33 research outputs found
Facial Expression and Vocal Pitch Height: Evidence of an Intermodal Association
Forty-four participants were asked to sing moderate, high, and low
pitches while their faces were photographed. In a two-alternative forced choice task,
independent judges selected the high-pitch faces as more friendly than the low-pitch
faces. When photographs were cropped to show only the eye region, judges still rated
the high-pitch faces friendlier than the low-pitch faces. These results are consistent
with prior research showing that vocal pitch height is used to signal aggression (low
pitch) or appeasement (high pitch). An analysis of the facial features shows a strong
correlation between eyebrow position and sung pitch—consistent with the role of
eyebrows in signaling aggression and appeasement. Overall, the results are consistent
with an inter-modal linkage between vocal and facial expressions
Shaping and Co-Shaping Forms of Vitality in Music: Beyond Cognitivist and Emotivist Approaches to Musical Expressiveness
Over the last three decades, there has been an increasing number of empirical studies on how music conveys and induces emotional expressiveness, revolving around both the longstanding discourse over compositional and performance features related to recognized or felt emotions, and more recent interest in (neuro)psychological mechanisms underlying emotions induced by music. However, the question of how expressive forms of music are shaped and co-shaped within the ongoing process of music-making and music perception has received little investigation. This paper focuses on the expressive forms of music that the developmental psychologist Daniel N. Stern refers to as ‘forms of vitality’, discussing how they are (co)shaped and give rise to aesthetic experience of music. The aim is the development of a theoretical framework allowing for a new research perspective on musical expressiveness—taking into account the aesthetic experience of music—in relation to the process of (co)shaping forms of vitality in music. Further, a hypothesis for and methodologies of empirical research fitting into this theoretical framework are considered, expanding the schema beyond cognitivist and emotivist approaches to musical expressiveness
A importância do corpo na praxis musical: execução, interpretação e percepção
A importância do corpo na praxis musical: execução, interpretação e percepção.
A forma como o corpo está envolvido em toda a prática musical tem vindo a despertar cada vez mais curiosidade em diferentes áreas de investigação. Através destas abordagens cientÃficas os músicos ganham consciência deste facto intimamente ligado a todo o processo que vai desde a preparação de uma obra até à performance musical. Este trabalho oferece uma visão geral de como o corpo e o movimento corporal contribuem para uma maior eficácia na comunicação musical e, consequentemente, melhor qualidade na performance, do ponto de vista do público; ### Abstract:
The importance of the body in musical praxis: execution, interpretation and perception.
The way how the body is involved in all musical practice has been increasing the curiosity in different fields of research. Through these scientific approaches musicians gain consciousness of this fact that is intimately linked to the entire process that starts with the preparation of a piece and ends with the musical performance. This work offers a general view on how the body and bodily movement contribute to a higher effectiveness in musical communication and, consequently, higher quality in performance, from the audience’s point of view
BEYOND THE BATON An Investigation of the Intangibles of Conducting
How does one conductor create a completely different musical result from another, despite comparable levels of technical proficiency? How do conductors inspire the musicians before them? What intangible forms of communication are in operation whilst conducting? Can they be identified and explored? Can they be taught? Conducting can be understood to be an exchange of energy and innate leadership. The physical technique of conducting may be the means to communicate musical data such as style, dynamics, tempo and articulation, however the essence of the art of conducting exists beyond (and often despite) the technique. Pedagogical approaches to conducting teach the technique, however it appears that there is not an accepted method to teach communication skills that are beyond the technique and therefore students of the art of conducting are expected to develop these skills on their own. My research explores the existing knowledge related to conducting from a broad range of disciplines. Using a phenomenographical approach, participating musicians were interviewed to gain an understanding of the experiences and perceptions of conducting from a variety of perspectives. Understanding how musicians experience conductors’ intentions as they are subliminally communicated provides a unique insight into their reception of those intentions. The outcome of this research includes a hypothesis of what might be done to assist in teaching the intangible elements of instrumental conducting based on insights uncovered through analysis of the collected data
CMS South Central Regional Conference 2021 Program
Program for the 2021 virtual conference of the CMS South Central Chapter
The composition of concert music within the Digital Audio Workstation environment.
This research project includes a portfolio of compositions and a contextual document, the subject of which is the Digital Audio Workstation as a human computer interface for the composition of concert music, intended for live performance.
The portfolio of compositions consists of the music notation and audio recordings of five works, composed by the researcher within the context of the research project: Variances for jazz guitar, piano, percussion and indeterminate ensemble; Rapprochement for microtonal ensemble; Transits for bass flute, eight voices and electronics; Shutterspeed for clarinet and soundtrack; and Fossils for piano and live electronics. For each of the works, a distinct DAW-based concept and compositional approach has been developed and employed.
The contextual document investigates the implications of the DAW for the composition of concert music, and discusses the five portfolio compositions against the background of practices of selected composers; the history and development of the analogue studio, early computer and DAW composition; aspects of device interaction; and the topic of 'liveness'
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Electroacoustic music composition: myth, symbol and image
This thesis presents the author's musical compositions through the elucidation of their source impulse. In order to facilitate the unveiling of the works presented in this thesis I have subdivided it into sections thus:
Section 1 - Here I introduce the reader to the motivation behind my music composition work and discuss the elements which inform my cosmology through the elucidation of the concepts and methods used in the realisation of the compositions.
Section 2 - An introduction, discussion and conclusion to the series heading of Raza. The compositions and chapters are as follows: Chapter 3, Lucero for charango and tape; Chapter 4, Gato's Raid for marimba and tape; Chapter 6, De Luna a Luna ... for two percussionists and tape. In this section I address that particular musical imagery which is directly related to my cultural roots.
Section 3 - An introduction, discussion and conclusion to the series heading of Urbis. The compositions and chapters are as follows: Chapter 9, Urbis #2 'passing moments/riffs & raffs' for bass clarinet and tape; Chapter 10, Urbis #3 'Alter ego' for electric guitar, live electronics and tape; Chapter 11, Urbis #4 for tape. In this section I address the use of modern urban culture symbols in order to create a contemporary mythological canon.
Section 4 - A conclusion to this thesis