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Alexandra Pierce singles out elements of music such as melody, meter, and phrase, and investigates the defining quality of each through movement. Although simple, these exercises engage the listening attention in complex ways and can be integrated into a musician’s daily practice. Practicing movements that accurately reflect a musical element can improve technique and are audible in performance. They become part of your technical command. Short narratives that illustrate how performance practice problems can be approached and solved are scattered throughout the book. A video companion to Deepening Musical Performance through Movement can be found at the author’s website, alexandrapierce.net/deepening.
- Sales Rank: #232699 in Books
- Published on: 2010-02-26
- Released on: 2010-02-26
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x .56" w x 6.12" l, .93 pounds
- Binding: Paperback
- 248 pages
Review
"From this [book]... we receive these two gifts... a compostional repertoire distinct in imaginative focus and a pedagogy with wide application to music making and full of implications for research." ―The Open Space Magazine
"Because of her varied and extensive experience as a movement specialist, theorist, performer, teacher, and composer, Pierce is an unusually effective and articulate advocate for an embodied musical understanding... While performers probably have readier access to this kind of connection with a piece of music, Pierce’s impressive achievement is to provide an effective way for theorists, too, to develop and deepen their embodied connection with the music that they analyze." ―MUSIC THEORY SPECTRUM
"Whether you teach private or group instrumental or vocal lessons, music theory, composition, music therapy or music appreciation, you will find a wealth of ideas to use with your students." ―American Music Teacher
"This book brings all aspects of music to life via kinesthetic understanding.... Pierce's extensive research is obvious, but though the book assumes considerable knowledge of the discipline, personal anecdotes and musical references render it relatively easy to digest." ―Choice
"Under the impetus of early influences as diverse as the Alexander technique, Rolfing, Schenkerian analysis and Stanislavski's Method acting... pianist, composer and music educator Alexandra Pierce has crystallized in this book a finely etched, lifetime quest to articulate the connection between the elements of music and the art of interpretation, through the prism of 'movement response to the music'." ―American String Teacher
"This book is not only a wonderful resource for therapists, musicians and music teachers, but also... a well-researched academic work." ―Structural Integrations
"The book is wonderful... My hope is that the book will be a doorway for many more musicians and music lovers into an exploration of the world of movement as a tool for musical growth, both as performer and listener." ―Music Theory Online
"[This] book is expressively written and brimming with imaginative ideas. It is not a book to read while sitting still!" ―Journal of the International Alliance of Women in Music
Review
"Whether you teach private or group instrumental or vocal lessons, music theory, composition, music therapy or music appreciation, you will find a wealth of ideas to use with your students . . . The value of this book is that Pierce incorporates these movement ideas into one context--their relationship to the elements of music."
From the Publisher
"This is a music theory book with a difference and one that fills a need. . . . The theory it advances is that expression of character and affect in music corresponds to the expression of character and affect in human posture and movement . . . . Musicians and music teachers will take from it both a sense of liberation and an incentive for more imaginative discipline ... its scholarship is deep and persuasive." --Professor David Lidov, York University, Ontario, Canada
Most helpful customer reviews
2 of 2 people found the following review helpful.
In the Yoga Studio
By Michele M
For me the essence of yoga is aliveness. I am a yoga instructor and the director of a 500 hour yoga teacher training school. Hatha yoga is movement education and every yoga teacher is a movement educator. This book is about conscious movement. Although it is written primarily for performers, theorists, and composers, yoga teachers and practioners will find it applies. Especially relevant are the chapters on Mobilizing Balance, Shaping Phrase with Span and Climax, Letting Gesture Through (Reverberation), The Movements of Juncture, and The Spirit of Play. Insightful also is Pierce's personal and professional journey toward musical embodiment, shared in the first chapter, Vitalizing the Musical Elements, One by One.
Alexandra Pierce's simple yet intelligent movement explorations sharpen awareness. We have used her processes to clarify in the teacher trainings and add nuance and joy to in the general classes, especially the salutations. Additionally, Pierce's Joint Dance has become a popular standard warm-up in the WiseWays classes.
As with all of Pierce's writings, reading Deepening Musical Performance through Movement is a visceral joy. The wordsmithing is kinetic. Pierce knows body, movement, and music. The writing embodies the message.
This is Pierce's third book on movement. Earlier books, co-authored with Roger Pierce, are Expressive Movement: Posture and Action in Daily Life, Sports, and the Performing Arts and Generous Movement: A Practical Guide to Posture in Action, which comes with a music CD to accompany the movements. These two books are staples at the WiseWays studio. Both are directed toward the general reader, not specifically toward musicians. They are recommended reading for our 200 and 500 Yoga Alliance registered trainings and our Professional Movement Teachers School. Now we have, in Deepening Musical Performance through Movement, another fine addition to our library.
2 of 2 people found the following review helpful.
An Amazing Approach to Music for all Musicians
By Mark Carlson
For a complete review in Music Theory Online: [...]
This is a wonderful book--a brilliant book--and I hope that it spreads like wildfire among musicians, particularly performers and teachers (well, composers and theorists, too!).
The writing is so beautiful and so clear, which I really appreciate. I've often expressed to other musicians my dislike of convoluted academic writing that I have to read over and over just to figure out what it's supposed to mean. This book is the opposite of that, yet every sentence is imbued with deep meaning.
I particularly loved Chapter Five on "structural hearing." It helped counter my aversion to Schenkerian graphs: though I have understood the profundity of Schenker's recognition of the underlying structures in music, and the beauty of their "sameness," I have often thought, "Good. Now, let's get back to what makes this beautiful piece different from that beautiful piece." It was helpful to read the narratives of players experiencing deeper levels in movement, arriving at a new understanding of them, and then using those experiences to bring alive the depths of the music in their own performance--not at the expense of the surface beauty of melody, harmony, and texture, but in a way that makes those more expressive as well.
I strongly recommend this book to all musicians and music lovers.
1 of 1 people found the following review helpful.
Refreshing reading for professional musicians--and others!
By Amy A. Wurtz
I thoroughly enjoyed Dr. Pierce's book. After having read her previous works a few years back, I found this book to be a great summary of not only her work with movement, but the essence of how she works with, hears, performs, and teaches music.
This book is a chance to re-invigorate one's musical pursuits with new concepts and refined ways of hearing one's own performances. Her ingenious format makes the book easy to read, and adds a personal touch. The suggestions for exercises and activities are invaluable for--exactly as the title suggests--deepening one's performance (and hearing) of music.
The only thing I wished for in the book which was not there was a summary or list of all the suggested exercises, for handy reference.
I highly recommend this book to all musicians and teachers, as well any other "performers". It would also be a great "nudge" for a student who is not too excited about music theory, to give him/her a sense of how theory can enhance their performance abilities.
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