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Books on the topic 'Reflection (Musical group)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

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

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2

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

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3

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

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4

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

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5

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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7

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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8

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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9

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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10

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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11

Abrahams, Frank, Anthony Rafaniello, Jason Vodicka, David Westawski, and John Wilson. Going Green. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.4.

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This chapter describes a collaborative project that studied the applications of Lucy Green’s informal music learning curriculum within the context of high school choral ensembles. For a 12-week period, the conductors of four high school choirs charged students in small groups to copy a Christmas carol of their choice from a recording or to create a new arrangement inspired by the recording without intervention from their conductor. They would perform those carols at a public concert during the December holiday season. The overarching research question addressed the efficacy of informal learnin

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12

Howell, Gillian, Lee Higgins, and Brydie-Leigh Bartleet. Community Music Practice. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.26.

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Many people have become disengaged from music making owing to the commercialization and commodification of music practices. This chapter examines a distinctive response to that disengagement, through the work of community music facilitators, who connect on interpersonal and musical levels to encourage community music practice. Four case studies are used to illustrate the central notions of this approach. Underpinning these four case studies is the concept of musical excellence in community music interventions. This notion of excellence refers to the quality of the social experience—bonds forme

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13

Grace, Point of. Keep the Candle Burning: 24 Reflections From Our Favorite Songs. Faith Words, 2003.

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14

Seeman, Sonia Tamar. Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.001.0001.

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Sounding Roman traces the role of music performance in maintaining, shaping, and challenging ascribed social identities of Roman (“Gypsy”) groups, who constitute one of the most socially reviled and yet culturally romanticized minorities in Turkey. Roman communities have been a ubiquitous presence, contributing to social, cultural, and economic life since the Byzantine period in Anatolia up to the present. Alternately exoticized and reviled, Roman communities were valued for their occupational skills and entertainment services. Based on detailed historiographic study and twenty years of ethnog

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Rink, John, Helena Gaunt, and Aaron Williamon, eds. Musicians in the Making. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.001.0001.

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Musicians are continually ‘in the making’, tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice; instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one’s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer. Musicians in the Making explores the creative development of musicians in both formal and informa

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Azzara, Christopher D., and Alden H. Snell, II. Assessment of Improvisation in Music. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.103.

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This article provides an overview of research on assessment of improvisation in music and offers suggestions for increasing its centrality in music teaching and learning. With listening, improvising, reading, and composing as context for music teaching and learning, it covers historical and philosophical foundations for, and research on, creativity and improvisation. The article’s synthesis of the literature focuses on assessment of ability to interact, group, compare, and anticipate and predict music while improvising. Six elements (repertoire, vocabulary, intuition, reason, reflection, and e

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17

She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Taylor & Francis Group, 2017.

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18

She's So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music. Taylor & Francis Group, 2017.

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19

Perone, James E. The Words and Music of Melissa Etheridge. ABC-CLIO, LLC, 2014. http://dx.doi.org/10.5040/9798216038481.

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Songwriter. Pop star. Gay activist. Cancer survivor. Advocate for cancer victims. Human being. Melissa Etheridge is all of these things, and all of these elements of who she is have played an instrumental role in her music from the beginning of her career to the present day. The Words and Music of Melissa Etheridge examines Melissa Etheridge’s contributions to pop music in the tradition of other greats such as Janis Joplin, Bruce Springsteen, and Rod Stewart. Written by a music scholar and Etheridge fan, this book investigates her work chronologically by time period, underscoring her growth as

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Mondanaro, John, and Joanne Loewy. Music Therapy with Adolescents in Medical Settings. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.43.

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Adolescence is a time of change marking the transition from childhood to adulthood. When a teenager is ill and requiring hospitalization many of the constructs upon which individual identity rests such as contact with peers, and social belonging, can become compromised. Music therapy offers a way to address the personal and psychological stress that can result from hospitalization. In this chapter the authors highlight conditions in medicine that are common to teens. Music psychotherapy approaches are described that promote expression in individual and group modalities, and can also provide av

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21

Wolf, Richard K. The Manifest and the Hidden. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038587.003.0008.

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This chapter presents Muharram Ali's reflections on South Asian drumming and music traditions, which he has jotted down in his notes. It first considers the death of Ali's mother Sakina and how this had set his father on a devil's course. It then discusses the publishing of Ali's article “The Drums of Islam in Multan” as well as his write-up on the ʻurs of Madho Lal Husain. It also recalls Ali's decision to pursue formal anthropological training at Lucknow University, where he earned a PhD in anthropology in record time, along with his classical Hindustani music training at the Bhatkhande Scho

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22

Tkaczyk, Viktoria, and Stefan Weinzierl. Architectural Acoustics and the Trained Ear in the Arts. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.14.

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This chapter shifts perspective from the history of architectural acoustics (as a branch of physics) to the history of architecture and practices of listening from around 1780 to 1830. In this period, operas, concerts, and spoken theater pieces, traditionally performed in the same venue, were increasingly regarded as separate genres, each related to a specific sonic reverberation time. As this chapter illustrates using acoustic data from major venues, this separation corresponded with ever-diverging concepts of acoustic design and the acoustic properties of new buildings. The shift occurred, f

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23

Lambert, Philip. Celebrations. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037603.003.0005.

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This chapter focuses on Wilder's last decade. His catalog of original compositions for instrumental groups, large and small, continued to grow, as did his collection of distinguished contributions to the popular-song genre. His interest in writing for the stage persisted as well. Still more pivotal was a new attitude of reflection and historical contemplation, both personal and professional, and a commitment to preserve his thoughts for posterity. He had always been a writer, but his yield had often been restricted by the dimensions of a postcard or a page of hotel stationery. In the early 197

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24

Caps, John. Frustration. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0014.

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This chapter focuses on Mancini's work on the large-scale space alien film Lifeforce (1985). Mancini's handwritten sketches for his score to the film reveals how important the job was to him, coming at this stage of his career. At last someone was offering him the kind of blockbuster science fiction epic that John Williams, Jerry Goldsmith, and even the young guys like James Horner (Brainstorm [1984]) and Alan Silvestri (The Abyss [1989]) were getting. With Lifeforce he might join the new ruling class of film composers on its own terms. However, the film was being supervised by Cannon Pictures

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25

Mukenge, Tshilemalema. Culture and Customs of the Congo. Greenwood, 2001. http://dx.doi.org/10.5040/9798400635922.

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The Democratic Republic of Congo, formerly Zaire, continues to struggle with socioeconomic and political development.Culture and Customs of the Congoprovides the full context of traditional culture and modern practices against a backdrop of a turbulent history. The volume opens up a land and peoples little known in the United States. Written expressly to meet the needs of students and the general audience, the work will inform about the geography, economy, political history, and history from the slave trade to dictatorship; ancestral religions and inroads of western faiths; ancestral literary

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26

Vince, Ronald W. A Companion to the Medieval Theatre. Greenwood Press, 1989. http://dx.doi.org/10.5040/9798216183846.

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Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume feature

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27

Grau, Marion. Pilgrimage, Landscape, and Identity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197598634.001.0001.

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The book explores the ritual geography of a pilgrimage system woven around local medieval saints in Norway and the renaissance of pilgrimage in contemporary majority-Protestant Norway, facing challenges of migration, xenophobia, and climate crisis. The study is concerned with historical narratives and communal contemporary reinterpretations of the figure of St. Olav, the first Christian king who was a major impulse toward conversion to Christianity and the unification of regions of Norway in a nation unified by a Christian law and faith. This initially medieval pilgrimage network, which origin

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