Organ improvisation: activity, action and rhetorical practice
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Malmö
Malmö Acad. of Music
2008
|
| Schriftenreihe: | Studies in music and music education
11 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Zugl.: Lund., Univ., Diss., 2008 |
| Beschreibung: | III, 2, 216 S. Ill. CD (12 cm) |
| ISBN: | 9789197605335 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Preface i
Chapter
і
Introduction I
Chapter
2
The research area
5
2.
1 Improvisation: A neglected asset
5
2.2
The organ: A wondrous machine
6
2.3
Settings for organ improvisation
8
2.4
The education of organists 1
0
2.5
Interpretation and improvisation
12
2.6
Previous research on improvisation
15
2.7
A situated starting point
17
2.8
Aim and research questions
18
Chapter
3
Improvisation in practice and performance:
a theoretical framework
19
3.
1 Cultural-historical activity theory (CHAT)
20
3.2.
Improvisation as a research object
24
3.2.
1 Improvised music as art object or joint event
25
3.2.2
Music and discourse
28
3.2.3
Music as discursive
32
3.3
Improvisation and musical learning
34
3.3.
1 Instrumental practise and performance
35
3.3.2
Professional development
39
3.4
Improvisation and creative processes in music
42
3.4.
1 Poesis
and mimesis
42
3.4.2
Individual and collective creativity
44
3.4.3
Transformation and
utopia
46
3.5
A multitude of voices
47
3.5.1
The individual as a decentred self in society
48
3.5.2
Gender perspectives
-50
3.5.3
Improvisation as rhetorical action
54
3.6
Summary: Organ improvisation as an activity system
57
Chapter
4
Investigating organ improvisation:
Methodology and design
59
4.1
Researching artistic processes
59
4.2
Methodological approaches
63
4.2.1
Pre-studies
64
4.2.2
Studying discourse and practice
66
4.2.3
Improvisation as discursive action and communicative events
68
4.3
Methods and procedure
69
4.3.1
Data collection methods
69
4.3.2
Documenting data
70
4.3.3
Selection of participants
7/
4.3.4
Conducting Interviews and observations
73
4.3.5
Individual choices of performance situations
75
4.4
Analysis
76
4.4.1
Analysis as a constant movement
76
4.4.2
The analytical process
77
4.5
Reflections of quality: Perspectives on validity and reliability
8
1
Chapter
5
Results I:
Ways of approaching learning and music-making
85
5.
1 Four ways of learning in organ improvisation
85
5.1.1
Instrumental fascination
86
5.1.2
Apprenticeship
86
5.1.3
Learning through performance
89
5.1.4
Communication with an inner guide
91
5.2
An expansive approach to written music
94
Chapter
6
Results II: Two discursive practices
99
6.
1 The choice of performance contexts 1
00
6.1.2
The liturgy
100
6.1.2
The concert
101
6.2
Two discourses on music
102
6.2. /
Everything that Is framed becomes art: Music as a means
102
6.2.2
The art of the moment: Musk as an end in itself
106
6.3
The organists definitions of improvisation 111
6.3.
1 Catching an attitude: Defining liturgical improvisation 1
12
6.3.2
Being the author: Defining concert Improvisation
116
6.4
Strategies for organ improvisation 1
19
6.4.1
Strategies for liturgical improvisation
119
6.4.2
Strategies for concert improvisation
127
6.5
Two discourses in music
132
6.5.
1 Improvisation as contextual communication
132
6.5.2
Improvisation as individual expression
136
6.6
Summary
140
Chapter
7
Activity, action and rhetorical practice:
A discussion
145
7.1
The activity system of organ improvisation
145
7.2
The activity systems of the liturgy and the concert
150
7.2.1
Two historical tracks
152
7.2.2
Creative strategies and
epistemologica!
spaces
157
7.2.3
Gendered discourses in music
159
7.3
The actions of professional competence nomads
163
7.3.1
Discourse awareness
Ià4
7.3.2
Prerequisites for competence development
168
7.3.3
Expansive cycles and imaginary discourses I
71
7.4
Organ improvisation: A contemporary rhetorical practice
175
Chapter
8
Educational implications and conclusive remarks
181
8.1
Conceptualising organ improvisation as expansive learning
182
8.2
Educating musical orators:
A model of expansive music teaching 1
85
8.3
Activity theory and artistic research 1
89
8.4
Further research
191
8.5
Concluding words
194
References
195
Appendices
209
Appendix I
:
List of interviews
2
11
Appendix
2:
Interview guideline for the fist meeting
212
Appendix
3;
Screen print of HyperRESEARCH table I
213
Appendix
4:
Screen print of HyperRESEARCH table II
214
Appendix
5:
List of CD contents
215
Appendix
6:
List of figures
216
|
| adam_txt |
Contents
Preface i
Chapter
і
Introduction I
Chapter
2
The research area
5
2.
1 Improvisation: A neglected asset
5
2.2
The organ: A wondrous machine
6
2.3
Settings for organ improvisation
8
2.4
The education of organists 1
0
2.5
Interpretation and improvisation
12
2.6
Previous research on improvisation
15
2.7
A situated starting point
17
2.8
Aim and research questions
18
Chapter
3
Improvisation in practice and performance:
a theoretical framework
19
3.
1 Cultural-historical activity theory (CHAT)
20
3.2.
Improvisation as a research object
24
3.2.
1 Improvised music as art object or joint event
25
3.2.2
Music and discourse
28
3.2.3
Music as discursive
32
3.3
Improvisation and musical learning
34
3.3.
1 Instrumental practise and performance
35
3.3.2
Professional development
39
3.4
Improvisation and creative processes in music
42
3.4.
1 Poesis
and mimesis
42
3.4.2
Individual and collective creativity
44
3.4.3
Transformation and
utopia
46
3.5
A multitude of voices
47
3.5.1
The individual as a decentred self in society
48
3.5.2
Gender perspectives
-50
3.5.3
Improvisation as rhetorical action
54
3.6
Summary: Organ improvisation as an activity system
57
Chapter
4
Investigating organ improvisation:
Methodology and design
59
4.1
Researching artistic processes
59
4.2
Methodological approaches
63
4.2.1
Pre-studies
64
4.2.2
Studying discourse and practice
66
4.2.3
Improvisation as discursive action and communicative events
68
4.3
Methods and procedure
69
4.3.1
Data collection methods
69
4.3.2
Documenting data
70
4.3.3
Selection of participants
7/
4.3.4
Conducting Interviews and observations
73
4.3.5
Individual choices of performance situations
75
4.4
Analysis
76
4.4.1
Analysis as a constant movement
76
4.4.2
The analytical process
77
4.5
Reflections of quality: Perspectives on validity and reliability
8
1
Chapter
5
Results I:
Ways of approaching learning and music-making
85
5.
1 Four ways of learning in organ improvisation
85
5.1.1
Instrumental fascination
86
5.1.2
Apprenticeship
86
5.1.3
Learning through performance
89
5.1.4
Communication with an inner guide
91
5.2
An expansive approach to written music
94
Chapter
6
Results II: Two discursive practices
99
6.
1 The choice of performance contexts 1
00
6.1.2
The liturgy
100
6.1.2
The concert
101
6.2
Two discourses on music
102
6.2. /
Everything that Is framed becomes art: Music as a means
102
6.2.2
The art of the moment: Musk as an end in itself
106
6.3
The organists' definitions of improvisation 111
6.3.
1 Catching an attitude: Defining liturgical improvisation 1
12
6.3.2
Being the author: Defining concert Improvisation
116
6.4
Strategies for organ improvisation 1
19
6.4.1
Strategies for liturgical improvisation
119
6.4.2
Strategies for concert improvisation
127
6.5
Two discourses in music
132
6.5.
1 Improvisation as contextual communication
132
6.5.2
Improvisation as individual expression
136
6.6
Summary
140
Chapter
7
Activity, action and rhetorical practice:
A discussion
145
7.1
The activity system of organ improvisation
145
7.2
The activity systems of the liturgy and the concert
150
7.2.1
Two historical tracks
152
7.2.2
Creative strategies and
epistemologica!
spaces
157
7.2.3
Gendered discourses in music
159
7.3
The actions of professional competence nomads
163
7.3.1
Discourse awareness
Ià4
7.3.2
Prerequisites for competence development
168
7.3.3
Expansive cycles and imaginary discourses I
71
7.4
Organ improvisation: A contemporary rhetorical practice
175
Chapter
8
Educational implications and conclusive remarks
181
8.1
Conceptualising organ improvisation as expansive learning
182
8.2
Educating musical orators:
A model of expansive music teaching 1
85
8.3
Activity theory and artistic research 1
89
8.4
Further research
191
8.5
Concluding words
194
References
195
Appendices
209
Appendix I
:
List of interviews
2
11
Appendix
2:
Interview guideline for the fist meeting
212
Appendix
3;
Screen print of HyperRESEARCH table I
213
Appendix
4:
Screen print of HyperRESEARCH table II
214
Appendix
5:
List of CD contents
215
Appendix
6:
List of figures
216 |
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| id | DE-604.BV035035911 |
| illustrated | Illustrated |
| index_date | 2024-07-02T21:51:33Z |
| indexdate | 2024-07-09T21:20:43Z |
| institution | BVB |
| isbn | 9789197605335 |
| language | English |
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| physical | III, 2, 216 S. Ill. CD (12 cm) |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Malmö Acad. of Music |
| record_format | marc |
| series | Studies in music and music education |
| series2 | Studies in music and music education |
| spelling | Johansson, Karin Verfasser aut Organ improvisation activity, action and rhetorical practice Karin Johansson Malmö Malmö Acad. of Music 2008 III, 2, 216 S. Ill. CD (12 cm) txt rdacontent n rdamedia nc rdacarrier Studies in music and music education 11 Zugl.: Lund., Univ., Diss., 2008 Improvisation sao Orgel sao Orgelmusik (DE-588)4043852-1 gnd rswk-swf Musikerziehung (DE-588)4040843-7 gnd rswk-swf Improvisation (DE-588)4127993-1 gnd rswk-swf Orgelspiel (DE-588)4043856-9 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Orgelspiel (DE-588)4043856-9 s Improvisation (DE-588)4127993-1 s Musikerziehung (DE-588)4040843-7 s DE-604 Orgelmusik (DE-588)4043852-1 s Studies in music and music education 11 (DE-604)BV017643312 11 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016704804&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Johansson, Karin Organ improvisation activity, action and rhetorical practice Studies in music and music education Improvisation sao Orgel sao Orgelmusik (DE-588)4043852-1 gnd Musikerziehung (DE-588)4040843-7 gnd Improvisation (DE-588)4127993-1 gnd Orgelspiel (DE-588)4043856-9 gnd |
| subject_GND | (DE-588)4043852-1 (DE-588)4040843-7 (DE-588)4127993-1 (DE-588)4043856-9 (DE-588)4113937-9 |
| title | Organ improvisation activity, action and rhetorical practice |
| title_auth | Organ improvisation activity, action and rhetorical practice |
| title_exact_search | Organ improvisation activity, action and rhetorical practice |
| title_exact_search_txtP | Organ improvisation activity, action and rhetorical practice |
| title_full | Organ improvisation activity, action and rhetorical practice Karin Johansson |
| title_fullStr | Organ improvisation activity, action and rhetorical practice Karin Johansson |
| title_full_unstemmed | Organ improvisation activity, action and rhetorical practice Karin Johansson |
| title_short | Organ improvisation |
| title_sort | organ improvisation activity action and rhetorical practice |
| title_sub | activity, action and rhetorical practice |
| topic | Improvisation sao Orgel sao Orgelmusik (DE-588)4043852-1 gnd Musikerziehung (DE-588)4040843-7 gnd Improvisation (DE-588)4127993-1 gnd Orgelspiel (DE-588)4043856-9 gnd |
| topic_facet | Improvisation Orgel Orgelmusik Musikerziehung Orgelspiel Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016704804&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV017643312 |
| work_keys_str_mv | AT johanssonkarin organimprovisationactivityactionandrhetoricalpractice |