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Artículos de revistas sobre el tema "Music expressiveness"

Autor: Grafiati

Publicado: 25 de mayo de 2024

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1

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

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

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2

Young, James O. "How Classical Music is Better than Popular Music". Philosophy 91, n.º 4 (30 de agosto de 2016): 523–40. http://dx.doi.org/10.1017/s0031819116000334.

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

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3

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

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

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4

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

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

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5

Kravchuk, Tatiana Nikolaevna, Iryna Anatoliivna Ryadinska y Elizaveta Ihorivna Zelenska. "Peculiarities of training expressiveness of athletes engaged in sports acrobatics at the stages of basic and specialized training". Health-saving technologies, rehabilitation and physical therapy 2, n.º 1 (2 de diciembre de 2021): 92–98. http://dx.doi.org/10.58962/hstrpt.2021.2.1.92-98.

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

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6

Teixeira, Euler C. F., Mauricio A. Loureiro y Hani C. Yehia. "Expressiveness in Music From a Multimodal Perspective". Music Perception 36, n.º 2 (1 de diciembre de 2018): 201–16. http://dx.doi.org/10.1525/mp.2018.36.2.201.

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

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7

Kim, Jin Hyun. "Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness". Empirical Musicology Review 8, n.º 3-4 (24 de octubre de 2013): 162. http://dx.doi.org/10.18061/emr.v8i3-4.3937.

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

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8

Stecker, Robert. "Expressiveness and Expression in Music and Poetry". Journal of Aesthetics and Art Criticism 59, n.º 1 (febrero de 2001): 85–96. http://dx.doi.org/10.1111/0021-8529.00009.

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9

Markova, Оlena M. "phenomenon of musicality in expressiveness of V. Kandinskyi canvases". Linguistics and Culture Review 5, S2 (29 de julio de 2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.

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

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10

Moura, Nádia, Pedro Fonseca, Márcio Goethel, Patrícia Oliveira-Silva, João Paulo Vilas-Boas y Sofia Serra. "The impact of visual display of human motion on observers’ perception of music performance". PLOS ONE 18, n.º 3 (8 de marzo de 2023): e0281755. http://dx.doi.org/10.1371/journal.pone.0281755.

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

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11

Canazza, S., G. Depoli, C. Drioli, A. Roda y A. Vidolin. "Modeling and Control of Expressiveness in Music Performance". Proceedings of the IEEE 92, n.º 4 (abril de 2004): 686–701. http://dx.doi.org/10.1109/jproc.2004.825889.

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12

Trivedi, Saam. "Expressiveness as a Property of the Music Itself". Journal of Aesthetics and Art Criticism 59, n.º 4 (noviembre de 2001): 411–20. http://dx.doi.org/10.1111/0021-8529.00042.

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13

Doğantan-Dack, Mine. "Response to Jin Hyun Kim - Dynamics of Musical Expression". Empirical Musicology Review 8, n.º 3-4 (24 de octubre de 2013): 174. http://dx.doi.org/10.18061/emr.v8i3-4.3938.

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This commentary focuses on three aspects of the experience of musical expressiveness as a dynamically emergent phenomenon: the nature of the experience itself, the nature of the dynamic forms of music, and the process of shaping music expressively in the act of music-making.

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14

Alekseeva, M. V. "The Communicative Potential of Musical Expressiveness". Concept: philosophy, religion, culture, n.º 3 (17 de noviembre de 2019): 179–88. http://dx.doi.org/10.24833/2541-8831-2019-3-11-179-188.

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This article offers a brief overview of some challenges and paradoxes of contemporary research as well as various social questions related to them. Key problems of consciousness research are stated relating to the scientific work on artificial intelligence development. Due to such ambitious objectives of modern science, there is a special attention to personality sphere, to its emotional sufferings and personal creative aspirations. The proposed theses of research of the communicative and creative possibilities of the musical language, its qualitative differences from the considered potential of verbal semantics give a clear idea that the language of music is directly related to emotional expressiveness and cognitive process stimulation. As a result of such a summary, it becomes obvious that the study of verbal and musical expressive possibilities, their comparative analysis in the realities of cultural and communication tendencies of modernity is not limited to the needs of the sphere of art. The article also addresses communicative possibilities of musical expressiveness in light of the ability of music to convey the flow of personal emotions.The novelty of this article is to substantiate further detailed study of musical expression communication possibilities, which will make personal emotional world accessible, i.e. qualia. In turn, the status of qualia is considered as one of the most acute and widely discussed problems in modern philosophy, since representatives of various fields of science often see it as a key to understanding the nature of consciousness.

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15

Dahl, Sofia y Anders Friberg. "Visual Perception of Expressiveness in Musicians' Body Movements". Music Perception 24, n.º 5 (1 de junio de 2007): 433–54. http://dx.doi.org/10.1525/mp.2007.24.5.433.

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MUSICIANS OFTEN MAKE GESTURES and move their bodies expressing a musical intention. In order to explore to what extent emotional intentions can be conveyed through musicians' movements, participants watched and rated silent video clips of musicians performing the emotional intentions Happy, Sad, Angry, and Fearful. In the first experiment participants rated emotional expression and movement character of marimba performances. The results showed that the intentions Happiness, Sadness, and Anger were well communicated, whereas Fear was not. Showing selected parts of the player only slightly influenced the identification of the intended emotion. In the second experiment participants rated the same emotional intentions and movement character for performances on bassoon and soprano saxophone. The ratings from the second experiment confirmed that Fear was not communicated whereas Happiness, Sadness, and Anger were recognized. The rated movement cues were similar in the two experiments and were analogous to their audio counterpart in music performance.

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16

Poli, Giovanni De. "Methodologies for Expressiveness Modelling of and for Music Performance". Journal of New Music Research 33, n.º 3 (septiembre de 2004): 189–202. http://dx.doi.org/10.1080/0929821042000317796.

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17

Peddell, Lewes T. "Factors Influencing Listeners’ Perception of Expressiveness for a Conducted Performance". Bulletin of the Council for Research in Music Education, n.º 178 (1 de octubre de 2008): 47–61. http://dx.doi.org/10.2307/40319338.

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Abstract This study investigated (a) how participants’ (N = 116) real-time ratings of perceived expressiveness were influenced by observing conducted musical stimuli from five observational perspectives characterized by various combinations of visual audio and audiovisual presentation; (b) factors that may have influenced participants’ expressiveness ratings, including level of college music education, researcher-declared conductor behaviors, and participant-declared factors; and (c) assessment of the validity and reliability of the Personal Digital Assistant with Continuous Response Digital Interface software (PDA-CRDI) used in this study Participants’ mean perception of expressiveness rating for audio-only stimuli was significantly higher than those for both visual-only stimuli, as well as for the audiovisual stimuli presented from the audience perspective. Graduate level music majors commented with greater frequency than expected on conductor behavior and less than expected on musical stimuli. The factors Musical Experience with the Stimuli and Conductor Behavior were rated significantly more influential than Performer Behaviors. The PDA-CRDI was found to be a markedly reliable and moderately valid method for measuring continual response data.

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18

SPACKMAN, JOHN. "Expressiveness, Ineffability, and Nonconceptuality". Journal of Aesthetics and Art Criticism 70, n.º 3 (agosto de 2012): 303–14. http://dx.doi.org/10.1111/j.1540-6245.2012.01522.x.

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19

Bontempi, Pierluigi, Sergio Canazza, Filippo Carnovalini y Antonio Rodà. "Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?" Multimodal Technologies and Interaction 7, n.º 2 (31 de enero de 2023): 15. http://dx.doi.org/10.3390/mti7020015.

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In music, the interpreter manipulates the performance parameters in order to offer a sonic rendition of the piece that is capable of conveying specific expressive intentions. Since the 1980s, there has been growing interest in expressive music performance (EMP) and its computational modeling. This research field has two fundamental objectives: understanding the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule-based, statistical, machine, and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in particular to piano pieces. On the contrary, we introduce the role of expressive performance within popular music and the contemporary ecology of pop music production based on the use of digital audio workstations (DAWs) and virtual instruments. After an analysis of the tools related to expressiveness commonly available to modern producers, we propose a detailed survey of research into the computational EMP field, highlighting the potential and limits of what is present in the literature with respect to the context of popular music, which by its nature cannot be completely superimposed to the classical one. In the concluding discussion, we suggest possible lines of future research in the field of computational expressiveness applied to pop music.

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20

Jia, Haiyang. "Piano Performance Techniques and Musical Expressiveness". Pacific International Journal 6, n.º 4 (1 de enero de 2024): 34–37. http://dx.doi.org/10.55014/pij.v6i4.461.

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Music, often described as the universal language of emotions, transcends cultural boundaries and speaks to the deepest recesses of the human soul. Among the myriad of musical instruments, the piano holds a special place, capable of conveying a vast range of emotions and moods. Central to the art of piano playing are the techniques employed by pianists to bring forth both technical brilliance and profound emotional expression. This paper delves into the intricate relationship between piano performance techniques and the art of conveying musical expressiveness. By examining the synergy between these two elements, this study aims to unravel the nuances that govern piano performance and explore how musicians imbue their interpretations with personal creativity and sentiment.

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21

Barthet, Mathieu, Philippe Depalle, Richard Kronland-Martinet y Søølvi Ystad. "Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance". Music Perception 28, n.º 2 (1 de diciembre de 2010): 135–54. http://dx.doi.org/10.1525/mp.2010.28.2.135.

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This study deals with the acoustical factors liable to account for expressiveness in clarinet performances. Mechanical and expressive performances of excerpts from Bach's Suite No. II and Mozart's Quintet for Clarinet and Strings were recorded. Timbre, timing, dynamics, and pitch descriptors were extracted from the recorded performances. The data were processed using a two-way analysis of variance, where the musician's expressive intentions and the note factors were defined as the independent variables. In both musical excerpts, a strong effect of the expressive intention was observed on the timbre (attack time, spectral centroid, odd/even ratio), timing (intertone onset intervals) and dynamics (root mean square envelope) descriptors. The changes in the timbre descriptors were found to depend on the position of the notes in the musical phrases. These results suggest that timbre, as well as timing and dynamics variations, may mediate expressiveness in the musical messages transmitted from performers to listeners.

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22

Camurri, Antonio, Paolo Coletta, Matteo Ricchetti y Gualtiero Volpe. "Expressiveness and Physicality in Interaction*". Journal of New Music Research 29, n.º 3 (28 de septiembre de 2000): 187–98. http://dx.doi.org/10.1076/jnmr.29.3.187.3094.

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23

Smilkova, Smilena. "MUSIC IS A SHORTHAND FOR EMOTIONS". Education and Technologies Journal 14, n.º 1 (1 de agosto de 2023): 121–26. http://dx.doi.org/10.26883/2010.231.5008.

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The proposed article is based on a creative task set for masters studying Preschool and Primary School Pedagogy at the University „Prof. Dr. Assen Zlatarov“ Burgas. The purpose of the assignment is to stimulate the creative thinking of students in the field of music education methodology in kindergarten and primary school. The task is based on a practical application of the Perceiving Music activity. It is a kind of challenge, encouragement and manifestation of fantasy, imagination and creativity in the individual person. The participants intelligently and sentimentally walk the path of: choosing a piece of music; „transcribing“ it from sound art into verbal art; revealing through speech views, feelings and ideas presented with the expressive imagery of the individual worldview. The following are considered: thematic areas; verbal form preferences; an artistic image conditioned by fantasy expressiveness. The variety of professions and life experiences of the participants in the master’s course implies a varied range of emotionality and imaginative thinking in each of them. The creative charge with which most of the compositions are imbued brings interesting and enriching information about the sensibility, interest, attention and sensitivity of already mature individuals, regarding the interpretation and understanding of the expressiveness embedded in the musical fabric.

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24

Arfib, Daniel, Jean-Michel Couturier y Loïc Kessous. "Expressiveness and Digital Musical Instrument Design". Journal of New Music Research 34, n.º 1 (marzo de 2005): 125–36. http://dx.doi.org/10.1080/09298210500124273.

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25

Wei, Li y Joseph S. C. Lam. "State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and Expressiveness". Yearbook for Traditional Music 31 (1999): 148. http://dx.doi.org/10.2307/767992.

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Li, Ping-Hui y Joseph S. C. Lam. "State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and Expressiveness". Asian Music 33, n.º 1 (2001): 130. http://dx.doi.org/10.2307/834239.

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27

Leman, Marc y Antonio Camurri. "Understanding musical expressiveness using interactive multimedia platforms". Musicae Scientiae 10, n.º 1_suppl (marzo de 2006): 209–33. http://dx.doi.org/10.1177/102986490601000110.

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28

TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de enero de 2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the same level in all the components of the connections mentioned above.

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29

Tillmann, Barbara y Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, n.º 1 (abril de 1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.

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30

Swanwick, K. "Music education liberated from new praxis". International Journal of Music Education os-28, n.º 1 (noviembre de 1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.

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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the autonomy of students, teaching for expressiveness and promoting fluency before literacy. These complement the main dimensions of a formal music curriculum: analysis of cosmopolitan musical elements (by participation) and involvement in local musical events.

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31

Ганиханова, Шойиста. "Some trends in the development of film music in Uzbekistan". Музыкальное искусство Евразии. Традиции и современность, n.º 1(6) (29 de marzo de 2022): 45–50. http://dx.doi.org/10.26176/maetam.2022.6.1.004.

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Статья посвящена осмыслению киномузыки узбекских композиторов как материала для создания единого целостного потока аудио- и видеоэффектов, обеспечивающих высокую степень выразительности художественных образов фильмов. Выделены средства, особенно важные для формирования стиля авторов киномузыки The article is devoted to understanding the Uzbek composer’s film music as a material for creating a single holistic stream of audio and video effects that provide a high degreeof expressiveness of the artistic images of films. Funds have been allocated, especially important for shaping the style of author’s film music.

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Schneider, Lydia, Louisa Gossé, Max Montgomery, Moritz Wehmeier, Arno Villringer y Thomas Hans Fritz. "Components of Active Music Interventions in Therapeutic Settings—Present and Future Applications". Brain Sciences 12, n.º 5 (10 de mayo de 2022): 622. http://dx.doi.org/10.3390/brainsci12050622.

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Musical interventions in therapy have become increasingly relevant for rehabilitation in many clinics. What was long known for physiotherapy training—that the agency of the participant is crucial and moving is much more efficient for rehabilitation success than being moved—has over recent years also been shown to be true for music therapy. Accumulating evidence suggests that active musical interventions are especially efficient at helping rehabilitation success. Here, we review various approaches to active music therapy. Furthermore, we present several components that allow for manipulating musical expressiveness and physical engagement during active musical interventions, applying a technology-based music feedback paradigm. This paper will allow for a transfer of insights to other domains of music-based therapeutic interventions.

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33

Тарасова, Н. Ю. y Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)". Музикознавча думка Дніпропетровщини, n.º 15 (4 de noviembre de 2019): 171–85. http://dx.doi.org/10.33287/221914.

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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).

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34

Leman, Marc y Pieter-Jan Maes. "The Role of Embodiment in the Perception of Music". Empirical Musicology Review 9, n.º 3-4 (5 de enero de 2015): 236. http://dx.doi.org/10.18061/emr.v9i3-4.4498.

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In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance. <br />

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35

Goldfajn, L. A. "MAJOR STEPS OF PIECEOF MUSIC DEVELOPMENT". National Association of Scientists 1, n.º 28(55) (15 de junio de 2020): 51–54. http://dx.doi.org/10.31618/nas.2413-5291.2020.1.55.214.

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This article discusses the main points of musical composition development. The author divides the study process into three stages: the first –introductory, the second –detailed work on the piece, the third -final, preparation for public performance.Special attention is paid to work of teacher in the DMSH, since students are differently gifted and yet teacher is expected to instill and develop students ' most complex performing skills while staying withing rigid time limits. When working with students, tutor musician should not only monitor the technically accurate performance of the work, but also constantly focus on the artistry and expressiveness of the musical material, as well as develop the student's creative approach to reading and mastering the musical text

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Aroso, Nuno. "Role of Movement and Gesture in Communicating Music Expressiveness to an Audienc". Convergences - Journal of Research and Arts Education 13, n.º 25 (9 de agosto de 2021): 83–94. http://dx.doi.org/10.53681/c1514225187514391s.25.5.

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Musical performative gestures are recognised by the majority of theoreticians as a critical factor of a musical performance. Gestures can be considered as operating features of a person’s perception-action system. It presupposes significance of a meaning that involves more than just a physical movement. Movements can be subdivided into specific patterns and conceptualised. Dynamics are one of the most relevant expressive element in music and they are strongly related to the physical musical action - sound producing gestures. Used effectively, dynamics allow sustain narrative pertinence in a musical performance, communicating for example a particular emotional state or feeling. For this research, solo percussion contemporary music performance was in focus and an audience divided in between “visual and non visual” listeners was studied. From this perspective, observation over percussionists’ playing manner and it ́s audience provides the researcher an opportunity to understand dynamics perception through musicians’ gestures in this particular repertoire. The quantitative research design divided in the experiment was chosen for the purpose of this study, which can be referred to as the description of the objective reality by using numbers in order to construct meaningful models reflecting various relationships between objects or phenomena. These numerical entities are not the reality itself, but a way of representing it. How does the percussive gesture influences the perception of musical dynamics by an audience?

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Li, Donglan. "New ‘Field’ of Vocal Music Teaching and Research: Research on the Construction of a Novel Interaction Mode". English Language Teaching 8, n.º 12 (12 de noviembre de 2015): 74. http://dx.doi.org/10.5539/elt.v8n12p74.

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This paper, as an attempt to find a solution to the problem of ‘Identity Crisis’ brought about by the traditional spoon-feeding Education Mode, explores to construct a new mode of vocal music teaching characterized by an interaction on an equal and democratic footing between learners and the teacher in light of Habermas’ Communicative Action theory. This new mode, taking into consideration students’ personalities and characteristics, can help to cultivate their innovative spirit and practical ability, hence enhancing the expressiveness of the teaching content and bettering teaching effect and the quality of vocal music talents.

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Yuhwen Wang. "Expressiveness in the Premodern Performance Style of Chinese Music: "Equanimity" in Abing". Asian Music 41, n.º 1 (2010): 127–65. http://dx.doi.org/10.1353/amu.0.0047.

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Ginsborg, Jane. "Review of Expressiveness in music performance: Empirical approaches across styles and cultures." Psychomusicology: Music, Mind, and Brain 25, n.º 2 (junio de 2015): 155–58. http://dx.doi.org/10.1037/pmu0000092.

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Platz, Friedrich y Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance". Music Perception 30, n.º 1 (1 de septiembre de 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.

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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.

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41

Ma, Sihan y Ruohua Zhou. "Violin Music Emotion Recognition with Fusion of CNN–BiGRU and Attention Mechanism". Information 15, n.º 4 (16 de abril de 2024): 224. http://dx.doi.org/10.3390/info15040224.

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Music emotion recognition has garnered significant interest in recent years, as the emotions expressed through music can profoundly enhance our understanding of its deeper meanings. The violin, with its distinctive emotional expressiveness, has become a focal point in this field of research. To address the scarcity of specialized data, we developed a dataset specifically for violin music emotion recognition named VioMusic. This dataset offers a precise and comprehensive platform for the analysis of emotional expressions in violin music, featuring specialized samples and evaluations. Moreover, we implemented the CNN–BiGRU–Attention (CBA) model to establish a baseline system for music emotion recognition. Our experimental findings show that the CBA model effectively captures the emotional nuances in violin music, achieving mean absolute errors (MAE) of 0.124 and 0.129. The VioMusic dataset proves to be highly practical for advancing the study of emotion recognition in violin music, providing valuable insights and a robust framework for future research.

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42

Trehub, Sandra E. y Takayuki Nakata. "Emotion and music in infancy". Musicae Scientiae 5, n.º 1_suppl (septiembre de 2001): 37–61. http://dx.doi.org/10.1177/10298649020050s103.

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The infant's environment is filled with musical input. Mothers’ speech to infants is music-like, exhibiting a variety of musical features that reflect its emotional expressiveness. Although this speech has similar melodic contours across cultures, which reflect comparable expressive intentions, each mother has individually distinctive interval patterns or speech tunes. Mothers also sing to infants in an emotive manner, their repeated performances being unusually stable in pitch and tempo. Infants prefer affectively positive speech to affectively neutral speech, and they prefer infant-directed performances of songs to other performances. When infants are presented with audio-visual versions of their mother's speech and singing, they exhibit more sustained interest in the singing than in the speech episodes. Finally, live maternal singing has more sustained effects on infant arousal than does live maternal speech. We discuss the implications of these findings and suggest directions for future research.

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43

Todd, Cain. "Percevoir l’expression émotionnelle dans les objets inanimés : l’exemple du vin". Dialogue 51, n.º 1 (marzo de 2012): 129–39. http://dx.doi.org/10.1017/s0012217312000273.

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ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine.

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Cherednichenko, A. "Means of influence on workability of higher education students in physical education classes". New Collegium 3, n.º 111 (15 de junio de 2023): 65–69. http://dx.doi.org/10.30837/nc.2023.3.65.

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The article defines the means of influencing the work capacity of students of higher education in physical education classes. The question arises of preserving and restoring working capacity, as well as the body's energy resources. In the course of the research, it was proven that some music has a positive effect on the functional state of a person. Analysis of the issue of the use of means of musical expressiveness to the specified problem showed that it remains insufficiently studied. The diverse influence of music on the psychophysical state of a person determined its application to optimization and restoration of working capacity. It was noted that the influence of certain musical genres and trends, individual means of musical expressiveness, and the form (content) of musical material require further research. It is noted that it remains necessary to carry out laboratory experimental research in this direction; it is necessary to develop and justify, together with specialists in musical art, special psychological and pedagogical conditions regarding the influence of musical material on the functional state of students. About 97 % of students believe that the musical accompaniment of independent physical exercises has a positive effect on their level of well-being, activity and mood; 63 % consider entertainment music to be the best genre for this; almost 73 % believe that listening to musical works accelerates recovery of the level of working capacity. The authors stated that it is necessary to conduct specially organized classes on physical education exclusively with musical accompaniment, preferably with the use of entertainment and folk music. We also note that it is necessary to develop and substantiate together with specialists in musical art special pedagogical conditions regarding the influence of music on the functional state of students.

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Cybulska, Eva M. "Boléro unravelled: a case of musical perseveration". Psychiatric Bulletin 21, n.º 9 (septiembre de 1997): 576–77. http://dx.doi.org/10.1192/pb.21.9.576.

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Maurice Ravel (1875–1937), a musician of the highest order, died in a state of dementia. A genius of orchestration, a successful experimenter in musical forms and styles; he was at his best when given to composing small-scale constructions. His musical miniatures combine an extraordinary expressiveness with an unparalleled, almost mechanical precision. The latter quality provoked Stravinsky into calling him a “Swiss clock-maker of music”.

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46

Parker, Elizabeth Cassidy. "Uncovering adolescent choral singers’ philosophical beliefs about music-making: A qualitative inquiry". International Journal of Music Education 29, n.º 4 (11 de octubre de 2011): 305–17. http://dx.doi.org/10.1177/0255761411421092.

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The purpose of this qualitative inquiry was to investigate adolescent choral singers’ philosophical beliefs regarding music-making within three different, mid-sized, Midwestern mixed choirs in the United States. Eighteen participants were interviewed for approximately 40 minutes each. Audio files were transcribed and coded with four themes resulting: (1) music-making as a simultaneously feelingful experience for participants; (2) musical knowing as interpersonal knowing; (3) expressed music as expressed feeling; and (4) music-making as enlightening. Participants verified the data through member checks. The presence of a peer de-briefer helped the investigator work through potential ethical issues. The findings reflect many ideas within the field of music philosophy including aesthetic perception, expressiveness by convention, music-making as distinctly human and art as self-unification. Findings also aligned with past studies regarding participants’ expressed meaning of musical experiences including areas such as social growth, expression of emotion, increased self-confidence, and development of personal character. Future suggestions for study include investigating perspectives of individual performers and participants who engage in different music ensembles to strengthen understanding of contextual factors.

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47

RUCSANDA, Mădălina y Alexandra BELIBOU. "Numerological symbols in Schoenberg's creation". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), n.º 1 (2021): 75–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.9.

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Expressionism in music was the movement that brought the contrast to previous eras promoting a tense music, exacerbation of means of expression and destruction of tonal balance. The works that belong to this innovative artistic movement involve diverse interpretations, because they capture the general tense atmosphere, from an aestheticphilosophical perspective, highlighting some text-sonority correspondences and the expressiveness of the elements of musical language. Over time, various connections have been made between music and mathematics, proving that mathematics can give a solid, deep foundation to music, without having a major impact on the rendering of feelings. This research presents some aspects of how numerology influenced and marked the creation of the expressionist composer Arnold Schoenberg. By using the symbolism of numbers, we can better understand the way the composer thought and created his music, strongly marked by the dissolution of tonality, the twelve-tone technique, and the transition from belcanto to "Sprechgesang" and “Sprechmelodie”.

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48

Hexel, Vasco. "The use of dance music and the synergy of narrative vehicles in Run Lola Run". Soundtrack 3, n.º 2 (1 de diciembre de 2010): 83–96. http://dx.doi.org/10.1386/st.3.2.83_1.

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Run Lola Run (Tom Tykwer, 1998) is unconventional on many levels. Its narrative structure, editing style and use of mixed media are highly ambitious. Director, writer and composer Tom Tykwer had a strong creative vision for the film and wanted to captivate and fully engage the viewer. The underscore consists of prominently featured through-composed dance music. The chosen musical idiom is a pastiche of contemporary dance music, rock and pop, combining hypnotic techno beats with mainstream rock appeal. The cue Running One is analysed with regards to the correlation of music and (non-)diegetic sound, as well as music and visuals. The article considers the effect of dance music on the listener, the chosen musical idiom is described as an ideal choice to have a high level of impact on the target audience. The synergetic relationship of the narrative vehicles in Run Lola Run proves effective in attaining the dramatic expressiveness Tywker envisioned.

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Lee, Eun-kyung. "Effect of Cooperative Music Activities on Empathy Ability, Emotional Expressiveness and Social Intelligence". Journal of Children's Literature and Education 20, n.º 1 (31 de marzo de 2019): 399–425. http://dx.doi.org/10.22154/jcle.20.1.17.

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Ren, Gang, Justin Lundberg, Mark F. Bocko y Dave Headlam. "The shape of musical sound: Real‐time visualizations of expressiveness in music performance." Journal of the Acoustical Society of America 127, n.º 3 (marzo de 2010): 1983. http://dx.doi.org/10.1121/1.3385099.

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