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|Author||: Sophie Stévance,Serge Lacasse|
Since the 1970s, the landscape of higher education and research has been considerably altered by the integration of the arts within the university environment. Even though a form of research is inherent to artistic creation, the creative process is not comparable to the established procedures involved in academic research. As such, how can the imperatives of intellectual (and sometimes restrictive) rigour characteristic of scholarly endeavours be reconciled with the more explorative and intuitive approach of artistic creation? The concept of 'research-creation' allows artists and scholars to collaborate on a common project, acknowledging each participant’s expertise in the production of an artistic work that either generates theoretical reflections or has emerged from academic research. This fully revised and updated translation of Sophie Stévance and Serge Lacasse’s original French book offers an overview of the historical, political, social, cultural and academic contexts within which research-creation has emerged in Quebec and Canada, before similar (yet often divergent) conceptions appeared elsewhere in the world. Focussing primarily on the case of music, the book goes on to explore the pedagogical potential of research-creation within a university-based environment and proposes a clear and encompassing definition, as well as a theoretical model, of research-creation supported by concrete examples. By underscoring the reciprocal nature of this approach and the potential benefits of collaborative relationships, the authors’ vision of research-creation extends far beyond the field of music and art alone: rather, it has the potential to integrate all approaches and disciplines that seek to combine practice and research.
|Author||: Michael Ewans,Rosalind Halton|
|Editor||: Cambridge Scholars Press|
This book compiles revised versions of a number of the papers originally delivered at the Twenty-Fifth National Conference of the Musicological Society of Australia, held in Newcastle, New South Wales, between 3 and 6 October 2002. Aside from the three keynote addresses, all the papers published here have been refereed and peer reviewed. Like this publication, the conference was entitled Music Research: new directions for a new century. Papers were invited under four main themes: Research through Performance, Music and Society, Music and Technology, and Structure and Context. The three keynote speakers addressed the first three of these, Roy Howat and Suzanne Cusick approaching from different perspectives, respectively, the relationship between performance and research, and the relationship of both to music in society, while Rolf Gehlhaar discussed the many ways in which music can now interface with technology. List of Contributors Roy Howat, Marie-Louise CAtsalis, Rosalind Halton, Prudence Dunstone, Jacqueline Ogeil, Daniela Kaleva, Alan Maddox, Ikuno Sako, Johanna Selleck, Patricia Duke, Frank Murphy, John Napier, Suzan Cusick, Katelyn Barney, Elizabeth Mackinlay, Steven Knopoff, Brydie-Leigh Bartleet, Tim Humphrey, Roland Bannister, Antonio Tony Colla, Antonio Comin, Gabriela Vardanega, Linda Kouvaras, Jason Geary, David Irving, Anne-Marie Forbes, Peter Freeman, Julia Lu, Deborah Priest, Patricia Shaw, Jennifer Shaw, Rolf Gelhaar, Cathy Cox, Eddy Chong, Ruth Lee Martin, Dennis Collins, Nicholas Routley, Andrew Robbie, Jason Stoessel, John Phillips.
|Author||: John W. Schaffer,Deron McGee|
|Editor||: A-R Editions, Inc.|
In Knowledge-Based Programming for Music Research, Schaffer and McGee explore expert systems for applications in artificial intelligence (AI). The text concerns (1) basic principles for knowledge-based programming, (2) concepts and strategies for programming these systems, (3) a "universal data" model for music analysis, and (4) examples that concern specific aspects of design and application. The authors also investigate Prolog (programming in logic), one of the most widely used computer languages for AI, and base some of their applications on the recent implication-based theories of Eugene Narmour. Of the applications for programming a knowledge-based system, music analysis has the most potential. Beyond identifying isolated elements, it is possible to create programs that extend to chord structures and other, more complex structures. This kind of programming allows the authors to embed the rules of composition in the application and then extend the analysis throughout the musical work. It also allows them to arrive at the underlying principles for a given composition. As a tool for music analysis, such programming has profound implications for further growth. The text is designed for musicians at various levels and could also be used in courses on computer-music programming. Parts of the book have been successfully used in courses on computer programming for music research, with which the authors have direct experience. The text includes extensive examples of code for use in individual Prolog applications and a comprehensive bibliography.
|Author||: Phillip Crabtree,Donald H. Foster,Allen Scott|
|Editor||: Indiana University Press|
The Sourcebook for Research in Music, in this revised and greatly expanded second edition, is an invaluable guide to the researcher in navigating the vast proliferation of materials in music research. The editors emphasize English-language and recent sources, and also include essential materials in other languages. An opening chapter of introductory materials, including a list of common bibliographical terms with definitions, German and French bibliographical terms, and the plan of the Library of Congress and the Dewey Decimal music classification systems, is followed by seven bibliographical chapters, covering lists of sources as well as collective annotations that introduce and identify specific items. A reference tool containing varied information relating to research in music, the Sourcebook will serve as a classroom text and as a resource for individual music researchers, librarians, faculty members, students, performing and teaching musicians, and musical amateurs.
|Author||: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music),Aaron Williamon,Jane (Associate Director of Research Ginsborg, Associate Director of Research Royal Northern College of Music),Jane Ginsborg,Rosie (Reader in Performance Science Perkins, Reader in Performance Science Royal College of Music),Rosie Perkins,George (Research Associate in Performance Science Waddell, Research Associate in Performance Science Royal College of Music),George Waddell|
Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.
|Author||: Carl Morey|
|Editor||: Psychology Press|
Providing access to virtually any subject related to music and musicians in Canada, more than 900 annotated entries are organized under 13 topics, and indexed by author, subject, and title. Background and supplementary information and suggestions for research are presented in introductory essays. The material covered reflects the broad spectrum of music in Canadian society including historical, analytical, and biographical studies of music derived from the European tradition, First Nations and Inuit music, jazz and popular works, folk and ethnic music, education, research and bibliographical materials. The reader is also directed to some important on-line resources. Musical activity in Canada has developed remarkably in the past 50 years, with a parallel growth of musical scholarship examining historical, social, and ethnological aspects of Canadian musical life. This "Guide" is the first to draw comprehensively on the wealth of studies now available, which are often dispersed and not easily located. Consequently, this information is invaluable to students and researchers interested in Canadian music, the music of North America, and Canadian studies. Index.
|Author||: José Maceda|
|Author||: Pauline Shaw Bayne|
|Editor||: Scarecrow Press|
A Guide to Library Research in Music introduces the process and techniques for researching and writing about music. This informative textbook provides concrete examples of different types of writing, offering a thorough introduction to music literature. It clearly describes various information-searching techniques and library-based organizational systems and introduces the array of music resources available. Each chapter concludes with learning exercises to aid the students' concept application and skill development. Appendixes provide short cuts to specific topics in library organizational systems, including Library of Congress Subject Headings and Classification. The concluding bibliography provides a quick overview of music literature and resources, emphasizing electronic and print publications since 2000, but including standard references that all music researchers should know.
|Author||: Simon Emmerson|
The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids – but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice – unified through ideas of 'reaching out' and 'connecting together' – and in effect showing that there is emerging a different kind of 'global music'.
|Author||: Laurie J. Sampsel|
|Editor||: Oxford University Press, USA|
Music Research: A Handbook is designed for use in both undergraduate and graduate music courses that require students to engage in library research or to write research papers. Concise and practical, this unique handbook does not aim to provide an exhaustive introduction to music research; rather, it is highly selective and helps students navigate the most significant English-language research tools and resources; reference titles in major areas; and the principal sources in French, German, Italian, and Spanish. Organization The book's first section (Chapters 1-13) is organized by type of research tool-for example, encyclopedias, periodical indexes, and discographies. Each chapter in this section includes an overview of the tool it covers; an annotated bibliography that describes the tool's purpose, scope, strengths, and weaknesses; and an evaluation checklist that encourages students to think critically about the tools and materials they discover as they do research. Thesecond section (Chapters 14-15) discusses style manuals and various resources for writing about music and citing sources. Methods for evaluating reference and research tools are emphasized throughout the book. Companion Website A companion website (a href="http://www.us.oup.com/us/companion.websites/9780195171198/?view=usa"www.oup.com/us/musresearch/a) includes all the links cited in the text as well as supplemental links not cited; updates to bibliographies and readings; and lists of the research tools in the text, core music journals, and major professional music associations.
|Author||: Allan Moore,Paul Carr|
|Editor||: Bloomsbury Publishing USA|
The Bloomsbury Handbook of Rock Music Research is the first comprehensive academic survey of the field of rock music as it stands today. More than 50 years into its life and we still ask - what is rock music, why is it studied, and how does it work, both as music and as cultural activity? This volume draws together 37 of the leading academics working on rock to provide answers to these questions and many more. The text is divided into four major sections: practice of rock (analysis, performance, and recording); theories; business of rock; and social and culture issues. Each chapter combines two approaches, providing a summary of current knowledge of the area concerned as well as the consequences of that research and suggesting profitable subsequent directions to take. This text investigates and presents the field at a level of depth worthy of something which has had such a pervasive influence on the lives of millions.
|Author||: JaneW. Davidson|
Useful work has been done in recent years in the areas of music psychology, philosophy and education, yet this is the first book to provide a wide assessment of what practical benefits this research can bring to the music practitioner. With 25 chapters by writers representing a broad range of perspectives, this volume is able to highlight many of the potential links between music research and practice. The chapters are divided into five main sections. Section one examines practitioners? use of research to assist their practice and the ways in which they might train to become systematic researchers. Section two explores research centred on perception and cognition, while section three looks at how practitioners have explored their everyday work and what this reveals about the creative process. Section four focuses on how being a musician affects an individual?s sense of self and the how others perceive him or her. The essays in section five outline the new types of data that creative researchers can provide for analysis and interpretation. The concluding chapter discusses that key question - what makes music affect us in the way it does? The research findings in each chapter provide useful sources of data and raise questions that are applicable across the spectrum of music-related disciplines. Moreover, the research methodologies applied to a specific question may have broader application for readers wishing to take on research themselves.
|Author||: Gregory Young,Jenny Olin Shanahan|
Undergraduate Research in Music: A Guide for Students supplies tools for scaffolding research skills, with examples of undergraduate research activities and case studies on projects in the various areas of music study. Undergraduate research has become a common degree requirement in some disciplines and is growing rapidly. Many undergraduate activities in music have components that could be combined into compelling undergraduate research projects, either in the required curriculum, as part of existing courses, or in capstone courses centered on undergraduate research. The book begins with an overview chapter, followed by the seven chapters on research skills, including literature reviews, choosing topics, formulating questions, citing sources, disseminating results, and working with data and human subjects. A wide variety of musical subdisciplines follow in Chapters 9–18, with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources that students can access and readily operate. Each chapter opens with inspiring quotations, and wraps up with applicable discussion questions. Professors and students can use Undergraduate Research in Music: A Guide for Students as a text or a reference book in any course that has a significant opportunity for the creation of knowledge or art, within the discipline of music or in connecting music with other disciplines.
|Author||: Jennifer Bugos|
This book examines contemporary issues in music teaching and learning throughout the lifespan, illuminating an emerging nexus of trends shaping modern research in music education. In the past, most music learning opportunities and research were focused upon the pre-adult population. Yet, music education occurs throughout the lifespan, from birth until death, emerging not only through traditional formal ensembles and courses, but increasingly through informal settings as well. This book challenges previous assumptions in music education and offers theoretical perspectives that can guide contemporary research and practice. Exploring music teaching and learning practices through the lens of human development, sections highlight recent research on topics that shape music learning trajectories. Themes uniting the book include human development, assessment strategies, technological applications, professional practices, and cultural understanding. The volume deconstructs and reformulates performance ensembles to foster mutually rewarding collaborations across miles and generations. It develops new measures and strategies for assessment practices for professionals as well as frameworks for guiding students to employ effective strategies for self-assessment. Supplemental critical thinking questions focus the reader on research applications and provide insight into future research topics. This volume joining established experts and emerging scholars at the forefront of this multifaceted frontier is essential reading for educators, researchers, and scholars, who will make the promises of the 21st century a reality in music education. It will be of interest to a range of fields including music therapy, lifelong learning, adult learning, human development, community music, psychology of music, and research design.
|Author||: Roger P. Phelps,Ronald H. Sadoff,Lawrence Ferrara,Edward C. Warburton|
|Editor||: Scarecrow Press|
An updated and practical approach to research concepts, techniques, and sources from the 4th edition.
|Author||: Joshua A. Russell|
|Editor||: Oxford University Press, USA|
In Statistics in Music Education Research, author Joshua Russell offers a new course book that explains the process of using a range of statistical analyses from inception to research design to data entry to final analysis using understandable descriptions and examples from extant musiceducation research.This book, the first on the topic for graduate students in music education courses, explores four main aspects of music education research: understanding logical concepts of statistical procedures and their outcomes; critiquing the use of different procedures in extant and developing research;applying the correct statistical model for not only any given dataset, but also the correct logic determining which model to employ; reporting the results of a given statistical procedure clearly and in a way that provides adequate information for the reader to determine if the data analysis isaccurate and interpretable. Written in a manner that neither intimidates nor condescends music educators in graduate school, Statistics in Music Education Research gives readers a functioning understanding of the statistical procedure discussed in the chapter as well as the tools needed to identifythe correctness of use and the ability to apply the statistical procedure in their own research. While it is written predominately for graduate students in music education courses, Statistics in Music Education Research will also help music education researchers and teachers of music educators gaina better understanding of how parametric statistics are employed and interpreted in the social science field of music education.