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Record Nr. |
UNINA9910455840903321 |
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Autore |
Pavlicevic Mercédès |
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Titolo |
Groups in music [[electronic resource] ] : strategies from music therapy / / Merc?ed?es Pavlicevic |
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Pubbl/distr/stampa |
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London ; ; New York, : Jessica Kingsley Publishers, 2003 |
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ISBN |
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1-283-90457-8 |
1-4175-0123-5 |
1-84642-402-X |
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Descrizione fisica |
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1 online resource (254 p.) |
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Disciplina |
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Soggetti |
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Music therapy |
Social groups |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references (p. 239-245) and indexes. |
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Nota di contenuto |
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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 Theory2.2 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 groups3.7a The closed group; 3.7b |
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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 Space6.1 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 thinking8.3 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 |
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