Results 151 to 160 of about 9,231,293 (198)
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Assessing Musical Performance Musically
Educational Studies, 1991Summary The last decade has seen changes in the systems used in the summative assessment of musical performance at the end of compulsory schooling. One trend has been the replacement of holistic assessment by segmented assessment. The author discusses the subjectivity, reliability and musical validity of the two systems, and summarises an experiment ...
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Impersonating the Music in Performance
2017Abstract Chapter 2 considers how performers conceive of what they do and the identity that can accrue with the music they are performing. Evidence for this ‘identity as’/‘identity with’ relationship – likened to an act of impersonation – is adduced in a series of performer testimonies, including the author’s own.
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2002
This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching,
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This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching,
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Music performance style transfer for learning expressive musical performance
Signal, Image and Video Processing, 2023Zhe Xiao, Xin Chen 0012, Li Zhou 0016
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2012
The case for the prosecution is easily made. You can blame it on Stravinsky, who claimed that music should be executed and not interpreted, or on Schoenberg, who wrote that the performer was “totally unnecessary except as his interpretations make the music understandable to an audience unfortunate enough not to be able to read it in print” (Newlin 1980,
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The case for the prosecution is easily made. You can blame it on Stravinsky, who claimed that music should be executed and not interpreted, or on Schoenberg, who wrote that the performer was “totally unnecessary except as his interpretations make the music understandable to an audience unfortunate enough not to be able to read it in print” (Newlin 1980,
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2014
Abstract Grounded in the research and promising practices literature, Chapter 4 discusses concepts and skills, pedagogies, and technology related to musical performance. Technologies may be of assistance in developing psychomotor knowledge and skills, and in accomplishing effective musical practice.
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Abstract Grounded in the research and promising practices literature, Chapter 4 discusses concepts and skills, pedagogies, and technology related to musical performance. Technologies may be of assistance in developing psychomotor knowledge and skills, and in accomplishing effective musical practice.
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Musical Form and Musical Performance
Perspectives of New Music, 1971Wallace Berry, Edward T. Cone
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1995
Abstract Shared Concerns: Performing Music is about aspects of music-making that have not previously been considered together and in an accessible form. It deals with `performance studies' as a coherent subject, exploring such issues as the ideas of anxiety and artistry, recent thought in the musical literature, tensions between ...
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Abstract Shared Concerns: Performing Music is about aspects of music-making that have not previously been considered together and in an accessible form. It deals with `performance studies' as a coherent subject, exploring such issues as the ideas of anxiety and artistry, recent thought in the musical literature, tensions between ...
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Musical Performance and Music Education
Design For Arts in Education, 1990David J. Elliott, Doreen Rao
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