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Recent years have seen a rise in interest in the musical ensemble as an exemplary form of creative group behavior. This volume explores the organizational, psychological, and social processes at play within ensemble music-making.
List of contents
- Part 1: Coordination and ensemble organization
- 1: Nicola Pennill and Dermot Breslin: Music ensembles as self-organized groups
- 2: James Saunders: Group behaviors as music
- 3: David A. Camlin: Organizational dynamics in community ensembles
- 4: Su Yin Mak, Hiroko Nishida, and Daisuke Yokomori: Agency in ensemble interaction and rehearsal communication
- 5: Nicola Pennill and Jane W. Davidson: Investigating emergent coordination in small music groups
- 6: Kathryn King: Ministry of sound: musical mediations in an English parish church
- 7: Elizabeth Haddon and Catherine Laws: Playful production: collaborative facilitation in a music ensemble context
- 8: J. Murphy McCaleb: Teaching through ensemble performance
- 9: Alana Blackburn: The impact of group identity on the social dynamics and sustainability of chamber music ensembles
- 10: Wendy K. Moy: Come together: An ethnography of the Seattle Men's Chorus family
- 11: Evgenia Roussou: Working practices of professional piano accompanists outlined through a conceptual framework
- 12: Jane Ginsborg and Dawn Bennett: Developing familiarity: Rehearsal talk in a newly formed duo
- Part 2: Expression, communication and interaction
- 13: Renee Timmers: Embodiment, process and product in ensemble expression
- 14: Alexander Refsum Jensenius and Cagri Erdem: Gestures in ensemble performance
- 15: Cayenna Ponchione-Bailey and Eric F. Clarke: Technologies for investigating large ensemble performance
- 16: Helena Daffern and Sara D'Amario: Understanding expressive ensemble singing through acoustics
- 17: Sara D'Amario and Freya Bailes: Ensemble timing and synchronization
- 18: Emily Payne and Philip Thomas: Ensemble interaction in indeterminate music: a case study of Christian Wolff's exercises
- 19: Christoph Seibert: Using performance sociograms to investigate inter-performer relationships in music ensembles
- 20: Ryan Kirkbride: Together in cyberspace: collaborative live coding of music
- 21: Mary Black: "Crystal clear" or "as clear as mud!" Verbalized Imagery as successful communication between singers and choir directors
- 22: Christopher Terepin: An historical perspective on ensemble performance: asynchrony in early recordings of the Czech Quartet
- 23: Laura Bishop, Carlos Cancino-Chacón, and Werner Goebl: Beyond synchronization: body gestures and gaze direction in duo performance
- Part 3: Participation, development and wellbeing
- 24: Gunter Kreutz and Michael Bonshor: Ensembles for wellbeing
- 25: Naomi Norton: Ensemble musicians' health and wellness
- 26: Tal-Chen Rabinowitch and Satinder Gill: Musical interaction, social communication and wellbeing
- 27: Karen Burland: Ensemble participation and personal development
- 28: Helen J. English: Empowering ensembles: Music and world-building past and present
- 29: Stuart Wood and Irene Pujol Torras: Ensembles in music therapy
- 30: Jennifer MacRitchie and Sandra Garrido: Ensemble participation in late adulthood
- 31: Donald Glowinski, Cecile Levacher, Florian Buchheit, Chiara Malagoli, Benjamin Matuszewski, Simon Schaerlaeken, Chiara Noera, Katie Edwards, Carlo Chiorri, Frédéric Bevilacqua, and Didier Grandjean: Emotional, cognitive and motor development in youth orchestras: a 2-year longitudinal study
- 32: Andrea Schiavio: Enhanced learning through joint instrumental education
- 33: James Williams: Collaborative composition and performance in arts and health workshops: How notating in groups enables creative interaction and communication for social wellbeing
- 34: Daniel Galbreath and Gavin Thatcher: Encountering the singing body: Vocal physicality and interactivity
- 35: Juliana Moonette Manrique and Angelina Gutiérrez: Ensemble singing for wellbeing and social inclusion of street children: Music-based social action research
- 36: Renee Timmers, Freya Bailes, and Helena Daffern: Together in music: embodiment, multidimensionality, and musical-social interaction
About the author
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.
Summary
Recent years have seen a rise in interest in the musical ensemble as an exemplary form of creative group behavior. This volume explores the organizational, psychological, and social processes at play within ensemble music-making.
