Relevant bibliographies by topics / Music performance preparation

Contents

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

Academic literature on the topic 'Music performance preparation'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Music performance preparation"

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Lehmann, Andreas C., and K. Anders Ericsson. "Preparation of a Public Piano Performance: The Relation between Practice and Performance." Musicae Scientiae 2, no. 1 (1998): 67–94. http://dx.doi.org/10.1177/102986499800200105.

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This study investigated an expert pianist's nine-month preparation for a public music performance (recital) through the collection of practice diaries and MIDI recordings of the eight scheduled pieces. Recordings were made under the experimentally varied conditions of solitary performance and public performance. The practice diaries revealed that the expert (an advanced student performer) allocated practice time consistently across the entire preparation period and tended to use mornings to practice the pieces perceived as being more difficult. Total preparation time for each of the pieces could be predicted on the basis of the pianist's subjective ratings of complexity and independent ratings of complexity given by other experts. An analysis of the performance data showed that, near the time of the recital, variability in performance tempo was large between pieces but very small for multiple renditions of the same piece, even under the different experimental conditions. Thus, to attain a highly reproducible public performance, the expert allocated practice time in response to task demands and engaged in specific preparations that would safeguard the performance against unexpected problems.
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PALMER, C. "Time Course of Retrieval and Movement Preparation in Music Performance." Annals of the New York Academy of Sciences 1060, no. 1 (2005): 360–67. http://dx.doi.org/10.1196/annals.1360.030.

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Mishchanchuk, Viktoriia. "MODERN METHODS OF POP EXCITEMENT OVERCOMING BY FUTURE MUSIC ART TEACHERS DURING PUBLIC PERFORMANCE." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 101–6. http://dx.doi.org/10.36550/2415-7988-2021-1-195-101-106.

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In the article the phenomenon of pop excitement, its essential and qualitative features of detection in the music art are considered. The author notes that public performance is always accompanied by excitement. In this state the process of music creating happens, during which all musician’s creative abilities are activated, the reserve capabilities of the individual are accumulated to create vivid concepts of musical works and convey them to the audience. Also, in the article the features of professional and psychological preparation of performers for public performances are revealed. The author considers innovative approaches, methods, techniques, exercises, directions that should be used by future music art teachers to overcome the negative effects of pop excitement during performance on stage. To achieve comfortable mental state during the performance, it is proposed to use the following psychotherapeutic directions in the process of preparing students for performance: NLP – neuro-linguistic programming; body-oriented training; vocal therapy. Thus, the use of NLP allows the teacher to penetrate into the inner world of the individual to reveal his/her reserve capabilities, expand worldview, intensify creative and mental processes. In the process of preparing future music art teachers for public performance, the author pays attention to the fact that the method of «anchoring» will help to overcome negative emotional states, and methods of associations, analogies, comparisons, metaphors, symbols will help to activate various mental states, form new creative ideas. In the article body-oriented training that helps to overcome future music art teachers’ muscle cramps, their emancipation through physical, instrumental and vocal exercises is considered. The author proposes to use the method of vocal therapy, role preparation, the method of playing a concert program in front of an imaginary audience and playing music to overcome the pop excitement on stage, which will ensure performance stability and reliability during the presentation of the program to the audience. The author indicates that the technique of «sensory reconstruction» will help to implement of self-regulation of emotional states in the process of preparation for public performance and during it, and to relieve nervous and mental stress and master the optimal concert state, it is recommended to use methods of autogenic and meditative immersion.
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Montemayor, Mark, Brian A. Silvey, Amy L. Adams, and Kay L. Witt. "Effects of Internal and External Focus of Attention During Novices’ Instructional Preparation on Subsequent Rehearsal Behaviors." Journal of Research in Music Education 63, no. 4 (2015): 455–68. http://dx.doi.org/10.1177/0022429415612201.

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The purpose of this study was to investigate the effects of internal versus external focus of attention during novice teachers’ instructional preparation on their subsequent rehearsal behaviors. Thirty-two undergraduate instrumental music education students led bands in a series of three, 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants engaged in condition-specific score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. We systematically analyzed video recordings of these rehearsals, calculating rates per minute of teacher verbalizations across several performance and teaching variables. We found that compared to the internal group, the external group exhibited higher rates of positive/specific feedback, conducted more frequent and briefer performance segments, and more often asked for the ensemble to start without providing a directive. The internal group mentioned ensemble balance in their rehearsals more frequently than did the external group, and their verbalizations reflected greater concern for Tone Quality. A panel of independent evaluators viewed all 96 video recordings of the rehearsals (presented to them without sound) and rated the clarity and the expression of participants’ conducting. We found a significant time by condition interaction for Expression, with scores for the external group increasing over time and scores for the internal group decreasing. We suggest that these results reflect the distinct and complementary benefits of each of these preparation methods for novice music teachers.
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Ho, Ang-Cheng Kris, and Victor J. Rodriguez. "Teaching Minimalist Music at the Fundamental Level: Performance Preparation and Stage Fright." International Journal of Information and Education Technology 9, no. 3 (2019): 231–35. http://dx.doi.org/10.18178/ijiet.2019.9.3.1205.

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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.

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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.
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Rickels, David A., Kimberly H. Councill, William E. Fredrickson, Michelle J. Hairston, Ann M. Porter, and Margaret Schmidt. "Influences on Career Choice Among Music Education Audition Candidates." Journal of Research in Music Education 57, no. 4 (2009): 292–307. http://dx.doi.org/10.1177/0022429409350779.

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The purpose of this pilot study was to survey prospective undergraduate music education majors to learn what motivated them to aspire to a career in music education. Respondents were candidates auditioning, but not yet accepted, for music teacher preparation programs at four institutions ( N = 228). Findings corroborate prior research that suggests that school music teachers and/or private lesson teachers are highly influential. This study sought to quantify the types of experiences participants had in teaching roles at the time of their college audition, supporting other research suggesting that such experiences may increase interest in a music teaching career. Recommendations include engaging music educators at all PreK—12 levels in actively recruiting and encouraging future teachers, providing private instructors and performance majors with teacher recruitment information, emphasizing earlier identification and preparation of prospective educators, and refining and continuing the work begun in this pilot study.
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Davis, Anita P. "Performance Achievement and Analysis of Teaching during Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (1998): 496–509. http://dx.doi.org/10.2307/3345346.

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Eighty-three rehearsals and four final performances of two high schools' beginning and advanced choruses were videotaped to identify rehearsal behaviors and to evaluate performance achievement in relation to performance preparation. Teacher academic and social instruction, student nonperformance response, rated (5-point scale) performance response with and without teacher verbal assistance, and teacher feedback were observed. Variables were measured in real time and converted to percentages of rehearsal time. Additionally, frequencies of teaching sequences were identified for each rehearsal. Review of improvements in the quality of performance for each school indicated a similarity in proximity to the final performance between beginning and advanced choruses. Considering this observation, variables were calculated for means between points of achievement. Findings indicate that (a) teachers pace improvement unrelated to ensemble maturity, (b) time spent in teacher verbalization may not relate to performance success, (c) teacher assistance during student practice decreases with student improvement, and (d) instructions decrease with student improvement.
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Williams, Kathryn. "PIXERCISE: PICCOLO PERFORMANCE PRACTICE, EXERCISE AND FEMALE BODY IMAGE." Tempo 74, no. 292 (2020): 74–79. http://dx.doi.org/10.1017/s0040298219001207.

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AbstractPIXERCISE (2017–) is an open-ended collaborative work written by Kathryn Williams and Annie Hui-Hsin Hsieh. The piece involves an ongoing process of physical training, and in performance combines specially tailored physical exercises with piccolo performance. This article describes the unusual composition, preparation, and performance of this work and is concerned with exploring the shifting collaborative relationship. It also explores some of the aesthetic and social ideas that motivated the piece and have emerged through critical reflection and have been further incorporated, including the process of self-improvement and overcoming expressed as a performance artwork; entanglements between physical transformation through exercise; attitudes to female-body image and exercise; and how this piece connects with a growing tradition of experimental musical performance practice and performance art.
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Potter, Jennifer. "Elementary General Music Performances and Teachers’ Perceptions of Stress." Update: Applications of Research in Music Education 40, no. 1 (2021): 36–44. http://dx.doi.org/10.1177/87551233211010401.

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The purpose of investigation was to examine the perceptions of elementary music teachers concerning the preparation of elementary music performances and the impact on their perceived stress. Participants were practicing elementary general music teachers ( N = 3) representing three different elementary schools from a metropolitan area in the Midwest. All participants were interviewed twice over a period of two months via Zoom. Data were analyzed through an open coding process (Gibbs, 2007), which yielded three themes: time management, control, and isolation. Facets of time management included strategic planning, organizational techniques, and instructional time; control concerned scheduling, repertoire selection, equipment, and performance venues; and isolation pertained to relationships with colleagues and administrators and an overwhelming amount of responsibility. These findings indicate the importance of acknowledging various stressors affecting music educators and how those might positively and negatively affect teachers and students.
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Dissertations / Theses on the topic "Music performance preparation"

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Gardner, David B. "Herbert Howells' Requiem: A guide to preparation and performance." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280285.

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Although composed in the 1930s, Herbert Howells' Requiem for unaccompanied voices was not performed or published until the early 1980s. The long period between its composition and publication has left many questions about its origins unanswered. The document attempts to clarify the confusing genesis of Howell's Requiem, and suggests that the motivation behind its composition was the commemoration of those who died in World War I, and not, as has been previously supposed, the death of Howells' son Michael in 1935. The development of Howells' own compositional style is traced through musical influences, and the difficult circumstances of Howells' formative years. Three stylistic influences are discussed: the generation of English composers immediately preceding Howells, the generation of English composers from the sixteenth century, and the English countryside and the tunes of its people. The last two chapters deal with the Requiem in detail, providing conductors with textual and musical analyses and with suggestions for score preparation, rehearsal techniques, and performance logistics.
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Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
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Lagerstrom, Elizabeth Hope. "Preparation for Music Degree Programs: Undergraduate Music Majors’ Perceptions of the Degree Program and the Activities that Helped Them Prepare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306941925.

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Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.

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Blosser, Cyril Andrew. "Ernest John Moeran: Seven Poems of James Joyce A Singer's Guide to Preparation and Performance." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249616424.

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Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.

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In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.
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Burdette, Joy L. "Thomas Pasatieri's Letter to Warsaw: An Examination of Style for Performance Preparation." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377872551.

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Ferguson, Katherine. "HIGH SCHOOL BAND SIGHT READING IN THE UNITED STATES:PROCEDURES, PREPARATION, ATTITUDES, AND EXPERIENCES." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492776380156841.

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Griggs, Nicholas E. "War & peace - a themed choral concert: a comprehensive examination of the process of preparation and performance." Kansas State University, 2013. http://hdl.handle.net/2097/16208.

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Master of Music<br>School of Music, Theatre, and Dance<br>Julie Yu<br>This document examines five choral octavos for a themed choral concert. The McPherson High School Concert Choir will present a themed choral concert, “War and Peace”, which includes these five octavos, on October 14, 2013 at 7:30pm. The selections reflect the program theme and include historical and theoretical analysis. Along with the analysis, this document also contains rehearsal plans and examines common practices of selecting and preparing literature for a themed choral concert. The choral octavos examined are: The Sword of Bunker Hill arranged by Matthew Armstrong, Lift Up Your Heads arranged by Hal H. Hopson, Down By The Riverside arranged by Rosephanye Powell, Tell My Father arranged by Andrea Ramsey, and Joshua Fit The Battle of Jericho arranged by Mark Hayes.
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Caldwell, Lisa Marie 1964. "The partsongs of Blas Galindo Dimas (1910-1993): The implications of nationalistic compositional techniques on the conductor's preparation and performance." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290623.

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The partsongs of Mexican composer, Blas Galindo Dimas (1910-1993) contain elements of pre-cortesian Mexican music and Mexican mestizo folk music. Galindo's musical background, and the nationalistic currents of thought that were present in Mexico during his youth and education influenced his compositional style. Galindo utilizes specific Mexican folk and indigenous traits. The information available to Galindo regarding pre-cortesian indigenous music is investigated. In addition, the Mexican folk form son is described. The alternation of meter in six and meter in three is known as sesquialtera, and is a defining characteristic of the son, subsequently used by Galindo in the partsongs. The inclusion of Mexican folk and indigenous style traits in Galindo's partsongs has implications for the choral conductor. Nationalistic traits in Galindo's works should be emphasized using proper Mexican folkloric performance practice. In addition, Galindo shows a high degree of sensitivity to the text. His declamation of the text preserves the natural word stress and paints word meanings with musical conventions. Descriptions of selected partsongs seek to identify nationalistic traits and the relationship of rhythm and meter to the text. The conductor is given rehearsal and performance suggestions for dealing appropriately with those traits.
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Books on the topic "Music performance preparation"

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Roemer, Clinton. The art of music copying: The preparation of music for performance. 2nd ed. Roerick Music Co., 1985.

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Oliver, Donald. How to audition for musical theatre: A step-by-step guide to effective preparation. Smith and Kraus, 1995.

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Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. Drama Book Publishers, 1988.

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Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. 2nd ed. Smith and Kraus, 1995.

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How to audition for the musical theatre: A step-by-step guide to effective preparation. Drama Book Publishers, 1985.

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Ben-Or, Nelly. The Alexander technique in the preparation and performance of music: A pianist's thoughts on the Alexander technique. Ben-Or, 1988.

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Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.

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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.
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Shaw, Brian P. Music Assessment for Better Ensembles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.001.0001.

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Assessment is central to ensemble music. Yet, teachers do not always have the expertise to harness its potential to improve rehearsals and performances, and promote and document student learning. Written specifically for band, choir, and orchestra teachers at all levels, this book contains all of the information necessary to design and use assessment in a thriving music classroom. The first section addresses foundations such as learning targets, metacognition, and growth mindset. Assessment jargon such as formative assessment, summative assessment, Assessment for Learning, self and peer assessment, and authentic assessment is clarified and illustrated with music examples. Readers will learn practical strategies for choosing which concepts to assess, which methods to use, and how to use results to provide accurate and effective feedback to students. The second section brings assessment fundamentals into the music room. Filled with practical advice, each chapter examines a different facet of musicianship. Sample assessments in all performance areas are provided, including concert preparation, music literacy, fundamentals and technique, terminology, interpretation, evaluation and critique, composition and improvisation, beliefs and attitudes, and more. The final section is an examination of grading practices in music classes. Readers will gain information about ensemble grades that communicate what students know and are able to do. The book concludes with ways for music educators to take their first steps toward implementing these strategies in their own teaching, including the use of instructional technology. Assessing like an expert is possible, and this book is just what teachers need to get started.
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Ginsborg, Jane. Small ensembles in rehearsal. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0012.

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Research on music performance as creative practice includes the study of rehearsal and preparation for performance. This chapter investigates creativity as demonstrated both by the individual members of small groups of two to five musicians rehearsing western classical (i.e. notated) music, and between the members of each group. Rehearsal activities—what actually happens when people play and/or sing together—depend on numerous factors, including the group’s goals not only for rehearsal but also for performance, the size of the group, the genre of the music, the performers’ expertise as individual and ensemble musicians, and the length of time available for rehearsal. Long-established groups may prepare for performances by drawing on years of experience, but there are also many examples of ‘instant’, temporary groups or partnerships that have much more limited rehearsal time. Creativity in rehearsal is discussed particularly in the context of research with singer–pianist duos of differing levels of expertise and familiarity, exploring their use of verbal and nonverbal communication and musical behaviours in single rehearsals and series of rehearsals, and with three ensembles made up of student musicians who produced practice diaries.
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Cottrell, Stephen. The creative work of large ensembles. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0013.

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Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conductor to ensemble. But such a perspective oversimplifies the conductor’s relationship with the ensemble, the relationships between the musicians, and the strategies that the latter must employ when working in large ensembles. Conceptualizing the ensemble as a complex system of interrelated components, where leadership and creative agency are distributed and developed through rehearsal to achieve what audiences assume to be a unified whole, yields new understanding of the work of large ensembles. This chapter examines these components of the creative process in orchestral and choral rehearsal and performance, the internal and external forces shaping and constraining that process, and the approaches that individual musicians and conductors could adopt in response to the changing contexts in which such creativity might be manifested.
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Book chapters on the topic "Music performance preparation"

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Shaw, Brian P. "Concert Preparation." In Music Assessment for Better Ensembles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.003.0007.

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This chapter provides assessment strategies for performance preparation assessment. Even though performing is a central and necessary aspect of ensemble music classes, concerts are not themselves assessment of individual students’ musical learning. The chapter includes a variety of ways to implement assessment in the rehearsal. Both informal assessment during the course of a traditional rehearsal and formal assessment settings off the podium can improve performance results. Self and peer assessment build metacognitive musicians and provide pathways to individualized feedback that teachers may have missed. Infusing assessment into the ensemble rehearsal is an investment of class time that pays noticeable dividends.
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Fiala, Michele. "Nathan Hughes." In Great Oboists on Music and Musicianship. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915094.003.0010.

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Nathan Hughes is principal oboe of the Metropolitan Opera and serves on the faculties of the Juilliard School and Rutgers University. In this chapter, he discusses his early life and career, the influence that opera has had on his performance, and the use of mental practice in performance preparation. He also shares ideas on interpretation, reeds, breathing, support, fundamentals and vibrato. He also offers advice to those who are auditioning.
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Adolphe, Bruce. "Piano Puzzler Preparation." In The Mind's Ear. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0007.

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This section, newly created for the third edition, is a response to the many private piano teachers and classroom music teachers who have suggested that it should be possible to create a fun and useful curriculum based on the Piano Puzzler segment of public radio’s Performance Today, which has been broadcast weekly since 2002. These exercises are necessarily for pianists and composers who play the piano because they require keyboard skills and a working knowledge of modes, harmony, and other compositional vocabulary and grammar. All of the exercises may be approached as improvisations and/or compositions to be notated. The penultimate exercise in this book, “Be a Private Ear,” provides a detailed checklist of the main compositional features that go into composing a piano puzzler. The Private Ear Checklist is a kind of shopping list that reminds you of what ingredients you need to cook something that Chopin, Brahms, Debussy, or Stravinsky might prepare. The final exercise is to use the skills developed in the preceding exercises to compose one’s own piano puzzler.
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Taylor, Monique. "The Reel and Surreal of Race in America: Michel Gondry and the African–American Identity Crisis of Dave Chappelle." In ReFocus: The Films of Michel Gondry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456012.003.0010.

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In this chapter Monique Taylor analyses the concert documentary DaveChappelle’s Block Party (2005), directed by French filmmaker Michel Gondry, which depicts the organization and performances of a “block party” hosted by African-American comedian Dave Chappelle in Brooklyn, New York. Chappelle’s Block Party featured performances by some of the biggest names in hip hop, rap, and R &amp; B music, including ?uestlove, Erykah Badu, Mos Def, the Fugees reunited with Lauryn Hill, and Kanye West. The chapter argues that Gondry plays the role of outsider-looking-in as both a participant in as well as an observer of aspects of American cultural conversations on memory, identity and language. Taylor’s chapter draws attention to Dave Chappelle’sBlock Party’s construction of a hybrid and hyper-real community through the use of strategies such as movements back and forth in time between the entertainers’ performances and the preparations leading up to the concert which highlight the production of the event, surreal visual embellishments, and prominent allusion to symbols of African–American identity. The chapter also places the film within the context of Chappelle’s own exploration of his identity and struggle to “keep it real.”
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Leong, Daphne. "Reception and Structure." In Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.

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This chapter discusses the results of an experiment testing audience response to Robert Morris’s Clear Sounds among Hills and Waters (1989, revised 2013), for solo piano, under five different preparatory conditions: simple identification (ID), program note (PN), aesthetic/visual introduction by the composer on video (AES), structural/aural introduction by the composer on video (STR), and the combination of all of the preceding (CMB). Qualitative analysis of responses suggested that preparations ID, STR, PN, AES, and CMB, in that order, were increasingly beneficial for audience appreciation and understanding. The piece’s context and meaning needed to be explained before structural information could be employed effectively. The combination of aesthetic with structural information was more helpful than either alone. Indirect knowledge about the piece must translate into direct knowledge for greater impact. The chapter then explores broader issues implicated in audience reception of new music: characteristics of the listener, social and cultural factors, and features of the musical language, described by analogy to phonetics, morphology, syntax, and semantics. Stimuli for the experiment, including Leong’s performance of Clear Sounds on video, may be found online.
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Conference papers on the topic "Music performance preparation"

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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.

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Abstract:
Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.
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2

Liu, Tse. "The main directions of development of patriotic education of students by means of vocal art in the People's Republic of China." In Наука России: Цели и задачи. НЦ "LJournal", 2021. http://dx.doi.org/10.18411/sr-10-04-2021-69.

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Abstract:
The purpose of the article is to show how modern technologies expand the educational possibilities of children's patriotic songs by enriching this genre with new means of expression, as well as the emergence of new forms of song representation (songs for movies, TV shows for children, laser shows, open-air performances, etc.). The direct participation of children in the preparation for participation in the events, performances in front of the audience, as well as the presence as spectators and the use of music teachers of these genres in the classroom have an effective educational impact on children of different ages for the purpose of patriotic education of young people in China.
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