Relevant bibliographies by topics / Music expressiveness

Contents

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

Academic literature on the topic 'Music expressiveness'

Author: Grafiati
Published: 25 May 2024
Last updated: 31 July 2025

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Journal articles on the topic "Music expressiveness"

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Sreckovic, Sanja. "The expressiveness of music." Theoria, Beograd 58, no. 3 (2015): 19–39. http://dx.doi.org/10.2298/theo1503021s.

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The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as ?expressiveness?. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.
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Young, James O. "How Classical Music is Better than Popular Music." Philosophy 91, no. 4 (2016): 523–40. http://dx.doi.org/10.1017/s0031819116000334.

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AbstractIn at least one respect, classical music is superior to popular music. Classical music (understood as common practice composition) has greater potential for expressiveness and, consequently, has more potential for psychological insight and profundity. The greater potential for expressiveness in classical music is due, in large part, to it greater harmonic resources. The harmonies in classical music are more likely to be functional, more contrary motion is employed, and modulation is more common. Although popular music employs rhythms not found in classical music, on the whole there is
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van, der. "Kivy and Langer on expressiveness in music." Muzikologija, no. 14 (2013): 191–200. http://dx.doi.org/10.2298/muz1314191s.

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From 1980 onwards, Peter Kivy has put forward that music does not so much express emotions but rather is expressive of emotions. The character of the music does not represent the character or mood of the composer, but reflects his knowledge of emotional life. Unfortunately, Kivy fails to give credit to Susanne Langer, who brought these views to the fore as early as 1942, claiming that the vitality of music lies in expressiveness, not in expression.
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Bontempi, Pierluigi, and Sergio Canazza. "Expressiveness in popular music performance and production: a reasoned review of interviews with leading engineers, producers and performers." IASPM Journal 15, no. 1 (2025): 40–57. https://doi.org/10.5429/2079.387(2025)v15i1.4en.

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Defining expressiveness in musical performance is a complex task. In the case of popular music, one must also take into account contemporary production practices, which see a strong interaction between musicians, producers, and engineers. Research in the field of popular music has not investigated in depth the issue of expressiveness from the perspective of those who work professionally in music production, often favoring the analysis of the parameters that can be associated with expressiveness from the perspective of listener perception. In this contribution, through a series of interviews wi
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Kim, Jin Hyun. "Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness." Empirical Musicology Review 8, no. 3-4 (2013): 162. http://dx.doi.org/10.18061/emr.v8i3-4.3937.

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Over the last three decades, there has been an increasing number of empirical studies on how music conveys and induces emotional expressiveness, revolving around both the longstanding discourse over compositional and performance features related to recognized or felt emotions, and more recent interest in (neuro)psychological mechanisms underlying emotions induced by music. However, the question of how expressive forms of music are shaped and co-shaped within the ongoing process of music-making and music perception has received little investigation. This paper focuses on the expressive forms of
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Kravchuk, Tatiana Nikolaevna, Iryna Anatoliivna Ryadinska, and Elizaveta Ihorivna Zelenska. "Peculiarities of training expressiveness of athletes engaged in sports acrobatics at the stages of basic and specialized training." Health-saving technologies, rehabilitation and physical therapy 2, no. 1 (2021): 92–98. http://dx.doi.org/10.58962/hstrpt.2021.2.1.92-98.

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The study revealed the criteria for the expressiveness of acrobats. Among them: emotional and motor expressiveness and the ability to connect movements with the means of musical expression. The means of educating expressiveness have been selected and introduced into the educational and training process of groups of basic and specialized training in sports acrobatics. These are musical and rhythmic games and tasks, exercises for mastering expressive movement, choreographic and dance exercises. It is proved that the use of the above means can contribute to a statistically probable improvement of
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Flamm, Christoph. "Expressiveness in Stravinsky’s late works." Muzikologija, no. 34 (2023): 59–68. http://dx.doi.org/10.2298/muz2334059f.

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Igor Stravinsky?s late style is usually considered in terms of the works? structure. Following Joseph N. Straus, this article attempts to highlight expressive, semantic and self-referential dimensions in Stravinsky?s late compositions. These dimensions emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist; as such, they also challenge the composer?s own statements.
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Teixeira, Euler C. F., Mauricio A. Loureiro, and Hani C. Yehia. "Expressiveness in Music From a Multimodal Perspective." Music Perception 36, no. 2 (2018): 201–16. http://dx.doi.org/10.1525/mp.2018.36.2.201.

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This article seeks to unveil quantitative relations between the patterns of movement recurrence of a group of expert clarinetists and expressive sonic manipulations they employ during their performances. The main hypothesis is that the recurrent ancillary gestures of musicians are closely related to their sounded expressive intentions, and that the expressive content imposed by them according to the music structure is reflected in their movement patterns. To conduct this multimodal investigation of expressiveness in music, movement and audio analyses of several clarinet performances of excerpt
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Stecker, Robert. "Expressiveness and Expression in Music and Poetry." Journal of Aesthetics and Art Criticism 59, no. 1 (2001): 85–96. http://dx.doi.org/10.1111/0021-8529.00009.

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Markova, Оlena M. "phenomenon of musicality in expressiveness of V. Kandinskyi canvases." Linguistics and Culture Review 5, S2 (2021): 303–16. http://dx.doi.org/10.21744/lingcure.v5ns2.1354.

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The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionis
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Dissertations / Theses on the topic "Music expressiveness"

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Macfarlane, Clare J. "The effect of verbal discussion on musical expressiveness." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.

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In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of ver
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Stevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.

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Zheng, Qiongzi. "Performance Techniques, Aesthetic Principles and the Role of the Folk Music Tradition in Enhancing Expressiveness in Performance of the Contemporary Zheng Repertoire." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20317.

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The zheng is a Chinese string instrument classified as a plucked zither. Since the 1950s, when the instrument began to be taught in music conservatories in China, there has been a need to better understand the various approaches to zheng performance expressiveness. The modernization of Chinese music, driven by social, cultural and political factors, has witnessed the rise of contemporary zheng composition, performance techniques and changing music aesthetics. This thesis adopts an integrative approach, examining how knowledge of zheng performance techniques as informed by folk music tradition
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Cruz, Eliete da Silva. "Linguagem, música e expressividade sob a perspectiva crítica de Rousseau." Universidade Federal do Maranhão, 2017. http://tedebc.ufma.br:8080/jspui/handle/tede/1575.

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Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-06-05T17:16:54Z No. of bitstreams: 1 ElieteCruz.pdf: 796051 bytes, checksum: 7d9ab748dc5369bd36b3d0f28f3f6c3c (MD5)<br>Made available in DSpace on 2017-06-05T17:16:54Z (GMT). No. of bitstreams: 1 ElieteCruz.pdf: 796051 bytes, checksum: 7d9ab748dc5369bd36b3d0f28f3f6c3c (MD5) Previous issue date: 2017-01-31<br>The main objective of this dissertation is to investigate the musical ideas of Jean-Jacques Rousseau, thoroughly analyzing its line of argument as well as his criticism and censorship approach. Therefore, we use as a starting p
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Macauslan, John. "Schumann's music and Hoffmann's fictions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.

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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestück
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Zumpano, Nívia Gasparini 1968. "Os parâmetros expressivos na execução ao cravo e suas abordagens = um estudo sobre a expressividade cravística = Expressive parameters in the harpsichord performance: a harpsichord expressiveness study." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284444.

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Orientador: Edmundo Pacheco Hora<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T23:46:55Z (GMT). No. of bitstreams: 1 Zumpano_NiviaGasparini_D.pdf: 2081333 bytes, checksum: 2bd12f885adec4fb185459793cebd470 (MD5) Previous issue date: 2013<br>Resumo: O presente trabalho apresenta uma reflexão a respeito da expressividade cravística com ênfase em alguns parâmetros da execução. Para tanto, foram delimitados fatores associados à expressividade a partir da literatura especializada e, na etapa seguinte, realizou-se um estudo sob
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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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Ghomi, Emilien. "Designing expressive interaction techniques for novices inspired by expert activities : the case of musical practice." Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00839850.

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As interactive systems are now used to perform a variety of complex tasks, users need systems that are at the same time expressive, efficient and usable. Although simple interactive systems can be easily usable, interaction designers often consider that only expert practitioners can benefit from the expressiveness of more complex systems. Our approach, inspired by studies in phenomenology and psychology, underscores that non-experts have sizeable knowledge and advanced skills related to various expert activities having a social dimension -such as artistic activities-, which they gain implicitl
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Chabot-Canet, Céline. "Interprétation, phrasé et rhétorique vocale dans la chanson française depuis 1950 : expliciter l’indicible de la voix." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20055.

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L’enjeu de cette thèse est d’étudier la chanson non dans sa dialectique parole/musique, mais par la saisie d’une troisième entité : l’interprétation vocale. Il s’agit à la fois d’en faire émerger l’importance fondamentale et la richesse et de lui conférer sa légitimité d’objet d’étude par la mise en place d’un protocole méthodologique et lexical spécifique qui en autorise l’analyse – au même titre que la composition – malgré son caractère mouvant et réputé réfractaire à la théorisation. Abordée comme objet complexe (selon la terminologie d’Edgar Morin), elle est soumise au feu croisé des disci
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Recly, Mathilde. "La technique vocale de Michael Jackson : polyvocalité, théâtralité et virtuosité." Thèse, 2018. http://hdl.handle.net/1866/21875.

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Books on the topic "Music expressiveness"

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Oltețeanu, Ion. Understanding music theory: Meaning, self-conciousness, and emotional expressiveness. Addelton Academic Publishers, 2010.

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Fabian, Dorottya, Renee Timmers, and Emery Schubert, eds. Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.001.0001.

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Timmers, Renee, and Emery Schubert, eds. Expressiveness in Music Performance: Empirical approaches across styles and cultures. Oxford University Press, 2014.

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Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford University Press, Incorporated, 2014.

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State Sacrifices And Music In Ming China Orthodoxy Creativity And Expressiveness. State University of New York Press, 1998.

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State sacrifices and music in Ming China: Orthodoxy, creativity, and expressiveness. State University of New York Press, 1998.

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Davies, Stephen. Music. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0028.

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Despite the attention that the philosophy of music has attracted, the focus of philosophers on music has been rather narrow. Until the 1990s, it fell almost exclusively on the works of Western instrumental classical music, and these were approached for the interest of their form and expressiveness rather than for their wider cultural significance. Since then, there has been a growing interest in performance and improvisation, in popular types of music such as rock, in the technology of recordings, in non-Western music, and in the broader social setting within which music is presented and appre
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Maus, Fred Everett. Sexuality, Trauma, and Dissociated Expression. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.39.

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The trauma experienced by queer children and adolescents resulting from the societal stigmatizing of their sexuality may produce the post-traumatic conditions of avoidance, numbing, and dissociation. These conditions in turn may enable rich forms of musical expressiveness. The music of the pop duo, Pet Shop Boys, sometimes comes close to bringing a post-traumatic numbness into music itself. It is as though, in their case, the magic of dissociated musical expression has failed to offer its lifeline to the traumatized subject. This may sound like an artistic failure. But it can also be heard as
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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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Hill, Constance Valis. Brotherhood in Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.001.0001.

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This portrait of the Nicholas Brothers, Fayard and Harold, two of the most explosive dancers of the twentieth century, who refined a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its zenith, interweaves an intimate portrait of these great performers with a detailed history of jazz music and jazz dance, bringing their act to life and explaining their significance through analysis of their eloquent footwork and full-bodied expressiveness. The book narrates the Nicholas Brothers’ soaring careers, from Cotton Club appearances with Duke Ellington, Cab Callo
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Book chapters on the topic "Music expressiveness"

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Guillemain, Philippe, Robin T. Helland, Richard Kronland-Martinet, and Sølvi Ystad. "The Clarinet Timbre as an Attribute of Expressiveness." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_19.

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Della Ventura, Michele. "Shaping the Music Perception of an Automatic Music Composition: An Empirical Approach for Modelling Music Expressiveness." In Proceedings of the Tenth International Conference on Soft Computing and Pattern Recognition (SoCPaR 2018). Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17065-3_1.

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Çorlu, Muzaffer, Pieter-Jan Maes, and Marc Leman. "Cognitive and Sensorimotor Resources for the Encoding of Expressiveness During Music Playing." In The Routledge Companion to Embodied Music Interaction. Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-8.

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Lawson, Bill E. "Jazz and the African-American Experience: The Expressiveness of African-American Music." In Language, Mind, and Art. Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8313-8_10.

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Ventura, Michele Della. "Computer System for Designing Musical Expressiveness in an Automatic Music Composition Process." In Communications in Computer and Information Science. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2826-8_38.

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Young, James O. "Music and Expressiveness." In Critique of Pure Music. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199682713.003.0001.

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Ashley, Richard. "Expressiveness in Funk." In Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0009.

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Cook, Nicholas. "Implications for Music Studies." In Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0018.

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Milsom, David, and Neal Peres Da Costa. "Expressiveness in Historical Perspective." In Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0005.

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Bauer, William R. "Expressiveness in Jazz Performance." In Expressiveness in music performance. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199659647.003.0008.

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Conference papers on the topic "Music expressiveness"

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Introini, Alberto, Giorgio Presti, and Giuseppe Boccignone. "Audio Features Affected by Music Expressiveness." In SIGIR '16: The 39th International ACM SIGIR conference on research and development in Information Retrieval. ACM, 2016. http://dx.doi.org/10.1145/2911451.2914690.

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Barbancho, Isabel, Cristina de la Bandera, Ana M. Barbancho, and Lorenzo J. Tardon. "Transcription and expressiveness detection system for violin music." In ICASSP 2009 - 2009 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2009. http://dx.doi.org/10.1109/icassp.2009.4959552.

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Cojocaru, Daniela. "THE EXPRESSIVENESS OF ROMANIAN TRADITIONAL MUSIC IN THE CONTEXT OF MULTIVOCALITY." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.1/s25.033.

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Huang, Qiaochu, Xu He, Boshi Tang, et al. "Enhancing Expressiveness in Dance Generation Via Integrating Frequency and Music Style Information." In ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10448469.

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Gang, Ren, Justin Lundberg, Mark Bocko, and Dave Headlam. "The Shape of Musical Sound: Real-time Visualizations of Expressiveness in Music Performance." In 159th Meeting Acoustical Society of America/NOISE-CON 2010. ASA, 2010. http://dx.doi.org/10.1121/1.3573496.

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Petelina, Maria Vladimirovna, and Arkady Davidovich Gevondov. "THE METHOD OF STEP-BY-STEP MASTERING THE PROFESSION OF A SINGER-ACTOR IN THE OPERA CLASS OF THE CONSERVATORY." In Themed collection of papers from II Foreign International Scientific Conference «Science in the Era of Challenges and Global Changes» by HNRI «National development» in cooperation with AFP (Puerto Cabezas, Nicaragua). December 2023. – San Cristóbal (Venezuela). Crossref, 2024. http://dx.doi.org/10.37539/231221.2023.93.41.007.

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The article explores the methodology of step-by-step mastering of the rules of behavior by a singer-actor in scenes with active psychophysical action to music, examines ways to achieve maximum expressiveness and logic of behavior while singing operas using techniques of scenic motor skills, examining in detail the links of the psychophysical process of mastering the logical chain of scenic behavior on stage.
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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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Lupu, Simion Sorin. "Diction problems and their solution in Nordic lied." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.02.

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The article represents a research of the problems related to the diction in the Nordic lied, determined by the peculiarities of the North Germanic and Finno-Ugric languages and their solution. Given that the musicians chosen for the present research composed on lyrics written in the Swedish, Danish, Norwegian and Finnish languages, we focused mainly on the pronunciation in these languages. Thus, the euphonic differentiation of the vowels compared to the repertoire approached so far (in Italian, French, German, English and Spanish), represents the main difficulty in performing the Nordic lied.
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Craijdan, Olga. "The importance of the artistic component in the preparation of competitive compositions in rhythmic gymnastics." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.15.

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Actuality. Rhythmic gymnastics gives athletes the opportunity to demonstrate their body skills through elegant movements, difficult elements and beautiful compositions with music. Rhythmic gymnastics is a complex discipline that manages to combine art, sport, music and dance movements combined with portable objects (rope, hoop, ball, sticks, ribbon). The purpose of rhythmic gymnastics worldwide is to express through movement the expressiveness of thoughts and feelings, executed at a high technical level. As a result, gymnasts tend to demonstrate a good performance from a technical point of vie
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Loo, Fung Chiat, and Fung Ying Loo. "The use of a simulated model to improve visual perception of expressiveness in a sport routine through synchronisation between music and movement." In The 5th Innovation and Analytics Conference & Exhibition (IACE 2021). AIP Publishing, 2022. http://dx.doi.org/10.1063/5.0092802.

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