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Books on the topic 'Expressivité musicale'

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

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1

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

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2

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

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3

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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4

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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5

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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6

Webber, Andrew Lloyd. Andrew Lloyd Webber piano songbook: 15 expressive arrangements. 2017.

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7

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

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8

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

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9

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

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10

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

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11

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

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12

Juslin, Patrik N. Musical Emotions Explained. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.001.0001.

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The emotional power of music has been much examined and discussed. Based on new research, this book takes a close look at how music expresses and arouses emotions, and how it becomes an object of aesthetic judgments. It asks: can music really arouse emotions? If so, which emotions? How, exactly, does music arouse such emotions? Why do listeners often respond with different emotions to the same piece of music? Are emotions to music different from other emotions? Why do we respond to fictive events in art as if they were real, even though we know they are not? What is it that makes a performance
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13

Caldwell, J. Timothy. Expressive Singing: Dalcroze Eurhythmics for Voice. Prentice Hall, 1994.

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14

Caldwell, J. Timothy. Expressive Singing: Dalcroze Eurhythmics for Voice. Prentice Hall, 1994.

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15

Mathis Lussy: A Pioneer in Studies of Expressive Performance (Varia Musicologica). Peter Lang Publishing, 2002.

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16

Expressive Moment: How Interaction Shapes Human Empowerment. MIT Press, 2016.

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17

Leman, Marc. Expressive Moment: How Interaction Shapes Human Empowerment. MIT Press, 2016.

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18

Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.

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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the in
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19

Lehman, Frank. Expression and Transformation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0003.

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This chapter introduces the two core theoretical concepts of this study: expressivity and transformation. These two topics are broached through an initial examination of two highly dissimilar cinematic style topics: whole-tone harmony and stepwise modulations. The stylistic and aesthetic continuity with Romantic Era practices, especially from Wagner, is emphasized. A working model of tonal expressivity is constructed, in which intrinsic and extrinsic musical factors combine to form combinatorial meaning. With these concepts in hand, the notion of transformation—the cornerstone of neo-Riemannia
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20

Bithell, Caroline. The Renaissance of the Corsican Confraternities and Their Musical Negotiations. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.002.

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Caroline Bithell’s essay offers a history of a local religious institution—the Corsican confraternity—which constructs itself as a local alternative to a global religious bureaucracy—the Catholic hierarchy. She traces the musical life of the confraternities between the late 20th and early 21st centuries, and comments on the contemporary role played by the confraternities in both church and society. The distinctive polyphonic song repertoires of the confraternities are central to their identities, negotiated with contemporary church and Corsican institutions. In sum, in Corsica, the confraterni
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21

Mathis Lussy: A Pioneer in Studies of Expressive Performance (Varia Musicologica). Peter Lang Publishing, 2002.

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22

Valentine, Betty. Amy Winehouse Inspirational Coloring Book: Singer of Deep, Expressive Contralto Vocals and Eclectic Mix of Musical Genres. Independently Published, 2019.

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23

Expressive Forms In Brahms's Instrumental Music: Structure And Meaning In His Werther Quartet (Musical Meaning and Interpretation). Indiana University Press, 2005.

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24

Gennaro, Liza. Making Broadway Dance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.001.0001.

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Musical theater dance is an ever-changing and evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists requiring dramaturgical understanding; character analysis; knowledge of history, art, design; and, most importantly, an extensive knowledge of dance, both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis—derivative, cliché ridden, titillating and predictable, the ugly stepsister of both theater and dance—belies and ignores
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25

Lehman, Frank. Hollywood Harmony. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.001.0001.

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Film music represents one of the few remaining underexplored frontiers for the field of music theory. Discovering its inner workings from a theoretical perspective is imperative if we wish to understand its tremendous effects on the ears (and eyes) of the twentieth and twenty-first centuries. Hollywood Harmony applies for the first time the tools of contemporary music theory and analysis to this corpus in a thorough and systematic way. In order to help readers appreciate how film music works, this study enlists a number critical apparatuses, ranging from abstract theoretical description to psy
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26

Magnusson, Thor, and Alex McLean. Performing with Patterns of Time. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.21.

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Music is a time-based art form often characterized by patternings; manipulations of sequences over time. Composers and performers may think in terms of patterns, although the structure of patterned sequences is often not made explicit in musical notation. This chapter explores how musical sequences can be created and transformed in real-time performance through patterning functions. Topics related to the use of algorithms for pattern making are discussed, and two systems are introduced—ixi lang and TidalCycles, as high-level and expressive minilanguages for musical pattern. These two systems a
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27

Sisman, Elaine. Symphonies and the Public Display of Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.004.

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To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In s
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28

Pravadelli, Veronica. Performative Bodies and Non-Referential Images. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0007.

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This chapter focuses on the 1950s musical. In contrast to melodrama, the musical combines spectacle with reflexive strategies and is able to comment in a sophisticated fashion on the fiction/reality dichotomy and on the relation between cinema and the other media, especially theater and television. While noir and woman's film used expressive techniques to emphasize the split nature of the human psyche—the opposition between conscious and unconscious realities—1950s musical goes one step further. Many films show that gendered identities are the product of a series of performances, rather than t
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29

Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.

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Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “en
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30

Wolf, Stacy. Keeping Company with Sondheim’s Women. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0023.

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This chapter examines the eight female characters inCompany, what they do in the musical, and how they function in the show’s dramaturgy, and argues that they elicit the quintessential challenge of analyzing musical theater from a feminist perspective. On the one hand, the women tend to be stereotypically, even msogynistically portrayed. On the other hand, each character offers the actor a tremendous performance opportunity in portraying a complicated psychology, primarily communicated through richly expressive music and sophisticated lyrics. In this groundbreaking 1970 ensemble musical about
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31

Saylor, Eric. What Is Pastoralism? University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0002.

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This chapter establishes a framework for understanding pastoralism from both expressive and stylistic perspectives. The first half of the chapter draws upon the work of various literary critics (including Paul Alpers, Terry Gifford, and Annabel Patterson) in order to establish three broad thematic or topical categories for pastoral artworks: Arcadian, soft, and hard. The remainder of the chapter examines pastoralism in terms of its style, providing an overview of both the musical traits associated with it and the major critical and interpretive issues they raise—most notably, concerns with pas
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32

Stimeling, Travis D. Recording Practice in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.5.

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This chapter explores the influence of recording technologies on the creation and reception of country music from the first hillbilly recordings to the twenty-first century. Following a survey of recent literature from the musicology of recording and sound studies, country music’s voice-centered recording strategies are explored through case studies drawn from early hillbilly, honky tonk, and “hot country” recordings. Country music’s history as a recorded musical practice is shaped by technological and aesthetic developments that can be heard in a wide range of recorded popular musics. Further
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33

Shelley, Braxton D. Healing for the Soul. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566466.001.0001.

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Between the first and last words of a Black gospel song, musical sound acquires spiritual power. During this unfolding, a variety of techniques facilitate musical and physical transformation. The most important of these is a repetitive musical cycle known by names including the run, the drive, the special, and the vamp. Through its combination of reiteration and intensification, the vamp turns song lyrics into something more potent. While many musical traditions use vamps to fill space, or occupy time in preparation for another, more important event, in gospel, vamps are the main event. Why is
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34

Manuel, Peter. The Trajectories of Transplants. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0002.

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Most of the North Indian music heritage brought to the Caribbean consisted of folk styles and genres that were predominantly text-driven, in that their expressive interest lay primarily in lyric content rather than purely musical dimensions. The vitality of such genres in the Caribbean has been gravely undermined by the decline of the Bhojpuri language. And yet, the fate of these music idioms has not been one of uniform decadence. This chapter discusses three genres of Bhojpuri-region narrative song—birha, the Ālhā epic, and antiphonal Ramayan singing—suggesting how their functions, inherent f
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35

Apolloni, Alexandra M. Freedom Girls. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190879891.001.0001.

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Freedom Girls: Voicing Femininity in 1960s British Pop shows how the vocal performances of girl singers in 1960s Britain defined—and sometimes defied—ideas about what it meant to be a young woman in the 1960s British pop music scene. The singing and expressive voices of Sandie Shaw, Cilla Black, Millie Small, Dusty Springfield, Lulu, Marianne Faithfull, and P. P. Arnold reveal how vocal sound shapes access to social mobility and, consequently, access to power and musical authority. The book examines how Sandie Shaw and Cilla Black’s ordinary girl personas were tied to whiteness, and in Black’s
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36

Juslin, Patrik N. Emotion in music performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0035.

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There are several features that we have come to expect from an expert performance: technical mastery, confidence, originality, flexibility, and a true understanding of the musical style. Yet the feature that both performers and listeners appear to regard as the most important is that the performer is expressive. The most-loved artists are commonly the ones that are able to express and evoke emotions in listeners. Previous studies have mainly concerned how performers express emotions, and this article focuses on this question. The article first provides working definitions of key concepts (e.g.
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37

Hatten, Robert. The Troping of Topics in Mozart’s Instrumental Works. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0020.

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An eighteenth-century musical topic is a familiar figure, texture, genre, or style that is imported into a new context, where it may interact with other topics and the prevailing discourse of a movement in ways that may spark creative meanings. These interactions are analogous to the processes that produce tropes in literary language. A merger of expressive meanings may produce an effect akin to metaphor, whereas resistance to merger may signal some form of irony. Degrees of compatibility, dominance, creativity, and productivity among topics and tropes are explored in Mozart’s instrumental wor
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38

Spitzer, Michael. Affective shapes and shapings of affect in Bach’s Sonata for Unaccompanied Violin No. 1 in G minor (BWV 1001). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0008.

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This chapter analyses Bach’s Sonata for Unaccompanied Violin No. 1 in G minor in terms of recent theories of music and emotion. It considers how musical ‘shape’ relates to the structure of affect, conceived in the nuanced terms afforded by recent work in the psychology of discrete emotional categories. Part I is dedicated to a close reading of Bach’s opening Adagio. Analysing three levels of shape (acoustic cues, midlevel phrasing and large-scale form), the chapter compares Bach’s music both to the shape of particular emotional behaviours and to the expressive shapings of a formal model. This
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39

Roberts, Charlie, and Graham Wakefield. Tensions and Techniques in Live Coding Performance. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.20.

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In live coding performance, performers create time-based works by programming them while these same works are being executed. The high cognitive load of this practice, along with differing ideas about how it should be addressed, results in a plurality of practices and a number of tensions at play. In this chapter we use a lens of five recurrent tensions to explore these practices, including the balance of stability and risk in performance; the legibility and immediacy of code for audience and performer; the benefits and limits of musical and computational abstractions; the maintenance of flow
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40

Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.

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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case
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41

Drury, Joseph. The Machine in the Ghost. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792383.003.0006.

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Though famous for its visual effects, the most important feature of Ann Radcliffe’s gothic fiction is its use of mysterious music and indistinct sounds. According to late eighteenth-century vitalist physicians, the nerves vibrated in response to external impressions like the strings on a musical instrument. Alternately pampered and overstimulated by modern conveniences, the nerves lost the ‘tone’ necessary for physical and mental health. With the rise of a new ‘expressive’ aesthetics that emphasized literature’s power, like music, to stimulate affective responses rather than ideas, novels soon
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42

Lange, Barbara Rose. Local Fusions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.001.0001.

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Local Fusions: Folk Music Experiments in Central Europe at the Millennium explores musical life in Hungary, Slovakia, and Austria between the end of the Cold War and the world financial crisis of 2008. It describes how artists made new social commentary and tried new ways of working together as the political and economic atmosphere changed. The book presents case studies from Budapest, Bratislava, and Vienna, drawing from ethnographic research and from conversations about the arts in Central European publications. The case studies illustrate how young musicians redefined a Central European his
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43

Nemec, John. The Ubiquitous Siva Volume II. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566725.001.0001.

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The Introduction positions the history of girl and young woman singers in the 1960s in the context of broader histories of vocal training; ideas about voice, respectability, and expressivity; and the models of youthful femininity that were emergent in 1960s Britain. It opens with discussion of vocal discipline in magazines and books produced for young women. This is followed by reflections on the concept of voice as sound and voice as expression, how ideas about the use of voice are tied to gender, and how they have been used by feminist thinkers and scholars in the field of Voice Studies. The
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44

Pearson, David. Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.001.0001.

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At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstr
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45

Erlmann, Veit. Lion's Share. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023593.

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In the aftermath of apartheid, South Africa undertook an ambitious revision of its intellectual property system. In Lion’s Share Veit Erlmann traces the role of copyright law in this process and its impact on the South African music industry. Although the South African government tied the reform to its postapartheid agenda of redistributive justice and a turn to a postindustrial knowledge economy, Erlmann shows how the persistence of structural racism and Euro-modernist conceptions of copyright threaten the viability of the reform project. In case studies ranging from antipiracy police raids a
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46

Saylor, Eric. Afterword. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041099.003.0007.

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The disparate approaches to English pastoralism considered within this book—whether evoking scenes and characters from classical poetry, depicting an imaginary past or a hoped-for future, responding to the landscape, commenting on contemporary social and political challenges, providing spiritual sustenance for the living, or eulogizing the dead—firmly banish outdated clichés of it as little more than folky-wolky roister-doistering. Instead, pastoralism stands revealed as a subtle and flexible expressive mode capable of transcending the circumstances and surroundings of its creation, conveyed b
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47

Starr, Larry. Listening to Bob Dylan. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043956.001.0001.

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This book presents the importance of listening to Bob Dylan’s recorded work as the essential basis for a deeper understanding and appreciation of his achievements. Here is a guide for both the curious listener and the enthusiastic Dylan fan, for both the nonspecialist who enjoys music and the professional. While fully acknowledging his celebrated gifts as a lyricist, this book embraces Dylan’s primary identity as a performing songwriter. For Bob Dylan, the creation of music, and its interpretation by voice and instruments, are as important as the words he sings. His performances offer inspired
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48

Washburne, Christopher. Latin Jazz. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780195371628.001.0001.

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Latin Jazz: The Other Jazz is an issue-oriented historical and ethnographic study that focuses on key moments in the history of the music in order to unpack the cultural forces that have shaped its development. The broad historical scope of this study, which traces the dynamic interplay of Caribbean and Latin American musical influence from eighteenth- and nineteenth-century colonial New Orleans through to the present global stage, provides an in-depth contextual foundation for exploring how musicians work with and negotiate through the politics of nation, place, race, and ethnicity in the eth
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49

Bonds, Mark Evan. The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.001.0001.

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The “Beethoven syndrome” is the inclination of listeners to hear music as the projection of a composer’s inner self. Beethoven’s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general—not just Beethoven—in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a fram
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50

Ohriner, Mitchell. Flow. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670412.001.0001.

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Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is al
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