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Relevant bibliographies by topics / Performance practice (Music) Improvisation (Music) Composition (Music) / Books

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Books on the topic 'Performance practice (Music) Improvisation (Music) Composition (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Improvisation: Its nature and practice in music. Da Capo Press, 1993.

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2

Peter, Johnson, and Zender Hans, eds. Theory into practice: Composition, performance and the listening experience. Lauven University Press, 1999.

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3

Jazz arranging and performance practice: A guide for small ensembles. Scarecrow Press, 1989.

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4

Deliège, Irène. Musical creativity: Multidisciplinary research in theory and practice. Psychology Press, 2006.

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5

Cook, Nicholas. Theory into practice: Composition, performance and the listening experience. University Press, 1999.

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6

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 de

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7

Herbert, Ruth, David Clarke, and Eric Clarke, eds. Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.001.0001.

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Complementing the 2011 publication Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, this edited volume of 17 essays is organized into three parts. The chapters in Part I (‘Music, consciousness, and the four Es’) question the assumption that consciousness is a matter of what is going on in individual brains, and investigate the ways in which musical consciousness arises through our embodied experience, is embedded in our social and cultural existence, extends out into world, and is manifested as we enact our relationships with and within it. Part II (‘Consciousn

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8

Shaw, Brian P. Music Assessment for Better Ensembles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.001.0001.

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Assessment is central to ensemble music. Yet, teachers do not always have the expertise to harness its potential to improve rehearsals and performances, and promote and document student learning. Written specifically for band, choir, and orchestra teachers at all levels, this book contains all of the information necessary to design and use assessment in a thriving music classroom. The first section addresses foundations such as learning targets, metacognition, and growth mindset. Assessment jargon such as formative assessment, summative assessment, Assessment for Learning, self and peer assess

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9

Acosta, Rodolfo. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0013.

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This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music thr

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10

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 crea

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11

Moten, Fred. Jurisgenerative grammar (for alto). Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.017.

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“Jurisgenerative Grammar” is concerned with the interplay of legality and criminality in the generation of language and music. It examines how a kind of fugitive poetics is enacted in the fall into what Martin Heidegger refers to as thecommercium, a social space marked by the propensity for song, chatter, and idle talk. This essay argues that thecommerciumis, in fact, a place for thought and thoughtful creation. Its aesthetic sociality animates the compositional and improvisational practices in which Anthony Braxton is engaged in the making of his “language musics,” even when such music is giv

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12

A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 2000.

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13

A, Sloboda John, ed. Generative processes in music: The psychology of performance, improvisation, and composition. Clarendon Press, 1988.

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14

Practice of Musical Improvisation: Dialogues with Contemporary Musical Improvisers. Bloomsbury Publishing Plc, 2020.

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15

Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.

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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and les

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16

Music As Creative Practice. Oxford University Press, Incorporated, 2018.

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17

Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Oxford University Press, USA, 2001.

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18

Mortensen, John J. Pianist's Guide to Historic Improvisation. Oxford University Press, Incorporated, 2020.

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19

Mortensen, John J. Pianist's Guide to Historic Improvisation. Oxford University Press, Incorporated, 2020.

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20

Pianist's Guide to Historic Improvisation. Oxford University Press, Incorporated, 2020.

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21

Butler, Mark J. Playing with Something That Runs: Technology, Improvisation, and Composition in DJ and Laptop Performance. Oxford University Press, Incorporated, 2014.

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22

Playing with Something That Runs: Technology, Improvisation, And Composition In Dj And Laptop Performance. Oxford University Press, 2014.

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23

Cook, Nicholas, Peter Johnson, and Hans Zender. Theory Into Practice: Composition, Performance and the Listening Experience: Collected Writings of the Orpheus Institute. Leuven Univ Pr, 1999.

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24

Sloboda, John A. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition (Oxford Science Publications). Oxford University Press, USA, 1988.

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25

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.

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26

Edwards, Jane, and Jeanette Kennelly. Music Therapy for Hospitalized Children. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.28.

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This chapter provides information about music therapy practice with children receiving care in a hospital, including information about music therapy service development in new settings. Music therapy offers opportunities for children and their families to be supported while undergoing difficult experiences following an injury or during an illness. Children with life-limiting conditions, and with chronic illness are also treated in hospitals, and can benefit from specialized support and help to cope with their circumstances. Music therapy can be provided to address treatment goals relating to p

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27

Hallam, Susan, Ian Cross, and Michael Thaut, eds. Oxford Handbook of Music Psychology. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.001.0001.

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The Oxford Handbook of Music Psychologyprovides a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from experts in the field, the coverage offered has both range and depth. The fifty-two articles are divided into eleven sections covering both experimental and theoretical perspectives. Ten sections each present articles that focus on specific areas of music psychology: the origins and functions of music; music perception; responses to music; music and the brain; musical development; learning musical skills; musical performance; composit

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28

Webster, Peter R. Children as creative thinkers in music. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0039.

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The study of creative thinking in music involves a complex combination of cognitive and affective variables, often executed at the highest levels of human thinking and feeling. This is such a complicated set of long-term engagements (composition, repeated music listening, or decisions about previously composed music in performance) or ‘in the moment’ engagements (improvisation and one-time listening), that it becomes quickly apparent why this field has not attracted more music researchers and why many feel the topic is hopelessly impregnable. However, the changes in education and the role of m

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29

Manzo, V. J. Max/MSP/Jitter for Music. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780199777679.001.0001.

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In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile d

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30

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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31

Feisst, Sabine. Negotiating Freedom and Control in Composition. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.005.

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This chapter discusses the many meanings of improvisation and free improvisation in Western classical music from 1950 to 1980 and examines criteria for improvisation, composition, and performance. It investigates concepts related to improvisation such as indeterminacy, chance, aleatory, open form, minimal music, and experimental music. Discussion focuses on the terminology, ideas, and selected works of Anthony Braxton, André Boucourechliev, Pierre Boulez, John Cage, Cornelius Cardew, Alvin Curran, Franco Evangelisti, Vinko Globokar, Roman Haubenstock-Ramati, Joëlle Léandre, Witold Lutosławski,

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32

Burt, Warren. Thoughts on an Algorithmic Practice. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.36.

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In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social contex

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33

Cook, Nicholas, Peter Johnson, and Hans Zender. Theory into practice. Leuven University Press, 2021. http://dx.doi.org/10.11116/9789461664327.

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'Theory into Practice. Composition, Performance and the Listening Experience' is the second publication in the series 'Collected Writings of the Orpheus Institute'. The series comprises articles concerning the activities of the Orpheus Institute. The centrale theme of this book is the relationship between the reflections about and the relization of a musical composition. In his paper Words about Music, or Analysis versus Performance, Nicholas Cook states that words and music can never be aligned exactly with one another. He embarks on a quest for models of the relationship between analytical c

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34

Heyde, Neil, Christopher Redgate, Roger Redgate, and Matthew Wright. Intervention. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0026.

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Four highly experienced contemporary musicians—cellist, violinist, oboist and turntablist—who had never previously played together as a quartet discuss a public performance of free-improvisation. The conversation ranges across unpredictability and technology, composition and improvisation, and the rewards of getting to know one another through music.

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35

Sparti, Davide. On the Edge. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.020.

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While all human agency unfolds with a certain degree of improvisation, there are specific cultural practices in which improvisation plays an even more relevant role. Among these, jazz offers a privileged site for understanding how improvisation operates, offering the opportunity to find within it a frame of reference that might be related to other genres and modes of creation. This contribution, as Wittgenstein would say, has a “grammatical” design to it. It proposes to clarify the significance of the term “improvisation” by reflecting upon theconditionsthat make the practice possible. Rather

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36

Grimshaw-Aagaard, Mark, Mads Walther-Hansen, and Martin Knakkergaard, eds. The Oxford Handbook of Sound and Imagination, Volume 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190460242.001.0001.

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The Oxford Handbook of Sound and Imagination is a two-volume anthology that covers the topic of imagination in the context of sound and music. There are seventy chapters in ten parts across two volumes that present thinking and research on the topic from a broad multidisciplinary perspective, and the fields of study represented include (but are not limited to): music (composition, improvisation, philosophy, therapy, and so forth); sound studies; acoustics and bioacoustics; cognition and neurology; psychology; literature, poetry, and comics; heritage studies; anthropology; branding and advertis

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37

Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range o

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38

Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of f

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