Performance Perspective Research Articles

...CHE SONANDO APPARISCONO – desire for sounding meanings through a musician's practice

The exposition presents a performer's perspective in studying Frescobaldi's toccatas. The concept of "desire" is applied to describe both the performer’s process and the internal structures of music: as a philosophical concept, desire describes a musician’s transcendental and procedural act of turning the written music into sounding music; as a musical concept in the context of early tonal music, it describes tensions, expectations and various ways to arrive to a release. The reflection of a musician’s process is supplemented by readings of research related to toccatas and Frescobaldi, and theoretical writings of the time such as Galilei, Zarlino, Descartes and of course, Frescobaldi himself. Associative verbalization is developed as a tool to aid the musician’s desiring process of leaping from notes to performance. The exposition is built around a brief central text acting as a frame, from which links on coloured words lead to further explorations. Some of them are lengthier, some shorter, touching the subject from different angles, sometimes erring to tangential thoughts. Together they form an essential part of the exposition and contain references to other research. The reader can either read the central text first and then come back to the links, or jump to the chapters as they appear. The exposition seeks to be enjoyable but somewhat wandering – it can be seen as a sort of a toccata itself.

An optimal implementation strategy of the multi-function window considering the nonlinearity of its technical-environmental-economic performance by window ventilation system size

To address the problems of the indoor air quality deterioration and energy consumption, this study proposed the multi-function window combined with a ventilation system and solar photovoltaic blind. In this study, multi-objective optimization for determining the optimal design of the multi-function window was conducted along with nonlinearity analysis. The main findings can be summarized as follows. First, from the technical-environmental performance's perspective, the amount of solar radiation and wind volume entering the room were found to be key factors causing nonlinearity. In particular, the total energy consumption and indoor CO2 concentration decreased whereas the predicted percentage dissatisfied deteriorated with the increasing the size of the window ventilation system. Second, from the economic performance's perspective, the absolute and relative investment values showed nonlinear relationships with the amount of electricity generated and the total energy consumption. Especially, as the window ventilation system size increased, the absolute investment value decreased due to the reduced amount of electricity generated, and the relative investment value decreased except when the energy supply was larger than the energy demand. Finally, the window ventilation system size was most suitable when it was 3–5% of the multi-function window's size according to the orientation, from a holistic view of the technical-environmental-economic performance.

Charles Wuorinen's Third Piano Sonata: A Performer's Perspective

Charles Wuorinen's Third Piano Sonata: A Performer's Perspective

Charles Wuorinen's <em>Third Piano Sonata</em>: A Performer's Perspective

CONVERSATION FOR CHARLES WUORINEN ELEANOR CORY 52 Perspectives of New Music Conversation 53 54 Perspectives of New Music ...

Error Analysis of Customer Baseline Load (CBL) Calculation Methods for Residential Customers

Federal Energy Regulatory Commission (FERC) 745 order has created an environment that allows demand response owners to sell their load reduction in the wholesale market. One of the main challenges that independent system operators and utilities face is developing customer baseline load (CBL) calculation methods that work satisfactorily in this new environment. Consequently, it is critical that these methods need to be evaluated from the error performance's perspective. In this paper, error analysis of CBL calculation methods for residential customers is carried out theoretically and empirically. To perform theoretical analysis, the utility function of customers is analyzed to determine the existence of the economic incentives for gaming and inefficient consumption as well as studying the impact of inaccuracy on the social welfare loss. Furthermore, to perform the empirical analysis, well-established CBL calculation methods, HighXofY (New York ISO, well known as NYISO), LowXofY, MidXofY, exponential moving average (New England ISO, well known as ISONE), and regression are first introduced and, then, utilized to calculate the CBL. A dataset consisting of 262 residential customers is used for this analysis. In addition, the error analysis is performed using accuracy and bias metrics. To reach a valid conclusion about the overall performance of CBL methods, an economic analysis of a hypothetical peak time rebate (PTR) program is carried out. According to the results of the case study, the utility pays at least half of its revenue as a rebate solely due to inaccuracy of CBL methods. In addition, it is demonstrated that PTR creates inefficiencies in the residential sector because of the failure of CBL calculation methods to accurately predict the customers’ load profile on the event day.

Referential Networks, Composing and the "Outside World"

Name: Patrick van Deurzen Main subject: Theory of Music Research coach: Marcel Cobussen Title of research: Referential Networks, Composing and the “Outside World” Research question: How does a new composition relate to the existing body of (art)works: the “outside world”? Summary of results: One aspect of composing is making countless connections, consciously and unconsciously, to other works. Of these countless connections, those created consciously form what I call a Referential Network. The works to which these connections are made, form the “Outside World”. In this research, I describe three of my compositions as three different Referential Networks. I analyse the compositions and show how the chosen references influence the compositional process and outcome. Performers (and listeners) also use references to access a composition. To understand this, I look at how we can understand a text and what the relation of author and observer is to a text. In relation to this, I have asked various performers for feedback to see to what extent my Referential Networks are noticed and if they play a role in interpreting them. To put my composing and this research in a historical context, I look at certain aspects of European composed art music after World War II to show two different views on tradition and the past. My concluding remarks include conclusions about the artistic result, i.e. the compositions, the performer's perspective, and some philosophical implications. Biography Patrick van Deurzen is a Dutch Composer and teaches Music Theory, Instrumentation and Arranging at the Royal Conservatoire of The Hague and the Rotterdam Conservatoire of Music.

OCCAM NOTIONS: COLLABORATION AND THE PERFORMER'S PERSPECTIVE IN ÉLIANE RADIGUE'S OCCAM OCEAN

AbstractAfter nearly 40 years of creating recorded electronic music, for the last 10 years Éliane Radigue has created music exclusively in collaboration with performers, using solely oral and aural transmission. Focusing on the details of this ‘scoreless’ working method, this article considers the performer's perspective on Radigue's Occam Ocean (2011–), a series of 22 infinitely combinable solos and over 20 chamber pieces. Through interviews with the performers and Radigue, a composite understanding of their collaboration is reached, focusing on the emergent ideas of virtuosity, memory, images, scores, hospitality and non-hierarchy. A typical transmission and collaboration is described, and a new lens for viewing this method is proposed, the living score. The article concludes with a brief discussion of how Radigue and her collaborators' non-hierarchical model of collaboration may offer an alternative compositional framework.

Posicionamentos interacionais mobilizados por Tudo sobre minha mãe na rede social Filmow

Este artigo analisa os posicionamentos interacionais (DAVIES & HARRÉ, 1999) das/dos participantes da rede social Filmow ao comentarem aspectos relativos ao gênero e à sexualidade abordados em Tudo sobre minha mãe, de Almodóvar, destacando aqueles que remetem às personagens transgêneros. Privilegiamos um instrumental analítico que se centra na contextualização de pistas indexicais (WORTHAM, 2001). Por entender o gênero pelo prisma da performatividade (BUTLER, 1990), recorremos às Teorias Queer na fundamentação teórica. Os resultados indicam que o filme impulsiona as/os participantes a refletirem sobre performances discursivo-identitárias não hegemônicas, mesmo que nem sempre assumam posicionamentos transgressores. Aventam-se razões para as dificuldades de mobilizar discursos transgressivos.

Conference report: International Conference on Music Perception and Cognition (ICMPC) and European Society for the Cognitive Sciences of Music (ESCOM) 2012.

The 2012 joint meeting of the International Conference on Music Perception and Cognition (ICMPC) and the European Society for the Cognitive Sciences of Music (ESCOM) brought together over 450 researchers from various disciplines within the field of music cognition and perception. This report summarizes various examples of presentations that exemplify broader topics that permeated the 6-day conference, including: (1) the performer's perspective, (2) the listener's perspective, (3) the composer/ improviser's perspective, and (4) the neuroscientist's perspective. Specifically, the report covers research presented by the five keynote speakers, the two grantees of the SEMPRE-ICMPC12 Young Researcher Award, the five symposiums presented at the conference, and select spoken and poster presentations. The presentations discussed here represent a select but diverse sample of research presented throughout this conference, providing an overview of the current state of the field.Keywords: music cognition, music perception, ICMPC, ESCOMSupplemental materials: http://dx.doi.org/10.1037/pmu0000002.suppThe 2012 joint meeting of the International Conference on Music Perception and Cognition (ICMPC) and the European Society for the Cognitive Sciences of Music (ESCOM) brought together participants from more than 40 countries and a broad range of disciplines to discuss research spanning the field of music cognition and perception. The conference was held at the Porto Palace Hotel and Conference Center in Thessaloniki, Greece, from July 23 to 28, 2012. More than 450 participants were in attendance, including many leading researchers from various disciplines within the field. The conference was organized by Aristotle University's School of Music Studies and ESCOM. Emilios Cambouropoulos and Costas Tsougras served as conference cochairs.The conference included five keynote speakers, 154 spoken papers, 258 poster presentations, and five symposiums encompassing related papers on a key research area within the field. The aim of this report is to provide a general summary of the wide breadth of topics covered over these 6 days of presentations. The topics discussed will be divided into the following main themes: (1) the performer's perspective, (2) the listener's perspective, (3) the composer/improviser's perspective, and (4) the neuroscientist's perspective. The report will cover research presented by the five keynote speakers, the two grantees of the SEMPRE-ICMPC12 Young Researcher Award, the five symposiums presented at the conference, and select spoken and poster presentations. For those seeking further elaboration on the papers discussed, proceedings and abstracts from the conference are available at the official ICMPC-ESCOM 2012 website (http://icmpc-escom2012.web.auth .gr). A series of blogs by Victoria Williamson, which are available as a free e-book, provide another comprehensive view of the conference experience (http://www.gold.ac.uk/media/e-book.pdf).The Performer's PerspectiveJohn Rink from the University of Cambridge first tackled the performer's perspective, presenting a keynote on the "[fjutility of performance analysis." Developing from skepticism that the structure of a work can be adequately traced to the static representation of the score, Rink proposed that notation conveys an array of possible structures and that these can be most comprehensively understood through exploration of the musical performance using a range of techniques. An exploratory study putting this theory into practice was later presented by Helen Prior (King's College, London), who investigated the musical shaping of professional performers, using both interpretive phenomenological analysis of semistructured interviews and detailed analysis of instrumental performance. This combined approach enabled comparison of the performer's intention with the auditory outcome, an aspect of the musical process usually obscured, and demonstrating the value of employing multiple analytical methods. …

Piano Trios of Fanny Hensel and Clara Schumann

Fanny Hensel and Clara Schumann make an interesting pair for musical comparison. Both received good training as pianists and composers, maintained close ties to prominent composers in the nineteenth century, and sustained a lifelong involvement in music. Their lesser known contributions to the nineteenth century piano music in particular make them an interesting area for study. This paper explores the performance related issues in performing the piano works of these two composers, with focus on their piano trios. It includes a formal analysis of each of the composer's work carried out from a performer's perspective. Each analysis will consider key musical elements such as form, melody, dynamics, tempo, texture and colour in order to reach conclusions about the pianistic idioms and expressive intentions of both composers. There will also be a discussion of the interpretative and stylistic issues encountered throughout the course of the research. The outcomes of these processes will combine to inform the preparation of the piano works in order to produce a convincing and stylistically appropriate performance. Performance, therefore, will be both a key tool and a key outcome of the research, leading to an additional body of knowledge about these two significant, but little known composers.

Free, Stuck, Tangled: Bob Dylan, the ‘Self’ and the Performer's Critical Perspective

The following exchange occurred on 17 May 1966, during a Bob Dylan concert at Free Trade Hall in Manchester, England: Anonymous audience member from deep in the crowd: ‘Judas!’ Dylan: ‘I don't beli...

Commentary on "Rhythm

[1] As the first issue of Music Online (MTO) to be dedicated in its entirety to structural analysis of African and African-influenced music, this publications stands as a milestone in the field. It is not the first time that Music Online has included articles addressing world music (c.f. Anku 2000, Martinez 2000), but the issue confirms a renewed surge of academic interest in structural analyses of non-Western music. Most importantly that surge of interest is reaching beyond the field of ethnomusicology to include theorists and music scholars in general.[2] In February 2009 the University of Amherst hosted a much-celebrated conference dedicated to Approaches to World an effort that has led to the formation of a new journal dedicated to the topic. Readers working outside the field of ethnomusicology may not realize that after 1960 the discipline's growing emphasis on practice and cultural studies pushed structural analysis, in tandem with comparative study, to the periphery of the field (see Nettl 2010 for details on this history). Music theory and ethnomusicology seemed destined to travel separate paths until recently, when the trial-separation now appears to be headed towards reconciliation rather than divorce (c.f. Blum 2009). The new enthusiasm for the examination of musical structure confirmed by the Amherst conference, now recurring biennally, may have resulted simply from a growing awareness that scholars now have at their disposal a rich array of in-depth studies of music in their specific cultural contexts. That conference was preceded by a series of summer seminars and pioneering courses in comparative music theory, taught from a global perspective, led by Brenda Romero and Victoria Lindsey Levine at the University of Colorado and Colorado College dating back to the 1990s. Some of that work received sponsorship from the College Music Society(1) and the National Endowment for the Humanities. The appearance of Analytical Studies in World Music in 2006, a collection of case-studies edited by Michael Tenzer, brought an even larger public to structural analysis. Even then MTO led the way; Tenzer's article Theory and Analysis of Melody in Balinese Gamelan, appeared well before that in the August 2000 issue of this very journal. Tenzer's second book in this area, Analytical and Cross-Cultural Studies in World Music, co-edited with John Roeder, is coming to press on the heels of this issue of MTO in 2011.[3] As co-authors of this review, we find that our own work and experiences offer further evidence of the timeliness of this MTO focus. As a percussionist and ethnomusicologist with expertise in the traditions of drumming and gyil music in Ghana, Michael Vercelli brings a performer's perspective to this review and notes the utility of this collection for his teaching as Director of the World Music Performance Center at West Virginia University. Janet Sturman, whose work as an ethnomusicologist includes studies of Afro-diasporic traditions and whose service as a board member of the College Music Society includes efforts to build bridges between disciplines, is pleased to note the coincidence of this publication with the recent establishment of the doctoral program in music theory with an emphasis in ethnomusicology at the University of Arizona.[4] Like the composite parts of a well-rehearsed African percussion ensemble, the five articles that comprise this issue interlock in many ways. All the authors are respected scholars with a history of previous publication and performance credits. Three of them directly address African musical practice, while the other two move our attention to musics influenced by African aesthetics and practices. In Yewevu in the Metric Matrix, David Locke examines five selections from the religious drumming repertory of West Africa's Ewe people, who are situated in the modern nations of Ghana and Togo. In Rhythmic Feel as Meter: Non-Isochronous Beat Subdivision in Jembe Music from Mali, Rainer Polak examines a different West African tradition, focusing on aspects of performance repertories associated with the goblet-shaped hand drum known as jembe; while in Temporal Geometries of an African Martin Scherzinger takes the reader to Southern Africa with his examination of temporal organization in the repertories associated with the mbira and other lamellophone instruments in Zimbabwe and Mozambique. …

The Aesthetic of Impermanence: A Performer's Perspective of Four Systems and Tracer

This text offers a side-by-side examination of Four Systems and Tracer from the performer's perspective. After a brief overview in which the influence of Alexander Calder's work upon Brown's compositional style is examined, the article provides a detailed description of the author's ensemble's approach to these two scores. There is also a consideration of how Brown's use of spontaneity in performance helped to free music from its historical context, paving the way toward the eclectic music world of the early twenty-first century.

Richard Barrett's ‘imaginary trombone’

Barrie Webb considers Richard Barrett's works for trombone from the performer's perspective. He discusses in detail the preparation for performance of both pieces, in the process identifying problems and proposing solutions. As part of this process, he also discusses Barrett's approach to structure and expression and demonstrates the unity present between technical means and expressive intent.

Performing electroacoustic music: a wider view of interactivity

For most electroacoustic composers, ‘interactivity’ refers to technology which responds to input from a performer. For performers, in contrast, performance may be described as ‘interactive’ on many levels: interacting with acoustic musical interfaces (their instruments), communicating with composers and audiences, mediating the data of a score, negotiating prosthetic devices (microphones, loudspeakers, pedals, sensors), and interacting with invisible chamber music partners (whether backing tracks or responsive computer programs). There has been little public discussion about these issues. This paper will therefore discuss various elements of interactivity in electroacoustic music from the performer's perspective, with the goal of promoting and facilitating satisfying collaborations for both composers and performers. Discussions of pieces for flute and electronics will demonstrate various issues in performing with electronics; describe ways in which works and systems have been designed to work effectively as chamber music; and offer insights into the process of collaboration between composers, technologists and performers.

Blue Bloodshot Flowers: interaction, reaction and performance

As a result of technological advancements in performance practice, I am arguing that new liminal spaces exist where there is a potential for a reconfiguration of creativity and experimentation in performance practice. Within my current research I explore performance practices which explode the margins between the physical and virtual and what is seen as dominant traditional art practices and innovative technical experimentation. Blue Bloodshot Flowers (2001) is one of a series of experimental performance projects which explores and examines this physical/virtual interface from the audience but also from the performer's perspective.

Theatricality from the Performative Perspective

Theatricality versus Reality For a number of theater critics and scholars, the term theatrical still bears the imprint of Diderot's Paradox.' Consequently, criticism and research grounded in the French philosopher's conception of theater contribute to further widen the chasm between theory and practice, for Diderot's view implies disregarding the process-oriented nature of performance while emphasizing the duality between concepts such as the real and the fictitious, spontaneity and structure, the concrete and the abstract. Such a view is based on the premise that there is an unbridgeable division between body and mind, instinct and intellect, emotion and reason, and it therefore necessarily excludes the performer's perspective, which reconciles in practice what seems paradoxical in theory. Hence, paradox-derived approaches build upon Diderot's assumptions about performance, which oppose living and acting by pitting the spectator's presumed honesty and vulnerability against the actor's alleged powers of deception and dissimulation. Ironically, although they are founded on the conviction that head and heart can function separately, such approaches tend to generate passionate and emotional academic interpretations which, in turn, endow theater studies with a whimsical subjectivity, ranging from fantasy to superstition. In his Dictionnaire Encycloptdique du Thedtre, Michel Corvin evokes a fascination for theatricality in which delight and anxiety seem inextricably intertwined:

Transmission, Interpretation, Collaboration-A Performer's Perspective on the Language of Contemporary Music: An Interview with Sophie Cherrier

Transmission, Interpretation, Collaboration-A Performer's Perspective on the Language of Contemporary Music: An Interview with Sophie Cherrier

Staged replication of naturally‐occurring talk: A performer's perspective

Staged replication of naturally‐occurring talk: A performer's perspective

Aesthetic Aspects of Being In Sport: The Performer's Perspective In Contrast to That of the Spectator

(1985). Aesthetic Aspects of Being In Sport: The Performer's Perspective In Contrast to That of the Spectator. Journal of the Philosophy of Sport: Vol. 12, No. 1, pp. 1-7.