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.
This animal is what the name 'Apollo' refers to; and it is plausible to suppose, with Kripke and Putnam,47 that, in the case of proper names, reference determines sense, so that there is no such thing as a metaphorical name—or rather, ...
Humanism and the Aesthetic Experience in Music: Education of the Sensibilities
In various ways, the essays presented in this volume explore the structures and aesthetic possibilities of music, dance and dramatic representation in ritual and theatrical situations in a diversity of ethnographic contexts in Europe, the ...
This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions.
Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.
... pedagogic-conceptual models built from it—can exemplify musical and aesthetic qualities. The notion that language and concepts can affect music-making despite or even due to their non-musicality is only one side of the coin. The other side ...
This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody.
This is a most valuable book, one which constantly surprises and delights through its philosophical insights and informed musical understanding."—British Journal of Aesthetics
Aesthetics: Dimensions for Music Education
For example, in Bedzan music, a sense of multitude of voices was found to be a particularly highly valued characteristic of performance (see Chapter 12). In funk, on the other hand, it seems central to expressiveness to be inducing an ...