International Symposium on Performance Science (ISPS)

Proceedings of ISPS 2007

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Publication details

Proceedings of the International Symposium on Performance Science 2007, edited by Aaron Williamon and Daniela Coimbra, published by the European Association of Conservatoires (AEC), Utrecht, The Netherlands. ISBN 9789090224848.

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A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | Y |

A

Analyzing performance interpretation: The bouncing ball

p. 103-108

George Papageorgiou

Appassionata for guitar of Ronaldo Miranda: Relationship between timing variation and musical texture

p. 47

Guilherme Augusto de Ávila, Ricieri Carlini Zorzal

The art of hand-splitting: Vianna da Motta’s contribution toward a better rendering of Beethoven’s sonata op. 31/2

p. 321-326

Luís Pipa

Assessing the importance of visual/theatrical features in the perception of music by an audience, using sociological tools

p. 147-152

Teresa Vila Verde

Authenticity in the twentieth century: Listening to composer’s own recordings

p. 353

Rui Pedro Pereira

B

Biographical predictors of music-related motor skills in children pianists

p. 363-368

Hans-Christian Jabusch, Raymond Yong, Eckart Altenmüller

C

La cathédrale engloutie: Is musicology changing the way we perform?

p. 109-114

Rui Pedro Pereira

Choral singing and psychological wellbeing: Findings from English choirs in a cross-national survey using the WHOQOL-BREF

p. 201-207

Stephen Clift, Grenville Hancox, Ian Morrison, Bärbel Hess, Gunter Kreutz, Don Stewart

Cognitive feedback and metaphors in emotional communication instruction of musical performance

p. 265-270

Nuno Arrais, Helena Rodrigues

A comparative study: Editions and manuscripts of the Concerto for Guitar and Orchestra by Villa-Lobos

p. 49-54

Ricardo Camponogara de Mello

Composing with Hyperscore in general music classes: An exploratory study

p. 225-230

Graça Mota, Daniel Gonçalves, Ana Daniela Oliveira, António Sousa, Fernando Calheiros, Helena Ribeiro

Control of affective content in music production

p. 91-96

António Pedro Oliveira, Amílcar Cardoso

D

Diary of a child musical prodigy

p. 213-218

Gary McPherson

E

The effect of retrieval cues developed during practice and rehearsal on an expert singer’s long-term recall for words and melody

p. 167-172

Jane Ginsborg, Roger Chaffin

The effects of the menopause and the use of hormonal replacement therapy on the female professional voice users’ perceptions

p. 209

Filipa Lã, Nancy Lee Harper, João Luis Silva Carvalho

Effects of musical texture, performer’s preparation, interpretative goals, and musical competence on error patterns in organ performance

p. 259-264

Bruno Gingras, Stephen McAdams, Peter Schubert

Enhancing music and dance performance with EEG-neurofeedback

p. 275

John Gruzelier, Joe Leach, Tony Steffert, Trevor Thompson

Epidemiology of musician’s dystonia: Experience from the London clinic, 2002-07

p. 129

Karin Rosenkranz, Katherine Butler, Aaron Williamon

Excellence in achievement contexts: Psychological science applications and future directions

p. 17-22

Liliana S. Araújo, Leandro S. Almeida, José F. Cruz

Exploring the experience, expression, and control of anger among singers

p. 41-46

Daniela Coimbra

F

Fernando Lopes-Graça’s choral music: Characteristics and interpretation

p. 327-332

Jorge Matta

From the Neanderthal to the concert hall: Development of sensory motor skills and brain plasticity in music performance

p. 5-14

Eckart Altenmüller

From quantitative empirï to musical performology: Experience in performance measurements and analyses

p. 141-146

Jan Tro

G

Golden Section in the sonatas of Domenico Scarlatti: An examination of Kirkpatrick’s crux

p. 239-244

Nancy Lee Harper

H

How singers influence the understanding of sung text

p. 253-258

Philip Fine, Jane Ginsborg

I

The influence of the wider context of learning, gender, age, and individual differences on adolescent musicians’ performance anxiety

p. 219-224

Ioulia Papageorgi

Integration of improvisation in violin lessons: Why and how to build an accessible and efficient didactic tool

p. 123-128

Noémie Robidas, Louise Mathieu

Intended versus perceived emotion

p. 233-238

Cristina Capparelli Gerling, Regina Antunes Teixeira dos Santos

J

Joint hypermobility is a liability for the performing artist

p. 281-285

Rodney Grahame

Just in Time as a scientific interface between rhythm composition and performance

p. 79-84

Eduardo Lopes, Paulo Gaspar

K

Kinesics analysis in the investigation of the emotion expression in music performance

p. 375

António Salgado

L

The learning of music as a means to improve mathematical skills

p. 135-140

Carlos Santos-Luiz

Learning to be…singing: A choral music education program

p. 97-102

Luis Miguel Simões Pacheco, Sandrina Dinis Fernandes Milhano

M

Making sense out of taste: A study on listeners’ preferences of performed tonal music

p. 245-250

Ângelo Martingo

Measuring self-efficacy in music

p. 307-312

Laura Ritchie, Aaron Williamon

Motor control and learning: The basics of skilled instrumental performance

p. 115-120

Florian Pertzborn

Musical performance anxiety as a form of social anxiety?

p. 67-72

Susanne Gorges, Georg W. Alpers, Paul Pauli

N

Neural correlates of professional classical singing

p. 335-343

Boris Kleber, Ralf Veit, Niels Birbaumer, Martin Lotze

Noise exposure and hearing thresholds among orchestral musicians

p. 23-28

Bradford C. Backus, Terry Clark, Aaron Williamon

Not quite so healthy: The lifestyles of music conservatoire students

p. 73-78

Gunter Kreutz

O

Orofacial considerations concerning musicians

p. 279

Miguel Pais Clemente, Inês Carvalho, Mário Vasconcelos, Rogério Branco, José Cavalheiro, José Frias-Bulhosa

P

Performance motives: Analysis and comparison of performance timing repetitions using pattern matching and Formal Concept Analysis

p. 175-180

Neta Spiro, Nicolas Gold, John Rink

PGCE music students’ perceptions of the benefits of their musical involvement outside of school

p. 379-384

Dimitra Kokotsaki

The phenomenology of performance: Exploring musicians’ perceptions and experiences

p. 35-40

Terry Clark, Aaron Williamon, Tânia Lisboa

A prototype system for rule-based expressive modifications of audio recordings

p. 355-360

Marco Fabiani, Anders Friberg

R

Rhythm capacity: Comparison between professional dancers and dance students

p. 29-34

Ana Paula Batalha, Ana Macara

The role of timbre in expressive musical performance: A case study of Bach’s Prelude BWV 998 played on the acoustic guitar

p. 181-186

Andrew Earis, Patricia Holmes

The role of the Alexander technique in musical training and performing

p. 369-374

Malcolm Williamson, Neil Roberts, Andy Moorhouse

The role of retraining in rehabilitation from focal dystonia

p. 287-292

Rae de Lisle, Dale Speedy, John Thompson

The roles of expertise and partnership in collaborative rehearsal

p. 61-66

Jane Ginsborg, Elaine King

S

Schubert’s lament: Original reading

p. 121

J. Miguel Ribeiro-Pereira

Science meets art: The body and its role in “shaping” piano music

p. 85-90

Cristine MacKie

Sensory immersion training for concert artists

p. 133

Joseph M. Sanders

T

Tendencies of piano interpretation in the twentieth century: Concept and different types of "piano interpretation schools"

p. 187-192

Sofia Lourenço

Theoretical and practical applications of mental imagery

p. 295-300

Melanie J. Gregg, Terry Clark

A theoretical framework for examining foundational instructional materials supporting the acquisition of performance skills

p. 385-390

Frank Heuser

The timbre vocabulary of professional female jazz vocalists

p. 347-352

Daniela Prem, Richard Parncutt

The tuned brain: Enhanced brain plasticity in musicians

p. 131

Karin Rosenkranz, Aaron Williamon, John C. Rothwell

U

Unresolved dissonance? Subjectivity in music research

p. 155-160

Roger Chaffin, Mary Crawford

V

Variability and automaticity in highly practiced cello performance

p. 161-166

Tânia Lisboa, Roger Chaffin, Topher Logan, Kristen Begosh

Virtuosity: Some (quasi phenomenological) thoughts

p. 315-320

Francisco Monteiro

Voice source and acoustic measures of girls singing "classical" and "contemporary commercial" styles

p. 195-200

Chris Barlow, Jeannette LoVetri, David Howard

W

What does mental imagery mean to university music students and their professors?

p. 301-306

Elizabeth Haddon

When gesture sounds: Bodily significance in musical performance

p. 55-60

Elena Esteban Muñoz

Y

Youth and dance: Relation of university students with different types of dance

p. 391-396

Ana Macara, Ana Paula Batalha