Relevant bibliographies by topics / Reflection (Musical group)

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Academic literature on the topic 'Reflection (Musical group)'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Reflection (Musical group)"

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Lampasiak, Aurelia, and Andrea Welte. "Embodied musical improvisation: How the body fosters improvising groups." Journal de recherche en éducations artistiques (JREA), no. 2 (February 6, 2024): 41–52. http://dx.doi.org/10.26034/vd.jrea.2024.4720.

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This article explores the question of how the body is involved when improvising together in a group. Focusing on improvisational pedagogical practices, our interest lies particularly in the question in what ways the body empowers participation. With “Embodied participation in musical group improvisation” we are introducing a new model which allows for reflection on musical group improvisation. It also encourages a body-based perspective on improvisation in relation to the facilitation of participation. We illustrate our reasoning with examples from the ImproKultur project. In particular, we ta
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Have, Iben. "Attitudes towards documentary soundstracks - Between emotional immersion and critical reflection." MedieKultur: Journal of media and communication research 26, no. 48 (2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2133.

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Musical experience is often related to an emotional and imaginative engagement of the listener. Discourses of journalistic documentaries relate primarily to inferential knowledge systems in which the uses of background music as a communicative device become an object of epistemological critique. By listening to different voices – primarily from four focus group interviews – the article will discuss attitudes towards musical soundtracks in documentaries, attitudes being negotiated between emotional immersion and critical reflection, with the concept of manipulation as an underlying theme. In th
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Ihsan, Andi, and Andi Taslim Saputra. "REPRESENTASI GAYA LOKAL DALAM PERTUNJUKAN KACAPING SEBAGAI REFLEKSI NILAI PENDIDIKAN BUDAYA MANDAR." JURNAL PAKARENA 9, no. 2 (2024): 236. https://doi.org/10.26858/p.v9i2.69880.

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This research aims to understand the representation of local style in Kacaping performances on the festival stage as a critical reflection of the educational values of Mandar Culture. There have been several studies on kacaping, but generally, they only focus on music analysis, development, biography, and do not explain the representation of local style as a critical reflection of the educational values of the Mandar community in festival stage performances. This research aims to determine: a) the representation of local style on the festival stage; b) the relationship between the local style
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Kyratsou, Chrysi. "Musical citizenship as a means to disrupt exclusions: Potentials and limitations as understood in times of a pandemic." Citizenship Teaching & Learning 17, no. 1 (2022): 145–54. http://dx.doi.org/10.1386/ctl_00086_1.

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This article focuses on the potential of in-group music lessons to foster musical citizenship. It further discusses the relation between musical citizenship and conventional citizenship and shows how musical citizenship reorientates our thoughts towards citizenship, particularly in the light of the recent pandemic. The discussion is based upon reflection on semi-structured interviews conducted during my ethnographic fieldwork research on musicking among refugees sheltering in reception centres. The discussion is framed with approaches to citizenship and musical citizenship. The discussion is s
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Muhammad Syafe’i. "Upaya Mengembangkan Kecerdasan Musikal Melalui Permainan Persepsi Bentuk Musikal Pada Anak Kelomok B di TK Pertiwi Tanjung Juwiring Klaten." SALIHA: Jurnal Pendidikan & Agama Islam 1, no. 2 (2018): 71–85. http://dx.doi.org/10.54396/saliha.v1i2.14.

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This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through
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Kashina, Natalya I., and Natalia G. Tagiltseva. "Musical culture in the development of the cultural identity of the individual." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 32–40. http://dx.doi.org/10.17223/22220836/45/4.

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One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical cultur
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.

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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comp
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Archibald, Paul. "Finding the drummer: A reflection during isolation." Journal of Popular Music Education 5, no. 2 (2021): 171–86. http://dx.doi.org/10.1386/jpme_00056_1.

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Drummers, in providing a cohesive role in a group setting, are generally valued by other instrumentalists depending on their ability to accompany sensitively and supportively; while important to all forms of popular music in which the drum kit features, the part itself is usually not created to exist independently. In recent times of lockdown and enforced isolation during the first half of 2020, drummers have found themselves deprived of the ability to make music with other people in a traditional live setting. This article examines the drummer’s reliance on the group, the value that this give
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Wang, Zhang. "Reflection of Mongolian musical culture in Liang Lei's String quartets." PHILHARMONICA. International Music Journal, no. 4 (April 2024): 60–75. https://doi.org/10.7256/2453-613x.2024.4.71132.

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The article is devoted to the identification of elements of the Mongolian musical tradition in the quartet work of the outstanding modern Chinese composer Liang Lei. The focus is on two quartets: "Serashi Fragments" (2005) and "Gobi Gloria" (2006), which found their artistic embodiment of the song folklore of the Mongols with its characteristic performance styles - urtyn-duu, bogino-duu, features of playing national instruments, primarily on the morin khura, a special the form of performance for two voices is chaoer. A special place in quartets is occupied by imitation of the sound of traditio
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Tawlai, Galina. "The principle of laughter in Byelorussian vocal culture as a form of reflection on images of the world." Muzikologija, no. 17 (2014): 107–27. http://dx.doi.org/10.2298/muz1417107t.

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This paper considers particular ways of organizing musical material in songs connected with the culture of laughter, as well as the coordination and interaction of different artistic spheres in this group of traditional Belarus song forms. Our long standing, complex ethno-musicological research, constant documentations of our own field work, comparison of ritual songs? stylistics with their respective cognitive methods, together with observations and generalizations made by the real exponents of traditional Belarus song have given us the possibility to hear and recognize this strict, logically
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Books on the topic "Reflection (Musical group)"

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Carruthers, Bob. Pink Floyd: Reflections and echoes. Archive Media Pub., 2005.

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Melinda, Sawers, ed. Reflections & voices: Exploring the music of Yothu Yindi with Mandawuy Yunupingu. Sydney University Press, 2009.

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Point of Grace (Musical group). Keep the candle burning: 24 reflections from our favorite songs. Warner Faith, 2003.

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Laurie, Stras, ed. She's so fine: Reflections on whiteness, femininity, adolescence and class in 1960s music. Ashgate, 2009.

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Creech, Andrea, and Susan Hallam. Facilitating learning in small groups. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0004.

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Musical ensemble performance is an inherently social activity, offering a rich context for fostering deep learning. Yet, musicians need to be supported in developing the skills that underpin negotiation and collaboration in generating musically cohesive, imaginative and convincing performances. This chapter focuses on the role of the coach or facilitator in maximizing the potential for collaborative and creative music-making in groups. The group processes and roles found in ensembles of varying types are considered within a framework comprising musical, perceptual and social skills required fo
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Varas-Díaz, Nelson, and Niall Scott, eds. Heavy Metal Music and the Communal Experience. Published by Lexington Books, 2016. https://doi.org/10.5040/9781666999310.

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It is common to hear heavy metal music fans and musicians talk about the “metal community”. This concept, which is widely used when referencing this musical genre, encompasses multiple complex aspects that are seldom addressed in traditional academic endeavors including shared aesthetics, musical practices, geographies, and narratives. The idea of a “metal community” recognizes that fans and musicians frequently identify as part of a collective group, larger than any particular individual. Still, when examined in detail, the idea raises more questions than answers. What criteria are used to de
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Reuben, Alex. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0024.

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I have a background as a DJ and in art and design. I feel there’s a rhythm in a group of people and how they move, a sense of contagion through improvisation and structure passing from one to another, a group experience. My films feature dance and are directed to and by sound. When I DJed, the music spatially cut up the nightclub for me: it created a sculptural sensation, a form, a conjoined physical, emotional weight....
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Welch, Graham, and Adam Ockelford. The role of the institution and teachers in supporting learning. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0029.

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This article discusses how learning and teaching in music are shaped by processes outside the individual, not least because of the influences of group membership (allied to age and gender), performance expectations and practices, and professional and institutional cultures. The process of individual induction into the characteristics of a particular musical culture by teachers and institutions influences the formation of identities in music, for better or for worse, at least in terms of dominant models within the culture. Indeed, the development of music teachers themselves can be seen within
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Perone, James E. Words and Music of Prince. Greenwood Publishing Group, Inc., 2008. http://dx.doi.org/10.5040/9798216038535.

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Prince's early albumsDirty Mind, 1999, andPurple Rain, established him as a major force in American pop music. His combination of rock and funk was unique, and drew both critical praise and commercial attention. The 1990s found Prince forming a new group, moving back in the direction of R&B, and eventually adopting an unpronounceable symbol as his moniker. By the end of the millennium, he was again exploring an eclectic collection of musical styles and enjoying a resurgence of interest in his well-known song 1999. Prince is one of the few artists of the entire rock era who successfully bri
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Delargy, David, Eugene O'Hagan, and Martin O'Hagan. Soul Song: Reflections on an Unexpected Journey by the Priests. Transworld Publishers Limited, 2010.

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Book chapters on the topic "Reflection (Musical group)"

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Generale, Mariane, Audrey-Kristel Barbeau, and Andrea Creech. "Adapting to Change: A Community Band’s Journey in Using Technology to Continue Music-Making During the Pandemic." In Pedagogies for Later-Life Music Learning and Participation. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-87136-8_9.

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Abstract This chapter focuses on the adaptations undergone by the Montreal New Horizons Band (MNHB), a community wind ensemble, to continue to provide musical activities for its members during the pandemic. Participants’ quality of life profile (QoLP:SV), and their attitudes to technology (ATT) were collected prior to and after completion of a semester of online music rehearsals. Additionally, researchers explored participants’ musical backgrounds, thoughts on everyday technology use, and their perceptions of online versus in-person band rehearsals. This chapter explores: (1) what were the per
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Gibson, Sarah-Jane. "11. Experience, Understanding and Intercultural Competence." In Teaching Music Performance in Higher Education. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.14.

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Ethno is JM International’s program for folk, world and traditional music. Founded in 1990, it is aimed at young musicians (up to age 30) with a mission to revive and keep alive global cultural heritage. Originating in Sweden, but now present in over 40 countries, Ethno engages young people through a series of annual international music gatherings as well as workshops, concerts and tours, working together with schools, conservatories and other groups of youth to promote peace, tolerance and understanding (https://ethno.world/about/). In this chapter, I consider the research questions to what e
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Heaney, Maeve Louise. "11. Spiritual Subjects." In Music and Spirituality. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.11.

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This chapter focusses on and explores the connection between the two core themes at the heart of the book’s research agenda: spirituality and music. Building on broad and intellectually informed definitions of musicking and spirituality, the chapter names three theological categories from the world of Christian theology – Grace, Trinity, and the Ascended Body of Christ – that help ground some commonly-perceived connections between the two, as well as various disciplinary fields from world of music study – musical semiotics, hermeneutics, and history – necessary to explore these connections fur
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Thompson-Bell, Jacob. "6. Working Together Well." In Teaching Music Performance in Higher Education. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.08.

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This chapter interrogates some of the foundational assumptions of student-centred learning environments (SCLEs), with a view to expanding conventional pedagogical models to account for the “distributive” agency of groups of learners assembled in a classroom. In the first part, the author proposes that learner groups be treated as distributive agential networks, braiding together intrinsic, extrinsic and intratrinsic (i.e. motivation distributed between multiple learners) forms of motivation, thereby to sustain both individual and collective forms of agency. It is argued that greater awareness
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Cassidy Parker, Elizabeth. "Growing Social Identity." In Adolescents on Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0019.

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Chapter 7 investigates how adolescents reflect the groups in which they participate and how individuals use group characteristics to create and refine self-identity. In this chapter adolescents tell of their musical ingroup and outgroup experiences. Their experiences are then interpreted using a “group in the individual” or social identity perspective, The chapter also focuses on how adolescents use social categorization, social comparison, social mobility, social change, and social creativity to build themselves. At the end of the chapter, there is a discussion of the structural challenges th
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Decker, Todd. "Metered." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0010.

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Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characteri
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Alne, Rebekka, Heidi Susann Emaus, Anki Godø Giæver, et al. "A small “musical” greeting from “The Chamber Music Group, Seven Sisters”." In Innovations in the Reflecting Process. Routledge, 2018. http://dx.doi.org/10.4324/9780429475962-17.

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Custodero, Lori A. "Musical Beings." In Before We Teach Music. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197557877.003.0001.

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Abstract Childhood is a critical period in which music functions to cultivate relationships, support dispositions, and encourage experiences of expression and communication. It also provides a means through which children can be agents in their own self-regulation and comfort. Reflecting on our past experiences in childhood and attending to our immediate experiences with children provide a foundation for sympathetic responsiveness to children’s needs and awareness of (previously hidden) capabilities. The chapter illuminates how and why we are musical beings; how the temporal, dynamic, social,
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Zalar, Konstanca. "Let the Music Speak in Joyful Music Lessons." In Perspectives on Teacher Education and Development. University of Maribor,. University Press, 2023. http://dx.doi.org/10.18690/um.pef.1.2023.32.

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Many elementary school teachers enjoy the state of students’ immersion in musical activities. However, researchers claim that a state of complete student engagement is difficult to achieve owing to their lack of experience in playing and creating with musical parameters. The aim of the illustrative case study was to explore future teachers’ awareness of music making. The aim was to find out how they included it in their preparations, how they described it in self-reflections, and how they evaluated it in peer descriptions. The analysis of the data revealed that future teachers planned the impl
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Vaz-Deville, Kim. "How the Baby Dolls Became an Iconic Part of Mardi Gras 1." In Walking Raddy. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817396.003.0010.

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This chapter traces the history of the Baby Dolls through their connection to songs, bands, and musical genres. Reflecting its African influence, black music is made in response to those who will be dancing to it. The varying groups of Baby Dolls of New Orleans can be distinguished to a certain extent by the music and the musicians they are connected to.
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Conference papers on the topic "Reflection (Musical group)"

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Žitkevičienė, Daiva, and Jolanta Lasauskienė. "The Method of Involving Young Children in Group Musical Activities." In 81th International Scientific Conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/htqe.2023.21.

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The possibilities and specific features of enhancing the efficiency of the educational interaction that penetrates the whole educational process by involving children in active musical activities as early as possible have been poorly explored in Lithuania so far. The aim of the research is to highlight educational preconditions of involving 3–4-year-old children in group musical activities by implementation Batia Strauss’s Method of Active Listening to Music in practice with a group of children in early childhood music education. The participants included fifteen children from a kindergarten i
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Toto, Giusi Antonia, Benedetta Ragni, and Pierpaolo Limone. "Use of Music and Openness in a Group of Teachers-in-Training Receiving a Musical Intervention." In ATEE 2022 Annual Conference. University of Latvia Press, 2023. http://dx.doi.org/10.22364/atee.2022.37.

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The effects of music education on cognitive abilities have raised great interest among scholars of education and learning. According to literature, the use of music in pedagogical practices enhances learning processes with positive impact on the intellectual and social development of students. The main objective of this study was to explore the personal experience with music of teachers-in-training while participating in a musical intervention. The intervention, included both theoretical and practical modules, was delivered during a Digital Storytelling (DST) course. Specifically, our main aim
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Palacios, Fernando. "Breath: Reciprocities Without Words. Music, sound and videoart as communication paths on migration processes." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13207.

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Breath was created during a research stay at Social Sciences department in Roskilde University in Denmark. The challenge was to find ways to disseminate knowledge through artistic resources in a research project under migration topic.European socio-cultural contexts nowadays are established as landscapes of diversity, platforms of social interaction where the confluence of perspectives of diverse cultures are gradually modified, giving rise to new expressive parameters of social groups. This environment allows a dialogue between different cultural musical manifestations and the approaches to t
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Tseng, Tiffany, Maria Yang, and Stephen Ruthmann. "Documentation in Progress: Challenges With Representing Design Process Online." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34686.

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Web-based documentation platforms afford lightweight and visually rich mechanisms for designers to share documentation online, yet present challenges regarding representation, particularly for collaborative teams. This paper highlights some of these issues through a descriptive case study based on the use of a new web-based social media tool for documenting the development of design projects called Build in Progress. Undergraduate students worked in teams to design musical construction kits and documented their process using Build in Progress over the course of three weeks. We examined student
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Joshi, Prachi, Hirak Banerjee, Avdhoot V Muli, Aurobinda Routray, and Priyadarshi Patniak. "Study of Emotional contagion through Thermal Imaging: A pilot study using noninvasive measures in young adults." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004755.

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Emotional contagion, the process of unconsciously mirroring others’ emotions [6], occurs through various channels including facial expressions, vocal tone, and body language, influencing social interactions and responses to cultural stimuli like music and movies [3], [4], [1]. Facial expressions, analyzed using the Facial Action Coding System (FACS), provide insights into emotional transmission [2]. Thermal imaging, a technique for measuring facial temperature changes, offers a noninvasive method to study emotional responses [5]. However, the facial thermal response to emotional contagion rema
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Reports on the topic "Reflection (Musical group)"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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