A changing role for the composer in society: a study of the historical background and current methodologies of creative music making
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford [u.a.]
Lang
2005
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Literaturverz. S. 415 - 420. - Discogr. S. 421 - 424 |
| Beschreibung: | 440 S. Ill., graph. Darst., Noten |
| ISBN: | 303910277X 0820472042 |
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| 245 | 1 | 0 | |a A changing role for the composer in society |b a study of the historical background and current methodologies of creative music making |c Jolyon Laycock |
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| 650 | 7 | |a Creativiteit |2 gtt | |
| 650 | 7 | |a Muziekbeoefening |2 gtt | |
| 650 | 7 | |a Sociale aspecten |2 gtt | |
| 650 | 4 | |a Gesellschaft | |
| 650 | 4 | |a Community music |x History and criticism | |
| 650 | 4 | |a Composers | |
| 650 | 4 | |a Composition (Music) |x Social aspects | |
| 650 | 4 | |a Creation (Literary, artistic, etc.) | |
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| adam_text | Jolyon Laycock
A CHANGING ROLE
FOR THE COMPOSER
IN SOCIETY
A Study of the Historical Background
and Current Methodologies
of Creative Music-Making
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Contents
Preface 11
Acknowledgements 13
Introduction 15
Part 1 Background 23
Chapter 1 Historical background 25
The origins of creative music-making in Britain: Gustav Hoist; Michael Tippett;
Benjamin Britten The European contribution: Zoltan Kodaly; Carl Orff The
influence of American experimental music: John Cage; Fluxus Creative music-
making in Britain after 1960: Cornelius Cardew; The Scratch Orchestra; Car-
dew s political philosophy; Gavin Bryars; Harrison Birtwistle; Peter Maxwell
Davies; David Bedford; The Birmingham Arts Laboratory Experimental Sound
Workshop; The Arnolfini Music Workshop
Chapter 2 Philosophical background 61
The maxims of R Murray Schafer; The philosophical writings of Michael
Tippett; Chris Small: the role of music in society; The educational theories of
John Paynter; Keith Swanwick: musical development in the child; George
Odam and child-centred music education; Peter Wiegold, Ian Mitchell and the
Gemini Ensemble; The workshop methodology of Peter Wiegold
Chapter 3 Private trusts and government policy 97
The Calouste Gulbenkian Foundation; The Arts Council of Great Britain and its
successors; The artists-in-schools movement; The National Lottery schemes of
the Arts Council of England; All Our Futures; The National Federation for Edu-
cational Research; Arts funding policy in Europe
Part 2 The theoretical model 121
Chapter 4 Towards a theoretical model 123
Society and Community; Qualitative, quantitative and categorical aspects; A
framework for evaluation: Scale and duration; The framing axis - instruction
and encounter; The action axis - active and passive; The creativity axis - crea-
tive and re-creative Building a multi-dimensional matrix: Action and creativity
- the holistic model; Action and creativity - the community of learners
Applying the theoretical model: a case study; Structure in time - the four-phase
model
Chapter 5 Classification 163
The categorical aspect of the classification axis; European classical styles and
their derivatives; Indigenous folk music from native European people; Popular
and commercial musical styles; Folk and classical music of non-European
minority communities;
Chapter 6 Places and people 189
Music and place; Geographical location; Cultural diversity in Europe; Beyond
the boundaries of Europe; Rainbow across Europe - a response to European
cultural policy
Chapter 7 Age and ability 217
The nature of the skill-gap; The musically gifted; Music and disability; Bridg-
ing the skill-gap; Conditions of openness; The London Symphony Orchestra
Discovery programme; Chamber Music 2000; Society for the Promotion of
New Music Composing for Kids ; Rainbow over Bath Parents and Children
project; Rainbow over Bath Igor s Boogie ; St George s, Bristol Perform ;
Common Ground Confluence project
Part 3 The Theoretical Model in action 245
Chapter 8 Before the project starts 247
Consultation; Top down versus bottom up ; Project conception; Strategic
planning; Introductory meeting; Inset or training day; The relationship between
artists and teachers in the workshop team; The function of students in the
workshop team
Chapter 9 Project themes 265
Musical concepts; Non-musical concepts without a narrative component: Ab-
stract idea expressed as a verbal phrase or image; Pictorial themes; Experiences
• from life; Political and social themes Non-musical themes with built-in
narrative component: Telling a story; Poem or piece of descriptive prose;
Geographical journey in music; Myth or legend associated with a particular
place
Chapter 10 The project in action 283
The project timetable; Phase one; Phase two; Mid-project meeting; Phase three;
Phase four; The four-phase model in projects of long duration
Chapter 11 Final performance 305
The nature of emotional catharsis; The importance of emotional engagement;
Barry Russell and the Cardew Ensemble - Rituals for Orpheus
Chapter 12 Project outcomes 319
Continuity and project legacy; Musical scores; Project reports and evaluations;
Three types of evaluation; Anonymity and confidentiality; Childrens Music
Workshop; Spitalfields Festival education programme; The Association of Brit-
ish Orchestras
Chapter 13 The PRS Composing in Education Scheme 345
Framing, action and creativity; Classification; The community of learners; Age
and ability; Places and people; The four-phase model; Final concerts; The ho-
listic model; Evaluation
Part 4 Conclusions, proposals and recommendations 373
Chapter 14 Conclusions 375
Reconciliation of opposites: The five dichotomies; Examples and case studies;
The value of creative music-making: a struggle for recognition; Why is there so
much scepticism? What is so special about composers? Defining a new role;
Can all this be learned? The need for training; Who will be the advocate? The
need for specialised agencies; Where will the money come from? Cultural
contact and collaboration through creative music-making
Appendix: Chronological chart of projects 397
Bibliography 415
Discography and recorded examples 421
List of examples 425
List of photographs 428
Index 429
|
| adam_txt |
Jolyon Laycock
A CHANGING ROLE
FOR THE COMPOSER
IN SOCIETY
A Study of the Historical Background
and Current Methodologies
of Creative Music-Making
PETER LANG
Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien
Contents
Preface 11
Acknowledgements 13
Introduction 15
Part 1 Background 23
Chapter 1 Historical background 25
The origins of creative music-making in Britain: Gustav Hoist; Michael Tippett;
Benjamin Britten The European contribution: Zoltan Kodaly; Carl Orff The
influence of American experimental music: John Cage; Fluxus Creative music-
making in Britain after 1960: Cornelius Cardew; The Scratch Orchestra; Car-
dew's political philosophy; Gavin Bryars; Harrison Birtwistle; Peter Maxwell
Davies; David Bedford; The Birmingham Arts Laboratory Experimental Sound
Workshop; The Arnolfini Music Workshop
Chapter 2 Philosophical background 61
The maxims of R Murray Schafer; The philosophical writings of Michael
Tippett; Chris Small: the role of music in society; The educational theories of
John Paynter; Keith Swanwick: musical development in the child; George
Odam and child-centred music education; Peter Wiegold, Ian Mitchell and the
Gemini Ensemble; The workshop methodology of Peter Wiegold
Chapter 3 Private trusts and government policy 97
The Calouste Gulbenkian Foundation; The Arts Council of Great Britain and its
successors; The artists-in-schools movement; The National Lottery schemes of
the Arts Council of England; All Our Futures; The National Federation for Edu-
cational Research; Arts funding policy in Europe
Part 2 The theoretical model 121
Chapter 4 Towards a theoretical model 123
Society and Community; Qualitative, quantitative and categorical aspects; A
framework for evaluation: Scale and duration; The framing axis - instruction
and encounter; The action axis - active and passive; The creativity axis - crea-
tive and re-creative Building a multi-dimensional matrix: Action and creativity
- the holistic model; Action and creativity - the community of learners
Applying the theoretical model: a case study; Structure in time - the four-phase
model
Chapter 5 Classification 163
The categorical aspect of the classification axis; European classical styles and
their derivatives; Indigenous folk music from native European people; Popular
and commercial musical styles; Folk and classical music of non-European
minority communities;
Chapter 6 Places and people 189
Music and place; Geographical location; Cultural diversity in Europe; Beyond
the boundaries of Europe; 'Rainbow across Europe' - a response to European
cultural policy
Chapter 7 Age and ability 217
The nature of the skill-gap; The musically gifted; Music and disability; Bridg-
ing the skill-gap; Conditions of openness; The London Symphony Orchestra
'Discovery' programme; Chamber Music 2000; Society for the Promotion of
New Music 'Composing for Kids'; 'Rainbow over Bath' 'Parents and Children'
project; 'Rainbow over Bath' 'Igor's Boogie'; St George's, Bristol 'Perform';
Common Ground 'Confluence' project
Part 3 The Theoretical Model in action 245
Chapter 8 Before the project starts 247
Consultation; 'Top down' versus 'bottom up'; Project conception; Strategic
planning; Introductory meeting; Inset or training day; The relationship between
artists and teachers in the workshop team; The function of students in the
workshop team
Chapter 9 Project themes 265
Musical concepts; Non-musical concepts without a narrative component: Ab-
stract idea expressed as a verbal phrase or image; Pictorial themes; Experiences
• from life; Political and social themes Non-musical themes with built-in
narrative component: Telling a story; Poem or piece of descriptive prose;
Geographical journey in music; Myth or legend associated with a particular
place
Chapter 10 The project in action 283
The project timetable; Phase one; Phase two; Mid-project meeting; Phase three;
Phase four; The four-phase model in projects of long duration
Chapter 11 Final performance 305
The nature of emotional catharsis; The importance of emotional engagement;
Barry Russell and the Cardew Ensemble - Rituals for Orpheus
Chapter 12 Project outcomes 319
Continuity and project legacy; Musical scores; Project reports and evaluations;
Three types of evaluation; Anonymity and confidentiality; Childrens' Music
Workshop; Spitalfields Festival education programme; The Association of Brit-
ish Orchestras
Chapter 13 The PRS Composing in Education Scheme 345
Framing, action and creativity; Classification; The community of learners; Age
and ability; Places and people; The four-phase model; Final concerts; The ho-
listic model; Evaluation
Part 4 Conclusions, proposals and recommendations 373
Chapter 14 Conclusions 375
Reconciliation of opposites: The five dichotomies; Examples and case studies;
The value of creative music-making: a struggle for recognition; Why is there so
much scepticism? What is so special about composers? Defining a new role;
Can all this be learned? The need for training; Who will be the advocate? The
need for specialised agencies; Where will the money come from? Cultural
contact and collaboration through creative music-making
Appendix: Chronological chart of projects 397
Bibliography 415
Discography and recorded examples 421
List of examples 425
List of photographs 428
Index 429 |
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| index_date | 2024-07-02T13:22:05Z |
| indexdate | 2024-07-09T20:26:48Z |
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| isbn | 303910277X 0820472042 |
| language | English |
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| spelling | Laycock, Jolyon Verfasser aut A changing role for the composer in society a study of the historical background and current methodologies of creative music making Jolyon Laycock Oxford [u.a.] Lang 2005 440 S. Ill., graph. Darst., Noten txt rdacontent n rdamedia nc rdacarrier Literaturverz. S. 415 - 420. - Discogr. S. 421 - 424 Geschichte 1900-2002 gnd rswk-swf Componeren gtt Creativiteit gtt Muziekbeoefening gtt Sociale aspecten gtt Gesellschaft Community music History and criticism Composers Composition (Music) Social aspects Creation (Literary, artistic, etc.) Komponist (DE-588)4032009-1 gnd rswk-swf Musiksoziologie (DE-588)4040869-3 gnd rswk-swf Komponist (DE-588)4032009-1 s Musiksoziologie (DE-588)4040869-3 s Geschichte 1900-2002 z DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014179828&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Laycock, Jolyon A changing role for the composer in society a study of the historical background and current methodologies of creative music making Componeren gtt Creativiteit gtt Muziekbeoefening gtt Sociale aspecten gtt Gesellschaft Community music History and criticism Composers Composition (Music) Social aspects Creation (Literary, artistic, etc.) Komponist (DE-588)4032009-1 gnd Musiksoziologie (DE-588)4040869-3 gnd |
| subject_GND | (DE-588)4032009-1 (DE-588)4040869-3 |
| title | A changing role for the composer in society a study of the historical background and current methodologies of creative music making |
| title_auth | A changing role for the composer in society a study of the historical background and current methodologies of creative music making |
| title_exact_search | A changing role for the composer in society a study of the historical background and current methodologies of creative music making |
| title_exact_search_txtP | A changing role for the composer in society a study of the historical background and current methodologies of creative music making |
| title_full | A changing role for the composer in society a study of the historical background and current methodologies of creative music making Jolyon Laycock |
| title_fullStr | A changing role for the composer in society a study of the historical background and current methodologies of creative music making Jolyon Laycock |
| title_full_unstemmed | A changing role for the composer in society a study of the historical background and current methodologies of creative music making Jolyon Laycock |
| title_short | A changing role for the composer in society |
| title_sort | a changing role for the composer in society a study of the historical background and current methodologies of creative music making |
| title_sub | a study of the historical background and current methodologies of creative music making |
| topic | Componeren gtt Creativiteit gtt Muziekbeoefening gtt Sociale aspecten gtt Gesellschaft Community music History and criticism Composers Composition (Music) Social aspects Creation (Literary, artistic, etc.) Komponist (DE-588)4032009-1 gnd Musiksoziologie (DE-588)4040869-3 gnd |
| topic_facet | Componeren Creativiteit Muziekbeoefening Sociale aspecten Gesellschaft Community music History and criticism Composers Composition (Music) Social aspects Creation (Literary, artistic, etc.) Komponist Musiksoziologie |
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