12/6/2023 0 Comments Marimba production music![]() The mix should include 1-3 tracks or instruments. I have a specific song in mind, "Vals para mi madre", which I would like to be included in the mix. The desired duration of the mix should be the same length as the file provided. Combined experimental and empirical results indicate that bodily movements and gestures can enhance perception of expressive marimba performance and therefore warrant focussed attention in pedagogy and practice.I am looking for a skilled audio engineer to create a mariachi marimba mix for my project. ![]() This theory accounted for functional bodily movements and bodily gestures in marimba performance based on an embodied interpretation of the musical score. The results of Experiments 1 and 2 and Study 1 lead to the formation of a theory of bodily gestures in marimba performance. This inspired confidence that effort-shape analysis and notation has potential as an analytical tool for performers, teachers and students. With basic training, professional percussionist performers were able to understand and apply effort-shape analysis and notation. Effort-shape analysis and notation described and recorded expressive qualities of marimba players’ bodily gestures at specific locations on the musical score. Force is the third element of motion additional to temporal and spatial aspects for which technology measuring only kinematics can not account. Laban Movement Analysis (LMA) observation techniques, involving embodied thinking and kinaesthetic mirroring, enabled analysis of force. Expressive qualities of marimba players���� bodily gestures, witnessed in several projected and deadpan marimba performances in the stimulus material from Experiment 1 were analysed in Study 1. Such experimentation in ecologically valid settings enables understanding of audience perception of live music performance as it unfolds in time. Differences between deadpan and projected sample mean engagement responses may be due to expressive bodily movement from the performance manner manipulation alternatively, serial order effect, necessitated by the concert setting, may be responsible. Reliable signal was only observed in the projected sample. As hypothesised, mean engagement responses were greater in the projected sample than the deadpan sample. The second order standard deviation threshold method was used to analyse signal reliability. A female musician performed two musically similar sections within the piece in two different performance manners (deadpan and projected). ![]() The stimulus material was a solo marimba piece performed in a live concert. Experiment 2 investigated audience continuous self-report engagement responses from 21 participants collected using the portable Audience Response Facility (pARF). ![]() The aim of Experiment 2 was to investigate whether the results of Experiment 1, conducted in laboratory conditions, would generalise to an ecologically valid setting – a real concert. Findings are relevant for both performers and educators. The results suggest that expressive functional bodily movements and bodily gestures play an important role in marimba performer-audience communication. Musically-trained participants recorded higher ratings than musically-untrained observers upholding the final hypothesis. Higher interest ratings were observed for projected performances when the presentation was audio-visual. Higher expressiveness ratings were observed for projected performances, and lower ratings were observed for deadpan performances when the presentation was audio-visual compared to audio-only. The hypothesised interaction between modality and performance manner was observed. As hypothesised, significantly higher ratings were recorded in response to projected performances than to deadpan. Performances were given by a male and a female professional musician in projected (public performance expression) and deadpan (minimised expressive features) performance manners. Twenty-four musically-trained and 24 musically-untrained observers rated auditory-only and auditory-visual presentations of 20th Century solo marimba excerpts for perceived expressiveness and interest. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Experiment 1 investigated the assumption that bodily movements and gestures can enhance or diminish the perception of expression and interest in solo marimba performance when presented audio-visually compared to presentation in audio-only form. A parallel is drawn between the bodily movements and gestures occurring with expressive musical sound, and gestures produced in concurrence with speech. A combination of experimental and empirical studies investigate the assumption that musical expression is communicated in marimba performance through at least two channels – sound and action.
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