Results 171 to 180 of about 67,261 (215)
Some of the next articles are maybe not open access.
Children's Recognition of Their Musical Performance
Musicae Scientiae, 2003The present study was designed to obtain indications about unskilled children's music performances by means of a computer-based performance task. In particular, we assessed children's abilities to recognize their own performances and their self-awareness of such competence.
DELOGU, Franco, OLIVETTI, Marta
openaire +3 more sources
Emotional entrainment in music performance
2008 8th IEEE International Conference on Automatic Face & Gesture Recognition, 2008This work aims at defining a computational model of human emotional entrainment. Music, as a non-verbal language to express emotions, is chosen as an ideal test bed for these aims. We start from multimodal gesture and motion signals, recorded in a real world collaborative condition in an ecological setting. Four violin players were asked to play, alone
VARNI G. +3 more
openaire +2 more sources
Music as Text, Music as Performance
2020Western “art music” has long been thought of in terms of texts reproduced in performance. This chapter, in contrast, advocates a musicology in which text and performance play equal roles. Music theorists have historically seen the expression of musical structure as represented in ...
openaire +1 more source
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 ...
openaire +1 more source
2012
This article considers the psychology of music in the contexts of performance arts, in particular the arts of the moving image, drama, and dance. Research in the psychology of music far exceeds psychological research in any of the other arts. Within music psychology, research on the role of music in film and television constitutes a small but vibrant ...
openaire +1 more source
This article considers the psychology of music in the contexts of performance arts, in particular the arts of the moving image, drama, and dance. Research in the psychology of music far exceeds psychological research in any of the other arts. Within music psychology, research on the role of music in film and television constitutes a small but vibrant ...
openaire +1 more source
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.
openaire +1 more source
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,
openaire +2 more sources
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,
openaire +2 more sources
Music performance style transfer for learning expressive musical performance
Signal, Image and Video Processing, 2023Zhe Xiao, Xin Chen 0012, Li Zhou 0016
openaire +1 more source
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,
openaire +1 more source
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,
openaire +1 more source