The Influence of Room Acoustics on Solo Music Performance: An Empirical Case Study

2013 ◽  
Vol 99 (3) ◽  
pp. 433-441 ◽  
Author(s):  
Zora Schärer Kalkandjiev ◽  
Stefan Weinzierl
Keyword(s):  
Music Performance ◽  
Room Acoustics ◽  
Solo Music

scholarly journals Computational Modeling of Music Cognition: A Case Study on Model Selection

2006 ◽  
Vol 23 (5) ◽  
pp. 365-376 ◽  
Author(s):  
Henkjan Honing
Keyword(s):  
Model Selection ◽  
Strong Evidence ◽  
Goodness Of Fit ◽  
Computational Models ◽  
Recent Literature ◽  
Music Cognition ◽  
Kinematic Model ◽  
Music Performance ◽  
Limited Range

While the most common way of evaluating a computational model is to see whether it shows a good fit with the empirical data, recent literature on theory testing and model selection criticizes the assumption that this is actually strong evidence for the validity of a model. This article presents a case study from music cognition (modeling the ritardandi in music performance) and compares two families of computational models (kinematic and perceptual) using three different model selection criteria: goodness-of-fit, model simplicity, and the degree of surprise in the predictions. In the light of what counts as strong evidence for a model’s validity—namely that it makes limited range, nonsmooth, and relatively surprising predictions—the perception-based model is preferred over the kinematic model.

Measurement of Instrumental and Vocal Undergraduate Performance Juries Using a Multidimensional Assessment Rubric

2009 ◽  
Vol 57 (1) ◽  
pp. 5-15 ◽  
Author(s):  
Charles R. Ciorba ◽  
Neal Y. Smith
Keyword(s):  
Music Performance ◽  
Assessment Tools ◽  
Applied Music ◽  
Performance Achievement ◽  
Multidimensional Assessment ◽  
Solo Music ◽  
Interjudge Reliability ◽  
Specific Assessment ◽  
High Level ◽  
Assessment Rubric

Recent policy initiatives instituted by major accrediting bodies require the implementation of specific assessment tools to provide evidence of student achievement in a number of areas, including applied music study. The purpose of this research was to investigate the effectiveness of a multidimensional assessment rubric, which was administered to all students performing instrumental and vocal juries at a private Midwestern university during one semester ( N = 359). Interjudge reliability coefficients indicated a moderate to high level of agreement among judges. Results also revealed that performance achievement was positively related to participants' year in school (freshman, sophomore, junior, and senior), which indicates that a multidimensional assessment rubric can effectively measure students' achievement in the area of solo music performance.

Enabling Virtual Music Performance Communities

2011 ◽  
pp. 857-876
Author(s):  
Chrisoula Alexandraki ◽  
Nikolas Valsamakis
Keyword(s):  
Music Performance ◽  
Community Settings ◽  
Music Learning ◽  
Research Issues ◽  
Distinctive Features ◽  
Geographically Dispersed ◽  
Performance Communities ◽  
Technological Platform ◽  
Alternative Community

The chapter provides an overview of virtual music communities focusing on novel collaboration environments aiming to support networked and geographically dispersed music performance. A key objective of the work reported is to investigate online collaborative practices during virtual music performances in community settings. To this effect, the first part of the chapter is devoted to reviewing different kinds of communities and their corresponding practices as manifested through social interaction. The second part of the chapter presents a case study, which elaborates on the realization of virtual music communities using a generic technological platform, namely DIAMOUSES. DIAMOUSES was designed to provide a host for several types of virtual music communities, intended for music rehearsals, live performances and music learning. Our recent experiments provide useful insights to the distinctive features of these alternative community settings as well as the practices prevailing in each case. The chapter is concluded by discussing open research issues and challenges relevant to virtual music performance communities.

Nonverbal behaviours in popular music performance: A case study of The Corrs

2005 ◽  
Vol 9 (1) ◽  
pp. 111-136 ◽  
Author(s):  
Kaori Kurosawa ◽  
Jane W. Davidson
Keyword(s):  
Popular Music ◽  
Personal Information ◽  
Music Performance ◽  
Self Control ◽  
Sociological Research ◽  
Live Performance ◽  
Musical Narrative ◽  
Nonverbal Behaviour ◽  
Musical Communication

The aim of this study was to investigate performer nonverbal behaviour in popular music performance in order to understand the use and functions of gestures, postures, and facial expression. To this end, the study begins by reviewing relevant psychological and sociological research including Ekman and Friesen and Argyle's categorisations of nonverbal behaviour. Drawing on these specific categories, functions of nonverbal behaviours in popular music performance are proposed. These include: to maintain performer self-control; to provide musical, narrative, emotional and personal information; to regulate and manipulate relationships between performer, co-performer and audience. The investigative work focuses on a case study of The Corrs and is carried out by observing two commercially available film recordings of the band in live performance. The songs demonstrate that within this band, three of the four members take turns singing solos. In the first performance, What can I do? is sung by Andrea (principle vocal), and in the second performance, No frontiers is sung by Sharon and Caroline. Focusing on the soloists, all their nonverbal behaviours are classified in terms of types ( e.g., emblem, illustrator, regulator, adaptor, affect display) and frequency of behaviour. The results demonstrate that Ekman and Friesen and Argyle's categorisations provide a complete description of the nonverbal behaviours found in the performances. Moreover, the analysis reveals differences between individuals and the two songs. With these findings, the paper concludes that nonverbal behaviours in this type of performance are crucial to the development, production and perception of the musical performance. Though preliminary, the study indicates a need for much more detailed research of this topic if performers, educators and researchers are to understand and exploit the nonverbal aspects of a musical communication fully.

‘He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost

Popular Music ◽  
2018 ◽  
Vol 37 (2) ◽  
pp. 175-192
Author(s):  
Catherine Hoad
Keyword(s):  
Heavy Metal ◽  
Popular Music ◽  
Music Performance ◽  
Musical Performance ◽  
Primary Case

AbstractUsing Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members’ ‘real’ identities from their musical performance complicates traditional modes of ‘knowing’ the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies. Such projections are integral to the ways in which masking allows performers to mobilise and sustain their connections to audiences, who themselves become complicit in the maintenance of anonymity. This article thus considers how masks might challenge established notions of popular music performance, celebrity and authenticity, particularly within heavy metal contexts, and investigates how masks, rather than de-identifying a performer, can invite intimate connections among musicians and audiences.

scholarly journals Dimitris Dragatakis (1914-2001): Advancing his legacy and Concerto for Viola using twenty-first-century digital tools

2021 ◽  
Author(s):  
◽  
Elyse Dalabakis
Keyword(s):  
Digital Media ◽  
Interactive Video ◽  
Music Performance ◽  
Performance Edition ◽  
First Century ◽  
Digital Tools ◽  
Piano Performance ◽  
Digital Database ◽  
Twenty First Century

<p>This project focuses on Dimitris Dragatakis (1914–2001), his legacy, and Concerto for Viola in the twenty-first century. The research examines the following overarching questions within interlaced scholarly and creative components of the dissertation:   How can we use twenty-first-century digital tools to promote Dimitris Dragatakis, one of Greece’s most important modern composers, to advance his legacy including, importantly, his Concerto for Viola, and to assist future scholars and performers in accessing information about his life and music?  This dissertation discusses the digital tools and processes used to advance the legacy of Dimitris Dragatakis and to promote his Concerto for Viola. These tools and processes include creating and publishing the Dragatakis Archive Digital Database website, recording interviews with the Dragatakis family and leading Dragatakis scholar, and using his Concerto for Viola (1992) as a digital case study. The digital case study demonstrates how twenty-first-century performers, scholars, and archivists might approach advancing the works of lesser-known composers through digital media. In this case study, a new viola and piano performance edition and percussion chamber music performance edition are offered, a new digital orchestra score along with complete orchestral parts is made available, interview material with the violist who premiered the work has been recorded, and the recently unearthed premiere performance recording of the work from the Dragatakis archive has been included in an interactive video created by the researcher. This project also aims to provide a model for future performers and scholars to use to assist future projects beyond this topic.</p>

Enabling Virtual Music Performance Communities

2010 ◽  
pp. 378-399 ◽  
Author(s):  
Chrisoula Alexandraki ◽  
Nikolas Valsamakis
Keyword(s):  
Music Performance ◽  
Community Settings ◽  
Music Learning ◽  
Research Issues ◽  
Distinctive Features ◽  
Geographically Dispersed ◽  
Performance Communities ◽  
Technological Platform ◽  
Alternative Community

The chapter provides an overview of virtual music communities focusing on novel collaboration environments aiming to support networked and geographically dispersed music performance. A key objective of the work reported is to investigate online collaborative practices during virtual music performances in community settings. To this effect, the first part of the chapter is devoted to reviewing different kinds of communities and their corresponding practices as manifested through social interaction. The second part of the chapter presents a case study, which elaborates on the realization of virtual music communities using a generic technological platform, namely DIAMOUSES. DIAMOUSES was designed to provide a host for several types of virtual music communities, intended for music rehearsals, live performances and music learning. Our recent experiments provide useful insights to the distinctive features of these alternative community settings as well as the practices prevailing in each case. The chapter is concluded by discussing open research issues and challenges relevant to virtual music performance communities.

Intensive Short-Term Dynamic Psychotherapy for Severe Music Performance Anxiety: Assessment, Process, and Outcome of Psychotherapy with a Professional Orchestral Musician

2014 ◽  
Vol 29 (1) ◽  
pp. 3-7 ◽  
Author(s):  
Dianna T Kenny ◽  
Stephen Arthey ◽  
Allan Abbass
Keyword(s):  
Music Performance ◽  
Performance Anxiety ◽  
Assessment Process ◽  
Successful Outcome ◽  
Short Term ◽  
Dynamic Psychotherapy ◽  
Music Performance Anxiety ◽  
Professional Musician ◽  
Process And Outcome

This paper reports on the process and outcome of therapy using intensive short-term dynamic psychotherapy (ISTDP) with a professional musician who had suffered severe music performance anxiety over the course of his entire 30-year career. In this paper, we describe the nature of the therapy, the case history of the musician, the first assessment and trial therapy session, and the course and successful outcome of therapy. The patient underwent 10 sessions of ISTDP over a period of 4 months. This paper reports on the first 6 sessions, which were most relevant to the understanding and treatment of the patient’s severe music performance anxiety. This case study is the first reported application of ISTDP to a professional musician. We believe that this case study provides initial support that moderate to severe performance anxiety, in at least some cases, has its origins in unresolved complex emotions and defences arising from ruptures to early attachment relationships.

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