00855nam0-22002771i-450-99000632079040332119980601000632079FED01000632079(Aleph)000632079FED0100063207919980601d1870----km-y0itay50------ba--------00-yyPrincipio giuridico fondamentale della Legislazione sulle miniereGiovanni De Gioannis Gianquinto.Napolitip. de Angelis1870615 p.24 cm343.077 5De Gioannis Gianquinto,Giovanni227717ITUNINARICAUNIMARCBK990006320790403321LEGATO FIORE VI 189878FGBCFGBCPrincipio giuridico fondamentale della Legislazione sulle miniere655341UNINAGIU0103336nam 22006373 450 991058594320332120250506080452.0(CKB)5600000000483049(oapen)https://directory.doabooks.org/handle/20.500.12854/91150(MiAaPQ)EBC31982620(Au-PeEL)EBL31982620(oapen)doab91150(EXLCZ)99560000000048304920250506d2022 uy 0engurmn|---annantxtrdacontentcrdamediacrrdacarrierThe Chamber Musician in the Twenty-First Century1st ed.BaselMDPI - Multidisciplinary Digital Publishing Institute2022Basel :MDPI AG,2022.©2022.1 electronic resource (334 p.)3-03897-562-1 3-03897-563-X In recent research, there has been growing emphasis on the collaborative, social, and collective nature of musical behaviour and practices. Among the emerging hypotheses in this connection are the idea that listening to music is always listening together and being with the other; that music making is a matter of intercorporeality, mutuality, and emphatic attunement; and that creative agency in musical practices is fundamentally a distributed phenomenon. Chamber music provides an ideal context for the testing and actualization of these notions. This Special Issue on chamber music and the chamber musician aims to explore the psychological, social, cultural, historical, and artistic issues in the practice of classical chamber music in the twenty-first century. Contributions are invited on any of these aspects and issues involved in being a contemporary classical chamber musician. Authors are encouraged to contextualise their research by reference to the recent literature on collaborative musicking, and among the topics they may choose to address are the cultural and musical demands chamber musicians face and the implications of these demands for their artistic practice, the ways the twenty-first-century chamber musicians engage with historical practices, the newly emerging musical identities and artistic roles available to them, and expressivity in current chamber music practices.The artsbicsscartistic practicecreative agencychamber musiccollaborative musickingdistributed creativityexpressivity in performanceintercorporealitymusic performanceperformance practiceThe artsDoğantan-Dack Mine1296424McCaleb J. Murphy1817143Camlin David1817144Kjar David1817145Montanari Allegra1817146Thomas Kerry1065232Waddington-Jones Caroline1817147Davidson Jane W1817148Krause Amanda E1817149Kanga Zubin1817150MiAaPQMiAaPQMiAaPQBOOK9910585943203321The Chamber Musician in the Twenty-First Century4374582UNINA