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“Re-narrating Disability” through Musical Performance(1)
narrative affirmational-model public pedagogy
2010/3/24
The combination of disability and music performance engages two principal dimensions: the reality of living and functioning as a musician with an impairment (lived experience), and the outside percept...
General intelligence and modality-specific differences in performance: a response to Schellenberg (2008)
memory span musical training general aptitude music performance skilled musicians sequence learning
2010/9/26
Tierney et al. (2008) reported that musicians performed better on an
auditory sequence memory task when compared to non-musicians, but the two
groups did not differ in performance on a sequential vi...
Historically Informed Retuning of Polyphonic Vocal Performance
Tuning just intonation Benedetti Zarlino, Lassus vocal performance Melodyne
2008/10/30
Background in history of music theory. The use of just intonation has generated heated
debates ever since the first accounts of the articulation of pitch space in the scientific treatises
of Ancient...
Chromaticisms or Performance Rules?Evidence from Traditional Singing
Chromaticisms performance rules traditional singing
2008/10/30
Background in ethnomusicology. Chromaticisms in folk tunes are quite frequently discussed
in ethnomusicological studies, especially in Eastern Europe. For instance, chromaticisms are
abundant in the...
Reconstructing the Event: Spectres of terror in Chilean Performance
Cuban jazz Reconstructing Chilean Performance
2008/10/27
On March 31 1990, in the early days of the newly restored democracy in Chile, the Cuban cantautor (singer-songwriter) Silvio Rodríguez staged a concert in the Chilean capital’s National Stadium in fro...
The Performer's Voice: Performance and Analysis in Ravel's Concerto pour la main gauche
Ravel concerto cadenza performance performer analysis recording rhythm
2010/3/25
[1] Janet Schmalfeldt, in her ground-breaking article "On the Relation of Analysis to Performance" (1985, 2), challenges analysts to develop "a comprehensive critique of the value and the limitations ...
Prompting Performance: Text, Script, and Analysis in Bryn Harrison's être-temps
analysis performance notation
2010/3/25
Taking as its focus a piano solo work by the British composer Bryn Harrison, this article focuses on the manner in which complex rhythmic notation functions not (or not simply) to specify a sound obje...
Performance and Hypermetric Transformation: An Extension of the Lerdahl-Jackendoff Theory
meter hypermeter performance Lerdahl Jackendoff ambiguity Gestalt
2010/3/29
In the course of the introductory commentary on hypermeter in A Generative Theory of Tonal Music (GTTM), Lerdahl and Jackendoff discuss the opening measures of Mozart's Symphony No. 40 in G Minor, a h...
Between Process and Product: Music and/as Performance
performance theory work text script analysis
2010/3/29
The text-based orientation of traditional musicology and theory hampers thinking about music as a performance art. Music can be understood as both process and product, but it is the relationship betwe...
Review of David Epstein, Shaping Time: Music, the Brain, and Performance (New York: Schirmer Books, 1995)
Epstein tempo motivic analysis neurophysiology performance perception
2010/4/21
[1] Most readers of MTO will already have encountered David Epstein's Shaping Time; many will have dipped into it; a far smaller number, I imagine, will have read it in its entirety. For it is a long ...
Intonational Injustice: A Defense of Just Intonation in the Performance of Renaissance Polyphony
Just Intonation Syntonic Comma 1/4-Comma Mean-Tone Tuning Ptolemy Josquin Bartolom?Ramos Zarlino Bent
2010/4/21
Just intonation is commonly dismissed as an impractical, utopian system which could not have had any role to play in the performance of Renaissance vocal polyphony. In the present essay, I attempt to ...