Musical Expression

Early Childhood Education in both Portugal and Chile is considered the first stage of Basic Education in the process of lifelong education. Both countries have quite a few similarities as to the curricular bases for this level of education, namely as to the contents related to artistic education, music and musical expression. Unfortunately, in both countries there are limitations in the skills of kindergarten teachers which prevent the proper development of these artistic areas among children.
In order to overcome these limitations, an experimental research project was developed in Chile between the years 2012 and 2013, which included a musical training programme through the methodology of Shinishi Suzuki. The aim was to improve the skills of kindergarten teachers in music, including learning the violin instrument, in 3 kindergartens in the network of the "Junta Nacional de Jardines Infantiles de Chile" (JUNJI) belonging to a city in that country.
After this musical training programme, the kindergarten teachers replicated the knowledge obtained in an intervention with the children of their groups (Experimental Group), based on the application of the Suzuki methodology. To evaluate this project, the results of the blind application of the IEPA standardised test "Instrumento de Avaliación para el Aprendizaje" were compared, at the beginning and at the end of the intervention, to the children belonging to both the Experimental Group and the Control Group, the latter consisting of all the children from the JUNJI Network kindergartens who did not participate in the intervention.
The results showed significant differences in terms of the development of communication and socialisation, using the evaluation carried out with the IEPA instrument, between the children of the Experimental Group and those of the Control Group, with the Experimental Group's score being higher than that of the Control Group. We were led to conclude that by boosting the skills of the kindergarten teachers, with the application of a Music Training Programme based on the Suzuki methodology, which they then replicated to the children, an improvement in the areas of communication and socialisation of these children was observed. This study is a real contribution to future planning as far as teachers training is concerned, proposing its replication in other contexts, namely in Portugal.
https://doi.org/10.21125/iceri.2020.1665

The AQR-Instrument (Assessment of the Quality of Relationship)-a tool to observe and assess the quality of relationship based on developmental-psychological knowledge-was developed for use in music therapy with children with profound developmental disorders (Schumacher/Calvet 2001, 2005, 2007). The AQR-Tool consists of 4 scales that focus on differing phenomena of expression: instrumental expression, vocal pre-speech expression, physical-emotional expression, the therapists and his/her interventions. Within each scale, 7 modi are used to assess the quality of the inter-personal relationship indicate and give important indications for methodical approaches. The research presented here, the first to apply the AQR-Tool in a music educational setting with adults with disabilities, assesses the ability of 3 group members to form relationships according to the handling of instruments. It aims to ascertain the ability of the participant to take part in group sessions as well as to examine the methods used by the teacher and whether these were appropriate for the participant and also gives important indications for further music educational approaches. Examples will be shown on DVD. 2 The paper includes information and DVD examples about the setting and the didactical considerations for the musical-educational work with this group of adults with severe disabilities and finishes with thoughts and implications for future work.

In this paper I address questions of continuity and process building in
Mozart’s string quintet K.516. I attempt to show that this work, probably more than any other Mozart composition, exemplifies the concept of an overall structure, crossing the borders between the individual movements. I further argue that, allowing for a metaphorical interpretation, the G minor String Quintet may be viewed as a representation of grief process as described in modern psychology.

Research by Kate Hevner from way back in 1936.  Attempts to verbalize and gauge elements of expression by select classical musicians.  She uses an eight point model similar to what I've used.  Excellent tool with much the same use.  Found this paper on    www.jstor.org    during a search in Spring 2018.  http://www.jstor.org/stable/1415746

Статья посвящена переходу от классического понимания музыки как структурированного «языка чувств» к субъективному
пониманию музыкальной выразительности. Рудименты барочной традиции (в том числе tempi ordinari) перестали воспри-
ниматься музыкантами 1820-х гг. Для Бетховена, как композитора переходной эпохи, слова, фиксирующие темп, характер и
образность музыки, всегда были важны, но в произведениях позднего периода они составляют самостоятельный смысловой
слой. Иногда авторские обозначения настолько многослойны и внутренне противоречивы, что их точное воспроизведение
вряд ли возможно в реальности. Выражаемое переносится в сферу невыразимого — воображаемых виртуальных звучаний.
--
The article is devoted to the transition from the classical understanding of music as a structured «language of feelings» to the subjective
understanding of musical expressiveness. The rudiments of the Baroque tradition (including the tempi ordinari) were no longer
perceived by the musicians of the 1820s. For Beethoven, as a composer of the transition era, words that fix the tempo, character and
imagery of music were always important, but in the works of the later period they form an independent semantic layer. Sometimes
the author's designations are so multi-layered and internally contradictory that their exact reproduction is hardly possible in reality.
The expressed is transferred to the sphere of the inexpressible, to the sphere of imaginary virtual sounds.

This paper recounts and analyzes a performance of John Zorn's Cobra––a 'game' piece for improvisers––from a first person perspective. I examine the process of rehearsal and performance making reference to relevant literature in music psychology; and I offer some tentative possibilities for how we might understand musical communication in the context of free improvisation. To conclude I consider the pedagogical applications of the piece. While the account offered here is largely anecdotal, it is my hope that this paper may offer some useful insights into the nature of musical improvisation and perhaps inspire more sustained and rigorous inquiries into this fascinating and under-researched area of musical practice.

The process of fingering a piece, for a pianist, is a highly personal one. It depends on a number of factors: the configuration of the keyboard, the physiology of the pianist’s hands, the specific demands of the work in question. It serves several purposes, of which dexterity and expressiveness have often been acknowledged in literature.
In this presentation, I claim that the fingering process bears an important cognitive role and may prove to be a valuable analytical resource for the interpreter, as it promotes the understanding of musical processes at work, both before and during the performance, specifically in the contemporary repertoire. Complementarily, I advocate that a more comprehensive and all-encompassing approach to fingering, freed from the constraints of standard practices, may significantly contribute to the realization of the full expressive potential of a number of works. Examples will be drawn from specific composers, such as João Pedro Oliveira, Christopher Bochmann, Jean-Sébastien Béreau, Paul Méfano, João Madureira and Emmanuel Nunes.

The Effects Of Musical Training Given During The Socialization Process To Visually Impaired Individuals On Their Musical Motivation, Musical Interest And Musical Experience.


In order to fit in society, to be able to communicate well with other people, to be well educated and to lead a healthy life, it is essential for visually impaired children to socialize and get motivated. Thus the aimed research is based on “The Effects of Musical Training given during the socialization process to Visually Impaired Individuals on their Musical Motivation, Musical Interest and Musical Experience”.
In this research, which is arranged according to experimental model, the following questions were to be answered:
1. Is there a significant difference between the pretest and posttest scores of the test group in “Musical Interest Scale”?
2. Is there a significant difference between the pretest and posttest scores of the control group in “Musical Interest Scale”?
3. Is there a significant difference between the pretest and posttest scores of the test group and the control group in “Musical Interest Scale”?
4. Is there a significant difference between the pretest and posttest scores of the test group in “Musical Motivation Scale”?
5. Is there a significant difference between the pretest and posttest scores of the control group in “Musical Motivation Scale”?
6. Is there a significant difference between the pretest and posttest scores of the test group and the control group in “Musical Motivation Scale”?
7. Is there a significant difference between the pretest and posttest scores of the test group in “The Survey aimed to determine the shape of Musical Experience”?
8. Is there a significant difference between the pretest and posttest scores of the control group in “The Survey aimed to determine the shape of Musical Experience”?
9. Is there a significant difference between the pretest and posttest scores of the test group and the control group in “The Survey aimed to determine the shape of Musical Experience”?
10. Does musical training have an effect on the socialization of visually impaired individuals?
11. Is there a difference in the way of socialization between the individuals with musical training and the ones without?
The sample of the research involves 20 students between 9-10 years of age from “Türkan Sabancı Görme Engelliler İlköğretim Okulu”. The workgroup was separated into two; 10 as the test group, and 10 as the control group. Musical training program was applied to the test group for 16 weeks, whereas the control group was not provided with any kind of that program. The survey and the scales being used were applied to both groups before and after the research.
During the research, the Musical Motivation scale (developed by Asmus in 1989 and adapted to Turkish by G. Otacıoğlu in 2009),Musical Interest scale and The Survey aimed to determine the shape of Musical Experience (both developed by Tunalıoğlu) were used.
In order to determine whether Musical Interest scale points, Musical Motivation scale points and other subscale points of the students distributed normally, Kolmogorov - Simirnov test was applied, which examines the normalcy of the distribution of points nonparametrically.
The data obtained from “The Survey aimed to determine the shape of Musical Experience” , which were applied for the sake of demographical characteristics, were examined on 14 tables and figures.
According to the findings of the research, as a result of “ The Effects of Musical Training given during the socialization process to Visually Impaired Individuals on their Musical Motivation, Musical Interest and Musical Experience” ,a significant difference arose between the test group and the control group based on the statistical analysis of the data, and apart from the changes in socialization, motivation and musical interest in children, the findings also claim that the musical training program may support children’s mental, social, psychomotor and language development.

The capacity for music to function as a therapeutic force for bio-cognitive organization is considered in clinical and everyday contexts. Given the deeply embodied nature of such responses, it is argued that cognitivist approaches may be insufficient to fully explain music’s affective power. Following this, an embodied approach is considered––where the emotional-affective response to music is discussed in terms of primary bodily systems and the innate cross-modal perceptive capacities of the embodied human mind. It is suggested that such an approach may extend the largely cognitivist view taken by much of contemporary music psychology and philosophy of music by pointing the way towards a conception of musical meaning that begins with our most primordial interactions with the world.

2017 yılında çalışmalarına başlanan Tübitak 1001 programına ait 117K383 no’lu projesinde Türk Musikisi repertuarının en sanatlı ve en ciddi formlarından biri olan Mevlevi Ayin’lerindeki söz-müzik anlam bütünlüğü incelenmiş, özünde programatik bir yapıya sahip olan Mevlevi Ayin türünde “söz boyama” tekniğine benzer bir tekniğin besteciler tarafından bilinçli veya yarı-bilinçli olarak kullanımı araştırılmıştır. 11 tanesi farklı edisyonlardan karşılaştırılmalı olarak analiz edilen toplam 53 eserden elde edinilen bulgular gerek Mevlevi Ayin besteciliğinde güftenin bestelemeye etkisinin olduğunu, gerekse benzer tip sözel ve sembolik anlamlar için gelenek içerisinde benzer müzikal tercihlerin kullanıldığını somut
olarak ortaya koymuştur. Sözel Anlamın müziğe yansıtılmasında kullanıldığı tespit edilen başlıca kategoriler, (1) Çeşni-Makam değişimleri, (2) Ezgisel Hattaki yön ve şekil değişimleri, (3) Belirli müzikal aralıkların vurgulanması, (4) Cümle Ritmi ve Zaman Değişimleri ve (5) müzik ve müzikötesi ilişkilendirmeleri gibi özel durumlardır. Ulusal ve uluslararası literatürde Türk Musikisine yönelik benzer bir çalışma daha önce yapılmamıştır. Projenin bulguları bu açıdan ülkemizdeki müzikoloji çalışmalarında genişleyecek yeni bir alanın habercisi niteliğindedir.

Fundamentación. Debido a que la pronunciación tiene un lugar destacado en la interpretación de música vocal, la formación de sus especialistas (cantantes, directores, repertoristas, etc.) promueve el desarrollo de habilidades fonéticas para el canto. No obstante, aunque las ventajas del texto bien pronunciado son numerosas, observamos que colocar el estudio de la pronunciación únicamente al servicio de problemas técnicos desalienta la exploración de sus potencialidades expresivas. Este desconocimiento, que es favorecido por la disociación tradicional técnica/expresión y la dificultad de cuantificar la emoción, también se extiende a los estudios sobre dicción para el canto, donde la pronunciación se presenta como un requisito técnico que se vale de “reglas fonéticas” para la “buena ejecución”. Asimismo, observamos que estos estudios se centran en lenguas con gran presencia en el repertorio de música académica (como italiano, alemán y francés), dejando a otras como el español en una posición de desventaja. Por estas razones, la exploración de los usos expresivos de la pronunciación del español en el canto constituye un área de vacancia y un desconocimiento de su valor cultural e identitario en la formación musical (en especial, de músicos hispanohablantes). Objetivos. Bajo la hipótesis de que la pronunciación es empleada como variable expresiva en el canto, se propone estudiar los usos expresivos de la articulación consonántica en la ejecución de música vocal en español e indagar motivos musicales, poéticos e identitarios que justifiquen esos usos. Método. Se describió una serie de variables en la articulación de las consonantes /s/, /b/, /d/, /ɡ/, /ʒ/, /r̄/, /l/, /m/ y /n/ en 5 versiones representativas de la zamba La Tempranera de Carlos Guastavino, interpretadas por reconocidos cantantes hispanohablantes que han desarrollado la variante argentina. Las señales fueron segmentadas y etiquetadas haciendo uso del programa Praat de análisis de voz. Posteriormente, los datos fueron procesados y analizados con asistencia del mismo programa. Resultados. La evidencia obtenida respalda la hipótesis presentada. Las variaciones en las realizaciones de las consonantes estudiadas sugieren una correspondencia entre la pronunciación y la intencionalidad expresiva, que parece contribuir con una mejor declamación del contenido semántico y la conformación de “estilos de pronunciación” impulsados por razones idiosincrásicas y requisitos performáticos.

Historically informed analysis reveals a very different conception of hero in the Eroica than the one sustained in the popular imagination and perpetuated by the majority of its reception history: a militaristic or Napoleonic Heldenleben. By combining analytic perspectives from schema theory and topic theory with key passages from Beethoven’s epistolary life and Tagebuch, this chapter illustrates that the Eroica’s narrative is akin to religious drama, conveying the same theme of abnegation found in the contemporary oratorio Christus am Ölberge and the Heiligenstadt Testament, the Eroica’s ‘literary prototype’. Unlike some middle-period works which communicate a ‘tragic-to-triumphant’ expressive genre, the Eroica is cast in the ‘tragic-to-transcendent’ type, which became characteristic of Beethoven’s late style. A central component of this spiritual genre is the strategic positioning of structural and semantic oppositions in an unresolved state of suspension. The Eroica manifests this most overtly through a governing opposition between death (‘ombra’) and pastoral (‘Ländler, contredanse’) music, and the association of this stylistic opposition with the tonalities of G minor and E flat major, respectively. Rather than a programmatic narrative about a hero who overcomes, the Eroica is a conceptually ‘late’ work that meditates on suffering as a spiritual necessity and its implications for transcendence.

Esta dissertação de mestrado investiga a expressão vocal e orquestral de duas transcrições operísticas para piano solo de Liszt (1811–1886)—Miserere du Trovatore de Verdi (1860) e Isoldens Liebestod de Wagner (1868, revisada em 1874) —, e discute a necessidade de o intérprete conhecer e estudar a obra original para realizar essas características expressivas em performance das transcrições. O tratamento da pesquisa ocorreu pela análise investigativa, com base em material documental, principalmente partituras e epístolas, e bibliográfico. A expressão vocal na transcrição para piano solo de Liszt foi discutida a partir das transcrições das canções de Schubert, com base no texto poético da obra original e nos materiais musicais do original e da transcrição. A expressão orquestral foi discutida a partir das transcrições das sinfonias de Beethoven, com base nos materiais musicais das duas obras, original e transcrição. Os conhecimentos acerca da maneira de Liszt transcrever para piano solo a expressão vocal e orquestral das obras originais, elaborados por meio dessas estratégias, foram aplicados nas duas transcrições operísticas selecionadas e testados em gravação das peças pela autora. A proposta deste trabalho, de interpretação das transcrições com base na expressão vocal e orquestral, contribui com o desenvolvimento artístico do pianista, e constitui um estímulo para que se expresse melhor ao piano. Algumas questões levantadas não puderam ser resolvidas, necessitando de aprofundamento por meio de outras abordagens para embasamento.

Journal of Musicology 32/3, 346-66 (2015)  Starting from the narrative and affective shape of the text from the Gospel, this essay explores what analytical approaches best bring out the power and effectiveness of Nicolas Gombert’s setting of Domine, si tu es.  It stresses that Gombert’s goal is not to deliver or declaim the text in a recitational manner, but rather to embody its affective climaxes and the tension and relaxation of its overall narrative structure in parallel musical structures. Gombert is shown to be a master musical rhetorician.

The emotional content expressed through musical performance has become a widely-discussed topic in music psychology during the past two decades. However, empirical evidence regarding children’s abilities in interpreting the emotional content of a musical performance is sparse. We investigated 3–7-year-old children’s abilities to interpret the emotional content expressed through performance features in music. Short musical pieces previously rated as inexpressive of emotion were recorded by three musicians with five emotional expressions (happy, sad, fearful, angry and neutral) and played to 3–7-year-old children (N = 94), adult non-musicians (N = 83), and adult musicians (N = 118) who made a forced-choice judgement about the emotion that each excerpt conveyed. Significant differences were observed between children, adult non-musicians and musicians in their ability to interpret the emotional content of a performance. Especially for children, the easiest emotions to identify proved to be happiness and sadness, while anger, fear and emotional neutrality appeared to be more difficult to identify. The most salient confusion patterns of the emotions (categorizing angry performance as happy, neutral performance as sad, or mixing up fear with sadness in performance) as well as the least salient ones (mixing up happiness with sadness, as well as anger with emotions other than happiness) are discussed in the context of general theories of emotion.

i write from a sense that we do not always have a clear conception of what we are doing when we philosophize about art. However, I have a subsidiary aim which is to try to understand and adjudicate one area of apparent disagreement between two philosophers whose work on music certainly deserves respect, namely, Roger Scruton and Malcolm Budd. These aims are related in that the differences in their respective positions appear to stem in part from the very different conceptions they have of the task of providing a theory of musical meaning. It will emerge, however, that many of these differences are terminological, and we shall be left with the question of whether their respective aims can be accommodated and reconciled within a framework which would be acceptable to both of them. This question will remain unanswered, although the discussion should lead to a firmer understanding of what they are doing and what anybody should be doing when they philosophize about music.

This paper introduces the investment of play, its role and significance in the design and development of digital musical instruments (DMIs). Dimension map analyses are used to create a qualitative numerical estimate of DMI expression. Expression is then longitudinally compared to data sets spanning a 16year study epoch of the Bent Leather Band. This study identifies multiplicity of control and other parameters, as significant affordances for DMI musical expression and skill development. The paper argues that Expression is proportional to the sum of invested play and the processional affordances latent within the DMI system.

A comienzos del s. XVII, el creciente interés por comunicar emociones a través de la música contribuyó al abandono de la polifonía y al surgimiento de la monodía acompañada. En las obras vocales, este nuevo estilo de composición fortaleció la relación entre música y texto, volviéndolos sumamente interdependientes. A menudo, esta relación es tan estrecha que su estudio contribuye a una mejor comprensión de la intencionalidad expresiva y a la elaboración de una iterpretación declamatoria (especialmente, de las primeras monodías). Sin embargo, la aplicación de estos conocimientos al estudio de la música vocal suele circunscribirse a contextos reducidos de enseñanza y práctica musicales (clases, ensayos, talleres, etc.), lo que dificulta su divulgación. Con el objeto de contribuir al estudio de la música antigua, presentamos un estudio de la relación entre música y texto en la obra Quel sguardo sdegnosetto de Claudio Monteverdi y su síntesis para una propuesta de interpretación declamatoria. Además, brindamos materiales que ‒esperamos‒ puedan asistir en el proceso de aprendizaje: análisis poético del texto, traducción al español, transcripción fonémica, requisitos para su correcta dicción y edición crítica.

Timbre is an essential expressive parameter in piano performance. Advanced-level pianists have integrated the palette of timbres at their artistic disposal as abstract concepts and multimodal images. A correspondingly imaged vocabulary composed of various adjectival descriptors is used in discussing and designating precise timbral nuances. However, the actual means of production and control of timbral nuances at the piano are not always explicitly expressed. This study explores the precise performance parameters used in producing different timbral nuances. For this aim, four short pieces were composed. Each was performed by four pianists, who highlighted five timbral nuances most representative of the piano timbre-describing vocabulary: dry, bright, round, velvety and dark. The performances were recorded with the Bösendorfer CEUS system, a highquality piano equipped with high-accuracy sensors and an embedded computer. Fine-grained performance features were extracted from the data collected. The features that significantly differed between different-timbre performances were identified. The performance space resulting from a principal component analysis revealed an average organization of timbral nuances along a circular arc. Thirteen essential, timbre-discriminating performance features were selected. Detailed descriptions were thus obtained for each timbral nuance, according to the fine characteristics of their production and control in piano performance.

La filosofia della musica è uno dei principali campi cui Jerrold Levinson
ha dedicato la sua riflessione e anche in CA, così come in Music,
Art and Metaphysics (MAM) e The Pleasures of Aesthetics (PA), all’arte
dei suoni è dedicata una specifica sezione che valorizza, accanto alla
costituzione formale, i possibili contenuti della musica, emergenti in
una contemplazione che è al contempo partecipazione attiva, di tipo
sia emotivo sia riflessivo, da parte dell’ascoltatore. I saggi ‘musicali’ di
CA, le cui tesi Levinson ha più recentemente sviluppato in varie direzioni1,
1. approfondiscono la teoria dell’espressività musicale già presentata
in MAM e PA (la cosiddetta ‘teoria della persona’, TP), 2. la articolano
in relazione ad aspetti particolari dell’esperienza musicale
(per es. la performance), e 3. ne esaminano il contributo per la comprensione
della dimensione narrativa e drammatica della musica
nonché, in generale 4., come elemento centrale del suo valore artistico.
Qui mi concentrerò soprattutto sul punto 1., toccando poi più brevemente
i punti 2., 3. e 4. Non muoverò particolari critiche alle tesi
qui argomentate da Levinson (eccettuata la proposta di
un’integrazione alla sua tesi sul valore intrinseco-esperienziale della
musica), perché a differenza di alcune posizioni di altri filosofi analitici
della musica, e anche di alcuni orientamenti dello stesso Levinson
rispetto all’ontologia della musica (cui CA non offre particolari contributi),
le condivido in larghissima misura. Piuttosto, presenterò
quelli che mi sembrano i punti salienti della sezione musicale di CA,
provando, in un caso, a difendere le proposte levinsoniane da alcune
obiezioni.

There is significant controversy between music theorists and performers about the value and relevance of the study of music theory for performers. As I argue in this paper, the dissatisfaction on the part of performers about the value of existing analytical methods stems from the fact that the majority of these methods do not address the particular needs of performers, who, unlike theorists, engage with music in a more bodily than intellectual way. The goal of this article is to propose new methods of analysis that promise to engage performer-students equally with the mind and the body. The methods proposed here share with Dalcroze Eurhythmics the belief that by experiencing music through the whole body, students develop important kinaesthetic skills necessary to understanding music more deeply and expressing themselves more musically. By revealing the connection between musical and physical movement, the two analytical representations proposed – the bouncing ball and gestural arrow – allow analysts to capture expressive movement while encouraging more bodily involvement in the analytical process. Structural analysis involves the exploration of both the expressive potential inherent in the notes of the musical score and the precise expressive effect of the way these notes are performed. The emphasis on rhythmic process and expressive nuance allows performer-analysts to engage with and become sensitized to qualities of music directly related to the act of performance.

The concept of PLAY SPACE MUSIC (SPIEL RAUM MUSIK) was developed by Stefan Heidweiler in Salzburg in 1996 at the Orff Institute, Salzburg. The basis of the project lies in the pioneering work of Wilhelm Keller who developed the ideas of Carl Orff and Gunild Keetman (Orff-Schulwerk) and applied them also to work with children and adults with and without disabilities. Heidweiler recognizes another important contributions to this project in free improvisation particularly in the work of some music therapists e.g. Fritz Hegi. The fundamental idea of the 5-day Improvisation workshop was the musical and artistic encounter between 6 professional musicians, who had experience in improvisation, and adults with additional support needs and an interest for music. The method of Free Improvisation took place in duos, trios and small ensembles and ended with a performance on the last day. Between 2000 and 2002 the project was further developed by Brigitte Flucher and Thomas Stephanides who extended it to include dance, painting and drawing. 2 short films documented the projects from 1999 and 2002 and articles on the projects were written by the directors (Salmon & Schumacher 2001). The project was revived in 2014 as a “Workshop for artistic improvisation and creation” by Coloman Kallos and Shirley Salmon (lecturers at the Orff Institute) and included workshops with music, dance and, for the first time, sculpture. In addition to 2 professional musicians and 4 dancers, the sculptor Andrea Kuhnlein was invited, students from the Orff Institute as well as adults with additional support needs and adults from a day-centre for adults in need of psychological support. The projects showed the wide range of creative artistic abilities in all the participants using the media of music, dance, painting and sculpture. The diverse experiences of dialogues were beneficial to all. The project 2014 were documented fully. The main implications for Special Music Education and/or Music Therapy are firstly, the value of free improvisation as a method in different social constellations as a means for individual artistic expression and communication. It allows and furthers elemental expression, encounter and dialogue and is not dependent on the ability to learn and repeat particular parts of a song or piece. And secondly, the value of working with different media such as dance, painting, sculpture and combining them in a variety of ways with music.

El estudio de la pronunciación para el canto ha promovido el desarrollo de herramientas teóricas y analíticas que permiten comprender la realización de los sonidos del habla en la ejecución musical. No obstante, a pesar de que este conocimiento promete el desarrollo de una ejecución vocal inteligible, poco se ha indagado acerca de la potencialidad expresiva de los sonidos del habla en música (probablemente porque suelen ser considerados como unidades lingüísticas desprovistas de significado). El lingüista Alarcos Llorach (1950) propone que estos sonidos son capaces de evocar contenidos afectivos y sensoriales cuando sus rasgos articulatorios son asociados con el componente semántico de la palabra que forman (p. ej., la sílaba tam de la palabra tambor recuerda al toque de este instrumento). De acuerdo con esta idea, pronunciación y expresión ya no serían entendidas como elementos autónomos que contribuyen a la ejecución de la música vocal, sino como componentes del discurso musical que se interrelacionan en su interpretación. Con ánimos de explorar esta relación, nos proponemos estudiar las principales posibilidades articulatorias de las consonantes del español (duplicación, prolongación, afinación, aspiración y variación de la constricción) y cómo son empleadas como recursos musicales expresivos en contextos performáticos por cantantes y directores.

Overview of the primary elements and dimensions of expression.  This guide focuses on music in particular, with a notation key and example formulas. 
You can view any updates and an analysis of this approach on Dan Lis' website "Composer's Toolbox"
https://composerstoolbox.com/2017/03/05/steven-maheus-elements-of-creative-force-part-2/

O campo das expressividades musicais tem sido alvo de inúmeras discussões nos estudos da música e da estética. Sob a luz das ciências cognitivas, principalmente a partir das áreas da filosofia, da psicologia e da semiótica, propomos uma revisão de conceitos pertinentes a essa discussão. Assim, sugerimos dois tipos básicos de expressões musicais, a expressão de tempo e a expressão de espaço, as quais constituem um primeiro nível representativo dos objetos musicais, enquanto entidades passíveis de representar algo diferente do som que os produz. É através da diferença entre estes dois tipos de expressão que entendemos um objeto musical, sobretudo sua relação com o ouvinte. Desse modo poderemos classificar a experiência com o objeto musical de modo mais  interiorizada ou mais exteriorizada e, assim, discutir as possibilidades representativas da música.

It has been long speculated that expression of emotions from different modalities have the same underlying 'code', whether it be a dance step, musical phrase, or tone of voice. This is the first attempt to implement this theory across three modalities, inspired by the polyvalence and repeatability of robotics. We propose a unifying framework to generate emotions across voice, gesture, and music, by representing emotional states as a 4-parameter tuple of speed, intensity, regularity, and extent (SIRE). Our results show that a simple 4-tuple can capture four emotions recognizable at greater than chance across gesture and voice, and at least two emotions across all three modalities. An application for multi-modal, expressive music robots is discussed.

Keywords: affective computing; gesture; entertainment robots.

Music is an expression of life, that can be used to express a lot of things such as fear, love, anger, anxiety, bitterness, happiness, sorrow and so on and so forth. The cry of the masses can also be expressed through music. This kind of music is called Protest music. This research work looks into protest using music as an avenue to create a Marxist ideology of the bourgeoisies and the proletariats. This work uses the ideology of Karl Marx as an analytical tool to bring out an expression of the masses with the aid of music.

The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley’s book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the form of distinguishing between two distinct notions of generality (which I term ‘generality’ and ‘abstractness’) and of particularity (‘specificity’ and ‘concreteness’), and of constructing two relatively independent oppositions: the concrete versus the abstract and the specific versus the general. Finally, I show that a description of music’s expressive meaning as abstract, but specific, rightly captures what is usually thought about music, and does not entail any contradictions.

The purpose of this study is to get a model of the thinking process of expert music teachers to facilitate students' musical expression from a viewpoint of teaching as improvisation. I videotaped rehearsals of three electric keyboards ensembles instructed by three expert teachers. I interviewed the teachers about their thinking about instruction, their impacts to the performance and assessment for the players whilst reproducing VTRs of their rehearsals. I also interviewed the keyboard players about their impression of teachers' teaching style and their thinking in the rehearsals. I segmented all of the text data scripted from the VTRs and the recordings of the interviews by their contents and categorized them from bottom up by using procedure of the grounded theory approach. None of the three teachers brought definitely predetermined plans of musical expression as their goal. They mainly facilitated the players to generate their own ideas of musical expression by inspiring their imagination with intentionally ambiguous words. They gave scaffolding support for the players. From these results, I made a model of the teaching process by an expert teacher for improving musical expression as a group creation characterized by emergent interaction between a teacher and players.

_Schubert, Critical and Analytical Studies_ ed. W. Frisch (1986), 153-74.  Explores the relationship between structure and expressive meaning in music.  Focuses mainly on the above song from _Winterreise_, with reference to critical interpretations of 1960s-1980s.  Includes consideration of Schubert's drafts, the history of composition of the complete cycle, and interrelation of individual songs and overall narrative shape of the original 12 songs.

La ponencia se propone analizar el surgimiento del Vaporwave, movimiento artístico y musical, como una respuesta inmediata a una sociedad altamente cambiante y acelerada, la cual le da al individuo actual una sensación de pérdida y nostalgia. Este último sentimiento, siendo suscitado constantemente por el Vaporwave, y jugando un papel protagonista en la sociedad actual, presenta gran interés a la hora de considerar lo que sucede en el entorno social y como se estructuran estos mismos hacia la emoción y condición del individuo tardo-moderno. La aceleración de Rosa en este sentido, nos proporciona un piso firme para analizar los cambios sociales que bien pueden mermar el estado emocional del individuo, el cual por medio del arte busque desahogarse y expresar nostalgia.
Palabras clave: Vaporwave, Nostalgia, Aceleración, Expresión, Arte

The dilemma referred to in the title occurs in many contexts concerned with expressive meaning in art, and especially music, which suggests that the issue it raises will be central to any complete theory of musical expressiveness. One notable attempt to resolve the paradox of simultaneous generality and particularity in music is in Aaron Ridley’s book Music, Value and the Passions. I show why I consider his account unsatisfactory and then propose my own resolution of the paradox. It takes the form of distinguishing between two distinct notions of generality (which I term ‘generality’ and ‘abstractness’) and of particularity (‘specificity’ and ‘concreteness’), and of constructing two relatively independent oppositions: the concrete versus the abstract and the specific versus the general. Finally, I show that a description of music’s expressive meaning as abstract, but specific, rightly captures what is usually thought about music, and does not entail any contradictions.

A comienzos del s. XVII, el creciente interes por comunicar emociones a traves de la musica contribuyo al abandono de la polifonia y al surgimiento de la monodia acompanada. En las obras vocales, este nuevo estilo de composicion fortalecio la relacion entre musica y texto, volviendolos sumamente interdependientes. A menudo, esta relacion es tan estrecha que su estudio contribuye a una mejor comprension de la intencionalidad expresiva y a la elaboracion de una iterpretacion declamatoria (especialmente, de las primeras monodias). Sin embargo, la aplicacion de estos conocimientos al estudio de la musica vocal suele circunscribirse a contextos reducidos de ensenanza y practica musicales (clases, ensayos, talleres, etc.), lo que dificulta su divulgacion. Con el objeto de contribuir al estudio de la musica antigua, presentamos un estudio de la relacion entre musica y texto en la obra Quel sguardo sdegnosetto de Claudio Monteverdi y su sintesis para una propuesta de interpretacion declamat...

El estudio de la pronunciación para el canto ha promovido el desarrollo de herramientas teóricas y analíticas que permiten comprender la realización de los sonidos del habla en la ejecución musical. No obstante, a pesar de que este conocimiento promete el desarrollo de una ejecución vocal inteligible, poco se ha indagado acerca de la potencialidad expresiva de los sonidos del habla en música (probablemente porque suelen ser considerados como unidades lingüísticas desprovistas de significado). El lingüista Alarcos Llorach (1950) propone que estos sonidos son capaces de evocar contenidos afectivos y sensoriales cuando sus rasgos articulatorios son asociados con el componente semántico de la palabra que forman (p. ej., la sílaba tam de la palabra tambor recuerda al toque de este instrumento). De acuerdo con esta idea, pronunciación y expresión ya no serían entendidas como elementos autónomos que contribuyen a la ejecución de la música vocal, sino como componentes del discurso musical q...

This data set was created during 2012-2016 as a tool for my doctorate research on Beethoven’s tempo indications at the University of Manchester. It provides an unprecedented overview of Beethoven’s entire published oeuvre, both with opus numbers and without, by documenting the time signature, tempo indication, indicators of expression, and metronome marks for each individual section of each piece. This data set has been used for my doctoral project and its spin-off publications.

The emotional content expressed through musical performance has become a widely-discussed topic in music psychology during the past two decades. However, empirical evidence regarding children's abilities in interpreting the emotional content of a musical performance is sparse. We investigated 3-7-year-old children's abilities to interpret the emotional content expressed through performance features in music. Short musical pieces previously rated as inexpressive of emotion were recorded by three musicians with five emotional expressions (happy, sad, fearful, angry and neutral) and played to 3-7-year-old children (N = 94), adult non-musicians (N = 83), and adult musicians (N = 118) who made a forced-choice judgement about the emotion that each excerpt conveyed. Significant differences were observed between children, adult non-musicians and musicians in their ability to interpret the emotional content of a performance.