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Books on the topic 'Music-making behavior'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Gleick, James. Chaos: Making a new science. Abacus, 1993.

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Gleick, James. Chaos: Making a new science. Viking, 1987.

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Gleick, James. Chaos: Making a new science. Penguin, 1988.

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Gleick, James. Chaos: Making a new science. 2nd ed. Penguin Books, 2008.

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5

Vaccaro, Valerie L. A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.21.

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This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actual

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6

McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.

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Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts.

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7

Eldridge, Alice, and Oliver Bown. Biologically Inspired and Agent-Based Algorithms for Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.18.

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This chapter examines a range of approaches to algorithmic music making inspired by biological systems, and considers topics at the intersection of contemporary music, computer science, and computational creativity. A summary of core precursor movements both within and beyond musical practice (A Life, cybernetics, systems art, etc.) sets the scene, before core models and algorithms are introduced and illustrated. These include evolutionary algorithms, agent-based modelling and self-organizing systems, adaptive behaviour and interactive performance systems, and ecosystemic approaches to composi

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8

Gleick, James. Chaos: Making a New Science. Penguin (Non-Classics), 1988.

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9

(Narrator), Michael Jackson, ed. Chaos: Making a New Science. New Millennium Audio, 2002.

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10

Gleick, James. Chaos: Making a New Science. Penguin (Non-Classics), 1988.

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11

Gleick, James. Chaos: Making a New Science. Tandem Library, 1988.

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12

Gleick, James. CHAOS: MAKING A NEW SCIENCE. ABACUS, 1988.

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13

Chaos: Making a New Science. Sphere Books, 1991.

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14

Bakan, Michael B. Zena Hamelson. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190855833.003.0002.

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When we first meet ten-year-old Zena Hamelson, she is sitting in a chair staring blankly at the wall, flapping her hands, repeatedly straightening and bending her legs, compulsively twisting and pulling on her fingers as her Artism Ensemble bandmates make joyful music all around her. Zena is stimming, that is, she is practicing a personal repertoire of self-stimulatory behaviors that align precisely with the symptomatic profile of her diagnosed autism spectrum disorder: Asperger’s syndrome. Stimming, autism researchers tell us, is associated with some dysfunctional system in the brain; its red

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15

Vander Wel, Stephanie. Hillbilly Maidens, Okies, and Cowgirls. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043086.001.0001.

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Well before the success of Loretta Lynn and Dolly Parton, female artists were integral to the commercial expansion and aural reception of country music. Women in early country music took on and redefined the theatrical and musical roles of the hillbilly maiden, the unruly Okie, the singing cowgirl, and the honky-tonk angel in live performance, on radio, in film, and in the recording studio. This book accounts for the vibrant presence of female country artists through an interdisciplinary focus on performance and vocal expression in relation to the cultural currents of the 1930s and 1950s. Acro

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16

Gleick, James. Chaos: The Making of a New Science. Viking Adult, 1987.

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17

You're Making Me Hate You: A Cantankerous Look at the Common Misconception That Humans Have Any Common Sense Left. Penguin Random House, 2015.

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18

Taylor, Corey. You're Making Me Hate You: A Cantankerous Look at the Common Misconception That Humans Have Any Common Sense Left. Da Capo Press, 2016.

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19

Taylor, Corey. You're Making Me Hate You: A Cantankerous Look at the Common Misconception That Humans Have Any Common Sense Left. Penguin Random House, 2016.

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20

Impett, Jonathan. Making a mark The psychology of composition. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0037.

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This article discusses the psychology of composition. Composition is a reflexive, iterative process of inscription. The work, once named as such and externalizable to some degree, passes circularly between inner and outer states. It passes through internal and external representations – mostly partial or compressed, some projected in mental rather than physical space, not all necessarily conscious or observable – and phenomenological experience, real or imagined. At each state-change the work is re-mediated by the composer, whose decision-making process is conditioned by the full complexity of

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21

Deaville, James. The Well-Mannered Auditor. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.12.

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The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern worl

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