Breaking down the musician’s minds: How small changes in the musical instrument can impair your musical performance

2021 ◽  
pp. 1-19
Author(s):  
Luiz Naveda ◽  
Marília Nunes-Silva
Keyword(s):  
Musical Instrument ◽  
Musical Performance

scholarly journals Biological Specifics of Musical Performing Memory Essence for Musical Performance Efficiency

2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Maria Dymnikowa ◽  
Elena A. Ogorodnikova ◽  
Valentin I. Petrushin
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Music Performance ◽  
Musical Instrument ◽  
Emotional Memory ◽  
Musical Performance ◽  
Music Pedagogy ◽  
Target Level ◽  
Structural Components ◽  
Effective Work

In classical music art discipline, the memory for musical performance (i.e., music performing memory MPM) at typological analysis level is the type of musical executive prospective memory. based on executive functions and biological conditions. Its structural components are semantic declarative, kinesthetic, and emotional memory. Musical performance concern the production of musical artwork by vocal or musical instrument forms. The efficiency of this process is conditioned by ergonomic, effective work on learning, and memorizing the music. It is regulated and organized from the level of ‘reading a vista’ the musical notes text until completed memorizing for target level of music performance. The article, from the health psychology mainstream, presents methodical, practical tips with recommendations resulting from the biological principles, regularities, and specifics of this process revealed in the empirical data of such areas as neuropsychology, psychophysiology, cognitive psychology, biological psychology, and music pedagogy, with additional independent empirical verification in counseling of musicians at professional music education level. 

scholarly journals THE TRANSFORMATION OF TRUNTHUNG MUSIC FROM MUSICAL ACCOMPANIMENT TO MUSICAL PERFORMANCE IN WARANGAN VILLAGE, PAKIS, MAGELANG

2018 ◽  
Author(s):  
Fajry Sub'haan Syah Sinaga
Keyword(s):  
Musical Instrument ◽  
Musical Performance ◽  
Internal Factor ◽  
Performing Art ◽  
Musical Accompaniment

Trunthung is a a traditional musical accompaniment growing in Magelang region. Traditionally, Trunthung music is played by one person and used as musical acompaniment of Soreng Dance. In its development, Trunthung music evolved into a musical performance based on the idea from Sutanto Mendut and Eko Sunyoto that succeed to create a new art, called Truthung Art.This research aims to know the form of transformations in Trunthung music from musical accompaniment to musical performance. As well as to be able to assess and analyze several transformation factors of Trunthung music from musical accompaniment to musical performance that exist in Warangan vilage, Pakis subdistrict, Magelang regency.The results of this study indicate the transformation of Trunthung music from musical accompaniment to musical performance as seen from six aspects of the performing art such as style, genre, text, composition, transmission, and motion. One significant is the use of Trunthung musical instrument that are colossal or more than one, whereas musical accompaniment only played by one persone. There are factors that affecting this transformation consist of ecternal and internal factor. The role of Eko Sunyoto and some artist in Warangan vilage also important in capturing the Trunthung music so it can be an interesting performance to be enjoyed by art lovers both locally and globally

scholarly journals The Instrument as the Source of New in New Music

Design Issues ◽  
2017 ◽  
Vol 33 (3) ◽  
pp. 37-55 ◽  
Author(s):  
Kristina Andersen ◽  
Dan Gibson
Keyword(s):  
Design Process ◽  
Agenda Setting ◽  
Musical Instrument ◽  
Instrument Design ◽  
New Music ◽  
Musical Performance ◽  
Musical Sound ◽  
Cultural Objects ◽  
Tactile Interaction ◽  
New Instruments

How can we treat technological matter as yet another material from which our notions of possible future instruments can be constructed, intrinsically intertwined with, and informed by a practice of performance? We strive to develop musical-performance instruments not only by creating technology, but also in developing them as aesthetic and cultural objects. A musical instrument is not an interface and should not be designed as such; instead, new instruments are the source of new in new music. Like any traditional instrument, a new instrument's potential for producing quality musical sound can only be revealed when it is played. We present an instrument-design process conducted by a visionary and an agenda-setting musician. The resulting objects are experimental prototypes of technological matter, which allow analysis and meaning to be specified through physical and tactile interaction with the objects themselves. As the instruments evolve through various stages, their capability is continually enhanced, making them all the more desirable for musicians to play.

scholarly journals Intention, Effort, and Restraint: The EMG in Musical Performance

Leonardo ◽  
2015 ◽  
Vol 48 (3) ◽  
pp. 298-299 ◽  
Author(s):  
Atau Tanaka
Keyword(s):  
Machine Learning ◽  
Muscle Activity ◽  
Multimodal Interaction ◽  
Musical Instrument ◽  
Musical Performance ◽  
Instrument Response ◽  
Challenges And Opportunities

The author presents the challenges and opportunities in the use of the electromyogram (EMG), a signal representing muscle activity, for digital musical instrument applications. The author presents basic mapping paradigms and the place of the EMG in multimodal interaction and describes initial trials in machine learning. It is proposed that nonlinearities in musical instrument response cannot be modelled only by parameter interpolation and require strategies of extrapolation. The author introduces the concepts of intention, effort, and restraint as such strategies, to exploit, as well as confront limitations of, the use of muscle signals in musical performance.

scholarly journals Motor Imagery in Perception and Performance of Sound and Music

2019 ◽  
pp. 57-76
Author(s):  
Jan Schacher
Keyword(s):  
Motor Imagery ◽  
Central Element ◽  
Musical Instrument ◽  
Natural World ◽  
The Body ◽  
Musical Performance ◽  
Sound Perception ◽  
Conventional Instruments ◽  
The World ◽  
And Performance

Jan Schacher asks what it is to imagine and initiate an action on a musical instrument. For Schacher, the body is the central element of listening and sound perception, and thus the body, in an embodied and enactive sense, becomes the focus for musicking with both conventional instruments and digital instruments, where, in the latter case, bodily schemata are replaced by metaphors and instrumental representations. This last theme provides a significant topic of enquiry in the chapter, and it is explored from a number of angles, chief among which is a focus (through the lenses of motor imagery and imagination in music) on relations between inner and outer aspects of our ways and means of listening to and performing both music and sound. Ultimately, Schacher identifies a tension underlying digital musical performance brought about by the fracturing of the “action-sound” bond, a bond that is the basis for our sonic perception not only of the natural world but also of the world of culturally defined musical performance.

Sound production shows robust loudness constancy when visual cues of musical performance are available

2018 ◽  
Vol 47 (3) ◽  
pp. 436-443
Author(s):  
Akio Honda ◽  
Ayumi Yasukouchi ◽  
Yoichi Sugita
Keyword(s):  
Visual Cues ◽  
Sound Pressure ◽  
Sound Production ◽  
Musical Instrument ◽  
Sound Level ◽  
The Other ◽  
Musical Performance ◽  
Adjustment Method ◽  
Instrument Performance ◽  
Level Of Sound Pressure

We examined the degree of loudness constancy using two methods of adjustment. One was “sound production,” by which listeners played a musical instrument as loudly as a model player. The other was “sound level adjustment,” by which listeners adjusted the loudness of the sound produced by a loudspeaker. The target sound was produced by the actual musical instrument performance. Sound pressure levels of the stimuli were approximately 60, 75, and 86 dB(A). The distances between the performer and the participant were 2, 8, and 32 m. In both conditions, participants were asked to produce the level of sound pressure matching the stimulus. Results show that when visual cues of musical performance are available, sound production had more robust loudness constancy than the sound level adjustment method.

Musical Experience Shapes Neural Processing

2020 ◽  
Vol 31 (2) ◽  
pp. 81-86
Author(s):  
Wido Nager ◽  
Tilla Franke ◽  
Tobias Wagner-Altendorf ◽  
Eckart Altenmüller ◽  
Thomas F. Münte
Keyword(s):  
Mismatch Negativity ◽  
Pure Tone ◽  
Musical Instrument ◽  
Active Listening ◽  
Musical Experience ◽  
Neural Processing ◽  
Neural Adaptations

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.

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