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Artykuły w czasopismach na temat "Music expressiveness"
Sreckovic, Sanja. "The expressiveness of music". Theoria, Beograd 58, nr 3 (2015): 19–39. http://dx.doi.org/10.2298/theo1503021s.
Pełny tekst źródłaYoung, James O. "How Classical Music is Better than Popular Music". Philosophy 91, nr 4 (30.08.2016): 523–40. http://dx.doi.org/10.1017/s0031819116000334.
Pełny tekst źródłavan, der. "Kivy and Langer on expressiveness in music". Muzikologija, nr 14 (2013): 191–200. http://dx.doi.org/10.2298/muz1314191s.
Pełny tekst źródłaFlamm, Christoph. "Expressiveness in Stravinsky’s late works". Muzikologija, nr 34 (2023): 59–68. http://dx.doi.org/10.2298/muz2334059f.
Pełny tekst źródłaKravchuk, Tatiana Nikolaevna, Iryna Anatoliivna Ryadinska i Elizaveta Ihorivna Zelenska. "Peculiarities of training expressiveness of athletes engaged in sports acrobatics at the stages of basic and specialized training". Health-saving technologies, rehabilitation and physical therapy 2, nr 1 (2.12.2021): 92–98. http://dx.doi.org/10.58962/hstrpt.2021.2.1.92-98.
Pełny tekst źródłaTeixeira, Euler C. F., Mauricio A. Loureiro i Hani C. Yehia. "Expressiveness in Music From a Multimodal Perspective". Music Perception 36, nr 2 (1.12.2018): 201–16. http://dx.doi.org/10.1525/mp.2018.36.2.201.
Pełny tekst źródłaKim, Jin Hyun. "Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness". Empirical Musicology Review 8, nr 3-4 (24.10.2013): 162. http://dx.doi.org/10.18061/emr.v8i3-4.3937.
Pełny tekst źródłaStecker, Robert. "Expressiveness and Expression in Music and Poetry". Journal of Aesthetics and Art Criticism 59, nr 1 (luty 2001): 85–96. http://dx.doi.org/10.1111/0021-8529.00009.
Pełny tekst źródłaMarkova, Оlena M. "phenomenon of musicality in expressiveness of V. Kandinskyi canvases". Linguistics and Culture Review 5, S2 (29.07.2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.
Pełny tekst źródłaMoura, Nádia, Pedro Fonseca, Márcio Goethel, Patrícia Oliveira-Silva, João Paulo Vilas-Boas i Sofia Serra. "The impact of visual display of human motion on observers’ perception of music performance". PLOS ONE 18, nr 3 (8.03.2023): e0281755. http://dx.doi.org/10.1371/journal.pone.0281755.
Pełny tekst źródłaRozprawy doktorskie na temat "Music expressiveness"
Macfarlane, Clare J. "The effect of verbal discussion on musical expressiveness". Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.
Pełny tekst źródłaStevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /". Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.
Pełny tekst źródłaZheng, Qiongzi. "Performance Techniques, Aesthetic Principles and the Role of the Folk Music Tradition in Enhancing Expressiveness in Performance of the Contemporary Zheng Repertoire". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20317.
Pełny tekst źródłaCruz, Eliete da Silva. "Linguagem, música e expressividade sob a perspectiva crítica de Rousseau". Universidade Federal do Maranhão, 2017. http://tedebc.ufma.br:8080/jspui/handle/tede/1575.
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The main objective of this dissertation is to investigate the musical ideas of Jean-Jacques Rousseau, thoroughly analyzing its line of argument as well as his criticism and censorship approach. Therefore, we use as a starting point the work entitled Carta sobre a música francesa. In this paper we focus our attention on the temporal aspects, analyzing the circumstances that led Rousseau to draw up the Carta. The time vector has as common respect the origin of languages and music, and how language impacts the music on the aesthetics and sound. Thus, it is essential that the approach to the subject was drawn from a historical perspective on the origin of the Italian and French operas, and on the opera features in the Age of Enlightenment.
O objetivo principal desta dissertação é investigar as concepções musicais de Jean-Jacques Rousseau, analisando detalhadamente sua linha argumentativa como também sua abordagem crítica e de censura. Para tanto, utilizamos como ponto de partida o trabalho intitulado Carta sobre a música francesa. Neste trabalho focamos nossa atenção nos aspectos temporais, analisando as circunstâncias que levaram Rousseau a elaboração da Carta. O vetor temporal tem como relação comum a origem das línguas e da música, e de como a língua impacta a música sob os aspectos estéticos e de sonoridade. Assim, tornou-se fundamental que a abordagem sobre o tema fosse elaborada a partir de uma perspectiva histórica sobre a origem das óperas italiana e francesa, e as características musicais vigentes no século das Luzes.
Macauslan, John. "Schumann's music and Hoffmann's fictions". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.
Pełny tekst źródłaZumpano, Nívia Gasparini 1968. "Os parâmetros expressivos na execução ao cravo e suas abordagens = um estudo sobre a expressividade cravística = Expressive parameters in the harpsichord performance: a harpsichord expressiveness study". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284444.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sobre sua influência na sonoridade do instrumento, procurando-se destacar questões relativas à possibilidade de dinâmica no cravo. Com o objetivo de verificar a maneira como a expressividade tem sido abordada no contexto de aprendizado cravístico e a forma como os estudantes manipulam os parâmetros analisados, realizou-se também uma pesquisa com alunos e ex-alunos de diversas Instituições de Ensino do país. Ao final, a análise dos resultados obtidos possibilitou a visualização da forma como os parâmetros podem influenciar acusticamente a sonoridade na execução, permitindo concluir que sua manipulação pelo intérprete amplia as possibilidades expressivas do instrumento
Abstract: In this thesis we offer a discussion about harpsichord's expressiveness with emphasis on some performance parameters. Thus, we defined some factors associated to the expressiveness from the specialized literature and in the next step we performed a study about its influence on harpsichord's sound, seeking to highlight the instrument dynamic possibilities. In order to check how the expressiveness has been addressed in the context of harpsichords' learning and how students manipulate the parameters, we also carried out a survey involving harpsichord students in different educational institutions. Finally, the results' analysis showed us how expressive parameters can influence acoustically the harpsichord sound, allowing conclude that performer's manipulation expands the instrument expressive possibilities
Doutorado
Fundamentos Teoricos
Doutora em Música
Bedoya, Ramos Daniel. "Capturing Musical Prosody Through Interactive Audio/Visual Annotations". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS698.
Pełny tekst źródłaThe proliferation of citizen science projects has advanced research and knowledge across disciplines in recent years. Citizen scientists contribute to research through volunteer thinking, often by engaging in cognitive tasks using mobile devices, web interfaces, or personal computers, with the added benefit of fostering learning, innovation, and inclusiveness. In music, crowdsourcing has been applied to gather various structural annotations. However, citizen science remains underutilized in musical expressiveness studies. To bridge this gap, we introduce a novel annotation protocol to capture musical prosody, which refers to the acoustic variations performers introduce to make music expressive. Our top-down, human-centered method prioritizes the listener's role in producing annotations of prosodic functions in music. This protocol provides a citizen science framework and experimental approach to carrying out systematic and scalable studies on the functions of musical prosody. We focus on the segmentation and prominence functions, which convey structure and affect. We implement this annotation protocol in CosmoNote, a web-based, interactive, and customizable software conceived to facilitate the annotation of expressive music structures. CosmoNote gives users access to visualization layers, including the audio waveform, the recorded notes, extracted audio attributes (loudness and tempo), and score features (harmonic tension and other markings). The annotation types comprise boundaries of varying strengths, regions, comments, and note groups. We conducted two studies aimed at improving the protocol and the platform. The first study examines the impact of co-occurring auditory and visual stimuli on segmentation boundaries. We compare differences in boundary distributions derived from cross-modal (auditory and visual) vs. unimodal (auditory or visual) information. Distances between unimodal-visual and cross-modal distributions are smaller than between unimodal-auditory and cross-modal distributions. On the one hand, we show that adding visuals accentuates crucial information and provides cognitive scaffolding for accurately marking boundaries at the starts and ends of prosodic cues. However, they sometimes divert the annotator's attention away from specific structures. On the other hand, removing the audio impedes the annotation task by hiding subtle, relied-upon cues. Although visual cues may sometimes overemphasize or mislead, they are essential in guiding boundary annotations of recorded performances, often improving the aggregate results. The second study uses all CosmoNote's annotation types and analyzes how annotators, receiving either minimal or detailed protocol instructions, approach annotating musical prosody in a free-form exercise. We compare the quality of annotations between participants who are musically trained and those who are not. The citizen science component is evaluated in an ecological setting where participants are fully autonomous in a task where time, attention, and patience are valued. We present three methods based on common annotation labels, categories, and properties to analyze and aggregate the data. Results show convergence in annotation types and descriptions used to mark recurring musical elements across experimental conditions and musical abilities. We propose strategies for improving the protocol, data aggregation, and analysis in large-scale applications. This thesis contributes to representing and understanding performed musical structures by introducing an annotation protocol and platform, tailored experiments, and aggregation/analysis methods. The research shows the importance of balancing the collection of easier-to-analyze datasets and having richer content that captures complex musical thinking. Our protocol can be generalized to studies on performance decisions to improve the comprehension of expressive choices in musical performances
Ghomi, Emilien. "Designing expressive interaction techniques for novices inspired by expert activities : the case of musical practice". Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00839850.
Pełny tekst źródłaChabot-Canet, Céline. "Interprétation, phrasé et rhétorique vocale dans la chanson française depuis 1950 : expliciter l’indicible de la voix". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20055.
Pełny tekst źródłaThe present thesis focuses on the study of the song not in its word and music dialectic but through the acquisition of a third entity : the vocal rendition. The point is to reveal its critical importance and richness and make it legitimate as a subject of study as the result of the implementation of a specific methodological and lexical protocol that allows the analysis – as with the composition – although its changeable nature is not conducive to theorizing. Considered as a complex object (according to Edgar Morin’s terminology), vocal rendition is submitted to the crossfire of various disciplines (musicology, linguistics, rhetoric, acoustics) in order to favour as far as it is possible its objectivization. Within the framework of musicology, the use of computer tools makes it possible to establish a complementarity between the perspectives of social sciences and exact sciences, to catch and analyse the peculiarities of the performances both in their dominant or agogic characters, their connexions to the score, their combinatorial complexity within the meta-parameters (timbre, rhythm, phrasing), as well as the dialogical tensions which run through them (variation and repetition, melodicity and noise integration, singing and speaking parts). Thanks to the existence of a large body of French-speaking singers (from Rive Gauche style to Nouvelle chanson française) it is possible by studying studio and concert recordings to grasp the irreducible specificity of everyone (what is issued from a unique body) as well as the great underlying networks of stylistic relationships. Disclosed by the semeiological perspective, around the notions of strategy and performance designs, vocal rhetoric, the way to induce pathos and to express ethos, there emerges a typology of performing styles that is open to considering the intrinsic originality of each performer and integrating further generic developments
Recly, Mathilde. "La technique vocale de Michael Jackson : polyvocalité, théâtralité et virtuosité". Thèse, 2018. http://hdl.handle.net/1866/21875.
Pełny tekst źródłaKsiążki na temat "Music expressiveness"
Oltețeanu, Ion. Understanding music theory: Meaning, self-conciousness, and emotional expressiveness. New York: Addelton Academic Publishers, 2010.
Znajdź pełny tekst źródłaState sacrifices and music in Ming China: Orthodoxy, creativity, and expressiveness. Albany: State University of New York Press, 1998.
Znajdź pełny tekst źródłaFabian, Dorottya, Renee Timmers i Emery Schubert, red. Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.001.0001.
Pełny tekst źródłaTimmers, Renee, i Emery Schubert, red. Expressiveness in Music Performance: Empirical approaches across styles and cultures. Oxford University Press, 2014.
Znajdź pełny tekst źródłaExpressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford University Press, Incorporated, 2014.
Znajdź pełny tekst źródłaState Sacrifices And Music In Ming China Orthodoxy Creativity And Expressiveness. State University of New York Press, 1998.
Znajdź pełny tekst źródłaDavies, Stephen. Music. Redaktor Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0028.
Pełny tekst źródłaMaus, Fred Everett. Sexuality, Trauma, and Dissociated Expression. Redaktorzy Blake Howe, Stephanie Jensen-Moulton, Neil Lerner i Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.39.
Pełny tekst źródłaSpitzer, Michael. Affective shapes and shapings of affect in Bach’s Sonata for Unaccompanied Violin No. 1 in G minor (BWV 1001). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0008.
Pełny tekst źródłaHill, Constance Valis. Brotherhood in Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.001.0001.
Pełny tekst źródłaCzęści książek na temat "Music expressiveness"
Guillemain, Philippe, Robin T. Helland, Richard Kronland-Martinet i Sølvi Ystad. "The Clarinet Timbre as an Attribute of Expressiveness". W Computer Music Modeling and Retrieval, 246–59. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_19.
Pełny tekst źródłaDella Ventura, Michele. "Shaping the Music Perception of an Automatic Music Composition: An Empirical Approach for Modelling Music Expressiveness". W Proceedings of the Tenth International Conference on Soft Computing and Pattern Recognition (SoCPaR 2018), 1–10. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17065-3_1.
Pełny tekst źródłaÇorlu, Muzaffer, Pieter-Jan Maes i Marc Leman. "Cognitive and Sensorimotor Resources for the Encoding of Expressiveness During Music Playing". W The Routledge Companion to Embodied Music Interaction, 69–77. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-8.
Pełny tekst źródłaLawson, Bill E. "Jazz and the African-American Experience: The Expressiveness of African-American Music". W Language, Mind, and Art, 131–42. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8313-8_10.
Pełny tekst źródłaVentura, Michele Della. "Computer System for Designing Musical Expressiveness in an Automatic Music Composition Process". W Communications in Computer and Information Science, 434–43. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2826-8_38.
Pełny tekst źródłaYoung, James O. "Music and Expressiveness". W Critique of Pure Music, 1–34. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199682713.003.0001.
Pełny tekst źródłaAshley, Richard. "Expressiveness in Funk". W Expressiveness in music performance, 154–69. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0009.
Pełny tekst źródłaCook, Nicholas. "Implications for Music Studies". W Expressiveness in music performance, 330–34. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0018.
Pełny tekst źródłaMilsom, David, i Neal Peres Da Costa. "Expressiveness in Historical Perspective". W Expressiveness in music performance, 80–97. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0005.
Pełny tekst źródłaBauer, William R. "Expressiveness in Jazz Performance". W Expressiveness in music performance, 133–53. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0008.
Pełny tekst źródłaStreszczenia konferencji na temat "Music expressiveness"
Introini, Alberto, Giorgio Presti i Giuseppe Boccignone. "Audio Features Affected by Music Expressiveness". W SIGIR '16: The 39th International ACM SIGIR conference on research and development in Information Retrieval. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2911451.2914690.
Pełny tekst źródłaBarbancho, Isabel, Cristina de la Bandera, Ana M. Barbancho i Lorenzo J. Tardon. "Transcription and expressiveness detection system for violin music". W ICASSP 2009 - 2009 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2009. http://dx.doi.org/10.1109/icassp.2009.4959552.
Pełny tekst źródłaCojocaru, Daniela. "THE EXPRESSIVENESS OF ROMANIAN TRADITIONAL MUSIC IN THE CONTEXT OF MULTIVOCALITY". W 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.033.
Pełny tekst źródłaHuang, Qiaochu, Xu He, Boshi Tang, Haolin Zhuang, Liyang Chen, Shuochen Gao, Zhiyong Wu, Haozhi Huang i Helen Meng. "Enhancing Expressiveness in Dance Generation Via Integrating Frequency and Music Style Information". W ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10448469.
Pełny tekst źródłaGang, Ren, Justin Lundberg, Mark Bocko i Dave Headlam. "The Shape of Musical Sound: Real-time Visualizations of Expressiveness in Music Performance". W 159th Meeting Acoustical Society of America/NOISE-CON 2010. ASA, 2010. http://dx.doi.org/10.1121/1.3573496.
Pełny tekst źródłaPetelina, Maria Vladimirovna, i Arkady Davidovich Gevondov. "THE METHOD OF STEP-BY-STEP MASTERING THE PROFESSION OF A SINGER-ACTOR IN THE OPERA CLASS OF THE CONSERVATORY". W Themed collection of papers from II Foreign International Scientific Conference «Science in the Era of Challenges and Global Changes» by HNRI «National development» in cooperation with AFP (Puerto Cabezas, Nicaragua). December 2023. – San Cristóbal (Venezuela). Crossref, 2024. http://dx.doi.org/10.37539/231221.2023.93.41.007.
Pełny tekst źródłaLoureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina i Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.
Pełny tekst źródłaLupu, Simion Sorin. "Diction problems and their solution in Nordic lied". W International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.02.
Pełny tekst źródłaLoo, Fung Chiat, i Fung Ying Loo. "The use of a simulated model to improve visual perception of expressiveness in a sport routine through synchronisation between music and movement". W The 5th Innovation and Analytics Conference & Exhibition (IACE 2021). AIP Publishing, 2022. http://dx.doi.org/10.1063/5.0092802.
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