Relevant bibliographies by topics / Performance musical instrumental e vocal

Contents

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

Academic literature on the topic 'Performance musical instrumental e vocal'

Author: Grafiati
Published: 7 September 2021
Last updated: 29 July 2025

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Journal articles on the topic "Performance musical instrumental e vocal"

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Franco, Fabia, Marcia Chew, and Joel Simon Swaine. "Preschoolers’ attribution of affect to music: A comparison between vocal and instrumental performance." Psychology of Music 45, no. 1 (2016): 131–49. http://dx.doi.org/10.1177/0305735616652954.

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Research has shown inconsistent results concerning the ability of young children to identify musical emotion. This study explores the influence of the type of musical performance (vocal vs. instrumental) on children’s affect identification. Using an independent-group design, novel child-directed music was presented in three conditions: instrumental, vocal-only, and song (instrumental plus vocals) to 3- to 6-year-olds previously screened for language development ( N = 76). A forced-choice task was used in which children chose a face expressing the emotion matching each musical track. All perfor
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Wilbiks, Jonathan M. P., and Sean Hutchins. "Musical training improves memory for instrumental music, but not vocal music or words." Psychology of Music 48, no. 1 (2018): 150–59. http://dx.doi.org/10.1177/0305735618785452.

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In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of prev
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Semeniuk, Oksana. "Musical characteristics of Eliza Doolittle in the musical “My Fair Lady” by A. J. Lerner and F. Loewe and its vocal interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 72, no. 72 (2024): 131–48. https://doi.org/10.34064/khnum1-72.08.

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Statement of the problem. Due to the variety of singing techniques offered by the musical, including the transition from spoken to vocal intonation, it is a fruitful material for vocal interpretation, which allows the theater actor to expand the genre field of the repertoire and acquire new skills. However, the study of performance specifics of musicals is still an underdeveloped area of modern musicology. Recent research and publications, devoted to “My Fair Lady” concentrate on the “non-musical” aspects of the work – linguistic, social (Thern, 2018), and even pedagogical, which evaluates the
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Iniutochkina, Nina. "Algorithms of interpretation of poly-timber vocal and instrumental ensembles in the concertmaster class." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 27–46. http://dx.doi.org/10.34064/khnum1-70.02.

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Statement of the problem. A significant part of the repertoire in the concertmaster class is chamber vocal works that engage the synthesis of Word and Music, that is, the inseparable trinity of the poetic text, its vocal embodiment, and instrumental accompaniment, which calls for the need for accurate correlation of the efforts of the singer and concertmaster, the performers’ synergy. And although chamber vocal works mostly have purely piano accompaniment, in some cases a part of a string or wind instrument is added to it, and then the mentioned trinity of musical and poetic synthesis is compl
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Talam, Jasmina. "Creation, Transmission and Performance: Guslars in Bosnia and Herzegovina." Musicological Annual 51, no. 2 (2015): 203–21. http://dx.doi.org/10.4312/mz.51.2.203-221.

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Singing to accompaniment of the gusle is a very important form of vocal-instrumental performance in the musical tradition of Bosnia and Herzegovina. This paper will present historic sources and research on singing to gusle accompaniment, and the methods by which songs are created, transmitted and performed by guslars.
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Larikova, Liudmyla. "Women’s Bandura Ensembles. Aspects of Working with Small Vocal Ensembles." Artistic Culture Topical Issues, no. 18(1) (May 31, 2022): 37–42. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260413.

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The paper describes the specific features in the functioning of women’s bandura ensembles. In particular, it gives a historiographical picture of vocal-instrumental bandura performance, describes the stages of academisation of women’ssinging in bandura ensembles, and overviews the main methodological approaches of work with women’s vocal-instrumental bandura ensembles. Women’s bandura ensembles as an academic genre trend of Ukrainian musical culture have three fields of study: vocal and instrumental (performers), genre and stylistic (composers), and social and educational (cultural). Also, it
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Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.

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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and f
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Ustinskaya, Ksenia I. "THE MAIN STAGES IN THE FORMATION OF EUROPEAN VOCAL ART: FROM ANTIQUITY TO MODERN TIMES." Arts education and science 3, no. 40 (2024): 75–82. http://dx.doi.org/10.36871/hon.202403075.

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This article is devoted to the development of vocal art from Antiquity to Modern times. The author analyses ancient sources from Greece and Rome, which for the first time in the history of European culture provide information about vocal skills. Particular attention is paid to the Middle Ages, when vocal and instrumental culture develops in parallel with sacred music. The Renaissance marks the emergence of new genres and forms of vocal music, such as opera and ballet. The author also draws attention to the formation of national vocal schools from the XVIIth century onwards, highlighting their
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Grechanivska, Tetyana. "Functional role of the cello in Handel's solo cantatas." Culturology Ideas, no. 22 (2'2022) (2022): 63–71. http://dx.doi.org/10.37627/2311-9489-22-2022-2.63-71.

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The article considers the functional role of the cello in the vocal-instrumental musical works of the Baroque period and attempts to shift the problem from the practical-performing background into the field of professional musicological discourse. Two Italian solo cantatas by G. F. Handel were chosen for analysis, in which the composer clearly structured and used instrumental accompaniment according to the stylistic norms of the instrumental and vocal ensemble of the 17th–18th centuries — as a dialogue of two voices accompanied by others. Emphasis is placed on the differences between the basso
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Vèrnia Carrasco, Ana. "La Expresión Corporal para Mejorar en el Aprendizaje Instrumental y Vocal en Educación Primaria." Open Journal of Music Education 1, no. 1 (2023): 3–26. http://dx.doi.org/10.61629/ojme.v1i1.23.

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In primary education, the musical training of future teachers with respect to their bodily perception requires a competency review and a curricular rethinking. Music, like any art, must be learned and taught from its global perception, in this sense, the body is a good tool for musical and vocal learning. Musicians, both teachers and students use the body as a tool of expression and communication, either in performance or in learning, for this reason, it is considered relevant that body expression is a part of musical education and training. Research in Dalcroze pedagogy in recent years shows
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Dissertations / Theses on the topic "Performance musical instrumental e vocal"

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Fonseca, Renata Simões Borges da. "Bioenergética: um caminho de auxílio no processo de ensino-aprendizagem do violino." Universidade Federal da Paraí­ba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6597.

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Made available in DSpace on 2015-05-14T12:52:28Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3367733 bytes, checksum: 6bf04a4853c4b58bb74f3893826aba70 (MD5) Previous issue date: 2011-08-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Playing an instrument is turning on muscular, affective and mental mechanisms that are closely related. Therefore, in a performance preparation, it is expected from the instrumentalist not just the understanding of the musical speech, but the assimilation and perfection of the motor patterns that will be part of the needed corpor
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Marecos, Carlos Fernando da Silva. "Interacção entre estruturas intervalares e estruturas espectrais, na música instrumental/vocal." Doctoral thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/3797.

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Doutoramento em Música<br>A presente tese apresenta-se num formato bipartido, sendo a primeira parte uma investigação teórica e a segunda parte um conjunto de composições originais que procuram estabelecer, directa e indirectamente, uma relação com a temática investigada. A investigação incide sobre as diferentes relações que se podem estabelecer entre estruturas intervalares e estruturas espectrais, a partir de um conjunto representativo de obras de diferentes compositores. As obras originais da segunda parte configuram um objecto final de análise e reflexão. As composições que integr
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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.<br>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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Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.

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Harvey, James. "Elder Music, Instrumental Music Performance and Affirmative Aging." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366040.

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Elder Music, Instrumental Music Performance and Affirmative Aging is a Practice-led research project in Community Music performance. A phenomenological, autoethnographic critique of lived musical experience by a senior, former professional musician returning to an accomplished instrumental music performance practice after a playing hiatus of twenty-four years. Research that arose in response to this personal aesthetic process resulted in a performance-led community music investigation, detailing the journey of a musician returning to active performance, without claiming to be either unique or
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Oliveira, Deborah Moraes Gonçalves de. "A expressividade do corpo na performance vocal." Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/22459.

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Doutoramento em Música<br>Apesar da relevância de estudos realizados sobre o papel do corpo no fazer musical, há ainda uma escassez quanto aos que são dedicados ao treinamento e à formação do corpo do cantor como um instrumento de expressão. Geralmente, nos primeiros anos de estudos no Conservatório, os cantores se preocupam mais em treinar o corpo para servir à técnica vocal - o que frequentemente acaba por promover indesejáveis tensões musculares e vícios de postura corporal - e menos preocupados em treinálo para servir à performance. Assim, considerei necessário um trabalho investig
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Borland, Denise. "The singer's psyche : a psychological approach to vocal performance training." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/4529.

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Cirino, Giovanni. ""Narrativas musicais: performance e experiência na música popular instrumental brasileira"." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-08082006-164103/.

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A presente dissertação aborda a música popular instrumental brasileira (MPIB) e sua atividade na cidade de São Paulo. A pesquisa visa identificar o conteúdo da MPIB como mediação da sociedade, bem como elucidar questões semânticas e de conteúdo em relação ao termo. Em outras palavras, o trabalho procura levar o leitor a uma das muitas paisagens sonoras da sociedade – paulistana e brasileira – através da “audição” da música instrumental. Abordamos a MPIB a partir de dois pontos de vistas: de um lado sua produção, apresentando algumas das circunstâncias de produção (fonográfica e ao vivo) e de o
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Maestrello, Dino. "Trompete: aspectos físicos e orgânicos da performance musical - proposta de atividade física para melhor desempenho e manutenção da performance." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31082015-134355/.

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A performance no trompete apresenta, além do contexto estético e musical, considerável componente físico, uma vez que o instrumento amplifica os sons \"produzidos\" pelo corpo. Neste ponto, o trabalho coordenado das diversas estruturas corporais (físicas e orgânicas) empregadas na execução do trompete exige do músico certo grau de desenvolvimento físico. O objetivo da pesquisa pauta-se na análise destas estruturas sobre uma proposta de atividades físicas, em sentido a manter e melhorar a performance no instrumento. Em um primeiro momento procura-se definir a atividade física em seu âmbito gera
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Thompson, Shirley J. "Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.

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This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Que
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Books on the topic "Performance musical instrumental e vocal"

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Siksimova, Marina, Ol'ga Begicheva, and Svetlana Mozgot. Solfeggio and music theory: a practical course. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1971854.

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The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the nece
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R, Cooper Dorith. Canadian artists and Canadian repertoire on tour outside Canada, 1950-1985. D. Cooper, 1986.

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Pizer, Russell A. Instrumental music evaluation kit: Forms & procedures for assessing student performance. Parker Pub. Co., 1987.

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Cvejić, Žarko. The virtuoso as subject: The reception of instrumental virtuosity, c. 1815-c. 1850. Cambridge Scholars Publishing, 2016.

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Robert, Philip. Early recordings and musical style: Changing tastes in instrumental performance, 1900-1950. Cambridge University Press, 1992.

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Hayslett, Dennis J. The effect of directed focus on the peripheral hearing of undergraduate instrumental music majors. s.n.], 1991.

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Bryars, Gavin. Cadman requiem: For four male voices (alto, two tenors, and baritone), two violas, cello, and double bass (optional). Schott, 1996.

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Sŏng, Ki-ryŏn. 1930-yŏndae u̇̆i p'ansori ŭmak munhwa. Minsogwŏn, 2021.

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Ravel, Maurice. Trois poèmes de Stéphane Mallarmé: For voice and piano. Masters Music Publications, 1991.

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Starer, Robert. To think of time: (1985) : voice and piano. MMB Music, 1986.

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Book chapters on the topic "Performance musical instrumental e vocal"

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Rusak, Helen. "Women in classical instrumental and vocal music performance." In Women, Music and Leadership. Routledge, 2023. http://dx.doi.org/10.4324/9781003183631-5.

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Rimas, Juozas, and Juozas Rimas Jr. "Voice and Sound." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_6.

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AbstractThe principles of rhetoric were transferred from vocal music to instrumental music. Song is an extension of speech, while instrumental music is the transfer of song to an instrument (A. Maceina). Pursuit of song-like instrumental expression (“thinking in terms of song”—C. P. E. Bach) is one of the most important forms of musicality. If the externality of the instrument disappears, in this virtuosity the foreign instrument appears as a perfectly developed organ of the artistic soul (G. Hegel).Discovering a love of singing in his teens, the author developed a vocal orientation. Later, in
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Butković, Ana. "14. The Personality of Music Students with Diverse Vocal and Instrumental Skills." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.14.

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This chapter presents the results of a study that examined personality differences in a sample of music students (N = 246) with diverse vocal and instrumental skills. Personality data, measured with the Big Five Inventory (BFI), from voice, keyboard, string, and wind instrument students of the Academy of Music in Zagreb were analysed. The results indicate personality differences between different job specialisations among musicians, but they also suggest that the differences are limited to one personality trait, Openness. Individual differences in the other four personality traits were not fou
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Creech, Andrea, Maria Varvarigou, and Susan Hallam. "Musical Possible Selves in Extra-Curricular Ensembles and Instrumental and Vocal Tuition." In Contexts for Music Learning and Participation. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48262-6_6.

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De Filippi, Sebastiano. "Love, Death, and Rhetoric. Meaningful Textual-Musical and Vocal-Instrumental Relationships in Giuseppe Verdi’s La Traviata." In Word Art + Gesture Art = Tone Art. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7_8.

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Klett, Mechthild. "Prosody and Body Language—Paralinguistic Components in Political Communication. Vocal and/versus Instrumental in Non-musical Utterances." In Word Art + Gesture Art = Tone Art. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20109-7_3.

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Béhague, Gerard Henri. "Music Performance." In Folklore, Cultural Performances, And Popular Entertainments. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069198.003.0024.

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Abstract The concept of Performance practice (Auffuhrungspraxis) developed by musicologists has traditionally been limited to at tempting to reconstruct the original sound of early European music by focusing on the written piece of music and by studying all sorts of literary, historical, and iconographic sources. The quest for historically authentic accounts of sound repro duction of early music led scholars to neglect or even to deny the role of performance contexts in modifying essential elements of a piece of music. Ethnomusicologists dealing primarily with non-Western or folk musics inheri
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Meddegoda, Chinthaka P. "THE MANDOHARP OF AMARADHEVA AND ITS USE IN THE 1980S AND 1990S." In Refining versus Simplification in Transmission and Performance / Humans and their Musical Instruments as Part of Nature. Logos Verlag Berlin, 2023. http://dx.doi.org/10.30819/5685.08.

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The discrimination of instrumental sound in the evaluation and appreciation of Amaradheva’s (born in 1927, passed away in 2016) performances lead to a big gap between praising vocal achievements and using his unique musical instrument that he created out of two, as he stated. This paper is to analyse this instrumental creation and the way how he used it. The reasons for its decline will also play a role. He could have used another musical instrument, such as the Indian svarmandal, but he preferred his own creation. The sound he tried to produce should sound well in the context of his singing.
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Ruckert, George E. "Prestige, Status, and the History of Instrumental Music in North India." In Music and Dance as Everyday South Asia. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197566237.003.0011.

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Abstract In North Indian classical music, instrumental music has surged to the forefront in popularity. In a world wherein vocal music held a central position for centuries, the change came as somewhat of a surprise to traditionalists; instrumental music has usually been in a secondary place both because of its accompanying role and because the great vocalists of the past held prestige for their command of the literature of raga. This chapter demonstrates through analysis of ancient literature, iconography, instrumental development, and socio-religious forces that instruments have historically
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Duda, Larysa. "THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.

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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex appr
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Conference papers on the topic "Performance musical instrumental e vocal"

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Hincu, Ionela. "Musical-interpretative skills and their role in teacher music education training." In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.

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This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient cr
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Ogorodnov, D. M., S. A. Evdokimov, and Yu D. Kropotov. "The research of neuroplasticity by the Visual Continuous Performance Tasks in teaching by the method of complex music and vocal education." In VIII Vserossijskaja konferencija s mezhdunarodnym uchastiem «Mediko-fiziologicheskie problemy jekologii cheloveka». Publishing center of Ulyanovsk State University, 2021. http://dx.doi.org/10.34014/mpphe.2021-156-159.

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The Methodology of Comprehensive Music and Vocal Education (CMVE) is a powerful pedagogical instrument which helps a person's to improve its voice and musicality. Because several zones, such is auditory, somatosensory, motor (mainly due to the inclusion of hands and speech motor apparatus) and visual are actively involved, which is active contributes to a change in the picture of the dominant centers of the cortex, stimulates and develops such cognitive functions as attention, speech, memory, praxis. Neuroplasticity is closely related to music education, as indicated, for example, by such work
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Sprincean, Larisa. "On the research of the vocal folklore creations performing in contemporaneity." In „Cultura şi arta: cercetare, valorificare, promovare”, conferinţă ştiinţifică naţională. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2025. https://doi.org/10.55383/ca2025.01.

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In this article we will try to elucidate the complexity of an unresearched problem in contemporary ethnomusicology related to the interpretation of folkloric vocal creations taken from the traditional environment and transferred to the performance stage, which has other rules and norms of interpretation. The process started with the emergence of the instrumental professionalism of oral tradition and was triggered in the 19th century when musical folklore became an object of study and promoted in the mass media. If until the beginning of the 20th century the natural environment of folklore was
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Moura, Shayenne, and Marcelo Queiroz. "Instrumental Sensibility of Vocal Detector Based on Spectral Features." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10451.

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Detecting voice in a mixture of sound sources remains a challenging task in MIR research. The musical content can be perceived in many different ways as instrumentation varies. We evaluate how instrumentation affects singing voice detection in pieces using a standard spectral feature (MFCC). We trained Random Forest models with song remixes for specific subsets of sound sources, and compare it to models trained with the original songs. We thus present a preliminary analysis of the classification accuracy results.
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Bramwell-Dicks, Anna, Helen Petrie, and Alistair Edwards. "Can Listening to Music Make You Type Better? The Effect of Music Style, Vocals and Volume on Typing Performance." In The 22nd International Conference on Auditory Display. The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.029.

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Music psychologists have frequently shown that music affects people’s behaviour. Applying this concept to work-related computing tasks has the potential to lead to improvements in a person’s productivity, efficiency and effectiveness. This paper presents two quantitative experiments exploring whether transcription typing performance is affected when hearing a music accompaniment that includes vocals. The first experiment showed that classifying the typists as either slow or fast ability is important as there were significant interaction effects once this between group factor was included, with th
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Tyan'paj, Se, and E. O. Nazarova. "The development of musical memory in vocal performance." In Scientific trends: pedagogy and psychology. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/sciencepublic-04-02-2020-07.

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Bowman, Casady, Takashi Yamauchi, and Kunchen Xiao. "Emotion, voices and musical instruments: Repeated exposure to angry vocal sounds makes instrumental sounds angrier." In 2015 International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2015. http://dx.doi.org/10.1109/acii.2015.7344641.

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Amihalachioaie, Mihai. "Ways of arrangement of folkloric instrumental pieces for voice, men’s choir and folk music orchestra." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.07.

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One of the basic ideas in this discourse is experimentation in the arrangement process. The author aims to argue the need of developing the knowledge of some ways of arranging folk music material in a modern version, applied to an orchestral score in the context of the local musical art modernization through the prism of his own experience as a practitioner. Especially in vocal pieces, but also instrumental ones, the author comes up with some newer arrangement features in the process of developing the sound material. One of the essential features of this experiment is the use of the male choir
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Oliveira, Vinicius César, and José Henrique Padovani. "Mapping, Triggering, Scoring, and Procedural Paradigms of Machine Listening Application in Live-Electronics Compositions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19445.

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Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this cont
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Reports on the topic "Performance musical instrumental e vocal"

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Havrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska, and Darja A. Kassim. Distance learning courses in developing future music teachers’ instrumental performance competence. [б. в.], 2019. http://dx.doi.org/10.31812/123456789/3265.

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The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change t
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