AARON WILLIAMON
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780198525356
- eISBN:
- 9780191689345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525356.003.0004
- Subject:
- Psychology, Music Psychology
For musicians to enhance their performance, it is instructive to understand how performances are perceived and evaluated by others. This chapter sets out some of the musical and psychological factors ...
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For musicians to enhance their performance, it is instructive to understand how performances are perceived and evaluated by others. This chapter sets out some of the musical and psychological factors that influence the assessment of performance quality. The first part attempts to deconstruct some of the assumptions of assessment, so that readers are aware of the flaws and limitations that are inherent in any form of evaluation made by humans. This leads to the central question addressed in the final part of the chapter, which details what performers can do, in addition to performing at their peak, to enhance how their performance is received and evaluated by an audience.Less
For musicians to enhance their performance, it is instructive to understand how performances are perceived and evaluated by others. This chapter sets out some of the musical and psychological factors that influence the assessment of performance quality. The first part attempts to deconstruct some of the assumptions of assessment, so that readers are aware of the flaws and limitations that are inherent in any form of evaluation made by humans. This leads to the central question addressed in the final part of the chapter, which details what performers can do, in addition to performing at their peak, to enhance how their performance is received and evaluated by an audience.
AARON WILLIAMON
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780198525356
- eISBN:
- 9780191689345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525356.003.0001
- Subject:
- Psychology, Music Psychology
This first chapter provides a concise introduction to each part of the book, previewing the chapters contained therein and placing them in the broader context of performance enhancement research. It ...
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This first chapter provides a concise introduction to each part of the book, previewing the chapters contained therein and placing them in the broader context of performance enhancement research. It then considers the extent to which the physical and psychological skills required of today's performers are amenable to improvement through scientifically tested, systematic training procedures. Finally, it discusses how one may begin to embark on a personal course of enhancement using the pragmatic advice offered in this volume.Less
This first chapter provides a concise introduction to each part of the book, previewing the chapters contained therein and placing them in the broader context of performance enhancement research. It then considers the extent to which the physical and psychological skills required of today's performers are amenable to improvement through scientifically tested, systematic training procedures. Finally, it discusses how one may begin to embark on a personal course of enhancement using the pragmatic advice offered in this volume.
Jane Ginsborg, Claudia Spahn, and Aaron Williamon
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199586974
- eISBN:
- 9780191738357
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199586974.003.0024
- Subject:
- Psychology, Music Psychology, Health Psychology
This chapter considers the potentially deleterious effects on performers of making music. These have been shown to include occupational stress, musculoskeletal disorders, and non-musculoskeletal ...
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This chapter considers the potentially deleterious effects on performers of making music. These have been shown to include occupational stress, musculoskeletal disorders, and non-musculoskeletal disorders including performance anxiety. Such problems seem to be attributable, in part, to performers' lifestyles when they were students, according to the findings of research exploring music performance students' attitudes to health, health-promoting lifestyles, self-reported experiences of ill health, and levels of fitness. While many music colleges and university music departments recognize that it is important for health promotion to be prioritized within the curriculum, the chapter argues that the changes in training for musicians should be made from the earliest stages, so that they learn not only to prevent injury and avoid other disorders, but also to enhance their health and wellbeing.Less
This chapter considers the potentially deleterious effects on performers of making music. These have been shown to include occupational stress, musculoskeletal disorders, and non-musculoskeletal disorders including performance anxiety. Such problems seem to be attributable, in part, to performers' lifestyles when they were students, according to the findings of research exploring music performance students' attitudes to health, health-promoting lifestyles, self-reported experiences of ill health, and levels of fitness. While many music colleges and university music departments recognize that it is important for health promotion to be prioritized within the curriculum, the chapter argues that the changes in training for musicians should be made from the earliest stages, so that they learn not only to prevent injury and avoid other disorders, but also to enhance their health and wellbeing.
AARON WILLIAMON
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780198525356
- eISBN:
- 9780191689345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198525356.003.0006
- Subject:
- Psychology, Music Psychology
The ability to work with others to produce cohesive, well-coordinated performances is a hallmark of musical expertise. In such situations, verbal, aural, and visual cues are often established and ...
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The ability to work with others to produce cohesive, well-coordinated performances is a hallmark of musical expertise. In such situations, verbal, aural, and visual cues are often established and shared between coperformers. This chapter weighs up the importance of these cues in driving successful rehearsals and performances. It examines a variety of ensemble types (from cello-piano duos to symphony orchestras) and the functions of members within those ensembles.Less
The ability to work with others to produce cohesive, well-coordinated performances is a hallmark of musical expertise. In such situations, verbal, aural, and visual cues are often established and shared between coperformers. This chapter weighs up the importance of these cues in driving successful rehearsals and performances. It examines a variety of ensemble types (from cello-piano duos to symphony orchestras) and the functions of members within those ensembles.
Nina Goss and Eric Hoffman (eds)
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496813329
- eISBN:
- 9781496813367
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496813329.001.0001
- Subject:
- Music, Popular
Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, ...
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Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from an engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. This book participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The book does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience.Less
Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through promiscuous poaching; an artist of innovation and uncanny renewal. This is a Dylan of persistent surrender from an engagement with a world he perceives as broken and enduring, addressing us from a past that is lost and yet forever present. This book participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer. The book does justice to this difficult Bob Dylan by examining his method and effects through a disparate set of viewpoints. Readers will find a variety of critical contexts and cultural perspectives as well as a range of experiences as members of Dylan's audience.
Patrick Warfield
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037795
- eISBN:
- 9780252095078
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037795.001.0001
- Subject:
- Music, History, American
John Philip Sousa's mature career as the indomitable leader of his own touring band is well known, but the years leading up to his emergence as a celebrity have escaped serious attention. This ...
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John Philip Sousa's mature career as the indomitable leader of his own touring band is well known, but the years leading up to his emergence as a celebrity have escaped serious attention. This revealing biography explains how the March King came to be by documenting Sousa's early life and career. Covering the period 1854–1893, the book focuses on the community and training that created Sousa, exploring the musical life of late nineteenth-century Washington, D.C., and Philadelphia as a context for Sousa's development. The book examines Sousa's wide-ranging experience composing, conducting, and performing in the theater, opera house, concert hall, and salons, as well as his leadership of the United States Marine Band and the later Sousa Band, early twentieth-century America's most famous and successful ensemble. Sousa composed not only marches during this period but also parlor, minstrel, and art songs; parade, concert, and medley marches; schottisches, waltzes, and polkas; and incidental music, operettas, and descriptive pieces. The book's examination of Sousa's output reveals a versatile composer much broader in stylistic range than the bandmaster extraordinaire remembered as the March King. It presents the story of Sousa as a self-made business success, a gifted performer and composer who deftly capitalized on his talents to create one of the most entertaining, enduring figures in American music.Less
John Philip Sousa's mature career as the indomitable leader of his own touring band is well known, but the years leading up to his emergence as a celebrity have escaped serious attention. This revealing biography explains how the March King came to be by documenting Sousa's early life and career. Covering the period 1854–1893, the book focuses on the community and training that created Sousa, exploring the musical life of late nineteenth-century Washington, D.C., and Philadelphia as a context for Sousa's development. The book examines Sousa's wide-ranging experience composing, conducting, and performing in the theater, opera house, concert hall, and salons, as well as his leadership of the United States Marine Band and the later Sousa Band, early twentieth-century America's most famous and successful ensemble. Sousa composed not only marches during this period but also parlor, minstrel, and art songs; parade, concert, and medley marches; schottisches, waltzes, and polkas; and incidental music, operettas, and descriptive pieces. The book's examination of Sousa's output reveals a versatile composer much broader in stylistic range than the bandmaster extraordinaire remembered as the March King. It presents the story of Sousa as a self-made business success, a gifted performer and composer who deftly capitalized on his talents to create one of the most entertaining, enduring figures in American music.
John Williamson and Martin Cloonan
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781784991326
- eISBN:
- 9781526120786
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784991326.003.0004
- Subject:
- History, Social History
This chapter outlines the AMU’s history immediately post 1918 and its moves towards merger with the National Orchestral Union of Professional Musicians (NOUPM) to form the Musician’s Union (MU) in ...
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This chapter outlines the AMU’s history immediately post 1918 and its moves towards merger with the National Orchestral Union of Professional Musicians (NOUPM) to form the Musician’s Union (MU) in 1921. It examines the resignation of Joe Williams and the problems faced by his successor as General Secretary, E.S.Teale and his successor, Fred Dambman. Changes within the music profession as musical tastes change are outlined. The advent of broadcasting is discussed and the BBC’s developing role as a key employer of musicians is highlighted. The development of the recording industry is discussed and the crisis in musical employment caused by the advent of the “talkies” in the cinema outlined. Problems caused for the Union by “alien” musicians working in the UK are noted.Less
This chapter outlines the AMU’s history immediately post 1918 and its moves towards merger with the National Orchestral Union of Professional Musicians (NOUPM) to form the Musician’s Union (MU) in 1921. It examines the resignation of Joe Williams and the problems faced by his successor as General Secretary, E.S.Teale and his successor, Fred Dambman. Changes within the music profession as musical tastes change are outlined. The advent of broadcasting is discussed and the BBC’s developing role as a key employer of musicians is highlighted. The development of the recording industry is discussed and the crisis in musical employment caused by the advent of the “talkies” in the cinema outlined. Problems caused for the Union by “alien” musicians working in the UK are noted.