Analysis and (or?) performance

Rink, John

doi:10.1017/cbo9780511811739.004

Cited by 35 publications

(36 citation statements)

References 5 publications

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“…Palmer (1989) demonstrated that performers' specific interpretations of structure effected audible characteristics of their performance, such as melody lead and expressive timing. This is extended by Rink's (2002) assertion that interpretation of a score influences expressed performance style. We propose that there will be a similar effect to those noted for the audible aspect of performance evident within a performer's non-technical performance motions, particularly with respect to phrase structure.…”

Section: The Expressive Role Of Non-technical Movementsmentioning

confidence: 92%

The Interpretive Shaping of Embodied Musical Structure in Piano Performance

Buck¹,

MacRitchie²,

Bailey³

2013

EMR

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Research has indicated that the magnitude of physical expressive movements during a performance helps to communicate a musician's affective intent. However, the underlying function of these performance gestures remains unclear. Nine highly skilled solo pianists are examined here to investigate the effect of structural interpretation on performance motion patterns. Following previous findings that these performers generate repeated patterns of motion through overall upper-body movements corresponding to phrasing structure, this study now investigates the particular shapes traced by these movements. Through this we identify universal and idiosyncratic features within the shapes of motion patterns generated by these performers. Gestural shapes are examined for performances of Chopin's explicitly structured A major Prelude (Op. 28, No. 7) and are related to individual interpretations of the more complex phrasing structure of Chopin's B minor Prelude (Op. 28, No. 6). Findings reveal a universal general embodiment of phrasing structure and other higherlevel structural features of the music. The physical makeup of this embodiment, however, is particular to both the performer and the piece being performed. Examining the link between performers' movements and interpreted structure strengthens understanding of the connection between body and instrument, furthering awareness of the relations between cognitive interpretation and physical expression of structure within music performance.

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Section: The Expressive Role Of Non-technical Movementsmentioning

confidence: 92%

The Interpretive Shaping of Embodied Musical Structure in Piano Performance

Buck¹,

MacRitchie²,

Bailey³

2013

EMR

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“…Rink (2002) argues that “the interpretation of music requires decisions – conscious or otherwise – about the contextual functions of particular musical features and the means of projecting them” (p. 35). In this context, the use of audio or video traces has long been acknowledged: “perhaps the firmest ground on which to conduct the debate is a recording of performance, which lays the performer’s conception open to inspection more fully than the expression marks given by the composer or the comments by the listener” (Shaffer, 1995, p. 31).…”

Section: Investigation Of Mixed Music Performance: a Qualitative Methodsmentioning

confidence: 99%

“…During the confrontations with the recorded videos of the performances, we asked performers to propose an a posteriori analysis of the performance – that is to say, a descriptive analysis (see Rink, 2002). We asked the participants to describe the relation between their performance and the live electronics, especially in relation to either timbre (for the pieces by Jean-Emmanuel Filet and Brice Gatinet) or gesture control (for the pieces by Analia Llugdar and Cédric Camier, and Sylvain Pohu).…”

Section: Methodsmentioning

confidence: 99%

Solo works of mixed music with live electronics: A qualitative enquiry in timbre and gesture from the performer’s perspective

Boutard

2016

Musicae Scientiae

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The performance of mixed music with live electronics is challenging for performers. In this context, idiosyncratic sound processing and synthesis tools are developed specifically for each work, inclined to technological obsolescence, and thus creating transmission and preservation issues. Still, performers, especially in the case of solo works, develop an expertise over time and over multiple performances by multiple performers. From this perspective, the question of co-construction of meaning in relation to performance is especially relevant. We designed an experiment to study this process of co-construction of expertise and appropriation of live electronics from the perspective of instrumentalists. We commissioned four solo works (each one for a different instrument) and asked two instrumentalists (for each work) to play the piece during a concert. We used qualitative methods stemming from psychology of work to study the performance activity in relation to gesture and timbre from the point of view of instrumentalists. For each work, the instrumentalists were confronted with the traces of their own activity, that is to say, the video and audio recordings of their performance and, subsequently, with those of the other instrumentalist in his/her presence. The data was then compared to conceptual frameworks designed mainly in relation to instrumental music. This study provides us with a better understanding of the appropriation of live electronics by instrumentalists, the strategies for transmitting an expertise, and proposes theoretical and practical grounds for new frameworks for documenting and disseminating mixed music with live electronics.

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“…The process of proceduralization changes how a skill is executed and the quality of intuitions more generally, resulting in the “mature intuition” described by Baylor (2001) . A similar phrase from music performance studies is Rink’s (2002) “informed intuition,” a concept “which recognizes the importance of intuition in the interpretative process but also that considerable knowledge and experience generally lie behind it” (p. 36; also see Rink, 1990 ). This point is made more generally by Hogarth (2001) , who notes that each person’s “inventory of intuitions” or “cultural capital” which they use to interpret the world is continually and mainly implicitly shaped and informed by their experiences (p. 9; also see Hogarth, 2008 , p. 93–98).…”

Section: A Spiral Model Of Musical Decision-makingmentioning

confidence: 99%

A spiral model of musical decision-making

2014

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This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans’ (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor’s (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally.

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Analysis and (or?) performance

Cited by 35 publications

References 5 publications

The Interpretive Shaping of Embodied Musical Structure in Piano Performance

The Interpretive Shaping of Embodied Musical Structure in Piano Performance

Solo works of mixed music with live electronics: A qualitative enquiry in timbre and gesture from the performer’s perspective

A spiral model of musical decision-making

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