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Journal articles on the topic 'Expressivité musicale'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 May 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Repp, Bruno H. "A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment." Music Perception 10, no. 2 (1992): 221–41. http://dx.doi.org/10.2307/40285608.

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Discussions of music performance often stress diversity and artistic freedom, yet there is general agreement that interpretation is not arbitrary and that there are standards that performances can be judged by. However, there have been few objective demonstrations of any extant constraints on music performance and judgment, particularly at the level of expressive microstructure. This study illustrates such a constraint in one specific case: the expressive timing of a melodic gesture that occurs repeatedly in Robert Schumann's famous piano piece, "Traumerei." Tone onset timing measurements in 2

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12

Nusseck, Manfred, and Marcelo M. Wanderley. "Music and Motion——How Music-Related Ancillary Body Movements Contribute to the Experience of Music." Music Perception 26, no. 4 (2009): 335–53. http://dx.doi.org/10.1525/mp.2009.26.4.335.

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EXPRESSIVE PERFORMER MOVEMENTS IN MUSICAL performances represent implied levels of communication and can contain certain characteristics and meanings of embodied human expressivity. This study investigated the contribution of ancillary body movements on the perception of musical performances. Using kinematic displays of four clarinetists, perceptual experiments were conducted in which participants were asked to rate specific music-related dimensions of the performance and the performer. Additionally, motions of particular body parts, such as movements of the arms and torso, as well as motion a

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13

Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance." Journal of Research in Music Education 54, no. 1 (2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.

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This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that

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14

MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (2013): 147–64. http://dx.doi.org/10.1017/s1752196313000059.

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AbstractThis article explores composer David N. Baker's use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works, with particular focus on the Sonata for Cello and Piano and the Sonata I for Piano. Themes of homage to and respect for jazz saxophonist John Coltrane resonate through these works. Various features bring the jazz legend to mind, but Baker's compelling play with implication and quotation provides fertile ground for studying musical signification and the use of vernacular emblems within Western composition

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15

Martínez Bello, Vladimir, and María del Mar Bernabé Villodre. "El movimiento musical expresivo en el aula de Psicomotricidad de Infantil: consideraciones del alumnado universitario." ENSAYOS. Revista de la Facultad de Educación de Albacete 2, no. 36 (2021): 60–76. http://dx.doi.org/10.18239/ensayos.v36i2.2835.

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Esta experiencia ha pretendido mostrar la necesidad de trabajar el movimiento expresivo mediante herramientas musicales en Educación Infantil. La técnica-instrumento de investigación fue el relato escrito, desde los postulados de la Teoría Fundamentada. Se obtuvieron distintas categorías pre-post intervención, que permitieron mostrar ciertas mejorías en las percepciones del profesorado en formación ante la utilización y capacitación del movimiento expresivo, mediatizado por la música. Esta experiencia podría posibilitar una base de trabajo psicomotor musicalizado que trabaje Habilidades Motric

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16

López de Mántaras, Ramon. "Playing with Cases: Rendering Expressive Music with Case-Based Reasoning." AI Magazine 33, no. 4 (2012): 22. http://dx.doi.org/10.1609/aimag.v33i4.2405.

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This paper surveys significant research on the problem of rendering expressive music by means of AI techniques with an emphasis on Case-Based Reasoning. Following a brief overview discussing why we prefer listening to expressive music instead of lifeless synthesized music, we examine a representative selection of well-known approaches to expressive computer music performance with an emphasis on AI-related approaches. In the main part of the paper we focus on the existing CBR approaches to the problem of synthesizing expressive music, and particularly on TempoExpress, a case-based reasoning sys

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17

Sheldon, Deborah A. "Listeners' Identification of Musical Expression through Figurative Language and Musical Terminology." Journal of Research in Music Education 52, no. 4 (2004): 357–68. http://dx.doi.org/10.1177/002242940405200407.

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This study focused on listeners' ( N=66 undergraduate and graduate music education majors) ability to identify nuances of musical expression using figurative language and specific music terminology. Data reviewed for accuracy in classifying general expressive categories showed that listeners were successful at identifying broad intended realms of expression with both figurative statements and terminology. When outcomes were reviewed for accuracy in terms of specific intended expression rather than general expressive category, accuracy levels dropped. Mimicking the results of general expressive

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18

Rodman. "Television Genre / Musical Genre / Expressive Genre." American Music 37, no. 4 (2019): 435. http://dx.doi.org/10.5406/americanmusic.37.4.0435.

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19

Lindemann, Eric. "Musical synthesizer capable of expressive phrasing." Journal of the Acoustical Society of America 117, no. 5 (2005): 2700. http://dx.doi.org/10.1121/1.1932401.

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20

Lindemann, Eric. "Musical synthesizer capable of expressive phrasing." Journal of the Acoustical Society of America 112, no. 1 (2002): 24. http://dx.doi.org/10.1121/1.1500934.

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21

Tillmann, Barbara, W. Jay Dowling, Philippe Lalitte, et al. "Influence of Expressive Versus Mechanical Musical Performance on Short-term Memory for Musical Excerpts." Music Perception 30, no. 4 (2012): 419–25. http://dx.doi.org/10.1525/mp.2013.30.4.419.

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Recognition memory for details of musical phrases (discrimination between targets and similar lures) improves for up to 15 s following the presentation of a target, during continuous listening to the ongoing piece. This is attributable to binding of stimulus features during that time interval. The ongoing-listening paradigm is an ecologically valid approach for investigating short-term memory, but previous studies made use of relatively mechanical MIDI-produced stimuli. The present study assessed whether expressive performances would modulate the previously reported finding. Given that express

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22

Parrott, Mackenzie L., and John Nix. "Listener ratings of singer expressivity in musical performance." Journal of the Acoustical Society of America 139, no. 4 (2016): 2035. http://dx.doi.org/10.1121/1.4950015.

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23

Arcos, Josep Lluis, Enric Guaus, and Tan H. Ozaslan. "Analyzing musical expressivity with a soft computing approach." Fuzzy Sets and Systems 214 (March 2013): 65–74. http://dx.doi.org/10.1016/j.fss.2012.01.019.

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24

Huovinen, Erkki, and Tobias Pontara. "Methodology in aesthetics: the case of musical expressivity." Philosophical Studies 155, no. 1 (2010): 45–64. http://dx.doi.org/10.1007/s11098-010-9571-7.

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25

Meals, Cory D., Steven J. Morrison, and Deborah A. Confredo. "The Effects of Temporal Action-Sound Congruence on Evaluations of Conductor Quality." Music & Science 2 (January 1, 2019): 205920431989196. http://dx.doi.org/10.1177/2059204319891968.

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Vision serves a fundamental role in the human experience of musical performance. In conducting, this particular heuristic influences both expressive and coordinative aspects of musical activity. Ensemble conductors present a special case of musical gesture, as their activities are coordinative rather than directly sound-producing. While the influence of vision on evaluations of musical expressivity has been well studied, less attention has been paid to the temporal aspect of conductors’ gestures. Given anecdotal observations of a flexibly congruent relationship between conductor gesture and en

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26

Hansen, Kjetil Falkenberg. "Expressivity and Musical Shape in Turntablism: Response to Greasley and Prior." Empirical Musicology Review 8, no. 1 (2013): 44. http://dx.doi.org/10.18061/emr.v8i1.3922.

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This commentary to Greasley and Prior&rsquo;s paper &ldquo;Mixtapes and turntablism: DJs&rsquo; perspective on musical shape&rdquo; extends the findings of the study by looking at the turntablism perspective. First, a general discussion on the study&rsquo;s method and background is given. Then, the role of turntables as musical instruments in creating musical shape is outlined. Finally, some relationships between turntablism techniques, expressive performances and musical shape are presented. In general, the findings in the study support previously published studies in this

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27

Hromchenko, Valerii V. "Distance learning for specialized musical disciplines: problems and the ways of solution." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 114–23. http://dx.doi.org/10.17223/22220836/45/11.

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The scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehensio

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28

Peters, Deniz. "Musical Empathy, Emotional Co-Constitution, and the “Musical Other”." Empirical Musicology Review 10, no. 1-2 (2015): 2. http://dx.doi.org/10.18061/emr.v10i1-2.4611.

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Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another&rsquo;s. Whose are they? Do we arrive at them through empathy, turning our interest to the music as we do to others in an interpersonal encounter? In addressing these questions, I differentiate between musical and social empathy, rejecting the idea that the emotions arise as a direct consequence of empathizing with composers or performers. I argue tha

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29

Safatle, Vladimir. "How to Explode an Expressive Body." Studia Phaenomenologica 22 (2022): 189–205. http://dx.doi.org/10.5840/studphaen20222210.

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This article aims to discuss the gestural character of Chopin’s pianistic writing. We will focus on the set of Etudes pour piano. We expect to show how the notion of musical expression in Romanticism is dependent of a notion of expressive body always in the limit of decomposition. This could show us how musical expression is a privileged space for a better understanding of the dialectical relationship between form and formless.

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30

Cardinal, Serge. "Où (en) est (l’étude de) la musique (au cinéma ?) du film ?" Articles 33, no. 1 (2014): 35–49. http://dx.doi.org/10.7202/1025554ar.

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Où est la musique du film ? Cette question devrait permettre de cartographier le territoire de notre expérience cinématographique de la musique. Nous partirons d’une séquence tirée du filmMauvais sang,de Leos Carax (1986). Cette séquence fait de la musique l’objet même du dialogue, elle se sert de la diffusion radiophonique de deux chansons pour configurer l’espace filmique, et elle laisse leur rythme entraîner le corps des personnages. Ce faisant, cette séquence se soumet tout entier à une phénoménologie et à une logique expressive de la musique : transparences et reflets, couleurs et formes,

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31

Ridley, Aaron. "Musical Sympathies: The Experience of Expressive Music." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 49. http://dx.doi.org/10.2307/431736.

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32

Sulem, Aviel, Ehud Bodner, and Noam Amir. "Perception-Based Classification of Expressive Musical Terms." Music Perception 37, no. 2 (2019): 147–64. http://dx.doi.org/10.1525/mp.2019.37.2.147.

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Expressive Musical Terms (EMTs) are commonly used by composers as verbal descriptions of musical expressiveness and characters that performers are requested to convey. We suggest a classification of 55 of these terms, based on the perception of professional music performers who were asked to: 1) organize the considered EMTs in a two-dimensional plane in such a way that proximity reflects similarity; and 2) rate these EMTs according to valence, arousal, extraversion, and neuroticism, using 7-level Likert scales. Using a minimization procedure, we found that a satisfactory partition requires the

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33

VINES, B. W. "Dimensions of Emotion in Expressive Musical Performance." Annals of the New York Academy of Sciences 1060, no. 1 (2005): 462–66. http://dx.doi.org/10.1196/annals.1360.052.

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34

RIDLEY, AARON. "Musical Sympathies: The Experience of Expressive Music." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 49–58. http://dx.doi.org/10.1111/1540_6245.jaac53.1.0049.

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35

Linn, Roger. "LinnStrument and other new expressive musical controllers." Journal of the Acoustical Society of America 134, no. 5 (2013): 4053. http://dx.doi.org/10.1121/1.4830792.

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36

Rosenthal, Roseanne, Manju Durairaj, and Joyce Magann. "Musicians’ Descriptions of Their Expressive Musical Practice." Bulletin of the Council for Research in Music Education, no. 181 (July 1, 2009): 37–49. http://dx.doi.org/10.2307/40319226.

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Abstract This study analyzes the language used by 18 musicians (Professionals, Music Education and High School students) to explain what they were thinking and doing while practicing the expressive aspects of a musical composition. Transcripts (word count = 25,881) of verbal descriptions were organized into Segments (units roughly equivalent to a sentence) (n = 1,100) and classified with respect to their Content and Function. In addition, each instance of a metaphoric or conventional musical word or word-phrase (n = 3,406) was extracted and coded. Findings demonstrate that advanced musicians’

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37

Sedeño-Valdellos, Ana. "Transmedia expansion in music video: study cases for visual albums in the current music industry." Comunicación y Sociedad 2023 (August 28, 2023): 1–20. http://dx.doi.org/10.32870/cys.v2023.8514.

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The visual album represents a new communicative artifact originated with the logic of the transmedia context in its expansion of the music video clip format. Three case studies are analyzed, using multimodal analysis to know the meaning and contribution of visual materials, looking for elements of intertextuality and repetition of motifs and visual patterns for the realization of a storytelling. The conclusions point to three different paths in the construction of a self-expressive representation of the artists, thanks to a visualized performativity and materialized in a greater intertextualit

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38

Hyeyoon Chung. "A Simulation Theory of Musical Expressivity — An Expanded Version." Journal of Humanities, Seoul National University 74, no. 1 (2017): 309–44. http://dx.doi.org/10.17326/jhsnu.74.1.201702.309.

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Kondo, Shinko. "Musical communication in scaffolding young learners’ expressive agency." Research Studies in Music Education 42, no. 3 (2019): 293–309. http://dx.doi.org/10.1177/1321103x18821198.

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In a qualitative study of the nature of musical communication during scaffolding music learning, the most important themes to emerge reflected the role of musical communication in blossoming young learners’ expressive agency. The study focused on two different groups of young piano learners (aged 4–9) during collaborative (listening, creating, and performing) problem-solving experiences. Working as a teacher-researcher in the context of my own studio piano classes, I documented verbal and nonverbal interactions that occurred during the lessons. Data were collected primarily through video obser

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40

Simpson, Elizabeth A., William T. Oliver, and Dorothy Fragaszy. "Super-expressive voices: Music to my ears?" Behavioral and Brain Sciences 31, no. 5 (2008): 596–97. http://dx.doi.org/10.1017/s0140525x08005517.

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AbstractWe present evidence from neuroimaging and brain lesion studies that emotional contagion may not be a mechanism underlying musical emotions. Our brains distinguish voice from non-voice sounds early in processing, and dedicate more resources to such processing. We argue that super-expressive voice theory currently cannot account for evidence of the dissociation in processing musical emotion and voice prosody.

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41

Morris, Jeffrey. "Ferin Martino: A Small Piano Algorithm and Its Lessons on Creativity, Interaction, and Expression." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, no. 5 (2021): 40–44. http://dx.doi.org/10.1609/aiide.v10i5.12771.

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The process of developing and making music with Ferin Martino, a piano-playing software algorithm has opened up a number of inquiries surrounding modern performance and creativity. Although it is relatively simple program, it is capable of much unique, expressive output that maintains a consistent style. Instead of constructing musical passages note by note, its musical character arises from its structure, independent of content. Recombination of previously-played material ensures that the first randomly generated notes end up yielding musically and stylistically coherent passages without comp

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42

Salaman, William. "Reflections on progress in musical education." British Journal of Music Education 25, no. 3 (2008): 237–43. http://dx.doi.org/10.1017/s0265051708008073.

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This article raises questions about three features of musical education that have been explored in the pages of the British Journal of Music Education (BJME) over the last 25 years: the assessment of creative work; the nurturing of an elite among young musicians; the uses of electronics in music classrooms. The article suggests that teacher-based assessments of pupils' compositional work rarely promote deeper understanding because pupils learn better by considering the extent to which they have fulfilled their own musical intentions. The dilemma of serving the needs of all pupils while attendi

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Kjus, Yngvar, and Anne Danielsen. "Live mediation: performing concerts using studio technology." Popular Music 35, no. 3 (2016): 320–37. http://dx.doi.org/10.1017/s0261143016000568.

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AbstractThe use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In this study, we present an artist-oriented approach to this question through interviews with artists invested in performing studio works on stage, as well as improvising musicians using studio technology in their concerts. We find that challenges to creative authorship and expressive agency are constantly negotiated through evolving practices of up- and down-scaling pa

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44

Potapov, Y. O. "THE INSTRUMENTAL PHENOMENON OF TROMBONE IN EUROPEAN MUSICAL PERFORMING ART." Музикознавча думка Дніпропетровщини, no. 14 (January 21, 2019): 72–83. http://dx.doi.org/10.15421/221823.

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The purpose of this exploration is revealing of some characteristic, maximally peculiar features for artistically expressive, constructional nature of trombone, as the more unique, universally perfective instrumental phenomenon in the sphere of European musically performing art. The target of this denoted disquisition is also popularization of professional orchestra, ensemble and solo playing trombone in synthetic nature of modern postmodern culture. Methodology represented the scientifically investigative work is formed by author into applying of historical, comparative, axiological and struc

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45

Escarce Junior, Mário, Georgia Rossmann Martins, Leandro Soriano Marcolino, and Elisa Rubegni. "A Meta-interactive Compositional Approach that Fosters Musical Emergence through Ludic Expressivity." Proceedings of the ACM on Human-Computer Interaction 5, CHI PLAY (2021): 1–32. http://dx.doi.org/10.1145/3474689.

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The concept of gamified interactive models and its novel extensions, such as playification, has been widely approached in order to engage users in many fields. In fields such as HCI and AI, however, these approaches were not yet employed for supporting users to create different forms of artworks, like a musical corpus. While allowing novel forms of interactivity with partially-autonomous systems, these techniques could also foster the emergence of artworks not limited to experts. Hence, in this paper we introduce the concept of meta-interactivity for compositional interfaces, which extends an

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Broomhead, Paul. "Individual Expressive Performance: Its Relationship to Ensemble Achievement, Technical Achievement, and Musical Background." Journal of Research in Music Education 49, no. 1 (2001): 71–84. http://dx.doi.org/10.2307/3345811.

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Participation in an expressive ensemble may be inappropriately presumed to produce expressive independence in individual ensemble members. This study is an examination of relationships between individual expressive achievement and (a) the expressive achievement of choral ensembles, (b) technical performance, and (c) musical background. Subjects included 11 high school choral ensembles and 82 individual ensemble members. A multivariate analysis of variance (MANOVA) revealed no significant relationships between individual and ensemble expressive achievement. Cor-relations showed technical and ex

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Duron, Jean. "Musiques et poésies de la Contre-Réforme dans les provinces de l’Ouest." Albineana, Cahiers d'Aubigné 33, no. 1 (2021): 231–53. http://dx.doi.org/10.3406/albin.2021.1680.

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La fermeture des églises durant la Révolution eut pour conséquence la destruction des fonds musicaux de ces institutions, notamment dans les provinces du Sud-Ouest. Les archives témoignent pourtant de la vivacité de la création musicale, révélant les noms de maîtres de musique, dont on vante les mérites au-delà de la région. Simples noms, muets. Quelques très rares oeuvres sont parvenues jusqu’à nous, audacieux dans l’écriture musicale et dans la recherche d’une nouvelle expressivité.

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Hatten, Robert S. "A Surfeit of Musics: What Goethe's Lyrics Concede When Set to Schubert's Music." Nineteenth-Century Music Review 5, no. 2 (2008): 7–18. http://dx.doi.org/10.1017/s1479409800003347.

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Of the many possible relationships between music and poetry, which are but a small subset of the possible relationships between music and text, I have chosen a still narrower focus for inquiry. I will investigate two independent, lyric poems whose musically poetic language and form was fully conceived without any expectation that a composer might use their texts as structural scaffolding and expressive inspiration for related, and emergent, musical and artistic ends. Two lyric poems by Goethe, each set by Schubert, will serve to illustrate the conflict between poetic and instrumental/vocal mus

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Hassan, Najeab Wahab. "Abu Zubaid al-Taie's Eulogy A Phonetic and Semantic Study." JOURNAL OF LANGUAGE STUDIES 4, no. 1 (2023): 205–21. http://dx.doi.org/10.25130/jls.4.1.14.

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This paper is a study of the music of poetry of Abu Zaydb al-Taei's (Al-Mundhir Bin Harmla) Eulogy.The reasons behind this choice are its poetic structure which strongly reflects the significance of musically and thus highlighting the seminal dimension clearly. The other reason is that eight poems of the poet's can called "Al-Asadiyat" for making their them the description of Asad (lion). These poems are distinguished by their metaphorical description of the courage of the lion: Imam Ali; they evoke lion's courage and valour. The research builds its musical reading of the poem on two levels th

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Schogler, Benjaman, Gert-Jan Pepping, and David N. Lee. "TauG-guidance of transients in expressive musical performance." Experimental Brain Research 189, no. 3 (2008): 361–72. http://dx.doi.org/10.1007/s00221-008-1431-8.

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