scholarly journals A retrospective of the research on musical expression conducted at CEGeME

2019 ◽  
Author(s):  
Maurício Loureiro ◽  
Tairone Magalhaes ◽  
Davi Mota ◽  
Thiago Campolina ◽  
Aluizio Oliveira
Keyword(s):  
Graduate Program ◽  
Music Performance ◽  
Three Dimensional ◽  
Digital Signal ◽  
Audio Signals ◽  
Professional Musicians ◽  
School Of Music ◽  
Musical Gesture ◽  
Belo Horizonte ◽  
Music Performance Research

CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

Towards the Changing Face of the Conservatoire Curriculum

1986 ◽  
Vol 3 (1) ◽  
pp. 79-90 ◽  
Author(s):  
Peter Renshaw
Keyword(s):  
Communication Skills ◽  
Music Performance ◽  
Education And Training ◽  
Positive Contribution ◽  
Professional Musicians ◽  
School Of Music ◽  
And Training

This article describes the aims, structure, content and activities of the innovatory project in ‘Music Performance and Communication Skills’ at the Guildhall School of Music and Drama. It outlines the skills, attitudes and outlook needed by musicians if they are to respond to the rapidly changing needs of society. Having analysed the response of students to the Project, it shows the ways in which the conservatoire can reach out into the community. It is hoped that the article will make a positive contribution towards the thinking underlying the reform of the education and training of professional musicians.

A Three-Dimensional Model for Evaluating Individual Differences in Tempo and Tempo Variation in Musical Performance

2019 ◽  
pp. 102986491987312
Author(s):  
Danny Quan Zhou ◽  
Dorottya Fabian
Keyword(s):  
Individual Differences ◽  
Music Performance ◽  
Three Dimensional ◽  
Three Dimensions ◽  
Three Dimensional Model ◽  
Performance Style ◽  
Comprehensive Knowledge ◽  
Music Performance Research ◽  
Recorded Performances ◽  
Performance Research

People differ from each other, and this includes performers of music. The study of individual differences is well established in many social science disciplines but has been largely neglected in music performance research. To what extent do performers play differently from each other? How can these differences be concisely described and precisely assessed? Questions like these remain unanswered. Focusing on tempo and tempo variation in performance, this article contributes to knowledge by describing a well-defined, clearly illustrated and systematically classified taxonomy for identifying differences in tempo and tempo variation. Based on findings from past theoretical and empirical research on tempo in performance, it presents a model whereby performers’ individual differences in tempo and tempo variation can be evaluated. The model identifies six variables representing three dimensions of tempo and tempo variation: basic tempo, global tempo variation, and local tempo variation. It has the potential for providing researchers with a toolbox for analyzing differences among individual performers’ use of tempo and tempo variation by assessing the extent to which each of the variables is embodied in specific performances. Evgeny Kissin’s and Lars Vogt’s recorded performances are used to illustrate how the model will perform its role. Researchers could test the model further by analyzing a larger repertoire and/or carrying out experiments to generate more comprehensive knowledge about individual differences in performance style.

Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance

Leonardo ◽  
2016 ◽  
Vol 49 (3) ◽  
pp. 203-210 ◽  
Author(s):  
Shaltiel Eloul ◽  
Gil Zissu ◽  
Yehiel H. Amo ◽  
Nori Jacoby
Keyword(s):  
Electronic Music ◽  
Motion Tracking ◽  
Music Performance ◽  
Three Dimensional ◽  
Extra Information

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)

2021 ◽  
pp. 179-184
Author(s):  
Nina V. Pomorceva ◽  
◽  
Tatyana I. Moroz ◽  
Keyword(s):  
Industrial Structure ◽  
Educational Institution ◽  
Music Performance ◽  
Culture Industry ◽  
Professional Musicians ◽  
Musical Life ◽  
Music Schools ◽  
Industrial Region ◽  
Cultural Traditions ◽  
Kemerovo Oblast

Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.

Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students

2012 ◽  
Vol 27 (1) ◽  
pp. 43-48 ◽  
Author(s):  
Horst Hildebrandt ◽  
Matthias Nübling ◽  
Victor Candia
Keyword(s):  
Music Performance ◽  
Music Students ◽  
Stage Fright ◽  
Negative Effects ◽  
Professional Musicians ◽  
Freshman Year ◽  
Work Related ◽  
Custom Made ◽  
Before And After ◽  
High Level

BACKGROUND: Public opinion associates music performance with pleasure, relaxation, and entertainment. Nevertheless, several studies have shown that professional musicians and music students are often affected by work-related burdens. These are closely related to stress and anxiety. OBJECTIVE: Scrutinizing specific health strains and work attitudes of music students during their freshman year of high-level education. METHODS: One hundred five students in three Swiss music universities were part of a longitudinal study using standardized assessment questionnaires. Before and after their first study year, some custom-made questionnaires designed to fit the particular work environment of musicians were used together with the already validated inquiry instruments. RESULTS: Fatigue, depression, and stage fright increased significantly. CONCLUSIONS: Our results indicate more study is needed and attempts should be made to minimize the stress level, improve the students’ ability to cope with stress, and otherwise reduce their risk for injury. This appears particularly important considering the long-term negative effects of stressors on individuals’ health as revealed by modern research.

Integration of a Quantitative Feedback Theory (QFT)-Based Active Noise Canceller and 3D Audio Processor to Headsets

2007 ◽  
Vol 129 (5) ◽  
pp. 567-576 ◽  
Author(s):  
Mingsian R. Bai ◽  
Jianliang Lin
Keyword(s):  
Digital Signal Processor ◽  
Active Noise Control ◽  
Three Dimensional ◽  
Digital Signal ◽  
Quantitative Feedback Theory ◽  
Processing Technologies ◽  
3D Audio ◽  
Active Noise ◽  
Spatial Sound Reproduction

This paper seeks to enhance the quality of spatial sound reproduction by integrating two advanced signal processing technologies, active noise control (ANC) and three-dimensional (3D) audio, to a headset. The ANC module of the headset is designed based on the quantitative feedback theory (QFT), which is a unified theory that emphasizes the use of feedback for achieving the desired system performance tolerances in the face of plant uncertainties and plant disturbances. Performance, stability, and robustness of the closed-loop system have been taken into account in the loop-shaping procedure within a general framework of the QFT. On the other hand, 3D audio processing algorithms including the head-related-transfer-function and the reverberator are realized on the platform of a fixed-point digital signal processor. Listening tests were conducted to evaluate the proposed system in terms of various subjective performance indices. The experimental results revealed that the 3D headset is capable of delivering superior rendering quality of localization and spaciousness, with the aid of the ANC module.

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.

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