Musical Performance Research Articles

Identifying Emotional Patterns in Young Musicians and Their Impact on Music Performance

This study explores the emotional patterns experienced by young musicians before performing and examines how their emotional beliefs influence these pre-performance emotions. A total of 320 students aged 10 to 18 years participated, recalling their most recent concert memory through a guided imagery induction. A selection of 10 emotional patterns was used to assess their feelings, and they selected Happy, Sad, Courageous, Angry, Elated, Inquisitive, Bored, Calm, Tired, and Afraid. They also responded to questions about their opinions regarding musical performance nervousness (MPN), including MPN utility, MPN regulation, and audience attitude. The cluster analysis revealed distinct emotional profiles categorized into Llow MPN, Moderate MPN, and high MPN. Findings showed that beliefs regarding the negative impact of MPN, perceived inefficacy in managing anxiety, and pressure from an unsupportive audience were associated with high and moderate MPN profiles. The study discusses the practical implications for music education based on these insights.

A study of gestures representing musical emotions

The creation of music has originated from the burst of inspiration of the composer. Many studies suggested that improvisation plays a more vital role than composition in the emergence of new forms of music. The production of music, especially in Western cultures, tends to follow its traditional music theory. With the emergence of Pythagorean music theory, Western musicology has been defined and developed in depth. The composer’s creation is based on music creation within the framework of the Western music theory. However, in recent years, with the rise of the topic of music gestures, some scholars have learned that music ontology as a four-dimensional hypercube is inseparable from the performer’s gesture. Therefore, some musicians also attempt to create flexible music from the perspective of music performers and based on performance gestures. This kind of music creation breaks the traditional music theory system and has more personal style characteristics, but few people can understand the thinking logic behind this kind of creative behavior. Therefore, this article focuses on the singing gesture and reversely analyzes its impact on musical creation. We use a recent mathematic definition of gestures and we discuss emotion from its etymological origin (from the Latin e-movere) as a gestural movement from inside out. This article conducts an in-depth analysis based on the singer’s gesture for the following two reasons: First, the literature on the connection between singing gesture theory and composition theory remains scarce. Second, gestures produced by a singer are the only performance form that is not enabled by other instruments.

Computer-assisted education and application in the music flipped classroom: A review of the literature

The application of computer-assisted learning in music education not only changes the traditional teaching mode, in addition, it provides students with a richer and more personalized learning experience. However, the implementation of computer-assisted learning also faces many challenges, such as insufficient technological infrastructure, teachers' role change, and the development of students' independent learning ability. Therefore, this study explored the pedagogical effects of computer-assisted learning applications in music-flipped classrooms and how to enhance students' learning and musical expression through a computer-assisted flipped classroom teaching model by using the literature review method. Through a five-step approach, this study analyzes the current status, problems, challenges and opportunities of computer-assisted education in music-flipped classrooms, aiming to assess its effectiveness and propose strategies to promote innovation and development in music education. The study findings demonstrated that utilising computer-assisted learning in the music-flipped classroom substantially enhanced students' musical knowledge, skills, and performance by fostering active learning participation and interaction. Conclusions drawn from the study found that computer-assisted learning is effective in improving learning outcomes and musical performance and can contribute to the advancement of music education theory and practice. Future academic exploration needs to confront these obstacles and delve into inventive applications of computer-assisted learning. Furthermore, there is a necessity for prolonged investigations to evaluate the enduring influence of music education outcomes through computer-assisted music-flipped classroom instruction.

Some Characteristics in Light Music Performance Towards Sustainable Development in Vietnamese Cultural Identity

Objective: The goal is to introduce readers to the characteristics of pop music performances, to clarify more about pop music singing (mainly Rock-Pop), the differences compared to normal singing, in this article the author wants to introduce some characteristics in the way of performing pop music songs. Method: The study uses two main groups of methods: theoretical research and practical research to evaluate the overall data. In which, the focus is on observation and pedagogical experiments. Results: Research results have shown that, with special attention to novelty, uniqueness, and strong impression on the audience, since its inception, light music (Rock-Pop) has had a special appeal to the audience, especially the young. As a popular music genre, highly entertaining, paying important attention to the cyclical rhythm, often associated with dance music, musical language, singing style, performance, and use of the orchestra of light music have many different characteristics compared to classical music and popular music. Bringing positive values in the sustainable development of Vietnamese national culture Contribution: Understanding the characteristics of singing light music is one of the necessary things for singers and light music teachers at vocal training facilities to promote advantages and limit disadvantages.

(Re) Examining the Functions of Dùndún Talking Drum in the Inter-Cultural Music Process of Africa and the African Diaspora

Whenever the hourglass-shaped drum 'Dùndún' is mentioned, minds of music scholars readily go to the hourglass-talking drum of the Yorùbá-speaking people of West Africa. However, this does not mean that this musical instrument is peculiar to the Yorùbá as its distribution- in its varied forms- across West Africa is general; covering an area stretching roughly from Senegal to the Cameroun Republic1. This talking drum's compositional and performance techniques have become highly specialized and standardized because of its high usage in both the social and religious celebrations of the Yorùbá. This paper focuses on the use of Dùndún to perform other sonic functions beyond Yorùbá speech melodies and oral poetry. Intercultural music theory, being used in this study has shown that the prospect of Dùndún talking drum usage within the context of diasporic music performances proffers greater potential for the instrument as it has been favourably utilized by internationally renowned musicians in contemporary popular music both within and outside the shores of Africa. Furthermore, that interested musicians in the diaspora will find this instrument useful for their subsequent compositions and performances will help redefine the socio-cultural worldview of the music of Africa.

Merana Shanti: A Vocal Music Composition | Merana Shanti: Sebuah Komposisi Musik Vokal

The musical work "Merana Shanti" is an innovation in musical art combining Cak, Gongseng, and Punggalan Barong. The composer aims to create new works by exploring vocal work as the primary medium for creating passion and expanding the repertoire of vocal musical instruments. The focus is on developing vocal musical compositions that respect tradition and innovate. The method used in making this work follows the stages of the creative process outlined in the book "The Creative Process" by Brewster Ghiselin, which adopts Roger Session's creation method. The process is divided into three stages: Inspiration, Conception, and Execution. The results of the creation of this work include an interpretation of the meaning of "Merana" and "Shanti," as well as processing the elements of Cak, Punggal Barong, and Gongseng in a creative context. The use of vocals as the primary medium was chosen based on the need for exploration in the vocal realm, with the addition of Punggal Barong and Gongseng to create new nuances in vocal musical performance. In doing the work, the artist will arrange the verbal preparations carefully and in detail using patterns such as Cecandetan and Pupuh songs to produce a charming composition. "Merana Shanti" is a vocal musical composition based on the art of Cak Bona with the addition of Punggal Barong and Gongseng. The use of vocals as the primary medium was chosen to explore the possibilities of expression in this work. The artist will process the vocals with patterns such as Cecandetan and Pupuh songs, combining them with additional Punggal Barong and Gongseng instruments to create an innovative and stunning work.

Presage: First year music students’ experiences, understandings, expectations and aspirations on entering an undergraduate music program

For professional musicians, all aspects of music play an integrated role in music-making. However, for first year music students, who usually begin their studies identifying as performers, some may question the value of learning these other areas of music. This study investigates the responses of 80 first year undergraduate music students to questions about aspects of the music study they were about to begin, and their identity as a musician. The students were enrolled in two universities located in suburban and regional Australia. Questions were given to students in their first week of the Bachelor of Music course before classes began. In doing so, the study sought to capture what experiences, understandings, expectations and aspirations incoming students bring to, and have for, an undergraduate music course, and how they identify as musicians as they begin the course. As expected, findings noted experience with music performance and the possible influence of the location of the universities in relation to a low level of music theory knowledge. Yet understanding student interest in music technology, musicology and the music of Australian First Nations people reveals presage opinions which can help design authentic curriculum for the education of the 21st century musician.

Rhythm, noise and action: decoding R.D. Burman’s soundtracks of Bombay cinema

ABSTRACT The sustained use of ‘Western’ style orchestration in Bombay film music can be attributed to the trajectory of two kinds of musical practices, one tethered to the leisure economies developed by the colonial rule from the 19th century onwards, and second, the robust and frequent presence of travelling jazz bands from the early twentieth century. As a period of intense transformation, the decade of the 1940s saw musicians from different parts of the subcontinent move to Bombay to find work in the film industry. This process often involved adapting to new performance contexts, genres and instruments. Studios in the Bombay film industry became fecund spaces where musicians and arrangers trained in Western classical music came in heady contact with the jazz men of Bombay’s nightclubss. Focusing on the late 1960s as another transitional moment, this article traces R.D. Burman’s affective encounters with these ‘mobile musicking bodies.’ Biographies of his key musicians give us detailed accounts of their training and involvement in diverse sites of musical performance, before they arrived in the Bombay film industry. This detour informs my analysis of R.D. Burman and his team’s innovative film scores, underlining vocal effects, side rhythms and inclusion of edgy off-key sounds. Moving away from a song-driven approach, I focus on title tracks, background scores and extended instrumental set-pieces of crime and action genres that are now getting recirculated on the internet by R.D. Burman’s fans. Through a methodology that will combine textual analysis, internet ethnography and close listening, the article will argue that these new soundscapes carried the inscriptions of global music cultures and ‘extra-musical’ noise.

Improving Human Connections and Audience Satisfaction in Online Concerts and Music Conferences

Abstract Online concerts and music conferences are becoming increasingly necessary. Although online events bring numerous benefits, many event attendees find the online format unsatisfying, mainly because of the lack of human connections and social interactions in comparison with in-person music events. Guided by literature on networked music performance, online social presence, and social computing design principles, the authors designed and developed Deck 10 Intermedia, an online music event platform that aims to replicate human connections from in-person music events. The effectiveness of the system design and overall user satisfaction are evaluated using data collected from two global music events: the International Computer Music Conference 2021, and the Summer Institute for Contemporary Performance Practice 2021. The results indicate that the system was effective at restoring human connections and that users found the participation experience socially connected and satisfying. The results also led to design recommendations for future online music event systems.

Contemporary music perception among music students: current trends and educational perspectives in Armenia

ABSTRACT Since the twentieth century, contemporary music has been a source of controversial perceptions and standpoints. This study aims to explore young music students’ perception of the term ‘contemporary music’ and anticipate possible directions for improvement in music education in Armenia. Based on her pedagogical experience, and a scientific literature review, the author attempted to describe the issue in terms of perception and prejudices. A questionnaire was used to conduct the survey among music students to gather data from respondents about their insights on the subject. The findings indicate it is mostly a combination of mixed ideas of contemporary academic and popular music formed as a result of the learner's personal musical experience. The result reveals that it is possible to change the attitude of students to a positive one by actively gaining the experience of contemporary music performance. The author has also formulated observations and recommendations, which should be taken into account for further research.

A twist on the historically authentic musical performance

A twist on the historically authentic musical performance

Singing Techniques and Teaching Methods of Singer Liao Changyong in Chinese Opera Vocal Performance in a Sociological Context

Background and Aims: Grounded in the rich tradition of Chinese opera, the study aims to investigate the singing techniques and teaching methods of Singer Liao Changyong in Chinese Opera Vocal Performance in a Sociological Context. Materials and Methods: Utilizing a mixed-methods approach, including qualitative analysis, interviews, and sociocultural analysis, the research investigates how Singer Liao Changyong navigates the dynamic landscape of Chinese opera vocal performance, particularly in terms of technical proficiency, emotional expression, and cultural resonance, integration of Bel canto singing traditions with Chinese opera. Results: Through a comprehensive examination of Liao Changyong's journey from rural roots to international acclaim, the study uncovers valuable insights into the sociological dimensions of opera reflecting human experiences and societal dynamics. The findings contribute to theoretical discourse in music education, performance studies, and sociological studies on music and culture, emphasizing the importance of cultural preservation, innovation, and cross-cultural dialogue in the realm of vocal performance. Conclusion: The study explores the intricate relationship between individual artistry and sociocultural influences in Chinese opera vocal performance, emphasizing the importance of incorporating cultural nuances, emotional expression, and technical mastery in vocal education and performance, offering practical guidance for educators and performers.

A Studying the Music, Dance, and Performance Styles in Shi Jing-Feng

Background and Aim: Shi jing, the earliest collection of poetry in ancient China, collects 305 poems from the beginning of the Western Zhou Dynasty to the middle of the Chun qiu Period(11th century B.C.E.-6th century B.C.E.), and is divided into three parts, namely, the Feng, the Ya, and the Song. This paper can actively explore the types of dances and performance forms unique to the Shi jing-Feng from the literature, expanding the ideas for the theoretical study of ancient music and dance, which is of great social significance and artistic value. Materials and Methods: This paper uses the documentary research method to discover textual records on the types of music dance and performance forms of the fifteen vassal states. A case study method is used to select representative chapters from the five types of music and dance for specific analyses. The main informants of this paper are divided into three groups: experts on the Shi jing, researchers from museums and cultural centers, and performers of ancient music and dance. The validity of the collected data was tested using mathematical statistics. Results: A study of the Shi jing - Feng concept, its composition and contents, and the characteristics of its language and methods of expression. From 160 poems, 17 poems with music and dance records are selected and analyzed in terms of the types of music and dance as well as the forms of performance. Conclusion: Based on the results of the study, the concept of "Shi jing-Feng", the three accounts of the process of its formation, and its specific characteristics are clarified. Five types of music and dance are derived from the text, namely, the witch dance, the ten thousand dance, the shooting and hunting dance, the collective song and dance, and the banquet and drinking music and dance, and it is summarized that the Chinese pre-Qin music and dance adopt the integrated performance form of poetry, music, and dance in a trinity.

Are you colour deaf?

Originating from antiquity, the idea of associating colour with music has been researched extensively in recent decades. The terms for this phenomenon include crossmodal correspondences and synaesthesia (or chromaesthesia), both of which refer to associations our brain makes from stimuli that it perceives through different senses. Correspondence between sound and music, and light and colour, has been a scholarly topic for years—mostly from a scientific point of view. This thesis aims to investigate different views on the subject, focusing on its artistic/aesthetic rather than neurobiological components. Music-colour correspondence was born from the need of philosophers to make sense of both music and the world. Linguistics has proven ambiguous when used to explain or make sense out of music, hence colour has been a very powerful replacement. It is possible to draw parallels between sound and light because of their similar ontological nature (vibration). The goal of this thesis is to prove that such an association can enhance a classical music performance for the audience (as related to engagement) and for the performer (as related to analysis, artistic input). As a case study, Olivier Messiaen’s Theme and Variations is analysed in this rather unconventional colour-coded way. Keywords: synaesthesia, chromaesthesia, crossmodal correspondences, Olivier Messiaen, colour and music.

Музыка в живописи Натальи Нестеровой

The article discusses the friendship and creative connections between the famous representatives of Russian culture — painter Natalya Nesterova and composer David Krivitsky. The relevance of the topic is connected with Nesterova’s 80th birthday anniversary the world is celebrating. This is a reason to draw attention to the fact that at the moment there is an extremely limited number of scientific works devoted to her heritage. This article for the first time publishes some unknown facts from her artist’s biography and presents her pictures from the composer’s personal archive. The research perspective is to reveal the significance of musical art and performance for N.I. Nesterova and to show the originality of her approach to depicting musicians and the intended symbolic meaning in her paintings with musical subjects. As an exceptional case, the article describes her activities as an illustrator for the music editions of the composer D.I. Krivitsky. It can be concluded that communication between the two bright creative personalities had a mutual influence and served as an impetus for the emergence of interesting works of art.

THE IMPORTANCE OF TEACHING GENERAL PIANO SCIENCE IN MUSIC AND ART HIGHER EDUCATION INSTITUTIONS

This article analyzes the importance of teaching general piano science in music and art higher education institutions, its role in the formation of students' musical thinking and performance skills. General piano lessons help students develop musical knowledge, technical skills, and creative abilities. Also, the article considers the place of piano science in the curriculum, effective methods used in the educational process, and important aspects of organizing lesson processes. Through this subject, students not only develop their creative potential, but also acquire the theoretical and practical knowledge necessary for successful work as a professional musician in the future.

THE SIGNIFICANCE OF B.V. ASAFYEV'S INTONATION THEORY IN THE INSTRUMENTAL-PERFORMANCE TRAINING OF A MUSIC TEACHER

The intonation theory of B.V. Asafiev is a methodological basis for theoretical musicology, all types of musical performance and musical-pedagogical activity. However, the problem of using this concept in the training of school music teachers is not fully applied in the educational process, from which a conclusion is made about the need for its development and implementation in the educational process of pedagogical universities.

Trade-offs in Coordination Strategies for Duet Jazz Performances Subject to Network Delay and Jitter

Coordination between participants is a necessary foundation for successful human interaction. This is especially true in group musical performances, where action must often be temporally coordinated between the members of an ensemble for their performance to be effective. Networked mediation can disrupt this coordination process by introducing a delay between when a musical sound is produced and when it is received. This can result in significant deteriorations in synchrony and stability between performers. Here we show that five duos of professional jazz musicians adopt diverse strategies when confronted by the difficulties of coordinating performances over a network—difficulties that are not exclusive to networked performance but are also present in other situations (such as when coordinating performances over large physical spaces). What appear to be two alternatives involve: 1) one musician being led by the other, tracking the timings of the leader’s performance; or 2) both musicians accommodating to each other, mutually adapting their timing. During networked performance, these two strategies favor different sides of the trade-off between, respectively, tempo synchrony and stability; in the absence of delay, both achieve similar outcomes. Our research highlights how remoteness presents new complexities and challenges to successful interaction.

Jürgen Habermas and the Critique of the Urban Subcultures of Subversion and Resistance

The Frankfurt School thinkers are concerned with practical aspects of the society that contribute to domination and subversion of masses not just through visible forces but also through subtle propaganda. The aim of these thinkers is to understand the modus-operandi of this subversion and to suggest ways of resisting this domination. Being a major thinker of the School, Jürgen Habermas critiqued a vast number of aspects that also include several issues related to urban subcultures. Habermas’s basic objective behind these critiques is to understand the modus-operandi of social domination and to suggest ways of emancipation and resisting the subversion. This paper is aimed at understanding the ways in which urban subcultures are related with issues pertaining to subversion and control and how they can be used as tools for resistance and human emancipation. For this, the paper evaluates the views of Jürgen Habermas regarding European Urban Subcultures including but not limited to Art and Music Performances, Radio and Television, Professional Subcultures, and the inherent qualities of these subcultures for understanding the role of these subcultures viz a viz social subversion and resistance.

HARMONIOUS RHYTHMS: EXPLORING THE IMPACT OF MUSIC ON PRODUCTIVITY IN EDUCATIONAL AND WORKPLACE SETTINGS

Background: The relationship between music and productivity has garnered significant interest in both educational and workplace settings, prompting investigations into the cognitive and emotional mechanisms through which music influences task performance. Specific Background: Existing literature suggests that music can enhance cognitive processes, yet findings remain inconclusive regarding its overall impact on productivity levels, particularly in relation to individual differences and environmental factors. Knowledge Gap: Limited empirical studies have simultaneously addressed how genre preferences, personality traits, and contextual variables moderate the effects of music on productivity, highlighting the need for a comprehensive examination of these interactions. Aims: This research aims to elucidate the relationship between music listening and productivity levels among students and employees by employing a mixed-methods approach, integrating quantitative surveys and qualitative interviews. Results: Preliminary findings indicate that music listening positively influences cognitive processes such as concentration and memory while also alleviating stress and anxiety, thus enhancing overall task performance. However, variations were noted based on individual music preferences and the nature of the tasks performed. Novelty: This study uniquely synthesizes insights from psychology, neuroscience, and organizational behavior to provide a nuanced understanding of how music can be effectively integrated into productivity-enhancing strategies. Implications: The results suggest that educators and employers should consider individual preferences and contextual factors when incorporating music into productivity frameworks. By fostering environments conducive to music listening and allowing flexibility in music selection, stakeholders can optimize performance and well-being, thereby promoting creativity and satisfaction in both educational and workplace settings.