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Saturday, July 25, 2020 | History

2 edition of Tempo and timing fluctuations in violin performance. found in the catalog.

Tempo and timing fluctuations in violin performance.

Yu-Lee Hong

Tempo and timing fluctuations in violin performance.

by Yu-Lee Hong

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Published by University of Central England in Birmingham .
Written in English


Edition Notes

MPhil thesis.

The Physical Object
Pagination119p. :
Number of Pages119
ID Numbers
Open LibraryOL16391602M

a violin, which is then answered by the kamalengoni, the heart of the ensemble, which shortly settles into the melodic cycle that will last for the rest of the song (see Figure ). This piece is in a pentatonic scale, as is all wassoulou music. It is a four-beat cycle at a tempo of bpm. Images, Book 1: No. 1, Reflets dans l’eau [] The width of the tempo fluctuations mark this as a performance somewhat of the old school. The soloist breaks several chords in a way which would not be heard nowadays. and in the less extreme tempo fluctuations within the outer movements.

An emphasis or “punch” at the beginning of a musical sound. Meaning a slow tempo or slow speed. Sometimes it is the name of a work like Mozart's Adagio for Violin and Orchestra. Meaning a walking tempo or walking pace; a moderate speed. A specific number of musical sounds that are organized within a measure, and that are contained within. HIP (Historically Informed Performance) Part Continue from Part 9 Bach in the 21 cent-the 2 performance traditions Continue of discussion from: Cantata BWV - Discussions Matthew Neugebauer wrote ( ): Neil Halliday wrote.

  Regarding movement cues in music, because children with CIs are quite accurate in perceiving tempo and rhythm, accessible temporal features should offer useful timing cues for symbolizing the rate and manner of physical movements (e.g., walking, skipping, running) used in creative movement exercises or physical rehabilitation (e.g., Hsiao Cited by: 3. Repeated public performances including Beethoven Opus , , Haydn O No. 5, Ravel Quartet, Janacek Quartet 2 by a well-known string quartet recorded live over a number o.


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Tempo and timing fluctuations in violin performance by Yu-Lee Hong Download PDF EPUB FB2

3 Jaap Schröder, Bach’s Solo Violin Works: A Performer’s Guide (London: Yale University Press, ), ; 4 Stowell, The Early Violin, p. ; 5 Schröder, Bach’s Solo Violin Works, p. ; 6 Ledbetter, Unaccompanied Bac h, citing Wendy Hilton, Dance and Music of Court and Theatre (Stuyvesan ; 3 According to Stowell, Schröder, and Ledbetter, several eighteenth-century Author: Dorottya Fabian.

1 For instance, David Milsom, Theory and Practice in Late Nineteenth-Century Violin Performance: An E ; 2 Ornoy, ‘Recording Analysis,’ Table 2, section ; 1 To introduce and contextualize the recordings analysed in chapters four to five and to account for cultural, personal and educational influences this chapter starts off by surveying the violinists whose Bach Author: Dorottya Fabian.

Bach's Notation of Tempo and Early-Music Performance by Bernard D. Sherman Francine Renee Hall wrote (Aug ): dear Bach lovers-- an interesting (though a bit long) article on tempo, with table (shown in text below) of tempo in HIP vs. piano, as well as tempo similarities and differences in Bach's passions, masses, discussed at length.

Predictably, there is some fine playing here, with details in these intricately complex pieces emerging with remarkable clarity. Just occasionally, that clarity is perhaps achieved at the expense of impetuosity: the scurrying second movement of the Fourth Quartet is taken at a tempo that’s a notch below its ‘prestissimo’ marking; and the tempo fluctuations of the Arab 4/5.

Perception and production of complex bowing movements in violin performance Article (PDF Available) in The Journal of the Acoustical Society of America (5). What I've been doing is first using the metronome in a largo tempo (about ♩ = ) while focusing on getting the notes right. Once I'm comfortable with the notes, I count the beat out loud (e.g., 1 2 and 3 4 and / 1 2 3 and 4) at the same tempo.

From there, I continue counting it out loud while slowly increasing the tempo (up to ♩ = 60). Baroque expressiveness and stylishness in three recordings of the D minor Sarabanda for solo violin by J.S. Bach Article (PDF Available) January Author: Dorottya Fabian.

Also about the techniques that involve hearing music in your mind's ear first before you play it and dealing with timing and tempo glitches by learning to hear a perfect performance in your mind's ear first - a technique used both by musicians who work with metronome technique (and there is a section on it in Andrew Lewsis's book) and musicians.

With an advanced library like VSL, you can program in imperfections of pitch (random fluctuations of cents on attacks or longer) and there are many MIDI sequencing techniques to introduce tempo fluctuations, variations in dynamics, attack/release fluctuations, timing fluctuations such as having a note or passage begin late or early, etc.

etc. This book is surely among the most important studies of tempo, even if one questions some of its conclusions. (30) D. Epstein, `Brahms and the mechanisms of motion: the composition of performance', Brahms studies, ed. Bozarth (Oxford, ), p Berglund was not adverse to making changes to Sibelius when he thought the composer took a misstep.

The tempo fluctuations are much greater than Berglund would allow in later years. The solo flute passage in the first movement of the 3rd symphony is a prime example. The 2nd symphony starts at a slow tempo that makes one think " boredom"/5(75). This recommendation is in line with recent work from the Kraus group (Slater et al., ), examining the effect of 1 year musical training based on the perception of pitch, rhythm (tapping in synchrony with a given tempo) and improvisation.

The level of performance of 8 year-old children considered “at risk” for learning disability and who Cited by:   Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may Cited by: 1.

But of course my statistical panel was too narrow to draw valid conclusions, and I lamented the absence of the Taneyev-Rostropovich recording - Rostropovich's first, before the two he made with the Melos Quartet in (Schubert: String Quintet In C Major, D.

) and the Emerson Quartet live in (Schubert: String Quintet in C, d. )/5(4). Pedal timing and tempo in expressive piano performance: A reliminary investigation. Psychology of Music, 24, Repp, B. The dynamics of expressive piano performance: Schumann's “Traumerei” revisited. Journal of the Acoustical Society, (1), Repp, B.

Book Review. An era of rebirth in learning, science, and the arts throughout Europe. The invention of the printing press and the religious reformation led to a revolution in music forms.

predominantly polyphonic. maintained a subtle balance in terms of the usage of rhythm, tone, and color, and it did not express emotions with extreme contrasts of gestures. golden age of. Style and Performance: Conducting a Major Baroque Work. Style and Performance: Conducting a Major Viennese Classical Work.

Style and Performance: Conducting a Concerto for Violin and Orchestra. Style and Performance: Conducting a Major Work for Concert Band. Style and Performance: Conducting a Twentieth-Century Opera. Proportional stretching can be used both to correct unwanted timing fluctuations without hard quantizing, and to make smooth and gradual timing adjustments across several transients.

Grouped proportional stretching allows for the easy correction of fluctuations in the tempo of a performance without losing feel"pageUrl":"/pro-audio. guishes between indexical, iconic, and symbolic signs in performance. He also presents two empirical investigations along this line and shows fluctuations in dynamics and timing (diagrams that are read with reference to norms) obtained from performances of two piano pieces.

The outcome is quite. A performance in Halberstadt, Germany, began in Septemberso it has been going on for over seventeen years; it is intended to last for years. (Cage himself didn't specify the tempo or duration other than via the phrase "as slow as possible"; a group of musicologists and philosophers chose the duration.

Proportional stretching can be used both to correct unwanted timing fluctuations without hard quantizing, and to make smooth and gradual timing adjustments across several transients. Grouped proportional stretching allows for the easy correction of fluctuations in a performance's tempo without losing feel "SONAR Producer Upgrade.This selection is featured twice.

The first performance was recorded on Decem with a timing of 6 minutes and 59 seconds. The second was recorded on Febru with a timing of 4 minutes and 59 seconds.

Arranger: Sergei Rachmaninov.Glossary of Musical Terms C cadence: a melodic or harmonic punctuation mark at the end of a phrase, major section or entire work cadenza: an unaccompanied section of virtuosic display played by a soloist in a concerto call and response: a traditional African process in which a leader's phrase ("call") is repeatedly answered by a chorus.

This process became an .