The Oxford Handbook of Time in Music

As the art that calls most attention to temporality, music provides us with profound insight into the nature of time, and time equally offers us one of the richest lenses through which to interrogate musical practice and thought. In this volume, musical time, arrayed across a spectrum of genres and performance/compositional contexts is explored from a multiplicity of perspectives. The contributions to the volume all register the centrality of time to our understanding of music and music-making and offer perspectives on time in music, particularly though not exclusively attending to contemporary forms of musical work. In sharing insights drawn from philosophy, music theory, ethnomusicology, psychology of performance and cultural studies, the book articulates a range of understandings on the metrics, politics and socialities woven into musical time.

Towards New Forms of Pianistic Improvisation Across Musical Boundaries

<p>This thesis is practice-based. The main element in which the research outcomes are manifested is the portfolio of creative work. There are three CD albums of original music: Southern Shift, Between Moons, and Tales from the Diaspora. There are also three video recordings including a performance of my piece Saraband (for piano trio), along with my performance of two classical piano pieces by Rachmaninoff: Elegie op 3 no. 1 and Etudetableau op. 33 no. 5. There is a written exegesis which serves to inform the reader how the creative work may be understood or apprehended, as well as placing it in relevant context The creative work centres on contemporary piano improvisation and how diverse musical strands can be drawn together in a coherent improvised musical idiom. Models for contemporary improvised music, that constitute key external sources for my musical practice, include the work of pianists Keith Jarrett, Cecil Taylor, Matt Bourne, John Taylor, Misha Mengelberg, Gabriela Montero and Gwilym Simcock. How these pianists’ work relates to my music will be discussed in the exegetical text. Several approaches and techniques, to free improvisation and jazz, will be explored through the creative practice and discussed in the exegesis. The ideas of scholars Nicholas Cook and Ed Sarath play a significant part in the concepts behind the music in this portfolio and in my thinking about improvisation in a wider sense. Cook suggests that improvisation represents a wider and more nuanced set of musical functionalities than is commonly understood by the one term ‘improvisation’. This is a key factor in this research. Extemporaneous Composition is the most salient concept at work in the creative work. The aim is to explore how an improvisation can have elements of a controlled and structured musical argument, as a composed piece would. This connects to the issue of how improvisation and composition are closely linked as creative processes. The issue of how improvisation and the interpretive performance of composed music are linked will be an important topic, as will the relationship between aurality and textuality in creative musicianship. The two research questions are: • When diverse and divergent aspects of musical practice, from traditions such as Western classical music, jazz and other African-based music are integrated into an improvised musical practice to give voice to a personal, creative musical identity, what can the nature of that music be? What perspectives will emerge about how creative performers operate? • Textuality and aurality function differently in these musical traditions. Can improvisation, in its wider sense, be re-evaluated to account for the employment of these through a more complex and nuanced set of creative functionalities than is typically understood by the single term improvisation?</p>

Towards New Forms of Pianistic Improvisation Across Musical Boundaries

<p>This thesis is practice-based. The main element in which the research outcomes are manifested is the portfolio of creative work. There are three CD albums of original music: Southern Shift, Between Moons, and Tales from the Diaspora. There are also three video recordings including a performance of my piece Saraband (for piano trio), along with my performance of two classical piano pieces by Rachmaninoff: Elegie op 3 no. 1 and Etudetableau op. 33 no. 5. There is a written exegesis which serves to inform the reader how the creative work may be understood or apprehended, as well as placing it in relevant context The creative work centres on contemporary piano improvisation and how diverse musical strands can be drawn together in a coherent improvised musical idiom. Models for contemporary improvised music, that constitute key external sources for my musical practice, include the work of pianists Keith Jarrett, Cecil Taylor, Matt Bourne, John Taylor, Misha Mengelberg, Gabriela Montero and Gwilym Simcock. How these pianists’ work relates to my music will be discussed in the exegetical text. Several approaches and techniques, to free improvisation and jazz, will be explored through the creative practice and discussed in the exegesis. The ideas of scholars Nicholas Cook and Ed Sarath play a significant part in the concepts behind the music in this portfolio and in my thinking about improvisation in a wider sense. Cook suggests that improvisation represents a wider and more nuanced set of musical functionalities than is commonly understood by the one term ‘improvisation’. This is a key factor in this research. Extemporaneous Composition is the most salient concept at work in the creative work. The aim is to explore how an improvisation can have elements of a controlled and structured musical argument, as a composed piece would. This connects to the issue of how improvisation and composition are closely linked as creative processes. The issue of how improvisation and the interpretive performance of composed music are linked will be an important topic, as will the relationship between aurality and textuality in creative musicianship. The two research questions are: • When diverse and divergent aspects of musical practice, from traditions such as Western classical music, jazz and other African-based music are integrated into an improvised musical practice to give voice to a personal, creative musical identity, what can the nature of that music be? What perspectives will emerge about how creative performers operate? • Textuality and aurality function differently in these musical traditions. Can improvisation, in its wider sense, be re-evaluated to account for the employment of these through a more complex and nuanced set of creative functionalities than is typically understood by the single term improvisation?</p>

Musculoskeletal Pain and Musical Performance in First and Second Violinists of Professional Youth Chamber Orchestras: A Comparative Study

OBJECTIVE: First and second violinists in orchestras use identical instruments, but the motor patterns used to execute the different notes may vary between the two groups and the biomechanical gestures may influence musculoskeletal complaints. The primary objective of this study was to compare the pain intensity and interference in musical performance of first and second violinists of professional youth chamber orchestras. Second, to investigate the correlation between pain and the musical practice profile in this population. METHODS: This cross-sectional study enrolled 74 violinists, aged 12 to 17 years, from three professional youth chamber orchestras in Brazil. Participants completed a validated self-administered questionnaire, the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians–Brazilian version (MPIIQM-Br). Variables related to musical practice profiles were also recorded. Data analysis applied t-tests for independent samples and Pearson’s correlation coefficient. RESULTS: The sample of first violinists (n=39) presented 23 males and 16 females, and the second violinists (n=35) included 23 females and 12 males. The mean age was 13.9 yrs (SD 1.1) and 14.1 yrs (1.0) for the first and second violinist groups, respectively. Most participants (n=66, 89%) reported pain in at least one moment of their career, and 54 (76%) reported pain at the time of data collection. A higher pain prevalence was identified in the right shoulder (37.7%), in 28.2% of the second violinists and 9.4% of the first. The second violinists presented higher scores for most variables related to pain intensity and pain interference in performance (p < 0.05). A correlation was observed between time working at a professional level and the number of affected areas on the body pain map (r=0.30; 95% CI 0.23–0.42) and between the hours of daily practice and the number of affected areas on the body pain map (r=0.39; 95% CI 0.29–0.45). CONCLUSION: Second violinists had more complaints of pain and difficulty in playing their instrument compared to the first violinists. The study also found a correlation between the number of body areas with pain complaints and variables linked to the violinists’ practice profile.

Non-Mathematical Musings on Information Theory and Networked Musical Practice

Claude Shannon’s 1948 paper ‘A Mathematical Theory of Communication’ provided the essential foundation for the digital/information revolution that enables these very pixels to glow in meaningful patterns and permeates nearly every aspect of modern life. Information Theory, born fully grown from this paper, has been applied and mis-applied to a multitude of disciplines in the last 70-odd years, from quantum physics to psychology. Shannon himself famously decried those jumping on the ‘scientific bandwagon’ of Information Theory without sufficient mathematical rigour. Nevertheless, having a brief personal connection to Dr Shannon (and being extremely grateful for it), I will take the liberty of colouring some of my experience with computer network music with less-than-rigorous insights gained from his work.

Rethinking Affect

This chapter rethinks affect, one of the key constituents of musical aesthetics in Bach’s time. Interrogating the musicological concept of Affektenlehre, it addresses musical affect as a new perspective on what musicology has tended to isolate historically under the umbrella of German Baroque rhetoric. The first paragraphs sketch a historiography of hermeneutic views of the Affektenlehre and address the criticisms that this approach has encountered. Based on a rereading of historical sources, the chapter investigates the ways in which twentieth-century musicologists developed views on affect in German Baroque music, the relation of these views to the historical situation, and their role in Bach studies. Taking into account early modern affect theories as well as the modern philosophies of affect based upon them, the final paragraphs aim to achieve an understanding of affect that is more in line with contemporary musical practice and theory.

Assembling ‘indigeneity’ through musical practices: translocal circulations, ‘tradition’, and place in Otavalo (Ecuadorian Andes)

This article addresses the relation between Andean ‘traditional music’ and circulations of people, objects, ideas and sounds. Although many studies on Andean indigenous music have explored such circulations, scholars still tend to understand musical practices in terms of ‘cultures’. The case of indigenous music from Otavalo, in the Ecuadorian Andes, encourages us to go beyond this approach. I make two arguments. First, by conceiving of the translocal/transnational flows that have shaped ‘traditional music’ from Otavalo through the concepts of ‘network’ and ‘music world’, I unsettle the link – underlying previous approaches – between a specific people, music and place. Second, through the concepts of ‘assemblage’ and ‘mediation’, I closely look at processes of ‘traditionalisation’ and ‘indigenisation’ to show how, in the context of multiple circulations, social actors nevertheless produce a specific link between people, music and place in order to make a musical practice ‘traditional’ and/or ‘indigenous’.