Familiarity underpins our engagement with music. In Music and Familiarity, King and Prior bring together 13 essays that highlight theoretical and empirical considerations about familiarity from three perspectives: listening, musicology, and performance. This book explores the ways in which familiarity impacts our behaviour and responses to music; influences our appreciation and perceptions of music; and also shows how familiarity affects musicians¿ performance practices.
Familiarity underpins our engagement with music. In Music and Familiarity, King and Prior bring together 13 essays that highlight theoretical and empirical considerations about familiarity from three perspectives: listening, musicology, and performance. This book explores the ways in which familiarity impacts our behaviour and responses to music; influences our appreciation and perceptions of music; and also shows how familiarity affects musicians¿ performance practices.
Elaine King is Senior Lecturer in Music at the University of Hull, UK. She co-edited Music and Gesture (2006) and New Perspectives on Music and Gesture (2011), and has published book chapters and articles on aspects of ensemble rehearsal and performance, including practice techniques, gestures and team roles. She is a member of the Royal Musical Association (Council, 2009-12) and Society for Education, Music and Psychology Research (Conference Secretary, 2006-12). She is an active cellist, pianist and conductor. Helen M. Prior (née Daynes) is a music psychologist with wide-ranging interests including music performance, music and emotion, music perception and familiarity, and music education. She is currently a Research Assistant at the University of Hull working with Dr Andrew King and Dr Rob MacKay on a project supported by the Digital R&D Fund for the Arts - Nesta, the AHRC and Arts Council England. The project investigates the use of online learning to support peripatetic music lessons in remote rural communities. She has previously lectured in Music and Music Psychology at the Universities of Hull and Sheffield. She has also undertaken research at King's College, London with Professor Daniel Leech-Wilkinson on a project investigating Shaping Music in Performance as part of the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP). She is a member of the Royal Musical Association and Society for Education, Music and Psychology Research.
Inhaltsangabe
Introduction I: Listening 1: Keeping it Fresh: How Listeners Regulate their own Exposure to Familiar Music 2: Familiarity, Schemata and Patterns of Listening 3: The Effects of Repertoire Familiarity and Listening Preparation on New Audiences' Experiences of Classical Concert Attendance 4: Familiarity with Music in Post-Operative Clinical Care: A Qualitative Study II: Musicology 5: Unfamiliar Sounds? Approaches to Intercultural Interaction in the World's Musics 6: Well, What Do You Know? Or, What Do You Know Well? Familiarity as a Structural Force in Crumb's Black Angels 7: Familiarity, Information and Musicological Efficiency 8: Familiarity and Reflexivity in the Research Process 9: Familiarity in Music Education III: Performance 10: The Significance of Familiar Structures in Music Memorisation and Performance 11: Groove as Familiarity with Time 12: Social Familiarity: Styles of Interaction in Chamber Ensemble Rehearsal 13: Familiarity and Musical Performance
Introduction I: Listening 1: Keeping it Fresh: How Listeners Regulate their own Exposure to Familiar Music 2: Familiarity, Schemata and Patterns of Listening 3: The Effects of Repertoire Familiarity and Listening Preparation on New Audiences' Experiences of Classical Concert Attendance 4: Familiarity with Music in Post-Operative Clinical Care: A Qualitative Study II: Musicology 5: Unfamiliar Sounds? Approaches to Intercultural Interaction in the World's Musics 6: Well, What Do You Know? Or, What Do You Know Well? Familiarity as a Structural Force in Crumb's Black Angels 7: Familiarity, Information and Musicological Efficiency 8: Familiarity and Reflexivity in the Research Process 9: Familiarity in Music Education III: Performance 10: The Significance of Familiar Structures in Music Memorisation and Performance 11: Groove as Familiarity with Time 12: Social Familiarity: Styles of Interaction in Chamber Ensemble Rehearsal 13: Familiarity and Musical Performance
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