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Music Performance - Science topic

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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.
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Mookie Menuhin If you need more specific support you always can contact to your local Tobii Manager in the following link: https://www.tobii.com/contact#research
There are some good research out there with the T60 and measuring the Pupil Dilation like the following:
In the following link you will find a best practices recommended by Tobii to work with the pupil size: https://connect.tobii.com/s/article/measuring-pupil-size?language=en_US
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This question is targeted at music researchers.
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It depends upon the component you want to study in a musical performance. Different components and the objectives of the study will define the use of the methods. Bohdan Syroyid Syroyid
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Share your views, my students are conducting a survey 'sensitive soul of scientist' to study the impact of music on performance of a scientist.
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I also enjoy good soul music while working, it's like dancing with the writing.
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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!
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I work with systems that process payments, but I can point you to some basic research and data sets in this area. I've worked with these people and they are very good:
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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?
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That's the one! Thanks Joseph!
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... 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. 
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Movies are fiction, but there is a comical scene early in the Amadeus movie where Mozart plays a ditty on the piano while held upside down by a friend.
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It appears that this is an under researched area.
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Contact Horst Hildebrandt (horst.hildebrandt@zhdk.ch). He leads the Swiss University Centre for Music Physiology. It does good work on the area of performance anxiety.
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MPA & Career choice
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Hello Christiane,
I would recommend this article: Patston, T. (2014). Teaching stage fright? Implications for music educators. British Journal of Music Education, 31(1), 85-98. I have attached the article below. Here the author talks about (as David Suggested) how many music performance students suffering from MPA change course and alter their performance aspirations to become music educators. This article has been helpful to me in my research investigating how undergraduate music schools address MPA. What is interesting is how many of these individuals who become music educators due to their MPA issues may be propagating MPA issues among their students. I hope this is helpful.
All The Best,
~Craig
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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.
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He would have been appalled, indeed.
My most dogmatic emphasis I save for the expression of music as participation. All performance is participation.
Your use of the adjective "perfect" in relationship is judgemental. Remember "no second thoughts". Forget trying for perfection and just be there with the audience.
More later - thanks you for your very useful comments.
K
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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.
Karl
1. The performance in question: Thomas Augustine Arne Symphonie 1 - 4, LP later a CD on Chandos.
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Shepherd? Ask the Scottish Music Centre first. They're at City Halls, Glasgow.  Or try the Performing Rights Society, but I'd check with local connections first.
Arne? UK music libraries have the Encore website, for orchestral and choral sets in libraries.  Sometimes you can arrange a direct loan with the library holding a particular set, but other times you need to go to your local public library (or the university where you study), request an inter library loan, and let them handle the transaction for you.  http://www.iaml.info/iaml-uk-irl/projects/encore.html
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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?
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Hi, you might find something on this website of the McMaster Institute for Music and the Mind: http://mimm.mcmaster.ca
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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.
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Dear Joerg,
Sorry for complicating things.  My "motivation" is to get the test just right!
The most informative title is difficult to determine without seeing the contents of the test.  Perhaps knowing the purpose will help.  Do you want to find out to what extent a music student practices and plays according to his personal motivation?  For example, "I practice the .... all the time because I love it and I enjoy playing in a group with others."  As opposed to "I don't practice very often; I don't like it very much but my parents make me do it."
So far I like "Personal Motivation Test for Musicians and Music Students"
I've since thought of the word "ambition" which would be close to your original will and volition.
Possible title:  "Test of Personal Ambition to Determine Motivation in Musicians and Music Students"
Or (this gets long but it may clearly express what the purpose of the test is--if this is indeed the purpose, I'm only guessing): 
"Test of Personal Ambition to Determine Degree of Motivation in Music Students"
Thanks to the ease of editing in Word any changes will be easy.  We can continue to hash this out while I continue to polish the Introduction.
Warm regards,
John
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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.
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Dear David Simons,
Thank you for your insights and for letting me know about your article. I will read it. I'm currently doing some field work in New York :)
Best,
Eleonore
Cher Yves Cohen,
Merci beaucoup. Je ne connaissais pas les travaux d'Antoine Hennion. Je suis un peu plus familière de ceux de Denis Laborde, mais je vais y regarder de plus près. Je serais ravie de vous rencontrer au CRH à mon retour de terrain en novembre.
Je ne consulte pas très souvent ResearchGate, mais suis plus facilement joignable par mail : eleonore.biezunski@ehess.fr.
Cordialement,
Eléonore Biezunski