Textualities’ multiplicity should be reflected on our way to teach music to our pupils. This result strengthen the weight of musical knowledge and musical identity development. Indeed, when a student faces different audio version (and then different arrangements or orchestrations), he will have to choose between them, determining which one suits him best . Searching, hearing – and seeing – different variant of a track, perform by different artists, in different situations (recording, live performance, etc.), at different periods (which implies different musical gears and setup )… all these factors reinforce our knowledge of the musical culture about a repertoire, about the way we perform a musical work, as much as our perception of the distinctive
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In the case of an historical production , his knowledge concerning the period (style, analysis, technical and social ways to produce a piece of music, etc.) is particularly valuable. Together with the other members of the musical project, the musicologist could assume the role of advisor regarding production’s historical authenticity. Moreover, musicologist can be a source of information on possible repertoires melting, especially on crossing western, traditional and/or pop music. His historical and analysis knowledge (on style, specific composing methods, etc.) may guide composers (and arrangers) in their crossing choices, preventing false alternative. The approach’s aim is to guarantee a certain authenticity, or at least a fine quality about the way we borrow stylistic elements from a certain repertoire. In these two cases, musicologist can have a reliable influence on a technical point of view (i.e. advising and coordinating) in conjunction with other members of the creative …show more content…
His familiarity with broadcast modes (including web process of broadcasting), about audio supports and different forms of textuality can contribute to the musical project in guiding through new ways to explore. For example, with the help of the sound engineer, they can exploit new forms of sound spatialization (moving from stereophonic to multiphonic productions, in 5.1 or 7.1 for example), or using some video performance devices (e.g. motion capture, MIDI triggering on visual effects, etc.). These examples have already been applied by different teams (e.g. the works on the Inuit singer Tanya Tagaq by the research team of Serge Lacasse and Sophie Stévance ), but the true musicologist’s relevance lies on his profound knowledge of all the different technique employed in show performance, and the efficiency of the process. Besides, he can proposes new strategies (concerning textual elaboration, broadcasting form, etc.) pulling out the conclusions of the previous attempts in musical history. Canadian’s research team have develop a research field called « Research-Creation ». The purpose of it is to join artistic practice and scientific research. It can be used by a unique person (e.g. a PhD student producing an artistic work during his degree course, adding consequently scientific reflection on his production), or in conjunction with a research team. Findelli and Coste see in this approach a “fruitful way” which “seek
In the case of an historical production , his knowledge concerning the period (style, analysis, technical and social ways to produce a piece of music, etc.) is particularly valuable. Together with the other members of the musical project, the musicologist could assume the role of advisor regarding production’s historical authenticity. Moreover, musicologist can be a source of information on possible repertoires melting, especially on crossing western, traditional and/or pop music. His historical and analysis knowledge (on style, specific composing methods, etc.) may guide composers (and arrangers) in their crossing choices, preventing false alternative. The approach’s aim is to guarantee a certain authenticity, or at least a fine quality about the way we borrow stylistic elements from a certain repertoire. In these two cases, musicologist can have a reliable influence on a technical point of view (i.e. advising and coordinating) in conjunction with other members of the creative …show more content…
His familiarity with broadcast modes (including web process of broadcasting), about audio supports and different forms of textuality can contribute to the musical project in guiding through new ways to explore. For example, with the help of the sound engineer, they can exploit new forms of sound spatialization (moving from stereophonic to multiphonic productions, in 5.1 or 7.1 for example), or using some video performance devices (e.g. motion capture, MIDI triggering on visual effects, etc.). These examples have already been applied by different teams (e.g. the works on the Inuit singer Tanya Tagaq by the research team of Serge Lacasse and Sophie Stévance ), but the true musicologist’s relevance lies on his profound knowledge of all the different technique employed in show performance, and the efficiency of the process. Besides, he can proposes new strategies (concerning textual elaboration, broadcasting form, etc.) pulling out the conclusions of the previous attempts in musical history. Canadian’s research team have develop a research field called « Research-Creation ». The purpose of it is to join artistic practice and scientific research. It can be used by a unique person (e.g. a PhD student producing an artistic work during his degree course, adding consequently scientific reflection on his production), or in conjunction with a research team. Findelli and Coste see in this approach a “fruitful way” which “seek