Full Description
Music is a complex creative process involving many individuals, from performers to improvisers to composers to listeners and beyond. Yet, music analysis has often focused on individual composers' processes, much to the exclusion of a myriad of other activities that occur during the music making process. Making Music Together offers an interactive turn for music analysis, one that acknowledges the deeply collaborative creativity at the center of all music making. This perspective, fresh and novel in its approach, affords a more inclusive and expansive view of music analysis. It enables an understanding of the numerous kinds of interactions that take place in music-making contexts: interactions between musicians, between performers and their instruments, between musicians and dancers, between musicians and machines, and much more. This book engages a diverse breadth of musical styles, including Western Euroclassical musics, collaborative improvisations in jazz and free genres, and a range of global music practices. With an emphasis on the vibrant interactivity at work in all aspects of music making, Making Music Together demonstrates how detailed music analysis can attend not only to sounds made, but to the human lives, experiences, and societies defined by it altogether.
Contents
Garrett Michaelsen and Chris Stover: Introduction
Section 1: Embodied and Enacted Social Interaction
1: Mine Do&gantan-Dack: Aesthetics Meets the Performing Body: Re-thinking Rachmaninoff 's Second Piano Concerto
2: Edward Klorman: Analyzing Deception in Lieder and Opera
3: Garrett Michaelsen: Improvisation, Interaction, and Interpretation: Relational Dynamics in Duke Ellington's "Money Jungle"
4: Rebecca Simpson-Litke: Improvisatory Interactions Between Salsa Music and Dance
5: Sarah Town: Duologue: Fantasy, Time, and Travel in the Work of Pedrito Martínez and Alfredo Rodríguez
Section 2: Communication and Representation of Interaction
6: Diljeet Kaur Bhachu, Alec Cooper, and Nikki Moran: Interaction in Indian Music: Connections and Critical Reflection
7: Marc E. Hannaford: Affordances and Free Improvisation: An Analytical Framework
8: Cayenna Ponchione-Bailey and Eric F. Clarke: Agency, Creativity and (Inter)action in Orchestral Performance
9: Michelle Yom: Listening (transcribing) as Improvisation (self analysis)
Section 3: Posthuman and New Materialist Interaction
10: Chris Stover: Affect and Acquisitiveness in Musical Interaction
11: Ritwik Banerji: Silence in Free Improvisation
12: Marcel Cobussen: MusicDLA Field of Non-human Interaction
13: Roger T. Dean: The Uncertainty Principle in Musical Improvisation and Interaction
14: Matthew Goodheart: Bracken Tongues Wept: Reembodied Sound and Improvisation
