Thematische Bibliographien / Music expressiveness

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Auswahl der wissenschaftlichen Literatur zum Thema „Music expressiveness“

Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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Zeitschriftenartikel zum Thema "Music expressiveness"

Sreckovic, Sanja. „The expressiveness of music“. Theoria, Beograd 58, Nr. 3 (2015): 19–39. http://dx.doi.org/10.2298/theo1503021s.

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The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as ?expressiveness?. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.

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Young, James O. „How Classical Music is Better than Popular Music“. Philosophy 91, Nr. 4 (30.08.2016): 523–40. http://dx.doi.org/10.1017/s0031819116000334.

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AbstractIn at least one respect, classical music is superior to popular music. Classical music (understood as common practice composition) has greater potential for expressiveness and, consequently, has more potential for psychological insight and profundity. The greater potential for expressiveness in classical music is due, in large part, to it greater harmonic resources. The harmonies in classical music are more likely to be functional, more contrary motion is employed, and modulation is more common. Although popular music employs rhythms not found in classical music, on the whole there is less rhythmic variety in popular music than there is in classical.

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van, der. „Kivy and Langer on expressiveness in music“. Muzikologija, Nr. 14 (2013): 191–200. http://dx.doi.org/10.2298/muz1314191s.

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From 1980 onwards, Peter Kivy has put forward that music does not so much express emotions but rather is expressive of emotions. The character of the music does not represent the character or mood of the composer, but reflects his knowledge of emotional life. Unfortunately, Kivy fails to give credit to Susanne Langer, who brought these views to the fore as early as 1942, claiming that the vitality of music lies in expressiveness, not in expression.

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Flamm, Christoph. „Expressiveness in Stravinsky’s late works“. Muzikologija, Nr. 34 (2023): 59–68. http://dx.doi.org/10.2298/muz2334059f.

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Igor Stravinsky?s late style is usually considered in terms of the works? structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky?s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer?s own statements.

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Kravchuk, Tatiana Nikolaevna, Iryna Anatoliivna Ryadinska und Elizaveta Ihorivna Zelenska. „Peculiarities of training expressiveness of athletes engaged in sports acrobatics at the stages of basic and specialized training“. Health-saving technologies, rehabilitation and physical therapy 2, Nr. 1 (02.12.2021): 92–98. http://dx.doi.org/10.58962/hstrpt.2021.2.1.92-98.

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The study revealed the criteria for the expressiveness of acrobats. Among them: emotional and motor expressiveness and the ability to connect movements with the means of musical expression. The means of educating expressiveness have been selected and introduced into the educational and training process of groups of basic and specialized training in sports acrobatics. These are musical and rhythmic games and tasks, exercises for mastering expressive movement, choreographic and dance exercises. It is proved that the use of the above means can contribute to a statistically probable improvement of such indicators of expressiveness as pantomime, the level of harmony of music with the character and tempo of movements and emotional connection with music.

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Teixeira, Euler C. F., Mauricio A. Loureiro und Hani C. Yehia. „Expressiveness in Music From a Multimodal Perspective“. Music Perception 36, Nr. 2 (01.12.2018): 201–16. http://dx.doi.org/10.1525/mp.2018.36.2.201.

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This article seeks to unveil quantitative relations between the patterns of movement recurrence of a group of expert clarinetists and expressive sonic manipulations they employ during their performances. The main hypothesis is that the recurrent ancillary gestures of musicians are closely related to their sounded expressive intentions, and that the expressive content imposed by them according to the music structure is reflected in their movement patterns. To conduct this multimodal investigation of expressiveness in music, movement and audio analyses of several clarinet performances of excerpts in the classical repertoire are presented and discussed in conjunction. The results show strong correlations between the recurrence pattern of clarinetists’ ancillary movements and expressive manipulations of timing, timbre, and loudness associated with melodic phrasing and harmonic and dynamic transitions in the performed music excerpts.

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Kim, Jin Hyun. „Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness“. Empirical Musicology Review 8, Nr. 3-4 (24.10.2013): 162. http://dx.doi.org/10.18061/emr.v8i3-4.3937.

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Over the last three decades, there has been an increasing number of empirical studies on how music conveys and induces emotional expressiveness, revolving around both the longstanding discourse over compositional and performance features related to recognized or felt emotions, and more recent interest in (neuro)psychological mechanisms underlying emotions induced by music. However, the question of how expressive forms of music are shaped and co-shaped within the ongoing process of music-making and music perception has received little investigation. This paper focuses on the expressive forms of music that the developmental psychologist Daniel N. Stern refers to as ‘forms of vitality’, discussing how they are (co)shaped and give rise to aesthetic experience of music. The aim is the development of a theoretical framework allowing for a new research perspective on musical expressiveness—taking into account the aesthetic experience of music—in relation to the process of (co)shaping forms of vitality in music. Further, a hypothesis for and methodologies of empirical research fitting into this theoretical framework are considered, expanding the schema beyond cognitivist and emotivist approaches to musical expressiveness.

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Stecker, Robert. „Expressiveness and Expression in Music and Poetry“. Journal of Aesthetics and Art Criticism 59, Nr. 1 (Februar 2001): 85–96. http://dx.doi.org/10.1111/0021-8529.00009.

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Markova, Оlena M. „phenomenon of musicality in expressiveness of V. Kandinskyi canvases“. Linguistics and Culture Review 5, S2 (29.07.2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.

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The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionism – post-symbolism, in which are presented “washed away” in scene, not clearly given image. The music elements painting Kandinskiy realized as independence of the colour and symbolic elements in compositions. In this work is made analysis of linen “Composition II”, “Improvisation 8” and “Improvisation IV”. It is attention to symbology Roman and Arabic numerals, presented in name, which put into composition of the picturesque linen to associations with conditional image types of the music sound. The special accent is made on analogy of the symmetries of the distribution colorful heel and line to ?rchytonic construction of the music forms.

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Moura, Nádia, Pedro Fonseca, Márcio Goethel, Patrícia Oliveira-Silva, João Paulo Vilas-Boas und Sofia Serra. „The impact of visual display of human motion on observers’ perception of music performance“. PLOS ONE 18, Nr. 3 (08.03.2023): e0281755. http://dx.doi.org/10.1371/journal.pone.0281755.

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In investigating the influence of body movement in multimodal perception, human motion displays are frequently used as a means of visual standardization and control of external confounders. However, no principle is established regarding the selection of an adequate display for specific study purposes. The aim of this study was to evaluate the effects of adopting 4 visual displays (point-light, stick figure, body mass, skeleton) on the observers’ perception of music performances in 2 expressive conditions (immobile, projected expressiveness). Two hundred eleven participants rated 8 audio-visual samples in expressiveness, match between movement and music, and overall evaluation. The results revealed significant isolated main effects of visual display and expressive condition on the observers’ ratings (in both, p < 0.001), and interaction effects between the two factors (p < 0.001). Displays closer to a human form (mostly skeleton, sometimes body mass) exponentiated the evaluations of expressiveness and music-movement match in the projected expressiveness condition, and of overall evaluation in the immobile condition; the opposite trend occurred with the simplified motion display (stick figure). Projected expressiveness performances were higher rated than immobile performances. Although the expressive conditions remained distinguishable across displays, the more complex ones potentiated the attribution of subjective qualities. We underline the importance of considering the variable display as an influencing factor in perceptual studies.

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Dissertationen zum Thema "Music expressiveness"

Macfarlane, Clare J. „The effect of verbal discussion on musical expressiveness“. Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.

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In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.

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Stevens, Melissa A. „Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /“. Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.

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Zheng, Qiongzi. „Performance Techniques, Aesthetic Principles and the Role of the Folk Music Tradition in Enhancing Expressiveness in Performance of the Contemporary Zheng Repertoire“. Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20317.

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The zheng is a Chinese string instrument classified as a plucked zither. Since the 1950s, when the instrument began to be taught in music conservatories in China, there has been a need to better understand the various approaches to zheng performance expressiveness. The modernization of Chinese music, driven by social, cultural and political factors, has witnessed the rise of contemporary zheng composition, performance techniques and changing music aesthetics. This thesis adopts an integrative approach, examining how knowledge of zheng performance techniques as informed by folk music tradition and aesthetics, can enhance performance expressiveness when interpreting pieces in the contemporary zheng repertoire. The thesis draws upon ethnographic fieldwork in China, which included intensive zheng training with zheng Master Gao Wugang, participant observation of zheng concert performances, and interviews with representative figures within the zheng field along with my own reflections on the learning and practice processes. This thesis is supported by my final lecture recital video.

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Cruz, Eliete da Silva. „Linguagem, música e expressividade sob a perspectiva crítica de Rousseau“. Universidade Federal do Maranhão, 2017. http://tedebc.ufma.br:8080/jspui/handle/tede/1575.

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The main objective of this dissertation is to investigate the musical ideas of Jean-Jacques Rousseau, thoroughly analyzing its line of argument as well as his criticism and censorship approach. Therefore, we use as a starting point the work entitled Carta sobre a música francesa. In this paper we focus our attention on the temporal aspects, analyzing the circumstances that led Rousseau to draw up the Carta. The time vector has as common respect the origin of languages and music, and how language impacts the music on the aesthetics and sound. Thus, it is essential that the approach to the subject was drawn from a historical perspective on the origin of the Italian and French operas, and on the opera features in the Age of Enlightenment.
O objetivo principal desta dissertação é investigar as concepções musicais de Jean-Jacques Rousseau, analisando detalhadamente sua linha argumentativa como também sua abordagem crítica e de censura. Para tanto, utilizamos como ponto de partida o trabalho intitulado Carta sobre a música francesa. Neste trabalho focamos nossa atenção nos aspectos temporais, analisando as circunstâncias que levaram Rousseau a elaboração da Carta. O vetor temporal tem como relação comum a origem das línguas e da música, e de como a língua impacta a música sob os aspectos estéticos e de sonoridade. Assim, tornou-se fundamental que a abordagem sobre o tema fosse elaborada a partir de uma perspectiva histórica sobre a origem das óperas italiana e francesa, e as características musicais vigentes no século das Luzes.

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Macauslan, John. „Schumann's music and Hoffmann's fictions“. Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.

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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.

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Zumpano, Nívia Gasparini 1968. „Os parâmetros expressivos na execução ao cravo e suas abordagens = um estudo sobre a expressividade cravística = Expressive parameters in the harpsichord performance: a harpsichord expressiveness study“. [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284444.

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Orientador: Edmundo Pacheco Hora
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sobre sua influência na sonoridade do instrumento, procurando-se destacar questões relativas à possibilidade de dinâmica no cravo. Com o objetivo de verificar a maneira como a expressividade tem sido abordada no contexto de aprendizado cravístico e a forma como os estudantes manipulam os parâmetros analisados, realizou-se também uma pesquisa com alunos e ex-alunos de diversas Instituições de Ensino do país. Ao final, a análise dos resultados obtidos possibilitou a visualização da forma como os parâmetros podem influenciar acusticamente a sonoridade na execução, permitindo concluir que sua manipulação pelo intérprete amplia as possibilidades expressivas do instrumento
Abstract: In this thesis we offer a discussion about harpsichord's expressiveness with emphasis on some performance parameters. Thus, we defined some factors associated to the expressiveness from the specialized literature and in the next step we performed a study about its influence on harpsichord's sound, seeking to highlight the instrument dynamic possibilities. In order to check how the expressiveness has been addressed in the context of harpsichords' learning and how students manipulate the parameters, we also carried out a survey involving harpsichord students in different educational institutions. Finally, the results' analysis showed us how expressive parameters can influence acoustically the harpsichord sound, allowing conclude that performer's manipulation expands the instrument expressive possibilities
Doutorado
Fundamentos Teoricos
Doutora em Música

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Bedoya, Ramos Daniel. „Capturing Musical Prosody Through Interactive Audio/Visual Annotations“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS698.

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Des projets de science participative (SP) ont stimulé la recherche dans plusieurs disciplines au cours des dernières années. Des citoyens scientifiques contribuent à cette recherche en effectuant des tâches cognitives, favorisant l'apprentissage, l'innovation et l'inclusion. Bien que le crowdsourcing ait servi à recueillir des annotations structurelles en musique, la SP reste sous-utilisée pour étudier l'expressivité musicale. On introduit un nouveau protocole d'annotation pour capturer la prosodie musicale, associée aux variations acoustiques introduites par les interprètes pour rendre la musique expressive. Notre méthode descendante, centrée sur l'humain, donne la priorité à l'auditeur dans la production d'annotations des fonctions prosodiques de la musique. On se concentre sur la segmentation et la proéminence, qui véhiculent la structure et l'affect. Ce protocole fournit un cadre de SP et une approche expérimentale pour réaliser des études systématiques et extensibles. On met en œuvre ce protocole d'annotation dans CosmoNote, un logiciel web personnalisable, conçu pour faciliter l'annotation de structures musicales expressives. CosmoNote permet aux utilisateurs d'interagir avec des couches visuelles, y compris la forme d'onde, les notes enregistrées, les attributs audio extraits et les caractéristiques de la partition. On peut placer des frontières de niveaux différents, des régions, des commentaires et des groupes de notes. On a mené deux études visant à améliorer le protocole et la plateforme. La première, examine l'impact des stimuli auditifs et visuels simultanés sur les frontières de segmentation. On compare les différences dans les distributions de frontières dérivées d'informations intermodales (auditives et visuelles) et unimodales (auditives ou visuelles). Les distances entre les distributions unimodales-visuelles et intermodales sont plus faibles qu'entre les distributions unimodales-auditives et intermodales. On montre que l'ajout de visuels accentue les informations clés et fournit un échafaudage cognitif aidant à marquer clairement les frontières prosodiques, bien qu'ils puissent détourner l'attention de structures spécifiques. À l'inverse, sans audio, la tâche d'annotation devient difficile, masquant des indices subtils. Malgré leur exagération ou inexactitude, les repères visuels sont essentiels pour guider les annotations de frontières en interprétation, ce qui améliore les résultats globaux. La deuxième étude utilise tous les types d'annotations de CosmoNote et analyse comment les participants annotent la prosodie musicale, avec des instructions minimales ou détaillées, dans un cadre d'annotations libres. On compare la qualité des annotations entre musiciens et non-musiciens. On évalue la composante de SP dans un cadre écologique où les participants sont totalement autonomes dans une tâche où le temps, l'attention et la patience sont valorisés. On présente trois méthodes basées sur des étiquettes d'annotation, des catégories et des propriétés communes pour analyser et agréger les données. Les résultats montrent une convergence dans les types d'annotations et les descriptions utilisées pour marquer les éléments musicaux récurrents, pour toute condition expérimentale et aptitude musicale. On propose des stratégies pour améliorer le protocole, l'agrégation des données et l'analyse dans des applications à grande échelle. Cette thèse enrichit la représentation et la compréhension des structures en musique interprétée en introduisant un protocole et une plateforme d'annotation, des expériences adaptables et des méthodes d'agrégation et d'analyse. On montre l'importance du compromis entre l'obtention de données plus simples à analyser et celle d'un contenu plus riche, capturant une pensée musicale complexe. Notre protocole peut être généralisé aux études sur les décisions d'interprétation afin d'améliorer la compréhension des choix expressifs dans l'interprétation musicale
The proliferation of citizen science projects has advanced research and knowledge across disciplines in recent years. Citizen scientists contribute to research through volunteer thinking, often by engaging in cognitive tasks using mobile devices, web interfaces, or personal computers, with the added benefit of fostering learning, innovation, and inclusiveness. In music, crowdsourcing has been applied to gather various structural annotations. However, citizen science remains underutilized in musical expressiveness studies. To bridge this gap, we introduce a novel annotation protocol to capture musical prosody, which refers to the acoustic variations performers introduce to make music expressive. Our top-down, human-centered method prioritizes the listener's role in producing annotations of prosodic functions in music. This protocol provides a citizen science framework and experimental approach to carrying out systematic and scalable studies on the functions of musical prosody. We focus on the segmentation and prominence functions, which convey structure and affect. We implement this annotation protocol in CosmoNote, a web-based, interactive, and customizable software conceived to facilitate the annotation of expressive music structures. CosmoNote gives users access to visualization layers, including the audio waveform, the recorded notes, extracted audio attributes (loudness and tempo), and score features (harmonic tension and other markings). The annotation types comprise boundaries of varying strengths, regions, comments, and note groups. We conducted two studies aimed at improving the protocol and the platform. The first study examines the impact of co-occurring auditory and visual stimuli on segmentation boundaries. We compare differences in boundary distributions derived from cross-modal (auditory and visual) vs. unimodal (auditory or visual) information. Distances between unimodal-visual and cross-modal distributions are smaller than between unimodal-auditory and cross-modal distributions. On the one hand, we show that adding visuals accentuates crucial information and provides cognitive scaffolding for accurately marking boundaries at the starts and ends of prosodic cues. However, they sometimes divert the annotator's attention away from specific structures. On the other hand, removing the audio impedes the annotation task by hiding subtle, relied-upon cues. Although visual cues may sometimes overemphasize or mislead, they are essential in guiding boundary annotations of recorded performances, often improving the aggregate results. The second study uses all CosmoNote's annotation types and analyzes how annotators, receiving either minimal or detailed protocol instructions, approach annotating musical prosody in a free-form exercise. We compare the quality of annotations between participants who are musically trained and those who are not. The citizen science component is evaluated in an ecological setting where participants are fully autonomous in a task where time, attention, and patience are valued. We present three methods based on common annotation labels, categories, and properties to analyze and aggregate the data. Results show convergence in annotation types and descriptions used to mark recurring musical elements across experimental conditions and musical abilities. We propose strategies for improving the protocol, data aggregation, and analysis in large-scale applications. This thesis contributes to representing and understanding performed musical structures by introducing an annotation protocol and platform, tailored experiments, and aggregation/analysis methods. The research shows the importance of balancing the collection of easier-to-analyze datasets and having richer content that captures complex musical thinking. Our protocol can be generalized to studies on performance decisions to improve the comprehension of expressive choices in musical performances

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Ghomi, Emilien. „Designing expressive interaction techniques for novices inspired by expert activities : the case of musical practice“. Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00839850.

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As interactive systems are now used to perform a variety of complex tasks, users need systems that are at the same time expressive, efficient and usable. Although simple interactive systems can be easily usable, interaction designers often consider that only expert practitioners can benefit from the expressiveness of more complex systems. Our approach, inspired by studies in phenomenology and psychology, underscores that non-experts have sizeable knowledge and advanced skills related to various expert activities having a social dimension -such as artistic activities-, which they gain implicitly through their engagement as perceivers. For example, we identify various music-related skills mastered by non-musicians, which they gain when listening to music or attending performances. We have two main arguments. First, interaction designers can reuse such implicit knowledge and skills to design interaction techniques that are both expressive and usable by novice users. Second, as expert artifacts and expert learning methods have evolved over time and have shown efficient to overcome the complexity of expert activities, they can be used as a source of inspiration to make expressive systems more easily usable by novice users. We provide a design framework for studying the usability and expressiveness of interaction techniques as two new aspects of the user experience, and explore this framework with three projects. In the first project we study the use of rhythmic patterns as an input method, and show that novice users are able to reproduce and memorize large vocabularies of patterns. This is made possible by the natural abilities of non-musicians to perceive, reproduce and make sense of rhythmic structures. We define a method to create expressive vocabularies of patterns, and show that novice users are able to efficiently use them as command triggers. In the second project, we study the design and learning of chording gestures on multitouch screens. We introduce design guidelines to create expressive chord vocabularies taking the mechanical constraints and the degrees of freedom of the human hand into account. We evaluate the usability of such gestures in an experiment and we present an adapted learning method inspired by the teaching of chords in music. We show that novice users are able to reproduce and memorize our vocabularies of chording gestures, while our learning method can improve long-term memorization. The final project focuses on music software used for live performances and proposes a framework for designing "instrumental" software allowing expert musical playing and having its elementary functionalities accessible to novices, as it is the case with acoustic instruments (for example, one can easily play a few chords on a piano without practice). We define a design framework inspired by a functional decomposition of acoustic instruments and present an adapted software architecture, both aiming to ease the design of such software and to make it match with instrument-making. These projects show that, in these cases: (i) the implicit knowledge novices have about some expert activities can be reused for interaction; (ii) expert learning methods can inspire ways to make expressive systems more usable novices; (iii) taking expert artifacts as a source of inspiration can help creating usable and expressive interactive systems. In this dissertation, we propose the study of usability as an alternative to the focus on immediacy that characterizes current commercial interactive systems. We also propose methods to benefit from the richness of expert activities and from the implicit knowledge of non-experts to design interactive systems that are at the same time expressive and usable by novice users.

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Chabot-Canet, Céline. „Interprétation, phrasé et rhétorique vocale dans la chanson française depuis 1950 : expliciter l’indicible de la voix“. Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20055.

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L’enjeu de cette thèse est d’étudier la chanson non dans sa dialectique parole/musique, mais par la saisie d’une troisième entité : l’interprétation vocale. Il s’agit à la fois d’en faire émerger l’importance fondamentale et la richesse et de lui conférer sa légitimité d’objet d’étude par la mise en place d’un protocole méthodologique et lexical spécifique qui en autorise l’analyse – au même titre que la composition – malgré son caractère mouvant et réputé réfractaire à la théorisation. Abordée comme objet complexe (selon la terminologie d’Edgar Morin), elle est soumise au feu croisé des disciplines (musicologie, linguistique, rhétorique, acoustique) pour pousser autant qu’il est possible son objectivation. Sous l’égide de la musicologie, l’utilisation d’outils informatiques permet d’établir une complémentarité entre les perspectives des sciences humaines et des sciences exactes, de capter et d’analyser les spécificités interprétatives, aussi bien dans leurs caractères dominants qu’agogiques, leurs rapports à la partition, leur complexité combinatoire au sein des méta-paramètres (timbre, rythme, phrasé) et les tensions dialogiques qui les parcourent (variation/répétition, mélodicité/insertion du bruit, chanté/parlé). Le large corpus de chanteurs d’expression française (du style Rive gauche à la Nouvelle chanson française) permet d’appréhender, au travers d’analyses d’enregistrements en studio ou en concert, la spécificité irréductible de chacun, émanation d’un corps unique, mais aussi de grands réseaux tendanciels de parentés stylistiques. Mise en avant par la perspective sémiologique, autour des notions de stratégie et de visées interprétatives, de rhétorique vocale, de suscitation du pathos et d’expression de l’ethos, se fait jour une typologie des styles interprétatifs, ouverte sur la prise en compte de l’originalité intrinsèque de chaque interprète et sur l’intégration des évolutions génériques ultérieures
The present thesis focuses on the study of the song not in its word and music dialectic but through the acquisition of a third entity : the vocal rendition. The point is to reveal its critical importance and richness and make it legitimate as a subject of study as the result of the implementation of a specific methodological and lexical protocol that allows the analysis – as with the composition – although its changeable nature is not conducive to theorizing. Considered as a complex object (according to Edgar Morin’s terminology), vocal rendition is submitted to the crossfire of various disciplines (musicology, linguistics, rhetoric, acoustics) in order to favour as far as it is possible its objectivization. Within the framework of musicology, the use of computer tools makes it possible to establish a complementarity between the perspectives of social sciences and exact sciences, to catch and analyse the peculiarities of the performances both in their dominant or agogic characters, their connexions to the score, their combinatorial complexity within the meta-parameters (timbre, rhythm, phrasing), as well as the dialogical tensions which run through them (variation and repetition, melodicity and noise integration, singing and speaking parts). Thanks to the existence of a large body of French-speaking singers (from Rive Gauche style to Nouvelle chanson française) it is possible by studying studio and concert recordings to grasp the irreducible specificity of everyone (what is issued from a unique body) as well as the great underlying networks of stylistic relationships. Disclosed by the semeiological perspective, around the notions of strategy and performance designs, vocal rhetoric, the way to induce pathos and to express ethos, there emerges a typology of performing styles that is open to considering the intrinsic originality of each performer and integrating further generic developments

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Recly, Mathilde. „La technique vocale de Michael Jackson : polyvocalité, théâtralité et virtuosité“. Thèse, 2018. http://hdl.handle.net/1866/21875.

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Bücher zum Thema "Music expressiveness"

Oltețeanu, Ion. Understanding music theory: Meaning, self-conciousness, and emotional expressiveness. New York: Addelton Academic Publishers, 2010.

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State sacrifices and music in Ming China: Orthodoxy, creativity, and expressiveness. Albany: State University of New York Press, 1998.

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Fabian, Dorottya, Renee Timmers und Emery Schubert, Hrsg. Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.001.0001.

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Timmers, Renee, und Emery Schubert, Hrsg. Expressiveness in Music Performance: Empirical approaches across styles and cultures. Oxford University Press, 2014.

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Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford University Press, Incorporated, 2014.

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State Sacrifices And Music In Ming China Orthodoxy Creativity And Expressiveness. State University of New York Press, 1998.

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Davies, Stephen. Music. Herausgegeben von Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0028.

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Despite the attention that the philosophy of music has attracted, the focus of philosophers on music has been rather narrow. Until the 1990s, it fell almost exclusively on the works of Western instrumental classical music, and these were approached for the interest of their form and expressiveness rather than for their wider cultural significance. Since then, there has been a growing interest in performance and improvisation, in popular types of music such as rock, in the technology of recordings, in non-Western music, and in the broader social setting within which music is presented and appreciated.

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Maus, Fred Everett. Sexuality, Trauma, and Dissociated Expression. Herausgegeben von Blake Howe, Stephanie Jensen-Moulton, Neil Lerner und Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.39.

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The trauma experienced by queer children and adolescents resulting from the societal stigmatizing of their sexuality may produce the post-traumatic conditions of avoidance, numbing, and dissociation. These conditions in turn may enable rich forms of musical expressiveness. The music of the pop duo, Pet Shop Boys, sometimes comes close to bringing a post-traumatic numbness into music itself. It is as though, in their case, the magic of dissociated musical expression has failed to offer its lifeline to the traumatized subject. This may sound like an artistic failure. But it can also be heard as a demystification, a refusal of the socially accepted queer expressiveness that succeeds only by avoiding the material that most needs expression.

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Spitzer, Michael. Affective shapes and shapings of affect in Bach’s Sonata for Unaccompanied Violin No. 1 in G minor (BWV 1001). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0008.

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This chapter analyses Bach’s Sonata for Unaccompanied Violin No. 1 in G minor in terms of recent theories of music and emotion. It considers how musical ‘shape’ relates to the structure of affect, conceived in the nuanced terms afforded by recent work in the psychology of discrete emotional categories. Part I is dedicated to a close reading of Bach’s opening Adagio. Analysing three levels of shape (acoustic cues, midlevel phrasing and large-scale form), the chapter compares Bach’s music both to the shape of particular emotional behaviours and to the expressive shapings of a formal model. This notion of shaping is then extended to performance styles of ‘expressiveness’ (mainstream, HIP and deviant) in three interpretations of the Adagio captured in tempo and dynamic maps. Part II analyses the whole sonata cycle in terms of ‘transformational vectors’.

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Hill, Constance Valis. Brotherhood in Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.001.0001.

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This portrait of the Nicholas Brothers, Fayard and Harold, two of the most explosive dancers of the twentieth century, who refined a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its zenith, interweaves an intimate portrait of these great performers with a detailed history of jazz music and jazz dance, bringing their act to life and explaining their significance through analysis of their eloquent footwork and full-bodied expressiveness. The book narrates the Nicholas Brothers’ soaring careers, from Cotton Club appearances with Duke Ellington, Cab Calloway, and Jimmy Lunceford to film-stealing big-screen performances with Chick Webb, Tommy Dorsey, and Glenn Miller. Drawing on numerous hours of interviews with the Nicholas brothers themselves, the book documents their struggles against the nets of racism and segregation that constantly constrained their careers and denied them the recognition they deserved.

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Buchteile zum Thema "Music expressiveness"

Guillemain, Philippe, Robin T. Helland, Richard Kronland-Martinet und Sølvi Ystad. „The Clarinet Timbre as an Attribute of Expressiveness“. In Computer Music Modeling and Retrieval, 246–59. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_19.

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Della Ventura, Michele. „Shaping the Music Perception of an Automatic Music Composition: An Empirical Approach for Modelling Music Expressiveness“. In Proceedings of the Tenth International Conference on Soft Computing and Pattern Recognition (SoCPaR 2018), 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17065-3_1.

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Çorlu, Muzaffer, Pieter-Jan Maes und Marc Leman. „Cognitive and Sensorimotor Resources for the Encoding of Expressiveness During Music Playing“. In The Routledge Companion to Embodied Music Interaction, 69–77. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-8.

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Lawson, Bill E. „Jazz and the African-American Experience: The Expressiveness of African-American Music“. In Language, Mind, and Art, 131–42. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8313-8_10.

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Ventura, Michele Della. „Computer System for Designing Musical Expressiveness in an Automatic Music Composition Process“. In Communications in Computer and Information Science, 434–43. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2826-8_38.

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Young, James O. „Music and Expressiveness“. In Critique of Pure Music, 1–34. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199682713.003.0001.

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Ashley, Richard. „Expressiveness in Funk“. In Expressiveness in music performance, 154–69. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0009.

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Cook, Nicholas. „Implications for Music Studies“. In Expressiveness in music performance, 330–34. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0018.

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Milsom, David, und Neal Peres Da Costa. „Expressiveness in Historical Perspective“. In Expressiveness in music performance, 80–97. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0005.

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Bauer, William R. „Expressiveness in Jazz Performance“. In Expressiveness in music performance, 133–53. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0008.

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Konferenzberichte zum Thema "Music expressiveness"

Introini, Alberto, Giorgio Presti und Giuseppe Boccignone. „Audio Features Affected by Music Expressiveness“. In SIGIR '16: The 39th International ACM SIGIR conference on research and development in Information Retrieval. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2911451.2914690.

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Barbancho, Isabel, Cristina de la Bandera, Ana M. Barbancho und Lorenzo J. Tardon. „Transcription and expressiveness detection system for violin music“. In ICASSP 2009 - 2009 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2009. http://dx.doi.org/10.1109/icassp.2009.4959552.

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Cojocaru, Daniela. „THE EXPRESSIVENESS OF ROMANIAN TRADITIONAL MUSIC IN THE CONTEXT OF MULTIVOCALITY“. In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.033.

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Huang, Qiaochu, Xu He, Boshi Tang, Haolin Zhuang, Liyang Chen, Shuochen Gao, Zhiyong Wu, Haozhi Huang und Helen Meng. „Enhancing Expressiveness in Dance Generation Via Integrating Frequency and Music Style Information“. In ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10448469.

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Gang, Ren, Justin Lundberg, Mark Bocko und Dave Headlam. „The Shape of Musical Sound: Real-time Visualizations of Expressiveness in Music Performance“. In 159th Meeting Acoustical Society of America/NOISE-CON 2010. ASA, 2010. http://dx.doi.org/10.1121/1.3573496.

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Petelina, Maria Vladimirovna, und Arkady Davidovich Gevondov. „THE METHOD OF STEP-BY-STEP MASTERING THE PROFESSION OF A SINGER-ACTOR IN THE OPERA CLASS OF THE CONSERVATORY“. In Themed collection of papers from II Foreign International Scientific Conference «Science in the Era of Challenges and Global Changes» by HNRI «National development» in cooperation with AFP (Puerto Cabezas, Nicaragua). December 2023. – San Cristóbal (Venezuela). Crossref, 2024. http://dx.doi.org/10.37539/231221.2023.93.41.007.

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The article explores the methodology of step-by-step mastering of the rules of behavior by a singer-actor in scenes with active psychophysical action to music, examines ways to achieve maximum expressiveness and logic of behavior while singing operas using techniques of scenic motor skills, examining in detail the links of the psychophysical process of mastering the logical chain of scenic behavior on stage.

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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina und Aluizio Oliveira. „A retrospective of the research on musical expression conducted at CEGeME“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.

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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

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Lupu, Simion Sorin. „Diction problems and their solution in Nordic lied“. In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.02.

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The article represents a research of the problems related to the diction in the Nordic lied, determined by the peculiarities of the North Germanic and Finno-Ugric languages and their solution. Given that the musicians chosen for the present research composed on lyrics written in the Swedish, Danish, Norwegian and Finnish languages, we focused mainly on the pronunciation in these languages. Thus, the euphonic differentiation of the vowels compared to the repertoire approached so far (in Italian, French, German, English and Spanish), represents the main difficulty in performing the Nordic lied. Solving some difficulties of pronunciation, articulation, impostation, dosage or expressiveness, have proven to be of real use in approaching the repertoire in the above-mentioned languages, and the problems raised by phonetic and linguistic peculiarities of the Nordic languages have motivated the identification of arguments, solutions and sometimes novel but functional solutions.

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Loo, Fung Chiat, und Fung Ying Loo. „The use of a simulated model to improve visual perception of expressiveness in a sport routine through synchronisation between music and movement“. In The 5th Innovation and Analytics Conference & Exhibition (IACE 2021). AIP Publishing, 2022. http://dx.doi.org/10.1063/5.0092802.

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