Academic literature on the topic 'Performance practice (Music) – Zimbabwe – Case studies'

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

Although recent years have seen the emergence of sustained research on experimental music theater, most of this is largely of a descriptive nature. To address the shortcomings of such approaches, this chapter outlines a theory of experimental music theater based on a clear definition and a number of constitutive features. A number of theoretical terms from the fields of performance theory and theater practice are introduced, namely “showing doing” (Richard Schechner), “non-matrixed performance” and “non-matrixed representation” (Michael Kirby), and “metaxis” (Augusto Boal). The analytical effe

This chapter discusses ways in which an awareness of topics might influence performance behaviors. It contrasts topics as understood respectively by Aristotle (abstract concepts) and Vico (potential for action). Through case studies taken from Mozart’s chamber music with piano (specifically in a “period-instrument” context), it investigates subtle interactions between different dance topics (sarabande, gavotte, bourrée), which emerge only through careful consideration of notational features such as beat hierarchy and other aspects of historically informed performance practice hinted at in the

This book documents ways in which women’s performance practices engage with and localize world religions while creating opportunities for women’s agency. This study draws on the rich resources of three disciplines: ethnomusicology, gendered studies of religion, and religious music studies. It is a meta-ethnography formed by comparisons among different ethnographic case studies. The book analyses women’s performances at religious events in cultural settings spread across the world to demonstrate the pivotal roles women can play in localizing the practice of world religions, exploring moments in

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary i

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

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

This book includes twenty-eight chapters by specialists from across the arts, reassessing Lawrence’s relationship to aesthetic categories and specific art forms in their historical and critical contexts. A new picture of Lawrence as a multi-disciplinary artist emerges, expanding from traditional areas of enquiry in prose and poetry into the fields of drama, painting, music, dance, sculpture, architecture, historiography, life writing and queer and Biblical aesthetics. The Companion explores topics such as Lawrence’s politics in his art, his representations of technology, his practice of revisi

This chapter devotes specific consideration to the complex relationship between contemporary Jewish identity and klezmer music in the city—as seen in two case studies that both directly address Berlin Jewish history through music. The first of these is a project that unearths the rich recorded legacy of two prewar Berlin Jewish record labels (Semer and Lukraphon) and re-presents their music for a modern concert audience. Despite the pre-Holocaust provenance of this music, a post-Holocaust framing is unavoidable, making these materials both a way of hearing the past and also a commentary on the present (including changing German-Jewish relations). In the process, Semer Ensemble raises important questions about the relationship of bounded historical materials to contemporary performance practice. The chapter also critiques the project, arguing that while it powerfully illustrates the wealth of talent and creativity in Berlin’s Jewish music scene, it also bends certain historical narratives to better suit its own artistic aims. Secondly, the chapter discusses the life story and work of singer Tania Alon, one of the few Berlin-born Jews on today’s klezmer and Yiddish scene. Tania’s deeply felt testimony as the granddaughter of Holocaust victims stands as a powerful contrast to the easy fluidity of the contemporary milieu and reminds us of the very personal resonances that this music also contains. In particular, Tania’s singing at Stolpersteine ceremonies is explored, through her own words, as a way of sounding the silenced voices of her family and simultaneously an aural part of the urban fabric.