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1.

電子ブック
ＥＢ
1. Musical Performance
Guerino Mazzola
出版情報: Springer eBooks Computer Science , Springer Berlin Heidelberg, 2011
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目次情報: 続きを見る
Introduction / Part I：
Introduction and Overview / 1：
List of Symbols / 2：
Short History of Performance Theory / 3：
The Philosophical Tradition / 3.1：
The Empirical Tradition / 3.2：
Oniontology / 4：
Realities / 4.1：
Communication / 4.2：
Semiotics / 4.3：
Embodiment / 4.4：
The Baboushka Principle / 4.5：
Topography of Performance / 4.6：
Semiotic Expressivity / 4.7：
Rhetorical Expressivity / 4.8：
CSI Anatomy / 4.9：
ISC Anatomy / 4.10：
Multi-agent Communication / 4.11：
The Performer's Balanced Dancing Presence / 4.12：
Structure Theory / Part II：
What Is Structure Theory? / 5：
Tempo Curves / 6：
What is Tempo? / 6.1：
Some Remarks on the History and Ethnography of Tempo / 6.1.1：
Calcuating Time from Tempo / 6.2：
Tuning, Intonation, and Dynamics / 7：
Tuning and Intonation / 7.1：
Dynamics / 7.2：
Combining Tempo, Tuning, and Dynamics / 8：
Articulation / 9：
General Performance Fields / 10：
Initial Sets / 10.1：
Measuring Performance Fields / 10.3：
The Category of Performance Cells and Hierarchies / 11：
Expressive Theory / Part III：
What Is Expressive Theory? / 12：
Experiments in Expressive Performance / 12.1：
Emotional Expression / 13：
What is Emotion? / 13.1：
Some Physiological Evidences / 13.2：
Manfred Clynes' Essentic Forms / 13.3：
Reinhard Kopiez' and Jörg Langner's Theory of Oscillating Systems / 13.4：
Anders Friberg's Feature-based Model / 13.5：
Alf Gabrielsson's Isomorphism / 13.6：
Gestural Expression / 14：
General Facts About Gesture Theory in Music / 14.1：
Roger Sessions: Gestures in Performance / 14.2：
Theodor Wiesengrund Adorno's Gesture Theory in Musical Reproduction / 14.3：
Renate Wieland's Gestural Piano Pedagogy / 14.4：
Manfred Clynes' Essentics as a Theory of Gestural Expressivity / 14.5：
Johan Sundberg, Neil P. McAgnus Todd: Mechanical Models of Gestures in Music / 14.6：
Guerino Mazzola and Stefan Müller: Modeling the Pianist's Hand / 14.7：
Modeling the Hand / 14.7.1：
Transforming Abstract Note Symbols into Symbolic Gestures / 14.7.2：
Deforming Symbolic Hand Gestures into Physically Valid Curves / 14.7.3：
A Mathematical Gesture Theory / 14.8：
Anders Friberg, Antoni Camurri et al.: Computer-aided Emotional Analysis of Performance / 14.9：
Analytical Expression / 15：
Adorno's Analytical Performance Study of Webern's First Bagatelle / 15.1：
Anders Friberg, Johan Sundberg, and Lars Frydén: Director Musices Performance Software / 15.2：
Guerino Mazzola and Oliver Zahorka: The Rubato Theory of Analytical Performance / 15.3：
Analytical Weights / 16：
Metrical Weights / 16.1：
Melodic Weights / 16.2：
Harmonic Weights / 16.3：
Primavista Weights / 16.4：
Shaping Operators / 17：
Are Lie Type Operators Universal? / 17.1：
Two Generic Models and the Challenge of Improvisation / 18：
The GERM Model / 18.1：
Todd's Generic Approach / 18.2：
The Challenge of Improvisation / 18.3：
Expansion of Improvisational Time-Spaces / 18.3.1：
The Analysis / 18.3.2：
String Quartet Theory / 19：
Historical and Theoretical Prerequisites / 19.1：
The General Plan / 19.2：
General Position for Performance: Four Examples / 19.2.1：
The Sound Space of the Violin Family / 19.3：
Notes in General Position / 19.4：
Performance of the String Quartet / 19.5：
Rubato: Model and Software / Part IV：
Performance Scores / 20：
Stemma Theory / 21：
Tempo Hierarchies in the presto® Software / 21.1：
The General Stemma Concept / 21.2：
The New Performance Rubette: Realtime, Openness, and Gesturality / 21.3：
Case Studies / 22：
Schumann's Träumerei: The First Performance Experiment with RUBATO® / 22.1：
Schumann's Kuriose Geschichte / 22.2：
Bach's Kunst der Fuge / 22.3：
Rhythmical Analysis / 22.3.1：
Motif Analysis / 22.3.2：
Target-driven vs. Experimental Stemma Constructions / 22.3.3：
Performance Setup / 22.3.4：
Construction of Third Performance Parcours / 22.3.5：
Final Discussion / 22.3.6：
Statistics / 23：
Hierarchical Decomposition of Weights / 23.1：
Inverse Performance / Part V：
What Is Inverse Performance Theory? / 24：
Technical Aspects / 24.1：
Reconstruction of the Performance Map from Recording Data / 24.1.1：
Reconstruction of the Stemma from the Performance Map / 24.1.2：
The Technical Setup / 25：
Schumann's Träumerei: Argerich vs. Horowitz / 26：
Rethinking Music Critique / 27：
Boiling Down Infinity / 27.1：
Glenn Gould's Politically Incorrect Performance / 27.2：
Epilogue / Part VI：
Summary of Performance Theory / 28：
Future Developments / 29：
References, Music Examples, Index / Part VII：
References
Music Examples
Index
Introduction / Part I：
Introduction and Overview / 1：
List of Symbols / 2：
2.

電子ブック
ＥＢ
2. Musical Creativity
Guerino Mazzola, Joomi Park, Florian Thalmann
出版情報: Springer eBooks Computer Science , Springer Berlin Heidelberg, 2011
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3.

電子ブック
ＥＢ
3. All About Music
Mazzola, Maria Mannone, Guerino Mazzola, Margaret O'Brien, Yan Pang, Nathan Torunsky
出版情報: SpringerLink Books - AutoHoldings , Springer International Publishing, 2016
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4.

電子ブック
ＥＢ
4. Computational Counterpoint Worlds
Agustín-Aquino, Octavio Alberto Agustín-Aquino, Julien Junod, Guerino Mazzola
出版情報: SpringerLink Books - AutoHoldings , Springer International Publishing, 2015
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5.

電子ブック
ＥＢ
5. Computational Musicology in Hindustani Music
Soubhik Chakraborty, Guerino Mazzola, Moujhuri Patra, Swarima Tewari
出版情報: SpringerLink Books - AutoHoldings , Springer International Publishing, 2014
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6.

電子ブック
ＥＢ
6. Musical Creativity
Guerino Mazzola, Joomi Park, Florian Thalmann
出版情報: SpringerLink Books - AutoHoldings , Springer Berlin Heidelberg, 2011
所蔵情報: loading…
7.

電子ブック
ＥＢ
7. Musical Performance
Guerino Mazzola
出版情報: SpringerLink Books - AutoHoldings , Springer Berlin Heidelberg, 2011
所蔵情報: loading…
目次情報: 続きを見る
Introduction / Part I：
Introduction and Overview / 1：
List of Symbols / 2：
Short History of Performance Theory / 3：
The Philosophical Tradition / 3.1：
The Empirical Tradition / 3.2：
Oniontology / 4：
Realities / 4.1：
Communication / 4.2：
Semiotics / 4.3：
Embodiment / 4.4：
The Baboushka Principle / 4.5：
Topography of Performance / 4.6：
Semiotic Expressivity / 4.7：
Rhetorical Expressivity / 4.8：
CSI Anatomy / 4.9：
ISC Anatomy / 4.10：
Multi-agent Communication / 4.11：
The Performer's Balanced Dancing Presence / 4.12：
Structure Theory / Part II：
What Is Structure Theory? / 5：
Tempo Curves / 6：
What is Tempo? / 6.1：
Some Remarks on the History and Ethnography of Tempo / 6.1.1：
Calcuating Time from Tempo / 6.2：
Tuning, Intonation, and Dynamics / 7：
Tuning and Intonation / 7.1：
Dynamics / 7.2：
Combining Tempo, Tuning, and Dynamics / 8：
Articulation / 9：
General Performance Fields / 10：
Initial Sets / 10.1：
Measuring Performance Fields / 10.3：
The Category of Performance Cells and Hierarchies / 11：
Expressive Theory / Part III：
What Is Expressive Theory? / 12：
Experiments in Expressive Performance / 12.1：
Emotional Expression / 13：
What is Emotion? / 13.1：
Some Physiological Evidences / 13.2：
Manfred Clynes' Essentic Forms / 13.3：
Reinhard Kopiez' and Jörg Langner's Theory of Oscillating Systems / 13.4：
Anders Friberg's Feature-based Model / 13.5：
Alf Gabrielsson's Isomorphism / 13.6：
Gestural Expression / 14：
General Facts About Gesture Theory in Music / 14.1：
Roger Sessions: Gestures in Performance / 14.2：
Theodor Wiesengrund Adorno's Gesture Theory in Musical Reproduction / 14.3：
Renate Wieland's Gestural Piano Pedagogy / 14.4：
Manfred Clynes' Essentics as a Theory of Gestural Expressivity / 14.5：
Johan Sundberg, Neil P. McAgnus Todd: Mechanical Models of Gestures in Music / 14.6：
Guerino Mazzola and Stefan Müller: Modeling the Pianist's Hand / 14.7：
Modeling the Hand / 14.7.1：
Transforming Abstract Note Symbols into Symbolic Gestures / 14.7.2：
Deforming Symbolic Hand Gestures into Physically Valid Curves / 14.7.3：
A Mathematical Gesture Theory / 14.8：
Anders Friberg, Antoni Camurri et al.: Computer-aided Emotional Analysis of Performance / 14.9：
Analytical Expression / 15：
Adorno's Analytical Performance Study of Webern's First Bagatelle / 15.1：
Anders Friberg, Johan Sundberg, and Lars Frydén: Director Musices Performance Software / 15.2：
Guerino Mazzola and Oliver Zahorka: The Rubato Theory of Analytical Performance / 15.3：
Analytical Weights / 16：
Metrical Weights / 16.1：
Melodic Weights / 16.2：
Harmonic Weights / 16.3：
Primavista Weights / 16.4：
Shaping Operators / 17：
Are Lie Type Operators Universal? / 17.1：
Two Generic Models and the Challenge of Improvisation / 18：
The GERM Model / 18.1：
Todd's Generic Approach / 18.2：
The Challenge of Improvisation / 18.3：
Expansion of Improvisational Time-Spaces / 18.3.1：
The Analysis / 18.3.2：
String Quartet Theory / 19：
Historical and Theoretical Prerequisites / 19.1：
The General Plan / 19.2：
General Position for Performance: Four Examples / 19.2.1：
The Sound Space of the Violin Family / 19.3：
Notes in General Position / 19.4：
Performance of the String Quartet / 19.5：
Rubato: Model and Software / Part IV：
Performance Scores / 20：
Stemma Theory / 21：
Tempo Hierarchies in the presto® Software / 21.1：
The General Stemma Concept / 21.2：
The New Performance Rubette: Realtime, Openness, and Gesturality / 21.3：
Case Studies / 22：
Schumann's Träumerei: The First Performance Experiment with RUBATO® / 22.1：
Schumann's Kuriose Geschichte / 22.2：
Bach's Kunst der Fuge / 22.3：
Rhythmical Analysis / 22.3.1：
Motif Analysis / 22.3.2：
Target-driven vs. Experimental Stemma Constructions / 22.3.3：
Performance Setup / 22.3.4：
Construction of Third Performance Parcours / 22.3.5：
Final Discussion / 22.3.6：
Statistics / 23：
Hierarchical Decomposition of Weights / 23.1：
Inverse Performance / Part V：
What Is Inverse Performance Theory? / 24：
Technical Aspects / 24.1：
Reconstruction of the Performance Map from Recording Data / 24.1.1：
Reconstruction of the Stemma from the Performance Map / 24.1.2：
The Technical Setup / 25：
Schumann's Träumerei: Argerich vs. Horowitz / 26：
Rethinking Music Critique / 27：
Boiling Down Infinity / 27.1：
Glenn Gould's Politically Incorrect Performance / 27.2：
Epilogue / Part VI：
Summary of Performance Theory / 28：
Future Developments / 29：
References, Music Examples, Index / Part VII：
References
Music Examples
Index
Introduction / Part I：
Introduction and Overview / 1：
List of Symbols / 2：
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