What is it about?
This book explores musicianship from four perspectives—sound, perception, embodiment and culture—in the hope that this framework stimulates a reconsideration of musicianship and how it might be developed. It contains thirty chapters that explore issues relating to the four areas outlined here and several educational case studies. Chapters are written by leading researchers and educators from around the world.
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Why is it important?
One of the great things about music is that it is multifaceted. It can be many things to many people and you can spend a lifetime studying it but still not be close to a complete understanding. So what does it mean to have developed musicianship or to be musically trained? Likely it means different things in different contexts but we can expect there to be some areas of commonality about a musician’s ability to perceive, understand and create sonic experiences. As educators, we should be asking questions about how to define and develop musicianship as we prepare programs of music instruction for our students.
Perspectives
There is a tradition of musicianship training in Western schools and universities that focuses on aural and written music theory skills. The book encourages a broader view of musicianship than that; one which takes account of the many aspects of musical proficiency as they exist in a globalised and diverse musical world, and one that is inclusive of old and new music technologies and practices.
algorithmicmusic@gmail.com Andrew R. Brown
Griffith University
Read the Original
This page is a summary of: Engaging in a sound musicianship, September 2015, Oxford University Press (OUP),
DOI: 10.1093/acprof:oso/9780198744443.003.0011.
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