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Music and mind in everyday life$
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Eric Clarke, Nicola Dibben, and Stephanie Pitts

Print publication date: 2009

Print ISBN-13: 9780198525578

Published to Oxford Scholarship Online: March 2012

DOI: 10.1093/acprof:oso/9780198525578.001.0001

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Expression and communication in performance

Expression and communication in performance

Chapter:
(p.33) Chapter 3 Expression and communication in performance
Source:
Music and mind in everyday life
Author(s):

Eric Clarke

Nicola Dibben

Stephanie Pitts

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198525578.003.0003

This chapter looks at what defines expression, how expression is measured in a highly notated piece, and how to tell apart deliberate expression and unintentional blunders when making music based on a defined and notated music piece. This chapter attempts to draw a fine line of distinction between these two scenarios, and it uses Jamshed Barhucha's coined terms: veridical and schematic expectancies. These concepts are somewhat similar to the episodic and semantic memories discussed in the previous chapter. This chapter also makes a turn towards discussing musical performance, the common features of expression in Western classical music performances, and the psychological principles behind these variations in timing, articulation, and dynamics. The musicians' or performers' physical performance also conveys a message and leaves a mark on the audience's minds. Finally, this chapter also discusses how emotion plays a central role in expressing the mood and communicating the message of a song. This section points out how musical structure, bodily movement, emotion, and performance styles work as a single and complex unit, interacting with one another in any musical performance.

Keywords:   veridical expectancy, schematic expectancy, expressivity, expression, characteristics of expression, emotion and expression

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