Spaces for Musical Performance in Seventeenth-Century Roman Residences

2012 ◽  
Author(s):  
ARNALDO MORELLI
Keyword(s):  
Seventeenth Century ◽  
Musical Performance ◽  
Social Conventions ◽  
Music Making

This chapter investigates the locations and modes of musical performance in the residences of the nobility in seventeenth-century Rome, indicating the differences between this period and the Renaissance. In particular, instances of music-making in the courts of princes and cardinals are identified and described, in relation to considerations of etiquette, social conventions and anthropology. This research, based on first-hand documentary research in the archives of Roman noble families, has revealed unexpected locations for music-making, which cannot always be justified in terms of acoustic or aesthetic criteria. Particular attention is paid to the places where instruments were stored, as recorded in inventories, and their typology.

Voices on the wind

2018 ◽  
Author(s):  
Samuel Curkpatrick
Keyword(s):  
Cultural Diversity ◽  
Northern Territory ◽  
Musical Performance ◽  
Orchestral Music ◽  
Australian Society ◽  
Music Making ◽  
Musical Interaction

The musical project Crossing Roper Bar (CRB) is based on a collaboration between Wägilak songmen from Australia’s Northern Territory and the Australian Art Orchestra (AAO). Individuals drawn into this collaboration bring their distinct voices and histories to performance, while opening themselves to those of others. A new, malleable approach to orchestral performance in Australia is the result of this collaboration, which places improvisation at the centre of conversational musical interaction. This chapter introduces orthodox narrative elements of Wägilak manikay (song) that are creatively renewed and sustained in CRB. It highlights how the collaboration demonstrates the compelling play of musical performance that can generate nuanced, respectful and ongoing interactions between individuals, and between individuals and traditions. Amidst the vibrant, cultural diversity of contemporary Australian society, CRB suggests new possibilities for productive and relevant orchestral music-making.

Introduction: Music-making in Domestic Space

2012 ◽  
Author(s):  
DEBORAH HOWARD
Keyword(s):  
Interdisciplinary Approach ◽  
Domestic Space ◽  
Musical Performance ◽  
Musical Life ◽  
Early Modern France ◽  
Music Making ◽  
The Social ◽  
Modern France ◽  
The Subject

The introduction sets the forthcoming chapters in the broader context of musical life in Early Modern France and Italy, with reference to existing scholarship on the subject. The occasions and locations in which musical performance took place are outlined, and the scope of the book is defined, stressing the close connections between France and Italy. A growing number of studies of secular music-making consider the social and ideological framework for performance, but usually without serious consideration of architectural settings. Yet these were crucial to the acoustic quality of the performance, for both players and listeners. The chapter therefore underlines the need for an interdisciplinary approach, to establish the background for the study of the emergence of the permanent theatre.

Developing “Big Ears”

2017 ◽  
Author(s):  
Thomas H. Greenland
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Musical Performance ◽  
Silent Majority ◽  
Performance Space ◽  
Music Making ◽  
Live Music ◽  
Private And Public

This chapter examines how jazz fans, especially the most active concertgoers (the regulars), respond to a musical performance. It first considers how fans become part of jazz communities and how they contribute to the New York City jazz scene. It then shows how nonperforming musicians fill the performance space, suggesting that these offstage participants, who are also “performing” jazz, constitute the unseen scene, the silent and not-so-silent majority that forms an integral part of communal music-making. It also explains what happens when fans are in the house: how their musical tastes develop, how they view performers and performances, and how their private and public listening practices inform their understandings of and appreciation for jazz and jazz performances. The chapter concludes that when jazz audiences with “big ears” attend to and interact with live music and musicians, it creates a sympathetic environment where jazz can come alive.

The Ups and Downs of Louis Grabu

2017 ◽  
Vol 48 ◽  
pp. 1-64
Author(s):  
Andrew R. Walkling
Keyword(s):  
Seventeenth Century ◽  
Vast Number ◽  
Administrative Records ◽  
English Music ◽  
Music Making ◽  
History Of ◽  
Periodic Fluctuations ◽  
Charles Ii ◽  
Ultimate Fate ◽  
Considerable Detail

This article explores the career of Louis Grabu, Master of the Music to Charles II of England and an important but often overlooked and unnecessarily denigrated figure in the history of English music and music-making during the last third of the seventeenth century. While both his origins and his ultimate fate remain obscure, Grabu's activities between 1665 and 1694 are sufficiently documented to enable us not only to trace in considerable detail the periodic fluctuations in his fortunes, but also to establish a paradigm for exploring the lives of the vast number of seventeenth-century court musicians whose personal details must be gleaned from a mix of administrative records, surviving musical compositions and occasional observations recorded in contemporary diaries and correspondence. When these sources are carefully and exhaustively mined, a picture begins to emerge that belies the often glib dismissal of the musician's activities and abilities by contemporaries and modern scholars alike.

The women’s international gamelan group at the Pondok Pekak

2018 ◽  
Author(s):  
Jonathan McIntosh
Keyword(s):  
Traditional Music ◽  
Musical Performance ◽  
Social Agency ◽  
Mass Tourism ◽  
Music Making ◽  
Collective Creativity ◽  
Balinese Gamelan ◽  
Male Activity ◽  
The Relationship ◽  
Important Site

Balinese gamelan music stresses notions of unity, community and totality that are realized through the interaction of players and instruments. Traditionally considered a male activity, Balinese women now perform gamelan music in sacred and secular contexts. Moreover, the rise of mass tourism and an increase in the number of expatriates living in Bali now means that gamelan music has become an important site for ‘intercultural’ collective music-making. Nonetheless, little research exists concerning this emerging and significant facet of Balinese musical performance, with no studies examining intercultural musical activities of women’s gamelan ensembles. This chapter explores the collective creativity and social agency of an international women’s gamelan ensemble in Bali. Examining how this musical ensemble emerged, the micro processes of orchestral rehearsals and performances, and the relationship between traditional music and dance, this chapter extends research that has focused hitherto on the gamelan ensemble in Bali as a (primarily male) orchestral practice.

Reflection III

2021 ◽  
pp. 223-231
Author(s):  
Bryan White
Keyword(s):  
Seventeenth Century ◽  
Musical Performance ◽  
Musical Thought ◽  
Music Of The Spheres

By the beginning of the seventeenth century speculative music, the branch of musical thought the origins of which can be traced back to Pythagorean and Platonic concepts of the ordering of the cosmos through the proportions of musical intervals and of the music of the spheres, had diverged completely from practical musical performance and composition. Thomas Morley, in his ...

Musician and Poet

2021 ◽  
pp. 263-282
Author(s):  
Christine Jackson
Keyword(s):  
Seventeenth Century ◽  
Ben Jonson ◽  
Leisure Activity ◽  
Sir Philip Sidney ◽  
John Donne ◽  
Music Making ◽  
Giambattista Marino ◽  
Rough Draft ◽  
Music Books ◽  
The Times

Music-making was a popular leisure activity in aristocratic households in the early seventeenth century and a growing number of courtier poets wrote and exchanged verse in aristocratic salons and literary coteries. Chapter 12 continues the exploration of Herbert’s intellectual achievements and reputation as a polymath. It traces his interest in playing the lute and singing, and the musical preferences and fashions demonstrated by the music books he owned and the preludes, fantasias, pavanes, galliards, courantes, voltes, sarabands, and airs assembled in his unique manuscript lute book. It probes his inclusion among the metaphysical poets, exploring the influence of John Donne and Giambattista Marino, but also that of Ben Jonson, Thomas Carew, and Sir Philip Sidney, and of Horace, Juvenal, and Ovid. It uses the themes of love, beauty, immortality, and death to examine examples of his sonnets, elegies, epitaphs, satires, and lyrical poems, some of which were published posthumously as The Occasional Verses of Lord Herbert of Cherbury in 1665, and looks briefly at his Latin philosophical poems and his rough draft for a masque. It explores his preference for deploying verbal ingenuity and erudition rather than feelings, his deployment of metaphysical conceits and concepts, his innovative experimentation with rhyme and the extent of his participation in the literary coterie culture of the times. It claims a place for him among the leading minor poets and suggests that this was an impressive achievement for a man heavily engaged in other intellectual fields as well as political and estate matters.

Field Theory and the Play of Musical Performance

1995 ◽  
Vol 12 (3) ◽  
pp. 273-283
Author(s):  
Eleanor Stubley
Keyword(s):  
Field Theory ◽  
Instructional Strategies ◽  
Methodological Approach ◽  
Musical Performance ◽  
Musical Style ◽  
Cultural Traditions ◽  
Music Making ◽  
Made In ◽  
The Way

This paper utilizes the vocabulary and methodological concepts of field theory to explore how play can arise in and through performance. Field is defined as a space or potential for action. The action of play is grounded in an open and expanding space which through a dialectic interplay of feelings motivates self-exploration. The action of musical performance is grounded in a reaching out movement through which the performer forges and sustains a musical voice. The field can create a space for play when the music-making re-directs or challenges the focus of the musical voice. The methodological approach recognizes and respects differences in the way music is made in different cultural traditions. It also articulates a need to develop instructional strategies which treat musical style as a ritualistic process and which define the role of the teacher as a musician.1

scholarly journals Data-Driven Analysis of Tiny Touchscreen Performance with MicroJam

2020 ◽  
Vol 43 (4) ◽  
pp. 41-57
Author(s):  
Charles Patrick Martin ◽  
Jim Torresen
Keyword(s):  
Social Media ◽  
Mobile Devices ◽  
User Experience ◽  
Musical Performance ◽  
Data Driven ◽  
Visual Appearance ◽  
Music Making ◽  
Mobile Music ◽  
Common Interface ◽  
Musical Interaction

The widespread adoption of mobile devices, such as smartphones and tablets, has made touchscreens a common interface for musical performance. Although new mobile music instruments have been investigated from design and user experience perspectives, there has been little examination of the performers' musical output. In this work, we introduce a constrained touchscreen performance app, MicroJam, designed to enable collaboration between performers, and engage in a data-driven analysis of more than 1,600 performances using the app. MicroJam constrains performances to five seconds, and emphasizes frequent and casual music-making through a social media–inspired interface. Performers collaborate by replying to performances, adding new musical layers that are played back at the same time. Our analysis shows that users tend to focus on the center and diagonals of the touchscreen area, and that they tend to swirl or swipe rather than tap. We also observe that, whereas long swipes dominate the visual appearance of performances, the majority of interactions are short with limited expressive possibilities. Our findings enhance our understanding of how users perform in touchscreen apps and could be applied in future app designs for social musical interaction.

Singing Heaven Down to Earth

2018 ◽  
Author(s):  
Monique M. Ingalls
Keyword(s):  
College Students ◽  
Social Organization ◽  
Musical Performance ◽  
Spiritual Experiences ◽  
Worship Music ◽  
Contemporary Worship ◽  
Music Making ◽  
Congregational Music

Chapter 2 examines how two large, interdenominational multi-day conferences for evangelical college students use contemporary worship music. Interpreting these events through the lenses of pilgrimage and eschatology, it demonstrates that conferences like these serve as sacred centers for powerful spiritual experiences mediated by music. When participants sing contemporary worship songs together, they imagine the conference gathering as an embodiment of the heavenly community and their singing as the “sound of heaven.” As conference attendees collectively perform the heavenly community into being, they also imagine their relationships to others both within and outside the conference. Comparing lyrics, musical performance, and social organization of congregational music-making at the two conferences reveals that the two events encourage participants to conceive the heavenly community very differently, resulting in diverging understandings of their relationship to Christians of other gendered, racial and ethnic, and national backgrounds.

Sign in / Sign up

Export Citation Format

Share Document