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Zusatztext Practical Musicology is just that - a practical introduction to the study of music making as a thing we do, consciously or unconsciously, separately or together, according to deeply embedded conceptual schemata that can give rise to powerful aesthetic judgments embedded in diverse and non-linguistic forms of human communication. It also provides a very sophisticated theoretical introduction to an embodied and practice-based musical epistemology: how what we do with music influences what we can think, know and say about it. Zagorski-Thomas brings his own aesthetic sensibility as a composer, engineer, and teacher to bear, persuasively making the case that a practical musicology will concern itself not just with what musicians have done, or why — but how they can do what they do, better. As a statement of musicological purpose, this volume is thus both practical and visionary in the same breath, much like that complex, ineffable group activity we have come to call “music,” wherever, whenever, and however we engage in it. Informationen zum Autor Simon Zagorski-Thomas is Professor at the London College of Music, University of West London, UK, as well as a composer, sound engineer and producer. He founded and runs the 21st Century Music Practice Research Network and serves as series editor for the Cambridge Elements series and the Bloomsbury series on 21st Century Music Practice, founder, journal editor and co-chair for the Art of Record Production, IASPM UK and Ireland chair and associate editor of the IASPM Journal. His books include Practical Musicology (forthcoming on Bloomsbury 2022) and Musicology of Record Production (2014; winner of the 2015 IASPM Book Prize). Klappentext Practical Musicology outlines a theoretical framework for studying a broad range of current musical practices and aims to provoke discussion about key issues in the rapidly expanding area of practical musicology: the study of how music is made. The book explores various forms of practice ranging from performance and composition to listening and dancing, from historically informed performances of Bach in the USA to Indonesian Dubstep or Australian musical theatre, and from Irish traditional music played by French musicians from Toulouse to Brazilian thrash metal or K-Pop. Drawing on neuroscience, cognitive psychology, ecological approaches in anthropology, and the social construction of technology and creativity, Zagorski-Thomas uses a series of case studies and examples to investigate how practice is already being studied and to suggest a principle for how it might continue to develop, based around the assertion that musicking cannot be treated as a culturally or ideologically neutral phenomenon. Vorwort A theoretical framework for studying how music is made as opposed to what is produced. Zusammenfassung Practical Musicology outlines a theoretical framework for studying a broad range of current musical practices and aims to provoke discussion about key issues in the rapidly expanding area of practical musicology: the study of how music is made. The book explores various forms of practice ranging from performance and composition to listening and dancing, from historically informed performances of Bach in the USA to Indonesian Dubstep or Australian musical theatre, and from Irish traditional music played by French musicians from Toulouse to Brazilian thrash metal or K-Pop. Drawing on neuroscience, cognitive psychology, ecological approaches in anthropology, and the social construction of technology and creativity, Zagorski-Thomas uses a series of case studies and examples to investigate how practice is already being studied and to suggest a principle for how it might continue to develop, based around the assertion that musicking cannot be treated as a culturally or ideologically neutral phenomenon. Inhalt...
