‘Bejazzled’: Employing attributes of pre-schoolers’ play to facilitate musical interactions with jazz

2021 ◽  
pp. 302-322
Author(s):  
Mignon van Vreden
Keyword(s):  
Musical Interactions

scholarly journals Indigenous music learning in contemporary contexts: Nurturing learner identity, agency, and passion

2021 ◽  
pp. 1321103X2095454
Author(s):  
James Isabirye
Keyword(s):  
The Elderly ◽  
Transfer Of Knowledge ◽  
Contributing Factors ◽  
Music Learning ◽  
Learner Identity ◽  
School Settings ◽  
Indigenous Music ◽  
The Social ◽  
Musical Interactions ◽  
Successful Transfer

I studied the revival project that involved teaching and (re)learning of a nearly extinct music tradition of the Basoga people from Uganda, to find out what might be learnt about and from those learning processes, and insights that might be applicable in formal educational settings. The revival project activities were documented (with participants’ permission) and publicized through a large number of audio and audiovisual recordings, photographs, and reports from community and school settings. Treating this documentation as extant data, I engaged in a qualitative analysis of the social and musical interactions between and among the two surviving master musicians and the youths to understand the nature and meaning of these learning experiences. Emergent themes reflected that nurturing identity, agency, and joy-filled passion among the learners were the main contributing factors that facilitated a successful transfer of knowledge and skills from the elderly master musicians to multitudes of youths.

Digital Musical Interactions: Performer–system relationships and their perception by spectators

2011 ◽  
Vol 16 (2) ◽  
pp. 166-175 ◽  
Author(s):  
Michael Gurevich ◽  
A. Cavan Fyans
Keyword(s):  
Musical Instruments ◽  
Digital Systems ◽  
Digital Music ◽  
Musical Interactions ◽  
Ecological View ◽  
The Relationship

This article adopts an ecological view of digital musical interactions, considering first the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study indicating that spectators may not perceive such interactions in the same way as performances with acoustic musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

Music in migrant camps as a medium creating non-narrative human relationships

2021 ◽  
Vol 12 (1) ◽  
pp. 347-360
Author(s):  
Julien Labia
Keyword(s):  
At Risk ◽  
Personal Identity ◽  
Direct Relationship ◽  
The Body ◽  
Verbal Art ◽  
Problematic Situation ◽  
Human Relationships ◽  
The Real ◽  
Musical Interactions ◽  
Expressive Activity

A migrant camp is a ‘non-place’ where personal identity is put at risk. Music is a means of personal adaptation in camps, even if it means allowing little place for the real reasons for displacement of the very people shaping these new hybridizations of music. The present power of music in such a place is to create strong relationships, ‘shortcutting’ both narration and the longer time needed in order to create relationships. The kind of personal advantage it is for someone to be a musician is a topic surprisingly forgotten, obscured by theoretical habits of seeing music essentially as an expressive activity directed to an audience, or as being a communicative activity. Music has a performative power different from language, as a non-verbal art having a strong and direct relationship to the body. Musical interactions on the field give migrants the ability to balance their problematic situation of refugees, shaping a real present.

Role Limits in Music Therapy

1989 ◽  
Vol 3 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Janet Cowan
Keyword(s):  
Music Therapy ◽  
Spontaneous Activity ◽  
Music Therapist ◽  
Music Making ◽  
Musical Interactions

Often through the course of work with a patient, issues arise which challenge one's role as a music therapist, and which lead one to question the limits of the experiences being offered to the patient. In this paper I describe my work with a woman who initially avoided and resisted shared music-making, and who gradually became more able to be involved in spontaneous activity. I tried to find ways of understanding the issues at the root of our relationship, in order to build on the musical interactions. From this case, I intend to illustrate the deeper questions which, I believe, are pertinent to be asked more generally about the limitations attending the role of the music therapist.

“Be Social”—Embodied Human-Robot Musical Interactions

2020 ◽  
pp. 143-187
Author(s):  
Gil Weinberg ◽  
Mason Bretan ◽  
Guy Hoffman ◽  
Scott Driscoll
Keyword(s):  
Musical Interactions

scholarly journals NGELIK SILIHAN DALAM KARAWITAN GAYA SURAKARTA

2020 ◽  
Vol 19 (2) ◽  
pp. 67-84
Author(s):  
Uni Ambarwati ◽  
Suyoto Suyoto
Keyword(s):  
Qualitative Research ◽  
Research Data ◽  
Melodic Contour ◽  
Musical Interactions ◽  
Musical Interaction

This study examines ngelik silihan in Surakarta style music. The problems revealed in this study are (1) How can ngelik in Surakarta style music, (2) Why does the Eling-eling ladrang dish generally use ngelik?, (3) Any factors that support a loan of ngelik silihan. This research is a qualitative research, data obtained from literature studies, observations, and interviews. The theory used as the basis for analyzing in accordance with the formulation of the problem is the creativity theory by Wallas about the process of creativity, and the theory of musical interaction by Benjamin Briner about musical interactions that occur in gending, and the theory of melodic contour by Judith Bekker about the melody flow obtained in theory worked on by Rahayu Supanggah, in the theory of the melodic contour it can emphasize the problem of the melody flow in the interconnected selection. The results of this study found that the use of ngelik silihan there are three factors, namely: 1. Shifting the function of the presentation, 2. Creativity of the artists. The use of ngelik silihan with consideration of the same melodic and song gong grooves, so that it is aligned with the borrowed portion of the loan, 3. Pathet factors for the lending and borrowed selection. In addition there is a historical statement that the Pangkur ladrang borrowed the Eling-eling ladrang. Information on the artist community that the Eling-eling ladrang borrowed the Pangkur ladrang, the reasons are: 1. Recognition of the perpetual artists acquired, 2. Manuscripts in the Mloyowidodo notation book, 3. Commercial cassette tapes which first popularized the Eling-ladrang ladrang from at Pangkur ladrang.Keywords: Ngelik, Silihan, Song, Sèlèh, Gending.

Time and Ensemble Dynamics in Indeterminacy: John Cage’s Concert for Piano and Orchestra

2021 ◽  
pp. 504-526
Author(s):  
Emily Payne
Keyword(s):  
Observational Studies ◽  
Experimental Music ◽  
Apartment House ◽  
Time Consciousness ◽  
Musical Interactions ◽  
Music Ensemble ◽  
Temporal Interactions

This chapter examines ensemble dynamics and time consciousness in indeterminate music, using John Cage’s Concert for Piano and Orchestra (1957–8) as a case study. Drawing on interviews and observational studies undertaken with the experimental music ensemble Apartment House, I examine the role of temporal indeterminacy in the socio-musical interactions that characterize performance, and its implications for the musicians’ experiences. In doing so, the chapter makes a broader contribution in its consideration of the ways in which issues of authorship and authority are negotiated in such temporal interactions, and how the dynamics of these negotiations present a sociality based on a ‘separate togetherness’, whereby performers play together (out of time) with one another.

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