Expressiveness in music performance (eBook, PDF)

Empirical approaches across styles and cultures
Redaktion: Fabian, Dorottya; Schubert, Emery; Timmers, Renee

• Format: PDF

Produktbeschreibung

What does it mean to be expressive in music performance across diverse historical and cultural domains? What are the means at the disposal of a performer in various time periods and musical practice conventions? What are the conceptualisations of expression and the roles of performers that shape expressive performance? This book brings together research from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to these questions about the meaning, means, and contextualisation of expressive performance in music. The contributors to this book explore expressiveness in music performance in four interlinked parts. Starting with the philosophical and historical underpinnings crucially relevant for Western classical musical performance it then reaches out to cross-cultural issues and finally focuses the attention on various specific problems, including the teaching of expressive music performance skills. The overviews provide a focussed and comprehensive account of the current state of research as well as new developments and a prospective of future directions. This is a valuable new book for those in the fields of music, music psychology, and music education.

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Produktdetails

• Verlag: Oxford University Press
• Seitenzahl: 500
• Erscheinungstermin: 3. Juli 2014
• Englisch
• ISBN-13: 9780191634550
• Artikelnr.: 41271639

Autorenporträt

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