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Journal articles on the topic 'Music expressiveness'

Author: Grafiati

Published: 25 May 2024

Last updated: 31 July 2025

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1

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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3

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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7

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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Moura, Nádia, Pedro Fonseca, Márcio Goethel, Patrícia Oliveira-Silva, João Paulo Vilas-Boas, and Sofia Serra. "The impact of visual display of human motion on observers’ perception of music performance." PLOS ONE 18, no. 3 (2023): e0281755. http://dx.doi.org/10.1371/journal.pone.0281755.

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In investigating the influence of body movement in multimodal perception, human motion displays are frequently used as a means of visual standardization and control of external confounders. However, no principle is established regarding the selection of an adequate display for specific study purposes. The aim of this study was to evaluate the effects of adopting 4 visual displays (point-light, stick figure, body mass, skeleton) on the observers’ perception of music performances in 2 expressive conditions (immobile, projected expressiveness). Two hundred eleven participants rated 8 audio-visual

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Canazza, S., G. Depoli, C. Drioli, A. Roda, and A. Vidolin. "Modeling and Control of Expressiveness in Music Performance." Proceedings of the IEEE 92, no. 4 (2004): 686–701. http://dx.doi.org/10.1109/jproc.2004.825889.

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13

Trivedi, Saam. "Expressiveness as a Property of the Music Itself." Journal of Aesthetics and Art Criticism 59, no. 4 (2001): 411–20. http://dx.doi.org/10.1111/0021-8529.00042.

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Doğantan-Dack, Mine. "Response to Jin Hyun Kim - Dynamics of Musical Expression." Empirical Musicology Review 8, no. 3-4 (2013): 174. http://dx.doi.org/10.18061/emr.v8i3-4.3938.

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This commentary focuses on three aspects of the experience of musical expressiveness as a dynamically emergent phenomenon: the nature of the experience itself, the nature of the dynamic forms of music, and the process of shaping music expressively in the act of music-making.

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Alekseeva, M. V. "The Communicative Potential of Musical Expressiveness." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 179–88. http://dx.doi.org/10.24833/2541-8831-2019-3-11-179-188.

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This article offers a brief overview of some challenges and paradoxes of contemporary research as well as various social questions related to them. Key problems of consciousness research are stated relating to the scientific work on artificial intelligence development. Due to such ambitious objectives of modern science, there is a special attention to personality sphere, to its emotional sufferings and personal creative aspirations. The proposed theses of research of the communicative and creative possibilities of the musical language, its qualitative differences from the considered potential

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Dahl, Sofia, and Anders Friberg. "Visual Perception of Expressiveness in Musicians' Body Movements." Music Perception 24, no. 5 (2007): 433–54. http://dx.doi.org/10.1525/mp.2007.24.5.433.

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MUSICIANS OFTEN MAKE GESTURES and move their bodies expressing a musical intention. In order to explore to what extent emotional intentions can be conveyed through musicians' movements, participants watched and rated silent video clips of musicians performing the emotional intentions Happy, Sad, Angry, and Fearful. In the first experiment participants rated emotional expression and movement character of marimba performances. The results showed that the intentions Happiness, Sadness, and Anger were well communicated, whereas Fear was not. Showing selected parts of the player only slightly influ

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Sun, Yuan. "THE ART OF VOCAL IMPROVISATION IN POP MUSIC: UNLEASHING CREATIVITY AND EXPRESSIVENESS." Scientific heritage, no. 118 (August 7, 2023): 3–4. https://doi.org/10.5281/zenodo.8218529.

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The article highlights the theoretical aspects of vocal improvisation in pop music. Based on the application of a wide range of methods (analysis, synthesis, generalization, systematization), the importance of vocal improvisation for pop music is presented, which consists in artistic individuality, improvement of musical communication, dynamic live performances, musical innovation and evolution, versatility and adaptability. The prerequisites of vocal improvisation in pop music are characterized.

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Jia, Cong, and Adenan Ayob. "The Benefits of Emotional Intelligence in Developing a Strong Foundation for Musical Experience." ICCCM Journal of Social Sciences and Humanities 4, no. 1 (2025): 21–25. https://doi.org/10.53797/icccmjssh.v4i1.4.2025.

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This paper explores the benefits of Emotional Intelligence (EI) in developing a strong foundation for musical experience, focusing on its impact on musical performance and personal growth. Emotional Intelligence, encompassing dimensions such as self-awareness, self-regulation, empathy, and social skills, plays a critical role in enhancing expressiveness, technical precision, and emotional connection in music. The framework highlights the interconnections between EI, emotional engagement, and performance outcomes, recognizing that fostering high levels of EI promotes resilience, reduces perform

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19

Poli, Giovanni De. "Methodologies for Expressiveness Modelling of and for Music Performance." Journal of New Music Research 33, no. 3 (2004): 189–202. http://dx.doi.org/10.1080/0929821042000317796.

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20

Jia, Haiyang. "Piano Performance Techniques and Musical Expressiveness." Pacific International Journal 6, no. 4 (2024): 34–37. http://dx.doi.org/10.55014/pij.v6i4.461.

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Music, often described as the universal language of emotions, transcends cultural boundaries and speaks to the deepest recesses of the human soul. Among the myriad of musical instruments, the piano holds a special place, capable of conveying a vast range of emotions and moods. Central to the art of piano playing are the techniques employed by pianists to bring forth both technical brilliance and profound emotional expression. This paper delves into the intricate relationship between piano performance techniques and the art of conveying musical expressiveness. By examining the synergy between t

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Peddell, Lewes T. "Factors Influencing Listeners’ Perception of Expressiveness for a Conducted Performance." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 47–61. http://dx.doi.org/10.2307/40319338.

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Abstract This study investigated (a) how participants’ (N = 116) real-time ratings of perceived expressiveness were influenced by observing conducted musical stimuli from five observational perspectives characterized by various combinations of visual audio and audiovisual presentation; (b) factors that may have influenced participants’ expressiveness ratings, including level of college music education, researcher-declared conductor behaviors, and participant-declared factors; and (c) assessment of the validity and reliability of the Personal Digital Assistant with Continuous Response Digital I

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22

Bontempi, Pierluigi, Sergio Canazza, Filippo Carnovalini, and Antonio Rodà. "Research in Computational Expressive Music Performance and Popular Music Production: A Potential Field of Application?" Multimodal Technologies and Interaction 7, no. 2 (2023): 15. http://dx.doi.org/10.3390/mti7020015.

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In music, the interpreter manipulates the performance parameters in order to offer a sonic rendition of the piece that is capable of conveying specific expressive intentions. Since the 1980s, there has been growing interest in expressive music performance (EMP) and its computational modeling. This research field has two fundamental objectives: understanding the phenomenon of human musical interpretation and the automatic generation of expressive performances. Rule-based, statistical, machine, and deep learning approaches have been proposed, most of them devoted to the classical repertoire, in

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23

SPACKMAN, JOHN. "Expressiveness, Ineffability, and Nonconceptuality." Journal of Aesthetics and Art Criticism 70, no. 3 (2012): 303–14. http://dx.doi.org/10.1111/j.1540-6245.2012.01522.x.

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24

Barthet, Mathieu, Philippe Depalle, Richard Kronland-Martinet, and Søølvi Ystad. "Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance." Music Perception 28, no. 2 (2010): 135–54. http://dx.doi.org/10.1525/mp.2010.28.2.135.

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This study deals with the acoustical factors liable to account for expressiveness in clarinet performances. Mechanical and expressive performances of excerpts from Bach's Suite No. II and Mozart's Quintet for Clarinet and Strings were recorded. Timbre, timing, dynamics, and pitch descriptors were extracted from the recorded performances. The data were processed using a two-way analysis of variance, where the musician's expressive intentions and the note factors were defined as the independent variables. In both musical excerpts, a strong effect of the expressive intention was observed on the t

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25

Li, Jing. "The Impact of Contextual Teaching Method on Sichuan Folk Song Education and Students’ Musical Expressiveness." Journal of Contemporary Educational Research 8, no. 9 (2024): 100–105. http://dx.doi.org/10.26689/jcer.v8i9.8380.

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This study explores the application of the contextual teaching method in Sichuan folk song education and its impact on students’ musical expressiveness. By incorporating contextual teaching methods in music classes, this research investigates the effectiveness of this approach in enhancing students’ understanding of Sichuan folk songs and improving their musical expressiveness and emotional expression. A mixed-method research approach is employed, utilizing classroom observations, questionnaires, interviews, and statistical analysis to assess the practical outcomes of contextual teaching in fo

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Hu, Wenya. "Research on the Framework Construction of the Evaluation System of Primary School Music Singing Class." Journal of Education and Educational Research 11, no. 3 (2024): 44–48. https://doi.org/10.54097/e38wzm69.

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This paper explores the insufficient application of student-centred theory in the assessment of music classroom teaching in the context of modern education. Although students occupy the main position in teaching, the assessment of music subjects often focuses on teacher teaching and neglects the assessment of students' learning process. The article points out that traditional assessment methods rely too much on quantitative management and fail to fully take into account the specificity of the music discipline and the individual differences of students, resulting in a narrowing of the teaching

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Zhang, Pinqi, and Jin Gao. "Chinese National Motifs in the Folk Song Mo Li Hua: Influence on Modern Chinese Music." Folklore: Electronic Journal of Folklore 95 (April 2025): 221–36. https://doi.org/10.7592/fejf2025.95.zhang_gao.

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The traditional music of China is well-known outside the country. Because of how they are written, Chinese folk songs can be interpreted in a variety of genres, which contributes to the popularization of Chinese traditional music. This study aims to investigate Chinese national motifs in the folk song Mo Li Hua and determine its significance to modern Chinese music. Through comparison, the study identified the following four characteristics of the song: anti-romantic moods, the melodic motion of leaps, expressiveness of musical intonation, and connectedness of melody and lyrics. Using the coef

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Camurri, Antonio, Paolo Coletta, Matteo Ricchetti, and Gualtiero Volpe. "Expressiveness and Physicality in Interaction*." Journal of New Music Research 29, no. 3 (2000): 187–98. http://dx.doi.org/10.1076/jnmr.29.3.187.3094.

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Smilkova, Smilena. "MUSIC IS A SHORTHAND FOR EMOTIONS." Education and Technologies Journal 14, no. 1 (2023): 121–26. http://dx.doi.org/10.26883/2010.231.5008.

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The proposed article is based on a creative task set for masters studying Preschool and Primary School Pedagogy at the University „Prof. Dr. Assen Zlatarov“ Burgas. The purpose of the assignment is to stimulate the creative thinking of students in the field of music education methodology in kindergarten and primary school. The task is based on a practical application of the Perceiving Music activity. It is a kind of challenge, encouragement and manifestation of fantasy, imagination and creativity in the individual person. The participants intelligently and sentimentally walk the path of: choos

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Tian, Zhaofeng, and Tsetsegdelger. "The Collision and Integration of Classical and Contemporary Instrumental Performance Styles." International Journal of Finance and Investment 1, no. 1 (2024): 78–81. https://doi.org/10.54097/ptr7me96.

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This study explores the mutual influence and integration of classical music and contemporary instrumental performance styles. By analyzing the core characteristics of classical music, such as its rigorous structure, balanced melody and tonal processing, it reveals the profound impact of classical music on modern instrumental performance. In terms of methods, this article shows the collision and integration of classical and contemporary performance styles through the reappearance of classic works, the evolution of playing skills and the blending of Chinese and Western music. Contemporary instru

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Wei, Li, and Joseph S. C. Lam. "State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and Expressiveness." Yearbook for Traditional Music 31 (1999): 148. http://dx.doi.org/10.2307/767992.

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Li, Ping-Hui, and Joseph S. C. Lam. "State Sacrifices and Music in Ming China: Orthodoxy, Creativity, and Expressiveness." Asian Music 33, no. 1 (2001): 130. http://dx.doi.org/10.2307/834239.

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Arfib, Daniel, Jean-Michel Couturier, and Loïc Kessous. "Expressiveness and Digital Musical Instrument Design." Journal of New Music Research 34, no. 1 (2005): 125–36. http://dx.doi.org/10.1080/09298210500124273.

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Leman, Marc, and Antonio Camurri. "Understanding musical expressiveness using interactive multimedia platforms." Musicae Scientiae 10, no. 1_suppl (2006): 209–33. http://dx.doi.org/10.1177/102986490601000110.

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TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the sam

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Swanwick, K. "Music education liberated from new praxis." International Journal of Music Education os-28, no. 1 (1996): 16–24. http://dx.doi.org/10.1177/025576149602800102.

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This article is in response to that of Robert Walker (IJME, 27, 2-15). It is proposed that attempts to define music in terms of either sonic material or socio-cultural acoustic phenomena are inadequate. Furthermore, it is important to distinguish between the view that all music is culturally rooted and the doubtful assertion that all music is uniquely reflective and expressive of a culture. This form of referentialism overlooks the transactional nature of musical discourse. The concept of discourse suggests a group of principles for music educators: care for music as conversation, care for the

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Zhao, Yujia, Mingzhi Yang, Yujia Lin, et al. "AI-Enabled Text-to-Music Generation: A Comprehensive Review of Methods, Frameworks, and Future Directions." Electronics 14, no. 6 (2025): 1197. https://doi.org/10.3390/electronics14061197.

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Text-to-music generation integrates natural language processing and music generation, enabling artificial intelligence (AI) to compose music from textual descriptions. While AI-enabled music generation has advanced, challenges in aligning text with musical structures remain underexplored. This paper systematically reviews text-to-music generation across symbolic and audio domains, covering melody composition, polyphony, instrumental synthesis, and singing voice generation. It categorizes existing methods into traditional, hybrid, and end-to-end LLM-centric frameworks according to the usage of

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Schneider, Lydia, Louisa Gossé, Max Montgomery, Moritz Wehmeier, Arno Villringer, and Thomas Hans Fritz. "Components of Active Music Interventions in Therapeutic Settings—Present and Future Applications." Brain Sciences 12, no. 5 (2022): 622. http://dx.doi.org/10.3390/brainsci12050622.

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Musical interventions in therapy have become increasingly relevant for rehabilitation in many clinics. What was long known for physiotherapy training—that the agency of the participant is crucial and moving is much more efficient for rehabilitation success than being moved—has over recent years also been shown to be true for music therapy. Accumulating evidence suggests that active musical interventions are especially efficient at helping rehabilitation success. Here, we review various approaches to active music therapy. Furthermore, we present several components that allow for manipulating mu

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Ганиханова, Шойиста. "Some trends in the development of film music in Uzbekistan." Музыкальное искусство Евразии. Традиции и современность, no. 1(6) (March 29, 2022): 45–50. http://dx.doi.org/10.26176/maetam.2022.6.1.004.

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Статья посвящена осмыслению киномузыки узбекских композиторов как материала для создания единого целостного потока аудио- и видеоэффектов, обеспечивающих высокую степень выразительности художественных образов фильмов. Выделены средства, особенно важные для формирования стиля авторов киномузыки The article is devoted to understanding the Uzbek composer’s film music as a material for creating a single holistic stream of audio and video effects that provide a high degreeof expressiveness of the artistic images of films. Funds have been allocated, especially important for shaping the style of auth

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Tillmann, Barbara, and Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, no. 1 (1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.

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Тарасова, Н. Ю., та Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)". Музикознавча думка Дніпропетровщини, № 15 (4 листопада 2019): 171–85. http://dx.doi.org/10.33287/221914.

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The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmon

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Gao, Yuan, and Changhan Li. "The Mobile Singing Software of Technology in the Study of the Influence of Vocal Music Teaching on College Students' Achievement." International Journal of Sociologies and Anthropologies Science Reviews 5, no. 4 (2025): 291–300. https://doi.org/10.60027/ijsasr.2025.6437.

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Background and Aim: The study investigates the impact of WeSing, a mobile singing application, on the vocal music achievement of sophomore students majoring in vocal performance at the Kunming University of Communication. Traditional vocal training in China, which heavily relies on repetitive piano-accompanied practice, often lacks diversity. To address these limitations, this research explores whether integrating WeSing into vocal training can enhance students' academic performance. Materials and Methods: The study utilized a quasi-experimental design with a quantitative research approach. Pa

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VIERU, Niculai. "The spiritual living of popular music in the music education lesson." Acta et commentationes: Științe ale Educației 37, no. 3 (2024): 241–47. http://dx.doi.org/10.36120/2587-3636.v37i3.241-247.

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Folk music stands out through songs that belong to the popular creative genius, in which the stylistic personality of the places of origin the ornaments, the musical forms and the other elements that make it up are present. At the level of popular creation, particular features of the sound structures specific to musical folklore can be distinguisthed. A basic acquisition of the music lesson by listening to popular music is the integrity and personification through which the teacher succeeds in developing spiritual traits in the students. Through the supreme experience of popular music in the m

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Dacrotsis, Dimitrios. "The adventure of the expressive, technical and semiotic practice of music during the archaic and cosmological periods." Epistēmēs Metron Logos, no. 9 (December 30, 2023): 9–16. https://doi.org/10.12681/eml.40682.

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The following paper studies the first moments of the philosophical emergence of music as an art but also as a state of mind that guides and controls human symbolic action and composes its distinctive characteristics. The importance of this retrospective is directly linked to the demand of the modern West for a return to its spiritual roots, during the centuries when art and philosophy, expressiveness and concepts, were organically connected and manifested as common systems of experiences. This manifested experience of transformation, historically driven by a number of specific classifications

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Oliinyk, Oleksandr. "Domra Tremolo in Terms of the Performance Techniques Rhetoric Context." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 1 (2018): 57–66. https://doi.org/10.31866/2616-7581.1.2018.140573.

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The article is devoted to an original concept of a performance technique which is based on the personal performance experience and on domra play experience in general. It relies on the unity of the logical and spontaneously emotional, the scientific and ontologically religious, the theoretic and performative. It should be considered, that nowadays, instead of a steady hierarchy of artistically independent persistent influence the new changeable influences or even transparent diffusions of directions and levels of artistic expressiveness have been proposed. That determines the academic process

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Leman, Marc, and Pieter-Jan Maes. "The Role of Embodiment in the Perception of Music." Empirical Musicology Review 9, no. 3-4 (2015): 236. http://dx.doi.org/10.18061/emr.v9i3-4.4498.

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In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these fin

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Yan, Yu. "Research on Improvement Strategies of Psychological Training and Stage Expressiveness in Percussion Performance." Journal of Contemporary Educational Research 8, no. 10 (2024): 240–46. http://dx.doi.org/10.26689/jcer.v8i10.8596.

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With the continuous development of music education, percussion, as an important form of performance, has led to growing attention to the psychological training of its performers. This study aims to explore how psychological factors in percussion performance impact stage expressiveness and to propose corresponding psychological training strategies. By analyzing relevant domestic and international literature, we found that psychological training not only enhances performers’ confidence and alleviates performance anxiety but also contributes to an overall improvement in performance quality. This

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Goldfajn, L. A. "MAJOR STEPS OF PIECEOF MUSIC DEVELOPMENT." National Association of Scientists 1, no. 28(55) (2020): 51–54. http://dx.doi.org/10.31618/nas.2413-5291.2020.1.55.214.

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This article discusses the main points of musical composition development. The author divides the study process into three stages: the first –introductory, the second –detailed work on the piece, the third -final, preparation for public performance.Special attention is paid to work of teacher in the DMSH, since students are differently gifted and yet teacher is expected to instill and develop students ' most complex performing skills while staying withing rigid time limits. When working with students, tutor musician should not only monitor the technically accurate performance of the work, but

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Li, Donglan. "New ‘Field’ of Vocal Music Teaching and Research: Research on the Construction of a Novel Interaction Mode." English Language Teaching 8, no. 12 (2015): 74. http://dx.doi.org/10.5539/elt.v8n12p74.

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This paper, as an attempt to find a solution to the problem of ‘Identity Crisis’ brought about by the traditional spoon-feeding Education Mode, explores to construct a new mode of vocal music teaching characterized by an interaction on an equal and democratic footing between learners and the teacher in light of Habermas’ Communicative Action theory. This new mode, taking into consideration students’ personalities and characteristics, can help to cultivate their innovative spirit and practical ability, hence enhancing the expressiveness of the teaching content and bettering teaching effect and

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GUO, JIAWEN, Yudan Wang, and Wenwen Zhang. "The Morphology and Meaning of Time: An Analysis of John Chowning’s “Sabelithe” Using the UST Method." International Theory and Practice in Humanities and Social Sciences 2, no. 2 (2025): 89–99. https://doi.org/10.70693/itphss.v2i2.41.

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This paper employs the Unités Sémiotiques Temporelles (UST) method to systematically analyze John Chowning's computer music composition “Sabelithe (1971)” . By identifying and interpreting the various USTs present in the piece, the study explores how Chowning utilizes these temporal morphologies to shape the work's structure, tension, and expressiveness. Despite being composed of synthetic timbres, the piece embodies temporal semantics and dramaticism comparable to any traditional composition. This research confirms the effectiveness of the UST method in analyzing electroacoustic music and pro

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