Groups in Music : Strategies from Music Therapy.
Mercedes. Pavlicevic
Bok Engelsk 2003 · Electronic books.
| Utgitt | London ; New York : Jessica Kingsley Publishers , 2003
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| Omfang | 1 online resource (254 pages)
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| Opplysninger | Intro -- Groups in Music: Strategies from Music Therapy -- Contents -- List of Tables -- List of Figures -- Acknowledgements -- Introduction: Music, Society and Shifting Music Therapy -- Where does this book come from? -- Who should use this book? -- How does this book work (and play)? -- Part I Planning: Thinking Ahead -- 1. Planning Our Discourses -- 1.1 What am I doing here 1 ? -- 1.2 Professional territories: Having music in common -- 1.3 Improvising our meanings -- 1.4. How considered is your discourse? -- 1.5 Re-meaning comfort zones -- 2. Institutions, Idiosyncrasies and the Larger Picture -- 2.1 Institutions as systems - with a bit of help from Systems Theory -- 2.2 The first approach: Overt and covert mission, vision and values -- 2.3 Staff, hierarchies and power -- 2.4 Getting trapped -- 2.5 Summing up -- 3. In-groups, Out-groups, Norms and Membership -- 3.1 Why spend so much time on this kind of planning? -- 3.2 In-groups and out-groups -- 3.3 Group membership: Being selective about selections? -- 3.4 Group process: A brief introduction -- 3.5 What kind of group? (How long, how short?) -- 3.5a The one-off group -- 3.5b The short-term group -- 3.5c The long-term group -- 3.6 Setting norms -- 3.7 Closed, open and semi-open groups -- 3.7a The closed group -- 3.7b The open group -- 3.7c The semi-open group -- 3.8 Re-grouping -- 4. Instrumental Thinking and Sound Thoughts -- 4.1 Sound advice -- 4.2 Instrumental range and sound thinking -- 4.3 Making links: People and instruments -- 4.4 Making instruments -- 4.5 Personal property -- 4.6 Concluding notes -- 5. On Being Formed by Music -- 5.1 Music and society -- 5.2 Working and playing cycles -- 5.3 Owning the music -- 5.4 Music and you! -- 5.5 How predictable? How spontaneous? How structured? -- 5.6 Musical structure (and group systems?) -- 5.7 Making links -- 6. Considering the Music Space.. - 13.2 In- and out-groups -- 13.3 Sticking to the plan -- 13.4 Who's in charge? -- 13.5 Who's running this show? -- 13.6 Think before the group flops -- 13.7 Whose conflict is this? -- 13.8 Building bridges -- Part III Reflecting: Thinking Back and Forth -- 14. How Formed is Your Listening? (and How Informed is Your Speaking?) -- 14.1 Making sense of music: Listening to 'Greensleeves' -- 14.2 Grouping principles: Basic percepts -- 14.3 Musical grammar (or, can you hum 'What shall we do with the drunken sailor?') -- 14.4 Perceptual prominence -- 14.5 How are we talking? (And what are we talking about?) -- 15. Persons as Music (and Finding the Groove) -- 15.1 Negotiating the flow: Communicative musicality -- 15.2 Spotting the flow, creating the groove -- 15.3 Physical disability: Is 'grooving' possible? -- 15.4 Persons as music: Flowing and grooving -- 15.5 Concluding notes -- 16. Group Music, Identity and Society -- 16.1 Identities and roles: Shifts and stabilities -- 16.2 Public and collective stereotypes -- 16.3 Identity and health -- 16.4 Identity and music -- 16.5 Who's who -- 16.6 Sounding ourselves (i) -- 16.7 A little divertimento -- 16.8 Sounding ourselves (ii) -- The inner track -- 16.9 What shall we sing-a-long? -- 16.10 In conclusion -- 17. Absence, Presence and Climate Control -- 17.1 Absence and presence -- 17.2 Shifting alliances: Musical and mental -- 17.3 Being present to absence -- 17.4 Thinking through -- 17.5 Present conclusions and absent certainties -- 18. Group Process and the 'Inner Track' -- 18.1 Structure and directive work -- 18.2 Group phases and points of view -- 18.3 Cohesive and disruptive forces -- 18.4 Who's the leader? (And who's following?) -- 18.5 Keep listening! -- 18.6 Inconclusive thoughts -- 19. Evaluating and Ending -- 19.1 Evaluate what? (And what's evaluating)? -- 19.2 Why evaluate? -- 19.3 How do we evaluate?.. - 19.4 What do you want to know? -- 19.5 The focus group evaluation -- 19.6 What do we do with all this information? -- 19.7 What to leave out? -- 19.8 End notes: How to end -- In Conclusion -- Recommended Reading -- Subject Index -- Author Index.. - 6.1 The pre-music space -- 6.2 Tuning in to spaces -- 6.3 How vital is the music space? -- 6.4 Limits of time, place and person -- 6.5 Final thoughts -- 7. Aims, Tasks, Roles and the Outer Track -- 7.1 Roles -- 7.2 Your tasks -- Divertimento: The inner track -- 7.3 Group aims and briefs: Generally speaking -- 7.4 External aims and briefs -- 7.5 The inner track -- 7.6 How clear are your aims? (and revisiting discourses) -- 7.7 To conclude: Keep track -- Part II Executing: 'Doing' -- 8. Forming Groups and Groups Forming: Quick time, music time and sound deeds -- 8.1 On becoming a group -- 8.2 In the mood - musical thinking -- 8.3 On 'receiving' the persons -- 8.4 Split-second Musicking -- 8.5 Wrapping up -- 9. Group Flow, Group Pulse - Finding the Groove -- 9.1 Grouping asynchronies or falling apart? -- 9.2 Learning from not-flowing -- 9.3 Unflowing roles -- 9.4 Concluding thoughts -- 10. Whose Group? Whose Music? (and Whose Expectations?) -- 10.1 The cohesive group(s)? -- 10.2 Whose session is this? -- 10.3 The split focus -- 10.4 The hidden group - outside -- 10.5 The volunteer group -- 10.6 Whose music? -- 10.7 The concert performance -- 10.8 Concluding rites -- 11. Group Rituals -- 11.1 Social rituals and group music -- 11.2 Emerging rituals in group music -- 11.3 Developing a ritual -- 11.4 Imposing rituals (at your own risk…) -- 11. 5 Concluding rites -- 12. Live Meanings - Listening to Music -- 12.1 Music and social context -- 12.2 Whose music? (And whose meaning?) -- 12.2a Prescribed meaning -- 12.2b Episodic meaning -- 12.2c Grammatical meaning -- 12.2d Direct meaning -- 12.2e Iconic and symbolic meaning -- 12.2f Episodic meaning and associations for listeners -- 12.3 Divertimento: A listening exercise -- 12.4 Musical choices for social rites -- 12.5 Closing notes -- 13. Team Building and Conflict Resolution -- 13.1 What kind of flops?.. - Music therapist Mercédès Pavlicevic develops a broad-based discourse to describe, analyse and guide the practice of group musicking, drawing on her own extensive experience. The text is illustrated with vignettes drawn from a range of formal and informal settings. If you're involved in any kind of group musicking, this book is for you.
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| Emner | |
| Sjanger | |
| Dewey | |
| ISBN | 1843100819
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