Relevant bibliographies by topics / Expressivité musicale

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Expressivité musicale'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 May 2024

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Journal articles on the topic "Expressivité musicale"

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Geringer, John M., and Justine K. Sasanfar. "Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist." Journal of Research in Music Education 61, no. 2 (2013): 160–74. http://dx.doi.org/10.1177/0022429413485246.

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Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Si
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Fels, Sidney, Ashley Gadd, and Axel Mulder. "Mapping transparency through metaphor: towards more expressive musical instruments." Organised Sound 7, no. 2 (2002): 109–26. http://dx.doi.org/10.1017/s1355771802002042.

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We define a two-axis transparency framework that can be used as a predictor of the expressivity of a musical device. One axis is the player's transparency scale, while the other is the audience's transparency scale. Through consideration of both traditional instruments and new technology-driven interfaces, we explore the role that metaphor plays in developing expressive devices. Metaphor depends on a literature, which forms the basis for making transparent device mappings. We examine four examples of systems that use metaphor: Iamascope, Sound Sculpting, MetaMuse and Glove-TalkII; and discuss
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VARWIG, BETTINA. "MUSICAL EXPRESSION: LESSONS FROM THE EIGHTEENTH CENTURY?" Eighteenth Century Music 17, no. 1 (2020): 53–72. http://dx.doi.org/10.1017/s1478570619000447.

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ABSTRACTThis article outlines a number of potential contributions that a consideration of early eighteenth-century conceptions of musical expressivity might make to certain present-day philosophical and psychological accounts of musical emotions and their expression. Taking as its central case study a performance by Christian Gerhaher in Peter Sellars's 2014 staging of J. S. Bach's St John Passion, the article calls for closer attention to both the historical specifics of music's expressive capacities and the corporeal dimension of performance (past and present). It argues that a more sustaine
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Fu, Linzi, and Kyunghoon Han. "A Study of Localization in the Stage Art of the Chinese Reimagined Musical <Fan Letter>." Korean Society of Culture and Convergence 45, no. 8 (2023): 1197–210. http://dx.doi.org/10.33645/cnc.2023.08.45.08.1197.

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The purpose of this study is to select “Fan Letter” as a representative work of the localization process of Chinese musicals; to identify the localization situation and success factors of the work from three aspects of stage design, costume design, and lighting design by referring to articles, monographs, musical videos, stage design manuscripts, costume design manuscripts, and other materials related to Chinese localized musicals; to analyze the impact of the integration of localized aesthetics and stage art on the overall performance of the musical; and to draw implications for the stage art
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.

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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for ch
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Maes, Pieter-Jan, Edith Van Dyck, Micheline Lesaffre, Marc Leman, and Pieter M. Kroonenberg. "The Coupling of Action and Perception in Musical Meaning Formation." Music Perception 32, no. 1 (2014): 67–84. http://dx.doi.org/10.1525/mp.2014.32.1.67.

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The embodied perspective on music cognition has stressed the central role of the body and body movements in musical meaning formation processes. In the present study, we investigate by means of a behavioral experiment how free body movements in response to music (i.e., action) can be linked to specific linguistic, metaphorical descriptions people use to describe the expressive qualities they perceive in the music (i.e., perception). We introduce a dimensional model based on the Effort/Shape theory of Laban in order to target musical expressivity from an embodied perspective. Also, we investiga
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Nærland, Torgeir Uberg. "Rhythm, rhyme and reason: hip hop expressivity as political discourse." Popular Music 33, no. 3 (2014): 473–91. http://dx.doi.org/10.1017/s0261143014000361.

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AbstractUsing Norwegian hip hop as an example, this article argues that public sphere theory offers a fruitful theoretical framework in which to understand the political significance of music. Based on a musical and lyrical analysis of Lars Vaular's ‘Kem Skjøt Siv Jensen’ (Who Shot Siv Jensen) – a song that recently became the subject of extensive public political discourse in Norway – this article first highlights how the aesthetic language specific to hip hop music constitutes a form of political discourse that may be particularly effective in addressing and engaging publics. Further, the an
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Zavadska, Galina. "CRITERIA AND INDICATORS OF THE DEVELOPMENT OF MUSICIAN’S TIMBRE HEARING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 28, 2021): 787–95. http://dx.doi.org/10.17770/sie2021vol1.6191.

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Musical practice constantly lays down requirements to a musician’s hearing. An important tendency of a contemporary musical thinking is the intensification of the timbral beginning, which now starts to come to the foreground as one of the most significant expressive and form-developing means. Timbre hearing is one type of harmonic hearing (Teplov, 1947) and one of the most essential components at teaching a contemporary musician’s hearing, though in the teaching practice it has not been adequately reflected as yet. The development of the ability of hearing to perceive the expressive sense of a
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Cochrane, Tom. "A Simulation Theory of Musical Expressivity." Australasian Journal of Philosophy 88, no. 2 (2009): 191–207. http://dx.doi.org/10.1080/00048400902941257.

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Davis, Graeme, and Wendy Magee. "Clinical Improvisation within Neurological Disease." British Journal of Music Therapy 15, no. 2 (2001): 51–60. http://dx.doi.org/10.1177/135945750101500203.

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The purpose of this paper is to examine how clinical improvisation techniques influence the structure of a Huntington's Disease (HD) patient's expressive responses. The paper reviews the literature pertaining to music therapy in the treatment of HD, highlighting that there has been no anecdotal or empirical link made between the specific use of clinical improvisation and the degree of structure in the patient's expressive responses. A case study is then used to illustrate the influence that musical structures have in the organisation of a HD patient's musically expressive and interactive respo
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Dissertations / Theses on the topic "Expressivité musicale"

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Rozé, Jocelyn. "L'influence des mouvements posturaux des violoncellistes sur leur expressivité musicale." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0416.

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Un aspect fascinant de l’expressivité musicale porte sur les relations entre le corps du musicien et les caractéristiques du signal acoustique produites par son instrument. De nombreuses études ont démontré cette connexion, en rapport avec le concept d’incarnation musicale, non seulement au niveau des gestes instrumentaux directement responsables de la production du son, mais aussi au travers de l’usage de mouvements ancillaires subtils et moins évidents. Notre recherche a pour objectif de mieux comprendre l’influence de ces ajustements posturaux sur l’interprétation musicale expressive dans l
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Agenbag, Gustel. "Musical expressivity in choral singing." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13614.

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This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity wi
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Marchini, Marco 1984. "Analysis of ensemble expressive performance in string quartets: a statistical and machine learning approach." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285204.

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Computational approaches for modeling expressive music performance have produced systems that emulate human expression, but few steps have been taken in the domain of ensemble performance. Polyphonic expression and inter-dependence among voices are intrinsic features of ensemble performance and need to be incorporated at the very core of the models. For this reason, we proposed a novel methodology for building computational models of ensemble expressive performance by introducing inter-voice contextual attributes (extracted from ensemble scores) and building separate models of each individua
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Weinberg, Gil 1967. "Expressive digital musical instruments for children." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62942.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.<br>Includes bibliographical references (p. 87-92).<br>This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technolog
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Cuen, López Ana Leticia. "Les schèmes émotionnels et l'expressivité musicale : leur rôle dans la composition musicale du XXème siècle." Paris 4, 2008. http://www.theses.fr/2008PA040034.

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Qu’est-ce que l’émotion ? est la première question à laquelle essaie de répondre ce travail d’ordre à la fois musical et psychologique. Parcourant le développement de l'enfant de la vie intra-utérine à l'adolescence, il aborde l'Ancrage et le développement de la relation musique-émotion, et il en présente à la fois les aspects innés et les aspects acquis tout au long de la vie. Mais pour l’essentiel, il s'agit de comprendre la façon dont la musique éveille des émotions : le Principe d'équivalence amodale du ressenti, mis en évidence par de nombreux travaux psychologiques sur la petite enfance,
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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.

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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Bedoya, Ramos Daniel. "Capturing Musical Prosody Through Interactive Audio/Visual Annotations." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS698.

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Des projets de science participative (SP) ont stimulé la recherche dans plusieurs disciplines au cours des dernières années. Des citoyens scientifiques contribuent à cette recherche en effectuant des tâches cognitives, favorisant l'apprentissage, l'innovation et l'inclusion. Bien que le crowdsourcing ait servi à recueillir des annotations structurelles en musique, la SP reste sous-utilisée pour étudier l'expressivité musicale. On introduit un nouveau protocole d'annotation pour capturer la prosodie musicale, associée aux variations acoustiques introduites par les interprètes pour rendre la mus
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Warrenburg, Lindsay Alison. "Examining Contrasting Expressive Content within First and Second Musical Themes." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461089016.

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Grachten, Maarten. "Expressivity-aware tempo transformations of music performances using case based reasoning." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7485.

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La recerca presentada en aquesta dissertació glossa sobre transformacions de tempo de gravacions monofòniques de saxo jazz preservant l'expressivitat musical. Es una contribució al processament d'audio basat en el contingut, un camp de recerca que ha emergit recentment com a resposta a la necessitat creixent de gestionar intel&#903;ligentment la creixent quantitat d'informació digital multimedia disponible actualment. S'ha investigat com una execució musical, tocada a un tempo concret, es pot reproduir automàticament a un altre tempo mantenint l'expressivitat. Aquest problema no es pot reduir
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Boccolari, Francesco. "La voce passionata : forza espressiva e affetti sociali nel "Saggio sull’origine delle lingue" di Rousseau." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30040.

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Cette recherche combine des éléments qui appartiennent à l'histoire de la philosophie, à la philosophie politique et à la philosophie du langage. Son objet est d’observer et de recomposer certaines des étapes qui marquent, dans la philosophie de Rousseau, l’émergence progressive et radicale du langage en tant que facteur politique. Plus précisément, elle fournit une étude de la conception pragmatique du langage qui sous-tend la thèse principale de l’Essai sur l’origine des langues, selon laquelle la parole ne tire pas son origine des besoins physiques mais des passions considérées comme « beso
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Books on the topic "Expressivité musicale"

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Goodman, A. Harold. Expressive musical performance. BYU Press, 1994.

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Caldwell, J. Timothy. Expressive singing: Dalcroze eurhythmics for voice. Prentice Hall, 1995.

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Grechesky, Robert Nathan. An analysis of nonverbal and verbal conducting behaviors and their relationship to expressive musical performance. s.n.], 1985.

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Lopes, Dominic McIver. Hearing and Seeing Musical Expression. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0008.

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Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its expressive properties are purely sonic, then music expresses less than we think it does. And
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Knapp, Raymond. “Waitin’ for the Light to Shine”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.16.

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Musicals celebrate physical abilities—singing and dancing—that seem to represent aspects of the universally human but are denied in significant measure to many with disabilities. Yet musicals’ insistence on incorporating the marginalized into communities has yielded important instances of disabled individuals figuring in musicals’ plots; moreover, musicals have often enough become part of the lives of disabled populations. This essay first considers a handful of shows that deal directly with disability, includingPorgy and Bess, The Music Man, The Who’s Tommy, Wicked, andNext to Normal. It then
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Webber, Andrew Lloyd. Andrew Lloyd Webber piano songbook: 15 expressive arrangements. 2017.

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Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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Schwiebert, Jerald, and Dustin Barr. Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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Schwiebert, Jerald, and Dustin Barr. Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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Schwiebert, Jerald, and Dustin Barr. Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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Book chapters on the topic "Expressivité musicale"

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Alperson, Philip. "The Expressivity of Musical Improvisation." In The Routledge Handbook of Philosophy and Improvisation in the Arts. Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-17.

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Visentini, Ingrid, Antonio Rodà, Sergio Canazza, and Lauro Snidaro. "Audio-Video Analysis of Musical Expressive Intentions." In Image Analysis and Processing – ICIAP 2011. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24088-1_23.

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Terren, Michael. "The Expressive Subject: Prosumers, Virtuosi, and Digital Musical Control." In Creative Tools and the Softwarization of Cultural Production. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-45693-0_7.

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Solis, Jorge, and Atsuo Takanishi. "Anthropomorphic Musical Robots Designed to Produce Physically Embodied Expressive Performances of Music." In Guide to Computing for Expressive Music Performance. Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4123-5_9.

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Fiebrink, Rebecca. "Machine Learning as Meta-Instrument: Human-Machine Partnerships Shaping Expressive Instrumental Creation." In Musical Instruments in the 21st Century. Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_10.

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Gibet, Sylvie. "A Grammar of Expressive Conducting Gestures." In Current Research in Systematic Musicology. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_5.

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AbstractIn recent years, research on sonification has paid more attention to sound variations induced by expressive gestures. This chapter focuses on conducting gestures, emphasizing expressive gestures performed by the non-dominant hand. It is assumed that these gestures implicitly correspond to musical nuances partially encoded in the scores and convey a meaning based on a grammatical structure specific to gestural languages. We, therefore, propose to analyze these gestures in light of linguistic mechanisms that govern signed languages. In particular, we are interested in the processes of sign formation from the combination of elementary components and the inflection processes that apply to these components to efficiently generate rich and expressive sentences. Based on this grammatical theory underlying sign language and a sound-tracking methodology, we create and evaluate a new dataset of expressive conducting gestures.
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Leman, Marc, Valery Vermeulen, Liesbeth De Voogdt, Johannes Taelman, Dirk Moelants, and Micheline Lesaffre. "Correlation of Gestural Musical Audio Cues and Perceived Expressive Qualities." In Gesture-Based Communication in Human-Computer Interaction. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-24598-8_4.

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Minafra, Annamaria. "Different Attitudes of Expressive Movement Awareness in Professional Musicians." In Current Research in Systematic Musicology. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_6.

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AbstractThis chapter explores professional musicians’ awareness of expressive bodily movements, referring to Godøy’s concept of sound-action awareness in music. Three professional musicians (a pianist, a violinist, and a guitarist) performed three tasks, each corresponding to a phenomenological reduction. Data were collected using a phenomenological approach through semi-structured interviews, observations, and audiovisual recordings. The analysis revealed three different attitudes to expressive movement awareness. The pianist showed theatrically unsynchronised expressive movements, with her musical intentions remaining at a level of pre-reflective self-awareness, perhaps due to her lack of introspective competence. The violinist became aware of his body parts involved in playing but was unaware of his performed expressive movements. The guitarist gradually reduced the expressive movements to achieve optimal performance. This study may encourage expert musicians to explore new practising procedures by developing body self-awareness. Self-reflecting on movement and its kinaesthetic feedback may contribute to achieving sound-action awareness in music, positively affecting musicians’ performance and enabling them to self-correct inappropriate postures.
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Palfy, Cora S. "Cadential expectations and expressive agency in Lin-Manuel Miranda's “How Far I'll Go” (Moana)." In Musical Agency and the Social Listener. Routledge, 2021. http://dx.doi.org/10.4324/9781003169710-8.

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Rozé, Jocelyn, Mitsuko Aramaki, Richard Kronland-Martinet, et al. "Assessing the Influence of Constraints on Cellists’ Postural Displacements and Musical Expressivity." In Music, Mind, and Embodiment. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_2.

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Conference papers on the topic "Expressivité musicale"

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Tsuchiya, Takahiko, and Jason Freeman. "Spectral Parameter Encoding: Towards a Framework for Functional-Aesthetic Sonification." In The 23rd International Conference on Auditory Display. The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.051.

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Auditory-display research has had a largely unsolved challenge of balancing functional and aesthetic considerations. While functional designs tend to reduce musical expressivity for the fidelity of data, aesthetic or musical sound organization arguably has a potential for representing multi-dimensional or hierarchical data structure with enhanced perceptibility. Existing musical designs, however, generally employ nonlinear or interpretive mappings that hinder the assessment of functionality. The authors propose a framework for designing expressive and complex sonification using small timescale
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Moura, Rute, Giordano Cabral, Jáder Abreu, Mychelline Cunha, and Horhanna Almeida. "Challenges to generate musical visualizations." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19437.

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The technological acceleration of recent years has allowed for significant advances in data processing and the study of Music, an art with richly expressive and communicative information. In this article, we bring reports of experiences and contributions in the treatment of musical data extracted from digital MIDI and sound files, for the development of systems that generate musical visualizations.
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Parrott, Mackenzie L., and John P. Nix. "Listener ratings of singer expressivity in musical performance." In 171st Meeting of the Acoustical Society of America. Acoustical Society of America, 2016. http://dx.doi.org/10.1121/2.0000237.

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Cancino-Chacón, Carlos, Silvan Peter, Patricia Hu, et al. "The ACCompanion: Combining Reactivity, Robustness, and Musical Expressivity in an Automatic Piano Accompanist." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/641.

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This paper introduces the ACCompanion, an expressive accompaniment system. Similarly to a musician who accompanies a soloist playing a given musical piece, our system can produce a human-like rendition of the accompaniment part that follows the soloist's choices in terms of tempo, dynamics, and articulation. The ACCompanion works in the symbolic domain, i.e., it needs a musical instrument capable of producing and playing MIDI data, with explicitly encoded onset, offset, and pitch for each played note. We describe the components that go into such a system, from real-time score following and pre
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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.

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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 differe
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Bogaers, Alysha, Zerrin Yumak, and Anja Volk. "Music-Driven Animation Generation of Expressive Musical Gestures." In ICMI '20: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. ACM, 2020. http://dx.doi.org/10.1145/3395035.3425244.

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Sarasúa, Álvaro, Baptiste Caramiaux, Atau Tanaka, and Miguel Ortiz. "Datasets for the Analysis of Expressive Musical Gestures." In MOCO '17: 4th International Conference on Movement Computing. ACM, 2017. http://dx.doi.org/10.1145/3077981.3078032.

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Rovenko, Elena. "ERWIN PANOFSKY�S ICONOLOGY AND THE ANALYSIS OF MUSICAL COMPOSITION: ON SEARCHING NEW SEMANTIC STRATEGIES." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.08.

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The paper offers a renewed interest for Erwin Panofsky�s iconology, which consists of the applying of this concept and analytical method to musical art per se. Although Panofsky himself did not intend to introduce his methodology into the sphere of music, he establishes correlations between some musical compositions and painting. Thus, Panofsky felt the presence of certain general laws of the formation of structure of the artistic whole in painting and music. In terms of iconology, music, like painting, presupposes the original hermeneutic algorithm, which consists of three steps. Firstly, the
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Kružíková, Lenka. "Muzikofiletické přístupy v hudební výchově." In Musica viva in schola. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p280-0028-2021-8.

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The subject of the paper is an insight into the music philetic practice with theoretical and practical grounding. The theoretical part informs about research and publishing activities, innovative principles and presents foreign music-expressive concepts and methods applicable in the Czech music education environment. The practical part conceives the musical techniques of music philetic work with clear descriptions and case studies. The author focuses on individual music-interaction areas. Since we should be based on the needs and individuality of the student in the educational and formative pr
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COSTANTINI, GIOVANNI, MASSIMILIANO TODISCO, MASSIMO CAROTA, and DANIELE CASALI. "A NEW PHYSICAL SENSOR BASED ON NEURAL NETWORK FOR MUSICAL EXPRESSIVITY." In Proceedings of the 13th Italian Conference. WORLD SCIENTIFIC, 2008. http://dx.doi.org/10.1142/9789812835987_0047.

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