Outputs (134)

Heuristics for expressive performance (2014)
Book Chapter
Prior, H., & Leech-Wilkinson, D. (2014). Heuristics for expressive performance. In R. Timmers, D. Fabian, & E. Schubert (Eds.), Expressiveness in musical performance: Empirical approaches across styles and cultures. Oxford University Press. https://doi.org/10.1093/acprof%3Aoso/9780199659647.003.0003

This chapter discusses concepts and terms that professional musicians find useful in preparing for and talking and thinking about expressive performance. An example is “shape,” which, as recent research has shown, is immensely flexible and useful for... Read More about Heuristics for expressive performance.

Performance (2014)
Book Chapter
King, E. (2014). Performance. In Music in the Social and Behavioral Sciences: An encyclopedia. SAGE Publications

Mixtapes and turntablism : DJs' perspectives on musical shape (2013)
Journal Article
Greasley, A. E., & Prior, H. (2013). Mixtapes and turntablism : DJs' perspectives on musical shape. Empirical Musicology Review, 8(1), 23-43. https://doi.org/10.18061/emr.v8i1.3921

The notion of musical shape is widely used by performing musicians, but most studies have focussed on classical performing contexts. This paper extends this research to DJs performing on turntables, chosen in light of existing evidence from a questio... Read More about Mixtapes and turntablism : DJs' perspectives on musical shape.

Helical Time (an open ended song cycle for combinations of baritone voice, violin, piano and trumpet with instrumental pre-/inter-/post-ludes) (2013)
Digital Artefact
Borthwick, A. (2013). Helical Time (an open ended song cycle for combinations of baritone voice, violin, piano and trumpet with instrumental pre-/inter-/post-ludes)

(i) 'Time Being', for baritone voice and piano, in Tsang, L. & Venables, P.(eds) Finding Ursula Vaughan Williams:An Anthology of New Songs for Voice and Piano, with an Introduction by Lee Tsang (York: University of York Music Press, 2010). Supplement... Read More about Helical Time (an open ended song cycle for combinations of baritone voice, violin, piano and trumpet with instrumental pre-/inter-/post-ludes).

El diálogo director-orquesta: Modos de comunicación en el ensayo y el concierto [The Conductor–Orchestra Dialogue: Modes of Communication in Rehearsal and Performance] (2013)
Book Chapter
King, E. (2013). El diálogo director-orquesta: Modos de comunicación en el ensayo y el concierto [The Conductor–Orchestra Dialogue: Modes of Communication in Rehearsal and Performance]. In Diálogos (156-175). Orquesta y Coro Nacionales de España

Musical shaping gestures: Considerations about terminology and methodology (2013)
Journal Article
King, E. (2013). Musical shaping gestures: Considerations about terminology and methodology. Empirical Musicology Review, 8(1), 68-81. https://doi.org/10.18061/emr.v8i1.3925

Fulford and Ginsborg’s investigation into non-verbal communication during music rehearsal-talk between performers with and without hearing impairments extends existing research in the field of gesture studies by contributing significantly to our unde... Read More about Musical shaping gestures: Considerations about terminology and methodology.

Re-imagining improvisation: listening, discourse and aesthetics (2013)
Other
Elsdon, P. (2013). Re-imagining improvisation: listening, discourse and aesthetics

Familiarity, schemata and patterns of listening (2013)
Book Chapter
Prior, H. (2013). Familiarity, schemata and patterns of listening. In E. King, & H. M. Prior (Eds.), Music and familiarity: listening, musicology and performance. Routledge

The origins of this work, as in much research, lie in a personal experience. My first exposure to a selection of Schoenberg’s piano works (which happened to be through a recording) had resulted in an ambivalent response, but upon hearing the same rec... Read More about Familiarity, schemata and patterns of listening.

Groove as Familiarity with Time (2013)
Book Chapter
Oliver, R. (2013). Groove as Familiarity with Time. In E. King, & H. M. Prior (Eds.), Music and Familiarity : Listening, Musicology and Performance (239 - 252). Ashgate. https://doi.org/10.4324/9781315596600

The chapter explores the instrumentalist’s relationship with musical time, arguing that the capacity for groove in solo performance depends upon the musician’s familiarity with stylistically nuanced conceptions of pulse. Much research dealing with gr... Read More about Groove as Familiarity with Time.

Social familiarity: styles of interaction in chamber ensemble rehearsal (2013)
Book Chapter
King, E. (2013). Social familiarity: styles of interaction in chamber ensemble rehearsal. In Music and familiarity: listening, musicology and performance (253 - 270). Ashgate

When two or more musicians first play together in a music ensemble, they begin a process of familiarization as they get to know each other both musically and socially. There is a complex network of issues to consider in this process as ensemble music... Read More about Social familiarity: styles of interaction in chamber ensemble rehearsal.