The Performer

2021 ◽  
pp. 195-220
Author(s):  
Robert H. Woody
Keyword(s):  
Facial Expression ◽  
Interpersonal Skills ◽  
Sound Production ◽  
Live Performance ◽  
Advanced Level ◽  
Musical Sound ◽  
Know How

Skillfully singing or playing an instrument, even at a very advanced level, is not enough by itself to ensure success as a performer. Musicians who give live performances must also use body gesture, facial expression, and other elements of stage presence to enhance their musical sound production. The visual aspects of live performance are influential to how audiences perceive the music, and therefore critical to performance. Additionally, outside of unaccompanied solo performing, musicians must know how to function effectively with coperformers, both in terms of musically coordinating performance (e.g., synchronizing multiple parts and performing in tune with each other) and communicating—both verbally and nonverbally—with each other. This chapter examines aspects of being a performer that are sometimes overlooked. Music performers can gain much by giving explicit attention to mastering the visual aspects of live performance and the interpersonal skills of musical collaboration.

scholarly journals Discontinuity: A compositional approach to the dynamic decoupling of gesture and sound in live performance

2021 ◽  
Author(s):  
◽  
Marcus Jackson
Keyword(s):  
Information Flow ◽  
Sound Production ◽  
New Music ◽  
Cultural Meaning ◽  
Live Performance ◽  
New Model ◽  
Dynamic Decoupling ◽  
Model Based ◽  
Role Physical ◽  
Compositional Approach

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>

scholarly journals Musik og design. Phil spector og lydfladens medialisering

2011 ◽  
Vol 39 (111) ◽  
pp. 127-149
Author(s):  
Ulrik Schmidt
Keyword(s):  
Popular Culture ◽  
Sound Production ◽  
Extensive Literature ◽  
Sound Design ◽  
Sound Recording ◽  
Musical Sound ◽  
Music Production ◽  
General Investigation ◽  
The Subject ◽  
The Relationship

MUSIC AND DESIGN. PHIL SPECTOR AND SOUNDSCAPES MEDIATIZATIONPhil Spector is often referred to as one of history’s first true music producers, and his famed ‘Wall of Sound’ has been the model for many future musical productions. However, Spector’s productions can also be seen as an early manifestation, among others, of a much more general change in the auditory popular culture around 1960 away from the conventional approach to musicalsound as something that depends primarily on a musical performance and secondarily its technical reproduction S towards a conception of music as a form of design. Hence, Spector’s productions make a favorable material for a more general investigation of the relationship between music and design. Despite the rather extensive literature on Spector and his music, and on sound recording and sound production in general, the different aspects of Spector’s design have not yet been the subject of a broader phenomenological and aesthetic investigation. “Music and Design” explores the key elements in Spector’s musical project through an analysis of his use of repetition, accumulation and synthetized sound in hit recordings such as He’s a Rebel (1962) and Be My Baby (1963). It is argued that Spector’s productions are basically characterized by a displacement of the auditory focus from external media conditions, to musical sound as simultaneously a more synthetic and mediatized as well as moremassive and ‘massified’ soundscape. This mediatization of the soundscape would later constitute a predominant aesthetic model not only in current music production, but in modern sound design in general.

scholarly journals Discontinuity: A compositional approach to the dynamic decoupling of gesture and sound in live performance

2021 ◽  
Author(s):  
◽  
Marcus Jackson
Keyword(s):  
Information Flow ◽  
Sound Production ◽  
New Music ◽  
Cultural Meaning ◽  
Live Performance ◽  
New Model ◽  
Dynamic Decoupling ◽  
Model Based ◽  
Role Physical ◽  
Compositional Approach

<p>The gestural-sonorous object, as described by Rolf Inge Godøy, has experienced a gradual aesthetic splitting in New Music practices. The notion that physical gesture relates to sounding result in a linear, cause-and-effect fashion can no longer be taken as a pre-condition in the study of compositional thought, as New Complexity conceives of ever more diverse modes of instrumentally focussed sound production, while the New Discipline eschews musical tropes altogether. This thesis formulates a new model of information flow in performance, to facilitate an understanding of the role physical gesture plays in the interpretative processes involved in the creation of bodily and cultural meaning, as derived from musical experiences. This model, based on the concept of the ‘assemblage’, allows for an in-depth consideration of the abstract topologies of external references in music, and provides a foundation for a taxonomy of the modes of disruption of gestural-sonorous linearity. This is developed in the pursuit of a more dynamic and meaningful conception of the role physical gesture plays in the acquisition of knowledge and meaning in music.</p>

scholarly journals Mask wearing increases eye involvement during smiling: a facial EMG study

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Shuntaro Okazaki ◽  
Haruna Yamanami ◽  
Fumika Nakagawa ◽  
Nozomi Takuwa ◽  
Keith James Kawabata Duncan
Keyword(s):  
Facial Expression ◽  
Facial Expressions ◽  
Surface Electromyography ◽  
Face Mask ◽  
Orbicularis Oculi ◽  
Know How ◽  
Facial Emg ◽  
Eye Involvement ◽  
Depressor Anguli Oris ◽  
Zygomaticus Major

AbstractThe use of face masks has become ubiquitous. Although mask wearing is a convenient way to reduce the spread of disease, it is important to know how the mask affects our communication via facial expression. For example, when we are wearing the mask and meet a friend, are our facial expressions different compared to when we are not? We investigated the effect of face mask wearing on facial expression, including the area around the eyes. We measured surface electromyography from zygomaticus major, orbicularis oculi, and depressor anguli oris muscles, when people smiled and talked with or without a mask. Only the actions of the orbicularis oculi were facilitated by wearing the mask. We thus concluded that mask wearing may increase the recruitment of the eyes during smiling. In other words, we can express joy and happiness even when wearing a face mask.

scholarly journals Eyes Compensate Smile When Wearing Mask

2021 ◽  
Author(s):  
Shuntaro Okazaki ◽  
Haruna Yamanami ◽  
Fumika Nakagawa ◽  
Nozomi Takuwa ◽  
Keith James Duncan Kawabata
Keyword(s):  
Facial Expression ◽  
Facial Expressions ◽  
Surface Electromyography ◽  
Face Mask ◽  
Orbicularis Oculi ◽  
Know How ◽  
Depressor Anguli Oris ◽  
Zygomaticus Major

Abstract The use of face masks has become ubiquitous. Although mask wearing is a convenient way to reduce the spread of disease, it is important to know how the mask affects our communication via facial expression. For example, when we are wearing the mask and meet a friend, are our facial expressions different compared to when we are not? We investigated the effect of face mask wearing on facial expression, including the area around the eyes. We measured surface electromyography from zygomaticus major, orbicularis oculi, and depressor anguli oris, when people smiled and talked with or without the mask. We found that only orbicularis oculi were facilitated by wearing the mask. We thus concluded that mask wearing increases the use of eye smiling as a form of communication. In other words, we can express joy and happiness even when wearing the mask using eye smiling.

The call of the Aldabra tortoise (Geochelone gigantea) (Reptilia, Testudinidae)

1981 ◽  
Vol 2 (2) ◽  
pp. 165-179 ◽  
Author(s):  
J. Frazier ◽  
G. Peters
Keyword(s):  
Amplitude Modulation ◽  
Sound Production ◽  
Auditory Sensitivity ◽  
Periodic Waves ◽  
Frequency Range ◽  
Sound Energy ◽  
Know How ◽  
Steady Decrease

AbstractMating male Aldabra tortoises (Geochelone gigantea) emit loud, deep-pitched calls or "groans" while mounted. A bout of 34 groans was recorded and analyzed oscillographically and spectrographically. The sound energy occurs in periodic waves and there is no evidence of regularly pulsed energy. Calls are relatively stereotyped, with at least seven partial tones that range from 0.26 to 0.80 kHz. Only three tones occur throughout each call and in all calls, and these three have a harmonic relationship. More than half of the duration of the call, averaging 64 %, consists of a steady decrease in frequency, which occurs at the end. The beginnings of calls have the most energy, especially in the deepest tone, but there is considerable variation in the pattern of amplitude modulation. Call length and duration of the pauses between calls are relatively stereotyped, averaging 0.47 and 3.86 seconds, respectively. Movements made during "groan-thrusting" may be related to sound production, but the structures involved in the production, modulation, and resonance of the call are unknown. As the majority of the groan is apparently within the frequency range of highest auditory sensitivity for tortoises, there is an excellent chance that the sounds are perceived by the female, possibly intimidating her and facilitating mounting. Sounds are made by mating tortoises of a variety of species, and it would be interesting to know how these behaviors evolved.

Beam-radiation effects on wool in the ESEM

1986 ◽  
Vol 44 ◽  
pp. 674-675
Author(s):  
G.D. Danilatos
Keyword(s):  
Electron Beam ◽  
Radiation Effects ◽  
Research Work ◽  
Beam Radiation ◽  
Liquid Environment ◽  
Know How ◽  
Environmental Sem

The advent of the environmental SEM (ESEM) has made possible the examination of uncoated and untreated specimen surfaces in the presence of a gaseous or liquid environment. However, the question arises as to what degree the examined surface remains unaffected by the action of the electron beam. It is reasonable to assume that the beam invariably affects all specimens but the type and degree of effect may be totally unimportant for one class of applications and totally unacceptable for another; yet, for a third class, it is imperative to know how our observations are modified by the presence of the beam. The aim of this report is to create an awareness of the need to initiate research work in various fields in order to determine the guiding rules of the limitations (or even advantages) due to irradiation.

Computer programs for the calculation of x-ray intensities emitted by elements in multi-layer structures

1990 ◽  
Vol 48 (2) ◽  
pp. 216-217
Author(s):  
G.F. Bastin ◽  
H.J.M. Heijligers ◽  
J.M. Dijkstra
Keyword(s):  
Software Package ◽  
Light Element ◽  
Matrix Correction ◽  
Excellent Performance ◽  
Element Analysis ◽  
X Ray ◽  
Know How ◽  
Accurate Knowledge ◽  
Layer Structures ◽  
Bulk Matrix

For the calculation of X-ray intensities emitted by elements present in multi-layer systems it is vital to have an accurate knowledge of the x-ray ionization vs. mass-depth (ϕ(ρz)) curves as a function of accelerating voltage and atomic number of films and substrate. Once this knowledge is available the way is open to the analysis of thin films in which both the thicknesses as well as the compositions can usually be determined simultaneously.Our bulk matrix correction “PROZA” with its proven excellent performance for a wide variety of applications (e.g., ultra-light element analysis, extremes in accelerating voltage) has been used as the basis for the development of the software package discussed here. The PROZA program is based on our own modifications of the surface-centred Gaussian ϕ(ρz) model, originally introduced by Packwood and Brown. For its extension towards thin film applications it is required to know how the 4 Gaussian parameters α, β, γ and ϕ(o) for each element in each of the films are affected by the film thickness and the presence of other layers and the substrate.

Reading Risk in Children With Speech Sound Disorder: Prevalence, Persistence, and Predictors

2020 ◽  
Vol 63 (11) ◽  
pp. 3714-3726
Author(s):  
Sherine R. Tambyraja ◽  
Kelly Farquharson ◽  
Laura Justice
Keyword(s):  
At Risk ◽  
Sound Production ◽  
Speech Therapy ◽  
Speech Sound ◽  
Reading Difficulties ◽  
School Age Children ◽  
Speech Sound Disorder ◽  
Word Decoding ◽  
School Year ◽  
School Based

Purpose The purpose of this study was to determine the extent to which school-age children with speech sound disorder (SSD) exhibit concomitant reading difficulties and examine the extent to which phonological processing and speech production abilities are associated with increased likelihood of reading risks. Method Data were obtained from 120 kindergarten, first-grade, and second-grade children who were in receipt of school-based speech therapy services. Children were categorized as being “at risk” for reading difficulties if standardized scores on a word decoding measure were 1 SD or more from the mean. The selected predictors of reading risk included children's rapid automatized naming ability, phonological awareness (PA), and accuracy of speech sound production. Results Descriptive results indicated that just over 25% of children receiving school-based speech therapy for an SSD exhibited concomitant deficits in word decoding and that those exhibiting risk at the beginning of the school year were likely to continue to be at risk at the end of the school year. Results from a hierarchical logistic regression suggested that, after accounting for children's age, general language abilities, and socioeconomic status, both PA and speech sound production abilities were significantly associated with the likelihood of being classified as at risk. Conclusions School-age children with SSD are at increased risk for reading difficulties that are likely to persist throughout an academic year. The severity of phonological deficits, reflected by PA and speech output, may be important indicators of subsequent reading problems.

Sound Production Treatment for Acquired Apraxia of Speech: An Examination of Dosage in Relation to Probe Performance

2020 ◽  
pp. 1-16
Author(s):  
Julie L. Wambaugh ◽  
Lydia Kallhoff ◽  
Christina Nessler
Keyword(s):  
Retrospective Analysis ◽  
Sound Production ◽  
Apraxia Of Speech ◽  
Practice Schedule ◽  
Practice Schedules ◽  
Baseline Performance ◽  
The Mean ◽  
Number Of Treatment ◽  
The Impact

Purpose This study was designed to examine the association of dosage and effects of Sound Production Treatment (SPT) for acquired apraxia of speech. Method Treatment logs and probe data from 20 speakers with apraxia of speech and aphasia were submitted to a retrospective analysis. The number of treatment sessions and teaching episodes was examined relative to (a) change in articulation accuracy above baseline performance, (b) mastery of production, and (c) maintenance. The impact of practice schedule (SPT-Blocked vs. SPT-Random) was also examined. Results The average number of treatment sessions conducted prior to change was 5.4 for SPT-Blocked and 3.9 for SPT-Random. The mean number of teaching episodes preceding change was 334 for SPT-Blocked and 179 for SPT-Random. Mastery occurred within an average of 13.7 sessions (1,252 teaching episodes) and 12.4 sessions (1,082 teaching episodes) for SPT-Blocked and SPT-Random, respectively. Comparisons of dosage metric values across practice schedules did not reveal substantial differences. Significant negative correlations were found between follow-up probe performance and the dosage metrics. Conclusions Only a few treatment sessions were needed to achieve initial positive changes in articulation, with mastery occurring within 12–14 sessions for the majority of participants. Earlier occurrence of change or mastery was associated with better follow-up performance. Supplemental Material https://doi.org/10.23641/asha.12592190

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