MTU Library Catalogue

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Groups in music : strategies from music therapy / Mercédès Pavlicevic.

By: Pavlicevic, Mercédès.
Material type: materialTypeLabelBookPublisher: London ; Philadelphia : Jessica Kingsley Publishers, 2003 2010Description: 252 p. ; 25 cm.ISBN: 9781843100812.Subject(s): Music therapy | Social groupsDDC classification: 615.85154
Contents:
Planning our discourses -- Institutions, idiosyncrasies and the larger picture -- In-groups, out-groups, norms and membership -- Instrumental thinking and sound thoughts -- On being formed by music -- Considering the music space -- Aims, tasks, roles and the outer track -- Forming groups and groups forming: quick time, music time and sound deeds -- Groupflow, group pulse - finding the groove -- Whose group? Whose music? (and whose expectations?) -- Group rituals -- Live meanings - listening to music -- Team building and conflict resolution -- How formed is your listening? (and how informed is your speaking?) -- Persons as music (and finding the groove) -- Group music, identity and society -- Absence, presence and climate control -- Group process and the 'Inner track' -- Evaluating and ending.

Enhanced descriptions from Syndetics:

Music in Groups happens all the time: in the street, the classroom, in music colleges, community centres, hospitals, prisons, churches and concert halls; at raves, weddings, music festivals, public ceremonies, music therapy sessions, group music lessons, concerts and rehearsals.

Some group musicking seems to 'work' (and play) better than others; some sessions feel exhausting even if things are going well; and at other times, we can't begin to explain the complex musical and relational textures of group music work to funders, employers, friends, colleagues, or line managers. In this book, music therapist Mercédès Pavlicevic develops a broad-based discourse to describe, analyse and guide the practice of group musicking, drawing on her own extensive experience. The text is illustrated with vignettes drawn from a range of formal and informal settings that include spontaneous public occasions, collective rituals, special and mainstream education, music therapy, the concert hall, the music appreciation group and community work.

This book makes you think about balancing individual and group needs, the development of group time, dealing with over-enthusiastic performers who 'hog' the group sound, undercurrents in music groups, the complications of dealing with institutions, preparing music listening programmes and buying instruments for group work - if you're involved in any kind of group musicking, this book is for you.

Includes bibliographical references (p. 239-245) and indexes.

Planning our discourses -- Institutions, idiosyncrasies and the larger picture -- In-groups, out-groups, norms and membership -- Instrumental thinking and sound thoughts -- On being formed by music -- Considering the music space -- Aims, tasks, roles and the outer track -- Forming groups and groups forming: quick time, music time and sound deeds -- Groupflow, group pulse - finding the groove -- Whose group? Whose music? (and whose expectations?) -- Group rituals -- Live meanings - listening to music -- Team building and conflict resolution -- How formed is your listening? (and how informed is your speaking?) -- Persons as music (and finding the groove) -- Group music, identity and society -- Absence, presence and climate control -- Group process and the 'Inner track' -- Evaluating and ending.

Table of contents provided by Syndetics

  • List of Tables (p. 11)
  • List of Figures (p. 11)
  • Acknowledgements (p. 12)
  • Introduction: Music, Society and Shifting Music Therapy (p. 13)
  • Where does this book come from?
  • Who should use this book?
  • How does this book work (and play)?
  • Part I Planning: Thinking Ahead (p. 21)
  • 1 Planning Our Discourses (p. 23)
  • 1.1 What am I doing here?
  • 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 (p. 32)
  • 2.1 Institutions as systems - with a bit of help from Systems Theory
  • 2.2 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 (p. 40)
  • 3.1 Why spend so much time on this kind of planning?
  • 3.2 In-groups and out-groups
  • 3.3 Group members hip: 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 groups
  • 3.7a The closed group
  • 3.7b The open group
  • 3.7c The semi-open group
  • 3.8 Re-grouping
  • 4 Instrumental Thinking and Sound Thoughts (p. 56)
  • 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 (p. 66)
  • 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 Space (p. 79)
  • 6.1 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 (p. 87)
  • 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' (p. 101)
  • 8 Forming Groups and Groups Forming: Quick time, music time and sound deeds (p. 103)
  • 8.1 On becoming a group
  • 8.2 In the mood - musical thinking
  • 8.3 On 'receiving' the persons
  • 8.4 Split-second musicking
  • 8.5 Wrapping up
  • 9 Group Flow, Group Pulse - Finding the Groove (p. 115)
  • 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?) (p. 125)
  • 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 (p. 138)
  • 11.1 Social rituals and group music
  • 11.2 Emerging rituals in group music
  • 11.3 Developing a ritual
  • 11.4 Imposing rituals (at your own risk...)
  • 11.5 Concluding rites
  • 12 Live Meanings - Listening to Music (p. 146)
  • 12.1 Music and social context
  • 12.2 Whose music? (And whose meaning?)
  • 12.2a Prescribed meaning
  • 12.2b Episodic meaning
  • 12.2c Grammatical meaning
  • 12.2d Direct meaning
  • 12.2e Iconic and symbolic meaning
  • 12.2f Episodic meaning and associations for listeners
  • 12.3 Divertimento: A listening exercise
  • 12.4 Musical choices for social rites
  • 12.5 Closing notes
  • 13 Team Building and Conflict Resolution (p. 161)
  • 13.1 What kind of flops?
  • 13.2 In- and out-groups
  • 13.3 Sticking to the plan
  • 13.4 Who's in charge?
  • 13.5 Who's running this show?
  • 13.6 Think before the group flops
  • 13.7 Whose conflict is this?
  • 13.8 Building bridges
  • Part III Reflecting: Thinking Back and Forth (p. 173)
  • 14 How Formed is Your Listening? (and How Informed is Your Speaking?) (p. 175)
  • 14.1 Making sense of music: Listening to 'Greensleeves'
  • 14.2 Grouping principles: Basic percepts
  • 14.3 Musical grammar (or, can you hum 'What shall we do with the drunken sailor'?)
  • 14.4 Perceptual prominence
  • 14.5 How are we talking? (And what are we talking about?)
  • 15 Persons as Music (and Finding the Groove) (p. 183)
  • 15.1 Negotiating the flow: Communicative musicality
  • 15.2 Spotting the flow, creating the groove
  • 15.3 Physical disability: Is 'grooving' possible?
  • 15.4 Persons as music: Flowing and grooving
  • 15.5 Concluding notes
  • 16 Group Music, Identity and Society (p. 193)
  • 16.1 Identities and roles: Shifts and stabilities
  • 16.2 Public and collective stereotypes
  • 16.3 Identity and health
  • 16.4 Identity and music
  • 16.5 Who's who
  • 16.6 Sounding ourselves (i)
  • 16.7 A little divertimento
  • 16.8 Sounding ourselves (ii) The inner track
  • 16.9 What shall we sing-a-long?
  • 16.10 In conclusion
  • 17 Absence, Presence and Climate Control (p. 205)
  • 17.1 Absence and presence
  • 17.2 Shifting alliances: Musical and mental
  • 17.3 Being present to absence
  • 17.4 Thinking through
  • 17.5 Present conclusions and absent certainties
  • 18 Group Process and the 'Inner Track' (p. 213)
  • 18.1 Structure and directive work
  • 18.2 Group phases and points of view
  • 18.3 Cohesive and disruptive forces
  • 18.4 Who's the leader? (And who's following?)
  • 18.5 Keep listening!
  • 18.6 Inconclusive thoughts
  • 19 Evaluating and Ending (p. 221)
  • 19.1 Evaluate what (And what's evaluating)?
  • 19.2 Why evaluate?
  • 19.3 How do we evaluate?
  • 19.4 What do you want to know?
  • 19.5 The focus group evaluation
  • 19.6 What do we do with all this information?
  • 19.7 What to leave out?
  • 19.8 End notes: How to end
  • In Conclusion (p. 236)
  • Recommended Reading (p. 239)
  • Subject Index (p. 245)
  • Author Index (p. 252)

Author notes provided by Syndetics

Mercedes Pavlicevic is Associate Professor and Director of the Music Therapy Programme at the University of Pretoria, South Africa, and Visiting Researcher at the Nordoff Routine Music Therapy Centre in London.