Books: 'Music performance pedagogy'

1

Kohut, Daniel L. Musical performance: Learning theory and pedagogy. Englewood Cliffs, N.J: Prentice-Hall, 1985.

APA, Harvard, Vancouver, ISO, and other styles

2

Harrison, Scott D., ed. Research and Research Education in Music Performance and Pedagogy. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-007-7435-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

Full text

Abstract:

The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.

APA, Harvard, Vancouver, ISO, and other styles

4

Shenderovich, Evgeniĭ. V kont︠s︡ertmeĭsterskom klasse: Razmyshlenii︠a︡ pedagoga. Moskva: Muzyka, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Treganza, Jeffrey. Professional training of singers and teachers of singing: A comparative study of selected vocal performance and pedagogy programs in the United States of America and the Federal Republic of Germany. Frankfurt, M: Peter Lang, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Gakkelʹ, L. Ispolniteli︠u︡, pedagogu, slushateli︠u︡: Statʹi, ret︠s︡enzii. Leningrad: Vses. izd-vo "Sov. kompozitor", Leningradskoe otd-nie, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

T︠S︡uker, A., K. Zhabinskiĭ, and N. A. Meshcheri︠a︡kova. 30 let konservatorskoĭ nauki: Tezisy dokladov nauchno-prakticheskoĭ konferent︠s︡ii pedagogov i vypusknikov RGK 1967-1997 gg. Rostov-na-Donu: Terra, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy. Stipes Publishing, LLC, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Swinkin, Jeffrey. Teaching Performance: A Philosophy of Piano Pedagogy. Springer International Publishing AG, 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Swinkin, Jeffrey. Teaching Performance: A Philosophy of Piano Pedagogy. Springer, 2015.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

11

Swinkin, Jeffrey. Teaching Performance: A Philosophy of Piano Pedagogy. Springer London, Limited, 2015.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

12

New mansions for music: Performance, pedagogy, and criticism. New Delhi: Social Science Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

13

Research And Research Education In Music Performance And Pedagogy. Springer, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

14

Loebel, Thomas. Reading vocal music: Aesthetic ideology in pedagogy and performance. 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

15

Harrison, Scott D. Research and Research Education in Music Performance and Pedagogy. Springer, 2016.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

16

Harrison, Scott D. Research and Research Education in Music Performance and Pedagogy. Springer, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

17

Harrison, Scott D. Research and Research Education in Music Performance and Pedagogy. Springer London, Limited, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

18

BastaniNezhad, Arya. Iranian Music Education: 120 Years of History, Pedagogy and Performance. Cambridge Scholars Publishing, 2023.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

19

Grant, Christina Susan. Getting it together: Relational learning in a jazz performance context. 2003.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

20

The whole musician: A multi-sensory guide to practice, performance and pedagogy. Santa Cruz, CA: Effey Street Press, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

21

Nolan, Deborah L. The contributions of nineteenth-century European women to guitar performance, composition, and pedagogy. 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

22

Abrahams, Frank, and Daniel Abrahams. Choral Pedagogy and the Construction of Meaning. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.11.

Full text

Abstract:

In this chapter, the authors focus on pedagogies, such as the theories of Lev Vygotsky and the active learning concepts of John Dewey, that contribute to the making of meaning, and the acquisition of meaningfulness by proposing a sociotransformative approach to choral pedagogy in the teaching of the expert chorister. Based on constructivist learning theories, and applying reciprocal teaching, this perspective centers on the conductor’s influence as they design opportunities for dialogic conversation, authentic activity, metacognition, and reflexivity. When skillfully integrated into the fabric of the choral rehearsal/performance continuum, the pedagogy brokers singers into a community of practice. The rehearsal scaffolds and schema foster competency, personal and musical agency, identity, and critical consciousness among the singers. This ensures that the performance is more than the singing of pitches with accurate rhythms, dynamics, and intonation, and embodies both cognitive and affective responses to the music and the music making.

APA, Harvard, Vancouver, ISO, and other styles

23

Stark, David, ed. The Performance Complex. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861669.001.0001.

Full text

Abstract:

What’s valuable? Market competition provides one kind of answer. Competitions offer another. On one side, competition is an ongoing and seemingly endless process of pricings; on the other, competitions are discrete and bounded in time and location, with entry rules, judges, scores, and prizes. This book examines what happens when ever more activities in domains of everyday life are evaluated and experienced in terms of performance metrics. Unlike organized competitions, such systems are ceaseless and without formal entry. Instead of producing resolutions, their scorings create addictions. To understand these developments, this book explores discrete contests (architectural competitions, international music competitions, and world press photo competitions); shows how the continuous updating of rankings is both a device for navigating the social world and an engine of anxiety; and examines the production of such anxiety in settings ranging from the pedagogy of performance in business schools to struggling musicians coping with new performance metrics in online platforms. In the performance society, networks of observation—in which all are performing and keeping score—are entangled with a system of emotionally charged preoccupations with one’s positioning within the rankings. From the bedroom to the boardroom, pharmaceutical companies and management consultants promise enhanced performance. This assemblage of metrics, networks, and their attendant emotional pathologies is herein regarded as the performance complex.

APA, Harvard, Vancouver, ISO, and other styles

24

Pedroza, Ludim. Latin Music Studies at Texas State University. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0007.

Full text

Abstract:

The Latin Music Studies (LMS) area at the Texas State University School of Music offers degree-granting programs with concentrations in mariachi and salsa. Such programs are still rare in mainstream US institutions of higher education. LMS founder John Lopez has recently developed a minor in mariachi, which in conjunction with the professional degree in music education provides students with fundamental skills in mariachi ensemble management, pedagogy, performance, and creative musicianship. The history of the minor in mariachi at Texas State University and the prominent presence of mariachi in middle schools and high schools suggest a future wherein the mariachi ensemble in Texas may enter the standard ensemble trio of the choir, band, and orchestra.

APA, Harvard, Vancouver, ISO, and other styles

25

Patch, Justin. The Case for Pop Ensembles in the Curriculum. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0006.

Full text

Abstract:

Music programs should include pop pedagogy, a serious engagement with applied popular music, as they adjust their curricula for the twenty-first century. Pop pedagogy is relevant for pragmatic reasons of future employment and also to meet long-standing missions of higher education. Pop performance, arranging, and songwriting have implications beyond creating music professionals—they open a music department up to students who might never take classes otherwise, teach critical communication skills and civics, provide opportunities for student leadership and applied learning, and prepare skilled amateur musicians for lifelong engagement with music making. Through flipping the classroom and creating a rigorous atmosphere for students to engage with musics that they regularly listen to and participate in, pop ensembles augment the intellectual and practical experiences of students, diversify the curriculum, and keep music education relevant.

APA, Harvard, Vancouver, ISO, and other styles

26

Upitis, Rena. This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.001.0001.

Full text

Abstract:

This Too Is Music guides and motivates teachers to foster classroom conditions that enable elementary students to thrive as improvisers, critical listeners, performers, and composers. Using anecdotes and illustrated with musical examples, the book explores how these aspects of music making are intertwined and quells any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, its emphasis is on the student’s point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented; some are exploratory in nature, and others involve direct instruction. Regardless of their nature, all of the activities arise from research on children’s musical development in general and their development of notational systems in particular, and they have been tested in multiple elementary-classroom environments and preservice settings. The activities center on engaging with music through movement, performing, singing, improvising, composing, developing notational skills, and appealing to children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. This pedagogy has a timeless quality; even in our digital age, this musical environment appeals to children. The book invites readers to adapt the ideas to their own teaching settings, showing both preservice and established teachers that they can teach music creatively to build community and to inspire all who enter there.

APA, Harvard, Vancouver, ISO, and other styles

27

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 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.

APA, Harvard, Vancouver, ISO, and other styles

28

Goetze, Mary. Repertoire as Pedagogy. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.18.

Full text

Abstract:

Including music from a wide range of cultures calls for choral directors to rethink the common practices employed in most choral rehearsals, and to open themselves to a world of new procedures within rehearsals and performances. Since few directors are also ethnomusicologists, these new practices may also impact the role the director plays in the rehearsals. This chapter challenges directors to define their reasons for including vocal music from outside the western art tradition. Directors should consider alternative processes for finding repertory, presenting it to the ensemble, and sharing it. They need to address challenges singers meet when matching vocal timbres and movement that are concomitant with multicultural musical traditions. Finally they must blend consistent choices with repertory that reflects cultural diversity.

APA, Harvard, Vancouver, ISO, and other styles

29

O'Dea, Jane. Virtue or Virtuosity? Greenwood Publishing Group, Inc., 2000. http://dx.doi.org/10.5040/9798216032571.

Full text

Abstract:

Drawing upon the past two decades of burgeoning literature in philosophy of music, this study offers a comprehensive, critical analysis of what is entailed in performance interpretation. It argues that integrity and other virtues offset the harm that virtuosity and rigid historical authenticity can impose on the perceptive judgment required of excellent musical interpretation. Proposed are challenging and provocative reassessments of the appropriate roles for virtuosity and historical authenticity in musical performance. Acknowledging the competitive ethos of the contemporary music scene, it details the kind of character a performer needs to develop in order to withstand those pressures and to achieve interpretive excellence. Performers are encouraged to examine and explore the ethical dimension of their art against their responsibilities to the diverse patrons they serve. Professional and student performers and instructors will appreciate this practical discussion of the ethical challenges performers confront when interpreting musical works. The ethical discourse applies to instrumental performance studies, the history and theory of music, general music pedagogy, and philosophy of music courses.

APA, Harvard, Vancouver, ISO, and other styles

30

Tenzer, Michael. In Honor of What We Can’t Groove To Yet. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0009.

Full text

Abstract:

This chapter advances the premise that a reconstructed approach to musical transcription can anchor future university music curricula across all music subdisciplines. Arguments for this position include the relevance of transcription for integration of ethnomusicology, music theory, composition, and performance; its benefit to cultivating embodied musicianship (especially singing); and its potential to foster cross-cultural ethics and empathy. Transcription is also an ecumenical medium in which to keep our teaching strongly anchored in literacy, the core value of Western universities, without unduly tilting toward Eurocentrism or any other sort of centrism. It can engage the general student in many ways: it need not imply staff notation, and the creative task of visually representing music can powerfully reward music and non-music students alike. The conclusion of the chapter proposes a pedagogy of transcription, as well as sample assignments at several levels of challenge that can be effective for all students.

APA, Harvard, Vancouver, ISO, and other styles

31

West, Chad, and Mike Titlebaum, eds. Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.001.0001.

Full text

Abstract:

Teaching School Jazz: Perspectives, Principles, and Strategies is an edited collection of suggested practices in school jazz education authored by a seasoned and diverse lineup of jazz educators with supporting research-based case studies woven into the narrative. It provides not only a wealth of school jazz teaching strategies but also, and perhaps as important, the jazz perspectives and principles from which they are derived. The first part of the book describes the current landscape of school jazz education and offers an overview of basic jazz concepts through the lenses of two expert, yet very different, school jazz educators. Parts II–VI constitute the heart and soul of the book, covering a vast and comprehensive set of topics central to school jazz education. Included throughout each chapter are references and links to audio, visual, and print resources for teaching school jazz that are downloadable from a related website. This text is an invaluable resource for preservice and in-service music educators who have no prior jazz experience, as well as for those who wish to expand their knowledge of jazz performance practice and pedagogy. The book may serve as a primary text for collegiate-level jazz pedagogy courses or as a supplemental text for general instrumental methods and pedagogy classes. Chapters begin with jazz case studies and contain a wealth of jazz-specific teaching material, lists of recommended artists for listening, and visual demonstrations of each chapter’s material.

APA, Harvard, Vancouver, ISO, and other styles

32

La "Ciaccona" di Bach: Saggio di storia dell'interpretazione : seminario di studi della Scuola superiore di musicologia e pedagogia musicale di Fermo, Università di Macerata, Comune di Fermo, 14 marzo-24 aprile 1986. Milano: Unicopli, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

33

Baragwanath, Nicholas. The Solfeggio Tradition. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197514085.001.0001.

Full text

Abstract:

The book is the first study of the solfeggio tradition, which was fundamental to the training of European musicians c. 1680–1830. It addresses one of the last major gaps in historical research concerning eighteenth-century performance and pedagogy. The method flourished in Italian conservatories for disadvantaged children, especially at Naples. The presence of large manuscript collections in European archives (almost three hundred in Italy alone) attests to the importance of this kind of exercise. Drawing on research into more than a thousand manuscript sources, the book reconstructs the way professional musicians in Europe learned and thus conceived the fundamentals of music. It reveals an approach that differs radically from modern assumptions. Solfeggi underpinned an art of melody that allowed practitioners to improvise and compose fluently. Part I provides contextual information about apprenticeship, the church music industry, its associated schools, and the continued significance of plainchant to music education. Part II reconstructs the real lessons of an apprentice over the course of three or four years from spoken to sung solfeggio. Part III surveys the primary sources, classifying solfeggi into four main types and outlining their historical origins, characteristic features, and pedagogical purposes.

APA, Harvard, Vancouver, ISO, and other styles

34

Everist, Mark. Genealogies of Music and Memory. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546000.001.0001.

Full text

Abstract:

The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714–1787) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible—together with the soprano Pauline Viardot—for the ‘revival’ of the composer’s Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck’s music for the Parisian stage. The ‘revival’ of Orfeo is contextualized among other attempts at reviving Gluck’s works in the 1860s, and the role of Berlioz, Viardot, and a host of others re-examined.

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic 'Music performance pedagogy'

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