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Journal articles on the topic 'Music performers'
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1
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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Smith, Graeme. "Australian country music and the hillbilly yodel." Popular Music 13, no. 3 (October 1994): 297–311. http://dx.doi.org/10.1017/s0261143000007212.
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Of the seventy-five tracks issued as a historical survey of Australian country performers from 1936 to 1960, sixty-eight feature a yodelling interlude, and in many the yodelling forms the main part of the performance. The importance of this vocal technique in Australian country music, and its persistence till the present day is a striking feature of the genre. Prominent Australian performers such as Wayne Horsborough comment that yodelling before country audiences in the USA produces reactions of amazement, for the technique has been almost totally abandoned by current American performers. Yet because most historical commentary on Australian country music has stressed textual development, the presence of the yodel, a wordless interlude, is often merely noted, even if with an acknowledgement of the skill of performers in this technique. And for those in the present period wishing to promote Australian country music to a broader audience, the yodel tends to be a source of embarrassment. The country music industry today is preoccupied with ‘throwing off the hick image’ and emphasising the broad appeal of the genre, and to many current propagandists for Australian country music yodelling is an aspect of both the history and current state of the music which condemns them to commercial unacceptability. Yet it has remained popular with audiences and a significant number of performers, and recently a telemarketed album of yodelling songs by veteran country performer Mary Schneider sold at Australian platinum levels (Latta, 1991, p. 150). Country music clubs, which form a backbone of committed support for the genre, frequently organise local festivals where talent quests characteristically include yodelling competitions.
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Davidson, Jane W. "The Role of the Body in the Production and Perception of Solo Vocal Performance: A Case Study of Annie Lennox." Musicae Scientiae 5, no. 2 (September 2001): 235–56. http://dx.doi.org/10.1177/102986490100500206.
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The work described in this paper interprets the body movements of singers in an attempt to understand the relationships between physical control and the musical material being performed, and the performer's implicit and explicit expressive intentions. The work builds upon a previous literature which has suggested that the relationship between physical execution and the expression of mental states is a subtle and complex one. For instance, performers appear to develop a vocabulary of expressive gestures, yet these gestures – though perceptually discreet – co-exist and are even integrated to become part of the functional movement of playing. Additionally, there is the matter of how both musical and extra-musical concerns are coordinated between performer, co-performers and audience using body movements. A case study shows how, in the interaction between body style, musical expression and communication movements of both an individual and culturally-determined style are used. Many of these performance movements have clear functions and meanings: to communicate expressive intention (for instance, a sudden surge forwards to facilitate the execution of a loud musical passage, or a high curving hand gesture to link sections of the music during a pause); to communicate to the audience or co-performers a need for co-ordination or participation (for example, nodding the head to indicate “now” for the audience to join in a chorus of a song; or exchanging glances for the co-performer to take over a solo); to signal extra-musical concerns (for example, gesturing to the audience to remain quiet); and to present information about the performer's personality, with their individualized characteristics providing important cues (muted contained gestures, or large extravagant gestures, for example); to show off to the audience. From these results a theory is developed to explain how gestural elements help to make a performance meaningful.
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Palmer, Caroline. "On the Assignment of Structure in Music Performance." Music Perception 14, no. 1 (1996): 23–56. http://dx.doi.org/10.2307/40285708.
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Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a computermonitored acoustic piano were compared with each performer's notated interpretations of melody. Small timing changes (20-50 ms) marked performers' melodic intentions; events interpreted as melody (the most important voice) preceded other events in chords (melody lead). The emergence of melody leads was investigated in successive performances of unfamiliar music: melody leads were larger in experts' than in students' performances, but students showed more increase with practice. In additional experiments, performances of the same music with different melodic interpretations displayed the melody lead in different amounts, which subsequently affected listeners' perceptions of melodic intentions. Subtle expressive cues in music performance arise from individual interpretations and can aid listeners in determining musical structure.
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Migliaccio, John N. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXVI." Innovation in Aging 3, Supplement_1 (November 2019): S786. http://dx.doi.org/10.1093/geroni/igz038.2891.
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Abstract This 26th annual symposium again showcases a world-wide musical genre in a regional setting with local performers. Texas Blues has emanated from a pantheon of talented artists beginning in the earliest days of Roots and Blues music to the present day, and Austin has become the epicenter of this talent and music. With legendary classic blues musicians from the early 2oth century to emerging younger musicians who re-energize and re-invent this uniquely American musical genre, to legendary music labels and venues like Antone’s which continue to engage blues music artists of all ages, Austin continues to be the home of Texas Blues. Lifetime Achievement Award -winning 89-year-young, Miss Lavelle White epitomizes the resilience and energy interchange of both the performer and the music, and their mutual contribution to longevity and continued engagement. Still performing after 70 years, she has influenced generations of younger prominent blues performers and continues to appear weekly at local blues mecca Antone’s along with her Grammy Award winning band and is preparing her fourth album release. This session will celebrate her music, her artistry, and her continued success as an older blues performer. A visit to a local blues venue later in the evening will allow for a true appreciation of the blues music scene in Austin.
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Goves, Larry. "MULTIMODAL PERFORMER COORDINATION AS A CREATIVE COMPOSITIONAL PARAMETER." Tempo 74, no. 293 (June 10, 2020): 32–53. http://dx.doi.org/10.1017/s004029822000025x.
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AbstractThis article looks at a creative trajectory in my recent work, an ongoing exploration of how the coordination of and precise interaction between performers in music-performance can be considered a primary compositional parameter (and perhaps compositional material in its own right). This investigation began with a survey of performer interactions in Olivier Messiaen's Quatuor pour la fin du temps and older music of my own. This led to an interest in the entanglement of ‘instrumental theatre’ and compositional scenarios in which performer behaviours, in relation to coordination and interaction, contribute idiosyncratically (i.e. outside of the more typical interpretation/improvisation models) to the music.
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Morrison, Steven J. "A Comparison of Preference Responses of White and African-American Students to Musical versus Musical/Visual Stimuli." Journal of Research in Music Education 46, no. 2 (July 1998): 208–22. http://dx.doi.org/10.2307/3345624.
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The purpose of this study was to examine the role of same- and other-group identification in musical preference decision-making. Subjects were African-American (n = 189) and white (n = 280) music students in Grades 6, 7, and 8. Each subject responded along a 9-point Likert scale to 10 instrumental music excerpts, five performed by African-American jazz artists and five performed by white jazz artists. Examples were presented according to one of three conditions: (1) music only, (2) music accompanied by a photograph of the performers, or (3) music accompanied by a photograph of different performers representing a different ethnicity. Results indicated that white subjects preferred examples by white performers regardless of presentation condition. African-American subjects preferred examples by white performers when presented with music alone, but preferred examples believed to be by African-American performers under the musical/visual conditions.
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Jeongwon, Joe, and Hoo Song. "Roland Barthes' "Text" and aleatoric music: Is "The birth of the reader" the birth of the listener?" Muzikologija, no. 2 (2002): 263–81. http://dx.doi.org/10.2298/muz0202263j.
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The history of Western classical music and the development of its notational system show that composers have tried to control more and more aspects of their compositions as precisely as possible. Total serialism represents the culmination of compositional control. Given this progressively increasing compositional control, the emergence of chance music, or aleatoric music, in the mid-twentieth century is a significantly interesting phenomenon. In aleatoric music, the composer deliberately incorporates elements of chance in the process of composition and/or in performance. Consequently, aleatoric works challenge the traditional notion of an art work as a closed entity fixed by its author. The philosophical root of aleatoric music can be traced to post structuralism, specifically its critique of the Enlightenment notion of the author as the creator of the meaning of his or her work. Roland Barthes' declaration of "the death of the author" epitomizes the Poststructuralists' position. Distinguishing "Text" from "Work," Barthes maintains that in a "Text," meanings are to be engendered not by the author but by the reader. Barthes conceives aleatoric music as an example of the "Text," which demands "the birth of the reader." This essay critically re-examines Barthes' notion of aleatoric music, focusing on the complicated status of the reader in music. The readers of a musical Text can be both performers and listeners. When Barthes' declaration of the birth of the reader is applied to the listener, it becomes problematic, since the listener, unlike the literary reader, does not have direct access to the "Text" but needs to be mediated by the performer. As Carl Dahlhaus has remarked, listeners cannot be exposed to other possible renditions that the performer could have chosen but did not choose, and in this respect, the supposed openness of an aleatoric piece is closed and fixed at the time of performance. In aleatoric music, it is not listeners but only performers who are promoted to the rank of co-author of the works. Finally, this essay explores the reason why Barthes turned to music for the purpose of illustrating his theory of text. What rhetorical role does music play in his articulation of "Work" and "Text"? Precisely because of music's "difference" as a performance art, music history provides the examples of the lowest and the highest moments in Barthes' theory of text, that is, those of Work and Text. If, for Barthes, the institutionalization of the professional performer in music history demonstrates the advent of Work better than literary examples, the performer's supposed dissolution in aleatoric music is more liberating than any literary moments of Text. This is because the figure of music - as performance art-provides Barthes with a reified and bodily "situated" model of the Subject.
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Choi, Hye Eun. "Kisaeng Performers and the New Media in Colonial Korea." Journal of Korean Studies 26, no. 2 (October 1, 2021): 373–400. http://dx.doi.org/10.1215/07311613-9155246.
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Abstract Kisaeng, who had been hereditary female performers in pre-twentieth-century Korea, became modern professional performers during Korea’s colonial period (1910–45). Among them, some talented kisaeng attained high status in modern media as vocal performers, even while the general reputation of kisaeng steadily declined in the colonial period. These kisaeng performers who sought artistic success in the new media occupied two categories. One was yŏryu myŏngch’ang (female master vocalists), who excelled at Korean traditional music, and the other was kisaeng kasu (kisaeng singers), who specialized in modern popular music. Despite their shared social and cultural roots, these kisaeng performers have rarely been examined together in recent scholarship, which has tended to adhere to the disciplinary distinction between traditional and popular music. By examining the activities of yŏryu myŏngch’ang and kisaeng kasu in the same frame, this article demonstrates the ways in which both groups of kisaeng performers, rather than simply being transmitters of Chosŏn music culture, contributed to the modern diversification of music in colonial Korea. It further shows that these kisaeng, who were accomplished artistically, sought wealth and recognition as modern professionals in the colonial Korean music market.
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Timmers, Renee, and Richard Ashley. "Emotional Ornamentation in Performances of a Handel Sonata." Music Perception 25, no. 2 (December 1, 2007): 117–34. http://dx.doi.org/10.1525/mp.2007.25.2.117.
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ORNAMENTATION IS ONE ASPECT OF MUSIC ASSOCIATED with emotional affect in Baroque music. In an empirical study, the relationship between ornamentation and emotion was investigated by asking a violinist and flutist to ornament three melodies in different ways to express four emotions: happiness, sadness, love, and anger. The performers adapted the type of ornaments to the instructed emotion as well as the characteristics of the ornaments. The flutist specifically varied the duration, timing, and complexity of the ornamentation, while the violinist varied the complexity, density, and sound level of the performances. The ability of the performers to communicate the emotions was tested in a listening experiment. Communication was found to be generally successful, with the exception of the communication of happiness. This success was not due to general consensus about the expression of emotions through ornamentation. Rather the listeners were sensitive to a performer's specific use of ornamentation.
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Nickel, Luke. "OCCAM NOTIONS: COLLABORATION AND THE PERFORMER'S PERSPECTIVE IN ÉLIANE RADIGUE'S OCCAM OCEAN." Tempo 70, no. 275 (December 7, 2015): 22–35. http://dx.doi.org/10.1017/s0040298215000601.
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AbstractAfter nearly 40 years of creating recorded electronic music, for the last 10 years Éliane Radigue has created music exclusively in collaboration with performers, using solely oral and aural transmission. Focusing on the details of this ‘scoreless’ working method, this article considers the performer's perspective on Radigue's Occam Ocean (2011–), a series of 22 infinitely combinable solos and over 20 chamber pieces. Through interviews with the performers and Radigue, a composite understanding of their collaboration is reached, focusing on the emergent ideas of virtuosity, memory, images, scores, hospitality and non-hierarchy. A typical transmission and collaboration is described, and a new lens for viewing this method is proposed, the living score. The article concludes with a brief discussion of how Radigue and her collaborators' non-hierarchical model of collaboration may offer an alternative compositional framework.
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Nenić, Iva. "Discrete cases: Female traditional music players in Serbia." New Sound, no. 42 (2013): 87–97. http://dx.doi.org/10.5937/newso1341087n.
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This paper explores the exclusion of female traditional music players in Serbia and in the Balkans from the official representational discourses, frequently based on the assumption that women were not equal participants, but rather atypical or isolated "cases" in the rural music cultures of the 19th and mid-20th centuries. Drawing on historical sources, and with a special focus on two short case studies of historical female gusle performers, the author strives to demonstrate how the workings of certain discourses, both in cultural and in scholarly terms, prepared todays position for folk and NEO-traditional music performers of the female gender, by stripping them of the history of female musicianship. The trope of "being the only woman of her kind", mannish and/or unusual, can be traced through the early folklorist and ethnographic depiction of female musicians, which was frequently supplemented with the deliberate stressing of alleged "female" attributes of a performer. The paper also opens the question of gender approach in ethnomusicology, claiming that it should lead to the recuperation of the field in terms of scientific autocritique and "ethnomusicological revisionism".
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Bugaj, Katarzyna A., James Mick, and Alice-Ann Darrow. "The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality." String Research Journal 9, no. 1 (June 25, 2019): 23–33. http://dx.doi.org/10.1177/1948499219851374.
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The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.
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Eigenfeldt, Arne. "Generative Music for Live Performance: Experiences with real-time notation." Organised Sound 19, no. 3 (November 13, 2014): 276–85. http://dx.doi.org/10.1017/s1355771814000260.
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Notation is the traditional method for composers to specify detailed relationships between musical events. However, the conventions under which the tradition evolved – controlled relationships between two or more human performers – were intended for situations apart from those found in electroacoustic music. Many composers of electroacoustic music have adopted the tradition for mixed media works that use live performers, and new customs have appeared that address issues in coordinating performers with electroacoustic elements. The author presents generative music as one method of avoiding the fixedness of tape music: coupled with real-time notation for live performers, generative music is described as a continuation of research into expressive performance within electroacoustic music by incorporating instrumentalists rather than synthetic output. Real-time score generation is described as a final goal of a generative system, and two recent works are presented as examples of the difficulties of real-time notation.
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Garst, Marilyn M. "How Bartók Performed His Own Compositions." Tempo, no. 155 (December 1985): 15–21. http://dx.doi.org/10.1017/s0040298200021847.
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Performers of 20th-century music have more information about how the music is to be performed than do performers of earlier music. Since the Baroque era, composers have become more explicit in their notation, greatly simplifying questions of interpretation. In addition to the advantage of explicit notation, performers can often have personal contact with a living composer about interpretative questions. In the case of Béla Bartók, there are also recordings of the composer performing his own works. Such recordings are useful adjuncts to the musical notation.
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Glowacka-Pitet, Danuta. "Music and its performance like a vehicle of expression and communication." Comunicar 12, no. 23 (October 1, 2004): 57–60. http://dx.doi.org/10.3916/c23-2004-10.
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Through the practice experience as violin´s performer, in this paper the author shows the communicative intention of music and emphasizes the expressive and emotional feelings that musicians feel and perceive through the music they perform, transmitting their sensations to the audience. With a very personal vision, she shows how the communicative function of performers has always existed along the history of music, and she remembers the most representative figures of all times, as performers and as expressive creators. A través de la experiencia práctica como intérprete del violín, la autora plasma en este artículo la intención comunicativa de la música y destaca los valores emocionales y expresivos que los músicos sienten y perciben a través de la música que interpretan, proyectando sus sensaciones al oyente. Con una visión muy personal, muestra cómo la función comunicadora de los intérpretes ha existido siempre a lo largo de la historia de la música, y recuerda las figuras más representativas de todos los tiempos que desempeñaron su actividad como intérpretes-comunicadores y como creadores-expresivos.
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KORINETS, Nataliia, and Ivanna UKHACH. "English for future music performers." Humanities science current issues 8, no. 35 (2021): 37–42. http://dx.doi.org/10.24919/2308-4863/35-8-6.
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Carruthers, Glen. "The Piano Music of Percy Grainger: A Pianist's Perspective on Pedalling." Canadian University Music Review 21, no. 2 (March 4, 2013): 77–93. http://dx.doi.org/10.7202/1014486ar.
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Eminent pianist and composer Percy Aldridge Grainger (1882–1961) filled his original music and folksong arrangements with detailed, though idiosyncratic instructions to performers. The extent to which his own meticulous pedal technique is mirrored in careful directions to pianists is both unusual and revelatory. Grainger's scores are examined here from the standpoint of the damper, sostenuto and una corda pedals. Numerous musical examples serve two purposes: 1) they give information concerning the complexity of Grainger's pedal technique and 2) they exhibit the array of notational methods the composer employed, at various stages in his career, to enable performers to replicate as nearly as possible his own scrupulous pedalling. As well, by examining in detail this one aspect of Grainger's rich artistry, light is shed on the relationship between composer and performer, and notation and interpretation, that Grainger sought to understand and articulate ever more clearly throughout his career.
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Juslin, Patrik N., and Petri Laukka. "Improving Emotional Communication in Music Performance through Cognitive Feedback." Musicae Scientiae 4, no. 2 (September 2000): 151–83. http://dx.doi.org/10.1177/102986490000400202.
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This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners' judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by fifty listeners. Multiple regression was used to model the cue utilization of both performers and listeners, and the two systems were related by means of the Lens Model Equation (Tucker, 1964). Then, the performers were given CFB and were asked to change their cue utilization on the basis of this feedback. The results indicated that (a) CFB yielded a fifty percent increase in communication accuracy after a single feedback session, (b) the performers reacted positively to the CFB, and (c) the performers showed limited insight with regard to their cue utilization prior to the CFB.
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Gritten, Anthony. "Alibis, and why performers don't have them." Musicae Scientiae 9, no. 1 (March 2005): 137–56. http://dx.doi.org/10.1177/102986490500900105.
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Musical performers confront, deal with, and participate in musical “events”. These musical events present the performer with a number of obligations to uphold. One particular kind of obligation precedes and overrides the other kinds of (aesthetic) obligation — compositional, historical, critical-interpretative, physiological, for example — and lies at the root of the “contingencies”, “illusions”, and “anxieties” of which performers and commentators often speak. In this essay I illustrate the nature of this non-foundational obligation through a meditation on a concept of Bakhtin's: the “alibi”. All imperatives command either hypothetically or categorically. Kant
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Hordijk, Rob. "The Blippoo Box: A Chaotic Electronic Music Instrument, Bent by Design." Leonardo Music Journal 19 (December 2009): 35–43. http://dx.doi.org/10.1162/lmj.2009.19.35.
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This article addresses the design of the Blippoo Box, an audio sound generator that operates according to the principles of chaos theory. By designing the Blippoo Box, the artist attempts to bridge a crossover space between abstract (sonic) art, music and artistic craftsmanship. In the hands of performing musicians the Blippoo Box becomes an electronic music instrument that invites performers to improvise with the chaotic nature of the box. Despite this chaotic behavior, the produced sounds have particular characteristics that are roughly predictable and enable a performer to build a performance around a composed scheme.
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Sdraulig, Charlie, and Louis d'Heudières. "ATTENDING TO ATTENDING: PERFORMING AUDIENCE PERSONAE IN CONTEMPORARY MUSIC." Tempo 76, no. 300 (April 2022): 18–32. http://dx.doi.org/10.1017/s0040298221000899.
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AbstractThis article proposes ways of reimagining how performers and audiences relate to one another during live performances. In contrast to forms of participation where audiences emulate well-known performer and/or composer models, the authors argue for sensitivity to audiences as they present themselves. Attending to, reciprocating and adopting audience behaviour in/as performance can lead to novel interactions, identities and formats for creative practice. The authors discuss pieces by Pauline Oliveros, David Helbich and Carolyn Chen, as well as their own practice research.
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Riley, Patricia E. "Music composition for iPad performance: Examining perspectives." Journal of Music, Technology & Education 11, no. 2 (September 1, 2018): 183–95. http://dx.doi.org/10.1386/jmte.11.2.183_1.
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This qualitative research investigated a music composition created specifically for performance on iPads. It examined perspectives of the composers, performers and audience member participants. Composers were undergraduate music education majors with concentrations in music composition, performers were undergraduate music education majors, and audience members included music majors, composers, music theory professors and conductors of traditional large ensembles. Data included the notated composition and written reflection statements by the composers, performers and audience members. Reflection questions guided the statements, and included: how does composing for iPad instruments differ from composing for more traditional instruments? How do you feel performing on an iPad differs from performing on more traditional instruments? What were the challenges that you encountered and how did you respond to them? And, what did you like best and least about this composition and/or performance? The data were analysed for emergent themes, and the themes discussed.
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Howlin, Claire, Staci Vicary, and Guido Orgs. "Audiovisual Aesthetics of Sound and Movement in Contemporary Dance." Empirical Studies of the Arts 38, no. 2 (December 12, 2018): 191–211. http://dx.doi.org/10.1177/0276237418818633.
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How do movement and sound combine to produce an audiovisual aesthetics of dance? We assessed how audiovisual congruency influences continuous aesthetic and psychophysiological responses to contemporary dance. Two groups of spectators watched a recorded dance performance that included the performer’s steps, breathing, and vocalizations but no music. Dance and sound were paired either as recorded or with the original soundtrack in reverse so that the performers’ sounds were no longer coupled to their movements. A third group watched the dance video in silence. Audiovisual incongruency was rated as more enjoyable than congruent or silent conditions. In line with mainstream conceptions of dance as movement-to-music, arbitrary relationships between sound and movement were preferred to causal relationships in which performers produce their own soundtrack. Performed synchrony Granger caused changes in electrodermal activity only in the incongruent condition consistent with “aesthetic capture.” Sound structures the perception of dance movement, increasing its aesthetic appeal.
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Tormakhova, A. M. "MEDIA TECHNOLOGIES AND SCIENCE ART IN THE CONTEXT OF MODERN CULTURAL AND ART PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 98–101. http://dx.doi.org/10.17721/ucs.2020.1(6).19.
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Media in the 21st Century Cultural Area is an integral component of artistic practices. Currently, a new direction is emerging – science art, which combines art, technology and scientific development. The leading feature of contemporary music is its transformation, which is due to the changing channels of artistic communication that set certain parameters. Music plays a very important role in the space in which it is performed, both the material itself and the musicians. A promising area of science-art development is the emergence of software and equipment that allows us to "resurrect" the stars of the past, simplify the process of musical creation and performance. There is currently a use of holograms for various purposes in music. Sometimes holograms play the role of an accompanying factor, because they can create a background for the performer, replacing the usual scenery, compensate for the absence of dancers, creating a visual basis for performances. Performers working in the field of popular and pop art are often organized in this way. Examples include the concert numbers of participants in the Eurovision Song Contest. Also, hologram or media projection can be used not only as a background but also as a leading factor in a composition. Hatsune Miku is media performer which presents by a hologram and "performs" with live instrumentalists. Miku's visual characteristics are driven by the traditions of manga comics and anime cartoon strips. The vocal party is created using software that can combine different samples. In this case we are talking about the use of the Vocaloid program, which synthesizes the human voice to record vocals, as well as the vocaloid as a fictional character corresponding to a particular synthesized voice. Although Hatsune Miku's live performances are accompanied by live-instrumental performers, the audience's focus is on the vocalist. The ability to create the perfect virtual performers gradually diminishes the professional qualities of gifted live musicians, whose ability is limited, unlike a vocaloid. The evolution and advancement of technology are changing the disposition between composer, performer and audience, but create new opportunities for creative expression.
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Fogell, Martin. "Coleridge-Taylor's Performers." Musical Times 129, no. 1748 (October 1988): 506. http://dx.doi.org/10.2307/966680.
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Moelants, Dirk. "The Performance of Notes Inégales: The Influence of Tempo, Musical Structure, and Individual Performance Style on Expressive Timing." Music Perception 28, no. 5 (June 1, 2011): 449–60. http://dx.doi.org/10.1525/mp.2011.28.5.449.
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notes inégales is a common practice in the performance of French baroque music. It indicates that the first of a pair of equally notated notes is played longer, similar to the use of swing eighths in jazz. The performance of that inequality is an ongoing source of debate, but the actual performance has not been studied yet. In an experiment, eight harpsichordists and eight baroque violinists performed six melodies of French baroque gavottes in three tempo conditions. The mean ratio of inequality was 1.63, with mean ratios of individual performers varying between 1.89 and 1.33. Another significant source of variance was the metric structure, with larger inequality found at metrically important points. Tempo also had an important influence, but individual interpretation varied greatly. For example, while most performers played more evenly while tempo increased, some performers chose the opposite strategy. Pitch interval had only a minor impact on the execution of the notes inégales, but also showed differences between performers. The results show the importance of personal style in music performance: although the music played is highly standardized, we show how the timing of different performers can be influenced by different aspects of the musical structure.
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Yue, Li. "Emotional Expression and Artistic Reconstruction in Musical Performance." Journal of Contemporary Educational Research 5, no. 7 (July 30, 2021): 112–15. http://dx.doi.org/10.26689/jcer.v5i7.2309.
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The emotional expression brought by music is the self-realization and artistic reconstruction of the art of music in performance. From the perspective of the development of musical performance, artistic reconstruction is an important means of expression which does not only explores the emotional connotation of music but also endows music with stronger vitality through the performers’ understanding and imagination, presenting them to the audience in a more three-dimensional way and stirring up deep resonance. Performers can also gradually develop their own style of performance. How to better integrate the interaction between the two is an important proposition in exploring musical performance. This paper focuses on the relationship between emotional expression and artistic reconstruction in addition to elaborating the important role of the two in musical performance to provide a useful reference for music creators and performers.
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Bergee, Martin J. "Performer, Rater, Occasion, and Sequence as Sources of Variability in Music Performance Assessment." Journal of Research in Music Education 55, no. 4 (December 2007): 344–58. http://dx.doi.org/10.1177/0022429408317515.
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This study examined performer, rater, occasion, and sequence as sources of variability in music performance assessment. Generalizability theory served as the study's basis. Performers were 8 high school wind instrumentalists who had recently performed a solo. The author audio-recorded performers playing excerpts from their solo three times, establishing an occasion variable. To establish a rater variable, 10 certified adjudicators were asked to rate the performances from 0 (poor) to 100 (excellent). Raters were randomly assigned to one of five performance sequences, thus nesting raters within a sequence variable. Two G (generalizability) studies established that occasion and sequence produced virtually no measurement error. Raters were a strong source of error. D (decision) studies established the one-rater, one-occasion scenario as unreliable. In scenarios using the generalizability coefficient as a criterion, 5 hypothetical raters were necessary to reach the .80 benchmark. Using the dependability index, 17 hypothetical raters were necessary to reach .80.
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Buck, Bryony, Jennifer MacRitchie, and Nicholas J. Bailey. "The Interpretive Shaping of Embodied Musical Structure in Piano Performance." Empirical Musicology Review 8, no. 2 (October 24, 2013): 92. http://dx.doi.org/10.18061/emr.v8i2.3929.
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Research has indicated that the magnitude of physical expressive movements during a performance helps to communicate a musician's affective intent. However, the underlying function of these performance gestures remains unclear. Nine highly skilled solo pianists are examined here to investigate the effect of structural interpretation on performance motion patterns. Following previous findings that these performers generate repeated patterns of motion through overall upper-body movements corresponding to phrasing structure, this study now investigates the particular shapes traced by these movements. Through this we identify universal and idiosyncratic features within the shapes of motion patterns generated by these performers. Gestural shapes are examined for performances of Chopin’s explicitly structured A major Prelude (Op. 28, No. 7) and are related to individual interpretations of the more complex phrasing structure of Chopin’s B minor Prelude (Op. 28, No. 6). Findings reveal a universal general embodiment of phrasing structure and other higher-level structural features of the music. The physical makeup of this embodiment, however, is particular to both the performer and the piece being performed. Examining the link between performers' movements and interpreted structure strengthens understanding of the connection between body and instrument, furthering awareness of the relations between cognitive interpretation and physical expression of structure within music performance.
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Iușcă, Dorina Geta. "Successful Music Performer’s Personality Traits." Review of Artistic Education 22, no. 1 (June 1, 2021): 318–23. http://dx.doi.org/10.2478/rae-2021-0040.
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Abstract Music-education practice has revealed the fact that, in order to become a successful music performer, not only certain physical and perceptive attributes (such as the amplitude of open palm, thoracic capacity, rhythmic accuracy, musical hearing), but a series of personality traits related to the complexity of social, cognitive and emotional activities associated to music performance are also needed. Scientific research focused on high quality music performers’ personality traits has been generated by a series of stereotypes that had been developed across time in the musical world. For example, it has often been said (Woody, 1999) that trumpet players are proud, impetuous, detached and dominating, whereas woodwind players are more feminine, more intelligent and shyer. The present study aims to review the most relevant experiments related to the personality profile of the successful music performer. A growing body of research has discovered ten important traits: androgyny, originality, independence, self-motivation, perseverance, sensibility, high capacity of interpersonal communication, extroversion, the need for attention, and trait anxiety. I discuss about a series of educational implications of this personality profile in connection to the development of a successful career in academic music. Discovering and developing these traits early on could be an essential support in creating an exceptional educational path in vocal and instrumental music performance.
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Rink, John. "The Interpretive Shaping of Music Performance Research." Empirical Musicology Review 8, no. 2 (October 24, 2013): 120. http://dx.doi.org/10.18061/emr.v8i2.3930.
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<p>In their study of nine pianists Buck, MacRitchie and Bailey observe a universal embodiment of phrasing structure and other higher-level structural features of the music, the physical makeup of which is nevertheless particular to both the individual performers and the pieces they are performing. Such a conclusion invites renewed consideration of assumptions in the literature on musical performance about the nature and role of structure and about performers’ ‘interpretations’ thereof. The findings also raise interesting questions about the musical viability of empirical research on performance and its capacity to shed light on how performers shape the music they play, their motivations in doing so, and how those listening to them might in turn be affected by this.</p>
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Nourou, Sevastiana. "Julian Dodd. Being True to Works of Music." Context, no. 47 (January 31, 2022): 89–92. http://dx.doi.org/10.46580/cx93010.
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The concept of being true to works of music and how true a performer is to the composer’s work has been an ongoing debate for many years. The idea of authenticity in the performance of musical works raises many questions, such as: what does it mean exactly to be authentic in music; how can one be authentic; to what exactly is one being faithful; which rules and conceptions should one follow to realise that authenticity; and can different performances of the same work both be authentic? Julian Dodd’s Being True to Works of Music is a short but insightful book about musical authenticity and musical meaning. It will be an important source not only for philosophers and musicologists, but also for students, and, most importantly, performers and listeners. It may also be of interest to general music readers…
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Keefe, Simon P. "‘We hardly knew what we should pay attention to first’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos." Journal of the Royal Musical Association 134, no. 2 (2009): 185–242. http://dx.doi.org/10.1080/02690400903109067.
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Late eighteenth-century writings bear witness to Mozart's extraordinary skills as a performer-composer. But this dual status has yet to exert a serious influence on our understanding of Mozart's piano concertos. An examination of changes to the autograph scores of his Viennese works catches him in the act of negotiating performance needs as soloist and compositional needs as author. His acute attention to detail and his intense personal involvement and commitment – evident in written testimony and in alterations to the autographs – reveal a performer-composer intent on harnessing very specific musical events (sounds, timbres, instrumental and solo effects) to more general ends that ultimately invite listeners to perceive performance and composition as mutually reinforcing features of a complete musical experience. Modern performers trying to recreate the performer-composer experience – soloists and orchestral instrumentalists alike – are thus encouraged to put sounds, textures and effects centre stage in their own interpretations of Mozart's concertos.
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Ratsimandresy, Nadia. "Interaction, onde Martenot and Répertoire." Leonardo Music Journal 24 (December 2014): 35–36. http://dx.doi.org/10.1162/lmj_a_00195.
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What distinguishes the onde Martenot performer from the composer? How can one build a new repertoire for the instrument? The author finds the answers to in the interaction between performers and in a new form of collaborative performance.
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Moore, Tom, and Bernard D. Sherman. "Inside Early Music: Conversations with Performers." Notes 54, no. 4 (June 1998): 936. http://dx.doi.org/10.2307/900085.
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McConnell, Bonnie. "To bring peace that stays: Music, conflict and conciliation in the Gambia." International Journal of Community Music 12, no. 3 (December 1, 2019): 349–66. http://dx.doi.org/10.1386/ijcm_00005_1.
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In the Senegambia Region of West Africa, performers have long played a central role in conflict mediation. Historically, this has included both small-scale conflicts, such as those between neighbours, and larger-scale conflicts between groups. This article draws on evidence from ethnographic research with Gambian performers to explore contemporary perspectives on conflict and conciliation. I use analysis of three Mandinka-language songs relating to conflict within the family to show that performers work to promote conciliation through appeals to shared values of oneness, positive relationships and empathy. Examples include songs by hereditary professional musicians (jaloolu), a hip hop artist and female fertility society performers (kanyeleng). These songs are rooted in cultural frameworks of morality and goodness, while also reflecting gendered dynamics of risk and inequality.
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Brown, Nicholas G. "Being Among the Living: On the inter-relations between performers, witnesses and environment in As I Have Now Memoyre." Organised Sound 16, no. 2 (June 28, 2011): 176–83. http://dx.doi.org/10.1017/s1355771811000124.
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In this article, I argue that the relationship between performers, audience members, electronic technologies and the wider, physical context of the performance environment may be redefined by developing the ‘concert’ model of electroacoustic performance. I propose that managing proximity between audience members and performers plays a catalytic role in a process through which the human voice may emerge from its status as an ‘instrument’ for the delivery of notated musical ideas to, simply, ‘voice’. To illustrate, I refer to As I Have Now Memoyre, my 2008 installation-performance on the relationship between music, memory and the passing of time. Accordingly, I investigate the way in which a performer is able to assert her ontological reciprocity with the total performance environment by ‘embodying’ the electronic processing, asserting continuity between the electronically mediated performance and the performance rendered by her own unaided body.
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Daucianskaite, Agne, and Vilma Zydziunaite. "DOCUMENTS REGULATING THE VOCATIONAL TRAINING OF MUSIC PERFORMERS IN LITHUANIA AND INTERNATIONALLY: DIRECTIONS, CHARACTERISTICS AND SHORTCOMINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 20, 2020): 97. http://dx.doi.org/10.17770/sie2020vol1.5022.
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Here is lack of clarity in documentation regarding music performers’ training in Lithuania and internationally. Here is lack of information and research-based knowledge regarding strategies, methods, philosophies, competencies and etc., regarding music performers’ training. So why it seems for society as “for granted” and that is based on personal talents that are heritage. Also here is lack of documents on requirements for teachers, who prepare the music performers. The aim of the study is to discuss the issue of music performers’ training and education regarding orientations, directions, characteristics and other peculiarities with the focus on a current training and education situation. The study is based on document analysis. Documents on musicians’ training, which exist in Lithuania and internationally, they lack precision, clarity, specificity in terms of specializations, instruments, levels of achievement(s), specifications for performance assessment, and levels of professionalism achieved. Most of the documents are generic, politicized, and their content is deliberative about how it must be, what shows that documents do not rely on empirical research evidence within the practical reality, and are not oriented to realistic ways, how to achieve the specific results that reflect the quality of musical performance.
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Gilmanov, Sergey. "On the Formation and Development of Meaning Interaction of Students with a Musical Work in General Education." Musical Art and Education 7, no. 4 (December 30, 2019): 9–30. http://dx.doi.org/10.31862/2309-1428-2019-7-4-9-30.
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Thearticle is devoted to the meaning aspects of music and musical work. On the basis of the analysis of theoretical and practical experience the ways of orientation of musical training and education in General education on formation and development of the meaning relation to music are outlined. It is stated that in the sense of music as an art form includes all its meanings, properties and functions. It has an emotional content that expresses the meaning of actions, relationships, experiences of people, and interaction with music always includes social content: values, opinions, generally accepted values of the components of musical “language”, which allows you to make music different meanings. Suggested ways of formation and development of meaning relationship to music are (1) organization for music lessons situations meaningful meetings with the piece of music; (2) discussion of pieces, composers, performers; (3) discussions about the artistic value of genres, performers, musical instruments; discussion of musical interests, tastes, experiences of students, etc. Author emphasizes that the meaning side of music is revealed through the mutual transitions “sensuality – text – meaning” in human interaction with the musical work was included in the process of development of his spiritual world, and appeal to her sense is only possible when “building” their own sense of the creators, performers and listeners.
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Khudayberganov, Samandar Kuzievich, and Sarvarbek Uktamboy O`G`Li Yo`Ldoshev. "The Implementation Of Makom Music Genre Into The Creative Works Of Uzbek Music Composers (In 1930-1990)." American Journal of Interdisciplinary Innovations and Research 03, no. 05 (May 7, 2021): 72–75. http://dx.doi.org/10.37547/tajiir/volume03issue05-12.
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This article reveals the essence of the study of the practical basis of Uzbek makoms, the use of maqom, national melodies by the Uzbek music composers. The delineation of Uzbek makoms in the music compositions, the performers of a wide range of national makom music, and the aspects that should be considered, are explained. The creative works by a number of Uzbek composers are also considered.