Search results for 'Music Performance' (try it on Scholar)

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  1. Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen (2013). To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance. Educational Philosophy and Theory (6):1-18.
    Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and (...)
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  2.  72
    Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen (2010). Expanding Expertise: Investigating a Musician’s Experience of Music Performance. ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic (...)
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  3. Pop Music (2004). Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge 62.
     
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  4. Rock Critics Need Bad Music (2004). “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi. In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge
     
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  5.  22
    William F. Thompson, Philip W. Graham & Frank A. Russo (2005). Seeing Music Performance: Visual Influences on Perception and Experience. Semiotica 156 (1/4):203-227.
    Drawing from ethnographic, empirical, and historical/cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably (...)
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  6. Nils-Göran Sundin (1994). Aesthetic Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music After 1750. University of Jyväskylä.
     
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  7. Dorottya Fabian, Renee Timmers & Emery Schubert (eds.) (2014). Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. OUP Oxford.
    This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.
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  8. John R. Hill (1979). An Instructional Program for High School Vocal Music Performance Classes Based Upon Recent Theories of Aesthetic Perception and Response. [S.N.].
     
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  9. G. Mazzola (2002). The Topos of Music: Geometric Logic of Concepts, Theory, and Performance. Birkhauser Verlag.
    The Topos of Music is the upgraded and vastly deepened English extension of the seminal German Geometrie der Töne. It reflects the dramatic progress of mathematical music theory and its operationalization by information technology since the publication of Geometrie der Töne in 1990. The conceptual basis has been vastly generalized to topos-theoretic foundations, including a corresponding thoroughly geometric musical logic. The theoretical models and results now include topologies for rhythm, melody, and harmony, as well as a classification theory (...)
     
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  10. Patrik N. Juslin (2011). Emotion in Music Performance. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. OUP Oxford
     
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  11. Patrik Juslin & Timmers & Renee (2011). Expression and Communication of Emotion in Music Performance. In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. OUP Oxford
     
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  12.  20
    John A. Sloboda (2000). Individual Differences in Music Performance. Trends in Cognitive Sciences 4 (10):397-403.
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  13.  6
    Carolyn Drake & Caroline Palmer (2000). Skill Acquisition in Music Performance: Relations Between Planning and Temporal Control. Cognition 74 (1):1-32.
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    Laurie Thomas (2001). Ranulph Glanville Studied at the Architectural Association School in London in the 60s, Where He Mainly Interested Himself in Elec-Tronic Music Performance, and at Brunel University Where He Gained PhDs in Cybernetics (with Gordon Pask) and Human Learning (With. Foundations of Science 6:235-237.
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  15. C. Palmer & C. Vandesande (1992). Range of Planning in Skilled Music Performance. Bulletin of the Psychonomic Society 30 (6):450-451.
     
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  16. Ion Olteţeanu (2010). Vocal Expression, Music Performance, and Communication of Emotions. Linguistic and Philosophical Investigations 9:311-316.
     
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  17.  2
    Amnon Shiloah (1993). George Dimitri Sawa, Music Performance Practice in the Early 'Abbāsid Era, 132–320 AH/750–932 AD (Studies and Texts, 92.) Toronto: Pontifical Institute of Mediaeval Studies, 1989. Paper. Pp. Xviii, 251; Many Musical Examples. $29.50. [REVIEW] Speculum 68 (1):253-254.
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  18. Elena Alessandri, Victoria J. Williamson, Hubert Eiholzer & Aaron Williamon (2015). Beethoven Recordings Reviewed: A Systematic Method for Mapping the Content of Music Performance Criticism. Frontiers in Psychology 6.
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  19. Y. Guiard (1987). Hand Voice, Left Right Cooperation in Music Performance-Analogous Asymmetries. Bulletin of the Psychonomic Society 25 (5):328-328.
     
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  20.  7
    Susan Hallam, John Price & Georgia Katsarou (2002). The Effects of Background Music on Primary School Pupils' Task Performance. Educational Studies 28 (2):111-122.
    Research on the effects of background music has a long history. Early work was not embedded within a theoretical framework, was often poorly conceptualised and produced equivocal findings. This paper reports two studies exploring the effects of music, perceived to be calming and relaxing, on performance in arithmetic and on a memory task in children aged 10-12. The calming music led to better performance on both tasks when compared with a no-music condition. Music (...)
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  21. Richard Taruskin (1995). Text and Act: Essays on Music and Performance. Oxford University Press Usa.
    Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He goes (...)
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  22.  18
    Catherine Stevens & Cyril Latimer (1992). A Comparison of Connectionist Models of Music Recognition and Human Performance. Minds and Machines 2 (4):379-400.
    Current artificial neural network or connectionist models of music cognition embody feature-extraction and feature-weighting principles. This paper reports two experiments which seek evidence for similar processes mediating recognition of short musical compositions by musically trained and untrained listeners. The experiments are cast within a pattern recognition framework based on the vision-audition analogue wherein music is considered an auditory pattern consisting of local and global features. Local features such as inter-note interval, and global features such as melodic contour, are (...)
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  23.  26
    Paul Thom (2003). The Interpretation of Music in Performance. British Journal of Aesthetics 43 (2):126-137.
    Musical performance, as an interpretive activity, has to be understood as relative to the material that is being interpreted. This material may or may not have the determinacy, fixity, and definitiveness of a work. Performative interpretation cannot be identified simply with what performers add to the material being performed. However, if interpretation is the assigning of significance, then in applying certain (theatrical, rhetorical, and biological) significance-endowing metaphors to integrated elements of a musical performance we commit ourselves to thinking (...)
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  24.  8
    Patrick K. Freer (2011). The Performance-Pedagogy Paradox in Choral Music Teaching. Philosophy of Music Education Review 19 (2):164-178.
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  25.  7
    Peter Richard Webster (2004). Response to Paul Woodford, "A Liberal Versus Performance-Based Music Education?&Quot. Philosophy of Music Education Review 12 (2):208-210.
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  26.  3
    David Carr (forthcoming). Can White Men Play the Blues? Music, Learning Theory, and Performance Knowledge. Philosophy of Music Education Review.
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  27.  1
    A. Hennion (2001). Music Lovers: Taste as Performance. Theory, Culture and Society 18 (5):1-22.
    This article presents the implications, objectives and initial results of a current ethnographic research project on music lovers. It looks at problems of theory and method posed by such research if it is not conceived only as the explanation of external determinisms, relating taste to the social origins of the amateur or to the aesthetic properties of the works. Our aim is, on the contrary, from long interviews and observations undertaken with music lovers, mostly in the classical field, (...)
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  28.  5
    Valerie L. Trollinger (2006). A Reconception of Performance Study in Music Education Philosophy. Philosophy of Music Education Review 14 (2):193-208.
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  29.  1
    N. Cook (2003). Music as Performance. In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge 204--214.
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  30.  1
    Paul Louth (forthcoming). A Response to Valerie L. Trollinger," A Reconception of Performance Study in the Philosophy of Music Education". Philosophy of Music Education Review.
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  31.  1
    Valerie L. Trollinger (2006). A Reconception of Performance Study in the Philosophy of Music Education. Philosophy of Music Education Review 14 (2):193-208.
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  32.  1
    Patrice D. Madura (forthcoming). A Response to David Carr," Can White Men Play the Blues?: Music, Learning Theory and Performance Knowledge". Philosophy of Music Education Review.
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  33.  2
    Paul Louth (2006). A Response to Valerie Trollinger, "A Reconception of Performance Study in Music Education Philosophy&Quot. Philosophy of Music Education Review 14 (2):231-233.
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  34. Annabel J. Cohen (2011). Music in Performance Arts: Film, Theatre and Dance. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. OUP Oxford
     
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  35. Sondra Wieland Howe (forthcoming). Another Response to Deanne Bogdan," Music Listening and Performance as Embodied Dialogism". Philosophy of Music Education Review.
     
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  36. Kari Kurkela (1997). Micro-Timing in the Performance of Music. In Gian Franco Arlandi (ed.), Music and Sciences. Brockmeyer 17--78.
     
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  37.  9
    Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin (2011). Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance. Cognition 118 (2):157-170.
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  38.  96
    R. A. Sharpe (1995). Music, Platonism and Performance: Some Ontological Strains. British Journal of Aesthetics 35 (1):38-48.
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  39.  5
    Ros Bandt (2006). John Haines, Eight Centuries of Troubadours and Trouvères: The Changing Identity of Medieval Music. (Musical Performance and Reception.) Cambridge, Eng.: Cambridge University Press, 2004. Pp. Xii, 347; Black-and-White Figures, Tables, and Musical Examples. $85. [REVIEW] Speculum 81 (2):523-524.
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  40.  3
    Timothy J. McGee (2009). Peter Macardle, The St Gall Passion Play: Music and Performance.(Ludus, 10.) Amsterdam and New York: Rodopi, 2007. Pp. 460; Many Musical Examples and 1 Map. $138. [REVIEW] Speculum 84 (3):749-750.
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  41. Sara E. Eckerson (2012). Contrarianism in the Philosophy of Music and the Role of the Idea in Musical Hermeneutics and Performance Interpretation. Teorema: International Journal of Philosophy 31 (3):137-148.
     
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  42.  4
    Julie E. Cumming (1992). Timothy J. McGee, Medieval Instrumental Dances.(Music: Scholarship and Performance.) Bloomington and Indianapolis: Indiana University Press, 1989. Paper. Pp. Xiii, 177; Frontispiece, 4 Black-and-White Plates, Music on Pp. 50–161. $27.50. [REVIEW] Speculum 67 (1):188-189.
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  43.  9
    Liana Chen (2012). Text, Performance, and Gender in Chinese Literature and Music: Essays in Honor of Wilt Idema, Eds. Maghiel van Crevel, Tian Yuan Tan, and Michel Hockx. (Leiden: E. J. Brill, 2009. Vii, 465 Pp. Hardback, ISBN 9789004179066.). [REVIEW] Journal of Chinese Philosophy 39 (2):320-324.
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  44. Viorica Barbu Iuraşcu (2010). Examining the Role of Performance as Part of Music Education. Linguistic and Philosophical Investigations 9:317-322.
     
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  45.  2
    Aron Edidin (forthcoming). Playing Bach His Way: Historical Authenticity, Personal Authenticity, and the Performance of Classical Music. Journal of Aesthetic Education.
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  46.  2
    David N. Klausner (1986). Stanley Boorman, Ed., Studies in the Performance of Late Medieval Music. Cambridge, Eng., and New York: Cambridge University Press, 1983. Pp. Xiii, 282. $49.50. [REVIEW] Speculum 61 (3):618-620.
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  47. Luminiţa Pogăceanu (2010). The Influence of Musical Performance on Music Perception. Linguistic and Philosophical Investigations 9:347-352.
     
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  48.  1
    Michel Huglo (1991). Anonymous of St. Emmeram, De Musica Mensurata, Ed. And Trans. Jeremy Yudkin.(Music: Scholarship and Performance.) Bloomington and Indianapolis: Indiana University Press, 1990. Pp. Xii, 386; 1 Black-and-White Plate, Diagrams, Musical Examples. $37.50. [REVIEW] Speculum 66 (3):606-608.
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  49.  2
    Thomas Binkley (1994). Keith Polk, German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice.(Cambridge Musical Texts and Monographs.) Cambridge, Eng.: Cambridge University Press, 1992. Pp. Xvi, 272; 16 Black-and-White Illustrations, 9 Tables. $69.95. [REVIEW] Speculum 69 (4):1251-1253.
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  50. Münir Beken (2008). Music Theory and Phenomenology of Musical Performance. A Case Study: Five Notes in Joel-Francois Durand's Un Feu Distinct. Analecta Husserliana 96:305-310.
     
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