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.
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.
Dorottya Fabian, Associate Professor, Faculty of Arts and Social Sciences, University of New South Wales, Renee Timmers, Lecturer in Psychology of Music, Department of Music, University of Sheffield, Emery Schubert, Co-leader of the Empirical Musicology Group, Faculty of the Arts and Social Sciences, University of New South Wales
Inhaltsangabe
* List of Tables * List of Figures and Score Examples * List of Audio Examples * Notes on contributors * Notes and Acknowledgments * Introduction * PART 1: Reception and aesthetics of Western Classical music performance * 1: Mine Dogantan-Dack: Philosophical Reflections on Music Performance * 2: Elena Alessandri: The notion of expression in music criticism * 3: Daniel Leech-Wilkinson and Helen Prior: Heuristics for expressive performance * 4: Dorottya Fabian: Commercial sound recordings and trends in expressive music performance: Why should experimental researchers pay attention? * 5: Neal Peres da Costa and David Milsom: Expressiveness in historical perspective: Nineteenth-century ideals and practices * 6: Eric Clarke and Mark Doffman: Expressive performance in contemporary concert music * PART 2: Expressiveness across styles * 7: Nicola Dibben: Understanding performance expression in popular music recordings * 8: William Bauer: Expressiveness in Jazz Performance: Prosody and Rhythm * 9: Richard Ashley: Expressiveness in Funk * 10: Wim van der Meer: Audience response and expressive pitch inflections in a life recording of legendary singer Kesar Bai Kerkar * 11: Pärtel Lippus and Jaan Ross: Temporal variation in singing as interplay between speech and music in Estonian songs * 12: Fabrice Marandola: Expressiveness in the performance of Bedzan Pygmies' vocal polyphonies: When the same is never the same * PART 3: Models and quantifications of expressive performance of western-classical m * 13: Werner Goebl, Simon Dixon, and Emery Schubert: Quantitative methods: Motion analysis, audio analysis, and continuous response techniques * 14: Anders Friberg and Erica Bisesi: Using computational models of music performance to model stylistic variations * 15: Peter Keller: Ensemble performance * 16: Emery Schubert and Dorottya Fabian: A taxonomy of listeners' judgments of expressiveness in music performance * 17: Renee Timmers and Makiko Sadakata: Training expressive performance by means of visual feedback: existing and potential applications of performance measurement techniques * PART 4: Prospective * 18: Nicholas Cook: Implications for musicology * 19: Catherine J. Stevens: Implications for cognitive studies of musical expressiveness * 20: Jonathan Stock: Implications for ethnomusicology * 21: Jane Davidson: Implications for empirical performance research * 22: Aaron Williamon: Implications for education * 23: Dorottya Fabian, Renee Timmers and Emery Schubert: Afterthought
* List of Tables * List of Figures and Score Examples * List of Audio Examples * Notes on contributors * Notes and Acknowledgments * Introduction * PART 1: Reception and aesthetics of Western Classical music performance * 1: Mine Dogantan-Dack: Philosophical Reflections on Music Performance * 2: Elena Alessandri: The notion of expression in music criticism * 3: Daniel Leech-Wilkinson and Helen Prior: Heuristics for expressive performance * 4: Dorottya Fabian: Commercial sound recordings and trends in expressive music performance: Why should experimental researchers pay attention? * 5: Neal Peres da Costa and David Milsom: Expressiveness in historical perspective: Nineteenth-century ideals and practices * 6: Eric Clarke and Mark Doffman: Expressive performance in contemporary concert music * PART 2: Expressiveness across styles * 7: Nicola Dibben: Understanding performance expression in popular music recordings * 8: William Bauer: Expressiveness in Jazz Performance: Prosody and Rhythm * 9: Richard Ashley: Expressiveness in Funk * 10: Wim van der Meer: Audience response and expressive pitch inflections in a life recording of legendary singer Kesar Bai Kerkar * 11: Pärtel Lippus and Jaan Ross: Temporal variation in singing as interplay between speech and music in Estonian songs * 12: Fabrice Marandola: Expressiveness in the performance of Bedzan Pygmies' vocal polyphonies: When the same is never the same * PART 3: Models and quantifications of expressive performance of western-classical m * 13: Werner Goebl, Simon Dixon, and Emery Schubert: Quantitative methods: Motion analysis, audio analysis, and continuous response techniques * 14: Anders Friberg and Erica Bisesi: Using computational models of music performance to model stylistic variations * 15: Peter Keller: Ensemble performance * 16: Emery Schubert and Dorottya Fabian: A taxonomy of listeners' judgments of expressiveness in music performance * 17: Renee Timmers and Makiko Sadakata: Training expressive performance by means of visual feedback: existing and potential applications of performance measurement techniques * PART 4: Prospective * 18: Nicholas Cook: Implications for musicology * 19: Catherine J. Stevens: Implications for cognitive studies of musical expressiveness * 20: Jonathan Stock: Implications for ethnomusicology * 21: Jane Davidson: Implications for empirical performance research * 22: Aaron Williamon: Implications for education * 23: Dorottya Fabian, Renee Timmers and Emery Schubert: Afterthought
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