“Truth happens to an idea.” So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of “doing and undergoing.” But what do these ideas have to do with music, or with research conducted in and through music—that is, with “artistic research”? In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses of noteworthy practices; some view historical continuities through the lens of pragmatism and artistic experiment. The resulting collection yields new insights into what musicians do, how they experiment, and what they experience—insights that arise not from doctrine, but from diverse voices seeking common ground in and through experimental discourse: artistic research in and of itself.

The Musical Experience proposes a new concept - musical experience - as the most effective framework for navigating the shifting terrain of educational policy as it is applied to music education. The editors and contributors define musical experience as being characterized by the depth of affective and emotional responses that music generates. The chapters map out the primary forms of musical engagement - performing, listening, improvising, and composing - as activities which play a key role in classroom teaching. They also address the cultural scope of musical experience, which calls for the consideration of time, place, beliefs, and values to be placed upon musical activities. The Musical Experience discusses how music teachers can most effectively rely on means of musical communication to lead students toward the development and refinement of musical skills, understandings, and expression in educational settings. This book serves to expand upon the dimensions of musical experience and provides, from the forefront of the field, an integrated yet panoramic view of the educational processes involved in music teaching and learning.

Musical experience intersects with religious experience, posing challenging questions about the ways in which Americans, historical communities and new immigrants, and racial and ethnic groups, construct their sense of self. This book is the study the ways in which music shapes the distinctive presence of religion in the United States.

Music Business and the Experience Economy is the first book on the music business in Australasia from an academic perspective. In a cross-disciplinary approach, the contributions deal with a wide-range of topics concerning the production, distribution and consumption of music in the digital age. The interrelationship of legal, aesthetic and economic aspects in the production of music in Australasia is also highlighted as well as the emergence of new business models, the role of P2P file sharing, and the live music sector. In addition, the impact of the digital revolution on music experience and valuation, the role of music for tourism and for branding, and last but not least the developments of higher music education, are discussed from different perspectives.

Music in the Human Experience: An Introduction to Music Psychology, Second Edition, is geared toward music students yet incorporates other disciplines to provide an explanation for why and how we make sense of music and respond to it—cognitively, physically, and emotionally. All human societies in every corner of the globe engage in music. Taken collectively, these musical experiences are widely varied and hugely complex affairs. How did human beings come to be musical creatures? How and why do our bodies respond to music? Why do people have emotional responses to music? Music in the Human Experience seeks to understand and explain these phenomena at the core of what it means to be a human being. New to this edition: Expanded references and examples of non-Western musical styles Updated literature on philosophical and spiritual issues Brief sections on tuning systems and the acoustics of musical instruments A section on creativity and improvisation in the discussion of musical performance New studies in musical genetics Greatly increased usage of explanatory figures

This book explores the various ways music affects people and how they create meaning from everyday musical experiences, from infancy through old age. These experiences help us construct meaning and understanding of ourselves, our cultures, and our world. The contributors examine the nature of musical experience and how it changes throughout our lifespan.

Explores new avenues in music therapy. The author discusses connections between music therapy and theorizes that every little nuance found in nature is part of a dynamic system in motion.

Nowadays we listen to music whenever and wherever we like. Never before has the scope of what is available been so great and varied. The mass media and Internet have given us unlimited paths into the world of music. Just like music is varied and endless, so are our reactions to music. The very same piece of music can generate completely different reactions in different people, and a person can react quite differently to the same piece of music on different occasions. Sometimes the reactions become more intense and profound than usual and leave powerful impressions in our memories. In this book several hundred people - women and men, young and old, musicians and non-musicians - talk about such strong experiences with music and what they have come to mean for them. The experiences extend across almost all of the twentieth century and have occurred in highly varying and often unexpected situations. The music absorbs the listeners and shuts out everything else. It evokes strong emotions and a lot of other reactions, from purely physical responses to experiences of existential and spiritual character. Every account is unique, moving, and bears witness to strong commitment. The experience may lead to the release of pent-up feelings, liberation and inner cleansing, and work as therapy. One can feel confirmed and understood, gain increased self-confidence, and acquire another view of oneself and of life in general. There is also the possibility of a new view of music and what it can mean for well-being, health, and quality of life. There are many similarities with strong experiences in other areas, such as nature, love, religion, literature, art, and dance. Strong Experiences with Music is a ground-breaking new book. It draws on over two decades of research and accounts from almost 1,000 participants. It addresses itself to all who have an interest in music and what music can mean. It should be possible to read without special previous knowledge, the technical language of music and psychology is kept at a minimum. Experts in the fields of music psychology music education, and musicology may find supplementary information in special analyses and notes to be consulted at will.

Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente�s mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States�including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa�but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas. With side-by-side Spanish and English text, authors Marisol Berr�os-Miranda, Shannon Dudley, and Michelle Habell-Pall�n challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities�including Chicanos, Tejanos, and Puerto Ricans�in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.

Peak music experiences are a recurring feature of popular music journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and in their lives more generally. Ben Green investigates the phenomenon from a social and cultural perspective, including discussions of peak music experiences as sources of inspiration and influence; as a core motivation for ongoing musical and social activity; the significance of live music experiences; and the key role of peak music experiences in defining and perpetuating music scenes. The book draws from both global media analysis and situated ethnographic research in the dance, hip hop, indie and rock ‘n’ roll music scenes of Brisbane, Australia, including participant observation and in-depth interviews. These case studies demonstrate the methodological value of peak music experiences as a lens through which to understand individual and collective musical life. The theoretical analysis is interwoven with selected interview data, illuminating the profound and everyday ways that music informs people’s lives. The book will therefore be of interest to the interdisciplinary field of popular music studies as well as sociology and cultural studies beyond the study of music.

Maps the changing nature of popular music and considers how popular music studies has expanded and developed to deal with these changes. The book discusses the participation of women in the industry, the changing role of gender and sexuality in popular music, and the role of technologies in production and distribution.

Based on Yijing, classic Confucianism, and classic Daoism, 'A Way of Music Education' proposes a philosophy of music education as a trilogy: change, balance, and liberation. Author C. Victor Fung presents an overview of the fundamentals of classic Chinese philosophy and offers their music educational interpretations. Fung's work also offers practical advice on how to integrate his theoretical models into real life situations.

Why is music so important to most of us? How does music help us both in our everyday lives, and in the more specialist context of music therapy? This book suggests a new way of approaching these topical questions, drawing from Ansdell's long experience as a music therapist, and from the latest thinking on music in everyday life. Vibrant and moving examples from music therapy situations are twinned with the stories of 'ordinary' people who describe how music helps them within their everyday lives. Together this complementary material leads Ansdell to present a new interdisciplinary framework showing how musical experiences can help all of us build and negotiate identities, make intimate non-verbal relationships, belong together in community, and find moments of transcendence and meaning. How Music Helps is not just a book about music therapy. It has the more ambitious aim to promote (from a music therapist's perspective) a better understanding of 'music and change' in our personal and social life. Ansdell's theoretical synthesis links the tradition of Nordoff-Robbins music therapy and its recent developments in Community Music Therapy to contemporary music sociology and music studies. This book will be relevant to practitioners, academics, and researchers looking for a broad-based theoretical perspective to guide further study and policy in music, well-being, and health.

Is there any artistically important connection between music and emotions? Budd examines the theories of music that support and deny such a correction.

This book provides a broad introduction to the scientific and psychological study of music, exploring how music is processed by our brains, affects us emotionally, shapes our personal and cultural identities, and can be used in therapeutic and educational contexts. Why are some people tone deaf and others musical savants? What do our musical preferences say about our personality and the culture in which we were raised? Why do certain songs remind us so strongly of particular people, places, or events? How can music be therapeutically used to help those with autism, Parkinson's, and other medical conditions? The Science and Psychology of Music: From Beethoven at the Office to Beyoncé at the Gym answers these and other questions. This book provides a broad and accessible introduction to the fascinating field of music psychology. Despite its name, music psychology includes a number of fields, including neuroscience, psychology, social psychology, sociology, and health. Through a collection of thematically organized chapters, readers will discover how our brains recognize elements of music, how music can affect us and shape our identities, and the many real-world applications for such information. Explores a topic that is of great interest to both psychology students and the general public through accessible and engaging content Provides a conceptual framework for readers and through a multi-part format allows them to focus their attention on their particular areas of interest Furthers readers' understanding of how music can affect our wellbeing as it includes both our physical and psychological health Reflects the subject knowledge of contributing experts in a wide variety of academic disciplines

Music and Ethical Responsibility argues that musical experience involves encounters with others, and ethical responsibilities arise from those encounters.

In an age when our patterns of music consumption are changing rapidly, musical understanding has never been more relevant. Understanding Music provides readers with an ideal entry point to the topic, addressing 'both the music lover who has made listening to music an important part of his life and at the same time is willing to reflect on music and his encounter with it, as well as the more academically-minded enthusiast and the thoughtful expert.' Its author, Hans Heinrich Eggebrecht, was one of the most influential German musicologists of the twentieth century and yet he is almost unknown to English readers. His published work stretches from one end of the musicological spectrum to the other, with research on historical topics in early music, Bach, Beethoven reception, Mahler and music aesthetics all featuring. Understanding Music summarizes Eggebrecht's thoughts on the relationship between music and cognition. As he says in his preface, the purpose of his book is 'to direct the reader towards the fundamental issues and processes implied in understanding music. What does understanding mean when applied to music? How is the process to be described? What different kinds of understanding are to be distinguished here? What other concepts are implicit in and related to the concept of understanding? How is the relationship between music and the listener who understands it to be articulated? What might correct understanding of music mean given music's multiplicity of meaning and effect? Where are the limits of understanding and what lies beyond? What role do language and history play?'. Eggebrecht's answers to these and other questions amount to a compelling account of how the mind grasps the sounds of music in themselves and what other factors contribute to music's meaning so much to us as listeners.

Music, Meaning and Transformation: meaningful music making for life, examines the musical experiences that students find meaningful and the ways in which teachers, parents and community music leaders might provide access to meaningful music education. This is particularly relevant today because school music often fails to provide sustainable access to music making for life, health and wellbeing beyond school. This book seeks to reframe the focus of music education within a pragmatist philosophy and provide a framework that is culturally and chronologically inclusive. The approach involves an intensely personal music teachers’ journey that privilege the voices of students and teachers of a music making community and sets these against rigorous long termed qualitative methodologies. Music education is shifting focus away from music as an object and process towards the meaning experienced by the student personally, socially and culturally. This is an important and fundamental issue for the development of philosophy for pre-service and practicing music teachers and community music project leaders. The focus now needs to be upon the 98% who could have music as a significant expressive force in their lives as a means of facilitating social inclusion, for mental health and well being and to have access to the sense of belonging that community music making can bring as a lifelong activity. The book aims to provide a comprehensive guide to music education that leads to a music education for all for life. This book emphasises the maker in context examining: the student as maker, the teacher as builder and designer and the school as village. The relationship between music making, education and health and well being has been and is the subject of many research projects and national and international reviews. Seldom though in these studies has there been any attempt to identify the qualities of successful and sustainable interactions with music making, the qualities of good teaching and good teaching practice. The focus of this book is to provide simple but effective tools for evaluating and testing the meaning evident in a music-making context, identify the modes of engagement and establish the unique expressive music making needs of twenty first century communities. For further information see http://savetodisc.net

This book shows how music is central to the construction and regulation of everyday life.

'Our neurosensory system is inwardly configured music, and we experience music as an artistic quality to the degree that a piece of music is in tune with the mystery of our own musical structure.' - Rudolf Steiner What is music? Rudolf Steiner regards the essence of music as something spiritual, inaudible to the senses. The world of tones, borne on the vibrations of air, is not the essential element. 'The true nature of music, the spiritual element in music', he says, 'is found between the tones, lies in the intervals as an inaudible quality.' Rudolf Steiner spoke repeatedly about music as something inherent both in the cosmos and the human being. It played an important role in many forms of ritual and worship, and people once perceived a link between music and the world of stars, which was seen as the dwelling place of the gods. Nowadays our view of music is divorced from such religious outlooks, but research repeatedly demonstrates the profound effect it continues to have on us. In this unique anthology of texts, compiled with a commentary and notes by Michael Kurtz, Steiner describes the realm of the spiritually-resonating harmonies of the spheres and our intrinsic connection to this cosmic music. He also explores the phenomenon of musical listening and experience, as well as Goethe's approach to music.