Music and Familiarity: Listening, Musicology and Performance

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Introduction
I: Listening
1: Keeping it Fresh: How Listeners Regulate their own Exposure to Familiar Music
2: Familiarity, Schemata and Patterns of Listening
3: The Effects of Repertoire Familiarity and Listening Preparation on New Audiences' Experiences of Classical Concert Attendance
4: Familiarity with Music in Post-Operative Clinical Care: A Qualitative Study
II: Musicology
5: Unfamiliar Sounds? Approaches to Intercultural Interaction in the World's Musics
6: Well, What Do You Know? Or, What Do You Know Well? Familiarity as a Structural Force in Crumb's Black Angels
7: Familiarity, Information and Musicological Efficiency
8: Familiarity and Reflexivity in the Research Process
9: Familiarity in Music Education
III: Performance
10: The Significance of Familiar Structures in Music Memorisation and Performance
11: Groove as Familiarity with Time
12: Social Familiarity: Styles of Interaction in Chamber Ensemble Rehearsal
13: Familiarity and Musical Performance

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Familiarity underpins our engagement with music. This book highlights theoretical and empirical considerations about familiarity from three perspectives: listening, musicology and performance. Part I, ’Listening’, addresses familiarity as it relates to listeners’ behaviour and responses to music, specifically in regulating our choice and exposure to music on a daily basis; how we get to know music through regular listening; how comfortable we feel in a Western concert environment; and music’s efficacy as a pain-reliever. Part II, ’Musicology’ exposes the notion of familiarity from varied stances, including appreciation of music in our own and other cultures through ethnomusicology; exploration of the perception of sounds via music analysis; philosophical reflection on the efficiency of communication in musicology; evaluation of the impact of researchers’ musical experiences on their work; and the influence of familiarity in music education. Part III, ’Performance’, focuses on the effects of familiarity in relation to different aspects of Western art and popular performance, including learning and memorizing music; examination of ’groove’ in popular performance; exploration of the role of familiarity in shaping socio-emotional behaviour between members of an ensemble; and consideration about the effects of the unique type of familiarity gained by musicians through the act of performance itself.

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