Questions related to Music Performance
As I am entirely new to pupillometry, I was wondering whether someone could advise me on my study design: I am looking for ways to measure pupil size during silent score reading (notational audiation) and performance ( playing the instrument while reading a score) in pianists. EyeLink1000 with a chinrest could work for the notational audiation condition, but it is obviously an issue for the performance condition. Also, it is unclear whether Tobii T60 eye-tracking system or SMI Wireless eye tracking glasses is a reliable apparatus for pupillometry. Advice will be deeply appreciated. Thank you.
We have a new research project that seeks to understand the characteristics of performance careers across the cAreer lifespan. Please join in the new Twitter conversation using #PerformanceCareer, or respond to us here. Our questions are: What does a performance career look like? How is it sustained? What else does it involve? We would love your help!
I'm trying to remember the paper/author where it was stated that the use of a human computer interface in artistic performance was a particularly hard benchmark and that "performance spec" is even harder to meet than "military spec".
Can anybody help me out?
... or for comical effect? Think of Hendrix-style gimmicks, but documented in a traditional context. Examples from the Mediterranean area and the Middle East would be particularly welcome.
In an idealized form any performative act is of its nature without fault. If that is so, why do so many have performance anxiety. Every such individual makes mistakes viv-a-vis the source material. In my estimation, the only real error is one that removes the performer from the current context fixating on the previous perceived "mistake". This condition in my estimnation is not a performance but is instead part of the required preparation of skills and study of the source materials. The performer who has not completed his preparation is attempting study and preparation during a time when others are actually trying to perform.
Hence, I regard this as two entirely different acts/mental states: study first, performance when and only when one has completed the study. Yes that part is an ongoing process.
I've looked everywhere. I suspect that since this work was done before we started using the internet for this sort of thing (storing music scores online), no one ever got around to it, the principals having gone on to something else.
There were a number of performance decisions1 that I would dearly love to know Adrian Shepherd's thinking.
1. The performance in question: Thomas Augustine Arne Symphonie 1 - 4, LP later a CD on Chandos.
Research has shown that a developing foetus can discriminate sounds in the womb from 22 weeks gestation and that early sound discrimination helps to promote later phonic and vocabulary development. In addition, during early social interaction between caregivers and infants there are noticeable patterns of timing, pulse, voice timbre, and gesture that follow many of the rules of musical performance, including rhythm and timing conceptualised by Malloch and Trevarthen (2009) as ‘communicative musicality’. Given the centrality of communication in children’s learning and development (Blackburn, 2014) and the established links between human communication and music, this project seeks to explore the views, understanding and reported practices of interested stakeholders in young children’s musical interactions in home and out-of-home early years settings.Does anyone know of any research that might help with a project and guide the literature review?
The "will test in music" is available as volitional test for German speaking music students. This test should be provided in different language versions. In a first step, I would like to make an introductory paper available that has been published as German-language article in the Journal "Üben & Musizieren" in 2013. The next steps are to develop different language versions of the test. I'm seeking for international colleagues who want to help me with these steps.
How to define what is "new" compared to what is inherited from the past ? And how do the two overlap in artistic creation?
I am studying contemporary creation of Yiddish songs, so I would like to interrogate their "newness" in a broader context of cultural transmission, folk "revival" (or revitalization), migrations and urban multiculturalism.