Gorton combined with improvised discoveries, and the ‘filtering’ force of a piece by Dowland, result in a piece whose creative ecology is distributed across a variety of timescales and practices.
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Barnard, Philip, and Scott deLahunta. Intersecting shapes in music and in dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0025.
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The concept of shape figures widely in discourse about both dance and music. This chapter discusses the shape using two analytic lenses explored over ten years of cumulative, interdisciplinary collaboration within R-Research, a team working alongside the contemporary dance company Wayne McGregor | Random Dance. These two lenses help locate issues, clarify problems and situate what we can learn from choreographic practice and empirical studies of dance. The first lens is a framework for describing what goes on in the making of an artwork or in design processes generally. The second lens is that of mental architecture, applied here to examine how the multiple components of the human mind work together in creative and performance contexts. Each of these can provide some insight into the multiple facets of choreomusical relationships and, in doing so, can offer some modest augmentations to choreographic practice.
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Head, Paul D. The Choral Experience. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.3.
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Much has changed in the choral rehearsal room over the past two generations, particularly in regard to the role the choral conductor assumes—or commands—in the rehearsal process. This chapter discusses the ever-evolving stereotypical roles of the conductor, while examining alternatives to traditional leadership models with particular emphasis on the encouragement of student engagement and peer-based learning. In addition to the facilitation of collaborative learning exercises, the chapter outlines a specific process of written interaction with the choral ensemble. This section is inspired by the renowned “Dear People” letters of Robert Shaw. Finally, in response to the recently revised National Standards for Music Education in the United States, the author discusses possible implementation of the Standards in a performance-based classroom. In the shadow of the relatively recent phenomena of collegiate a cappella groups, these student ensembles have created a new paradigm for peer-led instruction.
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Whitmore, Aleysia K. World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.001.0001.
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In the mid-twentieth century, African musicians took up Cuban music as their own. They claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and ’70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African–Latin American collaborations expressly for this market niche. This book follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them—from musicians’ homes in West Africa, to performances in Europe and North America, to record label offices in London. This book examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization. Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. This book offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.
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Moore, Robin D., Juan Agudelo, Katie Chapman, Carlos Dávalos, Hannah Durham, Myranda Harris, and Creighton Moench. Progressive Trends in Curricular Change. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0013.
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This chapter investigates the general curricular requirements of two of the most popular music degrees undertaken by undergraduates—performance and music education—in order to consider how current coursework could be reconfigured into a more student-driven, inclusive framework that reflects the dynamics and needs of modern musical careers. In looking at the core courses as well as the upper-division, more specialized courses in each particular major, we address questions such as how to streamline core courses, how to allow students to have more active roles their degree trajectories without increasing the time it takes to graduate, and how to use the current degree models as jumping-off points for curricular reform. Specifically, the chapter examines representative music programs that have already successfully implemented curricula in entrepreneurial training, cross-disciplinary collaboration, and international exchanges, among other areas.
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Greenland, Thomas H. Prologue. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040115.003.0001.
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This prologue describes the collaboration between New York City jazz musicians and audiences—during performances and elsewhere—that is essential for creating meaningful music and building cohesive communities. It argues that jazz audiences—whether they are amateur fans, music professionals, or, more often, some combination of both—are not passive “receivers” of music, but are in fact active performers. Although our attention is typically drawn to the onstage activities, the book suggests that jazz-making is better understood when we take into consideration active participants and the various venue operators, booking agents, photographers, critics, publicists, painters, amateur musicians, fans, friends, and tourists who create the jazz scene. The book refers to these people as an improvised community of listeners and participants who collectively assert their sense of themselves and of each other through the music they make. The book cites the case of Peter Cox, an integral figure in New York's jazz scene who was characterized by musicians as a fellow performer.
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Lapidus, Benjamin. New York and the International Sound of Latin Music, 1940-1990. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.001.0001.
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New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. This book seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, the book examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. The book studies this sound in detail and in its context. It offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, the book treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, it recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.
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Girdwood, Megan. Modernism and the Choreographic Imagination. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481625.001.0001.
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Ranging from the late nineteenth to the mid-twentieth century, this book examines literary and choreographic representations of the figure of Salome, the biblical woman who danced for the head of St John the Baptist. The age of modernism witnessed an extraordinary cross-fertilisation of the arts of literature and dance, grounded in a shared appetite for formal experimentation and inter-related ideas about the representational capacities of the performing body. Following her conspicuous revival in the nineteenth-century French Symbolist movement, Salome became a focal point for these recurring interplays between text and performance, inspiring an unprecedented corpus of plays, fictions, paintings, dance performances, and silent films devoted to her ‘dance of the seven veils’. This book considers how Salome’s dancing body, across its numerous modernist iterations, framed critical questions about inter-arts collaboration, influence, aesthetic autonomy, and the porousness of different disciplines, thereby unsettling more traditional views of aesthetic hierarchies and related assumptions about female creative agency. Following salient versions of Salome from fin-de-siècle music halls and avant-garde theatres to the projects of the Ballets Russes, female film pioneers, and modernist playwrights, this book considers canonical authors such as Oscar Wilde, W. B. Yeats, and Samuel Beckett, as well as lesser-known but crucially influential performers, from the modern dancers Loïe Fuller and Maud Allan, to Ida Rubinstein, Alla Nazimova, and Ninette de Valois.
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Rink, John, Helena Gaunt, and Aaron Williamon, eds. Musicians in the Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.001.0001.
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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time. Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book’s three parts focus in turn on ‘Creative learning in context’, ‘Creative processes’ and ‘Creative dialogue and reflection’. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ‘Insights’ by internationally prominent performers, performance teachers and others.
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Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.
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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.