Relevant bibliographies by topics / Music performers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music performers'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Music performers"

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McNUTT, ELIZABETH. "Performing electroacoustic music: a wider view of interactivity." Organised Sound 8, no. 3 (December 2003): 297–304. http://dx.doi.org/10.1017/s135577180300027x.

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For most electroacoustic composers, ‘interactivity’ refers to technology which responds to input from a performer. For performers, in contrast, performance may be described as ‘interactive’ on many levels: interacting with acoustic musical interfaces (their instruments), communicating with composers and audiences, mediating the data of a score, negotiating prosthetic devices (microphones, loudspeakers, pedals, sensors), and interacting with invisible chamber music partners (whether backing tracks or responsive computer programs). There has been little public discussion about these issues. This paper will therefore discuss various elements of interactivity in electroacoustic music from the performer's perspective, with the goal of promoting and facilitating satisfying collaborations for both composers and performers. Discussions of pieces for flute and electronics will demonstrate various issues in performing with electronics; describe ways in which works and systems have been designed to work effectively as chamber music; and offer insights into the process of collaboration between composers, technologists and performers.
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Hron, Terri. "Useful Scores: Multiple formats for electroacoustic performers to study, rehearse and perform." Organised Sound 19, no. 3 (November 13, 2014): 239–43. http://dx.doi.org/10.1017/s1355771814000223.

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This short article presents the author’s ideas about different score formats for instrumental performers of mixed electroacoustic music. Following a trajectory from initial understanding through effective rehearsal and ending in performance, different score formats are discussed. Each is based on and addresses performers’ needs and improves documentation and transmission of the composer’s intentions and the performer’s contribution. The author bases these suggestions on her experience as a performer/commissioner and composer of new mixed electroacoustic works, many of which are collaborative creations.
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Bania, Maria, and Tilman Skowroneck. "Affective practices in mid-18th-century German music-making: reflections on C. P. E. Bach’s advice to performers." Early Music 48, no. 2 (May 2020): 193–203. http://dx.doi.org/10.1093/em/caaa022.

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Abstract Carl Philipp Emanuel Bach stated that a musical performer ‘must of necessity be able to transport himself into all of the affections that he wants to arouse in his listeners’. As famous as this passage is, it still raises questions. Did Bach mean that performers must arouse and feel all the shifting affections of the music within their own bodies, or was he using a metaphor here? Were composers supposed to feel the affections in their music while they composed it, as Bach suggested? Was this demand specific to Bach alone, or was it a stock recommendation given by many mid-18th-century German music writers? This article explores similar recommendations in historical sources and describes how Bach’s strategy might be enacted by performers. In an ideal empfindsam concert, the listener’s sympathetic response to the music would have been reinforced by the physical manifestations of the performer’s affective state.
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North, Adrian C., and David J. Hargreaves. "The Effect of Physical Attractiveness on Responses to Pop Music Performers and Their Music." Empirical Studies of the Arts 15, no. 1 (January 1997): 75–89. http://dx.doi.org/10.2190/e4hc-l94x-gl15-yhjw.

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Previous research has shown that manipulations of source prestige can mediate subjects' responses to music, and that attractive people are perceived more positively than their unattractive counterparts. In light of this, the present study investigated the effects of the physical attractiveness of twenty pop music performers on adolescent subjects' responses to them, and excerpts of new age/ambient dance music allegedly by these artists. A series of adjectival scales gave rise to multivariate main effects of physical attractiveness on ratings of both the performers and their alleged music, with univariate main effects on the scales indicating that performer physical attractiveness was perceived positively by the subjects. There was also evidence that responses to the music were associated positively with responses to the performers. These results indicate that the performer of music can influence aesthetic responses, and that his/her physical attractiveness may mediate the nature of this relationship.
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Patton, Kevin. "Morphological notation for interactive electroacoustic music." Organised Sound 12, no. 2 (July 4, 2007): 123–28. http://dx.doi.org/10.1017/s1355771807001781.

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AbstractInteractive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not most, scores include no visual representation of how the computer may affect the sound of the instrument.Providing performers with a readily accessible visual representation of the sonic possibilities of interactive computer music will provide a conceptual framework within which performers can understand a piece of music. Interpretation of this type of notation by the performer will provide a perspective on how his or her acoustic instrument relates to the digital instrument. This can be especially useful when improvised or aleatoric methods are called for.This paper outlines a system of interactive computer-music descriptive notation that links pictographic representations to the system of spectromorphologies suggested by Dennis Smalley. The morphological notation (MN) uses these morphologies and adds a z-plane to the well-established time-vs-pitch schema. Ideally, MN will not only represent the sound data of the moment, but also will be an intuitive picture of the musical possibilities of a composition's electronic component.
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Morabito, Fabio. "Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer." Music and Letters 101, no. 2 (February 3, 2020): 270–99. http://dx.doi.org/10.1093/ml/gcz110.

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Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart, and Beethoven specify articulation, phrasing, and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanization of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771–1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ minds and leave them theatrically spellbound.
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Aguilar, Ananay. "Distributed Ownership in Music." Social & Legal Studies 27, no. 6 (October 30, 2017): 776–98. http://dx.doi.org/10.1177/0964663917734300.

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Following criticisms of British copyright law that it is influenced by Romantic ideals of authorship, I ask whether it makes sense to distinguish between music composers and performers in law. Drawing on interviews with classical and popular music performers and relevant case law, I examine how performers negotiate and exploit different rights in order to determine ownership. Evidence suggests that rather than a binary, musicians’ creative work can best be represented as moving along a continuum between composition and performance with both concepts socially much in use. Musicians position their work on this continuum according to three motifs: composer–performer discourses and careers, genre and power relationships. I argue that the legal categories of joint or individual authorship, adaptation and performance protect most contributions to a musical work and align with the social understandings of different types of contributions. Yet I also note that, viewed more normatively, a recasting of the rights could help shift those social understandings and alter the inequalities inherent in both musical practices and the law.
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Schmicking, Daniel A. "Ineffabilities of Making Music: An Exploratory Study." Journal of Phenomenological Psychology 37, no. 1 (October 3, 2006): 9–23. http://dx.doi.org/10.1163/15691624-90000003.

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Some facets of making music are explored by combining arguments of Raffman's cognitivist explanation of ineffability with Merleau-Ponty's view of embodied perception. Behnke's approach to a phenomenology of playing a musical instrument serves as a further source. Focusing on the skilled performer-listener, several types of ineffable knowledge of performing music are identified: gesture feeling ineffability—the performer's sensorimotor knowledge of the gestures necessary to produce instrumental sounds is not exhaustively communicable via language; gesture nuance ineffability—the performer is aware of nuances of instrumental gestures, e.g., micro-variations of intensity or duration of musical gestures, but cannot perceptually, and consequently conceptually, categorize those fine-grained variations; and ineffabilities of inter-subjectivity—the non-verbal interaction between performers that makes a performance a vibrant dialogue is similarly incommunicable. An attempt to identify some of the ineffable dimensions of this dialogue is proposed. Further ineffabilities relating the acoustical embedding of performing are identified.
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Bullock, Jamie, Lamberto Coccioli, James Dooley, and Tychonas Michailidis. "Live Electronics in Practice: Approaches to training professional performers." Organised Sound 18, no. 2 (July 11, 2013): 170–77. http://dx.doi.org/10.1017/s1355771813000083.

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Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Whilst most higher music education institutions provide opportunities for composers to explore computer-based techniques for live audio processing, it is rare for performers to receive any formal training in live electronic music as part of their study. The first experience of live electronics for many performers is during final preparation for a concert. If a performer is to give a convincing musical interpretation ‘with’ and not simply ‘into’ the electronics, significant insight and preparation are required. At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 2010 and 2012: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. In this paper we present the details of these training methods followed by the qualitative results of specific case studies and a post-training survey. We discuss the survey results in the context of tacit knowledge gained through delivery of these programmes, and finally suggest recommendations and possibilities for future research.
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Green, Phoebe. "RECLAIMING THE PERFORMER'S VOICE AND BODY IN MUSICAL ANALYSIS." Tempo 74, no. 292 (March 6, 2020): 56–63. http://dx.doi.org/10.1017/s0040298219001189.

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AbstractThe most prevalent model of musical analysis goes straight from score to sound, without reference to decisions – planned or impromptu – made by the performer as they perform the score. Since 2000 performance analysis by, among others, Nicholas Cook and John Rink, has sought to bridge this gap by analysing performances of works, yet the performer's voice is still absent. Catherine Costello Hirata and Dora Hanninen attempted to capture more experiential qualities in their approach to analysis, yet here too the performer is unable to contribute. There is growing discourse featuring performers speaking about their creative process, however this is generally not framed in a formal analytical space. This article examines the landscape of musical analysis as new models emerge for analysis of the score in its performed realm. It builds on research that presented a formal performance analysis of a score in the context of a performance, and extends the model and ideas expressed to reclaim a space for the performer's experience of a score in musical analysis.
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Dissertations / Theses on the topic "Music performers"

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Phillips, Justin M. "Functional Reactive Musical Performers." DigitalCommons@CalPoly, 2010. https://digitalcommons.calpoly.edu/theses/410.

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Computers have been assisting in recording, sound synthesis and other fields of music production for quite some time. The actual performance of music continues to be an area in which human players are chosen over computer performers. Musical performance is an area in which personalization is more important than consistency. Human players play with each other, reacting to phrases and ideas created by the players that they are playing with. Computer performers lack the ability to react to the changes in the performance that humans perceive naturally, giving the human players an advantage over the computer performers. This thesis creates a framework for describing unique musical performers that can play along in realtime with human players. FrTime, a reactive programming language, is used to constantly create new musical phrases. Musical phrases are constructed by unique user programmed performers and by chord changes that the framework provides. The reactive language creates multiple musical phrases for each point in time. A simple module which chooses musical phrases to be performed at the time of performance is created.
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Swoboda, Marcin. "Encoding Emotion:how performers manipulate microstructural parameters to convey musical meaning." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119252.

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The following paper explores how performers manipulate musical parameters toconvey affect in musical performances. We focus on durational microstructure. Results ofproduction and perception experiments suggest that performers are succesful at conveying intended affect and that in certain zones of interest, performers modulate acoustic parameters more than in other parts of the score.
Le présent document examine comment les artistes manipulent les paramètresmusicales pour transmettre les émotions pendants les spectacles musicaux. Nous nousconcentrons sur la microstructure de durées. Les résultats des expériences de productionet de perception suggèrent que les artistes ont réussi à transmettre les affectes voulues etque, dans certaines zones d'intérêt, les interprètes modulent les paramètres acoustiquesplus que dans d'autres parties de la partition.
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Hu, Ning. "Automatic Construction of Synthetic Musical Instruments and Performers." Research Showcase @ CMU, 2013. http://repository.cmu.edu/dissertations/270.

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This thesis describes an approach to create high-quality music synthesis by automatically constructing an instrument model and a performance model; the latter module generates control signals from score input and drives the former module to produce synthetic instrumental sounds. By designing and applying appropriate machine learning techniques as well as domain knowledge, the instrument model and the performance model are constructed from acoustic examples and their corresponding scores for a musical instrument. The automated model is able to synthesize realistic instrumental performances from scores.
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Brownell, Andrew. "The English piano in the Classical period : its music, performers, and influences." Thesis, City University London, 2010. http://openaccess.city.ac.uk/12134/.

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Despite an abundance of research and literature on the Viennese piano in the Classical period, the influential role of the English instrument and its literature – in terms of keyboard idiom and compositional style – still remains something of a blind spot. This thesis attempts to address this imbalance by providing an overview of the most significant literature of the period, guided by the premise that the characteristics of the English instrument led to a style of keyboard writing that is distinct from the Viennese Classical style. The advent of the piano in England is traced, establishing the traits of the ‘English grand’ piano in the English harpsichord and other early instruments. This is followed by an overview of early piano concerti by James Hook, J.C. Bach, and Schroeter. Stylistic evolution in the early works of Clementi and Dussek is analysed, as well as that of Haydn’s London works. The thesis concludes with a chapter examining the interaction c. 1800 between the London and Viennese schools, demonstrating how contact with the more progressive London school precipitated changes in the Viennese keyboard style and the instrument itself.
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Dixon, Wendy. "Selection procedures relating to Australian vocal repertoire for mid-adolescent HSC performers." Connect to full text, 2006. http://hdl.handle.net/2123/1590.

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Thesis (M. Mus. (Mus. Ed.)--University of Sydney, 2006.
Title from title screen (viewed 19 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Sydney Conservatorium of Music. Includes bibliographical references. Also issued in print format.
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Sousa, Gary Donn. "Musical conducting emblems : an investigation of the use of specific conducting gestures by instrumental conductors and their interpretation by instrumental performers." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217257892.

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Ely, Mark Christopher. "The effects of timbre on intonational performance and perception by college performers of selected woodwind instruments /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487592050227073.

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George, Aimée. "An exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33739.

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This research explores the dynamics of gender, sexuality and power for women performers within the jazz community in Cape Town. Although the history and development of South African jazz has been extensively researched, very few texts mention the presence and impact of women performers and has yet to include how questions of gender, power and sexuality influence both the cultures of jazz and the experiences of women jazz artists. The current study is strongly influenced by feminist theory, which seeks to uncover experiences obscured by patriarchal epistemologies. A qualitative methodology is used to ensure each narrative remains at the forefront of the research. Interviews were conducted with jazz women musicians involved in various roles within the jazz industry in Cape Town. These semi-structured interviews allow for these women to narrate their turbulent musical journeys. What is revealed and subsequently further explored are the rich identity politics involved in being women “performers”, what is assumed and expected of them, the role “boys clubs” play in their exclusion, and the pressures and implications of stringent gender stereotypes, beauty ideals and vicious hyper-sexualization. Moreover, I explore the analytics of power within this specific culture and its' effect on jazz women. Their accounts reveal how the Cape Town jazz community remains saturated with gender stereotypes and is seemingly committed to continuing violent displays of misogyny. The study argues that despite the prevalence of this misogyny, women jazz artists actively design strategies which skilfully and innovatively allow them to pursue influential careers, deepening the meaning of “jazz” in Cape Town and beyond. The research thus both extends the analysis of feminist jazz theorists in Cape Town, and suggests that understanding the contemporary dynamics of gender and sexuality in South African jazz artists' experience deserves more research.
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Liertz, Carmel, and n/a. "Developing performance confidence : a holistic training strategies program for managing practice and performance in music." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060817.132817.

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The thesis aims to address a perceived gap in the training and development of music performers, namely the lack of a practical strategies framework for developing performance confidence, especially self-efficacy (situational selfconfidence) in music performance. To this end, a Training Program with Training Manual was designed to assist musicians in the management of practice and performance, using a framework of six integrative mental and physical strategies taken from Sport Performance and applied to Music Performance. Five musicians trialed the Training Program for five weeks. Five individual case studies were constructed to explore and interpret the musicians' practice and performance experiences before and after using the Training Program / Manual. Analyses of in-depth interviews and a follow-up questionnaire revealed that the Training Program had produced positive changes in mental and physical behaviour, along with increased concentration ability and coping skills in stressful situations, resulting in a sense of control in performance. A cross-case analysis revealed that the shared issues of significance for the musicians were Concentration, Stress and Lifestyle Practices, and Sense of Control in practice and performance. This qualitative study demonstrates that a training program addressing the lifestyle context of music performance is beneficial for practice and the lead-up to performance. Confidence in playing ability develops, when practice and performance are perceived to be effectively self-managed and practice becomes a positive experience. The findings of this study suggest the need for a holistic approach to music performance, based on awareness of the mind-body connections involved in performance.
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Denhard, August. "Lute realizations for the English cavalier songs (1630-1670) : a guide for performers /." Online version, 2006. http://www.cs.dartmouth.edu/~lsa/associated/Denhard/index.html.

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Books on the topic "Music performers"

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Claghorn, Charles Eugene. Popular bands and performers. Lanham, Md: Scarecrow Press, 1995.

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Sherman, Bernard D. Inside early music: Conversations with performers. New York: Oxford University Press, 1997.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 2001.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 2000.

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Musicians, Incorporated Society of. Register of performers & composers. London: ISM, 2000.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 2003.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 2004.

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Musicians, Incorporated Society of. Register of performers & composers. London: ISM, 1997.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 1999.

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Musicians, Incorporated Society of. Register of performers & composers. London: Incorporated Society of Musicians, 2003.

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Book chapters on the topic "Music performers"

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Burnard, Pamela, Emily Okuno, Jenny Boyack, Gillian Howell, Deborah Blair, and Marcelo Giglio. "Becoming Performers." In Teaching Music Creatively, 60–73. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315643298-5.

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Vargas, Alejandro Alberto Téllez. "Iconography of performers with disabilities." In Disability and Music Performance, 64–81. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interdisciplinary disability studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315109374-4.

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Wanke, Riccardo D. "Composers and performers." In Sound in the Ecstatic-Materialist Perspective on Experimental Music, 76–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003132387-4.

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Nanayakkara, Gowri. "The Sinhala Commercial Music Industry and Its Development." In Performers’ Rights in Sri Lanka, 17–56. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-6668-0_2.

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Esmerado, J., F. Vexo, and D. Thalmann. "Interaction in Virtual Worlds: Application to Music Performers." In Advances in Modelling, Animation and Rendering, 511–27. London: Springer London, 2002. http://dx.doi.org/10.1007/978-1-4471-0103-1_33.

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Shihabi, Zaina. "A brief historical and sociological examination of twentieth-century Arab women composers and performers in Egypt." In The Routledge Handbook of Women's Work in Music, 73–81. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429201080-8.

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Farrell, Isabel, and Kenton Mann. "Performers’ Perspectives." In Music Unlimited, 59–65. Routledge, 2020. http://dx.doi.org/10.4324/9781003077305-10.

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Frolova-Walker, Marina. "Awards for Performers." In Stalin's Music Prize, 202–21. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300208849.003.0010.

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"Performers Of Chamber Music." In Chamber Music, 700–727. Routledge, 2010. http://dx.doi.org/10.4324/9780203891230-11.

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"Child Performers." In Rock Music in American Popular Culture III, 29–44. Routledge, 2014. http://dx.doi.org/10.4324/9781315865409-9.

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Conference papers on the topic "Music performers"

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Cyngler, Richie. "Music for Various Groups of Performers (After Lucier)." In C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3073725.

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Mei-Ju Su, Yu-Huei Su, Yaw-Jen Lin, and Heng-Shuen Chen. "E-learning development on Health Promotion for Music Performers in Taiwan." In 2011 IEEE 13th International Conference on e-Health Networking, Applications and Services (Healthcom 2011). IEEE, 2011. http://dx.doi.org/10.1109/health.2011.6026757.

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Otsu, Kouyou, Jinglong Yuan, Hisato Fukuda, Yoshinori Kobayashi, Yoshinori Kuno, and Keiichi Yamazaki. "Enhancing Multimodal Interaction Between Performers and Audience Members During Live Music Performances." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411763.3451584.

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Yamamoto, Tomohiro, Makoto Okabe, and Rikio Onai. "Synthesis of a video of performers appearing to play user-specified band music." In ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2342896.2342909.

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De Luca, Vanessa, Denise Lombardi, Cinzia Cruder, and Marta Pucciarelli. "HOW DO PERFORMERS INCREASE THEIR WELLBEING? AN INVESTIGATION AMONG MUSIC AND THEATER PROFESSIONALS." In 11th annual International Conference of Education, Research and Innovation. IATED, 2018. http://dx.doi.org/10.21125/iceri.2018.0153.

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Trocinel, Daniela. "Sketches on the creative portrait of the composer A. B. Mulear." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.15.

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This article attempts to present sketches of the compositional creativity of Alexandr Boris Mulear (1922–1994), who is one of the most important figures of the music culture in the Republic of Moldova and belongs to the older generation of composers, as his glory years were between 1950 and 1980. The composer’s record contains a valuable artistic heritage that is appreciated by performers but the study of his works is not in the center of interest of musicologists yet. However, the article will present some examples of the Mulearian creativity. Analyzing the composition portfolio of A. Mulear, the author shows that chamber works predominate for the most part in his creativity, including suites, quartets, sonatas, miniatures and musical pieces, with a wide range of instrumental groups: from the duo (violin and piano, piano and voice) to the symphony orchestra. In conclusion, it is noted that the composer manifested himself in an original way in chamber music, which is more innovative and bright and reveals diverse forms of classical music in terms of style and genre.
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Schiavoni, Flávio Luiz, Adilson Siqueira, Rogério Tavares Constante, Igino De Oliveira Silva Junior, Thiago De Andrade Morandi, Fábio Dos Passos Carvalho, João Teixeira Araújo, et al. "O Chaos das 5." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10457.

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“O Chaos das 5” is an audiovisual digital performance. The guideline of the performance is inspired by Alice, from Lewis Carroll book - Alice in the Wonderland, as a metaphor to take the audience to a synthetic and disruptive wonder world. The concept of the performance is to conceive the possibility to the audience to interact through digital interfaces creating an immersive and participatory experience by combining three important layers of information (music, projections and gestures) through their cellphones. Once that the audience members take part of the show on an immersive aspect, there is no stage or another mark to limit the space of the performers and the audience.
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Boren, Braxton, and Andrea Genovese. "Acoustics of Virtually Coupled Performance Spaces." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.017.

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Many different musical applications, including remote sonification, sound installation, augmented reality, and distributed/telematic music performance, make use of high speed Internet connections between different performance spaces. Most of the technical literature on this subject focuses on system latency, but there are also significant contributions from the acoustics of all rooms connected: specifically, smaller auxiliary rooms will tend to introduce spectral coloration, and the “main” larger volume will send more reverberation to the off-site performers. Measurements taken in two linked networked sites used in telematic performance show that both of these issues are present. Some improvements are suggested, including physical room alterations and equalization methods using signal processing.
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Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

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Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
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Ueda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.

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Reports on the topic "Music performers"

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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.

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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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