An Analysis on the Case and the Audience's Response of Classical Music Performance Combined with the Technology of the 4th Industrial Revolution

2018 ◽  
pp. 37-56
Author(s):  
Ji Young Yoon
Keyword(s):  
Industrial Revolution ◽  
Classical Music ◽  
Music Performance

Assessment of Health Risks in Musicians of the Slovene Philharmonic Orchestra, Ljubljana, Slovenia

2004 ◽  
Vol 19 (3) ◽  
pp. 140-145
Author(s):  
Rajko Črnivec
Keyword(s):  
Health Status ◽  
Musculoskeletal Disorders ◽  
Classical Music ◽  
Music Performance ◽  
Significant Proportion ◽  
Control Group ◽  
Length Of Service ◽  
Physical Impairments ◽  
Musculoskeletal Problems ◽  
Performance Ability

This study consisted of medical examination and comparison of results obtained in 70 musicians from the Slovene Philharmonic Orchestra, Ljubljana. The main goals of the study were to identify performance-related musculoskeletal disorders, to assess the health status and working capacity of the musicians, and to propose measures for improved protection of their health. The results were compared with results obtained in a control group of 28 marketing workers at Philip Morris Enterprise, Ljubljana. Musculoskeletal problems of the studied group of Slovene musicians were compared with problems of 109 musicians of the Berlin Opera Orchestra examined at the Institute of Occupational Health, Berlin, Germany. We identified performance-related diseases (inflammatory and degenerative skeletal disorders and minor occupational hearing impairments) that were most frequent. A significant proportion of performing musicians had overuse syndrome, caused by excessive use of the extremities and characterized by cumulative microtrauma exceeding human physiologic limits, and dermatologic problems, such as finger calluses and “fiddler’s neck.” The most frequent musculoskeletal problems were due to repetitive motion, unphysiologic postures (isometric strain on the affected muscles), and prolonged sitting position during performances. The highest level of musculoskeletal disorders was noted in the double bass and cello sections, followed by violin, viola, woodwind, and brass players. The severity of physical impairments and restricted ability to perform music were correlated with age, duration of classical music performance, and total length of service. In the group of Slovenian musicians, the incidence of health problems in general was twice as high as in the control group, whereas the incidence of musculoskeletal disorders was six times as high as that in the control group. Health status of the musicians in terms of moderate and severe physical impairments was worse than in the control group. Measures for improved health protection and better performance ability were proposed.

Reflection and the classical musician

2017 ◽  
Author(s):  
Mary Hunter ◽  
Stephen Broad
Keyword(s):  
Reflective Practice ◽  
Classical Music ◽  
Music Performance ◽  
Professional Musicians ◽  
Student Practice ◽  
Classical Musicians

Reflective practice takes on a particular shape in classical music. The aim of this chapter is to identify some elements of classical music that distinguish it from other genres of music, and to consider how these elements may affect the kind of reflection in which classical musicians—and classical musicians-in-the-making—engage. The chapter, which is partly based on student practice diaries and interviews with professional musicians, argues that the distinguishing elements of classical music performance are a focus on interpretation, interest in following the composer’s intentions, concern about excessive demonstration of the performer’s ego, and a respect for the printed score as the ultimate repository of truth about the work. These elements seem to encourage musicians to frame their choices either with little acknowledgement of their own agency or in terms that reflect some tension between what they feel and what they perceive as the composer’s intentions. Much work remains to be done on the ways in which these self-abnegations or uncertainties play out, but by bringing their underlying ideologies to the surface young performers in particular could fruitfully harness as well as challenge them.

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 Performance values - an artistic research perspective on music performance anxiety in classical music

2019 ◽  
Vol 03 (01) ◽  
pp. 1-15
Author(s):  
Francisca Skoogh ◽  
Henrik Frisk
Keyword(s):  
Classical Music ◽  
Psychological Treatment ◽  
Music Performance ◽  
Performance Anxiety ◽  
Not Given ◽  
Research Perspective ◽  
Music Performance Anxiety ◽  
The Impact ◽  
Western Classical Music ◽  
Artistic Research

Music performance anxiety (MPA) has been studied mainly within the field of psychology and has been defined as a sub-type of social anxiety. Musicians suffering from MPA are commonly referred to individual psychological treatment, but the condition is not yet researched from an artistic perspective. The hypothesis put forward in this article is that the issues concerning MPA are part of a complex system of interactions between performance values and perfectionism and that musicians in general are not given the necessary tools to tackle the anxiety. One of the challenges is that Western classical music performance has many built-in values that need to be problematized and researched in order to address the problems with MPA. Hence, MPA is not to be considered as solely an individual problem but should rather be seen as the result of a wider structural issue related to the commodification of classical Western music and its focus on perfection and virtuo­sity. This article gives an example from the field of artistic research on how it is possible for the performer herself to develop methods to understand and emotionally regulate the impact of perfectionism in Western classical music.

scholarly journals Gaya Bernyanyi dengan Teknik Bel Canto: (Re)Konstruksi Subjektivitas Penyanyi Perempuan dalam Pertunjukan Musik

2013 ◽  
Vol 11 (2) ◽  
Author(s):  
Susi Gustina ◽  
Timbul Haryono ◽  
G.R. Lono L. Simatupang ◽  
Triyono Bramantyo
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Feminist Perspective ◽  
Bel Canto ◽  
Subjective Experiences ◽  
Cultural Perception ◽  
Research Questions ◽  
Music Genre ◽  
The Difference ◽  
Western Classical Music

Bel Canto Singing Technique. This article attempting to understand the subjectivity of a woman singer in musicperformance. The poststructuralist feminist perspective is used to focus on the historical and cultural backgroundof the woman’s experiences. Based on the perspective, the research questions refer to: 1) the application of womansinger’s knowledge and cultural perception in songs reproduction so that she can (re)construct her subjectivity; and2) the intention of woman singer to use Western classical music or seriosa in music performance. The life historymethod is used to understand all the subjective experiences of woman singer based on her perspective. The fi ndingsof this research are: 1) subjectivity (re)construction of a woman singer is depend on her knowledge and culturalperception so that her subjectivity is differ from others; and 2) the difference that a woman singer do in musicperformance is related to her intention, i.e. to struggle a music genre that she loves since in the early of her life.

Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio

2019 ◽  
Vol 2 (12) ◽  
pp. 33-44
Author(s):  
Marek Pilch
Keyword(s):  
Classical Music ◽  
18Th Century ◽  
Music Performance ◽  
Historical Context ◽  
17Th Century ◽  
Modern Trend ◽  
Special Significance ◽  
Performance Style ◽  
Keyboard Music ◽  
Performance Traditions

The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.

scholarly journals The principle of modeling as a means of classification of instrumental ensembles with a domra

2021 ◽  
pp. 11-19
Author(s):  
Elena Vladimirovna Lygina
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Pop Music ◽  
Music Culture ◽  
Modern Music ◽  
The Creation ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Vast Range

The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.   

scholarly journals Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies

2019 ◽  
Vol 3 (1) ◽  
pp. 78-100 ◽  
Author(s):  
Elin Angelo ◽  
Øivind Varkøy ◽  
Eva Georgii-Hemming
Keyword(s):  
Music Education ◽  
Performance Studies ◽  
Classical Music ◽  
Music Performance ◽  
Subject Position ◽  
Policy Changes ◽  
Collaborative Discourse ◽  
Higher Education Reforms ◽  
The Awakening ◽  
Data Informed

Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.

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