Results for 'Music Performance'

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  1. To Think or Not To Think: The Apparent Paradox of Expert Skill in Music Performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - 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. Expanding Expertise: Investigating a Musician’s Experience of Music Performance.Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen - 2010 - 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. Music Critics and Aestheticians Are, on the Surface, Advocates and Guardians of Good Music. But What Exactly is “Good”.Pop Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge. pp. 62.
     
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  4. “I Like Bad Music.” That's My Usual Response to People Who Ask Me About My Musi.Rock Critics Need Bad Music - 2004 - In Christopher Washburne & Maiken Derno (eds.), Bad Music: The Music We Love to Hate. Routledge.
     
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  5.  30
    Seeing Music Performance: Visual Influences on Perception and Experience.William F. Thompson, Philip W. Graham & Frank A. Russo - 2005 - 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. Aesthetic Criteria for Musical Interpretation: A Study of the Contemporary Performance of Western Notated Instrumental Music After 1750.Nils-Göran Sundin - 1994 - University of Jyväskylä.
     
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  7.  3
    Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures.Dorottya Fabian, Renee Timmers & Emery Schubert (eds.) - 2014 - Oxford University Press.
    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. An Instructional Program for High School Vocal Music Performance Classes Based Upon Recent Theories of Aesthetic Perception and Response.John R. Hill - 1979 - [S.N.].
     
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  9. The Topos of Music: Geometric Logic of Concepts, Theory, and Performance.G. Mazzola - 2002 - 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. Emotion in Music Performance.Patrik N. Juslin - 2011 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
     
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  11. Expression and Communication of Emotion in Music Performance.Patrik Juslin & Timmers & Renee - 2011 - In Patrik N. Juslin & John Sloboda (eds.), Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
     
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  12.  2
    Beethoven Recordings Reviewed: A Systematic Method for Mapping the Content of Music Performance Criticism.Elena Alessandri, Victoria J. Williamson, Hubert Eiholzer & Aaron Williamon - 2015 - Frontiers in Psychology 6.
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  13.  44
    Individual Differences in Music Performance.John A. Sloboda - 2000 - Trends in Cognitive Sciences 4 (10):397-403.
  14.  8
    Skill Acquisition in Music Performance: Relations Between Planning and Temporal Control.Carolyn Drake & Caroline Palmer - 2000 - Cognition 74 (1):1-32.
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  15.  2
    Auditory and Motor Imagery Modulate Learning in Music Performance.Rachel M. Brown & Caroline Palmer - 2013 - Frontiers in Human Neuroscience 7.
  16. Seeing Music Performance: Visual Influences on Perception and Experience.William Forde Thompson, Phil Graham & Frank A. Russo - 2005 - Semiotica 2005 (156).
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  17. Range of Planning in Skilled Music Performance.C. Palmer & C. Vandesande - 1992 - Bulletin of the Psychonomic Society 30 (6):450-451.
     
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  18.  13
    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.Laurie Thomas - 2001 - Foundations of Science 6:235-237.
  19.  4
    Music Performance Practice in the Early ʿAbbāsid Era, 132-320 AH/750-932 A.D.George Dimitri Sawa.Amnon Shiloah - 1993 - Speculum 68 (1):253-254.
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  20. Vocal Expression, Music Performance, and Communication of Emotions.Ion Olteţeanu - 2010 - Linguistic and Philosophical Investigations 9:311-316.
     
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  21.  2
    Music Performance As an Experimental Approach to Hyperscanning Studies.Michaël A. S. Acquadro, Marco Congedo & Dirk De Riddeer - 2016 - Frontiers in Human Neuroscience 10.
  22.  2
    Context and Meter Enhance Long-Range Planning in Music Performance.Brian Mathias, Peter Q. Pfordresher & Caroline Palmer - 2015 - Frontiers in Human Neuroscience 8.
  23. 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]Amnon Shiloah - 1993 - Speculum 68 (1):253-254.
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  24.  1
    Assessing the Acoustic Performance of Small Music Rooms: A Short Introduction.Raf Orlowski - 2012 - In The Music Room in Early Modern France and Italy: Sound, Space and Object. pp. 157.
    The performance of music in early modern French and Italian music rooms typically created an aural impression of ‘Intimacy’ and ‘Clarity’ whereby the individual instruments could clearly be perceived spatially. These qualities arise from the close proximity of the audience to the performers and the acoustic characteristics generated by the room geometry. Generally, the rooms were rectangular with high ceilings, between 4 and 8 metres, with volumes between 200 and 1000 cubic metres. Such rooms, when occupied, have (...)
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  25. Mental Practice Promotes Motor Anticipation: Evidence From Skilled Music Performance.Nicolò F. Bernardi, Matteo De Buglio, Pietro D. Trimarchi, Alfonso Chielli & Emanuela Bricolo - 2013 - Frontiers in Human Neuroscience 7.
  26. Hand Voice, Left Right Cooperation in Music Performance-Analogous Asymmetries.Y. Guiard - 1987 - Bulletin of the Psychonomic Society 25 (5):328-328.
     
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  27. “With Grace Under Pressure”: How Critique as Signature Pedagogy Fosters Effective Music Performance.David M. Hastings - 2017 - Arts and Humanities in Higher Education 16 (3):252-265.
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  28. Eye of the Beholder: Stage Entrance Behavior and Facial Expression Affect Continuous Quality Ratings in Music Performance.Aaron Williamon & George Waddell - 2017 - Frontiers in Psychology 8.
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  29.  13
    The Effects of Background Music on Primary School Pupils' Task Performance.Susan Hallam, John Price & Georgia Katsarou - 2002 - 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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  30. Text and Act: Essays on Music and Performance.Richard Taruskin - 1995 - 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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  31.  19
    A Comparison of Connectionist Models of Music Recognition and Human Performance.Catherine Stevens & Cyril Latimer - 1992 - 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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  32.  1
    Music Lovers: Taste as Performance.A. Hennion - 2001 - 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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  33.  27
    The Interpretation of Music in Performance.Paul Thom - 2003 - 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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  34.  11
    Response to Paul Woodford, "A Liberal Versus Performance-Based Music Education?&Quot.Peter Richard Webster - 2004 - Philosophy of Music Education Review 12 (2):208-210.
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    Can White Men Play the Blues? Music, Learning Theory, and Performance Knowledge.David Carr - forthcoming - Philosophy of Music Education Review.
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  36.  8
    The Performance-Pedagogy Paradox in Choral Music Teaching.Patrick K. Freer - 2011 - Philosophy of Music Education Review 19 (2):164-178.
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  37.  6
    A Reconception of Performance Study in Music Education Philosophy.Valerie L. Trollinger - 2006 - Philosophy of Music Education Review 14 (2):193-208.
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  38.  2
    Music as Performance.N. Cook - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge. pp. 204--214.
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  39.  2
    A Response to Valerie L. Trollinger," A Reconception of Performance Study in the Philosophy of Music Education".Paul Louth - forthcoming - Philosophy of Music Education Review.
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  40.  2
    A Response to David Carr," Can White Men Play the Blues?: Music, Learning Theory and Performance Knowledge".Patrice D. Madura - forthcoming - Philosophy of Music Education Review.
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  41.  2
    A Response to Valerie Trollinger, "A Reconception of Performance Study in Music Education Philosophy&Quot.Paul Louth - 2006 - Philosophy of Music Education Review 14 (2):231-233.
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  42.  1
    A Reconception of Performance Study in the Philosophy of Music Education.Valerie L. Trollinger - 2006 - Philosophy of Music Education Review 14 (2):193-208.
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  43. Music in Performance Arts: Film, Theatre and Dance.Annabel J. Cohen - 2011 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
     
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  44. Another Response to Deanne Bogdan," Music Listening and Performance as Embodied Dialogism".Sondra Wieland Howe - forthcoming - Philosophy of Music Education Review.
     
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  45. Micro-Timing in the Performance of Music.Kari Kurkela - 1997 - In Gian Franco Arlandi (ed.), Music and Sciences. Brockmeyer. pp. 17--78.
     
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  46.  16
    Music to My Eyes: Cross-Modal Interactions in the Perception of Emotions in Musical Performance.Bradley W. Vines, Carol L. Krumhansl, Marcelo M. Wanderley, Ioana M. Dalca & Daniel J. Levitin - 2011 - Cognition 118 (2):157-170.
  47.  99
    Music, Platonism and Performance: Some Ontological Strains.R. A. Sharpe - 1995 - British Journal of Aesthetics 35 (1):38-48.
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  48.  3
    Music Training, Executive Functions and the P3a Response: Training-Related Changes in Performance and Neural Correlates.Saarikivi Katri, Putkinen Vesa, Tervaniemi Mari & Huotilainen Minna - 2015 - Frontiers in Human Neuroscience 9.
  49.  16
    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]Liana Chen - 2012 - Journal of Chinese Philosophy 39 (2):320-324.
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  50. Contrarianism in the Philosophy of Music and the Role of the Idea in Musical Hermeneutics and Performance Interpretation.Sara E. Eckerson - 2012 - Teorema: International Journal of Philosophy 31 (3):137-148.
     
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