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Journal articles on the topic 'Musicking'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Varwig, Bettina. "Heartfelt Musicking." Representations 143, no. 1 (2018): 36–62. http://dx.doi.org/10.1525/rep.2018.143.1.36.

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This essay proposes a somatic archaeology of German Lutheran music making around 1700. Focusing on a single cantata by Johann Sebastian Bach, it sets out to reconstruct the capacities of early modern body-souls for musical reverberation, affective contagion, and spiritual transformation.

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2

Oellermann, Esmari, and Ronel De Villiers. "Visiting the musicking space in-between music education and community music: The place where music-kings and queens hold sway." Perspectives in Education 42, no. 4 (2024): 267–82. https://doi.org/10.38140/pie.v42i4.7296.

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Music-kings and -queens are musicians who facilitate experiences in spaces where community music (CM) and music education (MusEd) make music. These musicians lead and facilitate musicking to enrich people’s music, social and cultural lives. This paper specifically explores two diverse projects occupying in-between musicking spaces that have been created by CM musicians and school learners. By recording and analysing the views, opinions, thoughts, feelings and experiences of CM musicians about their experiences in the in-between space with a view to possible collaboration with MusEd teachers in

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3

Holone, Harald, and Jo Herstad. "RHYME: musicking for all." Journal of Assistive Technologies 7, no. 2 (2013): 93–101. http://dx.doi.org/10.1108/17549451311328772.

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PurposeThe purpose of this paper is to bring together the fields of participatory design, design for all, accessible music, tangible interaction and musicking to propose musicking for all, where participants can take part on their own terms, with their own intentions, initiatives and interpretations. The goal is to promote well‐being and health among the participants.Design/methodology/approachCo‐creative tangibles to enable musicking for all have been created and evaluated in a research project. The paper uses the experiences so far in this project to propose “musicking for all”, based on the

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4

Lee, Colin. "Book Review: Musicking." British Journal of Music Therapy 13, no. 1 (1999): 39–40. http://dx.doi.org/10.1177/135945759901300107.

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5

Stige, Brynjulf. "Meanings of musicking." Norsk Tidsskrift for Musikkterapi 9, no. 1 (2000): 2. http://dx.doi.org/10.1080/08098130009477980.

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6

Sirek, Danielle. "Our culture is who we are! “Rescuing” Grenadian identity through musicking and music education." International Journal of Music Education 36, no. 1 (2017): 47–57. http://dx.doi.org/10.1177/0255761417703783.

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In this article I explore the relationships between identities and musicking in Grenada, West Indies, taking into account the understandings of community and nationhood that foreground and inform identity discourse in the Grenadian context. Through the dual lenses of music education and ethnomusicology, I analyze musicking and music education initiatives intended to “rescue” Grenadian identity and Grenadian values as articulated by an older generation of Grenadians and by governmental agencies. I argue that musicking in Grenada is intertwined with identity in complex ways, and that there is a

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7

Wilkinson, Tarina, Liesl van der Merwe, and Debra Joubert. "Exploring the meaning of musicking for older adults in a care home." International Journal of Community Music 16, no. 3 (2023): 271–91. http://dx.doi.org/10.1386/ijcm_00088_1.

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Accessible music-related programmes are essential to the well-being of older adults. Although the role of music in the lives of older adults has been studied extensively in various settings, the purpose of this qualitative intrinsic case study was to explore the meaning older adults ascribed to musicking at a care home. The participants were older adults from one residential care home who chose to attend the weekly musicking sessions on Monday afternoons. Data were collected through interviews and reflective field notes. Five women were interviewed; two preferred individual interviews, and thr

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8

GALLOWAY, KATE. "Sensing, Sharing, and Listening to Musicking Animals across the Sonic Environments of Social Media." Twentieth-Century Music 19, no. 3 (2022): 369–92. http://dx.doi.org/10.1017/s1478572222000251.

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AbstractThis article explores the strategies employed by user-creators as they listen to, sense, make, and share digital audiovisual memes of musicking non-human animals on social media. Memes, reels, and other forms of audiovisual social media posts are a form of cultural expression that reveals the varied ways humans relate to, connect with, and represent non-human animals – especially their pets – through sound, music, and the moving image. By listening to the plurality of musicking animals circulating on social media platforms and networks, I argue that user-creators conspicuously use musi

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9

Tsvetkovskaya, T. A. "Ecology of the Music Mind. On the Idea of “the Binding Pattern” in Christopher Small’s Concept of Musicking." Art & Culture Studies, no. 4 (December 2023): 182–203. http://dx.doi.org/10.51678/2226-0072-2023-4-182-203.

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The aim of this article is to analyse key aspects of the concept of musicking. Despite the fact that this term, coined by Christopher Small, has firmly entrenched in the scientific community, the context in which it is used does not reflect the nature of the neologism. The premise of Small’s word-making was the absence of a verbal noun corresponding to “music-making” in the English vocabulary. However, musicking is not the same as music-making. Unexpected semantic connections are also found when comparing the term musicking with the concept of “musurgia” used in medieval treatises. Small delib

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10

Borgo, David. "Semi-Permeable Musicking Membranes." Journal of Popular Music Studies 22, no. 2 (2010): 131–38. http://dx.doi.org/10.1111/j.1533-1598.2010.01232.x.

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11

Regullano, Eileen. "Asian American Internet Musicking." Anthropology Now 7, no. 2 (2015): 80–86. http://dx.doi.org/10.1080/19428200.2015.1058131.

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12

Berkowitz, Adam Eric. "Artificial Intelligence and Musicking." Music Perception: An Interdisciplinary Journal 41, no. 5 (2024): 393–412. http://dx.doi.org/10.1525/mp.2024.41.5.393.

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Artificial intelligence (AI) deployed for customer relationship management (CRM), digital rights management (DRM), content recommendation, and content generation challenge longstanding truths about listening to and making music. CRM uses music to surveil audiences, removes decision-making responsibilities from consumers, and alters relationships among listeners, artists, and music. DRM overprotects copyrighted content by subverting Fair Use Doctrine and privatizing the Public Domain thereby restricting human creativity. Generative AI, often trained on music misappropriated by developers, rende

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13

Boswall, Karen. "Cinematic musicking in Mozambique." Proa: Revista de Antropologia e Arte 13 (March 1, 2024): e023020. http://dx.doi.org/10.20396/proa.v13i00.17681.

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Following Mozambique’s independence from Portugal in 1975, both music and cinema were seen as essential tools in the revolutionary construction of a new and unified national identity. A National Film Institute was created to produce and distribute films throughout the country, and in a country with 43 different languages and high levels of non-literacy, it was found that musical films were effective at transcending the cultural and linguistic barriers of the colonially divided nation. One film that exemplifies the importance of musical films at this time, is the ethnographic and reflexive musi

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14

Ferlim, Uliana. "Os “musickings”, por Small, e questões para a Educação Musical." Olhares & Trilhas 22, no. 3 (2020): 433–45. http://dx.doi.org/10.14393/ot2020v22.n.3.57800.

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Este ensaio busca trazer o conceito de “musicking”, de Christopher Small (1998), um músico e estudioso informado pela antropologia interpretativa de Geertz (1973) e a teoria da mente de Bateson (1972). O “musicking” pode ser entendido, nas suas dimensões de função e natureza, como constituidor do ser humano, contemplando seus fundamentos biológico, social e cultural. A partir desta exposição, trazemos algumas implicações deste conceito para a Educação Musical, considerando a contribuição dos autores finlandeses (ODENDAAL et al., 2014) que o identificam e o expressam como fenômeno sônico-social

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15

Kim, Jihye. "“Musicking” by Christopher Small and the Direction of Music Education." Korean Society of Culture and Convergence 45, no. 3 (2023): 325–36. http://dx.doi.org/10.33645/cnc.2023.03.45.03.325.

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Recently, as the importance of the relationship between music and people, and between people who mediate music and society has been on the rise in music education, this study reflects on current music education based on Musicking(1998) written by Christopher Small and its follow-up studies. To discuss this study, the musicking was redefined by comparing the musicking of Christopher Small with musicing of David J. Elliot, and the direction of music education was suggested based on musicking of Small. Small stressed on the concept of experiences to focus on the musical behaviors while the musici

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16

Viig, Tine Grieg. "Developing reflection-in-musicking in creative practices." Nordic Research in Music Education 1, no. 1 (2020): 132–50. http://dx.doi.org/10.23865/nrme.v1.2633.

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This article examines the development of reflection-in-musicking in a Write an Opera project at a Norwegian upper secondary school. As part of a PhD project, this case study focuses on a group of seven participants collaborating to create music for an opera with a professional composer facilitating the process. Interviews, observations and video-recordings make up the body of the empirical material. Theories of musicking (Small 1998) and reflection-in-action (Schön, 1983, 1987), and a sociocultural perspective, have been central to understanding the creative practices examined in this study. L

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17

Fessenden, Jon William. "Autistic Music, Musicking, and Musicality." Journal of Literary & Cultural Disability Studies 13, no. 1 (2019): 1–19. http://dx.doi.org/10.3828/jlcds.2019.1.

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18

Lee Sarang. "Arirang Musicking as Cultural Consumptions." Korean Journal of Arts Studies ll, no. 23 (2019): 5–26. http://dx.doi.org/10.20976/kjas.2019..23.001.

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19

Getman, Jessica, and Aya Esther Hayashi. "Introduction: Musicking in media fandom." Journal of Fandom Studies 4, no. 2 (2016): 135–40. http://dx.doi.org/10.1386/jfs.4.2.135_2.

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20

Anderson, Claire M. "‘Spectaculars’ and the study of popular musicking." Journal of Popular Music Education 6, no. 2 (2022): 145–63. http://dx.doi.org/10.1386/jpme_00081_1.

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In US popular music textbooks, women’s contributions are often relegated to the margins. This is not because women have been absent from popular music history, but because music scholarship leans towards the study of formal structures and technical ability and away from the emotional or embodied components of music. I advocate for a shift towards studies in popular musicking, both in scholarship and in the classroom. I argue that an emphasis on spectacular performances – collaborative events designed to awe and entertain and which incorporate many elements of musicking – will open doors for di

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21

Harrison, Klisala. "The social potential of music for addiction recovery." Music & Science 2 (January 1, 2019): 205920431984205. http://dx.doi.org/10.1177/2059204319842058.

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This article examines music and music scholarship vis-à-vis research findings in addictions sciences. It explains how music is socially useful for preventing and treating addiction. Making music with others, and all of the social and cultural activities that go into doing so—musicking—can foster psychosocial integration and social cohesion, via specific cultural and musical mechanisms, and in ways that can salve addictions. Alexander’s social dislocation theory of addiction serves as the theoretical framework for the study. I draw empirical support for the discussion from my long-term ethnogra

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22

Golden, Michael. "Musicking as ecological behaviour: an integrated ‘4E’ view." idea journal 17, no. 02 (2020): 230–47. http://dx.doi.org/10.37113/ij.v17i02.349.

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In this article, I bring together research from ethnomusicology, ecology, neuroscience, ‘4E’ cognition theory and evolutionary musicology in support of the idea that musicking, human musicking in particular, can best be understood as an emergent ecological behaviour. ‘Ecological’ here is used to mean an active process of engaging with and connecting ourselves to our various environmental domains – social, physical and metaphysical – and although I will focus on musicking, these concepts may apply to other artistic behaviours as well. The essential ideas from the Santiago theory of cognition, t

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23

Golden, Michael. "Musicking as ecological behaviour: an integrated ‘4E’ view." idea journal 17, no. 02 (2020): 230–47. http://dx.doi.org/10.51444/ij.v17i02.349.

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In this article, I bring together research from ethnomusicology, ecology, neuroscience, ‘4E’ cognition theory and evolutionary musicology in support of the idea that musicking, human musicking in particular, can best be understood as an emergent ecological behaviour. ‘Ecological’ here is used to mean an active process of engaging with and connecting ourselves to our various environmental domains – social, physical and metaphysical – and although I will focus on musicking, these concepts may apply to other artistic behaviours as well. The essential ideas from the Santiago theory of cognition, t

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24

Lim, Swee. "Forming Christians through Musicking in China." Religions 8, no. 4 (2017): 50. http://dx.doi.org/10.3390/rel8040050.

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25

Langøien, Lars Jørun. "Musicking og improvisasjon i tverrfaglige prosjekter." Studia Musicologica Norvegica 32, no. 01 (2006): 73–86. http://dx.doi.org/10.18261/issn1504-2960-2006-01-06.

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26

Crawforth, Hannah J., and Daniel Albright. "Musicking Shakespeare: A Conflict of Theatres." Modern Language Review 103, no. 4 (2008): 1104. http://dx.doi.org/10.2307/20468046.

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27

Boyce-Tillman, June. "Ecologies of resonance in Christian musicking." Practical Theology 14, no. 5 (2021): 495–97. http://dx.doi.org/10.1080/1756073x.2021.1980702.

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28

Pritchard, Fiona. "Music and musicking in care homes." Nursing and Residential Care 22, no. 5 (2020): 1–3. http://dx.doi.org/10.12968/nrec.2020.22.5.3.

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29

Tomlinson, G. "Hamlet and Poppea: Musicking Benjamin's Trauerspiel." Opera Quarterly 24, no. 3-4 (2008): 152–77. http://dx.doi.org/10.1093/oq/kbp011.

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30

Krøier, Julie Kolbe. "Bogomtale." Tidsskriftet Dansk Musikterapi 19, no. 1 (2022): 52–53. https://doi.org/10.7146/tdm.v19i1.156986.

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31

Tuastad, Lars, and Brynjulf Stige. "Music as a way out: How musicking helped a collaborative rock band of ex-inmates." British Journal of Music Therapy 32, no. 1 (2018): 27–37. http://dx.doi.org/10.1177/1359457518759961.

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This article explores how the members of Me and THE BAND, a rock band consisting of three ex-inmates and a music therapist, experienced playing together, how it helps them, and whether and how this can be related to the concept of self-help. Focus group interviews were conducted to explore the members’ experiences, analysis was grounded in a hermeneutic philosophical understanding and the theoretical framework is based in a community music therapy approach. The study indicates how musicking helped the band members of Me and THE BAND’its to create agency, structure, meaning and community. The b

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32

Järviluoma-Mäkelä, Helmi. "The moving and shifting concept of culture." Approaching Religion 1, no. 2 (2011): 14–16. http://dx.doi.org/10.30664/ar.67477.

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Today, anthropologists, ethnomusicologists, cultural, and gender scholars are interested in culture not only as it is performed, but as it is continuously done, constructed, maintained through acting, musicking, talking, dancing together. Culture lives, and its elements—or aspects, if you wish—are constantly converging, and articulating into new, moving and shifting formations. In this paper Järviluoma discusses the different ways of understanding the concept of culture, interweaving the ideas with the early twentieth century forms of music making in her own grandmother’s home village in north

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33

Rautiainen-Keskustalo, Tarja. "Embodiment through digital intangibility: Infrastructures of musicking." Journal of New Music Research 50, no. 2 (2021): 147–54. http://dx.doi.org/10.1080/09298215.2021.1899248.

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34

Dell'Antonio, Andrew, and Christopher Small. "Musicking: The Meanings of Performing and Listening." Notes 55, no. 4 (1999): 883. http://dx.doi.org/10.2307/899585.

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35

Burke Stanton. "Musicking in the Borders toward Decolonizing Methodologies." Philosophy of Music Education Review 26, no. 1 (2018): 4. http://dx.doi.org/10.2979/philmusieducrevi.26.1.02.

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36

Tomlinson, Gary. "Sign, Affect, and Musicking before the Human." boundary 2 43, no. 1 (2016): 143–72. http://dx.doi.org/10.1215/01903659-3340673.

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37

Gallagher, Christine. "Musical Life Stories: Narratives on Health Musicking." Music Therapy Perspectives 35, no. 2 (2015): 254–55. http://dx.doi.org/10.1093/mtp/miv002.

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38

Hagen, Trever. "Converging on Generation: Musicking in Normalized Czechoslovakia." East Central Europe 38, no. 2-3 (2011): 307–35. http://dx.doi.org/10.1163/187633011x603001.

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AbstractBy examining selected convergence zones as mechanisms of generation within a non-official cultural space, I seek to show how actors used malleable resources to articulate music with social life during the late 1970s to the early 1980s in Czechoslovakia. This article problematizes generation by examining how, rather than in terms of an age gap, new arenas of being and thinking emerged in the 1980s having been generated from previously accumulated aesthetic and social resources of amateur, semi-official, and non-official musical streams in the 1970s. It also argues that habitual forms of

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39

Roesner, David. "Musicking as mise-en-scne." Studies in Musical Theatre 4, no. 1 (2010): 89–101. http://dx.doi.org/10.1386/smt.4.1.89_1.

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40

이소영. "Musicking of Traditional Vocal Artists: Towards Individuation." Music and Culture ll, no. 31 (2014): 37–61. http://dx.doi.org/10.17091/kswm.2014..31.37.

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41

Andrew Mark. "Don't Organize, Mourn: Environmental Loss and Musicking." Ethics and the Environment 21, no. 2 (2016): 51. http://dx.doi.org/10.2979/ethicsenviro.21.2.03.

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42

Keil, Charles, and Christopher Small. "Musicking: The Meanings of Performing and Listening." Ethnomusicology 44, no. 1 (2000): 161. http://dx.doi.org/10.2307/852662.

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43

de Quadros, André, and Sean Evelyn. "Smuggling in Humanity: Musicking through Prison Walls." Music Educators Journal 109, no. 3 (2023): 43–47. http://dx.doi.org/10.1177/00274321231158621.

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In this article, the two authors talk about their vastly different trajectories that span international geographies and contrasting circumstances. By chance, their lives intersected in a music education program in an American prison. They trace their lifeworlds and how their musical engagement was a reciprocal learning experience for both of them. The article describes the “Empowering Song” music education approach that had its genesis in American prisons. The authors also share the experiential learning that has marked their collaboration, a relationship that has benefited them socially, emot

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44

Morgan-Ellis, Esther M., Abigail C. Cannon, Neva Garrett, and Grey Smith. "Musicking in Lumpkin County, Georgia, 1909–1928." American Music 41, no. 2 (2023): 229–59. http://dx.doi.org/10.5406/19452349.41.2.13.

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45

Björkén-Nyberg, Cecilia. "Vocal Woolf: The audiobook as a technology of health." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 6, no. 1 (2016): 69–87. http://dx.doi.org/10.7146/se.v6i1.24913.

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This article explores the therapeutic potential of the performing audiobook voice. It takes as its point of departure the view that the audiobook negotiates the semantics of a text and its vocal manifestation. A key idea is that the performing voice is an affordance for creating a salutogenic sense of coherence in the listener. The argument is theoretically situated within the context of the psychology and sociology of music, with affect regulation and ‘health musicking’ as significant elements. The British actress Juliet Stevenson’s reading of Virginia Woolf’s second novel Night and Day (1919

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46

Bhagwati, Sandeep. "Inhabiting Time: Towards A Heterophony of Temporalities and Traditions." Intersections 41, no. 1 (2021): 57–67. https://doi.org/10.7202/1114851ar.

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In this text, the author argues that heterophony is not just the unkempt shadow of polyphony. On the contrary: its vaguely defined “otherness” opens up new potentials for musicking—especially if we ask how we could conceive of music other than through synchrony, the principle that underpins central musical features such as consonance, harmony, beat, and groove. The world around us is not usually wrought from synchrony. Rather, the vast range of timescales from particle physics to cosmology that traverse us do not rely on synchronized polyphony to deeply impact future life on this planet. There

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47

DeNora, Tia. "HEALTH AND MUSIC IN EVERYDAY LIFE – a theory of practice." Psyke & Logos 28, no. 1 (2007): 17. http://dx.doi.org/10.7146/pl.v28i1.8366.

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Denne artikel er baseret på især to undersøgelser foretaget af medlemmer af Kunst-sociologi-gruppen ved Exeter University (UK). Undersøgelsernes fokus er almindelige menneskers anvendelse af musik (‘lay-musicking’) [Begrebet ‘musicering’ (musicking) refererer til C. Small m.fl.s tolkning af ‘musik’ som en interpersonlig aktivitet mere end et objekt]. Data fra undersøgelserne bruges som afsæt for udvikling af en teori om musikkens psyko-kulturelle rolle og funktioner som et kommunikations- og regulerings-medie, og som et redskab til at skabe mening i dagliglivets specifikke, tidslige kontekster

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48

Hess, Juliet, Vaughn W. M. Watson, and Matthew R. Deroo. "“Show Some Love”: Youth and Teaching Artists Enacting Literary Presence and Musical Presence in an After-School Literacy-and-Songwriting Class." Teachers College Record: The Voice of Scholarship in Education 121, no. 5 (2019): 1–44. http://dx.doi.org/10.1177/016146811912100502.

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Background/Context Youth's multiliteracies and musical practices are increasingly considered as taking place beyond school and including community-based educational contexts. Literacy scholars increasingly seek to understand the social and cultural contexts of literacy practices, underscoring youths’ identities as present and future civic participants. Moreover, Small's concept of musicking reframes academic understandings of music to acknowledge the multiplicity of ways youth are inherently musical. Yet less is known about social and cultural contexts of multiliteracies practices and musickin

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49

Tremblay, Pierre Alexandre, Gerard Roma, and Owen Green. "Enabling Programmatic Data Mining as Musicking: The Fluid Corpus Manipulation Toolkit." Computer Music Journal 45, no. 2 (2021): 9–23. http://dx.doi.org/10.1162/comj_a_00600.

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Abstract This article presents a new software toolbox to enable programmatic mining of sound banks for musicking and musicking-driven research. The toolbox is available for three popular creative coding environments currently used by “techno-fluent” musicians. The article describes the design rationale and functionality of the toolbox and its ecosystem, then the development methodology—several versions of the toolbox have been seeded to early adopters who have, in turn, contributed to the design. Examples of these early usages are presented, and we describe some observed musical affordances of

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50

Inglese, Francesca. "Sentimental Orientation: Listening and Musical Value in Kaapse Klopse Practice." Ethnomusicology 68, no. 3 (2024): 434–57. http://dx.doi.org/10.5406/21567417.68.3.06.

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Abstract Coloured South Africans have long been marginalized by a Black/White racial binary that framed their identities and cultural practices as degraded and derivative. Situated in a postapartheid twenty-first-century global neoliberal “identity economy” in which they continue to labor for cultural recognition and value, this article argues that contemporary practitioners of Kaapse klopse (clubs of the Cape) craft aesthetics beyond that binary that recenter musicking and musical value around community tradition and the feelings produced through iterative listening. I focus on the “sentiment

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