scholarly journals Augmenting Guitars for Performance Preparation

Author(s):  
Juan Pablo Martinez Avila ◽  
Adrian Hazzard ◽  
Chris Greenhalgh ◽  
Steve Benford
2019 ◽  
Vol 3 (3) ◽  
pp. 73 ◽  
Author(s):  
Mohamad Karaki ◽  
Rafic Younes ◽  
Francois Trochu ◽  
Pascal Lafon

A great amount of attention has been given to the evaluation of the permeability tensor and several methods have been implemented for this purpose: experimental methods, as well as numerical and analytical methods. Numerical simulation tools are being seriously developed to cover the evaluation of permeability. However, the results are still far from matching reality. On the other hand, many problems still intervene in the experimental measurement of permeability, since it depends on several parameters including personal performance, preparation of specimens, equipment accuracy, and measurement techniques. Errors encountered in these parameters may explain why inconsistent measurements are obtained which result in unreliable experimental evaluation of permeability. However, good progress was done in the second international Benchmark, wherein a method to measure the in-plane permeability was agreed on by 12 institutes and universities. Critical researchers’ work was done in the field of analytical methods, and thus different empirical and analytical models have emerged, but most of those models need to be improved. Some of which are based on Cozeny-Karman equation. Others depend on numerical simulation or experiment to predict the macroscopic permeability. Also, the modeling of permeability of unidirectional fiber beds have taken the greater load of concern, whereas that of fiber bundle permeability prediction remain limited. This paper presents a review on available methods for evaluating unidirectional fiber bundles and engineering fabric permeability. The progress of each method is shown in order to clear things up.


Author(s):  
Michele Fiala

Nathan Hughes is principal oboe of the Metropolitan Opera and serves on the faculties of the Juilliard School and Rutgers University. In this chapter, he discusses his early life and career, the influence that opera has had on his performance, and the use of mental practice in performance preparation. He also shares ideas on interpretation, reeds, breathing, support, fundamentals and vibrato. He also offers advice to those who are auditioning.


Author(s):  
Brian P. Shaw

This chapter provides assessment strategies for performance preparation assessment. Even though performing is a central and necessary aspect of ensemble music classes, concerts are not themselves assessment of individual students’ musical learning. The chapter includes a variety of ways to implement assessment in the rehearsal. Both informal assessment during the course of a traditional rehearsal and formal assessment settings off the podium can improve performance results. Self and peer assessment build metacognitive musicians and provide pathways to individualized feedback that teachers may have missed. Infusing assessment into the ensemble rehearsal is an investment of class time that pays noticeable dividends.


1982 ◽  
Vol 8 (9) ◽  
pp. 1499-1509 ◽  
Author(s):  
Carl F. Von Essen ◽  
Hans Blattmann ◽  
John F. Crawford ◽  
Peter Fessenden ◽  
Eros Pedroni ◽  
...  

2021 ◽  
Vol 52 ◽  
pp. 101804 ◽  
Author(s):  
Carl T. Woods ◽  
Martyn Rothwell ◽  
James Rudd ◽  
Sam Robertson ◽  
Keith Davids

2021 ◽  
pp. 030573562110309
Author(s):  
Roberta Antonini Philippe ◽  
Céline Kosirnik ◽  
Esther Ortuño ◽  
Michele Biasutti

Performing music at the highest levels involves great competitiveness. When each performance represents a major personal challenge, success is no longer solely dependent on a high level of technical mastery: the psychological aspects of the performance also have a decisive impact. The concept of flow is presented as a phenomenon associated with significant improvements in the musician’s performance and well-being. This work explores musicians’ positive experiences in performance situations and studies the factors that promote the emergence of flow during competitions. Eleven musicians, both professionals and students, were interviewed to consider ways of promoting the emergence of flow that help them to produce high-quality performances. Our analysis revealed several different factors promoting the emergence of flow: social standing, performance preparation, connection to one’s body, awareness of skills and self-confidence, intrinsic motivation, attentional focus, and transcendence. These findings enhance our understanding of the conditions influencing the emergence of flow. We consider work pathways which might facilitate the emergence of flow experiences and thus help musicians to produce high-quality performances while protecting them from the harmful effects of stress and anxiety.


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