The role of interpretive preferences in music performance.

2004 ◽  
pp. 249-262 ◽  
Author(s):  
Caroline Palmer
Keyword(s):  
Music Performance

scholarly journals Technology Enhanced Learning: The Role of Ontologies for Feedback in Music Performance

2019 ◽  
Vol 5 ◽  
Author(s):  
Matthew John Yee-King ◽  
Thomas Wilmering ◽  
Maria Teresa Llano Rodriguez ◽  
Maria Krivenski ◽  
Mark d'Inverno
Keyword(s):  
Music Performance ◽  
Technology Enhanced Learning ◽  
Enhanced Learning

Wireless Body-worn Sound System for Dance and Music Performance

2015 ◽  
Vol 20 (3) ◽  
pp. 340-348 ◽  
Author(s):  
Felipe Otondo
Keyword(s):  
Full Range ◽  
Music Performance ◽  
Acoustic Response ◽  
Sound System ◽  
Acoustic Performance ◽  
Spatial Design ◽  
Concert Halls ◽  
Software And Hardware ◽  
Using Data

The role of spatial design in music has become more prominent in recent years, mostly because of the affordability of powerful software and hardware tools. Although spatial audio tools are widely used nowadays in studios and concert halls, there are only few examples of robust and comfortable wearable sound systems with a suitable acoustic response. A wireless body-worn loudspeaker prototype featuring original costume elements, a hybrid full-range loudspeaker array and an improved acoustic response was designed and implemented. The size, shape and acoustic performance of the prototype was optimised using data gathered from anechoic measurements and interviews with performers and audiences. Future developments of this project will consider the implementation of an extended multi-channel performance platform to explore sonic and spatial relationships created by several wearable devices on stage synchronised with a multi-loudspeaker diffusion system.

Losing the local: Sydney and the Oz Rock tradition

Popular Music ◽  
2000 ◽  
Vol 19 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Shane Homan
Keyword(s):  
New York ◽  
Popular Music ◽  
Music Performance ◽  
Detailed Examination ◽  
Rock And Roll ◽  
Urban Landscapes ◽  
Live Music ◽  
History Of ◽  
Insight Into

In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.

Bentuk dan Fungsi Musik Dol pada Masyarakat Kota Bengkulu

2020 ◽  
Vol 5 (1) ◽  
Author(s):  
Irfan Kurniawan ◽  
Zelly Marissa Haque
Keyword(s):  
Community Integration ◽  
Music Performance ◽  
Social Institutions ◽  
Emotional Disclosure ◽  
Cultural Continuity ◽  
Form And Function ◽  
The People ◽  
And Function ◽  
The City

<p align="center"><strong>Abstract</strong></p><p><em>This article discusses the form and function of Dol music in Bengkulu city society. This study uses qualitative methods, data collection is done by observation, interviews, and documentation. </em><em>The results of this study indicate that Dol music is an important element integrated in the Tabot ritual procession in the city of Bengkulu. 3 Dol music reporters in carrying out Tabot rituals, namely tamatam, swena, and sweri. The role of Dol music in the procession is to express the musical spirit of ritua tabot namely struggle, war and sadness. The existence of Dol music performance both in the context of Tabot rituals, as well as its development outside the Tabot event contest, has important values and functions for the community namely; 1) Functioning as entertainment for the community, 2) The function of emotional disclosure, seen from the emotional overflow of players in the </em><em>“beruji Dol” 3) functions as a ratification of social institutions, in this case Dol music is an important requirement in the Tabot ceremony, 4) symbolic function, as a symbol manifested through musical aspects expressing sadness or the spirit of warfare, 5) the function of community integration, uniting the community in togetherness and being involved in the wisdom of the Tabot ceremony, and 6) the function of cultural continuity; the existence of Dol music as a form of effort to preserve and strengthen the cultural identity of the people of Bengkulu city.</em></p><p><strong><em>Keywords : </em></strong><em>Dol music, Tabot </em><em>Rital, Form, Function</em></p><p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>Artikel ini membahas tentang bentuk dan fungsi musik Dol dalam kehidupan masyarakat kota Bengkulu. Penelitian ini menggunakan metode kualitatif, pengumpulan data dilakukan dengan teknik observasi, wawancara, dan dokumentasi. Permasalahan dibahas melalui deskriptif analisis. Hasil penelitian ini menunjukan bahwa musik Dol merupakan unsur penting yang terintegrasi dalam prosesi upacara Tabot di kota Bengkulu. Terdapat 3 reportoar musik Dol dalam pelaksanaan upacara Tabot yakni tamatam, swena, dan sweri. Adapun  peran musik Dol pada prosesi tersebut adalah mengekspresikan secara musikal </em><em>spirit</em><em> dari upacara yakni perjuangan,</em><em> perperangan </em><em>dan </em><em>kesedihan</em><em>.</em><em> Keberadaan seni pertunjukan musik Dol baik dalam konteks ritual Tabot, maupun perkembangnganya diluar kontes uapacara Tabot, memiliki nilai dan fungsi penting bagi masyarakatnya yakni; 1) Berfungsi Sebagai hiburan bagi masyarakat, 2)Fungsi pengungkapan emosional, terlihat dari peluapan emosional pemain pada prosesi “beruji Dol” 3) berfungsi sebagai pengesah lembaga sosial, dalam hal ini musik Dol merupakan syarat penting dalam upacara Tabot, 4) fungsi perlambangan, sebagai simbol yang diwujudkan melalui aspek musikal yang mengekspresikan kesedihan ataupun spirit perperangan, 5) fungsi pengintegrasian masyarakat, menyatukan masyarakat dalam kebersamaan dan terlibat dalam hikmatnya upacara Tabot, dan 6) fungsi kesenambungan budaya; eksistensi musik Dol sebagai bentuk usaha pelestarian dan penguatan idenitas budaya masyarakat kota Bengkulu.</em></p><strong><em>Kata kunci : </em></strong><em>Musik Dol, upacara Tabot, Bentuk, Fungsi</em>

Sustainable Heritage Tourism Through Gullah Geechee Musical Performance

2021 ◽  
pp. 19-37
Author(s):  
Melanie Shaw ◽  
Paul A. Shaw III
Keyword(s):  
United States ◽  
Critical Theory ◽  
Heritage Tourism ◽  
Music Performance ◽  
The United States ◽  
Musical Performance ◽  
Sea Islands ◽  
Theory Research ◽  
Harsh Conditions

The Gullah Geechee people originally came to the United States as enslaved Africans from the coast of West Africa. Because of harsh conditions along the sea islands, spanning from North Carolina to Florida, the enslaved were often left to work the land while plantation owners retreated to less hostile, inland environments. As a result, many Gullah Geechee cultural, linguistic, and artistic practices remained intact. Today, there is interest in preserving these rich traditions. Because of environmental and cultural threats, preservation efforts must focus on sustainability. This qualitative, critical theory research includes interviews with musical performers from the sea islands and details their perceptions of the role music plays in sustainable heritage tourism. The researchers explored if music performance could be used to promote preservation locally, through tourism to cultural corridor sites, and globally, through touring musical acts. Participants urged caution with traditional tourism models and emphasized the role of younger generations in preserving Gullah Geechee music.

Musical performance and emotions in children: The case of musical competitions

2018 ◽  
Vol 48 (4) ◽  
pp. 480-494
Author(s):  
Mădălina Dana Rucsanda ◽  
Ana-Maria Cazan ◽  
Camelia Truța
Keyword(s):  
Music Education ◽  
Positive Emotions ◽  
Music Performance ◽  
Assessment Technique ◽  
Mediating Role ◽  
Lower Performance ◽  
Performance Quality ◽  
High Dominance ◽  
The Relationship

Emotion is a condition that facilitates or inhibits music performance. Our research aimed to explore emotions of young musicians performing in music competitions. We tried to highlight the possible differences in terms of emotions between young singers who obtained prizes in musical competitions and those who did not. Another aim of the study was to explore the relationship between pre-competition emotions and music performance, focusing on the mediating role of singing experience. The sample consisted of 146 participants in international music competitions for young musicians. A nonverbal pictorial assessment technique measuring the valence, arousal and dominance dimensions of emotions was administered just before and immediately after each participant’s performance in the competition. Our study revealed that negative emotions were associated with lower performance quality while positive emotions, low arousal and increased dominance were associated with higher performance quality. Experienced young singers reported more positive emotions, low arousal and high dominance. Our results also revealed that experience in music competitions could mediate the associations between emotions and music performance in competition. The implications of the results support the inclusion of psychological/emotional training in music education of young singers.

scholarly journals Facial Expressions and Emotional Singing: A Study of Perception and Production with Motion Capture and Electromyography

2009 ◽  
Vol 26 (5) ◽  
pp. 475-488 ◽  
Author(s):  
Steven R. Livingstone ◽  
William Forde Thompson ◽  
Frank A. Russo
Keyword(s):  
Facial Expressions ◽  
Motion Capture ◽  
Music Performance ◽  
Emotional Facial Expressions ◽  
Close Attention ◽  
Facial Electromyography ◽  
Facial Movements ◽  
Expressive Activity ◽  
Planning Production

FACIAL EXPRESSIONS ARE USED IN MUSIC PERFORMANCE to communicate structural and emotional intentions. Exposure to emotional facial expressions also may lead to subtle facial movements that mirror those expressions. Seven participants were recorded with motion capture as they watched and imitated phrases of emotional singing. Four different participants were recorded using facial electromyography (EMG) while performing the same task. Participants saw and heard recordings of musical phrases sung with happy, sad, and neutral emotional connotations. They then imitated the target stimulus, paying close attention to the emotion expressed. Facial expressions were monitored during four epochs: (a) during the target; (b) prior to their imitation; (c) during their imitation; and (d) after their imitation. Expressive activity was observed in all epochs, implicating a role of facial expressions in the perception, planning, production, and post-production of emotional singing.

scholarly journals Role of Movement and Gesture in Communicating Music Expressiveness to an Audienc

2021 ◽  
Vol 13 (25) ◽  
pp. 83-94
Author(s):  
Nuno Aroso
Keyword(s):  
Quantitative Research ◽  
Emotional State ◽  
Contemporary Music ◽  
Music Performance ◽  
Critical Factor ◽  
Musical Performance ◽  
Objective Reality ◽  
Solo Percussion ◽  
Perception Action

Musical performative gestures are recognised by the majority of theoreticians as a critical factor of a musical performance. Gestures can be considered as operating features of a person’s perception-action system. It presupposes significance of a meaning that involves more than just a physical movement. Movements can be subdivided into specific patterns and conceptualised. Dynamics are one of the most relevant expressive element in music and they are strongly related to the physical musical action - sound producing gestures. Used effectively, dynamics allow sustain narrative pertinence in a musical performance, communicating for example a particular emotional state or feeling. For this research, solo percussion contemporary music performance was in focus and an audience divided in between “visual and non visual” listeners was studied. From this perspective, observation over percussionists’ playing manner and it ́s audience provides the researcher an opportunity to understand dynamics perception through musicians’ gestures in this particular repertoire. The quantitative research design divided in the experiment was chosen for the purpose of this study, which can be referred to as the description of the objective reality by using numbers in order to construct meaningful models reflecting various relationships between objects or phenomena. These  numerical entities are not the reality itself, but a way of representing it. How does the percussive gesture influences the perception of musical dynamics by an audience? 

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