In the meantime we can make some worthwhile The better we get at that the more useful things we’ll be able to say about Machine-readable data and developing software routines that can sort through them. In chapter 6-and have made real progress in turning recordings into These lines for recordings of Chopin mazurkas-we looked at some of the techniques Nicholas Cook and Craig Sapp have been doing something along That properly would require a database of all recorded performances and a means ofĪnalysing the data. To be able to say which of these stylistic features belonged to each. To know which level we were defining we’d have Performers at any one time do, as well as things that some do but not others, and Styles, a performer does some things that all performers do, and some that all As we’ve seen in talking about period and personal But even so there is still the problem of drawingīoundaries between styles. Painting or clothing, for example: at least in music it’s easy to measure theĬonstituent elements-the sounds-and because they come in sequence you don’t have Think of the difficulty of precisely defining style in ♢A style isn’t easy to define fully, though it’s easier in music than in But what is it? What defines it in sound? And how does it work? Performance expressionĮxamples of performance style, and of the way it has changed, and we’ve thought aīit about why. Expressivity and signification in instrumental musicĨ. A methodology for studying expression and expressive gestures
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