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References Butt J. (2002). Playing with History. Cambridge: Cambridge University Press. Caroline P, (1997). Music Performance, 48:115–38. Caroline Palmer, 1997 music performance, 48:115–38 Clarke E.F. (1985). Structure and expression in Rhythmic performance. Musical Structure and Cognition. P Howell, I Cross, R West, pp. 209–36. London: Academic Clarke EF. (1988). Generative principles in music Performance. In Generative Processes Clarke EF. (1995). Expression in performance: Generativity, perception and semiosis. See Clarke EF. 1993. Imitating and evaluating real and transformed musical performances. Music Perception. 10:317–41 Clarke, Eric F., (Author). 2001. Meaning and the specification of motion in music. Music Cone ET. 1968. Musical Form and Musical Performance. New York: Norton Danny Helseth Expression in music Davidson, J. W. (1994). What type of information is conveyed in the body movements of solo musician

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Page 1: Citations (Autosaved)

References

Butt J. (2002). Playing with History. Cambridge: Cambridge University Press.

Caroline P, (1997). Music Performance, 48:115–38.

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

Clarke E.F. (1985). Structure and expression in Rhythmic performance. Musical Structure and Cognition. P Howell, I Cross, R West, pp. 209–36. London: Academic

Clarke EF. (1988). Generative principles in music Performance. In Generative Processes

Clarke EF. (1995). Expression in performance: Generativity, perception and semiosis. See

Clarke EF. 1993. Imitating and evaluating real and transformed musical performances. Music Perception. 10:317–41

Clarke, Eric F., (Author). 2001. Meaning and the specification of motion in music. Music

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

Danny Helseth Expression in music

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

Dipert R. R. (1980). The composer’s intentions: An examination of their relevance for performance. The Musical Quarterly, 66, pp. 205-218

Page 2: Citations (Autosaved)

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

Fraisse P. (1982). Rhythm and tempo. In The Psychology of Music, ed. D Deutsch, pp. 149–80. New York: Academic

Gabrielsson 1987b, pp. 139–52

Gabrielsson A. (1973) Similarity ratings and Dimension analyses of auditory rhythm patterns. Journal of Psychol. 14:138–60

Gabrielsson A. 1974. Performance of rhythm Patterns. Journal of Psychol. 15:63–72

Gerhard W(2003), Journal of New Music Research 2004, Vol. 33, No. 3, pp. 203–216

Gerhard W. (2003) Journal of New Music Research 2004, Vol. 33, No. 3, pp. 203–216

Helena M. And Sara C. (2009). Intention revisited: From composition to performance. Department of Communication and Art, University of Aveiro, Portugal

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

Hevner, K. (1936). Experimental Studies of the Elements of Expression in music. Am. J. Psychol. 48, 248–268)

In Motor Behavior, ed. GE Telmach, J Requin, pp. 443-45. Amsterdam: North-Holland

In Music: The Psychology of Performance, Improvisation, and Composition, Sloboda, J.A.

Page 3: Citations (Autosaved)

Juslin, Patrik N., (Author), and Guy Madison (Author). 1999. The role of timing patterns in Recognition of emotional expression from musical performance. Music Perception: An Interdisciplinary Journal 17 (2) (01/01; Winter, 1999): 197,

Kendall R, and Carterette E. (1990). The communication of musical expression. Music Perception. 8:129–64

Kivy P. (1995). Authenticities. Ithaca, New York, USA: Cornell University Press.

Kivy, Peter (1993/1988), “Live Performances and Dead Composers: On the Ethics

Leonard Bernstein’s recording of Shostakovich’s Fifth Symphony [Sony Classical-5099706184126] with Kirill Kondrashin’s recording [Melodiya 7432119845–2].

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

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

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

Nakamura, T. (1987). The Communication of Dynamics between Musicians and Listeners through Musical Performance. Perception and Psychophysics, 41(6):525–533.

Of Musical Performances”, reprinted in The Fine Art of Repetition, Cambridge University Press. Cambridge, pp. 95–116.

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

Palmer, C., (1988) “Mapping Musical thought to musical Performance”, Journal. Exp. Psych.: Human Perception and Performance, 15(12):331--346, 1989)

Page 4: Citations (Autosaved)

Palmer, C., (1989) Mapping Musical thought to musical performance. Journal Exp. Psych.: Human Perception and Performance, 15(12):331-346, 1989.

Paul E. (2003) Emotions Revealed: Recognizing Faces and Feelings to Improve Communication and Emotional Life (New York: Times Books, Henry Holt and Company, 2003). pp. 1-26. New York: Oxford Univ. Press

Rink 1995, pp. 21–54

Rosalee G. (2004). Performance Art: Developments from 1960s’, The Grove Dictionary of Art Online, (Oxford University Press, Accessed 01/03/04, www.groveart.com

Samuil F. The Composer and the Performer

Scientiæ: 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

Shaffer LH, Clarke EF, Todd NP. 1985. Metre and rhythm in piano playing. Cognition 20:

Shaffer LH, Todd NP. 1987. The interpretive Component in musical performance. See

Shaffer LH. 1980. Analyzing piano performance: A study of concert pianists. In Tutorials

Shaffer LH. 1981. Performances of Chopin, Bach, and Bartok: studies in motor programming. Cogn. Psychol. 13:326–76

Shaffer LH. 1982. Rhythm and timing in skill. Psychol. Rev. 89:109-22

Shaffer LH. 1984. Timing in solo and duet piano Performances. Q. J. Exp. Psychol. 36A:577–95

Shaffer LH. 1995. Musical performance as interpretation. Psychol. Music 23:17–38

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Shelley Esaak (1960) Performance Art: Art History 101 Basics

Sverker L. (2004). Why bothering about the composers intention? Http://www.violinist.com/discussion/response.cfm?ID=23116

Vladimir Horowitz1This quote is taken from the liner notes to Vladimir Horowitz, a Reminiscence, Sony B00005M0LL

Werner G. Sense in Expressive Music performance