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Cultural Psychology of Musical Experience
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This book forms a basis and a starting point for a closer dialogue between musicologists, anthropologists and psychologists to achieve a better understanding of the cultural psychology of musical experience. This is done by arranging a meeting point or an arena in which different aspects of psychology and musicology touch and encounters each other due to how the two fields might be defined today. In line with this the book consists of a group of scholars that have their feet solidly grounded in psychology, social science or musicology, but at the same time have a certain interest in uniting them. On this basis it is divided into five parts, which investigates musical sensations, musical experiences, musical transformations, musical fundamentals and the notion of a cultural psychology of music. Thus another aim of this book is to prepare the basis for a further growth of a cultural psychology that is able to include the experiences of music as a basis for understanding the ordinary human life. Thus this book should be of interest for those who want to investigate the mysterious intersection between music and psychology. ENDORSEMENTS Near a century ago, Alfred North Whitehead, a philosopher sensitive to the natural vitality of human intelligence, warned against the restriction of awareness by products of logical discernment. This book makes a bold and much needed effort to recover an appreciation of the creative agency in music of all kinds, which supports mastery of all domains of cultural intelligence, including language, and artificial intelligence. We need to replace a rational psychology of musical form with appreciation of impulses of musicality in the life of every human society. From birth, and before, a human mind is eager to share the rhythms and tones of awareness-with-feeling in body movement, elaborated in song, instrumental performance or dance. The scholastic disciplines of psychology, anthropology, musicology and ethnomusicology, separated by artificial conventions, need to recover this common ground by a project that aims at assembling disciplines that have been separated and developed individually for almost hundred years ... to achieve a better understanding of the cultural psychology of musical experience. This collection of papers boldly meets this challenge, with skillful respect for the complicated history of our understanding. Colwyn Trevarthen Professor (Emeritus) of Child Psychology and Psychobiology, School of Philosophy, Psychology and Language Sciences, The University of Edinburgh This book is an important marker in the next wave of interdisciplinary socio-musical study. Culture, individual experience, and social forces converge here and are addressed, and sometimes redressed, through musical means. Bravo! Tia DeNora Professor, Sociology, Philosophy & Anthropology (SPA) Exeter University EX4 4RJ, UK Klempe has crafted a fascinating collection of discussions that is accessible and inspiring. Both students and experts will find this book invaluable. Fathali Moghaddam, Professor of Psychology Director of the Interdisciplinary Program in Cognitive Science, Georgetown University

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Stand: 07.11.2017
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Handbook of Materials for String Musical Instru...
308,21 € *
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This book addresses core questions about the role of materials in general and of wood in particular in the construction of string instruments used in the modern symphony orchestra - violins, violas, cellos and basses. Further attention is given to materials for classical guitars, harps, harpsichords and pianos. While some of the approaches discussed are traditional, most of them depend upon new scientific approaches to the study of the structure of materials, such as for example wood cell structure, which is visible only using modern high resolution microscopic techniques. Many examples of modern and classical instruments are examined, together with the relevance of classical techniques for the treatment of wood. Composite materials, especially designed for soundboards could be a good substitute for some traditional wood species. The body and soundboard of the instrument are of major importance for their acoustical properties, but the study also examines traditional and new wood species used for items such as bows, the instrument neck, string pegs, etc. Wood species properties for musical instruments and growth origins of woods used by great makers such as Antonio Stradivari are examined and compared with more recently grown woods available to current makers. The role of varnish in the appearance and acoustics of the final instrument is also discussed, since it has often been proposed as a secret ingredient used by great makers. Aspects related to strings are commented. As well as discussing these subjects, with many illustrations from classical and contemporary instruments, the book gives attention to conservation and restoration of old instruments and the physical results of these techniques. There is also discussion of the current value of old instruments both for modern performances and as works of art having great monetary value. The book will be of interest and value to researchers, advanced students, music historians, and contemporary string instrument makers. Musicians in general, particularly those playing string instruments, will also find its revelations fascinating. It will also attract the attention of those using wood for a variety of other purposes, for its use in musical instruments uncovers many of its fundamental features. Professor Neville H. Fletcher Australian National University, Canberra Dr. Voichita Bucur, currently a senior visiting research fellow at CSIRO, Australia, received her bachelor in Engineering in 1962 from Polytechnic Institute Brasov, Romania, and her PhD in Mechanics and Ultrasonics in 1984 from the Institut Supérieur des Materiaux, St Ouen, Paris, France. In Romania she was a scientist at the Wood Research Institute in Bucharest until 1978. Then she moved to France where she worked at the Forestry Research Centre in Nancy in charge of the development of acoustic (ultrasonic) nondestructive techniques for quality improvement of wood and wood based products. She was also in charge of the research programmes for PhD and MSci students at the Université Henri Poincaré - Nancy, France, for the development of ultrasonic technique in Wood Science. In December 2005 she retired from these positions and moved to Australia. A member of 5 wood and acoustical societies, Dr Bucur published 6 books and more than 140 articles and other publications, she was a reviewer for journals on wood science, and has 1 patent in France. Her fields of research encompass development of non-destructive techniques (vibrational, acoustic, ultrasonic , X- rays) for the assessment of the quality of trees, wood products and wood-based composites, mechanical characterisation of materials with non-destructive techniques, wood science and technology, and mechanical characterisation of wood for musical instruments.

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Stand: 02.04.2018
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Musical Techniques - Frequencies and Harmony
116,99 € *
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This book is built to start from elementary and fundamental bases to the first degrees of harmony. It provides many theoretical and technical bases of music, presenting in detail relations between physics and music (harmonics, frequency and time spectrum, dissonance, etc.), physiological relations with human body and education.

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Stand: 07.11.2017
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Musical Techniques - Frequencies and Harmony
116,99 € *
ggf. zzgl. Versand

This book is built to start from elementary and fundamental bases to the first degrees of harmony. It provides many theoretical and technical bases of music, presenting in detail relations between physics and music (harmonics, frequency and time spectrum, dissonance, etc.), physiological relations with human body and education.

Anbieter: ciando eBooks
Stand: 07.11.2017
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Towards a Theory of Musical Reproduction - Note...
25,70 € *
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At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense. In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

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Stand: 21.05.2018
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Towards a Theory of Musical Reproduction - Note...
74,30 € *
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At the beginning of his career in the 1920s, Adorno sketched a plan to write a major work on the theory of musical reproduction, a task he returned to time and again throughout his career but never completed. The choice of the word reproduction as opposed to interpretation indicates a primary supposition: that there is a clearly defined musical text whose precision exceeds what is visible on the page, and that the performer has the responsibility to reproduce it as accurately as possible, beyond simply playing what is written. This task, according to Adorno, requires a detailed understanding of all musical parameters in their historical context, and his reflections upon this task lead to a fundamental study of the nature of notation and musical sense. In the various notes and texts brought together in Towards a Theory of Musical Reproduction, one finds Adorno constantly circling around an irresolvable paradox: interpretation can only fail the work, yet only through it can musics true essence be captured. While he at times seems more definite in his pronouncement of a musical scores absolute value just as a book is read silently, not aloud his discourse repeatedly displays his inability to cling to that belief. It is this quality of uncertainty in his reflections that truly indicates the scope of the discourse and its continuing relevance to musical thought and practice today.

Anbieter: ciando eBooks
Stand: 21.05.2018
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A NIME Reader - Fifteen Years of New Interfaces...
190,39 € *
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What is a musical instrument? What are the musical instruments of the future? This anthology presents thirty papers selected from the fifteen year long history of the International Conference on New Interfaces for Musical Expression (NIME). NIME is a leading music technology conference, and an important venue for researchers and artists to present and discuss their explorations of musical instruments and technologies. Each of the papers is followed by commentaries written by the original authors and by leading experts. The volume covers important developments in the field, including the earliest reports of instruments like the reacTable, Overtone Violin, Pebblebox, and Plank. There are also numerous papers presenting new development platforms and technologies, as well as critical reflections, theoretical analyses and artistic experiences. The anthology is intended for newcomers who want to get an overview of recent advances in music technology. The historical traces, meta-discussions and reflections will also be of interest for longtime NIME participants. The book thus serves both as a survey of influential past work and as a starting point for new and exciting future developments.

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Stand: 02.04.2018
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Performing Piety - Musical Culture in Medieval ...
103,52 € *
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Addressing questions about the musical life in English nunneries in the later Middle Ages, Yardley pieces together a mosaic of nunnery musical life, where even the smallest convents sang the monastic offices on a daily basis and many of the larger houses celebrated the late medieval liturgy in all of its complexity. ANNE BAGNALL YARDLEY is Associate Professor of Music and Associate Academic Dean at Drew Theological School, USA.

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Stand: 09.04.2018
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iBroadway - Musical Theatre in the Digital Age
103,52 € *
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This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast. In the first hundred years of its existence, commercial musical theatre functioned on one basic model. However, with the advent of digital and network technologies, every musical theatre artist and professional has had to adjust to swift and unanticipated change. Due to the historically commercial nature of the musical theatre form, it offers a particularly potent test case to reveal the implications of this digital shift than other theatrical art forms. Rather than merely reflecting technological change, musical theatre scholarship and practice is at the forefront of the conversation about art in the digital age. This book is essential reading for musical theatre fans and scholars alike. Jessica Hillman-McCord is Associate Professor at SUNY Fredonia, USA. Her articles have appeared in TDR: The Drama Review , Studies in Musical Theatre and Theatre Topics , among others. Her book, Echoes of the Holocaust on the American Musical Stage , was published in 2012.

Anbieter: ciando eBooks
Stand: 28.11.2017
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Raumakustik in der Oper und im Musical: Raumaku...
29,99 € *
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In dieser Untersuchung wird der Umbau des Musical Dome Köln zur Oper am Dom als Beispiel für die Vorgehensweise einer raumakustischen Optimierung eines Musicaltheaters für eine Opernproduktion beschrieben und dokumentiert. Es werden die Grundlagen der Akustik dargestellt, die unterschiedlichen raumakustischen Anforderungen der Genres Oper und Musical kontrastiv gegenüber gestellt, die Idealwerte für ein Opernhaus aus der Literatur aufgelistet sowie der Musical Dome Köln und sein baugeschichtlicher Hintergrund vorgestellt. Messungen des Ist-Zustandes zeigen mögliche Defizite für eine Nutzung des Musicaltheaters als Opernhaus auf. Infolgedessen werden Empfehlungen für eine Optimierung der Raumakustik gegeben. Weitere Messungen überprüfen die Effektivität dieser Optimierung und beschreiben die Akustik der neuen Oper am Dom. Diese werden anschließend noch durch den Vergleich mit den Idealwerten bewertet. Philipp Polzin ist gebürtiger Kölner und studierte an der Robert-Schumann-Hochschule in Düsseldorf Ton- und Bildtechnik mit dem musikalischen Hauptfach Klavier. Sein Interessensschwerpunkt liegt auf dem Musiktheater, wo er heute sowohl als Toningenieur als auch als Musiker tätig ist. So arbeitete er u.a. als Korrepetitor bei den Bad Hersfelder Festspielen, am Schauspiel Essen und als musikalischer Leiter für AIDA Cruises und produzierte außerdem CDs mit dem Musicalstar Chris Murray für das Schauspiel Essen und den Felix Bloch Erben Verlag. In der Studie Raumakustik in der Oper und im Musical kombinierte er seine technischen und musikalischen Interessen.

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Stand: 12.12.2017
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