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

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  1. 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.score: 180.0
    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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  2. 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:1-18.score: 180.0
    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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  3. Emanuela Bricolo Nicolò F. Bernardi, Matteo De Buglio, Pietro D. Trimarchi, Alfonso Chielli (2013). Mental Practice Promotes Motor Anticipation: Evidence From Skilled Music Performance. Frontiers in Human Neuroscience 7.score: 174.0
    Mental practice (MP) has been shown to improve movement accuracy and velocity, but it is not known whether MP can also optimize movement timing. We addressed this question by studying two groups of expert pianists who performed challenging music sequences after either MP or physical practice (PP). Performance and motion-capture data were collected along with responses to imagery questionnaires. The results showed that MP produced performance improvements, although to a lower degree than PP did. MP and PP (...)
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  4. Caroline Palmer Rachel M. Brown (2013). Auditory and Motor Imagery Modulate Learning in Music Performance. Frontiers in Human Neuroscience 7.score: 156.0
    Skilled performers such as athletes or musicians can improve their performance by imagining the actions or sensory outcomes associated with their skill. Performers vary widely in their auditory and motor imagery abilities, and these individual differences influence sensorimotor learning. It is unknown whether imagery abilities influence both memory encoding and retrieval. We examined how auditory and motor imagery abilities influence musicians’ encoding (during Learning, as they practiced novel melodies), and retrieval (during Recall of those melodies). Pianists learned melodies by (...)
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  5. 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.score: 132.0
     
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  6. 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.score: 126.0
    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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  7. Gabor Csepregi (2014). On Musical Performance as Play. Nordic Journal of Aesthetics 23 (46).score: 118.0
    The purpose of this article is to complete, and build on, the theories of a certain number of scholars, chiefly philosophers of previous generations, and a few eminent performers of classical music who all bring to the fore the essential link between music and play. Because of their impulse value and appealing character, tones and other elements of the performance could generate a playful attitude in the musicians. Play is understood as a reciprocal interaction with something that (...)
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  8. Stanley Godlovitch (1998). Musical Performance: A Philosophical Study. Routledge.score: 116.0
    This book evaluates traditional musical performance and asks where its unique value lies.
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  9. Jane O'Dea (2000). Virtue or Virtuosity?: Explorations in the Ethics of Musical Performance. Greenwood Press.score: 116.0
    Uses a virtue-based approach to the ethical dimension and to the roles of virtuosity and historical authenticity in musical performance.
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  10. Peter Kivy (1995). Authenticities: Philosophical Reflections on Musical Performance. Cornell University Press.score: 114.0
    "In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...
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  11. G. Mazzola (2002). The Topos of Music: Geometric Logic of Concepts, Theory, and Performance. Birkhauser Verlag.score: 110.0
    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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  12. Stephen Davies (2001). Musical Works and Performances: A Philosophical Exploration. Oxford University Press.score: 108.0
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic (...), and the implications of the dominance of recorded over live music. (shrink)
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  13. Jonathan A. Neufeld (2009). Musical Formalism and Political Performances. Contemporary Aeshetics 7.score: 108.0
    Musical formalism, which strictly limits the type of thing any description of the music can tell us, is ill-equipped to account for contemporary performance practice. If performative interpretations are in a position to tell us something about musical works—that is if performance is a kind of description, as Peter Kivy argues—then we have to loosen the restrictions on notions of musical relevance to make sense of performance. I argue that musical formalism, which strictly limits the type (...)
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  14. Bruno Gingras, Pierre-Yves Asselin & Stephen McAdams (2013). Individuality in Harpsichord Performance: Disentangling Performer- and Piece-Specific Influences on Interpretive Choices. Frontiers in Psychology 4:895.score: 108.0
    Although a growing body of research has examined issues related to individuality in music performance, few studies have attempted to quantify markers of individuality that transcend pieces and musical styles. This study aims to identify such meta-markers by discriminating between influences linked to specific pieces or interpretive goals and performer-specific playing styles, using two complementary statistical approaches: linear mixed models (LMMs) to estimate fixed (piece and interpretation) and random (performer) effects, and similarity analyses to compare expressive profiles on (...)
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  15. Susan Hallam, John Price & Georgia Katsarou (2002). The Effects of Background Music on Primary School Pupils' Task Performance. Educational Studies 28 (2):111-122.score: 96.0
    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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  16. Manuela Maria Marin & Joydeep Bhattacharya (2013). Getting Into the Musical Zone: Trait Emotional Intelligence and Amount of Practice Predict Flow in Pianists. Frontiers in Psychology 4:853.score: 96.0
    Being ‘in flow’ or ‘in the zone’ is defined as an extremely focused state of consciousness which occurs during intense engagement in an activity. In general, flow has been linked to peak performances (high achievement) and feelings of intense pleasure and happiness. However, empirical research on flow in music performance is scarce, although it may offer novel insights into the question of why musicians engage in musical activities for extensive periods of time. Here, we focused on individual differences (...)
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  17. Patrik N. Juslin (2011). Emotion in Music Performance. In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oup Oxford.score: 96.0
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  18. 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.score: 96.0
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  19. Clemens Wöllner (2013). How to Quantify Individuality in Music Performance? Studying Artistic Expression with Averaging Procedures. Frontiers in Psychology 4.score: 94.0
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  20. Catherine Stevens & Cyril Latimer (1992). A Comparison of Connectionist Models of Music Recognition and Human Performance. Minds and Machines 2 (4):379-400.score: 90.0
    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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  21. Ion Olteţeanu (2010). Vocal Expression, Music Performance, and Communication of Emotions. Linguistic and Philosophical Investigations 9:311-316.score: 90.0
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  22. Moelants Dirk (2013). Slowness in Music Performance and Perception: An Analysis of Timing in Feldman�s �Last Pieces�. Frontiers in Human Neuroscience 7.score: 90.0
  23. Friberg Anders (2009). How Fast is the Tempo in a Happy Music Performance? Frontiers in Human Neuroscience 3.score: 90.0
  24. Bruno Gingras (2014). Individuality in Music Performance: Introduction to the Research Topic. Frontiers in Psychology 5.score: 90.0
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  25. John A. Sloboda (2000). Individual Differences in Music Performance. Trends in Cognitive Sciences 4 (10):397-403.score: 90.0
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  26. 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.score: 90.0
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  27. Peter Yih-Jiun Wong (2012). The Music of Ritual Practice—An Interpretation. Sophia 51 (2):243-255.score: 90.0
    Music is an important philosophical theme in Confucian writings, one that is intimately related to ritual. But the relationship between music and ritual requires clarification. This paper seeks to argue for a general sense of music that reflects a particular aspect of ritual that has to do with performance. There is much material available in classical texts, such as the 'Record of Music' ('Yueji'), that allows for nuanced explications of the musical qualities of such performances. (...)
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  28. Carolyn Drake & Caroline Palmer (2000). Skill Acquisition in Music Performance: Relations Between Planning and Temporal Control. Cognition 74 (1):1-32.score: 90.0
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  29. Y. Guiard (1987). Hand Voice, Left Right Cooperation in Music Performance-Analogous Asymmetries. Bulletin of the Psychonomic Society 25 (5):328-328.score: 90.0
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  30. Clemens Maidhof (2013). Error Monitoring in Musicians. Frontiers in Human Neuroscience 7.score: 90.0
    To err is human, and hence even professional musicians make errors occasionally during their performances. This paper summarizes recent work investigating error monitoring in musicians, i.e. the processes and their neural correlates associated with the monitoring of ongoing actions and the detection of deviations from intended sounds. EEG Studies reported an early component of the event-related potential (ERP) occurring before the onsets of pitch errors. This component, which can be altered in musicians with focal dystonia, likely reflects processes of error (...)
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  31. C. Palmer & C. Vandesande (1992). Range of Planning in Skilled Music Performance. Bulletin of the Psychonomic Society 30 (6):450-451.score: 90.0
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  32. 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.score: 90.0
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  33. Paul Thom (2003). The Interpretation of Music in Performance. British Journal of Aesthetics 43 (2):126-137.score: 86.0
    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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  34. Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.score: 84.0
    Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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  35. Mari Tervaniemi Clemens Maidhof, Anni Pitkäniemi (2013). Predictive Error Detection in Pianists: A Combined ERP and Motion Capture Study. Frontiers in Human Neuroscience 7.score: 84.0
    Performing a piece of music involves the interplay of several cognitive and motor processes and requires extensive training to achieve a high skill level. However, even professional musicians commit errors occasionally. Previous event-related potential (ERP) studies have investigated the neurophysiological correlates of pitch errors during piano performance, and reported pre-error negativity already occurring approximately 70-100 ms before the error had been committed and audible. It was assumed that this pre-error negativity reflects predictive control processes that compare predicted consequences (...)
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  36. Bertinetto Alessandro (2012). Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology. Teorema (3):105-126.score: 82.0
    This paper explores the ontology of musical improvisation (MI). MI, as process in which creative and performing activities are one and the same generative occurrence, is contrasted with the most widespread conceptual resource used in inquiries about music ontology of the Western tradition: the type/token duality (TtD). TtD, which is used for explaining the relationship between musical works (MWs) and performances, does not fit for MI. Nonetheless MI can be ontologically related to MWs. A MW can ensue from MI (...)
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  37. Patrick K. Freer (2011). The Performance-Pedagogy Paradox in Choral Music Teaching. Philosophy of Music Education Review 19 (2):164-178.score: 78.0
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  38. 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.score: 78.0
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  39. Valerie L. Trollinger (2006). A Reconception of Performance Study in Music Education Philosophy. Philosophy of Music Education Review 14 (2):193-208.score: 78.0
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  40. 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.score: 78.0
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  41. David Carr (forthcoming). Can White Men Play the Blues? Music, Learning Theory, and Performance Knowledge. Philosophy of Music Education Review.score: 78.0
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  42. 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.score: 78.0
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  43. 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.score: 78.0
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  44. Luminiţa Pogăceanu (2010). The Influence of Musical Performance on Music Perception. Linguistic and Philosophical Investigations 9:347-352.score: 78.0
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  45. 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.score: 78.0
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  46. 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.score: 78.0
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  47. 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.score: 78.0
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  48. 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.score: 78.0
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  49. Sondra Wieland Howe (forthcoming). Another Response to Deanne Bogdan," Music Listening and Performance as Embodied Dialogism". Philosophy of Music Education Review.score: 78.0
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  50. Kari Kurkela (1997). Micro-Timing in the Performance of Music. In Gian Franco Arlandi (ed.), Music and Sciences. Brockmeyer. 17--78.score: 78.0
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