Guide The Discourse of Musicology

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Show Summary Details. Subscriber Login Email Address. Library Card. View: no detail some detail full detail. Part I Rationale and theoretical context. Chapter 1 Introduction. Chapter 2 Music theory and the zygonic approach. Part II Applying zygonic theory to investigate music education, therapy, and psychological assessment. Chapter 3 Gauging intentionality in musical interaction in educational, therapeutic, and diagnostic contexts.

Chapter 4 From intentionality to influence: gauging the impact of one performer on another in improvised musical dialogs. Chapter 5 Modeling musical development in children with complex needs: the Sounds of Intent project. Part III Applying zygonic theory to explore exceptional musical abilities. Chapter 6 On absolute pitch, and the disaggregation of chords.

Chapter 7 Exploring learning, memory, and creativity in a musical savant. Part IV Applying zygonic theory to probe music-structural cognition. Chapter 9 Can music survive without listening grammars? Studies in the perception of atonality. Part V The future of applied musicology. Chapter 10 Conclusion. Through a critical reading of key ethnographic films about music, you will address questions of aesthetics, representation and ethics that arise in the process of filmmaking. You will also consider the use of digital media in musical ethnography more generally and assess the methods of analysis afforded by the visual documentation of music practices.

In complement with theoretical seminars, practical workshops on the methods of digital video recording and editing will familiarise you with a variety of approaches to ethnographic filmmaking and techniques of sound recording. For this module you will develop skills in filming using video cameras and editing using Final Cut Pro. However, it does not require you to have prior experience of filming and film editing.

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You will cover essential topics in music management and music in the creative industries. You will deal with creative sector issues and case studies within this discipline, taking into account the cross-over with other areas. As well as studying producing companies, this also includes consideration of creative agencies. Topics covered include: ensemble management; orchestral management; concert programming and curatorial work; education and public outreach; film, TV, music for games; record production and record labels; copyright, PRS, publishing; social media and music; freelance perspectives: marketing and publicity.

You think across disciplinary boundaries, informed by an oft-repeated maxim; that innovative and significant research entails the art of asking the right questions. Hence, you ask new questions of old research, and set up new questions for potential future research.

The course develops your knowledge and understanding of musical performance as a research technique, particularly in relation to the music of other cultures. It addresses practical, theoretical and conceptual issues concerning music performance, including the nature of musicality, processes of learning, theories of improvisation, modal theory, and the body in music performance. Theoretical understanding is developed in conjunction with practical, experiential learning. You develop a research-centred performance project by learning to perform from a repertory outside their primary music culture, or by developing expertise in a new area of performance practice.

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You present a short performance that demonstrates your developing skills. This module explores the development and deployment of critical discourses on popular music, focusing on the ways in which commentators β€” journalists, academics, bloggers, consumers β€” have used words to represent sound, and to construct systems of meaning and value for the music they have loved and hated.

Spanning the 20th-century but focusing on present day practices, the module will address discourses on jazz, rock, dance and pop in which commentators have attempted to articulate the excitement and anxiety these musics inspired as they came into being. Although much critical work has been done in print, the module will also consider how other media radio, television, the internet have shaped their own descriptive and evaluative practices.

Students will be encouraged to think about the relationship between critical listening and critical languages; between popular and academic discourses and modes of evaluation; and about the changing place and status of the popular music critic and scholar. Knowledge of music theory is neither assumed nor necessary.

The module combines investigation of theoretical perspectives towards musical performance as research with practical exploration through individual projects. It explores the diverse ways in which such practice can be informed by research and the more challenging question can constitute research in and of itself. A wide range of repertoires and approaches will be considered, ranging from historical performance practice issues and the challenges presented by contemporary notated scores to creative practice in the most diverse performance contexts, both physical and electronic.

A central concern will be the extent to which the processes of performance should be documented, and ways in which technology can be harnessed to aid such documentation. The module will culminate in individually negotiated projects, in which elements of practice will be demonstrably related to the theoretical foundations established during the course.