(Gerhard Widmer, Journal of New Music Research 2004, Vol. 33, No. 3,

pp. 203–216)

THE COMPOSER AND THE PERFORMER

By Samuil Feinberg

According to Ocheme (in Ojo, 2009) p.19).

(Palmer, C., “Mapping Musical thought to musical performance”, Journ. Exp. Psych.: Human

Perception and Performance, 15(12):331--346, 1989)

Shelley Esaak Performance Art

Source: Rosalee Goldberg: 'Performance Art: Developments from the 1960s', The Grove Dictionary of Art Online, (Oxford University Press, Accessed 01/17/04)

http://www.groveart.com

(henrycoward) Mus. Doc. Oxon.

Cario Marrinelli, (in Onyeji, 2005)

Caroline Palmer, 1997 music performance, 48:115–38

Kendall RA, Carterette EC. 1990. The communicationof musical expression. Music Percept.8:129–64

Cone ET. 1968. Musical Form and MusicalPerformance. New York: Norton

Levy JM. 1995. Beginning-ending ambiguity:consequences of performance choices. SeeRink 1995, pp. 150–69

Meyer LB. 1956. Emotion and Meaning in Music.Chicago: Univ. Chicago Press

Clarke EF. 1982. Timing in the performance ofErik Satie’s ‘Vexations’. Acta Psychol. 30:1–19Clarke EF. 1985. Structure and expression inrhythmic performance. In Musical Structureand Cognition, ed. P Howell, I Cross,R West, pp. 209–36. London: AcademicClarke EF. 1987. Levels of structure in the organizationof musical time. Contemp. MusicRev. 2:211–38Clarke EF. 1988. Generative principles in musicperformance. In Generative Processesin Music: The Psychology of Performance,Improvisation, and Composition, ed. JASloboda, pp. 1-26. New York: OxfordUniv. PressClarke EF. 1993. Imitating and evaluating realand transformed musical performances.Music Percept. 10:317–41Clarke EF. 1995. Expression in performance:generativity, perception and semiosis. SeeRink 1995, pp. 21–54Clarke EF. 1997. Rhythm and timing in music.See Deutsch 1997. In pressClarke EF, Baker-Short C. 1987. The imitationof perceived rubato: a preliminary study.Psychol. Music 15:58–75

Fraisse P. 1982. Rhythm and tempo. In ThePsychology of Music, ed. D Deutsch, pp.149–80. New York: AcademicGabrielsson A. 1973a. Similarity ratings anddimension analyses of auditory rhythm patterns.I. Scand. J. Psychol. 14:138–60Gabrielsson A. 1973b. Similarity ratings anddimension analyses of auditory rhythm patterns.II. Scand. J. Psychol. 14:161–76Gabrielsson A. 1974. Performance of rhythmpatterns. Scand. J. Psychol. 15:63–72Shaffer LH. 1980. Analyzing piano performance:a study of concert pianists. In Tutorialsin Motor Behavior, ed. GE Telmach, JRequin, pp. 443-45. Amsterdam: North-HollandShaffer LH. 1981. Performances of Chopin,Bach, and Bartok: studies in motor programming.Cogn. Psychol. 13:326–76Shaffer LH. 1982. Rhythm and timing in skill.Psychol. Rev. 89:109-22Shaffer LH. 1984. Timing in solo and duet pianoperformances. Q. J. Exp. Psychol.36A:577–95Shaffer LH. 1995. Musical performance as interpretation.Psychol. Music 23:17–38Shaffer LH, Clarke EF, Todd NP. 1985. Metreand rhythm in piano playing. Cognition 20:61–77Shaffer LH, Todd NP. 1987. The interpretivecomponent in musical performance. SeeGabrielsson 1987b, pp. 139–52

Meyer, Leonard B. Emotion and Meaning in Music. Chicago:University of ChicagoPress, 1956.

Nakamura, T. (1987). The communication of dynamics between musicians and listenersthrough musical performance. Perception and Psychophysics, 41(6):525–533.

Clarinet

Performance. By William H. Stubbins.

(Paul Eckman, Emotions Revealed: Recognizing Faces and Feelings to Improve

Communication and

Emotional Life (New York: Times Books, Henry Holt and Company, 2003).)\

Dipert, Randall (1980), “The Composer’s Intentions: An Examination of Their Relevancefor Performance”, The Musical Quarterly, vol. 66, pp. 205–218.

Kivy, Peter (1993/1988), “Live Performances and Dead Composers: On the Ethicsof Musical Performances”, reprinted in The Fine Art of Repetition, CambridgeUniversity Press. Cambridge, pp. 95–116.

11 Palmer, C. (1997) Music performance. Annu. Rev. Psychol. 48, 115–138

Leonard Bernstein’s recording of Shostakovich’s Fifth Symphony [Sony Classical-

5099706184126] with Kirill Kondrashin’s recording [Melodiya 7432119845–2].

(Hevner, K. (1936) Experimental studies of the elements of

expressionin music. Am. J. Psychol. 48, 248–268)

Danny Helseth Expression in music

Clarke, Eric F., (Author). 2001. Meaning and the specification of motion in music. MusicæScientiæ: The Journal of the European Society for the Cognitive Sciences of Music 5 (2) (09/01; Fall,2001): 213, http://search.ebscohost.com/login.aspx?direct=true&db=rih&AN=2001-05254&site=ehost-live

Juslin, Patrik N., (Author), and Guy Madison (Author). 1999. The role of timing patterns inrecognition of emotional expression from musical performance. Music Perception: AnInterdisciplinary Journal 17 (2) (01/01; Winter, 1999): 197,http://search.ebscohost.com/login.aspx?direct=true&db=rih&AN=1999-

03850&site=ehost-live.

Vladimir Horowitz1This quote is taken from the liner notes to Vladimir Horowitz, a Reminiscence, Sony

B00005M0LL

Caroline Palmer, 1997 music performance, 48:115–38.

(Werner Goebl) Sense in Expressive Music performance

Gerhard Widmer, Journal of New Music Research 2004, Vol. 33, No. 3, pp. 203–216

Davidson, J. W. (1994). What type of information is conveyed in the body movements ofsolo musician performers? Journal of Human Movement Studies, 26(6):279–301.

Palmer, C., “Mapping Musical thought to musicalperformance”, Journ. Exp. Psych.: Human Perception andPerformance, 15(12):331--346, 1989)

Hevner, K. (1936) Experimental studies of the elements of expressionin music. Am. J. Psychol. 48, 248–268