Books: 'Performance expressive'

1

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

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2

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

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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Jordan, James Mark. The musician's breath: The role of breathing in human expression. Chicago: GIA Publications, 2011.

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12

Guide To Computing For Expressive Music Performance. Springer, 2012.

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13

Schwiebert, Jerald, and Dustin Barr. Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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14

Expressive Conducting: Movement and Performance Theory for Conductors. Taylor & Francis Group, 2017.

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15

Coraggio, Peter. The Spectrum of Expressive Touches (Art of Piano Performance). Neil a Kjos Music Co, 1997.

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16

Cvejic, Bojana. Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance. Palgrave Macmillan, 2017.

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17

Bezanson, Randall P. Expressive Conduct Unleashed. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037115.003.0004.

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This chapter examines the Supreme Court's decision inHurley v. Irish-American Gay, Lesbian and Bisexual Group of Boston. The Hurley case involves the exclusion of an objectionable group with an objectionable view—pro-gay—from the longstanding annual St Patrick's Day Parade in Boston, and the Massachusetts law that deemed the exclusion illegal discrimination. The chapter addresses the following issues: Is a parade speech? Is a parade an event in the nature of metaphor and viewer construction rather than linear transmission of a message from a known, intending speaker to an audience that comprehends what the speaker means? Is the selecting of parade participants in the construction of the parade distinguishably expressive from the rejection of one or more participants? Is an orchestra director's selection of instrumentalists for a performance an act of free speech? What if the director deselects a violinist, not on grounds that he is a poor violinist, but on grounds that he is black and the aesthetics of racial diversity is not a message the director wishes to convey?

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18

Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.

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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case studies. It concludes that awareness of topical references in this repertoire aids performers in systematically identifying and executing contrasts, enabling more expressive and communicative performance. It suggests that a sensitive understanding of historically informed performance practices benefits topic theorists, as analyses may be undermined by anachronistic assumptions about how the music sounds in performance.

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19

Petersen, David. The Well-Tempered Body: Expressive Movement for Actors, Improvisers, and Performance Artists. Lulu.com, 2007.

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20

Mathis Lussy: A Pioneer in Studies of Expressive Performance (Varia Musicologica). Peter Lang Publishing, 2002.

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21

Mathis Lussy: A Pioneer in Studies of Expressive Performance (Varia Musicologica). Peter Lang Publishing, 2002.

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22

Montiel, Anya. Native American Expressive Arts. Edited by Frederick E. Hoxie. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199858897.013.30.

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Opening with the life and art of Dakota artist Oscar Howe, the chapter discusses the “Indianness” of Native art and the frustrations experienced by Native artists over the years surrounding their creative expressions. The chapter is arranged chronologically, opening in the late nineteenth century and highlighting sample exhibitions, artworks, and artists from the United States in order to illustrate broad conceptual issues. These include Indian authenticity and identity, differences between fine art and “crafts,” traditional versus contemporary art forms, the role of the arts in economic development, and the impact of federal power on the arts. The chapter draws examples from painting, sculpture, photography, video, and performance art. It concludes with a proposal for understanding Native art inspired by the words of Santa Clara artist Rose Simpson.

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23

Juslin, Patrik N. Emotion in music performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0035.

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There are several features that we have come to expect from an expert performance: technical mastery, confidence, originality, flexibility, and a true understanding of the musical style. Yet the feature that both performers and listeners appear to regard as the most important is that the performer is expressive. The most-loved artists are commonly the ones that are able to express and evoke emotions in listeners. Previous studies have mainly concerned how performers express emotions, and this article focuses on this question. The article first provides working definitions of key concepts (e.g. expression, communication), and considers how performers conceive of these issues. It then reviews up-to-date evidence on how performers express emotions. Finally, the article proposes directions for future research.

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24

Edmondson, Laura. Performance and Politics in Tanzania: The Nation on Stage (African Expressive Cultures). Indiana University Press, 2007.

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25

Performance and Politics in Tanzania: The Nation on Stage (African Expressive Cultures). Indiana University Press, 2007.

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26

Peters, Julie Stone. Law as Performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190456368.003.0012.

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This chapter starts from the view that legal performance matters to law: its outcomes, doctrines, and history. Here, rather than defending that view (a task undertaken elsewhere), it analyzes the methodological issues that arise from it. Distinguishing performances—expressive, embodied legal events, and practices—from both literary and legal texts (the traditional objects of law and literature), it assesses the vexed words “performance” and “performativity” as analytic tools, set against the rich historical lexicon. It then distinguishes “law in performance” and “law of performance” from “law as performance,” arguing that analysis of more familiar interpretive objects (aesthetic performances, legal texts) cannot substitute for sustained attention to legal events and practices. Finally, it briefly outlines some paradigms for understanding legal performance: legal conjuration, enactment, or mimesis; legal surrogation (metaphoric, metonymic, or indexical); and legal theatricality-antitheatricality.

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27

Montgomery, David. Expressive Rhythm in European Classical Music: 1700-1900 Annotated Sourcebook and Performance Guide. Pro/Am Music Resources, 1993.

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28

Griots and Griottes: Masters of Words and Music (African Expressive Cultures). Indiana University Press, 2007.

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29

Roberts, Charlie, and Graham Wakefield. Tensions and Techniques in Live Coding Performance. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.20.

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In live coding performance, performers create time-based works by programming them while these same works are being executed. The high cognitive load of this practice, along with differing ideas about how it should be addressed, results in a plurality of practices and a number of tensions at play. In this chapter we use a lens of five recurrent tensions to explore these practices, including the balance of stability and risk in performance; the legibility and immediacy of code for audience and performer; the benefits and limits of musical and computational abstractions; the maintenance of flow and pace during performance; and the diversity of conceptions of time, determinacy, and duration that pervade live coding. Addressing these tensions contributes to the unique appeal, challenge, and power of live coding, and provides spaces to develop highly individual and expressive practices.

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30

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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31

Developing Expression in Brass Performance. Taylor & Francis Group, 2016.

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32

Jones, Gregory R. Developing Expression in Brass Performance. Taylor & Francis Group, 2016.

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33

Maler, Anabel. Musical Expression among Deaf and Hearing Song Signers. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.4.

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Deaf people are often portrayed as living in a world of silence, cut off both from experiencing musical works and from musical expression. There are, however, many different forms of musical expression in Deaf culture, including “song signing.” This essay explores the idea that deafness, rather than being a disadvantage for musical expression, actually enables distinctive musical performances within the context of song signing. The first section surveys the different varieties of signed song performance, the second contains analyses of videos, and the third compares the Deaf and hearing song-signing communities. Analysis of multiple song-signing videos reveals that deaf and hearing song signers exploit different techniques in expressing themselves musically. The analyses explore the signers’ principal differences in terms of communication, use of space, and rhythmic techniques. The videos analyzed throughout the article reveal how both deafness and hearing can be musical resources in the context of song-signing performance.

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34

White, Miles. Affective Gestures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0004.

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This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.

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35

East, Alison. Performing Body as Nature. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0010.

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In this chapter, the author discusses the significance of the body as part of its natural environment, with particular emphasis on sensuous interfaces and somatic presence of the body as nature. The author, a dancer, educator, and ecologist, explores somatic presence in and as nature as she recounts some of her own somatic memories of place. More specifically, she traces her somatic memory of living, dancing, and teaching in Aotearoa, New Zealand. In the process she describes her ecological body as an expressive aspect of nature, as well as the ways that time spent in the natural environment has influenced her choreographic expression and danced improvisations within natural and constructed landscapes of earth and stage. Her emphasis is on the unification of self and world she experiences through dance performance.

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36

Elisabeth, Arweck, and Keenan William J. F, eds. Materialising religion: Expression, performance, and ritual. Aldershot, Hants, England: Ashgate, 2006.

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37

Stahn, Carsten. Justice as Message. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864189.001.0001.

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International criminal justice is a form of social performance. It relies on messages, speech acts, and performatives practices in order to convey social meaning. Major criminal proceedings, such as Nuremberg or Tokyo and other post-Second World War trials have been branded as ‘spectacles of didactic legality’. However, the expressive and the communicative functions of law have been sidelined in institutional discourse and legal practice. The concept of expressivism is referred to in justifications of punishment or sentencing rationales. It appears as reference in scholarly treatises, but it has remained crucially underdeveloped. This book is an attempt to remedy this gap. It shows that expression and communication are not only an inherent part of the punitive functions of international criminal justice but represented in a whole spectrum of practices: norm expression and diffusion, institutional actions, performative aspects of criminal procedures, and repair of harm. It argues that expressivism is not a classical justification of justice or punishment on its own but rather a means to understand its aspirations and limitations, to explain how justice is produced, and to ground punishment rationales.

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38

Jones, Gregory R. Developing Expression in Brass Performance and Teaching. Routledge, 2016. http://dx.doi.org/10.4324/9781315681450.

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39

Bosse, Joanna. Performing Race, Remaking Whiteness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0007.

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This chapter explores the intersection between race and ballroom dance by focusing on the racial stereotypes encoded within Standard and Latin genres. More specifically, it considers more tacit aspects of ballroom dance, race, whiteness, and exoticism, and how they are encoded as different aspects of beauty in American expressive forms. The chapter first considers the performance of Standard and Latin dances before discussing the competition dances of both genres. It also examines a third category employed at the Regent Ballroom and Banquet Center, the Nightclub/street dances, and proceeds by looking at the relationship between essentialism and the performance of race. It argues that the performance of ballroom dance is structured by the dualistic and racialized notions of a rational self, a normalized whiteness, and an embodied, explicitly racialized other.

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40

Lopes, Dominic McIver. Hearing and Seeing Musical Expression. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198796657.003.0008.

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Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its expressive properties are purely sonic, then music expresses less than we think it does. And if the expressive properties of music are visual as well as sonic, then music is not what we think it is—it is not purely sonic.

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41

Bisesi, E., and W. Luke Windsor. Expression and Communication of Structure in Music Performance. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780198722946.013.37.

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42

Gade, Anna M. Islam. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0003.

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In the Islamic sciences, the most authoritative sources for Muslim thought and practice are the text of the Qur'an, the normative model of the Prophet Muhammad, and interrelated frameworks of jurisprudence and ethics. These have been applied, studied, and adopted by Muslims since the earliest development of the religious sciences in Islam. Each of these types of sources highlights emotions as a means of access to an ethical ideal. In both the ritual and social-transactional “branches” of Islamic law, the sunnah is the most authoritative guide for normative conduct after the Qur'an. This is the model of the Prophet Muhammad, and it is a legal as well as a pious category. It is known through hadith reports, which relate the expressive behavior of the Prophet in the form of his sayings, actions, and tacit approval or disapproval. Islamic ethics provides emotional comportment with added normative characteristics. This article examines emotion in Islam, focusing on the cultivation and expression of sentiment, aesthetics, and affect and performance in global systems.

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43

Orentlicher, Diane. Some Kind of Justice. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882273.003.0004.

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Most assessments of the ICTY’s performance derive benchmarks for assessment from claims set forth in official instruments or made by Tribunal officials and scholars. This chapter instead derives such benchmarks from the expectations of Bosnians who embraced the Tribunal, exploring the kind of justice they expected it to provide. For many victims, retributive justice is fundamental. Many Bosnians also highly value what scholars call the expressive function of international criminal tribunals. Other goals Bosnians hoped the Tribunal would advance include: preventing future atrocities, dispelling denial and fostering acknowledgment about wartime atrocities, and removing war criminals from their midst.

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44

Magnusson, Thor, and Alex McLean. Performing with Patterns of Time. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.21.

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Music is a time-based art form often characterized by patternings; manipulations of sequences over time. Composers and performers may think in terms of patterns, although the structure of patterned sequences is often not made explicit in musical notation. This chapter explores how musical sequences can be created and transformed in real-time performance through patterning functions. Topics related to the use of algorithms for pattern making are discussed, and two systems are introduced—ixi lang and TidalCycles, as high-level and expressive minilanguages for musical pattern. These two systems are constrained, purpose-built live coding systems, and with such systems has come rethinking about the computer language design and purpose, where performance and the conception of the code as something that be sculpted in real time is given a high priority.

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45

Meyer, Petra Maria. Sound, Image, Dance, and Space in Intermedial Theatre. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.42.

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The chapter focuses philosophically on theatre as one of the acoustic spaces for staging in which sound design acquires an ever higher status in an advanced technical intermedia interplay. Theatre-dramaturgy is transformed into intermedial dramaturgy. The author notes a fundamental “acoustic turn” in theatre, which locates compositional processes within new audiovisual interplays. “ICH2 Intermedial Dance Performance for Planetaria” (2005–2006)—a cutting-edge hybrid form of theatre using advanced digital technologies—is discussed. The performance combines expressive body movements, 360° interactive motion graphics, and sound. In this way “ICH²” is a unique piece of the emerging genre called digital theatre, in which technology enables alterable and immersive stage settings and a new acoustic space. The author explores Merleau Ponty’s conception of embodiment, Lacan’s conception of the “imaginary turn,” and aesthetic innovations in the domain of scenography, thus reflecting historical, theoretical, aesthetical, and practical aspects.

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46

Whitehead, Anna Martine. Expressing Life Through Loss. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0018.

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This chapter examines the relationship between blackness, queer vulnerability, and the mechanics of movement and dance. It uses anecdotes to make an argument for downward movement and concaveness as movement techniques, responses to the physical threats intrinsic to black ontology. It examines the relationship between those movements and shapes in the black body to an emergent style of performance called “queer dance.” This relationship might be identified as a type of “freak technique”—and always already othered practice. The chapter also considers a more familiar relationship to gravity in terms of making interventions into dominant narrative arcs in dance as well as capitalist America. It argues that these interventions are made complete by their pairing with recovery—it is not only the get-down that steals movement away into blackness and potential queerness, but its coupling with the get-back-up.

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47

Programming Kotlin: Create Elegant, Expressive, and Performant JVM and Android Applications. Pragmatic Programmers, LLC, The, 2019.

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48

Crispin, Darla, and Stefan Östersjö. Musical expression from conception to reception. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0021.

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The word ‘expression’, when applied to music, has a comfortably familiar ring to it. However, on careful scrutiny it turns out to be more elusive than one might think. Intrinsic to musical expression is the idea that within music there is something to be expressed, and that this might be reinforced (or undermined) by the performance strategies adopted. The issue becomes more complicated when one asks whether the ‘something’ in question equates to inchoate feeling, to apprehensible meaning or to both in variable proportions. This chapter reviews historical approaches to musical expression and argues that the concept of Werktreue still shapes much of our thinking and teaching in this area. This leads to a consideration of the respective roles of composer, performer and audience, generating a diagrammatic matrix which is progressively modified throughout the chapter. In its final, most dynamic version, the matrix proposes a ‘field of musical expression’ in which the roles of composer, performer and listener interact. The authors suggest that the time is ripe for more interdisciplinary research on musical expression, where a fusion of approaches—from music psychology and computing to performance studies and artistic research—may be the key to a deeper understanding.

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49

Thomas, Edmund. Performance Space. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.15.

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This chapter explores how public speakers of the second and third centuries ce, accustomed to extravagant physical demonstrations of their art, exploited the architectural spaces where they performed. Theaters, temples, and smaller roofed assembly buildings were all locations for oratorical performances and adapted to achieve stronger oral expression through sharper acoustics. As the demand for public speaking increased, halls were built specially, their materials chosen to enhance the voices of orators. With the vast wealth they accrued from their teaching and public speaking, “sophists” sponsored ambitious building projects, particularly gymnasia, which included spacious auditoria, as from the later second century the palaestra became an intellectual and cultural arena instead of an athletic space. Private houses too had lavishly decorated halls for public speaking, as both literary accounts and archaeological evidence attest. At Rome, the emperors’ projects, not only bath-gymnasia, but the imperial fora, were adapted to similar uses.

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50

Knapp, Raymond. “Waitin’ for the Light to Shine”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.16.

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Musicals celebrate physical abilities—singing and dancing—that seem to represent aspects of the universally human but are denied in significant measure to many with disabilities. Yet musicals’ insistence on incorporating the marginalized into communities has yielded important instances of disabled individuals figuring in musicals’ plots; moreover, musicals have often enough become part of the lives of disabled populations. This essay first considers a handful of shows that deal directly with disability, includingPorgy and Bess, The Music Man, The Who’s Tommy, Wicked, andNext to Normal. It then discusses a number of revelatory instances of musical performance figuring in lives of the deaf and hearing impaired, focusing particularly on the recent Broadway revival ofBig Riveras reconfigured by Deaf West Theatre, with its transformative integration of an expressive choreography based on signing into an existing musical.

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Books on the topic 'Performance expressive'

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