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Artistic and conceptual tasks of a musician in solo and ensemble performance
11 references·1 citing·50 second hop
Artistic and conceptual tasks of a musician in solo and ensemble performance (2021)Artistic and conceptual tasks of a musici…Speaking of your own repertoire: an investigation of music performance during practice (2020)Speaking of your own repertoi…Psychosocial Foundations for Pedagogical Skills Formation of Future Specialists in the Special Educational Environment (2020)Psychosocial Foundations for …Semantics in cultural perspective overview (2018)Semantics in cultural perspec…Personality and music major (2018)Personality and music majorThe role of ‘creative transfer’ in professional transitions (2016)The role of ‘creative transfe…Gestures in Contemporary Music Performance: A Method to Assist the Performer’s Artistic Process (2016)Gestures in Contemporary Musi…Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation (2016)Biography, identity, improvis…Seeing yellow: ‘Connection’ and routine in professional musicians’ experience of music performance (2014)Seeing yellow: ‘Connection’ a…Leader–member exchange, feelings of energy, and involvement in creative work (2009)Leader–member exchange, feeli…The influence of leaders' and other referents' normative expectations on individual involvement in creative work (2007)The influence of leaders' and…From episteme to phronesis to artistry in the study and improvement of teaching (2002)From episteme to phronesis to…Theoretical and practical foundations of concert and performance activity (2023)Theoretical and practical fou…The Structure of Scientific Revolutions (1963)The Reflective Practitioner: How Professionals Think in Action (1985)The Tacit Dimension (1997)The place of the practicum in pre‐service teacher education: the voice of the students (2005)Strategic management as distributed practical wisdom (phronesis) (2007)Classroom-level curriculum development: EFL teachers as curriculum-developers, curriculum-makers and curriculum-transmitters (2009)Structural equation modeling in practice: A review and recommended two-step approach. 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this work references cited by second hop

References

  • 2007The influence of leaders' and other referents' normative expectations on individual involvement in creative work547 cited
  • 2009Leader–member exchange, feelings of energy, and involvement in creative work511 cited
  • 2002From episteme to phronesis to artistry in the study and improvement of teaching308 cited
  • 2018Semantics in cultural perspective overview25 cited
  • 2018Personality and music major20 cited
  • 2016Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation19 cited
  • 2016Gestures in Contemporary Music Performance: A Method to Assist the Performer’s Artistic Process15 cited
  • 2014Seeing yellow: ‘Connection’ and routine in professional musicians’ experience of music performance15 cited
  • 2016The role of ‘creative transfer’ in professional transitions5 cited
  • 2020Psychosocial Foundations for Pedagogical Skills Formation of Future Specialists in the Special Educational Environment5 cited
  • 2020Speaking of your own repertoire: an investigation of music performance during practice4 cited

Cited by

  • 2023Theoretical and practical foundations of concert and performance activity2 cited

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