Relevant bibliographies by topics / Performance practice (Music)

Contents

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

Academic literature on the topic 'Performance practice (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Performance practice (Music)"

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McCaldin, Denis, and Norman del Mar. "Performance Practice." Musical Times 133, no. 1795 (September 1992): 463. http://dx.doi.org/10.2307/1002383.

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Kimura, Mari. "Performance Practice in Computer Music." Computer Music Journal 19, no. 1 (1995): 64. http://dx.doi.org/10.2307/3681300.

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Kmetz, John, Howard Mayer Brown, and Stanley Sadie. "Performance Practice: Music before 1600." Notes 49, no. 2 (December 1992): 626. http://dx.doi.org/10.2307/897949.

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Stockhausen, Karlheinz, and Jerome Kohl. "Electroacoustic Performance Practice." Perspectives of New Music 34, no. 1 (1996): 74. http://dx.doi.org/10.2307/833486.

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Wessel, David. "Live interactive computer music performance practice." Journal of the Acoustical Society of America 111, no. 5 (2002): 2348. http://dx.doi.org/10.1121/1.4777871.

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NEUMANN, FREDERICK. "PERFORMANCE PRACTICE IN MOZART." Music and Letters 74, no. 4 (1993): 653–54. http://dx.doi.org/10.1093/ml/74.4.653.

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NEUMANN, FREDERICK. "PERFORMANCE PRACTICE IN MOZART." Music and Letters 75, no. 1 (1994): 143–44. http://dx.doi.org/10.1093/ml/75.1.143.

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Maunder, Richard. "PERFORMANCE PRACTICE IN MOZART." Music and Letters 75, no. 1 (1994): 144–45. http://dx.doi.org/10.1093/ml/75.1.144.

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Sutopo, Oki Rahadianto, and Agustinus Aryo Lukisworo. "Praktik Pertunjukan Musik Mandiri dalam Skena Metal Ekstrem." Resital:Jurnal Seni Pertunjukan 24, no. 2 (August 3, 2023): 97–111. http://dx.doi.org/10.24821/resital.v24i2.8328.

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Independent Performance Practice in Extreme Metal Scene. Music performance, including extreme metal, is an integral part of music-based youth groups’ socio-cultural practices. The practice and meaning construction of music performance could not be considered as stagnant, but dynamic in its relationship with surrounding objective structure. In order to understand the meaning construction upon music performance, specifically within the extreme metal scene, this research focuses on the dynamics of individual music performance practice in Yogyakarta in the contemporary neoliberal era. This research was based on re-interpretation of ethnographic qualitative data. Yet, several challenges upon research data re-interpretation had been overcome by the insider status of the second author, and also triangulation interview with previously involved-informant. According to the re-interpretation of qualitative data, it can be argued that independent music performance is the reflection of the youth’s culture-based negotiations against the dominant discourse of commercial space by mainstream cultural industries as well as limited space of expression in the urban landscapes. This kind social networks-based of music performance, ranging from local to trans-local scene and constant experimentations of the scene habitus, show the manifestation of symbolic resistance. In this case, the symbolic resistance is not only based on social class, but also as a manifestation of spatial marginality. Thus, the independent music performance in this research can be a good example in order to keep the values of music idealism in the present and in the future.Pertunjukan musik merupakan bagian yang tidak terpisahkan dari praktik sosio-kultural kelompok budaya kaum muda berbasis musik, termasuk metal ekstrem. Adapun praktik dan pemaknaan terhadap pertunjukan musik bukan merupakan suatu hal yang stagnan, namun senantiasa bergulir secara dinamis dalam relasi dengan struktur objektif yang melingkupinya. Guna membangun pemahaman atas praktik dan pemaknaan terhadap pertunjukan musik, khususnya dalam skena metal ekstrem, artikel ini membahas dinamika praktik pertunjukan musik mandiri di Yogyakarta pada era neoliberal kontemporer. Artikel ini disusun melalui proses re-interpretasi atas data yang diperoleh dengan metode kualitatif etnografi. Beberapa tantangan atas re-interpretasi data penelitian dapat teratasi dengan posisi salah satu penulis sebagai insider dalam skena metal ekstrem serta melalui triangulasi dengan salah satu informan yang sudah terlibat dalam wawancara sebelumnya. Berdasarkan hasil re-interpretasi tersebut, dinamika pertunjukan musik mandiri merefleksikan bagaimana praktik negosiasi berbasis budaya kaum muda terhadap dominasi pewacanaan ruang komersial oleh industri budaya mainstream sekaligus keterbatasan ruang berekspresi dalam landscape perkotaan. Praktik pertunjukan musik mandiri yang mendasarkan pada jaringan sosial dari level lokal hingga trans-lokal dan eksperimentasi atas habitus skena secara berkelanjutan ini merupakan manifestasi perlawanan simbolik. Dalam hal ini, perlawanan tersebut tidak hanya berbasis kelas sosial namun juga merupakan manifestasi peminggiran berbasis ruang. Praktik pertunjukan musik mandiri ini dapat menjadi exemplar yang baik guna menjaga nilai-nilai idealisme bermusik tetap hidup di masa sekarang maupun di masa depan.
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Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.

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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, technology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.
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Dissertations / Theses on the topic "Performance practice (Music)"

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Hu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.

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Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
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Chantler, John. "No Such Array : Developing a material and practice for electronic music performance." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.

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I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.
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Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.

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Thesis (PhD)--Stellenbosch University, 2012.
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ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
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DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.

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This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.

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Chung, Hee. "Igor Stravinsky's three movements from Petrushka : an analysis of performance practice." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.

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Phoenix, Ekrem Eli. "Locus of music Open discourse and dynamics of control in music making." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18848.

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Locus of Music is a creative portfolio of original works by Ekrem Eli Phoenix (formerly known as Mülayim), as part of a PhD degree in musical composition. These works, and the accompanying research paper, are creative investigations into the notion of open discourse and dynamics of control in music making. The traditional model for the musical process is a vertical, hierarchical dynamic with the composer at the top and the audience at the bottom. In this model the power and the control lie with the composer. He is the definitive author of his creation, and therefore is the sole provider of the musical ‘truth’ for other parties to receive, interpret, recreate, and ultimately consume. Modern musical practices have challenged this model with notions such as ‘open work’, ‘indeterminacy’, and ‘shared authorship’. Such practices share parallels with changes in scientific thought as can be found in quantum physics and multi-value logics. This paper provides a philosophical base for these concepts by examining the theories of truth, question, decision making, and control. Through this examination, a circular dynamic emerges as an alternative to the vertical hierarchy. In this alternative model, the control, once solely possessed by the composer, is shared and redistributed amongst the parties involved in music making. The music makers are expected to maintain an open discourse during the realisation process. However, open discourse is a process that needs to be cultivated, diligently sustained and, at times, forcibly imposed in order for it to remain open, alive and vigorous. Otherwise, habitual musical decisions can be repeated at each performance and the works can no longer be referred as open. Enquiry reveals that a discourse is open in the face questions and it is closed when a statement is made and a truth is provided. Similarly, a decision making process takes place only in the face of questions and uncertainty. Uncertainty is characterised by the absence or loss of control over an activity or process. Decisions, consequently, can be seen as attempts at reclaiming or negotiating control. When music making is viewed as a decision making activity, the presence of uncertainty, therefore, emerges as essential for open discourse. As a result, this research, with its accompanying portfolio, is a systematic approach at devising works that challenge the control possessed by the music makers, deprive them of it, face them with uncertainty and, finally, limit their access to habitual, safe and repetitive decisions so that the music making process remains an open discourse.
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Menrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.

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Through practices of anonymity electronic music culture has advanced a critique of the institution of star personality in pop music. This study investigates how academic research can learn from such pop music-related critical practices. As it becomes an object of academic knowledge, the notoriously anti-representational electronic music culture calls for an experimental research methodology. This performance ethnography experiments, in the tradition of activist and performative anthropology, with research practice as performance. Resisting the tendency to objectify culture as a factual research object, this study explores the processuality and performativity of cultural research matter: instead of substantial, post-personal anonymity states, the practice of fabricating anonymity in electronic pop music (in discourse and sound) is its starting point. From there, it focuses on anonymity performances – institution-critical practices of star personality that operate within the discursive and media institutions of pop music. Adopting a symmetrical methodology, two personality-critical projects from the field of electronic pop music are addressed as laboratory cases and consulted for their tactical operations. Their anonymity performance practices – tactical persona performance, fake or collaborative imagination of a musical persona – take the form of immanent and particulate ‘critical practice’ (Butler, Foucault). Rather than distancing themselves from their ‘object’ of critique, these laboratory cases engage in concrete, affirmative or self-critical performances of pop stardom. Their resistance to the frameworks of identification and discursivity in pop both engages with and corrodes the epistemic-constitutional level of the field of pop music. How can researchers learn from such musico-artistic knowledge practices? Guided by its laboratory cases, this study proceeds from a detached reading of an electronic pop music live performance as a (poststructuralist) study of persona construction in pop music to become an engaged performance ethnography. Performance is incorporated as critical academic practice through a reflexive and increasingly performative writing style. The study concludes with the advocation of an ethnographic research format derived from one laboratory case: the collaborative investigation of imaginary research objects as a radical implementation of the performative turn in the cultural studies of music.
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Cahn, Dan. "The effects of practice procedure and task difficulty on tonal pattern accuracy." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/cahn%5Fdan/index.htm.

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Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.

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Harrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.

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Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.
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Books on the topic "Performance practice (Music)"

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Mayer, Brown Howard, and Sadie Stanley, eds. Performance practice. New York: Macmillan, 1990.

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Mayer, Brown Howard, and Sadie Stanley, eds. Performance practice. New York: W.W. Norton, 1990.

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Mayer, Brown Howard, and Sadie Stanley, eds. Performance practice: Music after 1600. New York, NY: Norton, 1990.

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Neumann, Frederick. New essays on performance practice. Ann Arbor: UMI Research Press, 1989.

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Gordon, Stewart. Mastering the art of performance: A primer for musicians. New York: Oxford University Press, 2010.

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Mayer, Brown Howard, and Sadie Stanley, eds. Performance practice: Music before 1600. Basingstoke, Hampshire: Macmillan Press, Music Division, 1989.

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Mayer, Brown Howard, and Sadie Stanley 1930-, eds. Performance practice: Music before 1600. New York, NY: Norton & Company, 1989.

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Artur, Szklener, and Narodowy Instytut Fryderyka Chopina, eds. Chopin in performance: History, theory, practice. Warszawa: Narodowy Instytut Fryderyka Chopina, 2005.

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1914-, Levarie Siegmund, ed. Early music: Approaches to performance practice. New York: Da Capo Press, 1986.

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Engelke, Ulrike. Musik und Sprache: Interpretation der Musik des Frühbarock nach überlieferten Regeln = Music and language : interpretation of early Baroque music according to traditional rules. Zürich: Pan AG, 1990.

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Book chapters on the topic "Performance practice (Music)"

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Andersen, Drake. "Open-Source Performance Practice." In Historical Performance and New Music, 27–41. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003300229-4.

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Sinnamon, Sarah. "Mental practice, imagery, and visualisation." In Achieving Peak Performance in Music, 127–42. [1.] | New York City : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003037804-9.

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Stevenson, Ian, John Encarnacao, and Eleanor McPhee. "Expanded practice." In Teaching and Evaluating Music Performance at University, 167–79. [1.] | New York : Routledge, 2020. | Series: ISME global perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-12.

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Doğantan-Dack, Mine. "Practice-as-Research in Music Performance." In The SAGE Handbook of Digital Dissertations and Theses, 259–74. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: SAGE Publications, Inc., 2012. http://dx.doi.org/10.4135/9781446201039.n16.

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Leech-Wilkinson, Daniel. "Towards a Practice of Musical Performance Creativity." In The Mediations of Music, 88–103. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003166139-8.

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Sholl, Robert. "5. Artistic Practice as Embodied Learning." In Teaching Music Performance in Higher Education, 135–64. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.07.

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Almost fourty-five years ago, Joseph Kerman proposed the notion of getting out of analysis, in fact a strategy through criticism to broaden its formalist parameters (Kerman, 1980). Kerman’s argument was flawed in many respects as Agawu pointed out; analysis was necessary in his view to teach “undergraduate music theory” and “basic musical literacy,” (Agawu, 2004: 269) something Kerman would not have denied. Yet these debates, and their continuation (Horton 2020; Cavett et al. 2023) have missed something more fundamental, especially as ideological ivory towers and territories needed protection. Over the last fourty years the rise of theory courses, has led to a schism between theory as a discipline and theory as a necessary precursor to practice (for learning repertoire, improvisation and composition); this is till prevalent in Universities and conservatoires today. This issue has not been helped by the interdisciplinarity of musicology, by the concomitant continual expansion of the curriculum, and the move away in many university departments from study of ‘the dots’ to other equally-valid forms of engagement with music. Part of this separation results from an educational ideal that differentiation is necessary before integration, something that the somatic thinker Mosche Feldenkrais advocated, but the ‘integration’ element, has more often been left to chance. This study seeks to make a pedagogical synthesis between theory improvisation and composition, allowing the teacher and student to move freely between these areas, and the student to develop their own sense of autonomy. Artistic research is premised on knowing something, on having some ‘petrol in the tank’, and especially on the ability to make aesthetic choices. This paper develops a critical and reflexive method to do begin this task. It begins by presenting a creative rethinking of species counterpoint, a foundation for thinking in Schenkerian analysis (Forte and Gilbert, 1983, also played out through Kennan 1987, Schubert 2003, Davidian 2015, and Denisch 2017) through Bach’s Goldberg Variations (1741). This develops a resource for pedagogy and practice through teaching musical techniques of composition. I present a layered-cake of musical lines against the figured bass of the theme (moving from semibreves to quavers) as an exercise that inculcates various aspects of var. 1 of the ‘Goldbergs’, and then I explore the codes and ramifications of this that allow both historical sensitivity and creative development. This contextualized exercise provides a stepping-stone to a discussion of Variation 1 (prefigured in my species example), and the development of complete variations beginning with a given “invention” (Dreyfus 1997), and then moving to the composition of new ideas. I suggest how these exercises can be used for teaching improvisation and show how this invaluable connection can be developed through other models (‘la folia’ for example). This model of thinking is historically connected to partimenti (Gjerdingen 2010, 2020), and, following Feldenkrais’s thinking (Sholl 2019, 2021), I provide different solutions to the same exercises. This strategy attempts to promote an “adaptive flexibility” (Thelen and Smith 2004) in which students can enactively and organically learn musical and technical fluency, while also developing their creativity and autonomy.
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Zannos, Iannis, and Haruka Hirayama. "Towards an Aesthetic of Hybrid Performance Practice." In Music in the AI Era, 111–21. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-35382-6_10.

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Cashman, David, and Waldo Garrido. "The Role of Personal Practice in Preparing for Your Performance." In Performing Popular Music, 52–66. [1.] | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505560-5.

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Hassan, Scheherazade. "Between formal structure and performance practice." In Theory and Practice in the Music of the Islamic World, 273–92. Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: SOAS musicology: Routledge, 2017. http://dx.doi.org/10.4324/9781315191461-14.

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Ginsborg, Jane. "Research Skills in Practice: Learning and Teaching Practice-Based Research at RNCM." In Research and Research Education in Music Performance and Pedagogy, 77–89. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_6.

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Conference papers on the topic "Performance practice (Music)"

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Moriaty, Manoli. "Upsetting the Controls: Considering Controllerist Practice in Computer Music Performance." In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/consideringcontrollerist.

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Johnson, Carol, and Alana Blackburn. "Video feedback in tertiary music performance classes." In ASCILITE 2021: Back to the Future – ASCILITE ‘21. University of New England, Armidale, 2021. http://dx.doi.org/10.14742/ascilite2021.0114.

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Video feedback can be an important and key mechanism for supporting online student learning in higher education. In the context of online music teaching, video feedback provides a necessary audio and visual element to support music students’ learning of music performance practice. A predecessor to a larger study in video feedback, this pilot study sought to explore instructor perceptions of the use of video feedback in music performance teaching classes. Using self-study methodology, findings suggest that video feedback can effectively complement individualised online music teaching within an undergraduate performance class and a Master of Music Performance Teaching group music class, provide supportive scaffolding for self-regulated learning, and offer students opportunities to create meaningful student-instructor connections and community. Strategies for effective implementation by way of self-regulation and communication are also addressed.
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López Ramírez Gastón, José. "Sonidos Telemáticos: Network Remote Performance for Compositional Paradigm Shifting in Peruvian Musical Learning Practice." In 2nd International Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2021. http://dx.doi.org/10.5220/0010532806900697.

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Ueda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.

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Anderson, T. "Using music performance software with flexible control interfaces for live performance by severely disabled musicians." In Proceedings 25th EUROMICRO Conference. Informatics: Theory and Practice for the New Millennium. IEEE, 1999. http://dx.doi.org/10.1109/eurmic.1999.794757.

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

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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.
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Zhu, Jia. "The Research and Practice of the Training Mode of Local University Music Performance Professionals." In 2016 International Conference on Education, Management and Computer Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemc-16.2016.59.

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Zhu, Jia. "Research and Practice on the Talent Training Model of School-Enterprise Cooperation for Music Performance Major in University." In 2020 3rd International Seminar on Education Research and Social Science (ISERSS 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210120.095.

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Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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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 creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Reports on the topic "Performance practice (Music)"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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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.], September 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 of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
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