Music Performance Issues


Book Description

Frontcover -- Contents -- Abbreviations -- Preface -- 1 Dilettante and Amateur: Our Evolving Language -- 2 Bach's Lament about Leipzig's Professional Instrumentalists -- 3 Choral Singing Before the Era of Recordings -- 4 Why Most a cappella Music Could Not Have Been Sung Unaccompanied -- 5 Fasch and the Beginning of Modern Artistic Choral Singing -- 6 What Handel's Casting Reveals About Singers of the Time -- 7 Intonation Standards and Equal Temperament -- 8 Eighteenth-Century Stringed Keyboard Instruments from a Performance Perspective -- 9 The Tromba and Corno in Bach's Time -- 10 Maelzel's Role in Beethoven's Symphonic Metronome Marks -- 11 The French Time Devices Revisited -- 12 The Notable Significance of C and (in Bach's Era -- 13 Numbers and Tempo: 1630-1800 -- 14 Overdotting in Handel's Overtures Reconsidered -- 15 Notes inégales: A Definitive New Parameter -- 16 Distinguishing Between Artificial and Natural Vibrato in Premodern Music -- 17 A Solution for Simple (secco) Theater Recitative -- 18 How Composers Viewed Performers' Additions -- 19 The Varied Reprise in Eighteenth-Century Intrumental Music-A Reappraisal




The Psychology of Music Performance Anxiety


Book Description

Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? These are the questions addressed in this book, the first rigorous exposition of this complex phenomenon.




Music Performance Anxiety


Book Description

Music Performance Anxiety (MPA) has been proven to affect many individuals, independent of age, gender, experience and hours of practice. This book provides an excellent and updated review of the literature on the topic, including concept, epidemiology, methodical aspects and interventional studies. Suggestions of the correct use of the term MPA and the identification of necessary future studies, as well as comments on and critiques of those already published, will also be provided.




Stage Fright in Music Performance and Its Relationship to the Unconscious


Book Description

Descriptions from blurbs on back cove from noted persons in this field and others: HERSETH QUOTE: "This is a very comprehensive and thorough study of 'stage fright,' which is a problem for many public performers. I am sure it will be very helpful to anyone who has experienced such feelings. Congratulations Michael." --Adolph "Bud" Herseth -- Principal Trumpet Emeritus -- Chicago Symphony Orchestra. SCARLETT QUOTE: "This is a good source to sort out the characteristics and causes of stage fright. Many people will find this book helpful to relieve this frustrating roadblock to artistic performance." --William Scarlett, Assistant Principal Trumpet, Retired, Chicago Symphony Orchestra. HOFFMANN QUOTE: "Mike Goode writes with personal insight and great clarity about the important performance problem of stage fright. His analysis is well founded in contemporary neurobiological and physiological terms. The case studies are extremely illuminating. This book is 'must reading' for those in the performing arts." --Philip C. Hoffmann, Ph.D., Emeritus Professor of Neurobiology, Pharmacology and Physiology, The University of Chicago. HALE QUOTE: "This book is helpful for singers wanting to understand how their personal psychology affects their performance ability." --Elizabeth Hale Knox, Mezzo-Soprano and Voice Teacher, Music of the Baroque and the Grant Park Symphony Chorus. TRAINOR QUOTE: "Goode goes beyond the clinical analysis of 'stage fright' symptoms and grounds the phenomenon in a human context that the average, non-scientific reader can relate to. This book is not just for musicians. Everyone has some experience with performance anxiety, and Goode offers hope to all who have suffered from it." --Ken Trainor, Managing Editor and Columnist, Wednesday Journal Newspaper. "The book describes stage fright and presents solutions to remedy it." -- The author.







Desired Artistic Outcomes in Music Performance


Book Description

Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.




Performative Analysis


Book Description

This book proposes a new model for understanding the musical work, which includes interpretation -- both analysis- and performance-based -- as an integral component.




Advanced Musical Performance: Investigations in Higher Education Learning


Book Description

To reach the highest standards of instrumental performance, several years of sustained and focused learning are required. This requires perseverance, commitment and opportunities to learn and practise, often in a collective musical environment. This book brings together a wide range of enlightening current psychological and educational research to offer deeper insights into the mosaic of factors and related experiences that combine to nurture (and sometimes hinder) advanced musical performance. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical journeys and educational reflections; performance learning; and developing expertise and professionalism. Although each chapter within its home section offers a particular focus, there is an underlying conception across all the book’s contents of the achievability of advanced musical performance and of the important nurturing role that higher education can play, particularly if policy and practice are evidence-based and draw on the latest international research findings. The narrative offers an insight into the world of advanced musicians, detailing their learning journeys and the processes involved in their quest for the development of expertise and professionalism. It is the first book of its kind to consider performance learning in higher education across a variety of musical genres, including classical, jazz, popular and folk musics. The editors have invited an international community of leading scholars and performance practitioners to contribute to this publication, which draws on meticulous research and critical practice. This collection is an essential resource for all musicians, educators, researchers and policy makers who share our interest in promoting the development of advanced performance skills and professionalism.




Expressiveness in music performance


Book Description

What does it mean to be expressive in music performance across diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? What are the conceptualisations of expression and the roles of performers that shape expressive performance? This book brings together research from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to these questions about the meaning, means, and contextualisation of expressive performance in music. The contributors to this book explore expressiveness in music performance in four interlinked parts. Starting with the philosophical and historical underpinnings crucially relevant for Western classical musical performance it then reaches out to cross-cultural issues and finally focuses the attention on various specific problems, including the teaching of expressive music performance skills. The overviews provide a focussed and comprehensive account of the current state of research as well as new developments and a prospective of future directions. This is a valuable new book for those in the fields of music, music psychology, and music education.




Aesthetics and Experience in Music Performance


Book Description

Drawing upon a wide range of scholarly enquiry into early music, queer musicology, ethnomusicology, performance practice, music education and technology, Aesthetics and Experience in Music Performance provides a lively forum for the articulation of varied perspectives on the role of music, its interpretation and function in contexts supported by those who practice or experience it. The formal and shorter discussion papers included in this scholarly collection were presented at the National Workshop of the Musicological Society of Australia, held at the University of Queensland, Brisbane in October 2003. The themes of aesthetics and experience are central to this publication and each paper engages in a scholarly dialogue on the technical, expressive and embodied aspects of performance. The papers included in this publication bring together the research of a wide community of scholars (e.g., musicologists, anthropologists, ethnomusicologists and linguists) working in the field of performance studies and collectively reflect the musicological issues being debated in Australia today.