Guildhall School of Music and Drama Publications
Guildhall School of Music and Drama Publications
A selection of recent publications
Anderson, J. (2010). Timbre Process and accords fixes: Dutilleux and his Younger French Contemporaries. Contemporary Music Review: Routledge, 29 (5) pp. 447-461.
Brand, G., Sloboda, J. A., Saul, B., & Hathaway, M. (2012). The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study. Psychology of Music: Sempre, 40 (5) pp. 634–651. Read this article.
Carr, C., d’Ardenne, P., Sloboda, A., Scott, C., Wang, D. & Priebe, S. (2012). Group music therapy for patients with persistent post-traumatic stress disorder: an exploratory randomized controlled trial with mixed methods evaluation. Psychology and Psychotherapy: Theory, Research and Practice, 85 (2) pp. 179-202.
Creech, A., Robertson, L., Gaunt, H., & Hallam, S. (2009). The value and purpose of masterclasses: An exploratory study. British Journal of Music Education, 26 (3) pp. 315-331.
Gaunt, H. (2010). One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal students. Psychology of Music, 38 (2) pp. 178-208. Read this article.
Gaunt, H., Creech, A., Long, M., & Hallam, S. (2012). Supporting conservatoire students towards professional integration: one-to-one tuition and the potential of mentoring. Music Education Research, 14 (1) pp. 25-43.
Taylor-Jay, C. (2009). The Composer’s Voice? Compositional Style and Criteria of Value in Weill, Krenek and Stravinsky. Royal Musical Association: Routledge, 134 (1) pp. 85-111. Read this article.
Van Zijl, A. & Sloboda, J. A. (2010). Performers’ experienced emotions in the construction of expressive musical performance: an exploratory investigation. Psychology of Music, 39 (2) pp. 196-219. Read this article.
Creative Learning across the Barbican-Guildhall Campus: A new paradigm for engaging with the arts?
Sean Gregory & Peter Renshaw, 2013
This paper describes a major research project linking an institution of Higher Education (Guildhall School of Music & Drama) and a commercial arts centre (Barbican). The project is called Creative Learning. The paper starts by setting out the two main research aims of the project and describes the practice-based working methods through which these aims are achieved. The pedagogic underpinning of the approaches used in the various performances, workshops and other events that constitute the practice-based elements of Creative Learning is then analysed in detail. This analysis draws on three main events as examples of Creative Learning in action. The paper goes on to evaluate the overall project’s achievements so far, and sets out probable key directions for the future. The paper ends by reflecting on the significance of the research for the development of the artistic landscape of the future. Download the report here (PDF, 212KB)
Being – In Tune: Seeking ways of addressing isolation and dislocation through engaging in the arts.
Peter Renshaw, 2013.
This provocation paper, commissioned by the Guildhall School and the Barbican Centre is intended to generate discussion about the power of the arts to make a difference. Arts practitioners, arts administrators, researchers, young musicians, dancers, parents, homeless people and arts funders have shared their views on the value of engaging in the arts and they have questioned the extent to which conservatoires, colleges and other training and development organisations are equipped to prepare their students to respond creatively to the changes taking place in society. You can download the Being – In Tune report here (PDF, 640KB).
Preparing for Success: A practical guide for young musicians
Co-authored by Susan Hallam and Helena Gaunt, Institute of Education Publications, 2012.
This book is a practical guide for young people around the world who wish to build a career as a professional musician. It is a useful resource that will help build a realistic professional vision, support development, and explicate what it takes to make a successful career. As well as providing lots of information, it offers practical tools and exercises to enable you to relate the information to your own situation, and to help realize your potential.
The book covers three main areas:
- exploring essential aspects of the learning process as a musician such as motivating yourself, setting goals, making the most out of tuition, practising and rehearsing, learning from your experience
- nurturing your creativity and expanding your experience and professional horizons
- mapping out the professional landscape and outlining vital parts of getting a career started
The book can be purchased directly from the publisher
Reflections: The Piano Music of Maurice Ravel
Paul Roberts, Amadeus Press: 2012
This book covers how performers and listeners can understand and relate to Maurice Ravel’s Piano Music. To gain a deeper understanding of Ravel’s work, Roberts looks not only at Ravel’s compositions but also at the man himself. It contains insights into the origins of Gaspard de la nuit, the Jeux d’eau, and Miroirs and the irony behind Valses nobles et sentimentales. It also looks at The First World War’s psychological effects on Ravel, including his explorations of the ideas of Watteau and Couperin, and how this can be seen in Le tombeau de Couperin Watteau. Reflections looks to understand Ravel and, through examining the man, understand his music.
Music and the Mind: Essays in honour of John Sloboda
edited by Irène Deliége and Jane W. Davidson, Oxford University Press: 2011
When Professor John Sloboda, Research Professor at the Guildhall School, published The Musical Mind in 1985 it raised ground-breaking questions relating to music’s status as a form of human expression, and has now become the seminal text in the field of music psychology. The Musical Mind asked questions of ‘how’ and ‘why’ which have led to further research and discovery from leading music psychologists worldwide. 25 years after Sloboda’s book was first published, Music and the Mind celebrates his life and work whilst painting a picture of how the field of music psychology has grown and changed in the past quarter-century. It includes new essays by leading researchers in the field that reflect upon music psychology, the influence of Sloboda’s work, and discuss the unique work they are contributing to the field themselves.
Working Together: an enquiry into creative collaborative learning across the Barbican-Guildhall Campus
by Peter Renshaw: 2011
This study, commissioned by the Barbican Centre and Guildhall School, examines the place of ‘creative collaborative learning’ across the Barbican-Guildhall campus. Increasingly, it is acknowledged that collaboration is integral to the success of those organisations committed to extending learning and innovation, to designing and developing new products, and to creating and exchanging new knowledge.
Read Working Together now
Researching Conservatoires: Enquiry, innovation and the development of artistic practice in Higher Education
Polifonia Research Working Group: 2010
This project by the Polifonia network of European Conservatoires was coordinated by the Royal College of Music Stockholm and the European Association of Conservatoires (AEC). The publication is a resource for the network’s institutions and highlights their varying purposes, methods, and outcomes in conducting research to showcase the diversity of Conservatoires across Europe. The publication also reports on the significance of the Innovative Conservatoire (ICON) network of which the Guildhall School is a lead institution.
Gabriel Fauré: The Songs and their Poets
Graham Johnson. Co-published by the Guildhall School and Ashgate Publishing, 2009
Inspired by a concert series at the Guildhall School placing the complete songs of Fauré alongside a selection of his piano works, Graham Johnson’s book emphasises the context of the songs within Fauré’s own life story and the rich culture of the period, as well as providing revealing detail about the poetry and poets he set. Each of Fauré’s 109 songs receives a separate commentary and the final chapters bring to the surface practical implications for the way this uniquely subtle repertoire is performed.
“An ideal guide to one of the most important figures in the song repertoire, valuable to performers and listeners alike” BBC Music Magazine
Handbook of Music and Emotion
Edited by Patrik Juslin and John Sloboda, Oxford University Press: 2009
Following the success of this book’s predecessor, Music and Emotion (OUP, 2001), this book reflects on the great deal of empirical research that has been done of the subject of music psychology in the time between the two publications. It takes an in-depth look at the many strands of research that relate to the study of music and emotions.
A recording for violin and fortepiano of Schubert’s Introduction and Variations on “Trockne Blumen”
(from Die Schöne Müllerin) Op.post.160, D802 for flute. Jacqueline Ross.
The research goal was to replicate a compositional / performance practice of the early nineteenth century: the production of virtuoso variations for violin using material composed for another instrument. The researcher took Schubert’s variations for flute and piano on Trockne Blumen – the eighteenth song of Die Schöne Müllerin – and produced a recorded performance that might have been created by violin virtuosi of the period such as Joseph Slawik (for whom Schubert composed his Fantasy and Rondo). Additionally, the researcher has prepared a scholarly edition of the transcription so that today’s performers can recreate the now faded tradition. (Although an announcement has been made concerning the edition’s impending appearance, it will not be published, by Universal Edition, until 2015 and is thus outside the timeframe of the REF.)
Trockne Blumen, as variations for flute and piano, was published posthumously in Vienna in 1850. The 1824 autograph appears to have been the only source for this first printed edition.
Although Schubert composed these variations solely for flute many works by contemporaries such as Hummel and Czerny, were composed ‘for flute or violin’, and Schubert was greatly impressed by violin soloists regularly appearing in Vienna.
The researcher’s new edition for violin – the basis of the recording – uses Schubert’s autograph as the primary source regarding notation, slurs, and dynamics. However, this adaptation also includes new editing based on research into evolving 19th century performance by virtuosi such as Viotti and Paganini. This informs elements in both the edition and recording including varied bowing in repeated sections, suggested fingerings and techniques such as varied détaché, accentuation, and extension fingerings.
The researcher’s recorded performance therefore gives the listener a piece that never was but might have been, whilst the new edition will enrich the early 19th century violin and piano repertoire for today’s performers. Read Jacqueline Ross’s biography here.