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Small ensembles in rehearsal
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Research on music performance as creative practice includes the study of rehearsal and preparation for performance. This chapter investigates creativity as demonstrated both by the individual members of small groups of two to five musicians rehearsing western classical (i.e. notated) music, and between the members of each group. Rehearsal activities—what actually happens when people play and/or sing together—depend on numerous factors, including the group’s goals not only for rehearsal but also for performance, the size of the group, the genre of the music, the performers’ expertise as individual and ensemble musicians, and the length of time available for rehearsal. Long-established groups may prepare for performances by drawing on years of experience, but there are also many examples of ‘instant’, temporary groups or partnerships that have much more limited rehearsal time. Creativity in rehearsal is discussed particularly in the context of research with singer–pianist duos of differing levels of expertise and familiarity, exploring their use of verbal and nonverbal communication and musical behaviours in single rehearsals and series of rehearsals, and with three ensembles made up of student musicians who produced practice diaries.
Title: Small ensembles in rehearsal
Description:
Research on music performance as creative practice includes the study of rehearsal and preparation for performance.
This chapter investigates creativity as demonstrated both by the individual members of small groups of two to five musicians rehearsing western classical (i.
e.
notated) music, and between the members of each group.
Rehearsal activities—what actually happens when people play and/or sing together—depend on numerous factors, including the group’s goals not only for rehearsal but also for performance, the size of the group, the genre of the music, the performers’ expertise as individual and ensemble musicians, and the length of time available for rehearsal.
Long-established groups may prepare for performances by drawing on years of experience, but there are also many examples of ‘instant’, temporary groups or partnerships that have much more limited rehearsal time.
Creativity in rehearsal is discussed particularly in the context of research with singer–pianist duos of differing levels of expertise and familiarity, exploring their use of verbal and nonverbal communication and musical behaviours in single rehearsals and series of rehearsals, and with three ensembles made up of student musicians who produced practice diaries.
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