Relevant bibliographies by topics / Performance expressive

Contents

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

Academic literature on the topic 'Performance expressive'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Performance expressive"

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Repp, Bruno H. "Effects of Auditory Feedback Deprivation on Expressive Piano Performance." Music Perception 16, no. 4 (1999): 409–38. http://dx.doi.org/10.2307/40285802.

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Previous studies have suggested that elimination of auditory feedback has no significant effect on the accuracy of keyboard performance. In the present study, this issue was investigated further by focusing specifically on parameters of expression in piano performance: horizontal and vertical timing, horizontal and vertical dynamics, and pedaling. Six pianists performed a short musical excerpt (bars 1-5 of Chopin's Etude in E Major, op. 10, no. 3) 10 times on a digital piano in each of four conditions: expressive with and without feedback, and metronomic with and without feedback. The data analyses revealed significant effects of feedback deprivation on all expressive parameters in both expressive and metronomic performance. However, these effects were very small, except for some substantial changes in pedaling by some pianists. To determine the perceptual and aesthetic significance of these effects, a group of pianist listeners was presented with a forced- choice test in which expressive performances produced with and without feedback were paired with each other. The listeners correctly identified the performance played without feedback on only 63.5% of the trials, which confirms the relative subtlety of the effects of feedback deprivation. Although expression seems to be controlled primarily by an internal representation of the music, auditory feedback may be important in fine-tuning a performance and in the control of pedaling. However, it is also possible that the effects of auditory feedback deprivation merely reflect a lack of motivation to play expressively in the absence of sound.
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Broomhead, Paul, and Jon B. Skidmore. "Creating an Expressive Performance Mindset." Music Educators Journal 100, no. 3 (March 2014): 33–37. http://dx.doi.org/10.1177/0027432113515930.

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Geringer, John M., and Justine K. Sasanfar. "Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist." Journal of Research in Music Education 61, no. 2 (June 13, 2013): 160–74. http://dx.doi.org/10.1177/0022429413485246.

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Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Sixty-six undergraduate and graduate music students turned a Continuous Response Digital Interface dial to indicate their ongoing perception of expressivity as they listened throughout each performance. Graphic analysis of listeners’ responses for both pieces illustrated that they differentiated between sections with expressive and unexpressive playing by the pianist. Statistical analysis revealed that sections in which the pianist played expressively were perceived with significantly higher levels of expressivity than unexpressive sections. We found no significant differences in perceived expressivity between performance experience groups, gender, graduates versus undergraduates, or orders. Thus, in collaborative performances of a vocalist or instrumentalist with a pianist, pianist expressiveness appears to influence perception of overall expressivity.
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Amâncio, Moacir. "EMMC. Performance / EMMC. Performance." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 25. http://dx.doi.org/10.17851/2359-0076.40.63.25-32.

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Resumo: A poesia do autor português Ernesto Manuel de Melo e Castro, radicado no Brasil, desconhece limites geográficos e da expressão, pautando-se pelos ritmos da liberdade. Sua obra, marcada pelo concretismo brasileiro, confirma o movimento, conferindo-lhe não um papel de superioridade e influência, mas um papel de diálogo, de junção das experiências e a busca de linguagens contemporâneas. O que não se limita à experimentação expressiva, pois implica a atuação num espectro amplo e da quebra de tabus. O questionamento incansável é a pauta de sua obra.Palavras-chave: poesia portuguesa; vanguarda; experimentação; concretismo; barroco.Abstract: The poetry of Portuguese author Ernesto Manuel de Melo e Castro, based in Brazil, is oblivious to limits of geography and expression, guided instead by the rhythms of freedom. His work, marked by Brazilian Concretism, confirms the movement, providing not a role of superiority and influence, but of dialogue, of bringing together experiences and the search for contemporary languages. This is not limited to expressive experimentation, as it implies acting on a broad spectrum and breaking taboos. The tireless questioning is his work’s agenda.Keywords: Portuguese poetry; vanguard; experimentation; concretism; baroque.
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Woody, Robert H. "Explaining Expressive Performance: Component Cognitive Skills in an Aural Modeling Task." Journal of Research in Music Education 51, no. 1 (April 2003): 51–63. http://dx.doi.org/10.2307/3345648.

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This study is an examination of musicians' expressive performances, in an aural modeling task, paying special attention to the skills of goal imaging and motor production. Twenty-five university musicians heard expressive piano excerpts preceded by expressionless “deadpan” versions to use as the bases of comparison. After giving imitative performances of each expressive model, subjects indicated the perceived dynamic and tempo contours of the model by drawing on a chart. Multiple regression analyses were used to explain the dynamic variations of subjects' expressive performances. A theoretical model designated “contextual goal image” consisted of (a) subjects' previous attempts at performing in a deadpan manner (indicating the expressive conventions automatically applied to the excerpts' musical contexts) and (b) their line drawings of what they perceived in the models. Overall, the contextual goal image model explained a large proportion of the variance in performance, indicating the importance of supplementing automatically applied performance conventions with an explicit goal performance plan.
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Ashley, Richard. "Expressive performance of jazz ballad melodies." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3190. http://dx.doi.org/10.1121/1.419239.

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MORISHIMA, Daichi, Natsumi HASEGAWA, and Koji SHIBUYA. "Expressive Performance by Violin-Playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2016 (2016): 1P1–14b4. http://dx.doi.org/10.1299/jsmermd.2016.1p1-14b4.

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Meissner, Henrique. "Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study." International Journal of Music Education 35, no. 1 (June 23, 2016): 118–35. http://dx.doi.org/10.1177/0255761416643850.

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This article presents findings from an action research project that investigated instrumental teachers’ strategies for facilitating children’s learning of expressive music performance. Nine teachers and 14 pupils (aged 9–15) participated in this project, which consisted of 10 weeks of teaching. At the beginning and end of this period pupils’ concerts were held and performances were audio-recorded. Participating teachers used various strategies for improving students’ expressive performance: teacher’s enquiry, discussion, explanation of expressive devices, gestures and movements, singing, imagery, modelling, “projected performance” and listening to own recordings. According to teachers these strategies had been useful in lessons. However, analysis of assessments of students’ performances did not show a significant improvement. Four out of five pupils who did improve their expressiveness were taught by teachers who used enquiry and discussion of musical character and instruction about modifying expressive devices. This project influenced the practice of participating tutors as they focused more on teaching expressive performance.
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Canazza, Sergio, Giovanni De Poli, and Antonio Rodà. "CaRo 2.0: An Interactive System for Expressive Music Rendering." Advances in Human-Computer Interaction 2015 (2015): 1–13. http://dx.doi.org/10.1155/2015/850474.

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In several application contexts in multimedia field (educational, extreme gaming), the interaction with the user requests that system is able to render music in expressive way. The expressiveness is the added value of a performance and is part of the reason that music is interesting to listen. Understanding and modeling expressive content communication is important for many engineering applications in information technology (e.g., Music Information Retrieval, as well as several applications in the affective computing field). In this paper, we present an original approach to modify the expressive content of a performance in a gradual way, applying a smooth morphing among performances with different expressive content in order to adapt the audio expressive character to the user’s desires. The system won the final stage of Rencon 2011. This performance RENdering CONtest is a research project that organizes contests for computer systems generating expressive musical performances.
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Bishop, Laura, Freya Bailes, and Roger T. Dean. "Musical Imagery and the Planning of Dynamics and Articulation During Performance." Music Perception 31, no. 2 (December 2012): 97–117. http://dx.doi.org/10.1525/mp.2013.31.2.97.

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Musicians anticipate the effects of their actions during performance. Online musical imagery, or the consciously accessible anticipation of desired effects, may enable expressive performance when auditory feedback is disrupted and help guide performance when it is present. This study tested the hypotheses that imagery 1) can occur concurrently with normal performance, 2) is strongest when auditory feedback is absent but motor feedback is present, and 3) improves with increasing musical expertise. Auditory and motor feedback conditions were manipulated as pianists performed melodies expressively from notation. Dynamic and articulation markings were introduced into the score during performance and pianists indicated verbally whether the markings matched their expressive intentions while continuing to play their own interpretation. Expression was similar under auditory-motor (i.e., normal feedback) and motor-only (i.e., no auditory feedback) performance conditions, and verbal task performance suggested that imagery was stronger when auditory feedback was absent. Verbal task performance also improved with increasing expertise, suggesting a strengthening of online imagery.
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Dissertations / Theses on the topic "Performance expressive"

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Pardue, Laurel S. "Expressive re-performance." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/69807.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 167-171).
Many music enthusiasts abandon music studies because they are frustrated by the amount of time and effort it takes to learn to play interesting songs. There are two major components to performance: the technical requirement of correctly playing the notes, and the emotional content conveyed through expressivity. While technical details like pitch and note order are largely set, expression, which is accomplished through timing, dynamics, vibrato, and timbre, is more personal. This thesis develops expressive re-performance, which entails the simplification of technical requirements of music-making to allow a user to experience music beyond his technical level, with particular focus on expression. Expressive re-performance aims to capture the fantasy and sound of a favorite recording by using audio extraction to split the original target solo and giving expressive control over that solo to a user. The re-performance experience starts with an electronic mimic of a traditional instrument with which the user steps-through a recording. Data generated from the users actions is parsed to determine note changes and expressive intent. Pitch is innate to the recording, allowing the user to concentrate on expressive gesture. Two pre-processing systems, analysis to discover note starts and extraction, are necessary. Extraction of the solo is done through user provided mimicry of the target combined with Probabalistic Latent Component Analysis with Dirichlet Hyperparameters. Audio elongation to match the users performance is performed using time-stretch. Instrument interfaces used were Akais Electronic Wind Controller (EWI), Fender's Squier Stratocaster Guitar and Controller, and a Wii-mote. Tests of the system and concept were performed using the EWI and Wii-mote for re-performance of two songs. User response indicated that while the interaction was fun, it did not succeed at enabling significant expression. Users expressed difficulty learning to use the EWI during the short test window and had insufficient interest in the offered songs. Both problems should be possible to overcome with further test time and system development. Users expressed interest in the concept of a real instrument mimic and found the audio extractions to be sufficient. Follow-on work to address issues discovered during the testing phase is needed to further validate the concept and explore means of developing expressive re-performance as a learning tool.
by Laurel S. Pardue.
S.M.
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Desain, P. W. M. "Structure and expressive timing in music performance." Thesis, City University London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442050.

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Scheirer, Eric David. "Extracting expressive performance information from recorded music." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29103.

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Xia, Guangyu. "Expressive Collaborative Music Performance via Machine Learning." Research Showcase @ CMU, 2016. http://repository.cmu.edu/dissertations/784.

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Techniques of Artificial Intelligence and Human-Computer Interaction have empowered computer music systems with the ability to perform with humans via a wide spectrum of applications. However, musical interaction between humans and machines is still far less musical than the interaction between humans since most systems lack any representation or capability of musical expression. This thesis contributes various techniques, especially machine-learning algorithms, to create artificial musicians that perform expressively and collaboratively with humans. The current system focuses on three aspects of expression in human-computer collaborative performance: 1) expressive timing and dynamics, 2) basic improvisation techniques, and 3) facial and body gestures. Timing and dynamics are the two most fundamental aspects of musical expression and also the main focus of this thesis. We model the expression of different musicians as co-evolving time series. Based on this representation, we develop a set of algorithms, including a sophisticated spectral learning method, to discover regularities of expressive musical interaction from rehearsals. Given a learned model, an artificial performer generates its own musical expression by interacting with a human performer given a predefined score. The results show that, with a small number of rehearsals, we can successfully apply machine learning to generate more expressive and human-like collaborative performance than the baseline automatic accompaniment algorithm. This is the first application of spectral learning in the field of music. Besides expressive timing and dynamics, we consider some basic improvisation techniques where musicians have the freedom to interpret pitches and rhythms. We developed a model that trains a different set of parameters for each individual measure and focus on the prediction of the number of chords and the number of notes per chord. Given the model prediction, an improvised score is decoded using nearest-neighbor search, which selects the training example whose parameters are closest to the estimation. Our result shows that our model generates more musical, interactive, and natural collaborative improvisation than a reasonable baseline based on mean estimation. Although not conventionally considered to be “music,” body and facial movements are also important aspects of musical expression. We study body and facial expressions using a humanoid saxophonist robot. We contribute the first algorithm to enable a robot to perform an accompaniment for a musician and react to human performance with gestural and facial expression. The current system uses rule-based performance-motion mapping and separates robot motions into three groups: finger motions, body movements, and eyebrow movements. We also conduct the first subjective evaluation of the joint effect of automatic accompaniment and robot expression. Our result shows robot embodiment and expression enable more musical, interactive, and engaging human-computer collaborative performance.
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Davidson, Jane Whitfield. "The perception of expressive movement in music performance." Thesis, Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.292586.

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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Trevor, Caitlyn M. "Cognitive and Theoretical Analyses of Expressive Performance Choices." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543507401915102.

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Warren, Deborah Kay. "Nonlinguistic Cognitive Performance and Expressive and Receptive Language Scores in Children with Expressive Language Delay." PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4884.

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This study was part of the Portland Language Development Project. The purpose was to establish reliability for the Goodenough Draw-A-Man Test. Additionally, nonlinguistic cognitive performance scores were correlated with soores from expressive and receptive language test soores. Finally, scores of overall cognitive function and of nonlinguistic cognitive function in children with normally developing language (NL) and with expressive language delay (ELD) were compared. The original group size was 60 children, 30 with ELD at the age of 20 months, and 30 who were a matched control group. These subjects were reevaluated during Kindergarten. The Draw-A-Man Test was administered to assess the subjects' nonlinguistic cognitive functioning. The McCarthy Scales of Children's Abilities CMCSA) was administered to assess the subjects' overall cognitive functioning. A free speech sample was analyzed using the Developmental Sentence Scoring (DSS) criteria to assess expressive language skills, and the Vineland Adaptive Behavior Scales
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Gingras, Bruno. "Expressive strategies and performer-listener communication in organ performance." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21905.

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This dissertation investigated expressive strategies and performer-listener communication in organ performance. Four core issues were explored: (a) the communication of voice emphasis; (b) the communication of artistic individuality; (c) the influence of musical structure on error patterns; and (d) the relationship between performers' interpretive choices and their analyses of the formal structure of a piece. Performances were recorded on an organ equipped with a MIDI (Musical Instrument Digital Interface) console, allowing precise measurements of performance parameters. Performances were then matched to scores using an algorithm relying both on structural and temporal information, which I developed in the context of this project. Two experiments investigated the communication of voice-specific emphasis in organ performance. The modification of articulation patterns was the most consistent strategy used by performers to emphasize a voice. Listeners who were themselves organists were more sensitive to differences between performers and interpretations than non-organists; however, musical structure was a major factor in the perception of voice prominence. The perception of artistic individuality in organ performance was examined by inviting participants to sort different interpretations of a chorale setting by several performers. Most participants performed above chance level. The performance of musicians and non-musicians was comparable. Sorting accuracy was lower for mechanical interpretations than for expressive ones, demonstrating an effect of expressive intent. In addition, sorting accuracy was significantly higher for prize-winning performers than for non-winners. Analyses of error patterns in organ performance showed that the likelihood of a note being wrongly played was inversely correlated with its degree of perceptual salience and musical significance or familiarity. Furthermore, individual performers exhibited consistent and idiosyncratic error patterns.
Cette thèse étudie les stratégies expressives et la communication entre interprète et auditeur dans la musique d'orgue. Quatre thèmes principaux sont abordés: (a) la communication de l'accentuation des voix; (b) la communication de l'individualité artistique; (c) l'influence de la structure musicale sur les schémas d'erreurs; (d) les rapports entre les choix interprétatifs des organistes et leur analyse formelle d'une pièce. Les enregistrements ont été réalisés sur un orgue muni d'une console MIDI (Musical Instrument Digital Interface), qui permet de mesurer précisément les paramètres expressifs. Les données MIDI ont ensuite été appariées à la partition au moyen d'un algorithme que j'ai développé dans le cadre de cette étude, et qui utilise à la fois l'information structurelle et temporelle. Deux expériences explorent la communication de l'accentuation d'une voix à l'orgue. La modification des patrons d'articulation s'avère la stratégie utilisée le plus couramment pour faire ressortir une voix. Les auditeurs qui sont eux-mêmes organistes sont plus sensibles aux différences entre interprètes et interprétations que les non-organistes; cependant, la structure musicale représente un facteur important dans la perception de l'accentuation. La perception de l'individualité artistique à l'orgue est examinée au moyen d'une expérience de catégorisation auditive d'une série d'interprétations d'un choral. La plupart des participants ont obtenu des taux de réussite supérieurs au hasard. Les résultats des musiciens et des non-musiciens sont comparables. Par contre, les interprètes ayant gagné des prix sont identifiés plus aisément que ceux qui n'ont pas été primés. En outre, les interprétations mécaniques sont moins bien classifiées que les interprétations expressives. L'analyse de la répartition des erreurs montre que la probabilité qu'une note soit jouée de façon erronée est inversement corrélée avec son importa
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Meissner, Henrique. "Teaching young musicians expressive performance : a mixed methods study." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/22929/.

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Books on the topic "Performance expressive"

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Goodman, A. Harold. Expressive musical performance. [Provo, Utah]: BYU Press, 1994.

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Kirke, Alexis. Guide to Computing for Expressive Music Performance. London: Springer London, 2013.

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Kirke, Alexis, and Eduardo R. Miranda, eds. Guide to Computing for Expressive Music Performance. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-4123-5.

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House, Richard Earl. Effects of expressive and nonexpressive conducting on the performance and attitudes of advanced instrumentalists. Ann Arbor,MI: UMI, 1999.

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Grechesky, Robert Nathan. An analysis of nonverbal and verbal conducting behaviors and their relationship to expressive musical performance. [Ann Arbor: s.n.], 1985.

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Nowak, Jerry. The art of expressive playing: A study in individual, small ensemble and large group performance. New York: Carl Fischer, 2004.

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Hong, Ju-Lee. Musical expression in performance: An analysis of recorded performances of J.S. Bach's Sarabande from the C major cello suite BWV 1009. Birmingham: University of Central England, 2003.

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Thurmond, James Morgan. Note grouping: A method for achieving expression and style in musical performance. Ft. Lauderdale, FL: Meredith Music Pub., 1991.

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Carvalho, Mário Vieira de. Expression, Truth and Authenticity: On Adorno's Theory of Music and Musical Performance. Lisboa: Edições Colibri / Centro de Estudos de Sociologia e Estética Musical, 2009.

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United States. Congress. House. Committee on Agriculture. Expressing support for the Farm Aid Concert: Report (to accompany H. Con. Res. 185). [Washington, D.C.?: U.S. G.P.O., 1985.

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Book chapters on the topic "Performance expressive"

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Schwiebert, Jerald, and Dustin Barr. "The Performance Sequence." In Expressive Conducting, 99–113. New York ; London : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315205885-7.

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Schwiebert, Jerald, and Dustin Barr. "Performance Theory and Technique." In Expressive Conducting, 51–69. New York ; London : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315205885-5.

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Gabrielsson, Alf. "Expressive Intention and Performance." In Music and the Mind Machine, 35–47. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-79327-1_4.

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Mazzola, Guerino. "Taxonomy of Expressive Performance." In The Topos of Music II: Performance, 603–13. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64444-8_5.

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Mazzola, Guerino. "Taxonomy of Expressive Performance." In The Topos of Music, 733–45. Basel: Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_36.

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Mathews, M. V. "Expressive performance with electronic instruments." In Music, Language, Speech and Brain, 359–67. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_34.

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Ito, John Paul. "Focal Impulses and Expressive Performance." In From Sounds to Music and Emotions, 480–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_28.

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Flossmann, Sebastian, Maarten Grachten, and Gerhard Widmer. "Expressive Performance Rendering with Probabilistic Models." In Guide to Computing for Expressive Music Performance, 75–98. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4123-5_3.

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Ramirez, Rafael, Amaury Hazan, Jordi Marine, and Xavier Serra. "Evolutionary Computing for Expressive Music Performance." In Natural Computing Series, 123–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2008. http://dx.doi.org/10.1007/978-3-540-72877-1_6.

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Kirke, Alexis, and Eduardo Reck Miranda. "Performance Creativity in Computer Systems for Expressive Performance of Music." In Handbook of Artificial Intelligence for Music, 521–84. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_19.

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Conference papers on the topic "Performance expressive"

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Aneja, Deepali. "Performance-based Expressive Character Animation." In UIST '19: The 32nd Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3332167.3356880.

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Hemani, Rakhi, Subhasis Banerjee, and Apala Guha. "Easy and expressive LLC contention model." In 2016 International Conference on High Performance Computing & Simulation (HPCS). IEEE, 2016. http://dx.doi.org/10.1109/hpcsim.2016.7568359.

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Liu, Jie, Elaine Chew, and Alexandre R. J. François. "From driving to expressive music performance." In the 2006 ACM SIGCHI international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178823.1178855.

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Liu, Jie, Elaine Chew, and Alexandre R. J. François. "From driving to expressive music performance." In the 2006 ACM SIGCHI international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178823.1178915.

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Zhang, Qijun, and Eduardo Reck Miranda. "Towards an Evolution Model of Expressive Music Performance." In 2006 6th International Conference on Intelligent Systems Design and Applications. IEEE, 2006. http://dx.doi.org/10.1109/isda.2006.253781.

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Schacher, Jan C., and Daniel Bisig. "Watch This! Expressive Movement in Electronic Music Performance." In the 2014 International Workshop. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2617995.2618014.

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Ballarini, Paolo, Hilal Djafri, Marie Duflot, Serge Haddad, and Nihal Pekergin. "HASL: an Expressive Language for Statistical Verification of Stochastic Models." In 5th International ICST Conference on Performance Evaluation Methodologies and Tools. ACM, 2011. http://dx.doi.org/10.4108/icst.valuetools.2011.245710.

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Parthasarathy, Srinivas, Chunlei Zhang, John H. L. Hansen, and Carlos Busso. "A study of speaker verification performance with expressive speech." In 2017 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2017. http://dx.doi.org/10.1109/icassp.2017.7953216.

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Sagar, Mark. "Facial performance capture and expressive translation for King Kong." In ACM SIGGRAPH 2006 Sketches. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179849.1179882.

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Sagar1, Mark. "Facial performance capture and expressive translation for King Kong." In ACM SIGGRAPH 2006 Courses. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185847.

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Reports on the topic "Performance expressive"

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Warren, Deborah. Nonlinguistic Cognitive Performance and Expressive and Receptive Language Scores in Children with Expressive Language Delay. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6760.

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Clancy, Kathleen. Second Grade Academic Performance in Normal Children, Children with a History of, and Children with Expressive Language Delay. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6624.

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Boyle, Peter, and Meifing Lin. Performance Portability Strategies for Grid C++ Expression Templates. Office of Scientific and Technical Information (OSTI), January 2017. http://dx.doi.org/10.2172/1424990.

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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Abstract:
This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Conover, David, Aladsair Crawford, Vilayanur Viswanathan, Summer Ferreira, and David Schoenwald. Protocol for Uniformly Measuring and Expressing the Performance of Energy Storage Systems. Office of Scientific and Technical Information (OSTI), June 2014. http://dx.doi.org/10.2172/1136613.

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Conover, David R., Aladsair J. Crawford, Jason C. Fuller, Sri Nikhil Gup Gourisetti, Vilayanur V. Viswanathan, Summer Ferreira, David Schoenwald, and David Rosewater. Protocol for Uniformly Measuring and Expressing the Performance of Energy Storage Systems. Office of Scientific and Technical Information (OSTI), April 2016. http://dx.doi.org/10.2172/1249270.

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Ferreira, Summer Kamal Rhodes, David Martin Rose, David A. Schoenwald, Kathy Bray, David Conover, Michael Kintner-Meyer, and Vilayanur Viswanathan. Protocol for uniformly measuring and expressing the performance of energy storage systems. Office of Scientific and Technical Information (OSTI), August 2013. http://dx.doi.org/10.2172/1096455.

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Conover, David R., Alasdair J. Crawford, Jason Fuller, Sri Nikhil Gourisetti, Vilayanur Viswanathan, Summer Rhodes Ferreira, David A. Schoenwald, and David Martin Rosewater. Protocol for Uniformly Measuring and Expressing the Performance of Energy Storage Systems. Office of Scientific and Technical Information (OSTI), April 2016. http://dx.doi.org/10.2172/1431268.

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Schoenwald, David A., Summer Rhodes Ferreira, David Martin Rosewater, D. R. Conover, A. J. Crawford, J. Fuller, S. N. Gourisetti, and V. Viswanathan. Protocol for Uniformly Measuring and Expressing tyhe Performance of Energy Storage Systems. Office of Scientific and Technical Information (OSTI), April 2016. http://dx.doi.org/10.2172/1561194.

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Bray, Kathryn L., David R. Conover, Michael CW Kintner-Meyer, Vijayganesh Viswanathan, Summer Ferreira, David Rose, and David Schoenwald. Protocol for Uniformly Measuring and Expressing the Performance of Energy Storage Systems. Office of Scientific and Technical Information (OSTI), October 2012. http://dx.doi.org/10.2172/1059206.

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