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Статті в журналах з теми "Guitar; musical performance; expressivity"
Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
Повний текст джерелаBlazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.
Повний текст джерелаParrott, Mackenzie L., and John Nix. "Listener ratings of singer expressivity in musical performance." Journal of the Acoustical Society of America 139, no. 4 (April 2016): 2035. http://dx.doi.org/10.1121/1.4950015.
Повний текст джерелаSupriando, Supriando. "PERTUNJUKAN MUSIK GRANDE OUVERTURE, ASTURIAS, DAN KARAK LILISAN DALAM SOLO GITAR." Puitika 12, no. 2 (September 18, 2016): 160. http://dx.doi.org/10.25077/puitika.12.2.160--175.2016.
Повний текст джерелаTorge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.
Повний текст джерелаIvannikov, Tymur, and Tetiana Filatova. "Specific Sound Production Techniques in Academic Guitar Music." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 111–25. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.08.
Повний текст джерелаVuoskoski, Jonna K., Marc R. Thompson, Eric F. Clarke, and Charles Spence. "Crossmodal interactions in the perception of expressivity in musical performance." Attention, Perception, & Psychophysics 76, no. 2 (November 15, 2013): 591–604. http://dx.doi.org/10.3758/s13414-013-0582-2.
Повний текст джерелаZorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (November 3, 2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
Повний текст джерелаCastro, Renato Moreira Varoni de. "Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão." Per Musi, no. 34 (August 2016): 35–61. http://dx.doi.org/10.1590/permusi20163402.
Повний текст джерелаIndrawan, Andre, Noer Iskandar Albarsani, Kustap Kustap, and Suryati Suryati. "Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 204–20. http://dx.doi.org/10.15294/harmonia.v21i2.31750.
Повний текст джерелаДисертації з теми "Guitar; musical performance; expressivity"
Costalonga, Leandro. "Biomechanical modelling of musical performance : a case study of the guitar." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2517.
Повний текст джерелаSilva, Luciano Cesar Morais e. "Interpretação musical como hermenêutica da música: um ensaio sobre performance." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-17122014-094150/.
Повний текст джерелаPerformance, as research field, takes an argumentation about epistemology. Its self-comprehension changes from a subjectivity to fixed normativities, letting hidden the historic pre-supositions that makes valid the statements of validly. Since hermeneutics, in the proposition of Hans-Georg Gadamer, studies the conditions of validly of interpretation, we propose think musical interpretation based on this philosophical approach. The conscience hermeneutically formed makes systematic study of the interpreter as well as the work, in the potential critics and overwhelming of the normativity limits that the discussion about the previous structure of comprehension allows. Two cases give the examples of the interpretative gain of hermeneutic offers: a manual of technics by Andrés Segovia, and a Domenico Scarlatti\'s work transcribed for guitar by Sérgio Abreu.
Pires, Aristoteles de Almeida. "A sonoridade do violão na execução musical : um estudo sobre os seus aspectos formadores e análise de duas gravações das Quatro Peças Breves de Frank Martin." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7376.
Повний текст джерелаSound is an important aspect to guitar performance. The purpose of this work is to study the sound as an element of musical performance, understanding the aspects which form it as seen through technique, text and perception, using two recordings of the Frank Martin´s Quatre Pièces Brèves as example. The results were based on the theoretical framework considering the possibilities of musical performance and how the guitar sound works in this context.
Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.
Повний текст джерелаRuiz, Mestre Hermelindo. "GUITAR ARRANGEMENTS OF SELECTED DANZAS OF JUAN F. ACOSTA, WITH NEW CONSIDERATIONS OF HIS MUSIC AND MUSICAL LIFE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/125.
Повний текст джерелаPires, Thomas König. "Changes (1983) para violão de Elliott Carter : a construção de um plano de estudo a partir de um auto-relato." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/61263.
Повний текст джерелаThis work presents a self-report concerning the construction of the performance of Changes (1983) for guitar, by Elliot Carter, with a structural analysis and its relationship towards the difficulties encountered during its preparation. Well-known learning strategies were applied and new ones were created when necessary. A plan for the study of the rhythmic complexities of the piece was elaborated with exercises that address the difficulties encountered, especially those pertaining to the quintuplets and metric modulation. The identification of musical characters was fundamental for the construction of the interpretation of the piece. The system organized as the study plan, as well as the learning strategies developed may help others in the preparation of this and other works.
Lemos, Caio Victor de Oliveira [UNESP]. "O estatuto enunciativo do intérprete violonista." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151465.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.
Vanzela, Alexsander. "Aplica??o do software Guitar Pro no ensino de guitarra el?trica e a colabora??o para o aprendizado e redu??o da ansiedade: uma proposta de uso de partitura e tablatura." UFVJM, 2016. http://acervo.ufvjm.edu.br/jspui/handle/1/1180.
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? comum deparar-se com um grande n?mero de pessoas que buscam aprender a tocar guitarra de forma r?pida, sem o aux?lio de um profissional qualificado, atrav?s de cursos livres e, ou outros meios dispon?veis na Internet. Na ?nsia deste aprendizado, o indiv?duo passa a receber informa??es fracionadas, n?o utilizando m?todos que aliem o uso de teoria musical ? pr?tica da guitarra, trazendo consigo uma defici?ncia te?rica musical. Para que isso n?o ocorra, existem institui??es que trabalham com o ensino musical, ? o caso do Conservat?rio Estadual de M?sica ?Lobo de Mesquita? de Diamantina, em Minas Gerais, que disponibiliza gratuitamente ? popula??o cursos de m?sica, buscando a forma??o de profissionais nesta ?rea, deixando-os aptos a ingressar em uma universidade ou a seguir uma carreira profissional. Um dos desafios neste processo do ensino trata-se da leitura e escrita musical, cujo aprendizado requer dedica??o e causa ansiedade por ser uma linguagem musical. A quest?o central que norteou esse trabalho foi se a aplica??o de recursos atuais poderia facilitar a leitura e a performance musical pelos estudantes de guitarra el?trica. A pesquisa foi desenvolvida no Conservat?rio Estadual de M?sica ?Lobo de Mesquita? com estudantes do curso inicial de guitarra el?trica e visou avaliar um m?todo de aprendizado em leitura de tablatura e partitura balizado pelas novas tecnologias dispon?veis, sem prescindir das tradicionais. Pretendeu-se proporcionar ao estudante de guitarra el?trica uma forma diferenciada de aprender e executar pe?as escritas em partitura e tablatura, reduzir sua ansiedade e melhorar a performance com o uso de tecnologia da informa??o atrav?s do software Guitar Pro 6. Foram estimuladas as habilidades de escuta musical, leitura em partitura e tablatura e pr?tica no instrumento musical a partir de exerc?cios propostos pelo professor, comparando-se o desempenho desenvolvido atrav?s do m?todo tradicional e o resultado do uso do software Guitar Pro 6. Al?m da avalia??o comparativa da t?cnica de execu??o desenvolvida pelos estudantes, foi analisada a ansiedade na performance musical inspirado na tabela Kenny Music Performance Anxiety Inventory (K-MPAI), cujo m?todo foi modificado para aplica??o a um p?blico diferente. Com a an?lise dos resultados foi poss?vel observar que o uso do software Guitar Pro 6 durante o curso de guitarra para alunos iniciantes influenciou positivamente o aprendizado, proporcionando aos mesmos uma melhora quanto ?s habilidades de leitura e execu??o a partir do registro em pauta e da leitura conjunta pauta/tablatura, contribuindo ainda para o aumento da autonomia e redu??o da ansiedade dos estudantes.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Sa?de, Sociedade e Ambiente, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016.
It is common to came across a large number of people who seek a quick way of learning how to play the guitar, without the help of a qualified professional, by means of informal courses and/or by other ways available on the Internet. Longing for this learning, the individual ends up with receiving fractional information, and does not use methods that entail the music theory to the guitar practice, carrying along a theoretical musical deficiency. In order to avoid this, there are institutions that work with musical learning, like the Conservat?rio Estadual de M?sica ?Lobo de Mesquita?, in Minas Gerais, which offers to the population free musical courses, seeking to form professionals in this area, to qualify them either for joining a University or to follow a professional career. One of the challenges in the process of teaching is related to the music reading and writing, whose learning requires endeavor and causes anxiety due to the musical language. The central matter that guided this work was to verify if the use of current tools could turn easier the musical reading and performance by students of electric guitar. The research was developed in the Conservat?rio Estadual de M?sica ?Lobo de Mesquita? with students of the initial course of electric guitar, and it aimed to evaluate a method of learning how to read tablature and score, based on new available technologies, without excluding the traditional ones. The intention was to offer the students of electric guitar a differentiated way of learning and playing musical pieces written in score and tablature, to reduce the anxiety and to improve performance by means of informational technology with the use of the software Guitar Pro 6. Abilities of musical listening, reading of score and tablature, as well as practice in the musical instrument were stimulated with the use of exercises proposed by the teacher. The performance developed by means of the traditional method and results obtained by using the software Guitar Pro 6 were compared. Besides the comparative evaluation of the technique developed by students, it was analyzed the anxiety in musical performance with inspiration in the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire, whose method was modified to be applied to a different public. Analyzing results, it was possible to verify that the use of the software Guitar Pro 6 during the guitar course for beginning students influenced the learning positively, providing the students an improvement in the abilities of learning and practicing from the score records, and in the combined reading from score/tablature, contributing to increase autonomy of students and to decrease anxiety.
Pierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
Повний текст джерелаTenorio, Luciana Elisa Lozada. "O processo de transcrição de villancicos do cancioneiro de Upsala para voz e violão." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/5314.
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This article is the result of the investigative work on the methods and criteria regarding XVI centry single voice and vihuela villancicos transcripts. The data was obtnaied through the bilbiographic research of articles, dissertations, Juan Bermudo's treatise on the subject (1555) and the comparative analysis of then villancicos transcriptions dated from the XVI century. The main goal in this project is to apply the studied procedures in transcribing eight villancicos form the Cancionero de Upsala for guitar single-voice, confirming that the knowledge gained through the study of past methods and procedures are applicable to contemporany music perfomance. The core of the work consistis of a study on the history and characteristics of the villancicos; a contextualization on the Italian, French, German, Englihs and Spanish transcribing methods for works regarding plucked string instruments and voice; a detailed analysis on Spanish transcription procedures of sixteenth century and the application of those methods on eight villancicos for voice and guitar.
O presente trabalho pretende investigar e registrar critérios e procedimentos de transcrição de villancicos para uma voz e vihuela utilizados no século XVI, por meio da análise bibliográfica do quarto livro, intitulado "De tañer vihuela",contido no tratado "Declaración de instrumentos musicales" (1555) de Juan Bermudo, além do estudo de artigos e dissertações, assim como da análise comparativa de dez entabulações de villancicos realizados na época e suas respectativas fontes vocais. O objetivo principal desta pesquisa consiste na aplicação destes procedimentos na transcrição de oito villancicos do Cancionero de Upsala para uma voz e violão, consubstanciando a assertiva de que os conhecimentos adquiridos através da investigação musicológica atuam como esteio à performance musical da contemporaneidade. O trabalho consta de um estudo sobre a história e características do villancico; uma contextualização sobre o processo de entabulação para uma voz e instrumento de cordas dedilhadas na Itália, Inglaterra, Alemanha, França e Espanha; uma análise dos procedimentos utilizados na entabulação de villancicos; na Espanha, século XVI e finalmente uma exposição e justificativa dos procedimentos de transcrição aplicados em oito villancicos para uma voz e violão.
Книги з теми "Guitar; musical performance; expressivity"
Dawe, Kevin. The new guitarscape in critical theory, cultural practice and musical performance. Burlington, VT: Ashgate, 2009.
Знайти повний текст джерелаThe new guitarscape in critical theory, cultural practice and musical performance. Farnham, Surrey, England: Ashgate, 2010.
Знайти повний текст джерелаA guide to playing the baroque guitar. Bloomington: Indiana University Press, 2011.
Знайти повний текст джерелаDawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2016.
Знайти повний текст джерелаDawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2017.
Знайти повний текст джерелаDawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2017.
Знайти повний текст джерелаCharlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. New York, USA: Hal Leonard, 2001.
Знайти повний текст джерелаParker, Charlie, and Mark Voelpel. Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Hal Leonard Corporation, 2001.
Знайти повний текст джерелаVoelpel, Mark, and Charlie Parker. Charlie Parker for Guitar: Note-For-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Leonard Corporation, Hal, 2001.
Знайти повний текст джерелаVoelpel, Mark, and Charlie Parker. Charlie Parker for Guitar: Note-For-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Leonard Corporation, Hal, 2001.
Знайти повний текст джерелаЧастини книг з теми "Guitar; musical performance; expressivity"
WILLIAMON, AARON. "Feedback learning of musical expressivity." In Musical ExcellenceStrategies and Techniques to Enhance Performance, 247–70. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198525356.003.0013.
Повний текст джерелаMiller, Kiri. "How Musical Is Guitar Hero?" In Playing AlongDigital Games, YouTube, and Virtual Performance, 85–124. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199753451.003.0003.
Повний текст джерела"Ten Musical Lives of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 1–18. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-1.
Повний текст джерела"Materiality and the Virtual Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 87–108. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-5.
Повний текст джерела"Taking Stock of the Guitar Phenomenon." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 19–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-2.
Повний текст джерела"The Sensual Culture of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 109–28. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-6.
Повний текст джерела"The Power and Agency of the Guitar." In The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, 151–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315085692-8.
Повний текст джерелаMargulis, Elizabeth Hellmuth. "5. The psychology of music performance." In The Psychology of Music: A Very Short Introduction, 63–78. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780190640156.003.0005.
Повний текст джерелаSloboda, John. "The Acquisition of Musical Performance Expertise: Deconstructing the ‘Talent’ Account of Individual Differences in Musical Expressivity." In Exploring the Musical MindCognition, emotion, ability, function, 274–96. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0016.
Повний текст джерелаKenny, Elizabeth. "Italian Performance Practices in Seventeenth-Century English Song." In The Edinburgh Companion to Literature and Music, 209–18. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0022.
Повний текст джерелаТези доповідей конференцій з теми "Guitar; musical performance; expressivity"
Parrott, Mackenzie L., and John P. Nix. "Listener ratings of singer expressivity in musical performance." In 171st Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000237.
Повний текст джерелаVieira, Rômulo, João Teixeira Araújo, Edimilson Batista, and Flávio Luiz Schiavoni. "Automatic classification of instruments from supervised methods of machine learning." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19418.
Повний текст джерела