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Relevant bibliographies by topics / Musical interpretations

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Academic literature on the topic 'Musical interpretations'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "Musical interpretations"

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Irizarry, Rafael A. "Parameters with Musical Interpretations." CHANCE 17, no. 4 (September 2004): 30–38. http://dx.doi.org/10.1080/09332480.2004.10554923.

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Strand, Katherine. "Teaching Musical Interpretations through Choral Rehearsals." Music Educators Journal 90, no. 1 (September 2003): 43–50. http://dx.doi.org/10.2307/3399976.

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Carlton, Lana, and Raymond A. R. Macdonald. "An Investigation of the Effects of Music on Thematic Apperception Test (TAT) Interpretations." Musicae Scientiae 7, no. 1_suppl (September 2003): 9–30. http://dx.doi.org/10.1177/10298649040070s101.

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This study investigated the effects of musical stimuli on Thematic Apperception Test (TAT) interpretations. Sixty participants created written interpretations of 8 TAT pictures. Twenty participants listened to music rated as having a positive emotional valence in a pilot study. 20 listened to music as having a negative emotional valence in a pilot study and a further 20 participants created TAT interpretations without musical stimulation. Results highlight that the emotional valence of background musical stimuli influenced the participants' interpretations of pictorial information. Specifically, the affective direction of participants' interpretations was found to be significantly related to the type of musical stimuli. Findings are discussed with reference to music and emotions literature highlighting the multifaceted way in which music impacts aspects of daily life.

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Zuk, Radoslav. "Three Musical Interpretations of Le Corbusier’s Modulor." Nexus Network Journal 15, no. 1 (January 18, 2013): 155–70. http://dx.doi.org/10.1007/s00004-013-0143-y.

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Shkapa, Ekaterina A. "About Expressive Opportunities of the Musical Tempo: Studying the Relationship of Author Text and Performance Interpretation in Music and Theoretical Education." Musical Art and Education 8, no. 1 (2020): 59–72. http://dx.doi.org/10.31862/2309-1428-2020-8-1-59-72.

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Musical tempo is one of the most important elements of musical language, the expressive meaning of which is determined both by the composer’s idea and the performer’s interpretation. The ambiguity of the author’s tempo designations and the lightness of perception of tempo changes by listeners explain the wide use of variability of tempo interpretations for the implementation of individual performance concepts. The article reveals the role of tempo in forming ideas about composing styles among listeners of different eras, in updating existing performance stereotypes, and reveals the relationship between the historical life of a work and the permissibility of its various tempo incarnations. Specific examples in the aspect of the problem of selecting audio materials for training courses in music-historical and music-theoretical disciplines show the expressive possibilities of musical tempo, its role in transmitting the genre, style, and image of musical works from the point of view of compliance of performing tempo solutions with the composer’s idea and artistic expediency. The possibility of including comparative characteristics of interpretations in the study of music-theoretical disciplines to reveal the diversity of music content is justified.

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Okhotnikov, Vladimir E. "The Semantic Explicitization of the Musical Text in Work with Beginner Guitarists." ICONI, no. 3 (2020): 107–20. http://dx.doi.org/10.33779/2658-4824.2020.3.107-120.

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The procedure of interpreting the content of the musical composition studied in a performance class is often reduced to reconstituting the version created by the instructor. The foundation of the joint interpretation with the pupil of the compositions may be served by the process of functioning of semantic fi gures in the context of the musical theme. Its semantic organization is impossible without turning to the foundational concept of semantic analysis — the intonational lexis, which summate the perceptions of the intonational vocabulary of the composer and the musical work he created. Thereby, the semantic explicitization must be the basis for objective analysis of the musical composition’s fi gurative-content aspect. The article examines the performers’ interpretations of musical compositions in beginners’ guitar classes on the basis of analyzing the musical text’s semantic structures in classical and contemporary music. For the beginner musician application of technique of semantic analysis will become a reliable source for a joint search for performance solution together with the instructor.

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Palmer, Caroline. "On the Assignment of Structure in Music Performance." Music Perception 14, no. 1 (1996): 23–56. http://dx.doi.org/10.2307/40285708.

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Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a computermonitored acoustic piano were compared with each performer's notated interpretations of melody. Small timing changes (20-50 ms) marked performers' melodic intentions; events interpreted as melody (the most important voice) preceded other events in chords (melody lead). The emergence of melody leads was investigated in successive performances of unfamiliar music: melody leads were larger in experts' than in students' performances, but students showed more increase with practice. In additional experiments, performances of the same music with different melodic interpretations displayed the melody lead in different amounts, which subsequently affected listeners' perceptions of melodic intentions. Subtle expressive cues in music performance arise from individual interpretations and can aid listeners in determining musical structure.

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Münzmay, Andreas, and Christine Siegert. "Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang." Editio 33, no. 1 (November 1, 2019): 10–30. http://dx.doi.org/10.1515/editio-2019-0002.

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Abstract The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition.

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Ziv, Naomi, and Maya Goshen. "The effect of ‘sad’ and ‘happy’ background music on the interpretation of a story in 5 to 6-year-old children." British Journal of Music Education 23, no. 3 (November 2006): 303–14. http://dx.doi.org/10.1017/s0265051706007078.

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Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger than that of ‘sad’ music. Implications for education are discussed.

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Simpson-Litke, Rebecca. "Flipped, Broken, and Paused Clave." Journal of Music Theory 65, no. 1 (April 1, 2021): 39–80. http://dx.doi.org/10.1215/00222909-9124726.

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Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.

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Dissertations / Theses on the topic "Musical interpretations"

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Freyermuth, Jessie L. "An analysis of the musical interpretations of Nina Simone." Manhattan, Kan. : Kansas State University, 2010. http://hdl.handle.net/2097/4121.

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Lau, Hiu Yan Crystal. "Objective Measure of Two Musical Interpretations of an Excerpt from Berlioz's "La Mort d'Ophelie"." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586877620452912.

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Terada, Yoshitaka. "Multiple interpretations of a charismatic individual : the case of the great Nagasvaram musician, T.N. Rajarattinam Pillai /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11256.

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Tutton, Virginia W. "A STUDY OF THE VARYING INTERPRETATIONS OF THE OPENING FLUTE SOLO IN DEBUSSY’S PRELUDE A L’APRES-MIDI D’UN FAUNE THROUGH 90 YEARS OF SOUND RECORDINGS; WITH SPECIAL CONSIDERATION FOR THE PERFORMANCES AND PEDAGOGY OF WILLIAM KINCAID." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/117.

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Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.

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McCracken, Chelsea. "Contradiction in the tragic musical /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/372.pdf.

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Sperb, Guilherme. "O estudo do método de Fernando Sor e sua interação com a construção de uma interpretação para Sonata, op. 25." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55418.

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O presente trabalho aborda a interação entre a utilização do Méthode pour la Guitare (1830) de Fernando Sor com o processo de construção de interpretação da Sonata op. 25, do mesmo autor. O trabalho foi norteado pela hipótese de associação entre as concepções técnicas e composicionais de Sor, articuladas em seu Método, e sua correspondente tradução em sua escrita violonística. Através desse cotejo, traçaram-se claras possibilidades de associação, e concluiu-se positivamente na utilização do Método como ferramenta complementar na interpretação da música de Fernando Sor.
The present work concerns the interaction between the use of the Méthode pour la guitare (1830) by Fernando Sor and the process of constructing an interpretation for the Sonata op. 25, by the same author. The work‟s main hypothesis was the association between technical and compositional conceptions of Sor, displayed in his Method, and their correspondent translation into his guitar compositional writing. Through this association, clear relationships were established and the work was conclusive on the positive use of the Method as a complementary tool for the interpretation of Fernando Sor‟s music.
El presente trabajo aborda la interacción entre la utilización del Méthode pour la guitare (1830) de Fernando Sor con el proceso de construcción de una interpretación para la Sonata op. 25, del mismo autor. La hipótesis del trabajo fue la asociación entre las concepciones técnicas y compositivas de Sor, articuladas en su Método, y su correspondiente traducción en su escritura guitarrística. Por medio de este cotejo, se trazaron claras posibilidades de asociación, y se concluyó positivamente por el uso del Método como herramienta complementaria en la interpretación de la música de Fernando Sor.

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Moura, Junior Nivaldo Camargo de. "Agrupamento de notas: aplicação do conceito interpretativo na obra estudo para trompete em Dó, de Camargo Guarnieri." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7343.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Abstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched.
Resumo: A presente pesquisa desenvolveu-se através da aplicação do Agrupamento de Notas, conceito apresentado por James Morgan Thurmond (1991) no livro: Note Grouping: A Method for Achieving Expression And Style in Musical Performance, utilizando-se como ferramenta para sugestão interpretativa na obra Estudo para trompete em Dó, do compositor brasileiro Camargo Guarnieri. Inicialmente realizou-se um levantamento bibliográfico sobre as produções de pesquisas e repertório relacionados às práticas interpretativas para trompete solo no Brasil, bem como uma vinculação histórica e metodológica da expressividade musical, abordando a pedagogia da expressividade musical, o agrupamento de notas e, por último, a aplicação deste conceito como sugestão interpretativa em trechos específicos da obra, objeto de estudo pesquisado.

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Razumovskaya, Maria. "Heinrich Neuhaus : aesthetics and philosophy of an interpretation." Thesis, Royal College of Music, 2014. http://researchonline.rcm.ac.uk/355/.

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This thesis investigates one of the key figures of Russian pianism in the twentieth century, Heinrich Gustavovich Neuhaus (1888 - 1964). Although Neuhaus is known, particularly in the West, as an important pedagogue of the Moscow Conservatory rather than a performing artist in his own right, this thesis seeks to address the tension between Neuhaus's identities as a pedagogue and his overshadowed conception of himself as a performer - thus presenting a fuller understanding of his specific attitude to the task of musical interpretation. The reader is introduced to aspects of Neuhaus's biography which became decisive factors in the formation of his key aesthetic, philosophical, pedagogical and performative beliefs. The diverse national influences in Neuhaus's upbringing - from his familial circumstances, European education and subsequent career in Russia - are investigated in order to help locate Neuhaus within the wider contexts of Russian and Central European culture at the turn of the nineteenth and twentieth centuries. In addition, this introduction will highlight ways in which Neuhaus's national identity has been oversimplified in recent literature by both Russian and non-Russian authors. Whilst this thesis draws on a range of contemporaneous and recent international sources throughout its investigation, it presents a substantial amount of Russian-language material that has previously been unavailable in an English translation: this includes many writings and articles by Heinrich Neuhaus, his colleagues and the leading musicologists and critics of his time. The core of the thesis traces Neuhaus's personal philosophical approach to the act of performance and explores the impact it had on his interpretations of Beethoven and Chopin. This will show that despite aspiring to a modern, Urtext-centred approach and sensibility to the score, Neuhaus's Romantic subjectivity meant that he was unafraid of making assumptions and decisions which often misinterpreted or transformed the image of the composer to reflect his own artistic identity. Thus, the investigation of Heinrich Neuhaus as a performing artist, alongside his role as a pedagogue, presents a powerful model of interpretation as a creative process, from which performers today can learn.

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Bacovis, Andrey Costa. "Elementos formais, texturais e interpretativos nas sonatas para piano de João Domingos Bomtempo (1775-1842) /." São Paulo, 2017. http://hdl.handle.net/11449/151901.

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Orientador: Nahim Marun Filho
Banca: Eduardo Seincman
Banca: Luiz Brito Passos Amato
Abstract: This research aims at the presentation of a stylistic overview of the João Domingos Bomtempo's piano sonatas, aiming the musical interpretation. In the first chapter, is presented a brief biography of this composer, focusing on his musical trajectory, his works and the composers with whom he had contact. The following chapter is dedicated to formal analyzes of his sonatas, contemplating especially the first movements, in which works by CAPLIN (1998), HEPOKOSKI & DARCY (2006) and ROSEN (1988) were the main references. In the third chapter, the texture elements of his sonatas are investigated, from the association with the specialized literature in interpretive practices, especially those that deal with the musical style of the composers of the London Pianoforte School, with whom Bomtempo had contact. Finally, the last chapter associates the content of previous chapters in order to make an interpretative proposal for Bomtempo's Sonata opus 15 n.1. In this research, it is possible to see a way in which formal and textural aspects of a musical work can be emphasized in a musical performance in order to enrich the musicality, providing interpretive possibilities.
Resumo: Esta pesquisa tem como objetivo a apresentação de um panorama estilístico das sonatas para piano de João Domingos Bomtempo, com vistas à interpretação musical. No primeiro capítulo, apresenta-se uma breve biografia deste compositor, com foco em sua trajetória musical, em suas obras e nos compositores com os quais teve contato. O capítulo seguinte é dedicado a análises formais de suas sonatas, contemplando especialmente os primeiros movimentos, em que obras de CAPLIN (1998), HEPOKOSKI & DARCY (2006) e ROSEN (1988) foram as principais referências. No terceiro capítulo, investiga-se os elementos texturais de suas sonatas a partir da associação com a literatura especializada em práticas interpretativas, especialmente àquelas que abordam o estilo musical dos compositores da Escola de Londres, com os quais Bomtempo teve contato. Por fim, o último capítulo relaciona o conteúdo de capítulos anteriores a fim de realizar uma proposta interpretativa para a Sonata opus 15 n.1 de Bomtempo. Nesta pesquisa, é possível ver a maneira como aspectos formais e texturais de uma obra musical podem ser enfatizados em uma performance a fim de enriquecer a musicalidade, fornecendo possibilidades interpretativas.
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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.

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Books on the topic "Musical interpretations"

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Schirpenbach, Bernd. Ästhetische Regulation und hermeneutische Überschreibung: Zum Begriff und zur musikwissenschaftlichen Funktion einer korrelativen Hermeneutik im Ausgang von Interpretations- und Wissenschaftskonzeptionen bei Dahlhaus und Eggebrecht. Stuttgart: F. Steiner, 2006.

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Dance to Honour Kings (1996 King's College (University of London)). Dance & music in French baroque theatre: Sources & interpretations ; papers presented at Dance to honour kings : sources for court & theatrical entertainments, 1680-1740, King's College London, August 1996. London: Institute of Advanced Musical Studies, King's College London, 1998.

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Alfred Cortot's studies in musical interpretation. New York: Da Capo Press, 1989.

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Cortot, Alfred. Alfred Cortot's studies in musical interpretation. New York: Da Capo Press, 1989.

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Zacchini, Simone. Al di là della musica: Friederich Nietzsche nelle sue composizioni musicali. Milano: FrancoAngeli, 2000.

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Zacchini, Simone. Al di là della musica: Friederich Nietzsche nelle sue composizioni musicali. Milano: F. Angeli, 2000.

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Donington, Robert. The interpretation of early music. London: Faber and Faber, 1989.

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The interpretation of early music. New York: Norton, 1989.

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Hatten, Robert S. Musical meaning in Beethoven: Markedness, correlation, and interpretation. Bloomington: Indiana University Press, 2004.

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Musical meaning in Beethoven: Markedness, correlation, and interpretation. Bloomington: Indiana University Press, 1994.

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Book chapters on the topic "Musical interpretations"

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Worth, Peter, and Susan Stepney. "Growing Music: Musical Interpretations of L-Systems." In Lecture Notes in Computer Science, 545–50. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-32003-6_56.

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Mazzola, Guerino. "Classifying Interpretations." In The Topos of Music, 369–86. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_16.

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Mazzola, Guerino. "Classifying Interpretations." In The Topos of Music I: Theory, 303–17. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_16.

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Stoessel, Jason. "The Interpretation of Unusual Mensuration Signs in the Notation of the Ars subtilior." In Epitome musical, 179–202. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2666.

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van Benthem, Jaap. "‘La prima donna del mondo’: Isabella d’Este’s Musical Impresa, its Conception, and an Interpretation." In Epitome musical, 569–76. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2720.

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Hatten, Robert S. "Fundamental concepts for the semiotic interpretation of musical meaning." In The Routledge Handbook of Music Signification, 89–98. [1.] | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351237536-8.

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Fuchs, Béatrice, and Amélie Cordier. "Interactive Interpretation of Serial Episodes: Experiments in Musical Analysis." In Lecture Notes in Computer Science, 131–46. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-03667-6_9.

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Cozma, Carmen. "The Philosophical “Exposure” and “Interpretation” of a Musical Creation." In The Creative Matrix of the Origins, 311–16. Dordrecht: Springer Netherlands, 2002. http://dx.doi.org/10.1007/978-94-010-0538-8_23.

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Rupeikaitė, Kamilė. "Musical Images in the Tanakh: Between Their Essence, Context and Interpretation." In Of Essence and Context, 71–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14471-5_5.

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Tanguiane, Andranick. "Technology of interpretation and expressive pulses." In Music, Gestalt, and Computing, 407–20. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034129.

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Conference papers on the topic "Musical interpretations"

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van der Smissen, Andrea. "Musikalische Innovation im Umfeld der Moderne und historischen Avantgarde in Ungarn." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.75.

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In recent decades the interpretation of music history of the interwar period was determined by factors which allowed only national or folkloristic approaches to modern music in Hungary. However, the composers of the group ‘Modern Hungarian Musicians’, connected to the forums of the New Music like the ISCM or Cowell‘s NMS, were committed to a transcultural view of musical innovation. Through intermedial connections between literary and fine art, they received non-musical impulses by modern and avantgarde movements. This paper makes an approach on their heterogeneous conception of music with the common sense, to set a renewal of the musical language as its goal.

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Schaefer, Mathew. "Beautiful Music in the Classroom: Marimba As a Lab Experiment for Teaching Vibration Measurement." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-11038.

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Abstract A marimba bar makes a rich and vibrant sound when played by a skilled musician. When that same marimba bar is played by the typical mechanical engineering junior, it’s a different story. Then, that same marimba key provides a complex set of vibration modes that are a useful subject for a lab experiment in their Measurements & Instrumentation course. This paper will describe development of “The Marimba Experiment”, which is part of a junior-level engineering course in measurements at Milwaukee School of Engineering. Learning outcomes for this course include “provide students with hands-on experience: using various sensors, performing data collection, and interpretation of experimental results.” In this experiment, students measure vibrations using a piezoelectric accelerometer, charge amplifier and analog-to-digital conversion. Results can be viewed in two ways. First, it may be interpreted as a general example of a vibrating structural component. It has several natural frequencies and mode shapes (transverse bending, lateral bending, torsional), which are simultaneously active. The signal represents an example of a complex periodic signal. It may be analyzed by looking at the acceleration versus time response and by examining the Fourier transform of the data, which shows results in the frequency domain. Second, results may be interpreted in musical terms. The lowest frequency is what we recognize as “the note” and the higher modes represent the higher harmonics. The distribution of frequency ratios and the relative amplitudes of the higher frequencies are what gives a musical instrument its unique character. In other words, what makes middle-C on a marimba sound different than middle-C on a clarinet or violin? A well-designed engineering experiment can give students an immediate application example. In this case, it is an example which they spontaneously want to explore because they all enjoy music and want to understand how it is created.

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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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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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Coop, Allan D. "Sonification, Musification, and Synthesis of Absolute Program Music." In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.030.

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When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations ranging from the stochastic structures of noise to the periodic waveforms of organized sound. Analysis of acoustic signals suggest recognition as a musical work requires signal periodicity to exceed some minimum. A methodological framework that satisﬁes recent deﬁnitions of soniﬁcation is outlined. This framework is proposed to extend to musiﬁcation through incorporation of data features that represent more traditional elements of a musical work such as melody, harmony, and rhythm.

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Middleton, Jonathan, Jaakko Hakulinen, Katariina Tiitinen, Juho Hella, Tuuli Keskinen, Pertti Huuskonen, Juhani Linna, Markku Turunen, Mounia Ziat, and Roope Raisamo. "Sonification with Musical Characteristics: A Path Guided by User-Engagement." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.006.

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Sonification with musical characteristics can engage users, and this dynamic carries value as a mediator between data and human perception, analysis, and interpretation. A user engagement study has been designed to measure engagement levels from conditions within primarily melodic, rhythmic, and chordal contexts. This paper reports findings from the melodic portion of the study, and states the challenges of using musical characteristics in sonifications via the perspective of form and function – a long standing debate in Human-Computer Interaction. These results can guide the design of more complex sonifications of multivariable data suitable for real life use.

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Zgheib, Caren, Munia Hatem, Johny Kamel, Mariette Awad, Fadi Karameh, and Mihran Gurunian. "A Musical Classification and Interpretation of Abstract Art." In International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2523429.2531848.

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Karipidou, Kelly, Josefin Ahnlund, Anders Friberg, Simon Alexanderson, and Hedvig Kjellstrom. "Computer Analysis of Sentiment Interpretation in Musical Conducting." In 2017 12th IEEE International Conference on Automatic Face & Gesture Recognition (FG 2017). IEEE, 2017. http://dx.doi.org/10.1109/fg.2017.57.

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Li, Rongfeng, Yelei Ding, Wenxin Li, and Minghui Bi. "A classification approach to interpretation of traditional Chinese musical score." In 2012 IEEE International Conference on Information Science and Technology (ICIST). IEEE, 2012. http://dx.doi.org/10.1109/icist.2012.6221727.

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"Musical style JAZZ, the new way of Leadership (Classical, Jazz, Evergreen Live interpretation)." In Dignified Researchers Publication. Dignified Researchers Publication, 2016. http://dx.doi.org/10.15242/dirpub.dirh1016208.

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Melnychuk, Ekaterina Alexandrovna. "Effect of music competitions on pieces of music interpretation by students." In IX International Research-to-practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112729.

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