scholarly journals Computer graphics in music performance research

1989 ◽  
Vol 21 (2) ◽  
pp. 265-270 ◽  
Author(s):  
Caroline Palmer
Keyword(s):  
Computer Graphics ◽  
Music Performance ◽  
Music Performance Research ◽  
Performance Research

Application of Electromyography and Electromyographic Biofeedback in Music Performance Research: A Review of the Literature since 1985

2000 ◽  
Vol 15 (3) ◽  
pp. 115-118
Author(s):  
James M Kjelland
Keyword(s):  
Muscle Tension ◽  
Music Performance ◽  
Review Of The Literature ◽  
Diagnostic Application ◽  
Electromyographic Biofeedback ◽  
Wide Range ◽  
Clinical Biofeedback ◽  
Music Performance Research ◽  
Performance Research

The diagnostic application of electromyography (EMG) and the combination of EMG and clinical biofeedback (EMG-BF) have been shown to be effective in the assessment and management of muscle tension in a wide range of activities, including sports as well as music. However, not all applications of EMG-BF have been found to be successful; indeed, some of the early reports of the benefits have been debated and disputed since the earliest applications of the technology. It is the purpose of this paper to glean a profile of research applying EMG and EMG-BF to music performance since approximately 1985--the year of my own work in this area.

scholarly journals The Interpretive Shaping of Music Performance Research

2013 ◽  
Vol 8 (2) ◽  
pp. 120 ◽  
Author(s):  
John Rink
Keyword(s):  
Empirical Research ◽  
Music Performance ◽  
Structural Features ◽  
Musical Performance ◽  
The Individual ◽  
Music Performance Research ◽  
Performance Research ◽  
Shed Light

<p>In their study of nine pianists Buck, MacRitchie and Bailey observe a universal embodiment of phrasing structure and other higher-level structural features of the music, the physical makeup of which is nevertheless particular to both the individual performers and the pieces they are performing. Such a conclusion invites renewed consideration of assumptions in the literature on musical performance about the nature and role of structure and about performers&rsquo; &lsquo;interpretations&rsquo; thereof. The findings also raise interesting questions about the musical viability of empirical research on performance and its capacity to shed light on how performers shape the music they play, their motivations in doing so, and how those listening to them might in turn be affected by this.</p>

A Three-Dimensional Model for Evaluating Individual Differences in Tempo and Tempo Variation in Musical Performance

2019 ◽  
pp. 102986491987312
Author(s):  
Danny Quan Zhou ◽  
Dorottya Fabian
Keyword(s):  
Individual Differences ◽  
Music Performance ◽  
Three Dimensional ◽  
Three Dimensions ◽  
Three Dimensional Model ◽  
Performance Style ◽  
Comprehensive Knowledge ◽  
Music Performance Research ◽  
Recorded Performances ◽  
Performance Research

People differ from each other, and this includes performers of music. The study of individual differences is well established in many social science disciplines but has been largely neglected in music performance research. To what extent do performers play differently from each other? How can these differences be concisely described and precisely assessed? Questions like these remain unanswered. Focusing on tempo and tempo variation in performance, this article contributes to knowledge by describing a well-defined, clearly illustrated and systematically classified taxonomy for identifying differences in tempo and tempo variation. Based on findings from past theoretical and empirical research on tempo in performance, it presents a model whereby performers’ individual differences in tempo and tempo variation can be evaluated. The model identifies six variables representing three dimensions of tempo and tempo variation: basic tempo, global tempo variation, and local tempo variation. It has the potential for providing researchers with a toolbox for analyzing differences among individual performers’ use of tempo and tempo variation by assessing the extent to which each of the variables is embodied in specific performances. Evgeny Kissin’s and Lars Vogt’s recorded performances are used to illustrate how the model will perform its role. Researchers could test the model further by analyzing a larger repertoire and/or carrying out experiments to generate more comprehensive knowledge about individual differences in performance style.

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