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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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Miksza, Peter. "Effective Practice." Journal of Research in Music Education 55, no. 4 (December 2007): 359–75. http://dx.doi.org/10.1177/0022429408317513.
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The primary goal of this study was to examine relationships among observed practice behaviors, self-reported practice habits, and performance achievement of high school wind players (N = 60). Participants practiced in three 25-minute sessions, rated their practice efficiency following each day, and completed a practice survey. Participants performed a researcher-composed étude six times across the duration of the study. Performances were rated using objective and subjective criteria. Practice sessions were observed for frequencies of selected practice behaviors. Interjudge reliability for performance ratings and observations was acceptable to high. A significant change (p < .001) in performance achievement was detected over time (d = .85). The behaviors exhibited the most were repeat measure, repeat section, and marks part. Significant correlations were found: (a) among the behaviors repeat section, whole-part-whole, and slowing; (b) between performance achievement and the behaviors repeat section, whole-part-whole, slowing, and skipping directly to or just before critical musical sections of the étude; and (c) between performance achievement and self-reports of percentage of time spent on formal and informal practice and use of metronome. Self-evaluations of practice efficiency were strongly related to performance achievement scores at day one, less so at day two, and not at all on day three. Lastly, several small relationships were also found between self-reported practice habits and observed practice behaviors.
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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.
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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.
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Gillies, Malcolm. "Bartók performance practice through correspondence." Studia Musicologica 53, no. 1-3 (September 1, 2012): 103–12. http://dx.doi.org/10.1556/smus.53.2012.1-3.8.
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Questions of source, style and interpretation have been central to the work of the Budapest Bartók Archives over its first half-century. The author looks at various issues of work genesis, structure, and interpretation, in works by Mahler and Riley, before considering the “definitive” state of Bartók’s Viola Concerto and the Sonata for Solo Violin, and the current availability of different editions of Bartók’s late works. He then outlines ways in which correspondence, both to and from Bartók, illuminates the rich and varied path from sketch to score to work première, and on to the earliest stages of performing interpretation. The paper concludes with seven examples where performance practice is enlightened by observations in Bartók’s correspondence: innovative work combination, comparative work quality or difficulty, compositional archetypes and models, processes of work revision, song-text translations, section or movement timings, and issues of correction versus revision.
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Martin, David. "An Edwardian Choir's Performance Practice." Musical Times 131, no. 1772 (October 1990): 563. http://dx.doi.org/10.2307/966520.
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JACKSON, ROLAND. "PERFORMANCE PRACTICE: A BIBLIOGRAPHIC GUIDE." Music and Letters 71, no. 1 (1990): 159–60. http://dx.doi.org/10.1093/ml/71.1.159.
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Puusaari, Maria. "“Leading” as a mode of interaction and communication in contemporary music performance-practice." Trio 10, no. 1 (July 10, 2021): 40–64. http://dx.doi.org/10.37453/trio.110125.
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In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.
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Hyllegard, Randy, and Tamara L. Bories. "Deliberate Practice Theory: Relevance, Effort, and Inherent Enjoyment of Music Practice." Perceptual and Motor Skills 107, no. 2 (October 2008): 439–48. http://dx.doi.org/10.2466/pms.107.2.439-448.
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This study examined three assumptions of the theory of deliberate practice for practice playing music on an electronic keyboard. 40 undergraduate students, divided into two separate groups, practiced one of two music sequences and rated the relevance of practice for improving performance on the sequences, the amount of effort needed to learn the sequences, and the inherent enjoyment of practice sessions. Findings for each assumption were consistent with those suggested by theory but also showed that perceptions are affected by the amount of practice completed and performance of the skill.
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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (September 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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Williams, Sean. "Interpretation and Performance Practice in Realizing Stockhausen's Studie II." Journal of the Royal Musical Association 141, no. 2 (2016): 445–81. http://dx.doi.org/10.1080/02690403.2016.1216059.
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ABSTRACTIn the 1950s, using electronic devices to make music seemed a new paradigm for composers eager to remove the effects of interpretation on their relationship with their audience. The promise was that compositional ideas could be directly made into sound with the help of a technician whose task it was to carry out instructions. By making a new realization of Stockhausen's Studie II, composed in 1954, I interrogate many of the original techniques and practices, and show that there are many sites which require interpretation and raise issues of performance practice. The implication of these discoveries is that there may be advantages to an analysis of early electronic music of the 1950s and 1960s from the perspective of the practice of instrumental music, and that where there are references to ‘technicians’, great care should be taken to understand and appreciate the range of musical skills often required by such individuals. This approach to realization also raises serious questions about the ontology of electronic music.
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Habe, Katarina, and Michele Biasutti. "Flow in Music Performance." Psihologijske teme 32, no. 1 (April 21, 2023): 179–95. http://dx.doi.org/10.31820/pt.32.1.10.
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Flow is a specific state of consciousness when people are completely immersed and concentrated on a task, that they lose the sense of time, and feel as if doing things unconsciously. This article aims to provide a brief overview of the flow in music, focused on music performance, and shed light on aspects such as psychological correlates, occurrence and educational applications. Our objective is to build a bridge between theory and practice examining the implications of flow for improving the musical practice. Several studies analyse flow in various musical activities, including improvisation/composition, listening and performance. Music improvisation is considered one of the most crucial pedagogical tools for promoting flow from the early years of music education on. Flow in music performance is the most extensively studied, and practical implications to facilitate optimal experience and flow conditions could be developed. In the final part of the article, educational strategies for inducing flow are proposed based on the nine characteristics of flow (Csikszentmihalyi, 1990).
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Xiaoyuan Gu, M. Dick, Z. Kurtisi, U. Noyer, and L. Wolf. "Network-centric music performance: practice and experiments." IEEE Communications Magazine 43, no. 6 (June 2005): 86–93. http://dx.doi.org/10.1109/mcom.2005.1452835.
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Zelenin, Vsevolod. "Coaching approaches in the practice of music performance." Multidisciplinary Reviews 7 (June 12, 2024): 2024spe046. http://dx.doi.org/10.31893/multirev.2024spe046.
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Relevance of the topic: In today’s music world, where competition is always at a high level, musicians face unpredictable challenges, and thus, there is a need for effective methods of development and self-improvement. The purpose of this article is to examine the various aspects of coaching approaches in music practice and to explore how these methods can help musicians develop as professionals and engage with their audiences. From traditional one-on-one coaching formats to innovative online approaches and group sessions, we’ll explore the types of requests that performing musicians most often make to coaches and the variety of tools that can be used to achieve musical excellence and success in the performance industry. The object of study is coaching approaches in the practice of music performance. The results allowed identifying the key factors influencing the effectiveness of learning in music when applying coaching approaches.
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Vaughan, Victoria. "Music analysis in the practice room." British Journal of Music Education 19, no. 3 (October 28, 2002): 255–68. http://dx.doi.org/10.1017/s0265051702000347.
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This article examines the impact of analysis teaching on performance by documenting the progress of 12 students who took part in an advanced undergraduate class in music analysis. Each class participant was asked to keep a diary of their performances, both during practice time and in instrumental lessons, and these are documented and analysed. Finally, the students were given oral viva voce examinations. The data from this short qualitative study shows a variety of results that illustrate the extent to which individual students react to the teaching of music analysis in different ways.
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Maguraushe, Wonder. "Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances." PAN African Journal of Musical Arts Education 2, no. 1 (June 30, 2024): 32–43. http://dx.doi.org/10.58721/pajmae.v2i1.419.
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Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.
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Yan, Yan. "Strategies to Effectively Dock Professional Music Performance Skills Teaching and Stage Practice." Journal of Contemporary Educational Research 5, no. 11 (November 30, 2021): 1–4. http://dx.doi.org/10.26689/jcer.v5i11.2695.
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Music performance major requires students to have rich experience in professional stage practice. Therefore, in the process of promoting the teaching of music performance, the effective connection between the teaching of professional music performance skills and professional stage experience practice needs to be emphasized. With professional experience in teaching practice, this article analyzes the course teaching and stage practice of music performance, suggesting several problems in the current teaching methods, and from different angles, this article suggests countermeasures to effectively dock professional skills teaching with stage practice in hope to provide practical reference for relevant professionals so as to better cultivate and improve students’ comprehensive application ability in music performance.
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Puusaari, Maria. "'Leading' as a strategy in the performance-practice of contemporary solo violin music." Music Performance Research 11 (2024): 85–107. http://dx.doi.org/10.14439/mpr.11.4.
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The starting point for the present practice-based study was my observation of the diverse conditions regarding the focus-of-attention that occurs during chamber ensemble and solo performances of contemporary art music. As the violinist leader of a contemporary music ensemble, I focus my attention externally on multidirectional musical interactions with my fellow musicians and the audience. In contrast, when I am in a solo performance, I tend to focus more on my own internal, physical actions. More satisfactory musical results in leading interactive ensemble performances induced a hypothesis that ensemble leading practices can also be applied as a strategy to improve a solo performance. In this article, I provide a leading-based approach to explore ways in which leading can be used as a strategy in the performance-practice of contemporary works for solo violin and address which specific ensemble leading gestures can be applied in a solo performance. I suggest that leading in a solo performance serves two purposes: leading my own actions, and leading the audience to perceive the music and participate in the listening. Both Toccatina for solo violin by Helmut Lachenmann and Gesti for violin, electronics and video by Jouni Hirvelä feature soft dynamics and extended playing techniques that demand innovative performance strategies. I reflect on the performance-practice of these two works and demonstrate how leading can be used to emphasize temporal structures, dynamics, articulation, phrasing and embodied narratives of music. The concepts of attentional focus and musical gestures inform the theoretical context for this study.
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Rodríguez, Eva Moreda. "Reconstructing Zarzuela Performance Practices ca. 1900." Journal of Musicology 37, no. 4 (2020): 459–87. http://dx.doi.org/10.1525/jm.2020.37.4.459.
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This article makes an initial contribution to the largely unexplored field of historical performance practice in zarzuela by examining the earliest surviving recordings of Manuel Fernández Caballero’s Gigantes y cabezudos (1898). One of the greatest successes of the género chico subgenre of zarzuela during the early years of commercial phonography in Spain, it is also the zarzuela of which the most recordings made before 1905 have survived: nineteen, made on wax cylinders by local gabinetes fonográficos and on disc by Gramophone. Both the thriving género chico culture and its singing practices, as well as the technological, commercial, and cultural aspects of the early recording industry in Spain, are discussed to consider how recordings related to live performance in this particular context, what the value is of these recordings as documents of performance practice, and what questions they open up for further study of performance practice in zarzuela.
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Cheng, Lee, Paulina Wai Ying Wong, and Chi Ying Lam. "Learner autonomy in music performance practices." British Journal of Music Education 37, no. 3 (September 1, 2020): 234–46. http://dx.doi.org/10.1017/s0265051720000170.
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AbstractThe language of music shares a number of basic processing mechanisms with natural languages, yet studies of learner autonomy in music education are rare. This study aims to assess the effectiveness of fostering music students’ learner autonomy in performance practice through a series of curriculum changes. A mixed-methods approach, including a questionnaire survey and semi-structured interviews, was used to investigate two cohorts of music education students (N = 74) from Hong Kong. The analysis reveals the students’ autonomous learner characteristics, including the ability to formulate their own learning strategies, identify both musical and non-musical weaknesses and take appropriate steps to improve their performance skills.
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Ryan, Charlene, Hélène Boucher, and Gina Ryan. "Practice, Performance, and Anxiety: A Pilot Study on Student Perception of Parental Involvement and Formal Music Lessons." Music & Science 6 (January 2023): 205920432211450. http://dx.doi.org/10.1177/20592043221145000.
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Parents play a variety of important roles in their children's musical development. However, whether they impact upon children's music performance education and experience has only begun to be considered. The current study sought to examine whether student perception of parent involvement in music and performance education is related to their experience of music performance anxiety. Sixty-two piano students aged 11 to 17 completed a questionnaire regarding their piano studies, their parents’ involvement in them, and their parents’ prior music education. They also completed measures of performance anxiety and self-esteem. Results indicated that parents’ prior music education was significantly associated with performance anxiety in their children. Participant age, self-esteem, and practice time were also significant variables. Measures of parent involvement in music studies and parent response to weak performances were not found to be significantly related to performance anxiety scores. Implications of these findings and directions for furthering this line of research are discussed.
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Baldelli, Heloise. "HIP as a Creative Tool for Performance Design: Investigating the Performance Practice of Satie’s Mélodies to Challenge the Stereotypes of the Classical Recital." PlaySpace 2, no. 1 (November 2, 2023): 42–54. http://dx.doi.org/10.31265/ps.606.
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In the 20th century a wave of experimentation and discussion hit most artistic disciplines. As pianist-researcher Mine Dogantan-Dack points out, classical music has been slow to join in. Although composers have been experimenting with the musical language, classical music performance as an artistic practice has relatively stayed untouched. In the area of vocal music, the traditional recital format with the singer standing by the piano is THE standard. In my doctoral research project, I aim to challenge and explore alternatives to this traditional format. I start by investigating the original performance practice of Satie’s mélodies to then design three different performances of this repertoire using various artistic methods and theoretic concepts. The first one is based on the approach known as historical informed performance (HIP). Satie’s mélodies are little known and seldom performed. They are also difficult to appreciate at a first hearing: incredibly short, condensed in their simplicity, lacking catchy melodies and with obscure texts. My hypothesis is that the standard way of performing them, as a static vocal chamber music recital, doesn’t suit them and makes it in fact harder for the public to appreciate them. Investigating the original performance practice then became a way to rediscover other aspects of the music, beyond the dogmas of the score, and to find inspiration for creating alternative modes of presenting classical vocal chamber music. In this paper I retrace my use of HIP as a creative tool for designing performances of classical music.
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MacDonald, Alistair. "Performance Practice in the Presentation of Electroacoustic Music." Computer Music Journal 19, no. 4 (1995): 88. http://dx.doi.org/10.2307/3680993.
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Yeh, Nora. "Nanguan Music Repertoire: Categories, Notation, and Performance Practice." Asian Music 19, no. 2 (1988): 31. http://dx.doi.org/10.2307/833866.
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Moir, Zack, and Haftor Medbøe. "Reframing popular music composition as performance-centred practice." Journal of Music, Technology and Education 8, no. 2 (July 1, 2015): 147–61. http://dx.doi.org/10.1386/jmte.8.2.147_1.
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Wesolowski, Brian C., Stefanie A. Wind, and George Engelhard. "Examining Rater Precision in Music Performance Assessment." Music Perception 33, no. 5 (June 1, 2016): 662–78. http://dx.doi.org/10.1525/mp.2016.33.5.662.
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The use of raters as a methodological tool to detect significant differences in performances and as a means to evaluate music performance achievement is a solidly defended practice in music psychology, education, and performance science research. However, psychometric concerns exist in raters’ precision in the use of task-specific scoring criteria. A methodology for managing rater quality in rater-mediated assessment practices has not been systematically developed in the field of music. The purpose of this study was to examine rater precision through the analysis of rating scale category structure across a set of raters and items within the context of large-group music performance assessment using a Multifaceted Rasch Partial Credit (MFR-PC) Measurement Model. Allowing for separate parameterization estimation of the rating scale for each rater can more clearly detect variability in rater judgment and improve model-data fit, thereby enhancing objectivity, fairness, and precision of rating quality in the music assessment process. Expert judges (N = 23) rated a set of four recordings by middle school, high school, collegiate, and professional jazz big bands. A single common expert rater evaluated all 24 jazz ensemble performances. The data suggest that raters significantly vary in severity, items significantly vary in difficulty, and rating scale category structure significantly varies across raters. Implications for the improvement and management of rater quality in music performance assessment are provided.
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Duke, Robert A., Amy L. Simmons, and Carla Davis Cash. "It's Not How Much; It's How." Journal of Research in Music Education 56, no. 4 (January 2009): 310–21. http://dx.doi.org/10.1177/0022429408328851.
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We observed 17 graduate and advanced-undergraduate piano majors practicing a difficult, three-measure keyboard passage from a Shostakovich concerto. Participants' instructions were to practice until they were confident they could play the passage accurately at a prescribed tempo in a retention test session the following day. We analyzed the practice behaviors of each pianist in terms of numeric and nonnumeric descriptors and ranked the pianists according to the overall performance quality of their retention tests. Results indicated no significant relationship between the rankings of pianists' retention test performances and any of the following variables: practice time, number of total practice trials, and number of complete practice trials. There were significant relationships between retention test rankings and the percentage of all performance trials that were performed correctly, r = —.51, the percentage of complete performance trials that were performed correctly, r = —.71, and the number of trials performed incorrectly during practice, r = .48. The results showed that the strategies employed during practice were more determinative of performance quality at retention than was how much or how long the pianists practiced, a finding consistent with the results of related research.
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Thomas, Philip. "THE MUSIC OF LAURENCE CRANE AND A POST-EXPERIMENTAL PERFORMANCE PRACTICE." Tempo 70, no. 275 (December 7, 2015): 5–21. http://dx.doi.org/10.1017/s0040298215000595.
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AbstractLaurence Crane's music is often described as experimental or considered as a continuation of the English experimental tradition. In this first extended examination of Crane's music it is proposed that, instead of relying upon associations and aesthetic alignments, the music might be considered as experimental through a particularly experimental approach to performance. After a brief overview of Crane's output his position as a composer is considered within the context of the experimental music tradition. This tradition is then considered in relation to performance practice, both historical and contemporary. A selection of Crane's music is examined in the light of that practice, whilst aspects of the composer's approaches to tonality, instrumentation, form and notation are also highlighted.
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Tso, Ivor T. H., James C. L. Law, and Thomson W. L. Wong. "Music-Assisted Training for Dart Throwing Novices: Post-Training Effects on Heart Rate and Performance Accuracy." Perceptual and Motor Skills 129, no. 1 (October 20, 2021): 120–33. http://dx.doi.org/10.1177/00315125211050629.
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While previous research has suggested that lowering athletes’ heart rates can enhance sports performance, it is unknown whether slow-paced music might induce a lower heart rate and thereby improve some types of motor performance. In this study, we investigated the effects of different types of music during dart-throw training on both heart rate and dart-throwing performance in 45 ( M age = 19.7, SD = 0.31 years) novice dart throwers who were randomly assigned to either a Slow Music Group (SMG), a Fast Music Group (FMG), or a Control Group (CG). All participants completed three dart-throwing blocks - Pre-Test, Practice, and Post-Test. During the Practice block, participants practiced dart-throwing with either slow-paced, fast-paced or no music according to their assigned group. We recorded the participants’ heart rates and total dart-throwing accuracy scores during Pre-Test and Post-Test. Music-assisted dart-throw training with slow-paced music was effective in significantly inhibiting a performance-related increase in heart rate and was associated with the greatest dart throwing improvement after training.
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Lussana, Marcello. "Music and Body as Ritual-Performance." A Peer-Reviewed Journal About 2, no. 1 (January 31, 2013): 86–93. http://dx.doi.org/10.7146/aprja.v2i1.121130.
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In this paper I want to connect different kinds of knowledge: some ideas of the philosopher Gilles Deleuze, phenomenology, interactive technology, performance, music and ritual. The central idea is the concept of difference as a generative tool of thinking, doing, performing and understanding technology. This is realized through a constant exchange, a movement between these different activities: this communication is the practice of generating difference. Connector of this idea of movement is the concept of body, considered in his variety of meanings: a physical body, flesh, an object or a concept – important is to be open to interaction. The resulting exchange can be deeply understood just with practice: for this reason this written work has to be accompanied and intertwined by a practical work and a first-person approach research. The process of learning something becomes then one opportunity to show the importance of practice and the role of the body as a decoder of technology: the moments of instability while we learn a new technology are actually the opportunity to feel the technology.
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Alessandrini, R. "Performance practice in the Seconda Prattica madrigal." Early Music 27, no. 4 (November 1, 1999): 632–39. http://dx.doi.org/10.1093/em/27.4.632.
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Miller, David P. "Indeterminacy and Performance Practice in Cage’s "Variations"." American Music 27, no. 1 (April 1, 2009): 60–86. http://dx.doi.org/10.2307/25602254.
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Wang, Jingbo. "Characteristics of Mongolian piano works and teaching practice." Journal of Education and Educational Research 9, no. 1 (June 25, 2024): 343–50. http://dx.doi.org/10.54097/5sdt7e13.
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The objectives of this paper are mainly four: first, the cognitive level and performance skills, the comprehension, promotion and development of performance skills and works, and the creation, performance, and teaching of Mongolian style piano works. This paper discusses the performance and teaching practice of piano works in Inner Mongolia, and analyzes the development of piano education and teaching in Inner Mongolia. Through investigation and analysis, find out the problems existing in teaching and the ways to solve them, and make further exploration and analysis; Based on the analysis and research of the creative characteristics of Mongolian piano works and the interpretation of Mongolian music styles in piano music performance teaching, the social impact of this work and the significance of music creation are explained. As an important ethnic group in northern China, the Mongolian people's unique musical culture provides rich materials for the creation of piano works. In recent years, with the emphasis on multicultural music education, the status of Mongolian style piano works in teaching has gradually improved. However, how to innovatively use Mongolian music elements and how to combine theory and practice to better serve teaching practice still need to be studied and discussed in depth.
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Charles, Monique. "Grime and Spirit: On a Hype!" Open Cultural Studies 3, no. 1 (February 1, 2019): 107–25. http://dx.doi.org/10.1515/culture-2019-0010.
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Abstract Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, embodied and emotive responses and cultural practice. Spirituality, through cultural practice, is an Africanised religious/spiritual outlook that remains with the African diaspora over time and space (Mbiti). Smith’s work shows how African derived religious and spiritual practice continues in diasporic religious practice contemporarily. Through live performance (raving/club culture), I explore and theorise how power is a) generated, b) operates, and outline the roles people play in the cultural-spiritual practice. Building on the work of Smith, Kennett, Sylvan, Mbiti and Baker, I introduce theories: 1) Liminal Energy Power Spirals (LEPS) and 2) AmunRave Theory, to show how the spirit enters live performance space.
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Hastings, David M. "“With grace under pressure”: How critique as signature pedagogy fosters effective music performance." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 252–65. http://dx.doi.org/10.1177/1474022216652772.
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Inspired by seminal writings on Critique as Signature Pedagogy in the Arts and performance as Signature Pedagogy in Music, this article unifies these two concepts into a study of how critique as signature pedagogy in music-performance promotes student learning. This essay seeks to first define the notion of different mindsets as musicians perform and as they practice for performances, and then explores the role of critique in guiding students toward these music-performance ways of thinking and habits of mind. The essay defines four different ways of applying critique (teacher-coach critique, self critique, audience critique, and peer critique) as a key teaching practice or signature pedagogy in the music-performance discipline. Finally, the essay ends with a description of a learning experience that effectively illustrates this pedagogy in a studio class setting.
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Ross, Valerie. "Practice-Based Methodological Design for Performance-Composition and Interdisciplinary Music Research." Malaysian Journal of Music 11, no. 1 (December 31, 2022): 109–25. http://dx.doi.org/10.37134/mjm.vol11.1.7.2022.
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Practice-based research has gained increasing prominence in the field of creative arts enquiry. Its engagement has fueled disruptive discourse on its nature, methodology and application in music research. Textbooks and journal publications on practice in arts-based research and a host of eminent practitioner-scholars have contributed to this nascent field of study. Several of these publications focus on the creative arts industry with fewer discourse on practice-based research approaches in the subdomains of music. This article deliberates on the multi-facets of practice-based approaches in performance, composition, and interdisciplinary music research. It shares the process of crafting methodological designs that encapsulate research in and of practice. Keywords that frame practice-based techniques include terms such as praxis, divergent and multi-methodological processes, design thinking, and research about/through/for practice as represented by performative-compositional artefacts and their accompanying discourse. Two exemplars are discussed. It argues that practice-oriented research transcends discipline borders encompassing interdisciplinary domains within multidisciplinary co-creational practice. In the author’s music-health studies, she views the interdisciplinarity of science-arts research as interpolated dimensions of collaborative scientific knowledge within an embodied cultural space that yields transformative creativities of translational research to reach its targeted community of users. Practice-centred research in music therefore embraces spheres of investigations with research-informed practice as its focus and its artefacts and discourse as inputs of and outputs from that research, incorporating the overarching paradigms of practice-led research, practice-based research, and creative research in the performing arts.
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Ben, Lide. "Breaking the Gap between Musicology and Music Performance An Analysis of the Study of Chinese Music Performance Practice." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1042–46. http://dx.doi.org/10.54254/2753-7064/3/2022807.
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In 2011, Cambridge University held an international academic conference-- performance studies network international conference, and proposed to establish the discipline of performance musicology in 2014, which made it possible to solve the old contradiction between musicology and music performance. This paper explains the possibility and inevitability of the common maturity of musicology and music performance, and seeks more breakthrough points to break the barrier. Through literature analysis, this paper constructs the core value of the practicality of music performance research from the perspective of interdisciplinary integration. This paper finds that the development of the two academic fields of music performance research and musicology is a mutual achievement and common growth. With the help of musicology, music performance research will make performance more speculative and logical, and musicology will have more practical value with the entry of music performance.
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Song, Moo Kyoung, and You Jin Kim. "Speaking of your own repertoire: an investigation of music performance during practice." British Journal of Music Education 37, no. 3 (April 30, 2020): 260–69. http://dx.doi.org/10.1017/s026505172000008x.
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AbstractThe purpose of this study was to explore musicians’ approaches to performance during practice and identify the factors that underpinned their approaches. We hypothesised that musicians would be able to recall their focus, knowledge and thoughts of their own repertoire during music performance and that such data would reveal musicians’ cognitive behaviours during the performance. By analysing musicians’ retrospective verbal protocols, we found that musicians used four main reasoning processes – study, static analysis, intuition and performer’s analysis – in their approach to music performance. The findings show that musicians utilise multiple cognitive behaviours for music performance. The implications for instrumental music teaching are discussed.
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Mulenda, Catherine. "The Influence of Music on Athletic Performance." International Journal of Arts, Recreation and Sports 3, no. 2 (June 3, 2024): 49–61. http://dx.doi.org/10.47941/ijars.1939.
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Purpose: This study sought to explore the influence of music on athletic performance. Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data was easily accessed through the online journals and library. Findings: The findings reveal that there exists a contextual and methodological gap relating to the influence of music on athletic performance. Preliminary empirical review revealed that music served as a potent tool for regulating arousal levels, enhancing motivation, and directing attentional focus during physical activity. By aligning music characteristics with athletes' preferences and task demands, coaches optimized performance outcomes. Moreover, personalized music selection facilitated motor coordination and cognitive engagement, contributing to improved performance and enjoyment of sports. Overall, the study emphasized the importance of considering individual differences and contextual factors in designing effective music interventions for athletes. Unique Contribution to Theory, Practice and Policy: The Arousal Regulation Theory, Synchronization Hypothesis and Attentional Focus Theory may be used to anchor future studies on the influence of music on athletic performance. The study offered comprehensive recommendations for theory, practice, and policy in sports and exercise contexts. These recommendations included integrating music interventions into training and competition protocols, tailoring music selection to individual preferences, and leveraging music's potential to enhance cognitive function and decision-making skills among athletes. Additionally, the study highlighted the importance of strategic manipulation of music tempo and characteristics to elicit specific psychological and physiological responses conducive to optimal performance. Further research was deemed necessary to explore the underlying mechanisms through which music influences athletic performance and to develop evidence-based guidelines for integrating music into sports practice and policy.
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Медушевский, В. В. "Performance Theory of Music." Музыкальная академия, no. 3(783) (September 29, 2023): 216–35. http://dx.doi.org/10.34690/334.
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Автор предлагает свой взгляд на теорию музыки, отмечая ее теснейшую связь с исполнительской практикой. Поднимаются вопросы о том, как воспитать чуткий слух музыканта-исполнителя, опираясь на тонкости гармонического анализа; раскрываются оригинальные понятия синергии и вероятия. Автор подчеркивает особую роль цезуры как важнейшего элемента музыкальной ткани, ее отличия от эмфатического акцента, глубинно связанного с гармонией. В статье выдвигаются критерии онтологизма в музыкальном произведении, а также в его интерпретации исполнителем. The author offers his own view on the theory of music and its closest connection with performing practice. Questions are raised about how to cultivate a sensitive ear of a performing musician, based on the subtleties of harmonic analysis, and original concepts of synergy and probability are revealed. The author emphasizes the unique role of caesura as an essential element of music, its difference from the emphatic accent, which is deeply connected with harmony. The article proposes criteria for ontologism in a piece of music and its interpretation by the performer.
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Kowalke, Kim H. "Singing Brecht vs. Brecht singing: Performance in theory and practice." Cambridge Opera Journal 5, no. 1 (March 1993): 55–78. http://dx.doi.org/10.1017/s0954586700003888.
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During the last hour we spoke about the transformation of opera into music drama, and I explained the concept of the Gesamtkunstwerk. So that nobody has any excuses, I'll write on the blackboard once more the names ofRichard WagnerRichard StraussNow we come to a new chapter. You'll remember that I read to you from Wagner's texts. They always dealt with gods and heroes and curious concepts like forest murmur, magic fire, knights of the Grail, etc., which you found rather strange. Then there were some difficult thought processes, which you were unable to follow, and also certain things that you could not yet comprehend and are as yet none of your business. None of this was of much interest to you't want to go to sleep. You want to hear music you can comprehend without special explanation, music you can readily absorb and sing with relative ease. … Nowadays there are matters of greater interest to all, and if music cannot be placed in the service of society as a whole, it forfeits its right to exist in today's world.
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Shelemay, Kay Kaufman, and Gerard Behague. "Performance Practice: Ethnomusicological Perspectives." Notes 42, no. 1 (September 1985): 46. http://dx.doi.org/10.2307/898240.
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