Surrounded by sound experienced orchestral harpists' professional knowledge and learning
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
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Lund
Lund University, Malmö Academy of Music
[2015]
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| Schriftenreihe: | Studies in music and music education
18 |
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| Online-Zugang: | Inhaltsverzeichnis |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents
Prelude.......................................................................1
Chapter 1. Introduction....................................................... 3
1.1 Aim and research questions.............................................5
1.2 Previous research.....................................................6
1.2.1 Orchestral practice..............................................6
1.2.2 Learning orchestral playing......................................9
1.2.3 Research on practice by musicians and, specifically, harpists..10
1.2.4 Summary.........................................................12
1.3 Terms and concepts...................................................12
1.3.1 Occupation - profession - vocation - craft......................12
1.3.2 Frames as a key to finding musical freedom...................13
1.3.3 Translations of terms and concepts..............................14
1.3.4 Choices of terms and concepts...................................15
1.4 The structure of the thesis..........................................16
Chapter 2. The harp, the part and the orchestra................................17
2.1 The harp.............................................................17
2.1.1 The pedal system................................................18
2.1.2 Other kinds of harps used in orchestras........................20
2.1.3 Practical instrument-specific problems..........................22
2.2 The orchestral part..................................................24
2.2.1 The harpist and the composer....................................24
2.2.2 Treatises on instrumentation....................................27
2.2.3 Editing harp parts..............................................31
2.3 The orchestra...................................................... 36
2.3.1 The harpist and the harp........................................36
2.3.2 The harpist and the conductor...................................39
2.3.3 Working conditions..............................................42
2.3.4 Learning to play in an orchestra as a harpist..................45
2.4 Summary..............................................................47
Chapter 3. On knowledge and learning: a theoretical framework................49
3.1 On musicians’ knowledge.............................................50
3.1.1 Disputes about knowledge........................................50
3.1.2 Body and knowledge..............................................54
3.1.3 Reflection......................................................56
3.1.4 Language and silence............................................58
3.1.5 Johannessen’s model.............................................60
3.1.6 To express a different kind of knowledge........................62
3.2 On musicians’ learning................................................65
3.2.1 Apprenticeship..................................................65
3.2.2 A model for learning............................................67
3.2.3 Rules, practice and examples....................................70
3.2.4 The typical example and the unique case.........................72
3.2.5 Selection, intuition and imagination............................73
3.2.6 To learn from and in the context................................76
3.3 Individual and collective.............................................79
3.4 Orchestral musicians’ interpretive space..............................82
3.5 Summary...............................................................86
Chapter 4. Method............................................................ 87
4.1 Choosing methods......................................................87
4.2 The interviews........................................................92
4.2.1 In Moscow.......................................................98
4.2.2 In London.......................................................99
4.2.3 In Paris........................................................99
4.3 Analysis and interpretation......................................... 100
4.4 Categorization.......................................................103
4.5 Presenting the findings in Chapter 5.................................105
4.6 Gender issues........................................................107
4.7 Ethical considerations.............................................. 108
4.8 Quality in a qualitative study...................................... 109
4.9 Research context.....................................................114
4.10 On sources in Chapter 2 and Chapter 3............................. 117
4.11 Transformation: from henid to thesis..............................120
Chapter 5. Findings from four interviews......................................125
5.1 Being a harpist in an orchestra..................................... 125
5.1.1 The orchestral part: preparation and interpretation........... 125
5.1.2 Playing in the orchestra.......................................131
5.1.3 Learning as a student......................................... 136
5.2 The space............................................................140
5.2.1 Physical space................................................ 140
5.2.2 Musical interpretive space.................................... 143
5.2.3 Orchestral position and musical interpretive space...........145
5.3 The people in the orchestra....................................... 147
5.3.1 The conductor..................................................148
5.3.2 Sharing knowledge with colleagues..............................151
5.3.3 The colleagues as an audience..................................154
5.4 Aspects of quality orchestral playing...............................156
5.4.1 The tone.......................................................156
5.4.2 The tuning....................................................157
5.4.3 Care for the whole and details...............................160
5.4.4 To expect the unexpected......................................163
5.4.5 To learn and improve as a professional.......................165
5.4.6 The joy.......................................................166
5.5 Summary.............................................................168
Chapter 6. Orchestral harpists’ knowledge and learning........................169
6.1 Questions of knowledge and learning.................................169
6.1.1 Johannessen’s model of knowledge...............................170
6.1.2 Impact from the senses, reflection and action................172
6.1.3 Developing knowledge..........................................173
6.1.4 The orchestra as a learning environment.......................175
6.1.5 The importance of experience..................................177
6.1.6 The orchestral context and the individual musician...........178
6.2 Freedom and frames.................................................181
6.2.1 Working conditions............................................ 181
6.2.2 The score.....................................................184
6.2.3 The position..................................................187
6.2.4 To be exposed.................................................188
6.2.5 The conductor.................................................190
6.2.6 Technical skills..............................................191
6.2.7 Interspace....................................................194
6.3 Aspects of expert orchestral playing...............................196
6.3.1 The tone.......................................................196
6.3.2 The tuning....................................................198
6.3.3 Ensemble playing..............................................199
6.4 Motivating forces...................................................202
6.4.1 Joy............................................................202
6.4.2 The ears of your peers........................................204
6.4.3 To be challenged..............................................205
6.5 Summary.............................................................207
Chapter 7. Concluding remarks................................................209
7.1 On practical epistemology..........................................209
7.1.1 Aesthetic knowledge...........................................209
7.1.2 Embodied knowledge............................................211
7.1.3 Assessment of knowledge.......................................212
7.2 On music education.................................................213
7.2.1 Education of soloists or orchestral musicians................213
7.2.2 The responsibility of the academies...........................214
7.2.3 Knowledge and orchestral positions............................215
7.2.4 The orchestra as a learning environment for students..........215
7.2.5 Education of composers and conductors.........................216
7.3 On orchestral practice.............................................217
7.3.1 Lifelong learning.............................................217
7.3.2 Keeping a high performance level..............................218
7.3.3 Freelance musicians...........................................220
Coda.........................................................................221
References............................................................... 225
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| indexdate | 2024-12-24T05:13:16Z |
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| institution_GND | (DE-588)16156356-9 |
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| language | English |
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| physical | 238 Seiten 24 cm |
| publishDate | 2015 |
| publishDateSearch | 2015 |
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| publisher | Lund University, Malmö Academy of Music |
| record_format | marc |
| series | Studies in music and music education |
| series2 | Studies in music and music education |
| spellingShingle | Lonnert, Lia 1966- Surrounded by sound experienced orchestral harpists' professional knowledge and learning Studies in music and music education Orchester (DE-588)4172708-3 gnd Harfenist (DE-588)4272861-7 gnd Instrumentalspiel (DE-588)4161890-7 gnd Berufserfahrung (DE-588)4144763-3 gnd Berufsmusiker (DE-588)4144788-8 gnd Weiterbildung (DE-588)4117622-4 gnd |
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| title | Surrounded by sound experienced orchestral harpists' professional knowledge and learning |
| title_auth | Surrounded by sound experienced orchestral harpists' professional knowledge and learning |
| title_exact_search | Surrounded by sound experienced orchestral harpists' professional knowledge and learning |
| title_full | Surrounded by sound experienced orchestral harpists' professional knowledge and learning Lia Lonnert |
| title_fullStr | Surrounded by sound experienced orchestral harpists' professional knowledge and learning Lia Lonnert |
| title_full_unstemmed | Surrounded by sound experienced orchestral harpists' professional knowledge and learning Lia Lonnert |
| title_short | Surrounded by sound |
| title_sort | surrounded by sound experienced orchestral harpists professional knowledge and learning |
| title_sub | experienced orchestral harpists' professional knowledge and learning |
| topic | Orchester (DE-588)4172708-3 gnd Harfenist (DE-588)4272861-7 gnd Instrumentalspiel (DE-588)4161890-7 gnd Berufserfahrung (DE-588)4144763-3 gnd Berufsmusiker (DE-588)4144788-8 gnd Weiterbildung (DE-588)4117622-4 gnd |
| topic_facet | Orchester Harfenist Instrumentalspiel Berufserfahrung Berufsmusiker Weiterbildung Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029126574&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV017643312 |
| work_keys_str_mv | AT lonnertlia surroundedbysoundexperiencedorchestralharpistsprofessionalknowledgeandlearning AT musikhogskolanimalmo surroundedbysoundexperiencedorchestralharpistsprofessionalknowledgeandlearning |