scholarly journals Parametric Evaluation of Ensemble Vocal Performance Using an Immersive Network Music Performance Audio System

2021 ◽  
Vol 69 (12) ◽  
pp. 924-933
Author(s):  
Patrick Cairns ◽  
Helena Daffern ◽  
Gavin Kearney
Keyword(s):  
Music Performance ◽  
Vocal Performance ◽  
Network Music ◽  
Audio System

scholarly journals Empathy as a Tool for Embodiment Processes in Vocal Performance

2015 ◽  
Vol 10 (1-2) ◽  
pp. 104 ◽  
Author(s):  
Erin Heisel
Keyword(s):  
Art Song ◽  
Music Performance ◽  
Musical Performance ◽  
Vocal Performance ◽  
Preparation Process ◽  
Healthy Habits ◽  
Role Preparation ◽  
Moral Convictions

One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions?  This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.

scholarly journals Performance de Música em Rede: Colaboração e prática musical à distância

2018 ◽  
Author(s):  
Glayson Brendown Santos Silva ◽  
Romero Coelho Alves ◽  
Valdecir Becker
Keyword(s):  
Experimental Work ◽  
Music Performance ◽  
Network Music ◽  
The Universe

This theoretical and experimental work provides an introductory view about the universe of network music performance (NMP). Through collaboration between musicians and researchers from the Universidade Federal da Paraíba and the Universidade Federal de Campina Grande, we performed an NMP experiment and from it we verified and analyzed the advantages, disadvantages and artistic and creative possibilities inherent in the use of the NMP ReaNINJAM tool.

Multimodal Assessment of Network Music Performance

2021 ◽  
Author(s):  
Konstantinos Tsioutas ◽  
Konstantinos Ratzos ◽  
George Xylomenos ◽  
Ioannis Doumanis
Keyword(s):  
Music Performance ◽  
Multimodal Assessment ◽  
Network Music

scholarly journals Сoncert performance production as method of professional training for students-vocalists

2017 ◽  
pp. 136-140
Author(s):  
S. V. Gmyrina
Keyword(s):  
Higher Education ◽  
Professional Training ◽  
Music Performance ◽  
Vocal Performance ◽  
Successful Performance ◽  
Vocal Training ◽  
The Arts ◽  
Variety Performance ◽  
State Examination

The present article deals with one of the major problems of training future soloists singers in higher education in Ukraine. The author analyses the art, scientific, educational and journalistic works of native and foreign scientists and artists on problems of pop and variety performance, set objectives of vocal training of students in higher education of Ukraine. The researcher describes the production of the concert performance as a part of professional training of future soloist-vocalist and although defines a role of the vocal stage in the professional development of student’s personality — future pop singer. The article reveals origin of such concepts as “music performance”, “pop performance”, outlines the artistic components of pop vocal performance as synthesis of the arts and furthermore the role of drama in the pop vocal performance. The author of the article analyses the specifics of pop vocal performance, determines specific features of performance and stage character of pop singer. The researcher focuses on specifics of state examination of solo singing in higher education, and explains the factors of successful performance for student vocalist on the state exam, analyses the structure of the final program of the future pop singer and defines the role of performance in the solo concert.

Syneme: Live

2012 ◽  
Vol 17 (1) ◽  
pp. 86-95 ◽  
Author(s):  
Kenneth Fields
Keyword(s):  
Social Networks ◽  
High Speed ◽  
Music Performance ◽  
Electroacoustic Music ◽  
Research Network ◽  
The Internet ◽  
Speed Of Light ◽  
Music Practice ◽  
Network Music ◽  
Canada Research Chair

Network music foregrounds the materials and processes of communication and in so doing repositions the acousmatic and other strata of electroacoustic music practice. The type of network music considered in this paper, at base defines a member of its category as music which undergoes an electrical-optical conversion, referring to its transport over fibre-optic research network backbones. A more compelling motivation for us is the realisation that network music entails the exploration of disjunct chronotopic frames (stated less poetically as ‘latency in the network’) using probes of sonic material travelling near the speed of light. This article is an overview of a three-year project investigating music performance over high-speed research networks, a project funded by the Canada Research Chair programme (Syneme). The aim of the project was fourfold: to investigate aspects of physical and social networks in the production of network music (The Network); to investigate a branch of study continuing but critically distinct from Internet music as marked by ingenious strategies mounted to overcome the conditions of slow networks (Liveness); to embed ourselves in new practices (Telemusic Studio) and technologies (Artsmesh); and to compose network music pieces (Net Works). Our narrative picks up from where high-speed P2P networking crosses a threshold producing a successor to the Internet akin to the methodological shift that occurred in electroacoustics when CPUs achieved rendering speeds that allowed for real-time audio.

Exploring New Perspectives in Network Music Performance: The DIAMOUSES Framework

2010 ◽  
Vol 34 (2) ◽  
pp. 66-83 ◽  
Author(s):  
Chrisoula Alexandraki ◽  
Demosthenes Akoumianakis
Keyword(s):  
Music Performance ◽  
Network Music

Personal Audio System: Hearing Symptoms, Habits, and Sound Pressure Levels Measured in Real Ear and a Manikin

2020 ◽  
Vol 63 (6) ◽  
pp. 2016-2026
Author(s):  
Tamara R. Almeida ◽  
Clayton H. Rocha ◽  
Camila M. Rabelo ◽  
Raquel F. Gomes ◽  
Ivone F. Neves-Lobo ◽  
...  
Keyword(s):  
Sound Pressure ◽  
Daily Basis ◽  
Cross Sectional Study ◽  
Normal Hearing ◽  
Chi Square ◽  
Cross Sectional ◽  
The Real ◽  
Significant Difference ◽  
Sound Pressure Levels ◽  
Audio System

Purpose The aims of this study were to characterize hearing symptoms, habits, and sound pressure levels (SPLs) of personal audio system (PAS) used by young adults; estimate the risk of developing hearing loss and assess whether instructions given to users led to behavioral changes; and propose recommendations for PAS users. Method A cross-sectional study was performed in 50 subjects with normal hearing. Procedures included questionnaire and measurement of PAS SPLs (real ear and manikin) through the users' own headphones and devices while they listened to four songs. After 1 year, 30 subjects answered questions about their usage habits. For the statistical analysis, one-way analysis of variance, Tukey's post hoc test, Lin and Spearman coefficients, the chi-square test, and logistic regression were used. Results Most subjects listened to music every day, usually in noisy environments. Sixty percent of the subjects reported hearing symptoms after using a PAS. Substantial variability in the equivalent music listening level (Leq) was noted ( M = 84.7 dBA; min = 65.1 dBA, max = 97.5 dBA). A significant difference was found only in the 4-kHz band when comparing the real-ear and manikin techniques. Based on the Leq, 38% of the individuals exceeded the maximum daily time allowance. Comparison of the subjects according to the maximum allowed daily exposure time revealed a higher number of hearing complaints from people with greater exposure. After 1 year, 43% of the subjects reduced their usage time, and 70% reduced the volume. A volume not exceeding 80% was recommended, and at this volume, the maximum usage time should be 160 min. Conclusions The habit of listening to music at high intensities on a daily basis seems to cause hearing symptoms, even in individuals with normal hearing. The real-ear and manikin techniques produced similar results. Providing instructions on this topic combined with measuring PAS SPLs may be an appropriate strategy for raising the awareness of people who are at risk. Supplemental Material https://doi.org/10.23641/asha.12431435

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