Computational Approaches to Music Motor Performance: Clustering of Percussion Kinematics Underlying Performance Style

The present study investigated motor kinematics underlying performance-related movements in marimba performance. Participants played a marimba while motion capture equipment tracked movements of the torso, shoulders, elbows, wrists, and hands. Principal components analysis was applied to assess the movements during the performance related to sound production and sound preparation. Subsequent cluster analyses sought to identify coupling of limb segment movements that may best characterize performance styles present in the performance. The analysis revealed four clusters that were thought to reflect performance styles of expressive performance, postural sway, energy efficiency, and a blend of the former styles. More specifically, the expressive cluster was best characterized by limb movements occurring along the vertical z-axis, whereas the postural sway cluster was characterized by forwards and backwards motions of the torso and upper limbs. The energy efficient cluster was characterized by movements of the body moving left to right along the marimba, whereas the blended style demonstrated limited delineation from the alternate styles. Such findings were interpreted as evidence that performance styles occur within a framework of biomechanical constraints and hierarchical stylistic factors. Overall, the results provided a more holistic understanding of motor execution in percussion performance.

Development and Evaluation of a Novel Mechatronic Percussion System

<p>While numerous attempts at creating mechatronic percussion systems exist, many have been limited to only playing a single membranophone or idiophone. These systems inherently lack the ability to reproduce the expressive nature of strikes which human players are capable of and often require manual reconfiguration in order to vary the striking location, type of beater or striking angle. The few which are able to pan across multiple instruments often lack the ability to perform expressively. We designed a mechatronic percussion system that provides expressivity through controllable variability of the acoustic properties inherent to percussion instruments. Our system can play across the range of an entire traditional drum kit, whether it is set up in a completely horizontal formation, vertically staggered or includes other percussion instruments. When continuously operating at maximum speed, the system is capable of playing for five hours before one subsystem is at risk of failing. Our system possesses two "wrists", each capable of gripping a variety of beaters. A single wrist can reliably perform single drum strokes at a frequency of 21 Hz, surpassing that of the world's fastest drummer. Operating both wrists results in a striking frequency of 51.9 Hz. The level of force behind each stroke and resultant acoustic quality can be controlled to produce an expressive performance. A unique feature of this system is the use of a compliant grip, applying variable pressure to the beater held and allows for a variety of beater diameters to be incorporated.</p>

Development and Evaluation of a Novel Mechatronic Percussion System

<p>While numerous attempts at creating mechatronic percussion systems exist, many have been limited to only playing a single membranophone or idiophone. These systems inherently lack the ability to reproduce the expressive nature of strikes which human players are capable of and often require manual reconfiguration in order to vary the striking location, type of beater or striking angle. The few which are able to pan across multiple instruments often lack the ability to perform expressively. We designed a mechatronic percussion system that provides expressivity through controllable variability of the acoustic properties inherent to percussion instruments. Our system can play across the range of an entire traditional drum kit, whether it is set up in a completely horizontal formation, vertically staggered or includes other percussion instruments. When continuously operating at maximum speed, the system is capable of playing for five hours before one subsystem is at risk of failing. Our system possesses two "wrists", each capable of gripping a variety of beaters. A single wrist can reliably perform single drum strokes at a frequency of 21 Hz, surpassing that of the world's fastest drummer. Operating both wrists results in a striking frequency of 51.9 Hz. The level of force behind each stroke and resultant acoustic quality can be controlled to produce an expressive performance. A unique feature of this system is the use of a compliant grip, applying variable pressure to the beater held and allows for a variety of beater diameters to be incorporated.</p>

Embodiment, process, and product in ensemble expression

To what extent do musicians need to have a common idea about the music in order to give a coherent, joint performance? An expressive performance is traditionally seen as generated from a cognitive representation of music, which predicts that a shared musical idea should be central. An embodied and enactive perspective on performance, in contrast, emphasizes the emergent and externalized character of performance, as “togetherness” is achieved in the sounds, movements, and material performed. Reconsidering cognitive processes from an embodied perspective challenges us to find new ways to measure and conceptualize ensemble performance. This includes how we measure musical coordination as something that is achieved not between pairs of individuals, but in relation to the joint sonic output. It also includes how we conceive of expression and aesthetics in performance contexts, as an emergent product that is the outcome of embodied processes and ways of interacting.

The Relationship Between the Acquisition of Language Patterns and Oral Expression Skills Among Students with Learning Difficulties in the English Language During the Covid-19 Pandemic

This study aimed at identifying the relationship between the acquisition of language patterns and oral expression skills among students with learning difficulties in the English language during the Covid-19 pandemic. The study used the experimental approach and implemented the program on a sample of 84 students divided into an experimental group (n = 42) and a control group ( n = 42). The instruments of the study consisted of the training program, a test of language patterns, and a test for the evaluation of oral expressive performance. The study found the existence of a statistically significant relationship between the acquisition of language patterns and oral expression skills among students with learning difficulties in the English language.

The Effect of Using a Language Games-Based Electronic Program on Acquiring Oral Expression Skills among People with Learning Difficulties in English Language during Covid-19 Pandemic

The purpose of this study was to identify the effect of using a language games-based electronic program on developing the oral expressions of people with learning difficulties in the English language during the emerging Covid-19 pandemic. The study used the experimental approach and implemented the program on a sample of 84 students, who were distributed to an experimental group (42) and a control group (42). The instruments of the study consisted of the training program and a test for the evaluation of oral expressive performance. The study found the existence of significant differences between the experimental and control groups in the acquisition of oral expression after receiving the training program in favor of the experimental group.

Exercises to Be Done in Silence

The exercises in this section are performed in the mind (without the use of musical instruments) and may be done by individuals alone or by groups, such as classrooms, workshops, masterclasses, or even audiences. For individuals, who may or may not be musicians, these exercises can be fun to do at home, on trains, in waiting rooms, or just about anywhere. The exercises range from imagining visual images (as a warm-up) to imagining (in silence) ordinary sounds, scales, dynamics, instrumental timbres, harmonies, expressive performance techniques such as vibrato, and orchestration. The chapter also provides exercises that link imagining music to our other senses, and exercises that ask the participant to imagine or create sonic patterns, designs, scenarios, and compositional structures in fun and surprising ways, all in the mind’s ear.

Historical Trends in Expressive Timing Strategies: Chopin's Etude, Op. 25 no. 1

Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody note onsets were marked manually in 127 commercial recordings dating from 1909 to 2016. Overall, the data do not show an increase or decrease over time in the amount of tempo fluctuation. Independently of a tendency to use slower tempi, pianists changed the way they employ rubato. Several factors contribute to a trend whereby the fourth beat is lengthened at the expense of the second and third beats: an increase in phrase-final lengthening, an increase in the use of tempo arching for shorter groups of measures, and a tendency to delay the arrival of an accented dissonance or change of harmony instead of lengthening the melody inter-onset interval that contains it. The data illustrate nearly imperceptible shifts in interpretation and suggest that some practices thought to be the bedrock of expressive performance may be historically conditioned.

Expressive Performance

This chapter addresses the expressive component of performance as it relates to healthy physical alignment and effective communication using Laban Movement Analysis (LMA). The point of departure for the presentation of the LMA system is the visual element of musical performance and its importance in communicating to the audience. LMA is presented incrementally with movement activities geared toward re-patterning neuromuscular connections. This approach also aims to cultivate a wider movement vocabulary. Exercises and applications of the movements in musical performance are provided for each of the new concepts. At the end of the chapter, a toolkit is provided with two self-observation exercises.

Performing Beethoven’s musical dynamics

Twentieth-century musicology frequently invoked the music of Beethoven to validate its work-centred, textualist and structuralist agenda. This article re-orients Beethoven’s music towards the performance studies paradigm, which places the music making body and material contexts of performing at the centre of its disciplinary epistemology, by weaving a novel discursive context around the composer’s unusual dynamics markings. Through a historical case study of the premiere of his Op. 70 No. 2 piano trio, I explore the connections between the performance experience of Beethoven’s dynamics and some of the philosophical and cultural discourses emerging in Europe during the early nineteenth century on the body and the self, and thereby construct novel meanings for his expressive performance practice. By bringing together interdisciplinary historical scholarship, phenomenological reflection, analytical thought and practice-based enquiry, I open up a neglected area of research that lies at the intersection of the performance experience of musical dynamics, sensory history and somatic musical archeology.