| 1. |
- Friberg, Anders, et al.
(författare)
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Structural Communication
- 2011
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Ingår i: The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning. - : Oxford University Press. - 9780195138108
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Bokkapitel (refereegranskat)abstract
- Variations in timing and dynamics play an essential role in music performance. This is easily shown by having a computer perform a classical piece exactly as written in the score. The result is dull and will probably not affect us in any positive manner, although there may be plenty of potentially beautiful passages in the score. A musician can, by changing the performance of a piece, totally change its emotional character, for example, from sad to happy. How is this possible, and what are the basic techniques used to accomplish such a change? The key is how the musical structure is communicated. Therefore, a good understanding of structure - whether theoretic or intuitive - is a prerequisite for a convincing musical performance. This chapter surveys the basic principles and techniques that musicians use to convey and project music structure, focusing on auditory communication.
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| 2. |
- Ternström, Sten, et al.
(författare)
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Choir
- 2011
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Ingår i: The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning. - : Oxford University Press. - 9780195138108
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- During the past couple of decades, research into the acoustics of choir singing has uncovered numerous interesting effects that are of potential relevance to choral performance. Some concern voice production, others have to do with the acoustics of the stage and the auditorium, while still others are related to our sense of hearing. Many of them are rather subtle and, if taken in isolation, of minor importance. When the acoustical circumstances combine constructively, however, choral singing is certain to become easier; conversely, when they combine destructively, choral performance is likely to suffer. This chapter describes in detail some phenomena that are expected to be particularly interesting and useful to choral directors and singers who are curious about choir acoustics.
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| 3. |
- Welch, G. F., et al.
(författare)
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Solo Voice
- 2011
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Ingår i: The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning. - : Oxford University Press. - 9780195138108
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The ability to use the voice to express music through singing is a characteristic of all known musical cultures. Each culture tends to value particular vocal timbres in the performance of its art music, such as the vocal sounds commonly associated with classical opera in the West, with the throat music of Tuva, or with blues. These vocal timbres are a selection from a much wider potential variety, indicating the inherent plasticity of the human voice. So one of the central issues in any consideration of solo voice performance is the development and maintenance of a particular set of culturally specific behaviors that use an instrument that is not visible and in which the functional components change physically across the life span. This chapter examines the basic design of the vocal instrument (its anatomy, physiology, and psychological correlates), its function in singing, and the pedagogical implications for both teachers and performers.
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