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All Outputs (15)

Let's Play: Professional Performers' Perspectives on Play in Chamber Ensemble Rehearsal (2022)
Book Chapter
King, E., & Todd, R. (2022). Let's Play: Professional Performers' Perspectives on Play in Chamber Ensemble Rehearsal. In M. Doğantan-Dack (Ed.), The Chamber Musician in the Twenty-First Century (205-228). Basel: MDPI. https://doi.org/10.3390/books978-3-03897-563-2

This chapter explores the phenomenon of play in the context of professional chamber ensemble rehearsal and argues that play lies at the heart of it. The account begins with an interrogation of the concept of play and a distinction is made between “pl... Read More about Let's Play: Professional Performers' Perspectives on Play in Chamber Ensemble Rehearsal.

Working With and In Small Groups (2021)
Book Chapter
King, E. (2021). Working With and In Small Groups. In A. Creech, D. A. Hodges, & S. Hallam (Eds.), International Handbook of Music Psychology in Education and the Community (320-334). London: Routledge. https://doi.org/10.4324/9780429295362

This chapter provides insight into two kinds of small group work: “supervised” – guided by a supervisor, such as a teacher or facilitator; and “unsupervised” – self- managed or without supervisory input. Evidence about group work is discussed, drawin... Read More about Working With and In Small Groups.

Performers' Perspectives on "Feel" in Music (2018)
Book Chapter
King, E., & Waddington, C. (2018). Performers' Perspectives on "Feel" in Music. In N. Reyland, & R. Thumpson (Eds.), Music, analysis, and the body: Experiments, explorations, and embodiments. Leuven: Peeters Publishers

This chapter explores the concept of 'feel' in relation to music performers in the Western art tradition.

Dialogue and Beyond: Communication and Interaction in Ensemble Performance (2017)
Book Chapter
King, E., & Gritten, A. (2017). Dialogue and Beyond: Communication and Interaction in Ensemble Performance. In J. Rink, H. Gaunt, & A. Williamon (Eds.), Musicians in the Making: Pathways to Creative Performance (306-321). Oxford University Press: Oxford University Press. https://doi.org/10.1093/acprof%3Aoso/9780199346677.001.0001

This chapter explores the nature of dialogue in ensemble music performance, interrogating the ways in which ‘communication’ and ‘interaction’ occur in the context of rehearsal and live performance of western art music. An expanded conceptual model is... Read More about Dialogue and Beyond: Communication and Interaction in Ensemble Performance.

The empathic nature of the piano accompanist (2017)
Book Chapter
King, E., & Roussou, E. (2017). The empathic nature of the piano accompanist. In E. King, & C. Waddington (Eds.), Music and empathy. London: Routledge. https://doi.org/10.4324/9781315596587

The ways in which humans interact in any society or culture have occupied the attention of researchers from different disciplinary backgrounds over centuries, including philosophers, psychologists, historians, sociologists, anthropologists and musico... Read More about The empathic nature of the piano accompanist.

Viewing Empathy in Jazz Performance (2017)
Book Chapter
Elsdon, P. (2017). Viewing Empathy in Jazz Performance. In E. King, & C. Waddington (Eds.), Music and empathy (157-172). Farnham: Routledge

In this chapter, the author explains how the empathic comes to play an important role in the way empathic researcher view performance, and jazz performance in particular. She develops an argument about the way in which certain fundamental tropes used... Read More about Viewing Empathy in Jazz Performance.

Performance (2014)
Book Chapter
King, E. (2014). Performance. In Music in the Social and Behavioral Sciences: An encyclopedia. SAGE Publications

Familiarity, schemata and patterns of listening (2013)
Book Chapter
Prior, H. (2013). Familiarity, schemata and patterns of listening. In E. King, & H. M. Prior (Eds.), Music and familiarity: listening, musicology and performance. Routledge

The origins of this work, as in much research, lie in a personal experience. My first exposure to a selection of Schoenberg’s piano works (which happened to be through a recording) had resulted in an ambivalent response, but upon hearing the same rec... Read More about Familiarity, schemata and patterns of listening.

Groove as Familiarity with Time (2013)
Book Chapter
Oliver, R. (2013). Groove as Familiarity with Time. In E. King, & H. M. Prior (Eds.), Music and Familiarity : Listening, Musicology and Performance (239 - 252). Ashgate. https://doi.org/10.4324/9781315596600

The chapter explores the instrumentalist’s relationship with musical time, arguing that the capacity for groove in solo performance depends upon the musician’s familiarity with stylistically nuanced conceptions of pulse. Much research dealing with gr... Read More about Groove as Familiarity with Time.

Social familiarity: styles of interaction in chamber ensemble rehearsal (2013)
Book Chapter
King, E. (2013). Social familiarity: styles of interaction in chamber ensemble rehearsal. Music and familiarity: listening, musicology and performance (253 - 270). Ashgate

When two or more musicians first play together in a music ensemble, they begin a process of familiarization as they get to know each other both musically and socially. There is a complex network of issues to consider in this process as ensemble music... Read More about Social familiarity: styles of interaction in chamber ensemble rehearsal.

Gestures and glances: interactions in ensemble rehearsal (2011)
Book Chapter
Ginsborg, J., & King, E. (2011). Gestures and glances: interactions in ensemble rehearsal. In A. Gritten, & E. King (Eds.), New perspectives on music and gesture (177-202). Farnham: Ashgate

Performers use physical gestures in numerous ways. They can be used to communicate musical expression, generate sound production, facilitate technical movements while playing or singing, regulate temporal aspects of performance, and provide musical a... Read More about Gestures and glances: interactions in ensemble rehearsal.

Supporting gestures: Breathing in piano performance (2006)
Book Chapter
King, E. (2006). Supporting gestures: Breathing in piano performance. In A. Gritten, & E. King (Eds.), Music and Gesture (142-164). Aldershot: Routledge. https://doi.org/10.4324/9781315091006

Existing research provides valuable insight into the importance of breathing for music performers and its function in supporting instrumentalists. The study of pianists’ breathing is perhaps a less obvious choice of subject than breathing by singers... Read More about Supporting gestures: Breathing in piano performance.

Strategies of ensemble practice (2004)
Book Chapter
King, E., & Davidson, J. (2004). Strategies of ensemble practice. In A. Williamon (Ed.), Musical Excellence: Strategies and Techniques to Enhance Performance (105-22). Oxford: Oxford University Press

Ensemble Performance (2002)
Book Chapter
King, E. (2002). Ensemble Performance. In J. Rink (Ed.), Musical Performance: A Guide to Understanding (153-167). Cambridge: Cambridge University Press. https://doi.org/10.1017/CBO9780511811739.012

Ensemble performance involves musical and social interaction between a group of performers. The term ‘ensemble’ derives from the French for ‘together’, and it defines the seemingly infinite array of musical performances involving more than one person... Read More about Ensemble Performance.