Glenn Gould, Pluriel

Bazzana, Kevin; Guertin, Ghyslaine

doi:10.2307/941215

Cited by 5 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The score takes a somewhat peculiar place because no feedback loop exists between performer and (traditional) scores (see Palermos, 2014). That said, it should be noted that a large part of the Western music repertoire remains surprisingly indeterminate in nature (Bazzana, 1998). Such an insight arguably makes the musical score a "constant stock of possibilities" (Benson, 2003; see also Cook, 2013; (Hegel, 1975).…”

Section: The Interaction Between Sub-systemsmentioning

confidence: 99%

Embodying Dynamical Systems in Music Performance

Nijs,

Bremmer,

van der Schyff

et al. 2023

MPR

View full text Add to dashboard Cite

The present contribution introduces a theoretical framework to explore music performance from a perspective inspired by the conceptual resources of two orientations known as Dynamical System Theory and Embodied Cognitive Science. We discursively elaborate on how music performance might be conceived of as a complex, multi-component system that deals with evolving patterns of stability and instability, and examine how a combination of cognitive, motor, and affective skills stands at the heart of the performer’s capacity to optimize their performance. In doing so, we consider how musicians often generate different interpretative “hypotheses” with little or no pre-planning and use their body to selectively navigate the range of possibilities such hypotheses entail. In conclusion, the relevance of this perspective is discussed in relation to current research in music performance and music education to outline continuities and differences between the two domains.

show abstract

Section: The Interaction Between Sub-systemsmentioning

confidence: 99%

Embodying Dynamical Systems in Music Performance

Nijs,

Bremmer,

van der Schyff

et al. 2023

MPR

View full text Add to dashboard Cite

show abstract

Cross-modal interactions in the perception of musical performance

et al. 2006

View full text Add to dashboard Cite

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data [...

show abstract