Together in Music: Coordination, expression, participation

by Renee Timmers (Editor), Freya Bailes (Editor), Helena Daffern (Editor)

Overview

Recent years have seen a rise in interest, from a diversity of fields, in the musical ensemble as an exemplary form of creative group behavior. Musical ensembles can be understood and investigated as high functioning small group organizations that have coordinative structures in place to perform under pressure within strict temporal boundaries. Rehearsals and performances exemplify fruitful contexts for emergent creative behaviour, where novel musical interpretations are negotiated and discovered through improvisatory interaction. Furthermore, group music-making can be an emotionally and socially rewarding experience that enables positive outcomes for wellbeing and development.

This book brings together these different perspectives into one coherent volume, offering insight into the musical ensemble from different analytical levels. Part 1 starts from the meso-level, considering ensembles as creative teams and investigating how musical groups interact at a social and organizational level. Part 2 then zooms in to consider musical coordination and interaction at a micro-level, when considering group music-making as forms of joint action. Finally, a macro-level perspective is taken in Part 3, examining the health and wellbeing affordances associated with acoustical, expressive, and emotional joint behavior. Each part contains a balance of review chapters showcasing the most recent developments in each area of research, followed by demonstrative case studies featuring various ensemble practices and processes.

A rich and multidisciplinary reflection on ensemble music practice, this volume will be an insightful read for music students, teachers, academics, and professionals with an interest in the dynamics of group behavior within a musical context.

Product Details

ISBN-13:	9780198860761
Publisher:	Oxford University Press
Publication date:	02/04/2022
Pages:	320
Product dimensions:	9.84(w) x 7.01(h) x 0.86(d)

About the Author

Renee Timmers, Professor of Psychology of Music, Department of Music, The University of Sheffield, Sheffield, UK,Freya Bailes, Associate Professor in Music Psychology, School of Music, University of Leeds, Leeds, UK,Helena Daffern, Associate Professor in Audio and Music Technology, Department of Electronic Engineering, University of York, York, UK

Renee Timmers is Professor of Psychology of Music at The University of Sheffield, where she directs the Music, Mind, Machine research centre. Her research uses interdisciplinary methods to investigate expression, emotion and wellbeing in and through music with a specific focus on music as a multisensory experience. She served on the editorial board of several journals, including acting as Co-Editor of Empirical Musicology Review and Associate Editor of Psychomusicology: Music, Mind, & Brain. She is currently President of the European Society of the Cognitive Sciences of Music in which capacity she promotes inclusive and climate friendly international knowledge dissemination.

Freya Bailes is an Associate Professor in Music Psychology at the University of Leeds. She is a founder and co-director of the 'Music for Healthy Lives Research & Practice network'. Freya has held research positions in Australia, France, and the USA. Her interests include cognitive and social processes in performance, mental representations in musical creativity, cognition and perception of musical structures, musical imagery, and music and wellbeing.

Helena Daffern is an Associate Professor in Audio and Music Technology in the AudioLab, Department of Electronic Engineering at the University of York. She received a BA (Hons.) degree in Music, an M.A. degree in Music, and PhD in Music Technology, all from the University of York, UK, before completing postgraduate training as a classical singer at Trinity College of Music, London. Her research utilises interdisciplinary approaches with virtual reality technology to investigate voice science and acoustics, particularly singing performance, vocal pedagogy, choral singing and singing for health and wellbeing.

Table of Contents

Part 1: Coordination and ensemble organization1. Music ensembles as self-organized groups, Nicola Pennill and Dermot Breslin2. Group behaviors as music, James Saunders3. Organizational dynamics in community ensembles, David A. Camlin4. Agency in ensemble interaction and rehearsal communication, Su Yin Mak, Hiroko Nishida, and Daisuke Yokomori5. Investigating emergent coordination in small music groups, Nicola Pennill and Jane W. Davidson6. Ministry of sound: musical mediations in an English parish church, Kathryn King7. Playful production: collaborative facilitation in a music ensemble context, Elizabeth Haddon and Catherine Laws8. Teaching through ensemble performance, J. Murphy McCaleb9. The impact of group identity on the social dynamics and sustainability of chamber music ensembles, Alana Blackburn10. Come together: An ethnography of the Seattle Men's Chorus family, Wendy K. Moy11. Working practices of professional piano accompanists outlined through a conceptual framework, Evgenia Roussou12. Developing familiarity: Rehearsal talk in a newly formed duo, Jane Ginsborg and Dawn BennettPart 2: Expression, communication and interaction13. Embodiment, process and product in ensemble expression, Renee Timmers14. Gestures in ensemble performance, Alexander Refsum Jensenius and Cagri Erdem15. Technologies for investigating large ensemble performance, Cayenna Ponchione-Bailey and Eric F. Clarke16. Understanding expressive ensemble singing through acoustics, Helena Daffern and Sara D'Amario17. Ensemble timing and synchronization, Sara D'Amario and Freya Bailes18. Ensemble interaction in indeterminate music: a case study of Christian Wolff's exercises, Emily Payne and Philip Thomas19. Using performance sociograms to investigate inter-performer relationships in music ensembles, Christoph Seibert20. Together in cyberspace: collaborative live coding of music, Ryan Kirkbride21. "Crystal clear" or "as clear as mud!" Verbalized Imagery as successful communication between singers and choir directors, Mary Black22. An historical perspective on ensemble performance: asynchrony in early recordings of the Czech Quartet, Christopher Terepin23. Beyond synchronization: body gestures and gaze direction in duo performance, Laura Bishop, Carlos Cancino-Chacón, and Werner GoeblPart 3: Participation, development and wellbeing24. Ensembles for wellbeing, Gunter Kreutz and Michael Bonshor25. Ensemble musicians' health and wellness, Naomi Norton26. Musical interaction, social communication and wellbeing, Tal-Chen Rabinowitch and Satinder Gill27. Ensemble participation and personal development, Karen Burland28. Empowering ensembles: Music and world-building past and present, Helen J. English29. Ensembles in music therapy, Stuart Wood and Irene Pujol Torras30. Ensemble participation in late adulthood, Jennifer MacRitchie and Sandra Garrido31. Emotional, cognitive and motor development in youth orchestras: a 2-year longitudinal study, Donald Glowinski, Cecile Levacher, Florian Buchheit, Chiara Malagoli, Benjamin Matuszewski, Simon Schaerlaeken, Chiara Noera, Katie Edwards, Carlo Chiorri, Frédéric Bevilacqua, and Didier Grandjean32. Enhanced learning through joint instrumental education, Andrea Schiavio33. Collaborative composition and performance in arts and health workshops: How notating in groups enables creative interaction and communication for social wellbeing, James Williams34. Encountering the singing body: Vocal physicality and interactivity, Daniel Galbreath and Gavin Thatcher35. Ensemble singing for wellbeing and social inclusion of street children: Music-based social action research, Juliana Moonette Manrique and Angelina Gutiérrez36. Together in music: embodiment, multidimensionality, and musical-social interaction, Renee Timmers, Freya Bailes, and Helena Daffern