Relevant bibliographies by topics / Music performance analysi

Academic literature on the topic 'Music performance analysi'

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Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Music performance analysi"

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Herrera Torres, Lucía, and Clara Campoy Barreiro. "Ansiedad escénica musical en profesorado de conservatorio: frecuencia y análisis por género." Revista de Psicología y Educación - Journal of Psychology and Education 15, no. 1 (2020): 32. http://dx.doi.org/10.23923/rpye2020.01.184.

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IŞIKHAN, Cihan. "MIDI DÖNÜŞTÜRÜCÜ YAZILIMLARIN BAŞARI KARŞILAŞTIRMASI VE MATLAB’DA MÜZİK ANALİZİ." Akademik Müzik Araştırmaları Dergisi 4, no. 8 (June 5, 2018): 1–11. http://dx.doi.org/10.5578/amrj.67094.

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Markosian, Ned. "Sideways music." Analysis 80, no. 1 (August 3, 2019): 51–59. http://dx.doi.org/10.1093/analys/anz039.

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Abstract There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world.
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Sejati, Irfanda Rizki Harmono, Tejo Bagus Sunaryo, and Sunarto Sunarto. "Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 107–16. http://dx.doi.org/10.24821/resital.v23i2.7083.

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ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya.
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De Fretes, Daniel, and Nensi Listiowati. "Pertunjukan Musik dalam Perspektif Ekomusikologi." PROMUSIKA 8, no. 2 (May 7, 2021): 109–22. http://dx.doi.org/10.24821/promusika.v8i2.4636.

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Artikel ini bertujuan untuk menelaah pertunjukan musik dari perspektif ekomusikologi sebagai refleksi dari pergeseran pertunjukan yang terjadi selama masa pandemi covid 19. Tatanan baru di era pandemi mengubah kodrat pertunjukan dari alam nyata ke jagat maya. Ekomusikologi adalah persinggungan diantara kajian musik dan kajian ekologi yang mengelaborasi bidang kajian musik, budaya, dan lingkungan secara multiperspektif. Studi kasus dalam kajian ini adalah konser serenade bunga bangsa di Auditorium Driyarkara Yogyakarta. Penelitian ini menggunakan kerangka analisis ekomusikologi pertunjukan musik yang dirumuskan Bolye & Waterman yaitu faktor-faktor yang mendasari gestur sonik. Hasil penelitian menunjukkan adanya hubungan interdependen diantara setiap komponen pertunjukkan. Perubahan lanskap pertunjukan yang terjadi adalah konsekuensi dari sifat alamiah sistem jejaring yaitu dinamika non-linear, kemunculan spontan dan siklus umpan-balik. Kesadaran ekologi mendorong umat manusia sebagai bagian dari alam semesta untuk menyelami dan beradaptasi terhadap berbagai perubahan. Ini dapat dicapai melalui kolaborasi secara kooperatif, kreatif, dan inovatif diantara komunitas-komunitas dalam jejaring pertunjukan musik guna merawat budaya musik yang berkelanjutan.AbstractThis article aims to examine musical performances from an ecomusicological perspective as a reflection of the shifts in performances that occurred during the Covid 19 pandemic. The new order in the pandemic era has changed the nature of performances from the real world to the virtual world. Ecomusicology is an intersection between music studies and ecological studies that elaborates the fields of music, culture, and environment studies in a multi-perspective. The case study in this study is Konser Serenade Bunga Bangsa at the Driyarkara Auditorium, Yogyakarta. This study uses a musical performance ecomusicological analysis framework formulated by Bolye & Waterman, namely the factors that underlie sonic gestures. The results showed that there was an interdependent relationship between each performance component. Changes in the performance landscape that occur are a consequence of the nature of the network system, namely non-linear dynamics, spontaneous emergence and feedback cycles. Ecological awareness encourages humankind as part of the universe to explore and adapt to various changes. This can be achieved through cooperative, creative, and innovative collaboration among communities in music performance networks to nurture a sustainable musical culture.Keywords: ecomusicology; musical performance; environment; interdependent
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Feige, Daniel Martin. "Jazz als künstlerische Musik." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, no. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.

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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Lee, Kwan-Pyo. "Service quality evaluation of Jecheon International Music & Film Festival using IPA." Journal of Hospitality and Tourism Studies 79 (June 30, 2019): 226–40. http://dx.doi.org/10.31667/jhts.2019.6.79.226.

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Nurina, Lidya, Edlin Yanuar Nugraheni, and M. Budi Zakia Sani. "Eksistensi Musik Perkusi Cha Catuk Percussion di Kota Banjarmasin." Pelataran Seni 5, no. 2 (September 9, 2020): 111. http://dx.doi.org/10.20527/jps.v5i2.9127.

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Intisari Tulisan ini mengkaji topik tentang eksistensi kelompok musik perkusi Cha Catuk Percussion di Banjarmasin. Kajian atau penelitian ini menggunakan pendekatan deskriptif-kualitatif. Adapun teknik pengumpulan data yang digunakan adalah triangu-lasi, yang meliputi wawancara, observasi, dan analisis dokumen. Berdasarkan hasil kajian, dapat diketahui bahwa eksistensi musik perkusi dari kelompok Cha Catuk Percussion di Kota Banjarmasin cukup bernilai. Sejak beraktivitas di tahun 2010 hingga 2019, hampir satu dekade mereka memberi kontribusi bagi dunia per-tunjukan musik di masyarakat Kota Banjarmasin, bahkan lingkup Kalimantan Selatan. Ragam segmen acara dan bentuk kegiatan yang mereka ikuti menunjukkan kelompok Cha Catuk Percussion dapat diterima oleh publik Kota Banjarmasin, khususnya publik pertunjukan.Kata kunci: cha catuk percussion, musik perkusi, banjarmasin Abstract This paper examines the topic of the existence of the Cha Catuk Percussion music group in Banjarmasin. This study or research uses a descriptive-qualitative approach. The data collection technique used is triangulation, which includes interviews, observations, and document analysis. Based on the results of the study, it can be seen that the existence of percussion music from the Cha Catuk Percussion group in Banjarmasin is quite valuable. Since their activities in 2010 to 2019, almost a decade they have contributed to the world of musical performances in the people of Banjarmasin City, even in the scope of South Kalimantan. The various segments of the event and the forms of activities they participated in showed that the Cha Catuk Percussion group could be accepted by the Banjarmasin City public, especially the performance public.Keywords: cha catuk percussion, percussion music, Banjarmasin
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Anderiani, Lupi. "Musik Panting di Desa Barikin Kalimantan Selatan: Kemunculan, Keberadaan dan Perubahannya." Resital: Jurnal Seni Pertunjukan 17, no. 3 (December 15, 2016): 140–57. http://dx.doi.org/10.24821/resital.v17i3.2229.

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Panting is a musical practice of South Kalimantan, Indonesia. The term "Panting" itself either the name of a plucked-lute instrument and of a musical ensemble. Such ensemble emerged ca the 1980s among the Barikin people of South Kalimantan. This study, using the ethnomusicological approach which is emphasized on fieldwork, is aimed to examine the emergence and change of Panting music. Based on the analysis, it appears that the emergence of Panting music is primarily caused by a creative act of its pioneer in response to the existing musical practices. The music is undergoing a number of changes in terms of the functions of music, performance, construction of panting instrument, and pattern of transmission. These changes are mainly due to the personal desire of the musicians as well as the allowances of surrounding cultural circumstances.Panting merupakan sebuah praktik musik yang berasal dari Kalimantan Selatan, Indonesia. Istilah “Panting” memiliki dua arti, yakni, pertama, sebagai nama sebuah instrumen berdawai yang dimainkan dengan cara dipetik; dan, kedua, nama dari sebuah ansambel musik. Musik Panting muncul sekitar tahun 1980-an. Penelitian ini menggunakan pendekatan etnomusikologis dengan menekankan pada kerja lapangan, bertujuan untuk menelaah kemunculan dan perubahan musik Panting. Berdasarkan analisis, terlihat bahwa musik Panting terutama muncul sebagai hasil laku kreatif seniman pelopornya dalam menanggapi praktik-praktik musik yang sudah ada. Dalam perjalanannya musik ini mengalami sejumlah perubahan, yakni dalam hal fungsi musik, bentuk penyajian, konstruksi instrumen, dan pola transmisi. Perubahan ini terutama disebabkan oleh keinginan personal para musisinya dan juga kondisi lingkungan kultural yang memungkinkan.
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Sani, Muhammad Budi Zakia. "MUSIK TRADISIONAL KURIDING DI DESA ULU BENTENG KECAMATAN MARABAHAN KABUPATEN BARITO KUALA: BENTUK DAN FUNGSI PERTUNJUKAN." Imaji 19, no. 2 (December 26, 2021): 183–97. http://dx.doi.org/10.21831/imaji.v19i2.44789.

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Penelitian ini bertujuan untuk mengetahui bagaimana sejarah lahir dan perkembangan Musik Tradisional Kuriding di Desa Ulu Benteng Kecamatan Marabahan Kabupaten Barito Kuala. Metode penelitian yang digunakan yaitu deskriptif kualitatif dengan instrumen yaitu peneliti, perekam suara, kamera dan video. Teknik pengumupulan data yang dilakukan adalah studi lapangan atau observasi, studi dokumentasi, dan wawancara. Analisis data menggunakan teknik deskriptif analisis dengan tahap pengumpulan data, klasifikasi, dan deskripsi data serta analisis data. Hasil penelitian menunjukan bahwa Syamsudin (Alm) adalah orang yang pertama kali memainkan atau sebagai maestro kuriding di desa tersebut, berdasarkan paparan oleh Iwie, kuriding pertama kali ia ketahui setelah ia menikah dengan Syamsuddin sekitar tahun 1930an. Perkembangan kuriding di desa Ulu Benteng tidak mengalami perkembangan. Kuriding mengalami kemunduran dan hanya ditemukan empat orang saja yang masih bisa memainkan Kuriding dengan fakta mereka tidak mampu membuat alat musik tersebut. Bentuk musik kuriding ini adalah pertunjukan yang dilakukan secara perorangan atau kelompok. Fungsi musik yang terdapat dalam musik kuriding diantara adalah sebagai sarana hiburan pribadi, sebagai sarana presentasi estetis, dan juga sebagai sarana pengikat solidaritas masyarakat.Kata Kunci : Kuriding, Musik Tradisional, Bentuk dan Fungsi PertunjukanKURIDING TRADITIONAL MUSIC IN ULU BENTENG VILLAGE, MARABAHAN DISTRICT, BARITO KUALA REGENCY: FORM AND FUNCTION OF PERFORMANCE Abstract The purpose of this study is to trace the history of Kuriding Traditional Music in Ulu Benteng Village, Marabahan District, Barito Kuala Regency. The method of study involves descriptive qualitative instruments, such as researchers, voice recorders, cameras, and videos. Field studies or observations, documentation studies, and interviews were all utilized to obtain data. Data analysis employs descriptive analytic techniques during the data collection, classification, and description stages of data collecting and analysis. The findings indicated that Syamsudin (Alm) was the first individual in the village to play or serve as a maestro of kuriding. According to Iwie, the first kuriding was known following her marriage to Syamsuddin in the 1930s. Kuriding's development in Ulu Benteng village remained stagnant. Kuriding suffered a setback when they discovered just four persons who could still play Kuriding due to their inability to manufacture the instrument. This style of kuriding music can be played solo or in groups. Kuriding music serves a variety of goals, including personal entertainment, aesthetic presentation, and community solidarity. Keywords: Kuriding, Traditional Music, Form and Functions of Performance
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Dissertations / Theses on the topic "Music performance analysi"

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SIMONETTA, FEDERICO. "MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach
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Hinz, Christophe. "Analyse und Performance mit der Software "Rubato" : zur Synthese einer computergestützten Interpretation zweier Etüden von Chopin." Osnabrück Electronic Publ, 2006. http://www.epos.uni-osnabrueck.de/music/templates/buch.php?id=67.

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Hinz, Christophe. "Analyse und Performance mit der Software "Rubato" zur Synthese einer computergestützten Interpretation zweier Etüden von Chopin." Osnabrück epOs Music, 2004. http://www.epos.uni-osnabrueck.de/music/templates/buch.php?id=67.

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Cordoba, Derick. "An in-depth analysis of classic jazz compositions for a graduate jazz guitar recital." FIU Digital Commons, 2007. http://digitalcommons.fiu.edu/etd/2495.

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The purpose of this thesis was to analyze jazz compositions by several great composers. The composers include: Howard Dietz, Arthur Schwartz, Russell Malone, Thad Jones, Dave Holland, Wes Montgomery, Pat Metheny, Hoagy Carmichael, Johnny Mercer and Joe Henderson. Through their unique use of melody, har1nony and rhythm these composers have influenced countless performers and composers over many decades. These compositions served as the repertoire of a graduate jazz guitar recital. The musical group that interpreted these compositions was comprised of: guitar, upright bass, piano, tenor saxophone and drums.
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Hansen, Christopher M. "An Analysis of Influences on Choral Performance Adjudicators' Rating Decisions of Choral Performance." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10260567.

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The purpose of this study was to (a) examine influences on choral music adjudicators’ rating decisions of choral performance quality and (b) to see if differences existed among those influences by participants’ years of adjudication experience and academic training (degree focus). Part One of the study included eight randomly selected participants (N = 8), comprised of choral adjudication experts, to aid in the construction of the data collection instrument. Part Two of the study included a convenience sample (N = 71) comprised of choral music performance adjudicators within the southeastern United States.

For the primary purpose, the Choral Adjudicator Preference Scale (CAPS), a researcher-constructed data-gathering instrument, was developed to determine influences on choral adjudicators’ rating decisions of choral performance. A Cronbach’s Coefficient Alpha measure of internal consistency was calculated to establish reliability of the CAPS data collection instrument. A coefficient of .934 was found for the CAPS, which indicated a high level of internal consistency. Validity for the data-gathering instrument was established through three sources, (a) an open-ended questionnaire sent to the eight choral adjudicators, (b) a thorough review of the related literature and (c) verification by choral activities chairpersons among the southeastern states. For research question one (What factors influence adjudicators’ decisions when adjudicating choirs?) a principal component analysis revealed 23 items that coalesced among four factors of influence: (a) the ensemble’s performance, (b) visual aspects, (c) extra-musical aspects, and (d) the conductor’s contributions. These four factors accounted for 61.49 percent of the total variance in participants’ responses.

For the secondary purpose, a two-way repeated measures analysis of variance was calculated to determine if differences existed among factors of influence by participants’ years of adjudication experience and academic training (degree focus). For research question two (Do differences exist among adjudicators’ influences on rating decisions by years of adjudication experience?) a significant main effect was found for the factors, F (3, 189) = 216.581, p = .000, η2 = .775; however, there was no main effect for years of adjudication experience, nor an interaction effect among the factors and years of adjudication experience. For research question three (Do differences exist among adjudicators’ influences on rating decisions by academic training?) a significant main effect was found for the factors, F (3, 201) = 195.326, p = .000, η2 = .745; however, there was no main effect for academic training, nor an interaction effect among the factors and academic training.

A discussion of the influences on choral adjudicators’ rating decisions was presented. Recommendations for future research were suggested regarding music performance adjudication, influences on rating decisions, and characteristics of evaluators.

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Giareta, Eder Pessoa 1981. "As peculiaridades na escrita pianística de Ronaldo Miranda : sugestões interpretativas e técnico-musicais /." São Paulo, 2013. http://hdl.handle.net/11449/95099.

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Orientador: Nahim Marun Filho
Banca: Achille Guido Picchi
Banca: Ronaldo Coutinho de Miranda
Resumo: Pretende-se, neste trabalho, estudar a relação entre as obras para piano solo de Ronaldo Miranda, identificar os procedimentos composicionais utilizados pelo compositor e, a partir daí, extrair ferramentas que facilitem uma adequada interpretação musical das mesmas. O objeto deste projeto firma-se na interpretação musical, através das características notacionais da partitura à luz de um olhar analítico e do levantamento das peculiaridades da escrita pianística. Propõe-se que o intérprete tenha um conhecimento prévio dos elementos que são largamente utilizados pelo compositor e considere os exercícios técnicos sugeridos no último capítulo, compostos pelo autor deste trabalho, com base na identificação e recorrência dos padrões pianísticos composicionais de Ronaldo Miranda. Sendo assim, o pianista terá ao seu dispor recursos que fundamentarão uma postura interpretativa mais coesa, considerando o processo cognitivo, a percepção e a atenção dada no preparo para a execução da obra
Abstract: It is intended to study the relationship between the works for solo piano by Ronaldo Miranda, identifying the compositional procedures used by the composer and, thereafter extracting tools to facilitate a proper musical interpretation thereof. The object of this project is based on the musical interpretation, through the notational characteristics under an analytical view and setting up the peculiarities of the pianistic writing. It is proposed that the interpreter has prior knowledge of the elements that are widely used by the composer and consider the technical exercises suggested in the last chapter, composed by the author of this research, based on the identification and recurrence of pianistic patterns of Ronaldo Miranda. Thus, the pianist will have at his disposal, resources that will build a more cohesive rendition, considering the cognitive process, perception and attention given in preparation for performing the work
Mestre
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Handshoe, John Douglas. "TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/130.

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Since the 1950s, composers worldwide have explored the use of the trombone in new and exciting ways, from expanding the functional range of the instrument to creating unique timbres through the use of mutes and extended techniques. Since then, many standard works in the literature have been born from this pushing of the envelope from composers like John Cage, Luciano Berio, Iannis Xenakis, and Daniel Schnyder. On the forefront of the newest crop of composers expanding the voice of the trombone is Tyler Kline (b. 1991). This project will function as a formal analysis and performer’s guide to his 2015 work render for bass or tenor trombone and fixed electronics. Through examination of this music, as well as a discussion with the composer and performances of this work, the performer will gain insight into the inspirations behind this work, Kline’s compositions on the whole, as well as performance considerations for this work. In addition to the performance guide, a recording of render, as well as several other works of Kline’s, will be produced and released as an album through New Branch Records in Lexington, KY.
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Vaughan, Victoria. "Music analysis and performance interactions within the undergraduate curriculum." Thesis, University of Southampton, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298981.

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Horvath, Kathleen A. "Biomechanical Analysis of Double Bassists' Performance Postures." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392115404.

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Chung, Hee. "Igor Stravinsky's three movements from Petrushka : an analysis of performance practice." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.

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Books on the topic "Music performance analysi"

1

Berry, Wallace. Musical structure and performance. New Haven: Yale University Press, 1989.

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Martin, Chusid, and Schubert Franz 1797-1828, eds. A companion to Schubert's Schwanengesang: History, poets, analysis, performance. New Haven, Conn: Yale University Press, 2000.

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1951-, Miles Richard B., and Blocher Larry, eds. Teaching music through performance in band. Chicago: GIA Publications, 1997.

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Interpreting Chopin: Analysis and performance. Burlington, VT: Ashgate, 2014.

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J, Buchanan Heather, Mehaffey Matthew, Blackstone Jerry, Galván Janet, Jordan James Mark, Jones Ann Howard, and Larsen Libby, eds. Teaching music through performance in choir. Chicago: GIA Publications, 2007.

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1951-, Miles Richard B., and Blocher Larry, eds. Teaching music through performance in band. Chicago: GIA Publications, 1998.

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1951-, Miles Richard B., and Blocher Larry, eds. Teaching music through performance in band. Chicago: GIA Publications, 2002.

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Richard, Miles, and Carter Ronald, eds. Teaching music through performance in jazz. Chicago: GIA Publications, 2008.

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Kurtzman, Jeffrey G. The Monteverdi Vespers of 1610: Music, context, performance. Oxford: Oxford University Press, 1999.

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Teaching music through performance in band. 2nd ed. Chicago: GIA Publications, 2010.

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Book chapters on the topic "Music performance analysi"

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Huber, Annegret. "Performing Music Analysis." In Gender Performances, 21–48. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791140.21.

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Kim, Hyelim. "Music analysis I." In Tradition and Creativity in Korean Taegŭm Flute Performance, 56–77. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-4.

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Kim, Hyelim. "Music analysis II." In Tradition and Creativity in Korean Taegŭm Flute Performance, 78–93. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-5.

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Kim, Hyelim. "Music analysis III." In Tradition and Creativity in Korean Taegŭm Flute Performance, 94–108. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351216746-6.

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Mazzola, Guerino. "Analysis of Analysis." In The Topos of Music II: Performance, 707–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64444-8_12.

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Dinnerstein, Noé. "Rhythm, form, and performance in Ladakhi traditional songs." In Trends in World Music Analysis, 26–41. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033080-3.

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Visi, Federico, Esther Coorevits, Rodrigo Schramm, and Eduardo R. Miranda. "Analysis of Mimed Violin Performance Movements of Neophytes." In Music, Mind, and Embodiment, 88–108. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_6.

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Pitt, Ivan L. "Economics of Music Copyright: Income, Media, and Performances." In Economic Analysis of Music Copyright, 3–24. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_1.

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Pitt, Ivan L. "Economics of Songwriters’ Performance Royalty Income: Tenure, Age, and Titles." In Economic Analysis of Music Copyright, 121–34. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_7.

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Camurri, Antonio, and Gualtiero Volpe. "Multimodal Analysis of Expressive Gesture in Music Performance." In Springer Tracts in Advanced Robotics, 47–66. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_4.

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Conference papers on the topic "Music performance analysi"

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Orange, Chris. "Reconceptualising Tertiary Contemporary Music Performance Assessment." In Rangahau Horonuku Hou – New Research Landscapes, Unitec/MIT Research Symposium 2021. Unitec ePress, 2022. http://dx.doi.org/10.34074/proc.2206006.

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Contemporary music performances are typically assessed by criteria such as Musicianship, Accuracy, Technique, Professionalism and Contribution. These measures continue to be used despite low discrimination between them and specific items on the assessment schedules (Thompson & Williamon, 2003). In addition, there is a lack of objective evidence that assessment is truly comprehensive. Greater transparency in domain definition and comprehensiveness may aid understanding of the rubric, and lead to better assessment. This study investigated whether popular-music performance assessment criteria are supported by a multidimensional scaling analysis (MDS). What might an MDS analysis contribute to confidence in the validity of these common measures of music performance? Performance students and tutors at an Aotearoa New Zealand tertiary music institute participated in focus-group sessions where they answered structured questionnaires. These provided descriptors of musical efforts that contribute to successful music shows. These descriptors of performance were then mapped using a mixed-method process with concept mapping (Coxon, 1999; Trochim & Kane, 2005), and card sorting via novel use of web-based user experience (UX) platform OptimalSort (Paea & Baird, 2018). The MDS analysis of the descriptor item set, and comparison of emergent clusters with typical rubric, revealed alternative constructs underlying the language of music performance assessment. Results suggest that the incumbent measures confound important dimensions. The importance of collaborative interaction in the development of musical skill is suggested by our analysis, and this is supported by findings in the literature (Green, 2008; Schiavio et al., 2020). The more comprehensive and detailed description of music performance constructs provided by this MDS approach may illuminate music performance studies and lead to greater understanding of how assessment may best benefit learning.
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Amann, Paul, Pascal Nicolay, Vasileios Chatziioannou, and Roland Willmann. "A “digital mouthpiece” for the autonomous analysis and improvement of brass musician performances." In Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001688.

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Khallaayoun, Ahmed, and Yikun Huang. "Spatial Selective (S2) MUSIC performance analysis." In 2012 IEEE Antennas and Propagation Society International Symposium and USNC/URSI National Radio Science Meeting. IEEE, 2012. http://dx.doi.org/10.1109/aps.2012.6349105.

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Zhang, Runqiao, Xiaozhao Zhou, and Junying Song. "Music and musician influence, similarity measure, and music genre division based on social network analysis." In 2nd International Conference on Artificial Intelligence, Automation, and High-Performance Computing (AIAHPC 2022), edited by Ligu Zhu. SPIE, 2022. http://dx.doi.org/10.1117/12.2641345.

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Chivukula, V. N. Aditya Datta, and Sri Keshava Reddy Adupala. "Music Signal Analysis: Regression Analysis." In 2nd International Conference on Machine Learning, IOT and Blockchain (MLIOB 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111205.

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Machine learning techniques have become a vital part of every ongoing research in technical areas. In recent times the world has witnessed many beautiful applications of machine learning in a practical sense which amaze us in every aspect. This paper is all about whether we should always rely on deep learning techniques or is it really possible to overcome the performance of simple deep learning algorithms by simple statistical machine learning algorithms by understanding the application and processing the data so that it can help in increasing the performance of the algorithm by a notable amount. The paper mentions the importance of data pre-processing than that of the selection of the algorithm. It discusses the functions involving trigonometric, logarithmic, and exponential terms and also talks about functions that are purely trigonometric. Finally, we discuss regression analysis on music signals.
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Zhi Tian. "Iterative MUSIC: coherent signal estimation, performance analysis." In IEEE International Conference on Acoustics Speech and Signal Processing ICASSP-02. IEEE, 2002. http://dx.doi.org/10.1109/icassp.2002.1005328.

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Tian, Zhi. "Iterative music: Coherent signal estimation, performance analysis." In Proceedings of ICASSP '02. IEEE, 2002. http://dx.doi.org/10.1109/icassp.2002.5745290.

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Qi, Zi-Sen, Ying Guo, Bu-Hong Wang, and Cheng Gong. "Performance Analysis of MUSIC for Conformal Array." In 2007 International Conference on Wireless Communications, Networking and Mobile Computing. IEEE, 2007. http://dx.doi.org/10.1109/wicom.2007.49.

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Zhang, Junzhong. "Analysis of Debussy Piano Music qFireworksq Performance." In 2nd International Conference on Civil, Materials and Environmental Sciences. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/cmes-15.2015.141.

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Reports on the topic "Music performance analysi"

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Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, December 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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