Results for 'Virtuosity in musical performance. '

979 found
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  1.  63
    Virtue or virtuosity?: explorations in the ethics of musical performance.Jane O'Dea - 2000 - Westport, Conn.: Greenwood Press.
    Uses a virtue-based approach to the ethical dimension and to the roles of virtuosity and historical authenticity in musical performance.
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  2. Musicians (Don't) Play Algorithms. Or: What makes a musical performance.Mira Magdalena Sickinger - 2020 - Kriterion - Journal of Philosophy 34 (3):1-22.
    Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a (...)
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  3.  21
    Characterizing Movement Fluency in Musical Performance: Toward a Generic Measure for Technology Enhanced Learning.Victor Gonzalez-Sanchez, Sofia Dahl, Johannes Lunde Hatfield & Rolf Inge Godøy - 2019 - Frontiers in Psychology 10.
    Virtuosity in music performance is often associated with fast, precise, and efficient sound-producing movements. The generation of such highly skilled movements involves complex joint and muscle control by the central nervous system, and depends on the ability to anticipate, segment, and coarticulate motor elements, all within the biomechanical constraints of the human body. When successful, such motor skill should lead to what we characterize as fluency in musical performance. Detecting typical features of fluency could be very useful for (...)
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  4.  78
    V. A. Howard, Charm and Speed: Virtuosity in the Performing Arts.Anthony J. Palmer - 2010 - Philosophy of Music Education Review 18 (1):101-106.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept (...)
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  5.  14
    Music Performance Anxiety: Can Expressive Writing Intervention Help?Yiqing Tang & Lee Ryan - 2020 - Frontiers in Psychology 11.
    Performance is an essential part of music education; however, many music professionals and students suffer from music performance anxiety (MPA). The purpose of this study was to investigate whether a 10-minute expressive writing intervention (EWI) can effectively reduce performance anxiety and improve overall performance outcomes in college-level piano students. Two groups of music students (16 piano major students and 19 group/secondary piano students) participated in the study. Piano major students performed a solo work from memory, while group/secondary piano students took (...)
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  6. Listening to Musical Performers.Aron Edidin - 2015 - Contemporary Aesthetics 13.
    In the philosophy of music and in musicology, apart from ethnomusicology, there is a long tradition of focus on musical compositions as objects of inquiry. But in both disciplines, a body of recent work focuses on the place of performance in the making of music. Most of this work, however, still takes for granted that compositions, at least in Western art music, are the primary objects of aesthetic attention. In this paper I focus on aesthetic attention to the performing (...)
     
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  7.  36
    On Musical Performance as Play.Gabor Csepregi - 2013 - Nordic Journal of Aesthetics 23 (46).
    The purpose of this article is to complete, and build on, the theories of a certain number of scholars, chiefly philosophers of previous generations, and a few eminent performers of classical music who all bring to the fore the essential link between music and play. Because of their impulse value and appealing character, tones and other elements of the performance could generate a playful attitude in the musicians. Play is understood as a reciprocal interaction with something that plays with the (...)
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  8. Music Performance As an Experimental Approach to Hyperscanning Studies.Michaël A. S. Acquadro, Marco Congedo & Dirk De Riddeer - 2016 - Frontiers in Human Neuroscience 10:160194.
    Humans are fundamentally social and tend to create emergent organizations when interacting with each other; from dyads to families, small groups, large groups, societies and civilizations. The study of the neuronal substrate of human social behavior is currently gaining momentum in the young field of social neuroscience. Hyperscanning is a neuroimaging technique by which we can study two or more brain simultaneously while participants interact with each other. The aim of this article is to discuss several factors that we deem (...)
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  9. Authenticities: Philosophical Reflections on Musical Performance.Peter Kivy - 1995 - Cornell University Press.
    "In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...
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  10.  30
    Virtuosity as a Performance Concept: A Philosophical Analysis.Vernon A. Howard - forthcoming - Philosophy of Music Education Review 5 (1).
  11.  16
    Musical Performance As an Intermedial Affair (A Case of a Pianist).Dario Martinelli & Lina Navickaitė-Martinelli - 2017 - American Journal of Semiotics 33 (1/2):83-98.
    The professional profile of a performer does not only consist of mere music playing, but calls into question a number of variables of private and public, musical and extra-musical articulation. Performers have their own personality and inclinations; they are exposed to different forms of education and influences; they develop certain technical and stylistic abilities; they find certain repertoires more suitable than others; they confront themselves with composers and their requests/indications; they have to take into account social demands to (...)
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  12.  8
    Ukroćeni virtuoz: filozofija subjekta i recepcija virtuoziteta u evropskoj instrumentalnoj muzici 1815-1850.Žarko Cvejić - 2016 - Beograd: Fakultet za medije i komunikacjie.
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  13.  75
    Interpreting Musical Performances.David Carrier - 1983 - The Monist 66 (2):202-212.
    Interpreting artworks involves “the overtone or implication of an obligation of a moral kind.” Here “moral” might be understood in two different ways. First, such obligation, like moral obligation, involves recognition of and submission to some law outside oneself. The law says “Do not kill” and so I intend my actions to conform with that standard; analogously, a performance presents that work created by the composer. Second, the act of interpretation may itself have moral value. Interpretation brings to life artworks (...)
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  14.  13
    Classifying Different Types of Music Performance Anxiety.Claudia Spahn, Franziska Krampe & Manfred Nusseck - 2021 - Frontiers in Psychology 12.
    Music performance anxiety is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was performed (...)
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  15.  3
    The Normative Space of Musical Performance: Expertise and the Symbolic Body.Ståle Finke & Mattias Solli - forthcoming - British Journal of Aesthetics.
    This article proposes a communicative, imitative, and reflective account of musical learning and expertise. It starts from an affirmative yet critical reading of Høffding and collaborators, notably their idea of a musical arch, meant to bridge distinctions between low-level procedural enactment and high-level reflective cognition. While we embrace much of their analysis, we argue that they uphold tensions between these levels. Drawing on recent enactivist thought, phenomenological and hermeneutic resources, and developmental psychology, we propose a ‘linguistic turn’ that (...)
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  16.  43
    Two Kinds of “Bad” Musical Performance: Musical and Moral Mistakes.Justin London - 2021 - Journal of Aesthetics and Art Criticism 79 (3):328-340.
    There are many ways in which a musical performance can be “bad,” but here the focus is on two: those performances that make you laugh, and those that make you angry. These forms of musical badness, however, are not primarily compositional deficits, but either (a) that the performer simply cannot competently deliver the music to their audience, inducing laughter, or (b) that the performer exhibits some form of disrespect, provoking anger. Such laughter or anger stems from failure of (...)
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  17. The Know-how of Musical Performance.Stephen Davies - 2004 - Philosophy of Music Education Review 12 (2):154-159.
    In lieu of an abstract, here is a brief excerpt of the content:The Know-How of Musical PerformanceStephen DaviesMusicians make music; that is, the performance of music involves applied knowledge or know-how. Can we attain a discursive understanding of what the musician does, and does the attempt to achieve this put at risk the very art it aims to capture? In other words, what can be said of the nature of performance and does what we say turn a living practice (...)
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  18.  14
    The Three Lacanian Registers of Musical Performance.Rex Butler - 2017 - International Journal of Žižek Studies 11 (3).
    Of course, music performance has a long “artisanal” history. After all, the training of musicians to perform has been the mainstay of academies and conservatoria for centuries. But the discipline of music performance as part of an academic musicology is a much more recent invention. We argue that it arises some time in the 1960s, when scholars could begin to write comparative histories of performance and think difference choices as to performance style. Against the now sterile authentic/non-authentic, modern/post-modern debates that (...)
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  19.  29
    How audience and general music performance anxiety affect classical music students’ flow experience: A close look at its dimensions.Amélie J. A. A. Guyon, Horst Hildebrandt, Angelika Güsewell, Antje Horsch, Urs M. Nater & Patrick Gomez - 2022 - Frontiers in Psychology 13.
    Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians’ general music performance anxiety level and the presence of an audience influence the nine flow dimensions. The (...)
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  20.  74
    Flood Tide: sonification as musical performance—an audience perspective. [REVIEW]John Eacott - 2012 - AI and Society 27 (2):189-195.
    The number of events and artifacts described as sonification has increased considerably in recent years with some works making a bridge between the representation of data and artistic expression. Flood Tide which sonifies the flow of tidal water is such a work and has achieved a relatively high profile attracting good audiences for its 10 performances to date. It is not entirely obvious however what it is that attracts audiences and whether it is effective at representing the data being sonified. (...)
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  21. (1 other version)Expression as Success. The Psychological Reality of Musical Performance.Rob van Gerwen - 2008 - Estetika: The European Journal of Aesthetics 45 (1):24-40.
    Roger Scruton’s ontology of sound is found wanting on two counts. Scruton removes from music the importance of the performer’s manipulating of his instrument. This misconceives the phenomenology of hearing and, as a consequence, impoverishes our understanding of music. I argue that the musician’s manipulations can be heard in the music; and, in a discussion of notions developed by Richard Wollheim and Jerrold Levinson, that these manipulations have psychological reality, and that it is this psychological reality which brings to life (...)
     
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  22.  23
    Performances Compared. Sequential replication of the same music piece on an audiovisual file.Giorgio Armato - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):87-95.
    In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music (...)
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  23. Expanding Expertise: Investigating a Musician’s Experience of Music Performance.Andrew Geeves, Doris Mcllwain, John Sutton & Wayne Christensen - 2010 - ASCS09: Proceedings of the 9th Conference of the Australasian Society for Cognitive Science:106-113.
    Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...)
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  24.  70
    Authenticities: Philosophical Reflections on Musical Performance.Günter Zöller - 1997 - Philosophical Review 106 (4):638.
    Kivy distinguishes between three different claims to authenticity in the historical performance movement: authenticity with respect to the composer’s intention, authenticity with regard to sound, and authenticity in matters of performance practice. To this, Kivy adds a fourth notion of authenticity that does not figure in the idealized self-description of the historical performance movement but rather points to an alternative kind of authenticity championed by Kivy himself: the authenticity that a performance might have due to the sincerity of the artist (...)
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  25. Philosophical Reflections on Expressive Music Performance.Mine Dogantan-Dack - 2014 - In Dorottya Fabian, Renee Timmers & Emery Schubert (eds.), Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures. Oxford: Oxford University Press.
     
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  26. Brazilian Identities and Musical Performances.Samuel Araújo - 2000 - Diogenes 48 (191):115-125.
    … our faults do not allow our qualities to show themselves to best effect. That is why, at the moment, Brazilians are a people of intermittent qualities and permanent faults.Mário de Andrade, Essai sur la musique brésilienne, 1928This paper sets out to discuss the use and power of music in representing social identities, concentrating on the more specific case of the Brazilian nation, which has made itself a complex and all-embracing socio-political unit in spite of the great diversity and the (...)
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  27.  59
    Method Development for Multimodal Data Corpus Analysis of Expressive Instrumental Music Performance.Federico Ghelli Visi, Stefan Östersjö, Robert Ek & Ulrik Röijezon - 2020 - Frontiers in Psychology 11.
    Musical performance is a multimodal experience, for performers and listeners alike. This paper reports on a pilot study which constitutes the first step toward a comprehensive approach to the experience of music as performed. We aim at bridging the gap between qualitative and quantitative approaches, by combining methods for data collection. The purpose is to build a data corpus containing multimodal measures linked to high-level subjective observations. This will allow for a systematic inclusion of the knowledge of music professionals (...)
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  28. Musical Works and Performances: A Philosophical Exploration.Stephen Davies - 2001 - Oxford, GB: Oxford University Press.
    What are musical works? Are they discovered or created? Can recordings substitute faithfully for live performances? This book considers these and other intriguing questions. It first outlines the nature of musical works, their relation to performances, and their notational specification; it then considers authenticity in performance, musical traditions, and recordings. Comprehensive and original, the volume discusses many kinds of music, applying its conclusions to issues as diverse as the authentic performance movement, the cultural integrity of ethnic music, (...)
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  29.  34
    The Hallelujah Effect: Philosophical Reflections on Music, Performance Practice, and Technology.Babette Babich - 2016 - New York, NY, USA: Routledge.
    A book reading between k.d. lang's interpretation of Leonard Cohen's 'Hallelujah,' male and female desire, today's network culture, Adorno on radio and Nietzsche on the Greeks. The working of music is transformed by digital media, broadcast and recording dynamics. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about (...) performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, musically, as joy. (shrink)
  30.  16
    Music and Virtuosity: a Higher Vision for Business.Kevin Jackson - 2017 - Humanistic Management Journal 2 (1):15-36.
    Business and music, when at their best, embody virtuosity. This article presents the concept of virtuosity in music as an analogue for deepening understanding of, and for cultivating, virtuosity in business. Among the advantages of undertaking the comparison is the assistance it provides in envisioning business in a new light, a task especially called for in a climate of disillusionment with economic institutions and economic actors.
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  31. Gadamer and the Hermeneutics of Early Music Performance.Mark J. Thomas - 2018 - Research in Phenomenology 48 (3):365-384.
    The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of historical reconstruction and (...)
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  32.  31
    A twist on the historically authentic musical performance.Nemesio G. C. Puy - 2024 - Philosophical Studies 181 (10).
    According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible (...)
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  33.  56
    What it is like to improvise together? Investigating the phenomenology of joint action through improvised musical performance.Pierre Saint-Germier, Louise Goupil, Gaëlle Rouvier, Diemo Schwarz & Clément Canonne - 2024 - Phenomenology and the Cognitive Sciences 23 (3):573-597.
    Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two expert (...)
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  34. Notes for a phenomenology of musical performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, nonetheless, (...)
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  35.  34
    Beyond the Performer: Gadamer, Pareyson, and the Hermeneutics of Improvised Musical Performance.Sam McAuliffe - 2022 - Journal of Aesthetics and Phenomenology 8 (2):119-133.
    Philosophical hermeneutics is underrepresented in the literature on music performance. Given the shift from Cartesian subjectivism to anti-subjectivism in the contemporary literature on improvised musical performance, it is somewhat surprising that hermeneutics does not figure more prominently. Since hermeneutics is characterized by a dialectical to-and-fro—the hermeneutical conversation—between interpreter and subject matter, it would appear to offer a strong foundation for an anti-subjectivist account of improvised musical performance. The aim of this essay is to offer such an account. Drawing (...)
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  36.  22
    Acceptance and Commitment Therapy for the Treatment of Music Performance Anxiety: A Pilot Study with Student Vocalists.David G. Juncos, Glenn A. Heinrichs, Philip Towle, Kiera Duffy, Sebastian M. Grand, Matthew C. Morgan, Jonathan D. Smith & Evan Kalkus - 2017 - Frontiers in Psychology 8.
  37. Stan Godlovitch, Musical Performance: A Philosophical Study. [REVIEW]Jeanette Bicknell - 2000 - Philosophy in Review 20:31-33.
     
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  38.  23
    The Horizonal Field of Improvised Musical Performance.Sam McAuliffe - 2021 - Journal of Aesthetic Education 55 (2):78-95.
    When we think of improvised musical performance, we commonly think of musicians engaged in an activity that brings forth a musical event of some kind. This activity is both situated and situating—it occurs in a particular locale and the event itself situates the players who are literally located within that event. This paper explores how we might understand the spatio-temporal field in which improvising musicians are situated when they perform. To comprehend what I refer to as the “horizonal (...)
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  39.  15
    Review of Musical Performance: A Philosophical Study, by Stan Godlovitch. [REVIEW]Luke Purshouse - 2004 - Essays in Philosophy 5 (1):212-215.
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  40.  37
    Increased Functional Connectivity of the Angular Gyrus During Imagined Music Performance.Shoji Tanaka & Eiji Kirino - 2019 - Frontiers in Human Neuroscience 13.
  41.  36
    Piloting a New Model for Treating Music Performance Anxiety: Training a Singing Teacher to Use Acceptance and Commitment Coaching With a Student.Teresa A. Shaw, David G. Juncos & Debbie Winter - 2020 - Frontiers in Psychology 11.
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  42.  19
    "Review of" Musical Performance: A Philosophical Study". [REVIEW]Luke Purshouse - 2004 - Essays in Philosophy 5 (1):31.
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  43.  37
    Mental practice promotes motor anticipation: evidence from skilled music performance.Nicolò F. Bernardi, Matteo De Buglio, Pietro D. Trimarchi, Alfonso Chielli & Emanuela Bricolo - 2013 - Frontiers in Human Neuroscience 7.
  44.  82
    Development of Flow State Self-Regulation Skills and Coping With Musical Performance Anxiety: Design and Evaluation of an Electronically Implemented Psychological Program.Laura Moral-Bofill, Andrés López de la Llave, Mᵃ Carmen Pérez-Llantada & Francisco Pablo Holgado-Tello - 2022 - Frontiers in Psychology 13.
    Positive Psychology has turned its attention to the study of emotions in a scientific and rigorous way. Particularly, to how emotions influence people’s health, performance, or their overall life satisfaction. Within this trend, Flow theory has established a theoretical framework that helps to promote the Flow experience. Flow state, or optimal experience, is a mental state of high concentration and enjoyment that, due to its characteristics, has been considered desirable for the development of the performing activity of performing musicians. Musicians (...)
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  45.  64
    Look What They've Done to My Song: "Historical Authenticity" and the Aesthetics of Musical Performance.Aron Edidin - 1991 - Midwest Studies in Philosophy 16 (1):394-420.
  46.  10
    Regulation of Emotions to Optimize Classical Music Performance: A Quasi-Experimental Study of a Cellist-Researcher.Guadalupe López-Íñiguez & Gary E. McPherson - 2021 - Frontiers in Psychology 12:627601.
    The situational context within which an activity takes place, as well as the personality characteristics of individuals shape the types of strategies people choose in order to regulate their emotions, especially when confronted with challenging or undesirable situations. Taking self-regulation as the framework to study emotions in relation to learning and performing chamber music canon repertoire, this quasi-experimental and intra-individual study focused on the self-rated emotional states of a professional classical cellist during long-term sustained practice across 100-weeks. This helped to (...)
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  47.  35
    Beethoven recordings reviewed: a systematic method for mapping the content of music performance criticism.Elena Alessandri, Victoria J. Williamson, Hubert Eiholzer & Aaron Williamon - 2015 - Frontiers in Psychology 6.
  48. Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features (...)
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  49.  24
    Classical Music Students’ Pre-performance Anxiety, Catastrophizing, and Bodily Complaints Vary by Age, Gender, and Instrument and Predict Self-Rated Performance Quality.Erinë Sokoli, Horst Hildebrandt & Patrick Gomez - 2022 - Frontiers in Psychology 13:905680.
    Music performance anxiety (MPA) is a multifaceted phenomenon occurring on a continuum of severity. In this survey study, we investigated to what extent the affective (anxiety), cognitive (catastrophizing), and somatic (bodily complaints) components of MPA prior to solo performances vary as a function of age, gender, instrument group, musical experience, and practice as well as how these MPA components relate to self-rated change in performance quality from practice to public performance. The sample comprised 75 male and 111 female classical (...)
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  50.  48
    Dynamic Reconfiguration of the Supplementary Motor Area Network during Imagined Music Performance.Shoji Tanaka & Eiji Kirino - 2017 - Frontiers in Human Neuroscience 11.
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