000			03662nam a2200265 i 4500
008			030522s2004 enka b 001 0 eng
010			_a2003052349
020			_a0754604659 _c(alk. paper)
040			_aDLC _cDLC _dC#P _dUKM _dIUL _dOCL _dBAKER _dOUN _dBAUN
049			_aBAUN_MERKEZ
050	0	4	_aML3830 _b.M9815 2009
245	0	4	_aThe music practitioner : _bresearch for the music performer, teacher, and listener / _cedited by Jane W. Davidson
264		1	_aAldershot, England ; _aBurlington, VT : _bAshgate, _c[2004]
264		4	_c©2004
300			_axxiv, 360 pages : _billustrations ; _c25 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references and indexes
505	0	0	_tpart 1. The practitioner and research. Psychology and the music practitioner _r/ Aaron Williamon and Sam Thompson _t-- What and why do we need to know about music psychology research to improve music instrument teaching? _r/ Kacper Miklaszewski _t-- The state of play in performance studies _r/ John Rink _t-- A case study of a practical research environment : Sibelius Academy, Helsinki _r/ Kari Kurkela _tpart 2. Theory and experimentation : understanding pitches, tuning and rhythms. From acoustics to psychology : pitch strength of sounds _r/ Andrzej Rakowski _t-- 'Expressive intonation' in string performance : problems of analysis and interpretation _r/ Peter Johnson _t-- Do compositions reveal information about historical tuning? _r/ Bernhard Billeter _t-- Enrichment of music theory pedagogy by computer-based repertoire analyses and perceptual-cognitive theory _r/ Richard Parncutt _t-- The perceptual space between and within musical rhythm categories _r/ George Papadelis and George Papanikolaou _tpart 3. Practitioners investigating their daily work. Making a reflexive turn : practical music-making becomes conventional research _r/ Jane W. Davidson _t-- Singing by heart : memorization strategies for the words and music of songs _r/ Jane Ginsborg _t-- Formal and non-formal music learning amongst rock musicians _r/ Anna-Karin Gullberg and Sture Brändström _t-- Priorities in voice training : carrying power or tone quality _r/ Allan Vurma and Jaan Ross _tpart 4. Researching musician identity and perception. Rethinking voice evaluation in singing _r/ António G. Salgado _t-- Assessing vocal performance _r/ Daniela Coimbra and Jane W. Davidson _t-- Starting a music degree at university _r/ Stephanie E. Pitts _t-- Tracing a musical life transition _r/ Karen Burland and Jane W. Davidson _t-- Flawed expertise : exploring the need to overcome the discrepancy between instrumental training and orchestral work, the case of string players _r/ Daina Langner _tpart 5. Adopting innovative research approaches. A new method for analysing and representing singing _r/ Stefanie Stadler Elmer and Franz-Josef Elmer _t-- The fears and joys of new forms of investigation into teaching : student evaluation of instrumental teaching _r/ Ingrid Maria Hanken _t-- A role for action research projects in developing new pedagogical approaches to aural and musicianship education _r/ Nicholas Bannan _t-- A new approach to pursuing the professional development of recent graduates from German music academies : the alumni project _r/ Heiner Gembris _t-- What music psychology is telling us about emotion and why it can't yet tell us more : a need for empirical and theoretical innovation _r/ Matthew M. Lavy _tpart 6. A final note. Musical chills and other delights of music _r/ Jerrold Levinson
650		0	_aMusic _xPsychological aspects
700	1		_aDavidson, Jane W.
900			_a25660
942			_2lcc _cKT
999			_c20993 _d20993