scholarly journals Sharing Musical Expression Through Embodied Listening: A Case Study Based on Chinese Guqin Music

2009 ◽  
Vol 26 (3) ◽  
pp. 263-278 ◽  
Author(s):  
Marc Leman ◽  
Frank Desmet ◽  
Frederik Styns ◽  
Leon Van Noorden ◽  
Dirk Moelants
Keyword(s):  
Music Performance ◽  
Musical Expression ◽  
Movement Velocity

IN THIS STUDY WE REPORT ON THE RESULT OF AN experiment in which a guqin music performance was recorded and individual listeners were asked to move their arm along with the music that they heard. Movement velocity patterns were extracted from both the musician and the listeners. The analysis reveals that the listeners' movement velocity patterns tend to correlate with each other, and with the movement velocity patterns of the player's shoulders. The findings support the hypothesis that listeners and player share, to a certain degree, a sensitivity for musical expression and its associated corporeal intentionality.

Anatomy of a Performance: Sources of Musical Expression

1996 ◽  
Vol 13 (3) ◽  
pp. 433-453 ◽  
Author(s):  
Caroline Palmer
Keyword(s):  
Music Performance ◽  
Cultural Norms ◽  
Musical Structure ◽  
Musical Score ◽  
Musical Expression ◽  
Piano Sonata ◽  
Expert Performance ◽  
Starting Point ◽  
Musical Context

Research on music performance often assumes that a performer's intention to emphasize musical structure as specified in a score accounts for most musical expression. Relatively unstudied sources of expression in performance include notational variants of compositional scores, performer-specific aspects, and the cultural norms of a particular idiom, including both stylistic patterns that exist across musical works and expectations that arise from a particular musical context. A case study of an expert performance of a Mozart piano sonata is presented in which influences of historical interpretations of scores, performer-specific treatments of ornamentation and pedaling, and music- theoretic notions of melodic expectancy and tension-relaxation are revealed. Patterns of organization internal to the performance expression transcended the coarsegrained information given in scores, suggesting that performance is a better starting point than a musical score for testing theories of many musical behaviors.

scholarly journals Computational Modeling of Music Cognition: A Case Study on Model Selection

2006 ◽  
Vol 23 (5) ◽  
pp. 365-376 ◽  
Author(s):  
Henkjan Honing
Keyword(s):  
Model Selection ◽  
Strong Evidence ◽  
Goodness Of Fit ◽  
Computational Models ◽  
Recent Literature ◽  
Music Cognition ◽  
Kinematic Model ◽  
Music Performance ◽  
Limited Range

While the most common way of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This article presents a case study from music cognition (modeling the ritardandi in music performance) and compares two families of computational models (kinematic and perceptual) using three different model selection criteria: goodness-of-fit, model simplicity, and the degree of surprise in the predictions. In the light of what counts as strong evidence for a model’s validity—namely that it makes limited range, nonsmooth, and relatively surprising predictions—the perception-based model is preferred over the kinematic model.

Enabling Virtual Music Performance Communities

2011 ◽  
pp. 857-876
Author(s):  
Chrisoula Alexandraki ◽  
Nikolas Valsamakis
Keyword(s):  
Music Performance ◽  
Community Settings ◽  
Music Learning ◽  
Research Issues ◽  
Distinctive Features ◽  
Geographically Dispersed ◽  
Performance Communities ◽  
Technological Platform ◽  
Alternative Community

The chapter provides an overview of virtual music communities focusing on novel collaboration environments aiming to support networked and geographically dispersed music performance. A key objective of the work reported is to investigate online collaborative practices during virtual music performances in community settings. To this effect, the first part of the chapter is devoted to reviewing different kinds of communities and their corresponding practices as manifested through social interaction. The second part of the chapter presents a case study, which elaborates on the realization of virtual music communities using a generic technological platform, namely DIAMOUSES. DIAMOUSES was designed to provide a host for several types of virtual music communities, intended for music rehearsals, live performances and music learning. Our recent experiments provide useful insights to the distinctive features of these alternative community settings as well as the practices prevailing in each case. The chapter is concluded by discussing open research issues and challenges relevant to virtual music performance communities.

The musical expression of the separation conflict during music therapy: A single case study of a Crohn's disease patient

1995 ◽  
Vol 22 (2) ◽  
pp. 147-154 ◽  
Author(s):  
Philippos Vanger ◽  
Ulrike Oerter ◽  
Hartmut Otto ◽  
Stefan Schmidt ◽  
Dietmar Czogalik
Keyword(s):  
Crohn’S Disease ◽  
Crohn's Disease ◽  
Music Therapy ◽  
Single Case ◽  
Disease Patient ◽  
Single Case Study ◽  
Musical Expression

Nonverbal behaviours in popular music performance: A case study of The Corrs

2005 ◽  
Vol 9 (1) ◽  
pp. 111-136 ◽  
Author(s):  
Kaori Kurosawa ◽  
Jane W. Davidson
Keyword(s):  
Popular Music ◽  
Personal Information ◽  
Music Performance ◽  
Self Control ◽  
Sociological Research ◽  
Live Performance ◽  
Musical Narrative ◽  
Nonverbal Behaviour ◽  
Musical Communication

The aim of this study was to investigate performer nonverbal behaviour in popular music performance in order to understand the use and functions of gestures, postures, and facial expression. To this end, the study begins by reviewing relevant psychological and sociological research including Ekman and Friesen and Argyle's categorisations of nonverbal behaviour. Drawing on these specific categories, functions of nonverbal behaviours in popular music performance are proposed. These include: to maintain performer self-control; to provide musical, narrative, emotional and personal information; to regulate and manipulate relationships between performer, co-performer and audience. The investigative work focuses on a case study of The Corrs and is carried out by observing two commercially available film recordings of the band in live performance. The songs demonstrate that within this band, three of the four members take turns singing solos. In the first performance, What can I do? is sung by Andrea (principle vocal), and in the second performance, No frontiers is sung by Sharon and Caroline. Focusing on the soloists, all their nonverbal behaviours are classified in terms of types ( e.g., emblem, illustrator, regulator, adaptor, affect display) and frequency of behaviour. The results demonstrate that Ekman and Friesen and Argyle's categorisations provide a complete description of the nonverbal behaviours found in the performances. Moreover, the analysis reveals differences between individuals and the two songs. With these findings, the paper concludes that nonverbal behaviours in this type of performance are crucial to the development, production and perception of the musical performance. Though preliminary, the study indicates a need for much more detailed research of this topic if performers, educators and researchers are to understand and exploit the nonverbal aspects of a musical communication fully.

‘He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost

Popular Music ◽  
2018 ◽  
Vol 37 (2) ◽  
pp. 175-192
Author(s):  
Catherine Hoad
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Music Performance ◽  
Musical Performance ◽  
Primary Case

AbstractUsing Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members’ ‘real’ identities from their musical performance complicates traditional modes of ‘knowing’ the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies. Such projections are integral to the ways in which masking allows performers to mobilise and sustain their connections to audiences, who themselves become complicit in the maintenance of anonymity. This article thus considers how masks might challenge established notions of popular music performance, celebrity and authenticity, particularly within heavy metal contexts, and investigates how masks, rather than de-identifying a performer, can invite intimate connections among musicians and audiences.

scholarly journals Dimitris Dragatakis (1914-2001): Advancing his legacy and Concerto for Viola using twenty-first-century digital tools

2021 ◽  
Author(s):  
◽  
Elyse Dalabakis
Keyword(s):  
Digital Media ◽  
Interactive Video ◽  
Music Performance ◽  
Performance Edition ◽  
First Century ◽  
Digital Tools ◽  
Piano Performance ◽  
Digital Database ◽  
Twenty First Century

<p>This project focuses on Dimitris Dragatakis (1914–2001), his legacy, and Concerto for Viola in the twenty-first century. The research examines the following overarching questions within interlaced scholarly and creative components of the dissertation:   How can we use twenty-first-century digital tools to promote Dimitris Dragatakis, one of Greece’s most important modern composers, to advance his legacy including, importantly, his Concerto for Viola, and to assist future scholars and performers in accessing information about his life and music?  This dissertation discusses the digital tools and processes used to advance the legacy of Dimitris Dragatakis and to promote his Concerto for Viola. These tools and processes include creating and publishing the Dragatakis Archive Digital Database website, recording interviews with the Dragatakis family and leading Dragatakis scholar, and using his Concerto for Viola (1992) as a digital case study. The digital case study demonstrates how twenty-first-century performers, scholars, and archivists might approach advancing the works of lesser-known composers through digital media. In this case study, a new viola and piano performance edition and percussion chamber music performance edition are offered, a new digital orchestra score along with complete orchestral parts is made available, interview material with the violist who premiered the work has been recorded, and the recently unearthed premiere performance recording of the work from the Dragatakis archive has been included in an interactive video created by the researcher. This project also aims to provide a model for future performers and scholars to use to assist future projects beyond this topic.</p>

Enabling Virtual Music Performance Communities

2010 ◽  
pp. 378-399 ◽  
Author(s):  
Chrisoula Alexandraki ◽  
Nikolas Valsamakis
Keyword(s):  
Music Performance ◽  
Community Settings ◽  
Music Learning ◽  
Research Issues ◽  
Distinctive Features ◽  
Geographically Dispersed ◽  
Performance Communities ◽  
Technological Platform ◽  
Alternative Community

The chapter provides an overview of virtual music communities focusing on novel collaboration environments aiming to support networked and geographically dispersed music performance. A key objective of the work reported is to investigate online collaborative practices during virtual music performances in community settings. To this effect, the first part of the chapter is devoted to reviewing different kinds of communities and their corresponding practices as manifested through social interaction. The second part of the chapter presents a case study, which elaborates on the realization of virtual music communities using a generic technological platform, namely DIAMOUSES. DIAMOUSES was designed to provide a host for several types of virtual music communities, intended for music rehearsals, live performances and music learning. Our recent experiments provide useful insights to the distinctive features of these alternative community settings as well as the practices prevailing in each case. The chapter is concluded by discussing open research issues and challenges relevant to virtual music performance communities.

Load–Velocity Relationship in National Paralympic Powerlifters: A Case Study

2019 ◽  
Vol 14 (4) ◽  
pp. 531-535 ◽  
Author(s):  
Irineu Loturco ◽  
Lucas A. Pereira ◽  
Ciro Winckler ◽  
Weverton L. Santos ◽  
Ronaldo Kobal ◽  
...  
Keyword(s):  
Entire Range ◽  
Bench Press ◽  
Linear Regression Analysis ◽  
Dynamic Strength ◽  
Movement Velocity ◽  
Predictive Equations ◽  
Velocity Relationship ◽  
Strength Tests ◽  
Mean Differences

Purpose: To examine the relationships between different loading intensities and movement velocities in the bench-press exercise (BP) in Paralympic powerlifters. Methods: A total of 17 national Paralympic powerlifters performed maximum dynamic strength tests to determine their BP 1-repetition maximum (1RM) in a Smith-machine device. A linear position transducer was used to measure movement velocity over a comprehensive range of loads. Linear-regression analysis was performed to establish the relationships between the different bar velocities and the distinct percentages of 1RM. Results: Overall, the correlations between bar velocities and %1RM were strong over the entire range of loads (R2 .80–.91), but the precision of the predictive equations (expressed as mean differences [%] between actual and predicted 1RM values) were higher at heavier loading intensities (∼20% for loads ≤70% 1RM and ∼5% for loads ≥70% 1RM). In addition, it seems that these very strong athletes (eg, 1RM relative in the BP = 2.22 [0.36] kg·kg−1, for male participants) perform BP 1RM assessments at lower velocities than those previously reported in the literature. Conclusions: The load–velocity relationship was strong and consistent in Paralympic powerlifters, especially at higher loads (≥70% 1RM). Therefore, Paralympic coaches can use the predictive equations and the reference values provided here to determine and monitor the BP loading intensity in national Paralympic powerlifters.

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