1. A Phenomenological Analysis Of Musical Engagement When Recording, Performing and Rehearsing With The James Taylor Quartet
Dr Paul Carr

University of Glamorgan

2. JTQ Recordings 1989 - 90
3. Research Questions
What are the means through which musicians employ listening to recreate pastiche sounds of the past?
How and why do musicians incorporate listening skills to integrate authenticity into their work by ensuring specific sounds, styles, production techniques and performance conventions comply with the canon?
How does creative listening impact composition and arrangement activities?
How do environmental factors impact creative listening?
4. 5. The Intentional/Extensional Listening Process
6. Band Personnel
Forcing Original
Interpretation of
Music
Provides Stylistic Framework
NEGOTIATION PROCESS
7. Comparison of tracks from WaitA Minute album and ITV broadcast
Extensional
Basic Grooves (in both)
Harmonic progression
Melody
Intentional
Form
Tempo
Improvisation
Instrumental Timbre
Melodic and Rhythmic variance
Collective Texture
8. The Potential Impacts Of Social Parameters on Music Making
9. 10. Conclusions
11. 12. Bibliography
Ken N. Kamoche, Miguel Pina e Cunha, and Joo Vieira da Cunha, Organizational improvisation (Routledge, 2002).
Robert Keith Sawyer, Group genius (Westview Press, 2007).
Lucy Green, Music, informal learning and the school (Ashgate Publishing, Ltd., 2008).
Paul Berliner, Thinking in jazz (University of Chicago Press, 1994).
John Stevens et al., Search and reflect (Community Music, 1985).
Simon Frith and Andrew Goodwin, On record (Routledge, 1990).
Allan F. Moore, Rock, the primary text (Open University Press, 1993), p23.
Simon Frith, Performing rites (Harvard University Press, 1998).
Eric F. Clarke, Ways of listening (Oxford University Press US, 2005).
William L. Cahn, Creative music making (Routledge, 2005).