Musical Performance Research Articles

Complexity of Vocal Vibrato in Opera and Jazz Recordings: Insights From Entropy and Recurrence Analyses

Vibrato is an oscillation in frequency, intensity, and timbre of the singing voice. Previous studies have found a relationship between its periodicity and perceived quality. The diversity of vibrato enriches the music and singer's performances but create challenges for quantifying and capturing the characteristics that contribute to achieving these expressive goals. Vibrato tones have been addressed using rate, extent, jitter, and shimmer; however, these do not necessarily capture relevant complex time-varying features. This paper applies techniques from disciplines that specialize in periodicity and complexity to provide insight into vibrato characteristics not yet understood. This study aimed to assess whether nonlinear metrics are relevant features in characterizing and illustrating differences in vibrato behavior in opera and jazz singing, as well as considering the relationship of nonlinear metrics to other vibrato parameters. Vibrato tones from published music material of world-class singers from opera and jazz were analyzed with entropy, recurrence, and the established parameters of rate, extent, jitter, and shimmer. Dimensionality reduction was employed to consider the relationship and significance of each of the metrics in collectively characterizing vibrato. The principal component, explaining 40% of variability, had positive weights of determinism and line length derived from recurrence while having negative weights of rate, shimmer, and sample entropy. Using these components, the vibrato tones from opera compared to jazz singing were found to be more regular and had lower rate and extent, and it was possible to spotlight singers and notes with high periodicity. Our study shows that nonlinear metrics applied to vibrato tones provide a valuable tool for observing and quantifying regularity in vibrato tones. The results of this study highlight the potential for more detailed descriptions of vibrato characteristics that may support categorization of individuals, genres, or musical expression in the future and could be applicable to pedagogical techniques.

Everyday Outdoor Music Life in Galician Cracow

Abstract The paper characterises music-involving cultural practices in Cracow’s urban parks, squares, streets, and ice rinks in the period of the so-called Galician Autonomy (1866–1918). Typologies of the spaces where music was performed and of open-air events involving music have been proposed. Music repertoires and performers have been discussed. The main sources for this text are press materials, memoirs, regulations, sheet music, and iconography.

Evliya’s Song: Listening to the Early Modern Ottoman Court

Abstract This article discusses the relationship between music, sound, writing, and power in the early modern Ottoman Empire. It focuses on a description of a musical gathering at the court of Murad IV (r. 1623–40) in the Seyahatnâme (Book of travels), written by the courtier and musician Evliya Çelebi (1611–ca. 1685). The article draws on literature from historical anthropology, sound studies, and Ottoman cultural history to produce a multilayered reading that underscores the importance of music and other sonic practices in Ottoman courtly culture. Shifting between micro and macro perspectives, the article discusses the role of ceremonial music, Qur’anic recitation, the call to prayer, and patronage networks in the projection of imperial power. It then discusses the social implications of debates about the religious permissibility of music and the distinction between elites and commoners. Elite music-making is situated within a larger context of kin relations, patronage networks, and intimate male companionship. Themes of sensual pleasure, intoxication, and eroticism are discussed as poetic and philosophical tropes that are embodied in the intersubjective space of musical performance. Finally, the article highlights the role of textual practices in the construction of Ottoman music as a discursive formation. A situating of Evliya’s writing practices within the larger textual archive of Ottoman music raises methodological and epistemological questions about the relationship between aural experience and inscription, and about notions of historiographic and ethnographic truth. These questions are connected to current disciplinary debates about writing, sound, and power, particularly in the context of empire.

Audience’s Perceived Expectancy and Authenticity of Classical Music Performance by Digital Musical Instrument Mobile Apps

Classical music is characterized by its standardized practices and established patterns of audience behavior. Recent advancements in digital musical instrument (DMI) and mobile technology may potentially offer a means by which the art form can further evolve. This paper presents a study that aims to examine the audience’s perception of classical music concerts performed by ensembles using DMI mobile apps and tablets. A mixed-methods approach was employed, including a questionnaire survey administered to audiences (N = 141) attending a classical music concert featuring repertoire performed by DMI mobile apps ensembles, as well as semi-structured interviews conducted with a subset of participants (n = 13). The survey results revealed significant, strong, and positive correlations between participants’ enjoyment of listening to classical music, frequency of attending classical music concerts, expectancy, and authenticity. The interviews addressed relevant issues, such as differences in ensemble and instrumental practices, timbral quality, and the capabilities of DMI mobile apps. While there were negative perceptions regarding expressive body movements, emotional expression, and interaction among performers, positive feedback regarding the use of DMI mobile apps affirmed the potential to introduce innovative pedagogical approaches in school music education, cultivate a younger audience base, and bring fresh ideas to this genre.

If Oskar Kolberg Had Had the Phonograph… Or How to Read the Oldest Archival Notes of Polish Traditional Music through the Prism of Phonographic Experience

The article explores the value of different types of sources (written, audio) of traditional music in the context of contemporary Polish folk music research and practices. The military twentieth century rendered a large gap in the records (especially in the sound recordings) of traditional music and in order to obtain a more coherent and complete picture of the essence and development of traditional music, it is necessary to combine all the bits and pieces in different types of recordings. The most recent research has allowed us to study the first notations of traditional music made by Oskar Kolberg in the nineteenth century in quite a new context – via audio experiences after listening to archival recordings. The “phonic age” delivered additional data about traditional music – not only lyrics, melody, intervals and formulaic notation of rhythms, but also every detail that could not have been captured and saved with the use of traditional musical notation. The appearance of new techniques of sound recording has a particular meaning and influence for the reconstruction of the ancient sound of village music and for styles and manners of performing. It is important not only for musical performers but also for theoreticians who often face the problem of how to interpret historical descriptions of music or how to truly perform historical reality (e.g., ethnomusicologists, ethnographers, film and radio-audience producers, etc.). An experimental study was conducted in collaboration with contemporary musicians on how they interpret the acquisition of a new piece written down over one and a half centuries ago. The results revealed notable differences between the musicians with academic education, younger generation revivalists, and traditional musicians in terms of acquiring the style of performance but also in shares of improvisation. In addition, the notation is not able to describe the nuances of performance and therefore the audio recordings or live models are of extreme value in the practical learning and researching of traditional music.

Dismantling the Golden Age: Broadcast scheduling strategies on 1950s US network radio

From the late 1940s to early 1960s, the US radio industry underwent a dramatic transformation. Instead of scripted programming and live musical performances, which characterized the era known as the Golden Age of Radio, stations began to focus on local advertising markets and relied upon recorded music for content. This study explores the programming and scheduling strategies of the major commercial networks in the United States as they dealt with this transformation. Using the theoretical framework of remediation, the analysis provides some context for a contemporary change in electronic media, the transition from linear programming to streaming and on-demand forms of delivery.

Embodying Ethnic and Settler Identities: An Analysis of the English-Language Korean Play Sim Cheong (1938) in Hawai'i

Abstract: In 1938, Koreans in Hawai'i premiered an English-language play, Sim Cheong ( Sim Chung ), at the Honolulu Academy of Arts to celebrate the Korean Spring Festival. Sim Cheong is an adaptation by a second-generation Korean of a cherished Korean folktale, The Story of Sim Cheong , emphasizing filial piety. This study uses Sim Cheong to examine the cultural milieu of 1930s Hawai'i and the complex identities interwoven within the Korean diaspora, revealing efforts by Koreans to preserve their ethnic pride while creating a sense of closeness with the white upper class. The adaptation signalled a dramaturgical shift from the original story, often framed in the context of Confucianism and Buddhism, to a theatrical production incorporating musical performances and revised storylines. This shift is encapsulated in the contrast between the play's downplaying of the boat scene, commonly regarded as pivotal in illustrating the protagonist's commitment to filial piety, and accentuation of the scene depicting the initial encounter between Sim Cheong and the King, presenting independent and diverse elements of Korean culture and conveying undertones of Christian belief. Through this analysis of local political, social, and cultural realms, this study identifies dual identities existing in the Korean diaspora surpassing the confines of a generic pan-ethnic Asian American identity, unraveling the intricate interplay between the preservation of ethnic pride and the imperative of assimilation within the broader sociocultural landscape.

장애학생들의 랩을 활용한 음악공연(랩 교가, 퓨전 합창) 경험에 관한 사례연구

Objectives This study aims to conduct a qualitative case study exploring the experiences of students with disabilities in musical performances utilizing rap.
 Methods At the ○○ Special School in Chungnam, a total of 38 participants engaged in the musical performance, which included four teachers covering roles such as accompanists, drummers, and vocals, alongside students from middle school to specialized courses. Rehearsals took place twice a week for two hours from April 16th to 27th, 2018. The primary participants in the study were six students with developmental disabilities, and secondary participants included seven individuals: administrators, educators, school superintendents, and local community members. Using a qualitative case study approach, the research delves into the students’ experiences with a learner-centered program that featured a rap school song and a fusion choral performance. Data collection mainly consisted of in-depth interviews conducted over eight sessions during the music performance preparation phase, supplemented with participant observations. To ensure the credibility and validity of the qualitative research, techniques such as peer reviews, expert meetings, and the triangulation method were employed.
 Results The findings are as follows. First, the introduction of rap through a rap school song and fusion choral signaled a turning point in education. Initially, administrators and faculty exhibited skepticism, deeming it unfeasible. However, students displayed a mix of unfamiliarity, curiosity, and preconceived notions about traditional music education, hinting at an impending challenge. Second, the dual concerto of empathy and tailored instruction served as a motivating factor to unleash the potential of students with disabilities. Significant changes were observed in trust and class participation levels when the teacher-student relationship harmonized (師弟同行). This musical reinforcement brought about improvements in autonomy, classroom attitude, expressiveness, prejudice reduction, enhanced interaction, and improved articulation skills, thereby demonstrating the possible within the impossible. Tailored, learner-centered education showcased its potential to transform negative aspects into positive elements for students, educators, and stakeholders alike. Third, through the bond of musical understanding, everyone came together in harmony, leaving a lasting warmth and fragrance. This became an opportunity to shift perceptions on disabilities from bias to equality. The music performance surpassed the expectations of all participants, marking a time of new challenges and achievements, leaving an indelible impact on the educational landscape.
 Conclusions The utilization of rap in the musical experiences of students with disabilities revealed the potential to bring about positive effects, showcasing the harmony of empathy and tailored instruction. Therefore, this study can provide a foundation and play a pivotal role in implementing learner-centered music education.

대중음악 가창연주론 연구 - 스타일 반영주의를 넘어서

This study theoretically examines singing in popular music. This study defines “style reflectionism” as the view of singing style dominated by structure, system, and norm. Along with criticizing reflectionist view, this study constructs a preliminary theory of popular music singing performance. Singing and vocal style in popular music is more diverse than western classical music, but there is an obvious tendency of convention in each genre’s context. Existing studies on singing focus on interpretation of techniques and music analysis. Hence, it is necessary to reconsider the theoretical approach of popular music singing itself beyond convention as normatizing and representing. Although music studies considering performance and performativity have recently emerged, there remains a gap in the literature. John Potter, a tenor and a scholar, not only theorized singing style but also made a valid approach. Potter’s theory, which covers both traditions of western classical and popular music, explains how specific singing style exercises hegemonic power contemplating sociocultural conditions and structure. However, he schematizes the historical development of style centered on ideology, and does not overstep the limits of style reflectionism. This study reconsider Louis Althusser’s ideas of ideology, subject, and interpellation as constructing the timbral subject (subject of timbre). Furthermore, Roland Barthes’s concept of “the grain of the voice” is also reconsidered. These are useful for building and considering an anti-reflectionist view. Finally, this study argues that the theory of popular music singing performance beyond style reflectionism can be imagined by emphasizing singularity, not in a dominant-subordinate relationship between universality and specificity, which is continuous differentiation of meaning and subjectivity.

고전시가 대중화 현재화의 양상과 방향 탐색

Classical poetry has become a highly challenging literary genre today, but originally, it was an art form that combined music and literature and received love from various classes of the society. Valuable efforts to popularize and update classical poetry include the following: recordings and videos of Sijochang & Gagokchang as daily Gugak by the National Gugak Center; King records’ Gagok and Gasa wonryu; Hyangga and Goryeogayo for children from Gugak FM Inc.; Synnara record’s Gyeonggi 12 Japga; various albums like Seoul Performing Arts Comapany’s “Sanwhaga”, Jeongeup Municipal Gugak Troupe’s “Sangchungok” and “Jeongeup Love Song”, and Songolmae’s “Cheoyong’s Sorrow”; music videos including Moon Sook-hee’s “Cheongsanbyeolgok”, theatrical performances like Lee Yun-taek’s “Dosolga”, and various dance and music performances in cities like Gyeongju, Buyeo, Samcheok, Ulsan, and Pohang. These are all significant contributions to the promotion and modernization of classical poetry. Unfortunately, since there was no systematic evaluation and support for the works, they were not very memorable to the public. However the film “My Love, Don’t Cross That River” (5 million viewers), the movie “Ssanghwajeom” (3.78 million viewers), and the SBS historical drama “Seodongyo” (from 2005 to 2006, viewer rating 21.4%), which used video effects effectively, were popular successes.
 The main points emphasized in this paper as part of the effort to popularize and modernize classical poetry are as follows: proactive development of related cultural heritage travel routes, the development of content that combines history and literature, the restoration and reenactment of original performances, enhancing historic, on-site, and dynamic experiences in secondary school curricula, exhibition promotion using characters and calligraphy, building archives through the establishment of classical poetry museums, and the continuous discovery and adaptation of original storytelling in classical poetry. First and foremost, scholars should establish definitive source texts in modern- language for classical poetry (especially Goryeogayo and Hyangga) included in secondary school curricula and the works targeted for popularization. Subsequently, education and explanations should not merely dwell on simple interpretations of the works but should vividly evoke history and expand literary imagination. The goal should be to convey the works in an easy and engaging manner, enabling them to resonate with the joys and sorrows of today and stand the test of time. For example, 〈Woojeokga〉, which contains the narrative of monk Youngjae’s awakening of 60 thieves, says, “The poem I wrote, let alone the group of 60 thieves/Not even a single heart was touched/So I will have to sell my computer and hide deep in the mountains” (Lee Seung-ha, 〈Woojeokga〉), Likewise, “Cheongsanbyeolgok” is transformed into a modern interpretation as “Living, living for capital, living for capital / Eating heads and legs, living for capital / Yalri-yalri yalrang-syeong yal-lari yal-lara” (from Park Nam-chul’s poem “Living for capital”), offering good examples of how classical poetry can be adapted into contemporary meaning.

Expanding the public space through art. A conversation with Pablo Helguera

Pablo Helguera (Mexico City, 1971) is a New York based artist working with installation, sculpture, photography, drawing, socially engaged art and performance. Helguera’s work focuses in a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances and written fiction. His work as an educator has usually intersected his interest as an artist. This intersection is best exemplified in his project, The School of Panamerican Unrest (2003–2006), a nomadic think-tank that physically crossed the American continent by car from Anchorage, Alaska to Tierra del Fuego, making 40 stops in between. Covering almost 20,000 miles, it is considered one of the most extensive public art projects on record as well as a pioneering work for the new generation of artworks regarded under the area of socially engaged art. The contribution, in the form of a conversation, will retrace Helguera’s work to focus on questions of publicness, art and participation in a moment in which socially engaged practices are increasingly established in the contemporary art realm. By articulating the artist’s strategies and operating methodologies, the aim is to shed light on ways in which art can contribute to widen the public discourse on the social and political life and create accessible spaces of meeting, confrontation and dialogue, in which a counter- narrative to the dominant neoliberal frame work can take place.

BASIC PRINCIPLES OF MUSICAL PERFORMANCE LOGIC

The article examines musical performance logic as a type of artistic logic that has its own individual measure of the relationship between the rational, cognitive, and sensory. The relationship and interaction of emotional-imaginative and logical components of musical intelligence are analyzed. It is shown that the hermeneutic method is quite applicable to musical performance interpretation and logic as a method of revealing the plurality of meanings contained in the text.

Enhancing performance through music selection and thematic presentation in marching band competition: A case study in Pekan Olahraga Provinsi (PORPROV) XIV Jawa Barat

This study analyzes the performance of the West Bandung Regency contingent at the Pekan Olahraga Provinsi (PORPROV) XIV Jawa Barat. It specifically focuses on how the strategic integration of music selection and thematic presentation might improve the overall performance. The marching band sport involves teams competing in four competitions. The competitions include Lomba Baris Berbaris (LBB) Marching Competition, Lomba Unjuk Gelar (LUG), Lomba Berbaris Jarak Pendek / Short Distance Marching Competition (LBJP), and Lomba Ketahanan dan Ketepatan Berbaris (LKKB) / The Endurance and Accuracy Marching Competition. In order to effectively engage audiences and judges, bands must enhance and perfect their aesthetic and thematic techniques as the level of competition increases. The study utilized a qualitative research methodology, which involved active involvement and careful observation for analysis. We participated in marching band activities and closely observed practices and performances in order to acquire a thorough comprehension of the aesthetic and conceptual components. Data were gathered via observations, and discussions and examined using an analytical framework rooted in the literature on music aesthetics and performance art. This framework evaluated the elements of melody, harmony, rhythm, and visual depiction. The results emphasize the significance of carefully choosing music, maintaining theme consistency, and using visual components to provide a captivating performance. The topic chosen by the West Bandung contingent, "Flight and Movement," together with their smart selection of music, showcased the ability of thoughtful curation and dynamic arrangements to amplify the story and emotional resonance. The utilization of intensive rehearsals and coordinated visual elements had a pivotal role in attaining elevated levels of audience engagement and competitive triumph.

A Possibility of Online Classical Music Performances: A Focus on the TOE Framework

A Possibility of Online Classical Music Performances: A Focus on the TOE Framework

Kenny Music Performance Anxiety Inventory: Seven or eleven categories of response? Some empirical evidence

The objective of this work was to propose an adaptation of the Kenny Music Performance Anxiety Inventory (KMPAI) scale for the assessment of musical performance anxiety that offers better psychometric indices (such as reliability and sensitivity) than the original scale, and that is more in line with our cognitive/cultural context. The instrument has been presented to 134 musicians in two forms: (a) the original questionnaire (with 7 response options) and (b) another with an extended response scale (with 11 anchor points). The results suggest that the adapted form (KMPAI-ERE) improves its psychometric and discriminative properties compared to the original form, and is proposed as valid for the assessment of performance anxiety. It was concluded that this form of the questionnaire can be proposed as an alternative to the original form in future research, as it allows for more precise responses in its scope.

Editorial: Highlights in performance science: music performance anxiety

Editorial: Highlights in performance science: music performance anxiety

PERTUNJUKAN LIVE MUSIC, CUSTOMER EXPERIENCE, CAFE ATMOSPHERE TERHADAP CUSTOMER SATISFACTION DI CAFE PLAYGO KOTA SIDOARJO

At this time the F&B business is growing as can be seen from the mushrooming of cafes or coffee shops throughout Indonesia. Over time, to attract cafe customers, not only selling coffee was accompanied by various innovations. As in Sidoarjo, there are lots of cafes lined up. One of them that is of concern is Cafe Playgo. This cafe is always full of visitors and there is a home band live music every day. The purpose of this study was to determine the effect of Live Music Performances, Customer Experience, and Cafe Atmosphere on the satisfaction of cafe visitors who are crowded with visitors. As for supporting this research, the method used by the author is quantitative research and with data collection techniques using questionnaires. The results showed that the live music performance variable had a positive effect on customer satisfaction, the customer experience variable had a positive effect on customer satisfaction, and the cafe atmosphere had a positive effect on customer satisfaction. To achieve maximum customer satisfaction, business people need to improve and develop what customers should need, one of which is the existence of facilities such as live music, paying attention to customer experience, and a cafe atmosphere.

A Framework for Teaching Music Online. By Carol Johnson. Bloomsbury Academic.

In A Framework for Teaching Music Online, Carol Johnson formulates a clear and precise framework for teaching music online that is supported by 17 peer-reviewed articles she has authored on this topic. Well-known for her scholarship, Johnson’s framework is designed to guide online teachers of music through a well-reasoned and logical step-by-step process using clear communication, authentic design, and quality assessment. The three-part process explores her framework starting with design and assessment of case studies. She then focuses on practical application of designing an online teaching space using technology tools and approaches as supporting learning mechanisms. In the final section of the framework, Johnson capitalizes on future innovations that delve into sharing knowledge and creating professional learning networks. The framework masterfully allows for discipline specificity in an arts-based discipline with niche areas such as music performance, theory, history, and composition. Johnson ensures that authentic supports are in place for all.

Choral conducting as a way of realizing the creative potential of a student choirmaster

Statement of the problem. The modern information society using cutting-edge digital tools and resources, requires innovative approaches in education aimed at shaping the personality of students in all the diversity of their activities. In today’s globalized space, where innovation and creativity are key success factors, it is important to cultivate students’ skills in creative thinking and self-expression. The turbulent Ukrainian present became a challenge for the development and establishment of a new educational system oriented on the personal type of teaching. An urgent need to improve pedagogical technologies encourages the search for a new educational paradigm, allowing Ukraine to stay abreast of global innovative processes. The course “Choral Arrangement” is aimed at developing the creative potential of choirmaster students, which is undoubtedly a relevant task in the modern educational space. Objectives, methods, and novelty of the research. The personal oriented approach in higher education is an actively researched topic, by domestic (Podmazin, 2006; Bekh, 2003) and foreign (Heikkila, Niemivirta, Nieminen, & Lonka, 2010) authors. A number of studies are devoted to pedagogical innovations (Dychkivska, 2004; Ihnatovich, 2019; Danilenko, 2006) and the psychological and pedagogical aspect of personal development (Moliako, 2003; Turynina, 2007; Mishchykha, 2010), the musical pedagogy (Smyrnova, 2021; Zhernovnykova, & Van Tsin I, 2017; Plotnytska, 2021) and the contemporary trends in choral conducting education too (Dolchuk, 2008; Smyrnova, 2008; Karpenko, 2021; Semenchuk, 2022). However, the questions of the impact of choral arrangement on the development of music creative skills of choirmaster students, as well as the search for innovative teaching methods and organizational forms that contribute to the formation of unique musical personalities, requires further analytical refinement. The purpose of the article is to determine the role of choral arrangement in developing the creative potential of choirmasters’ students, their musical thinking, performance and interpretive skills. The study is also focused on finding innovative approaches to teaching the “Choral Arrangement” discipline that contribute to more effective development of unique artistic individuals, which capable to self-improvement and professional growth as choral conductors. The interaction of personal, competence and contextual approaches to the professional training of a specialist, necessary in the process of developing his creative abilities, led to the involvement of such research methods as theoretical and comparative analysis of pedagogical conceptions. Also, “case study” method was considered as one of the way for creation of choral arrangement. Results and conclusion. The discipline "Choral arrangement" is an extremely important component of the formation of the artistic personality of the future choirmaster, as it develops his musical thinking and creative abilities, most actively contributes to the disclosure of his creative potential, helps him learn a whole series of practical skills necessary for a choirmaster – the leader and artistic director of a singing group, that is, it directly affects his demand and “competitiveness” in the profession of choral master. Arranging, which allows you to transform and enrich musical works, deepen or vary their sound characteristics and emotional expressiveness, provides an opportunity for their original interpretation, is a powerful tool for the rapid progress of a musician’s creative abilities. Modern educational conditions require new methods and forms of teaching in the field of choral pedagogy, including choral arrangement. Use of the “case study” method (teaching on the example of specific situations), various experiments, online communication and an arsenal of computer technologies (variation of the composition of choral voices, creation of new timbre sounds, improvisation, multi-style arrangements, collective creativity, electronic sound processing by computer programs, etc.) will contribute to the fullest disclosure of the creative potential of choirmaster students.

A Phenomenological Study of the Learning Issues and Teaching Strategies in Piano Teaching in China

In China, many young piano learners below the pre-college level would take graded examinations to validate their learning outcomes, however, scholars and pedagogues acknowledge there is an existing discrepancy between grade achievement and actual playing abilities. The current study scrutinizes the learning issues of the students in this context and the teaching strategies applied by the teachers. This study employed a qualitative approach, and a semi-structured interview was conducted with twelve piano teachers, and lesson observations were conducted during their lessons with one of their students. Interpretative Phenomenological Analysis (IPA) was carried out based on the interview data and the content analysis was conducted towards the observation data. The findings demonstrated that the students suffered from five aspects of learning issues, namely music reading, skill acquisition, memorization, interpretation, and performance anxiety. To resolve those issues, the teacher participants addressed 13 common teaching strategies. However, after the data triangulation it was found that there was inconsistency in monitoring of students’ learning progress in accordance with the strategies presented by the teachers; under the context of the graded examination preparation, memorization, interpretation, and performance anxiety were among the critical issues.