This book brings together researchers from a range of disciplines that use diverse methodologies to provide new perspectives and formulate answers to questions about the meaning, means, and contextualisation of expressive performance in music.

Given the prevalence of debilitating anxiety associated with music performance, there is a need for rapid, pinpointed assessment of the extent to which an individual experiences music performance anxiety. A short, five item scale, the Mazzarolo Music Performance Anxiety Scale, was developed to capture retrospective self-reported estimates of the frequency, intensity and aversion tendency associated with performing music. 102 musicians completed the scale, as well as an established MPA inventory. The M-MPAS was found to be internally reliable with all items (...) being statistically relevant to the overall scale. Furthermore, the M-MPAS was correlated with the relevant factors of an established MPA measure, suggesting that the new scale exhibited good construct validity. M-MPAS is easy to score, with a scale range of 0–30. A score of 11 or above is suggested as the range in which a diagnosis of potential high MPA can be made, but more research into this and the psychometric robustness of the scale is called for. Nevertheless, the reliability and validity demonstrated in the present study, along with the brevity of the M-MPAS suggest that the newly proposed scale may offer considerable triaging benefits for pinpointed assessment of the extent to which an individual experiences MPA. (shrink)

This paper discusses historical-critical thought to address the problems of restoration and preservation of tape music, proposing viable solutions to the matter of digitizing the historically valuable data that exists on and is represented by magnetic tapes. A detailed program of research and restoration and some software for helping in creation of critical editions of the musical works are proposed. We also present some of the issues and controversies that must be considered and approaches we have applied in the preservation (...) of tape music, highlighting how these interpretations can impact later performances of these tape documents. Fundamentally, we argue that the act of tape music restoration has a parallel with the interpretation of the “Urtext score” in the performance of music from the Common Practice Era. (shrink)

This study sought to determine if hues overlayed on a video recording of a piano performance would systematically influence perception of its emotional arousal level. The hues were artificially added to a series of four short video excerpts of different performances using video editing software. Over two experiments 106 participants were sorted into 4 conditions, with each viewing different combinations of musical excerpts and hue combinations. Participants rated the emotional arousal depicted by each excerpt. Results indicated that the overall arousal (...) ratings were consistent with the nominal arousal of the selected excerpts. However, hues added to video produced no significant effect on arousal ratings, contrary to predictions. This could be due to the domination of the combined effects of other channels of information over the emotional effects of the hypothesized influence of hue on perceived performance. To our knowledge this is the first study to investigate the impact of these hues upon perceived arousal of music performance, and has implications for musical performers and stage lighting. Further research that investigates reactions during live performance and manipulation of a wider range of lighting hues, saturation and brightness levels, and editing techniques, is recommended to further scrutinize the veracity of the findings. (shrink)