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Books on the topic 'Preparation of musical performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Roemer, Clinton. The art of music copying: The preparation of music for performance. 2nd ed. Sherman Oaks, Calif: Roerick Music Co., 1985.

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2

Oliver, Donald. How to audition for musical theatre: A step-by-step guide to effective preparation. Lyme, NH: Smith and Kraus, 1995.

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3

Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. New York: Drama Book Publishers, 1988.

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4

Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. 2nd ed. Lyme, NH: Smith and Kraus, 1995.

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5

How to audition for the musical theatre: A step-by-step guide to effective preparation. New York: Drama Book Publishers, 1985.

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6

Mazzola, Guerino. Musical Performance. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-11838-8.

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7

Goodman, A. Harold. Expressive musical performance. [Provo, Utah]: BYU Press, 1994.

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8

Litvinova, Margarita, and Irina Kozhaeva. Musical-poetic performance. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071391.

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In the educational-methodical manual deals with basic dramaturgical and staging the principles of working with documentary and artistic material, techniques use of fact and document in a journalistic view, clearly demonstrates techniques for creating imaginative solutions and scenarios of artistic and journalistic representations. Addressed to students of universities of arts and culture, studying under the direction of training 51.03.05 "direction of the dramatized representations and holidays", studying discipline "Directing poetry theater" and "writing"; and also workers of culture, Directors and practitioners working to create theatrical programs and mass celebrations.

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9

Richard, Aven, ed. Acting: Preparation, practice, performance. New York: HarperCollins College Publishers, 1994.

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10

Hardy, Lew. Mental preparation for performance. Leeds: National CoachingFoundation, 1986.

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11

Lee, Charlotte I. Theater: Preparation and performance. Glenview, Ill: Scott, Foresman, 1987.

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12

Berry, Wallace. Musical structure and performance. New Haven: Yale University Press, 1989.

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13

Music manuscript preparation: A concise guide. Metuchen, N.J: Scarecrow Press, 1991.

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14

Musical performance: A philosophical study. London: Routledge, 1998.

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15

Godlovitch, Stanley. Musical performance: A philosophical study. London: Routledge, 1998.

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16

The biology of musical performance and performance-related injury. Lanham, Md: Scarecrow Press, 2009.

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17

The musical: Race, gender and performance. London: Wallflower, 2005.

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18

Authenticities: Philosophical reflections on musical performance. Ithaca: Cornell University Press, 1995.

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19

Powers, William K. War dance: Plains Indian musical performance. Tucson: University of Arizona Press, 1990.

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20

The Cambridge history of musical performance. Cambridge: Cambridge University Press, 2012.

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21

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

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22

Wong, Gloria N. (Gloria Ngar-Yan), ed. Yueqi: Chinese musical instruments in performance. Vancouver, B.C: British Columbia Chinese Music Association, 2011.

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23

1914-, Levarie Siegmund, ed. Early music: Approaches to performance practice. New York: Da Capo Press, 1986.

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24

1942-, Loy James M., ed. The architecture of leadership: Preparation equals performance. Annapolis, Md: Naval Institute Press, 2008.

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25

Signed language interpreting: Preparation, practice and performance. Manchester, UK: St. Jerome Pub., 2011.

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26

Magnuson, Katherine A. Does prekindergarten improve school preparation and performance? Cambridge, MA: National Bureau of Economic Research, 2004.

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27

Whitwell, David. The art of musical conducting. Northridge, CA (Box 280513, Northridge 91328): Winds, 1998.

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28

Whitwell, David. The art of musical conducting. St. Louis, MO: Shattinger Music Co., 1998.

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29

Said, Edward W. Musical elaborations. London: Vintage, 1992.

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30

Said, Edward W. Musical elaborations. New York: Columbia University Press, 1991.

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31

Said, Edward W. Musical elaborations. London: Chatto & Windus, 1991.

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32

Said, Edward W. Musical elaborations. New York: Columbia University Press, 1991.

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33

Said, Edward W. Musical elaborations. New York: Columbia University Press, 1991.

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34

Lisk, Edward S. The creative director: Intangibles of musical performance. Ft. Lauderdale, Fla: Meredith Music Publications, 1996.

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35

Meaux, Robert. Teaching marching band: Techniques for preparation through performance. San Antonio, Tex: Southern Music Co., 1991.

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36

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 lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.

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37

Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conductor to ensemble. But such a perspective oversimplifies the conductor’s relationship with the ensemble, the relationships between the musicians, and the strategies that the latter must employ when working in large ensembles. Conceptualizing the ensemble as a complex system of interrelated components, where leadership and creative agency are distributed and developed through rehearsal to achieve what audiences assume to be a unified whole, yields new understanding of the work of large ensembles. This chapter examines these components of the creative process in orchestral and choral rehearsal and performance, the internal and external forces shaping and constraining that process, and the approaches that individual musicians and conductors could adopt in response to the changing contexts in which such creativity might be manifested.

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38

Ginsborg, Jane. Small ensembles in rehearsal. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0012.

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Research on music performance as creative practice includes the study of rehearsal and preparation for performance. This chapter investigates creativity as demonstrated both by the individual members of small groups of two to five musicians rehearsing western classical (i.e. notated) music, and between the members of each group. Rehearsal activities—what actually happens when people play and/or sing together—depend on numerous factors, including the group’s goals not only for rehearsal but also for performance, the size of the group, the genre of the music, the performers’ expertise as individual and ensemble musicians, and the length of time available for rehearsal. Long-established groups may prepare for performances by drawing on years of experience, but there are also many examples of ‘instant’, temporary groups or partnerships that have much more limited rehearsal time. Creativity in rehearsal is discussed particularly in the context of research with singer–pianist duos of differing levels of expertise and familiarity, exploring their use of verbal and nonverbal communication and musical behaviours in single rehearsals and series of rehearsals, and with three ensembles made up of student musicians who produced practice diaries.

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39

Musical Performance. Cambridge University Press, 2002.

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40

Godlovitch, Stan. Musical Performance. Routledge, 2002. http://dx.doi.org/10.4324/9780203025628.

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41

Rink, John, ed. Musical Performance. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511811739.

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42

Mazzola, Guerino. Musical Performance. Springer, 2011.

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43

Allen, Glenn Seven. The Singer Acts, The Actor Sings. Bloomsbury Publishing Plc, 2019. http://dx.doi.org/10.5040/9781350043091.

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The Singer Acts, The Actor Sings is a practical workbook for singers and actors in all disciplines, from musical theater through classical repertory to popular performance styles. The book addresses the needs of students and professionals alike, helping them face the challenges of musical performance undaunted and achieve the exhilarating feeling of living through song. Structured in three sections, this workbook first examines song structure, pitch, and style of accompaniment, enabling performers to live moment to moment within a piece of music. The subsequent sections provide clear explanations about what singing as a character really entails and how it works physiologically and artistically before taking the performer through the process of leaving preparation behind and getting down to the business of storytelling. Including online video exercises and demonstrations, The Singer Acts, The Actor Sings is an essential resource for all actors and singers. It will instill in them the competence and confidence to communicate through musical language and tell powerful stories through song.

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44

Feldman, Robert S. Preparation and Performance. McGraw-Hill, 2003.

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45

Investigating Musical Performance. Taylor & Francis Group, 2020.

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46

Aven, Richard C., and Bella Itkin. Acting: Preparation, Practice, Performance. Harpercollins College Div, 1994.

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47

Selby, Hugh. Advocacy: Preparation and Performance. Federation Press, 2009.

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48

Guidelines for manuscript preparation. Miami, FL: Warner Bros. Publications, 1991.

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49

Acting: Preparation, Practice and Performance. Watson-Guptill Pubns, 1994.

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50

H, Mancini Lorenzo, and Esposito Christian L, eds. Nanocomposites: Preparation, properties, and performance. New York: Nova Science Publishers, 2008.

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