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Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration
16 references·3 citing·44 second hop
Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration (2016)Choose Your Own Adventure Music: On the E…COMPOSITION IS NOT RESEARCH (2015)COMPOSITION IS NOT RESEARCHDistributed Creativity and Ecological Dynamics: A Case Study of Liza Lim's 'Tongue of the Invisible' (2013)Distributed Creativity and Ec…Recorded music: performance, culture and technology (2011)Recorded music: performance, …The textility of making (2009)The textility of makingDistributed creativity: How collective creations emerge from collaboration. (2009)Distributed creativity: How c…SHUT UP 'N' PLAY! Negotiating the Musical Work (2008)SHUT UP 'N' PLAY! Negotiating…‘Recercar’ – The Collaborative Process as Invention (2007)‘Recercar’ – The Collaborativ…Gestural-Sonorous Objects: embodied extensions of Schaeffer's conceptual apparatus (2006)Gestural-Sonorous Objects: em…Creative Collaboration (2006)Creative CollaborationSeeing music performance: Visual influences on perception and experience (2005)Seeing music performance: Vis…The Improvisation of Musical Dialogue (2003)The Improvisation of Musical …Phenomenology of Perception (2002)Phenomenology of PerceptionThe sonic self: Musical subjectivity and signification (2001)The sonic self: Musical subje…The Sonic Self (2001)The Sonic SelfSituated Cognition and the Culture of Learning (1989)Situated Cognition and the Cu…Phenomenology of Perception (1982)Phenomenology of PerceptionRethinking “musical excellence” from a decolonial perspective: Disruptive autobiographical experiences among doctoral scholars (2024)Rethinking “musical excellenc…Why Does Copyright Ignore Performers? The Case of Flamenco in Spain (2019)Why Does Copyright Ignore Per…FLAMENCO PERFORMER’S PERCEIVED VALUE: DEVELOPMENT OF A MEASUREMENT INDEX (2019)FLAMENCO PERFORMER’S PERCEIVE…The Social Psychology of Creativity (1983)Apprenticeship in thinking: cognitive development in social context (1990)Handbook of reading research (1991)Motivated information processing, social tuning, and group creativity. (2010)Theoretical and pedagogical perspectives on orchestrating creativity and collaborative learning (2011)A Sociocultural Theory of Creativity: Bridging the Social, the Material, and the Psychological (2020)We have never been modern (1994)Pandora's Hope: Essays on the Reality of Science Studies (2000)Extending project management research: Insights from social theories (2014)Material Inheritances: How Place, Materiality, and Labor Process Underpin the Path-dependent Evolution of Contemporary Craft Production (2015)The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (2021)Things We Could Design (2021)Unheard melodies: narrative film music (1988)Textual Politics: Discourse and Social Dynamics (1996)Analysing Musical Multimedia (1998)Mirroring in Dance/Movement Therapy: Potential mechanisms behind empathy enhancement (2011)Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies (2012)When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance (2012)The motor theory of speech perception revised (1985)The magical number seven, plus or minus two: Some limits on our capacity for processing information. (1994)Formulating a Revised Taxonomy for Modes of Listening (2012)Musicians are more consistent: Gestural cross-modal mappings of pitch, loudness and tempo in real-time (2014)Go To Hell : Towards a Gesture-Based Compositional Practice (2016)Hermeneutics and the Human Sciences (2016)Mental Models (1983)Reciprocal Teaching of Comprehension-Fostering and Comprehension-Monitoring Activities (1984)Organizational Learning and Communities-of-Practice: Toward a Unified View of Working, Learning, and Innovation (1991)Situated Learning: Legitimate Peripheral Participation. (1994)What Video Games Have to Teach Us about Learning and Literacy (2004)Technological Pedagogical Content Knowledge: A Framework for Teacher Knowledge (2006)The Art of Doing (Geographies of) Music (2007)Music as Discourse (2008)“Hearing music as . . .”: Metaphors evoked by the sound of classical music. (2019)Neurophysiological mechanisms underlying the understanding and imitation of action (2001)Empathy: Its ultimate and proximate bases (2002)Using the framework method for the analysis of qualitative data in multi-disciplinary health research (2013)Innovation Spaces: Towards a Framework for Understanding the Role of the Physical Environment in Innovation (2007)Learning to Feel Like a Scientist (2016)The situativity of knowing, learning, and research. (1998)A phenomenology of whiteness (2007)Reframing Professional Development Through Understanding Authentic Professional Learning (2009)What is Reflection‐In‐Action? A Phenomenological Account (2009)Music, Language, and Texts: Sound and Semiotic Ethnography (2012)Music and Ethical Responsibility (2014)
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References

  • 1989Situated Cognition and the Culture of Learning13,635 cited
  • 1982Phenomenology of Perception11,940 cited
  • 2002Phenomenology of Perception4,270 cited
  • 2009The textility of making580 cited
  • 2009Distributed creativity: How collective creations emerge from collaboration.523 cited
  • 2006Creative Collaboration433 cited
  • 2005Seeing music performance: Visual influences on perception and experience230 cited
  • 2003The Improvisation of Musical Dialogue199 cited
  • 2006Gestural-Sonorous Objects: embodied extensions of Schaeffer's conceptual apparatus167 cited
  • 2001The sonic self: Musical subjectivity and signification161 cited
  • 2011Recorded music: performance, culture and technology143 cited
  • 2013Distributed Creativity and Ecological Dynamics: A Case Study of Liza Lim's 'Tongue of the Invisible'55 cited
  • 2015COMPOSITION IS NOT RESEARCH39 cited
  • 2007‘Recercar’ – The Collaborative Process as Invention39 cited
  • 2008SHUT UP 'N' PLAY! Negotiating the Musical Work26 cited
  • 2001The Sonic Self20 cited

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Cited by

  • 2019Why Does Copyright Ignore Performers? The Case of Flamenco in Spain13 cited
  • 2019FLAMENCO PERFORMER’S PERCEIVED VALUE: DEVELOPMENT OF A MEASUREMENT INDEX11 cited
  • 2024Rethinking “musical excellence” from a decolonial perspective: Disruptive autobiographical experiences among doctoral scholars2 cited