Relevant bibliographies by topics / Preparation of musical performance

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  2. Dissertations / Theses
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  4. Book chapters
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Academic literature on the topic 'Preparation of musical performance'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Preparation of musical performance"

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Ezhova, Elizaveta A. "Choreographic preparation as a component of the musical artist’s professional education." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 133–37. http://dx.doi.org/10.30725/2619-0303-2021-2-133-137.

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Musical is one of the most colorful types of dramatic art. The harmonious combination of vocal, dramatic and choreographic performance enables you to immerse the viewer as much as possible in the era and plot of the performance. It is necessary to receive high-quality professional training in the field of vocals, acting and choreography in order that the actor could skillfully express the character and right emotions from a scene to the auditorium. There are various programs and technologies for preparing a musical artist and a musical theater artist in the modern Russian system of education. The article analyzes the amount of time allocated to the main disciplines in the training program of the «Musical Actor.» Basically, a significant skew goes towards acting, although the profession of a musical artist implies ownership of all components equally. The emphasis is mainly on acting, although the profession of a musical artist implies the possession of all components equally. The role of choreography in the preparation of the musical actor is not sufficiently considered and does not allow making educational process effective and full-fledged. The author of the article proposes methodological recommendations for synthesizing vocal and choreographic performance, which is an important aspect in the preparation of the musical actor
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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.

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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.
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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.

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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.
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Cotterill, Stewart. "Preparing for Performance: Strategies Adopted Across Performance Domains." Sport Psychologist 29, no. 2 (June 2015): 158–70. http://dx.doi.org/10.1123/tsp.2014-0035.

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The ability to prepare effectively to execute complex skills under pressure is crucial in a number of performance-focused professions. While there is emerging evidence of best practice little research has sought to compare preparation strategies across professions. As a result, the aim of this research was to explore the approaches employed within a number of professions and whether there are similarities in the techniques and strategies adopted. Participants were 18 “performers,” purposefully selected from sporting, musical, performing arts, and medical domains. Participants were interviewed individually to gain an understanding of each participant’s preparation strategies and the functions these strategies fulfilled. The data were thematically analyzed using interpretative phenomenological analysis. Results suggest that there are similarities in both behavioral and mental strategies adopted across professions. Future research should seek to explore the transferability of developmental approaches.
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Davidson-Kelly, Kirsteen, Rebecca S. Schaefer, Nikki Moran, and Katie Overy. "“Total inner memory”: Deliberate uses of multimodal musical imagery during performance preparation." Psychomusicology: Music, Mind, and Brain 25, no. 1 (March 2015): 83–92. http://dx.doi.org/10.1037/pmu0000091.

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Taft, Seth A. "Harnessing Optimism in Response to Musical Challenges." Music Educators Journal 106, no. 2 (November 26, 2019): 22–27. http://dx.doi.org/10.1177/0027432119877924.

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Challenges are a constant across all kinds of musical contexts, and teachers are always looking for ways to help students overcome them. While there are many technical and pedagogical approaches to helping students achieve in music, psychology also plays a significant role in the struggles that students face. Counteractive optimism, the act of predicting success in preparation for completing a difficult task, improves performance in the face of challenge and serves as a vehicle for the development of self-efficacy, which has a powerful direct effect on overall performance outcomes. In this article, I explain counteractive optimism and self-efficacy, their benefits, and their direct applications to music.
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Turekhanova, Zh, and N. N. Khan. "PEDAGOGICAL GIFTEDNESS AS A FACTOR OF SUCCESSFUL PREPARATION OF STUDENTS OF ADDITIONAL EDUCATION FOR CONCERT PERFORMANCE." BULLETIN Series of Pedagogical Sciences 70, no. 2 (June 25, 2021): 56–64. http://dx.doi.org/10.51889/2021-2.1728-5496.07.

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This paper examines the features of the activities of a teacher of additional education related to the preparation of students for a concert performance and necessity of creating favorable conditions to the successful performance of students. The most common shortcomings in preparing students for performing in front of audience are identified, also the main stages of the musical teaching process are considered. In the course of analyzing the activities of a music teacher, it was revealed that in the structure of the organization of the musical teaching process when working with gifted students, it is important that the teacher has pedagogical giftedness, which includes a number of pedagogical abilities. On the basis of the studied materials and the experience of foreign countries, the author proposes, on the basis of a bachelor's degree, to enter a course of major disciplines such as psychology of musical and pedagogical activity, psychological and pedagogical workshop and the art of teaching stage performance, and for acting teachers on the basis of children's music schools, to introduce an advanced training course of psychological and pedagogical support of students in the conditions of concert activities for teachers of additional education.
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Barbeau, Audrey-Kristel, and Roger Mantie. "Music Performance Anxiety and Perceived Benefits of Musical Participation Among Older Adults in Community Bands." Journal of Research in Music Education 66, no. 4 (September 28, 2018): 408–27. http://dx.doi.org/10.1177/0022429418799362.

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The purpose of the current study was to examine music performance anxiety and self-reported reasons for participation among members of older adult community bands. We asked 35 New Horizons Band members aged 65+ questions about their musical experience in face-to-face interviews, after which we administered two questionnaires: the Performance Anxiety Inventory for Musicians and the State-Trait Anxiety Inventory. We found a statistically significant difference in performance anxiety between participants suffering from trait anxiety (also called general anxiety) and those who did not. Utilizing the Novelty, Unpredictability, Threat to the Ego, and Sense of low control recipe (NUTS) for stress as a framework, we performed interview and questionnaire analyses that revealed that participants were concerned with issues associated with novelty, unpredictability, and lack of control in contexts of public performances (e.g., new pieces, lack of preparation, or challenging repertoire selected by the conductor). Participants perceived threats to their ego (such as feeling exposed, judged) as a major contributing factor of music performance anxiety. Participants reported the perceived benefits of musical involvement outweighed their negative (i.e., stressful) aspects.
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Timperman, Eric, and Peter Miksza. "Verbalization and musical memory in string players." Musicae Scientiae 23, no. 2 (August 21, 2017): 212–30. http://dx.doi.org/10.1177/1029864917727332.

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The purpose of this study was to examine the effect of verbalization about a brief etude on collegiate string players’ short- and long-term recall of the etude in question. We examined competing hypotheses that suggest it is possible that verbalization (i.e., verbal analysis of musical features) (a) could aid in recall both by highlighting patterns and constraints that inform the music’s creation and by facilitating the creation of explicit performance cues that help to bridge gaps between associative recall chains or (b) may hinder recall by interfering with the creation of procedural and auditory memories necessary for musical performance. Participants ( N = 20) were assigned to experimental conditions in which they learned an unfamiliar etude either through repetition alone or through repetition followed by the completion of a verbalization worksheet provided by the experimenter. Recall was tested both immediately following initial practice and 24 hours later to examine the effect of verbalization on both short- and long-term retention. Findings indicated no differences between groups on immediate recall performance but significant differences at the 24-hour recall task with participants in the verbalization condition recalling more material. In addition, the patterns of errors found across groups indicated a strong primacy effect. Theoretical implications for the study of memory processes in musical contexts and practical implications regarding the preparation of memorized performance are discussed.
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Kusumawardani, Siska, and Nanda Nur Aulia. "ANALISIS KETERAMPILAN BERMAIN ALAT MUSIK ANGKLUNG PADA SISWA SEKOLAH DASAR." Refleksi Edukatika : Jurnal Ilmiah Kependidikan 11, no. 1 (December 9, 2020): 116–20. http://dx.doi.org/10.24176/re.v11i1.4975.

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The purpose of this study was to analyze and describe the skills of playing angklung musical instruments in elementary school children. The research method in this research is descriptive research with observation, documentation and interview data. The research was conducted at SD Private Syafana Islamic School with the subjects studied were 10 children who were a combination of low classes, namely class 1,2,3. Data analysis using descriptive-qualitative analysis. The results showed that the skills to play angklung consisted of 1) preparation consisting of recruiting children to enter extra angklung musical instruments. 2) Preparation, formulate learning objectives to play angklung, determine methods in playing angklung skills 3) implementation. a) the teacher conveys the learning objectives and provides material about the angklung musical instrument b) the teacher demonstrates the angklung, how to hold, how to play the resulting tone. c). given training using angklung and 4) evaluation by holding an art performance playing angklung which is held in schools through audience appreciation.
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Dissertations / Theses on the topic "Preparation of musical performance"

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Carvalho, Cristiane dos Santos. "Os elementos da performance musical (EPM) na preparação de recitais de grupos de flautas doce." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6122.

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
The Final Product of Masters Degree presented here consists of two required parts: Part A (Artistic Production) and Part B (Scientific Production). The artistic part is composed of concerts presented throughout the process, including the defense recital, directly related to the developed research. The scientific part consists of an article that addresses the preparation of Brazilian recorder‟s ensembles at universities from the perspective of Musical Performance Elements (MPE) concept used as a focus of the research that was developed by RAY (2005). The main objective of the research was to identify the recorder active groups in universities, know how they work and indicate ways to optimize the preparation of this kind of group. The adopted methodological procedure was literature review on the subject and field research to identify the recorder active ensembles in Brazilian universities, followed by the organization and discussion of results. At last, we used the material gathered and discussed as a basis for the development of suggestions for the preparation of recitals in recorder‟s ensemble.
O Produto Final de conclusão de Mestrado aqui apresentado é composto de duas partes obrigatórias: Parte A (Produção Artística) e Parte B (Produção Científica). A parte artística é composta pelos recitais apresentados ao longo do curso, incluindo o recital de defesa, diretamente relacionado com a pesquisa desenvolvida. A parte científica é constituída por um artigo que aborda o processo de preparação de grupos de flautas doces de universidades brasileiras sob a ótica dos Elementos da Performance Musical (EPM), conceito utilizado como foco da pesquisa que foi desenvolvido por RAY (2005). O objetivo principal da pesquisa foi identificar os grupos de flautas doces ativos em universidades, entender como eles funcionam e indicar formas de otimizar a preparação deste tipo de grupo. O procedimento metodológico adotado foi revisão de literatura sobre o tema e pesquisa de campo para identificação dos grupos de flautas doces ativos em universidades brasileiras, seguidos da organização e discussão dos resultados. Ao final, utiliza-se do material reunido e discutido como base para a elaboração de sugestões para a preparação de recitais em grupos de flautas doces.
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Sousa, Sérgio Luiz de. "A prática mental como estratégia pedagógica na preparação para a performance musical /." São Paulo, 2020. http://hdl.handle.net/11449/192947.

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Orientador: Sonia Ray
Resumo: Esta tese investiga o papel da prática mental no processo de preparação para a performance musical. Adota como referencial teórico o conceito de pedagogia da performance musical de Ray (2015), que propõe uma abordagem interdisciplinar entre a educação e a atuação prática do músico. O objetivo geral desta pesquisa é propor a prática mental como estratégia pedagógica na preparação para a performance musical. A metodologia inclui revisão da literatura disponível, pesquisa de campo (questionário aplicado a estudantes e professores de performance musical de cursos graduação e pós-graduação no Brasil) e discussão dos resultados. O trabalho está estruturado em quatro capítulos: 1. Revisão de literatura, 2. Metodologia e pesquisa de campo, 3. Discussão dos resultados, 4. Estratégias pedagógicas para aplicação da prática mental. As conclusões apontam para a confirmação da tese de que a prática mental pode ser uma importante ferramenta pedagógica no processo de preparação para a performance musical.
Abstract: This dissertation investigates the role of mental practice in the process of preparation for musical performance. It has as theoretical reference the concept of music performance pedagogy by Ray (2015), who proposes an interdisciplinary approach between the field of education and the practical acting of the musician. The main objective of this research is to propose mental practice as a pedagogical strategy in preparation for music performance. The methodology includes review of available literature, field research (questionnaire applied to students and teachers of music performance of undergraduate and graduate courses in Brazil) and discussion of the results. The dissertation is divided in four chapters: 1. Literature review, 2. Methodology and field research, 3. Discussion of results, 4. Pedagogical strategies for using mental practice. The conclusions point to the confirmation of the thesis that mental practice can be an important pedagogical tool in the process of preparation for musical performance.
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Gardner, David B. "Herbert Howells' Requiem: A guide to preparation and performance." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280285.

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Although composed in the 1930s, Herbert Howells' Requiem for unaccompanied voices was not performed or published until the early 1980s. The long period between its composition and publication has left many questions about its origins unanswered. The document attempts to clarify the confusing genesis of Howell's Requiem, and suggests that the motivation behind its composition was the commemoration of those who died in World War I, and not, as has been previously supposed, the death of Howells' son Michael in 1935. The development of Howells' own compositional style is traced through musical influences, and the difficult circumstances of Howells' formative years. Three stylistic influences are discussed: the generation of English composers immediately preceding Howells, the generation of English composers from the sixteenth century, and the English countryside and the tunes of its people. The last two chapters deal with the Requiem in detail, providing conductors with textual and musical analyses and with suggestions for score preparation, rehearsal techniques, and performance logistics.
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Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
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Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.

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Domenech, Mauro [UNESP]. "Música de câmara na formação do músico profissional: aspectos pedagógicos, escolha e adaptação de seu repertório." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157182.

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Este trabalho discute a música de câmara na formação do músico profissional, seus aspectos pedagógicos, a escolha e adaptação de seu repertório. Apresenta a prática da música de câmara como parte fundamental na formação do músico (instrumentista/cantor), com suas peculiaridades e características na educação musical, especialmente em relação à interpretação musical, às práticas de conjunto e à preparação para a performance. A metodologia consistiu em um estudo de caso de uma instituição de ensino profissionalizante representativa nacionalmente, situada na cidade de São Paulo, a Escola Municipal de Música de São Paulo – EMMSP, onde o pesquisador é professor de música de câmara. Envolveu coleta de dados de fontes disponíveis online e publicações, com aplicação do método teórico-reflexivo, implicando em revisão de literatura e estudo da estrutura pedagógica relacionada à disciplina música de câmara. O trabalho está organizado em três partes. Na primeira, apresenta-se uma revisão de literatura, discutindo o estado atual da questão no meio acadêmico. Na segunda, parte discute-se a função pedagógica da música de câmara enquanto disciplina na escola de formação profissional e faz-se uma proposta de metodologia para esta disciplina. Na terceira, discute-se a escolha e adaptação do repertório didaticamente orientado à disciplina, a disponibilidade de partituras e aplicabilidade da transcrição na adequação deste repertório em função da realidade cotidiana do professor.
This work discusses chamber music in the development of the professional musician, its pedagogical aspects and the choice and adaptation of its repertoire. The study presents the practice of chamber music as a fundamental part in the musician’s training (instrumentalist/singer) as well as its peculiarities and characteristics in musical education, especially as relative to musical interpretation, group practice and the preparation for performance. The methodology consists of a case study of a representative vocational training institution, located in the city of São Paulo, the Municipal School of Music of São Paulo – EMMSP, where the author of this study is a chamber music teacher. The research involved the collection of data from online sources and printed material, with application of the theoretical-reflexive method involving literature review and study of the pedagogical structure as related to the chamber music class. The work is organized in three parts. The first presents a literature review and a discussion of the state of the art in the academic environment. The second discusses the pedagogical function of chamber music as a discipline in the curriculum of the school and the proposed methodology in the class. The third discusses the choice and adaptation of the repertoire for use in the class, the availability of scores and the applicability of transcription for use in the daily routine of the teacher.
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Burdette, Joy L. "Thomas Pasatieri's Letter to Warsaw: An Examination of Style for Performance Preparation." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377872551.

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Lucena, Diuliano Vitor. "Obras para contrabaixo com gêneros da música popular brasileira: performance e aspectos pedagógicos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7213.

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This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music.
Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.
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KAMINSKI, Leonardo Casarin. "Preparação e planejamento da performance do violonista: estudo da obra homenagem a Villa-Lobos Op.46 de Marlos Nobre." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2715.

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This paper presents the preparation and planning for the performance of a piece for solo guitar. For this purpose, the guitarist used pre-selected teaching and instrumental materials over the course this investigation. The criteria used to choose the piece were that it should reflect the technical and musical aspects of the repertoire commonly involved in academic training of guitar students. The piece Homenagem a Villa-Lobos op.46 by the composer Marlos Nobre was chosen. The preparation of this piece was divided into four stages: 1) Definition of goals and objectives; 2) scheduling, planning the construction of the performance ; 3) Choice of the fingering; 4) Solution of motor difficulties; 5) musical memorization. The accomplishment of these steps in this investigation was based on the theoretical references chosen. This end-of-course article is divided into two main parts. The first part contains materials from the literature search and selected during the research. Finally, a report about the preparation of the musical work was prepared, in which the steps and processes of choices are described on the basis of the previously established literature for the preparation of an instrumental work.
Este trabalho apresenta a preparação e planejamento da performance em uma obra para violão solo. Para isso, o violonista utilizou materiais didáticos e instrumentais previamente estabelecidos, no decorrer da presente investigação. Os critérios utilizados para a escolha da obra foram de que esta deveria refletir aspectos técnicos e musicais do repertório comumente abordados na formação acadêmica dos estudantes de violão. Para isso foi eleita a Homenagem a Villa-Lobos op.46 do compositor Marlos Nobre. Para a realização do processo de preparação da peça musical em questão, foram escolhidas algumas etapas que nortearam a presente investigação, dentre elas: 1) definição de metas e objetivos; 2) agendamento, planejamento da construção da performance; 3) escolha das digitações; 4) resolução das dificuldades motoras; 5) memorização musical. A realização dessas etapas na presente investigação foram subsidiadas pelos referenciais teóricos escolhidos. Este artigo de conclusão de curso está dividido em duas partes principais. Na parte inicial são apresentados os materiais extraídos e selecionados durante pesquisa bibliográfica. Por último, há um relatório sobre a preparação da obra musical, na qual estão discriminadas as etapas e processos de escolhas acerca da literatura previamente estabelecida.
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Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.

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In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.
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Books on the topic "Preparation of musical performance"

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Roemer, Clinton. The art of music copying: The preparation of music for performance. 2nd ed. Sherman Oaks, Calif: Roerick Music Co., 1985.

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Oliver, Donald. How to audition for musical theatre: A step-by-step guide to effective preparation. Lyme, NH: Smith and Kraus, 1995.

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Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. New York: Drama Book Publishers, 1988.

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Oliver, Donald. How to audition for the musical theatre: A step-by-step guide to effective preparation. 2nd ed. Lyme, NH: Smith and Kraus, 1995.

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How to audition for the musical theatre: A step-by-step guide to effective preparation. New York: Drama Book Publishers, 1985.

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Mazzola, Guerino. Musical Performance. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-11838-8.

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

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Litvinova, Margarita, and Irina Kozhaeva. Musical-poetic performance. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071391.

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In the educational-methodical manual deals with basic dramaturgical and staging the principles of working with documentary and artistic material, techniques use of fact and document in a journalistic view, clearly demonstrates techniques for creating imaginative solutions and scenarios of artistic and journalistic representations. Addressed to students of universities of arts and culture, studying under the direction of training 51.03.05 "direction of the dramatized representations and holidays", studying discipline "Directing poetry theater" and "writing"; and also workers of culture, Directors and practitioners working to create theatrical programs and mass celebrations.
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Richard, Aven, ed. Acting: Preparation, practice, performance. New York: HarperCollins College Publishers, 1994.

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Hardy, Lew. Mental preparation for performance. Leeds: National CoachingFoundation, 1986.

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Book chapters on the topic "Preparation of musical performance"

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York, Adrian. "Transforming musical performance." In Innovation in Music, 306–30. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-23.

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York, Adrian. "Transforming Musical Performance." In Innovation in Music, 3–23. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-1.

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Dudley, Shannon. "Tradition and Modernity in Trinidadian Steelband Performance." In Musical Migrations, 147–60. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9780230107441_10.

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Frost, Anthony, and Ralph Yarrow. "Preparation." In Improvisation in Drama, Theatre and Performance, 145–62. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-34812-8_6.

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Stevenson, D. "Sample preparation." In High Performance Liquid Chromatography, 168–85. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-011-0597-2_8.

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Cornejo, Roger. "Data Preparation." In Dynamic Oracle Performance Analytics, 33–59. Berkeley, CA: Apress, 2018. http://dx.doi.org/10.1007/978-1-4842-4137-0_3.

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Watkins, Emma, and Stacy Wolf. "Feminist musical theatre pedagogy." In Teaching Critical Performance Theory, 26–37. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367809966-4.

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Jiang, Heng, Teng-Wen Chang, and Cha-Lin Liu. "Musical Skin: A Dynamic Interface for Musical Performance." In Lecture Notes in Computer Science, 53–61. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21605-3_6.

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Shaw, Brian P. "Concert Preparation." In Music Assessment for Better Ensembles, 140–62. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.003.0007.

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This chapter provides assessment strategies for performance preparation assessment. Even though performing is a central and necessary aspect of ensemble music classes, concerts are not themselves assessment of individual students’ musical learning. The chapter includes a variety of ways to implement assessment in the rehearsal. Both informal assessment during the course of a traditional rehearsal and formal assessment settings off the podium can improve performance results. Self and peer assessment build metacognitive musicians and provide pathways to individualized feedback that teachers may have missed. Infusing assessment into the ensemble rehearsal is an investment of class time that pays noticeable dividends.
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Adolphe, Bruce. "Piano Puzzler Preparation." In The Mind's Ear, 175–90. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0007.

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This section, newly created for the third edition, is a response to the many private piano teachers and classroom music teachers who have suggested that it should be possible to create a fun and useful curriculum based on the Piano Puzzler segment of public radio’s Performance Today, which has been broadcast weekly since 2002. These exercises are necessarily for pianists and composers who play the piano because they require keyboard skills and a working knowledge of modes, harmony, and other compositional vocabulary and grammar. All of the exercises may be approached as improvisations and/or compositions to be notated. The penultimate exercise in this book, “Be a Private Ear,” provides a detailed checklist of the main compositional features that go into composing a piano puzzler. The Private Ear Checklist is a kind of shopping list that reminds you of what ingredients you need to cook something that Chopin, Brahms, Debussy, or Stravinsky might prepare. The final exercise is to use the skills developed in the preceding exercises to compose one’s own piano puzzler.
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Conference papers on the topic "Preparation of musical performance"

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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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Ashley, Richard. "Musical performance as multimodal communication." In International Conference on Multimodal Interfaces and the Workshop on Machine Learning for Multimodal Interaction. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1891903.1891922.

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Rebelo, Pedro Pinto, and Robert King. "Anticipation in networked musical performance." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.7.

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Lazzaro, John, and John Wawrzynek. "A case for network musical performance." In the 11th international workshop. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/378344.378367.

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Takanishi, Atsuo, and Jorge Solis. "Research Trends on Musical Performance Robots." In RO-MAN 2007 - The 16th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2007. http://dx.doi.org/10.1109/roman.2007.4415187.

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Johnston, Andrew, Shigeki Amitani, and Ernest Edmonds. "Amplifying reflective thinking in musical performance." In the 5th conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1056224.1056248.

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Kim, Youngmoo E., David K. Grunberg, Alyssa M. Batula, Daniel M. Lofaro, JunHo Oh, and Paul Y. Oh. "Enabling humanoid musical interaction and performance." In 2011 International Conference on Collaboration Technologies and Systems (CTS). IEEE, 2011. http://dx.doi.org/10.1109/cts.2011.5928689.

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Wang, Manjun. "Emotional-Dimension Based Musical Performance Study." In 3rd International Conference on Science and Social Research (ICSSR 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icssr-14.2014.155.

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Goddard, Callum, Mathieu Barthet, and Geraint A. Wiggins. "Designing Computationally Creative Musical Performance Systems." In AM '17: Audio Mostly 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123514.3123541.

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Zhang, Ada, Mark Malhotra, and Yoky Matsuoka. "Musical piano performance by the ACT Hand." In 2011 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2011. http://dx.doi.org/10.1109/icra.2011.5980342.

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Reports on the topic "Preparation of musical performance"

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Mikhail, M. W., A. I. A. Salama, N. E. Andersen, D. Woo, and A. Fung. Performance evaluation of Quintette preparation plant. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1994. http://dx.doi.org/10.4095/305316.

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Magnuson, Katherine, Christopher Ruhm, and Jane Waldfogel. Does Prekindergarten Improve School Preparation and Performance? Cambridge, MA: National Bureau of Economic Research, April 2004. http://dx.doi.org/10.3386/w10452.

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Salama, A. I. A. Numerical evaluation of coal preparation density separators performance. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1986. http://dx.doi.org/10.4095/304878.

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Walter, Travis, Laurel Dunn, Andrea Mercado, Richard Brown, and Paul Mathew. Data Preparation Process for the Buildings Performance Database. Office of Scientific and Technical Information (OSTI), June 2014. http://dx.doi.org/10.2172/1163654.

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INSTITUTE FOR DEFENSE ANALYSES ALEXANDRIA VA. Performance Evaluation Test of the Rapid Area Preparation Tool (RAPTOR). Fort Belvoir, VA: Defense Technical Information Center, December 2008. http://dx.doi.org/10.21236/ada495554.

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Mikail, M. E., A. I. A. Salama, and O. E. Humeniuk. The role of coal preparation plant performance testing in improving clean coal recovery. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1992. http://dx.doi.org/10.4095/305298.

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Kirby, R. Impact of Surface Preparation on RF Breakdown Performance in NLCTA Accelerating Structures(LCC-0081). Office of Scientific and Technical Information (OSTI), October 2003. http://dx.doi.org/10.2172/826503.

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Chung, Eun-Young, Chang-Kuk Im, and Sung-Hwan Lim. Preparation and Characteristics of Mica-Coated Titania Pearlescent Pigment for High-Performance Automotive Coatings. Warrendale, PA: SAE International, May 2005. http://dx.doi.org/10.4271/2005-08-0075.

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Bruffey, Stephanie H., and Robert Thomas Jubin. Preparation of Four Large-format Hot Isostatically Pressed I-AgZ Waste Form Samples for Performance Testing. Office of Scientific and Technical Information (OSTI), September 2018. http://dx.doi.org/10.2172/1506807.

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Vang, Lindsay K., P. Scott Pine, Sarah A. Munro, and Marc L. Salit. Preparation of a set of total RNA benchmarking samples for performance assessment of genome-scale differential gene expression. Gaithersburg, MD: National Institute of Standards and Technology, June 2017. http://dx.doi.org/10.6028/nist.sp.1200-23.

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