Název: Hudba a interpretace : k otázkám analýzy hudebního výkonu
Variantní název:
- Music and performance : towards the issue of the music performance analysis
Zdrojový dokument: Musicologica Brunensia. 2017, roč. 52, č. 2, s. 109-120
Rozsah
109-120
-
ISSN1212-0391 (print)2336-436X (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/MB2017-2-11
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/137653
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
This study presents a current approach to music performance analysis. The analysis of sound recordings is still a relatively new discipline of musicology although the approximate 120 years history of the musical data recording offers a wide range of possibilities. Musical recordings are preferable to live production in terms of the description of time resources in music for they allow more detailed and repeated measurement of time periods. The effort of musicology research is to find objective parameters and data from typically sound and time complicated musical recording or production in real time, which can be clearly and distinctly documented, analyzed and compared. The acquisition of this data in musicology research has always been the domain of a music theorist in the role of a listener of a live production or a recording, registering noticeable quantitative parameters of the music stream. Current attempts to use algorithmic tools in this field focus typically on tempo and dynamics. Nowadays, the practice of recording analysis is aided occasionally by various software tools for determining specific categories, such as beat extraction and spectral analysis. We are inspired by some foreign works. In the plethora of current production we were intrigued mostly by the work by José Antonio Bowen, Nicholas Cook and the activity of authors concentrated around the Center for History and Analysis of Recorded Music (CHARM). While this topic is often discussed in the anglo-american musicology on a local scale this topic is rather marginal. A rare exception is the work of Milan Kuna and Miloš Bláha Time and Music. About the dramaturgy of the resources in the musical and interpretative performances (1982).
Reference
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[2] CANNAM, Chris, Christian LANDONE and Mark SANDLER. Sonic Visualiser: An Open Source Application for Viewing, Analysing, and Annotating Music Audio Files, in Proceedings of the ACM Multimedia 2010 International Conference [online]. [cit. 24. 9. 2017]. Dostupné z URL: http://sonicvisualiser.org/sv2010.pdf.
[3] COOK, Nicholas. The Conductor and the Theorist: Furtwängler, Schenker, and the irst Movement of Beethoven's Ninth Symphony. In The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.). Cambridge: Cambridge University Press, 1995, s. 105–125.
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[5] COOK, Nicholas. Changing the musical object: approaches to performance analysis. In Music's Intellectual History: Founders, Followers and Fads. Zdravko Blazekovic (ed.). New York: RILM, 2009.
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[14] LIEBMAN, Elad – ORNOY, Eitan – CHOR, Benny. A Phylogenetic Approach to Music Performance Analysis (2012). Journal of New Music Research, 2012, roč. 41, č. 2, s. 215–242.
[15] NEWLIN, Dika. Schoenberg Remembered: Diaries and Recollections (1938–76). New York: Pendragon Press, 1980, s. 164.
[16] SAPP, Craig Stuart. Mazurka Project Plugins for Sonic Visualiser [online]. Poslední aktualizace 6. 5. 2006 [cit. 24. 9. 2017]. Dostupné z URL: http://sv.mazurka.org.uk/.
[17] SCHENKER, Heinrich. Der Tonwille. Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst einer neuen Jugend dargebracht. Heft 6, Wien: Universal-Edition, 1923.
[18] SMÉKAL, Zdeněk. Systémy a signály: 1D a 2D diskrétní a číslicové zpracování. Praha: Sdělovací technika, 2013.
[19] STRAVINSKY, Igor. Poétique musicale. Cambridge: MA, 1942.
[20] ZICH, Jaroslav. Kapitoly a studie z hudební estetiky. Praha: Supraphon (1975), 1987.
[21] ZICH, Otakar. Estetika dramatického umění. Praha: Supraphon (1931), 1986.
[2] CANNAM, Chris, Christian LANDONE and Mark SANDLER. Sonic Visualiser: An Open Source Application for Viewing, Analysing, and Annotating Music Audio Files, in Proceedings of the ACM Multimedia 2010 International Conference [online]. [cit. 24. 9. 2017]. Dostupné z URL: http://sonicvisualiser.org/sv2010.pdf.
[3] COOK, Nicholas. The Conductor and the Theorist: Furtwängler, Schenker, and the irst Movement of Beethoven's Ninth Symphony. In The Practice of Performance: Studies in Musical Interpretation. John Rink (ed.). Cambridge: Cambridge University Press, 1995, s. 105–125.
[4] COOK, Nicholas. Analysing Performance and Performing Analysis. In Rethinking Music, Nicholas Cook, Mark Everist (eds.). Oxford/New York: Oxford University Press, 1999, s. 239–261.
[5] COOK, Nicholas. Changing the musical object: approaches to performance analysis. In Music's Intellectual History: Founders, Followers and Fads. Zdravko Blazekovic (ed.). New York: RILM, 2009.
[6] COOK, Nicholas. Beyond the Score. Music as Performance. Oxford/New York: Oxford University Press, 2013.
[7] DANUSER, Hermann. Die Musik des 20. Jahrhunderts [= Neues Handbuch der Musikwissenschaft, 11], Laaber: Laaber, 1992.
[8] EYBL, Martin. Texttreue und Expressivität. Sieben Beobachtungen zu Heinrich Schenkers Vortragshinweisen. In Die Lehre von der musikalischen Aufführung in der Wiener Schule. Verhandlungen des Internationalen Colloquiums Wien 1995. Markus Grassl – Reinhard Kapp (eds.). Wien: Böhlau, 2002, s. 411–427.
[9] FRIBERG, Anders. Generative rules for music performance: a formal description of a rule system. Computer Music Journal, 1991, roč. 15, č. 2, s. 56–71. | DOI 10.2307/3680917
[10] FURTWÄNGLER, Wilhelm. Heinrich Schenker. Ein zeitgemäßes Problem, In týž: Ton und Wort: Aufsätze und Vorträge 1918 bis 1954. Wiesbaden: Brockhaus, 1954, s. 198–204.
[11] JONAS, Oswald. Die Kunst des Vortrages nach Heinrich Schenker. Musikerziehung, 1962, roč. 15, č. 3, s. 129.
[12] KUNA, Milan. Dramaturgie tempa. K interpretaci 2. věty Janáčkova 1. smyčcového kvartetu. Hudební věda. 1978, roč. 15, č. 4, s. 340–357, a 1979, roč. 16, č. 1, s. 5–74.
[13] LARTILLOT, Olivier and Petri TOIVIAINEN. "A MATLAB toolbox for musical feature extraction from audio", International Conference on Digital Audio Effects [online]. Bordaux: 2007, poslední aktualizace 11. 01. 2008 [cit. 24. 9. 2017]. Dostupné z URL: http://dafx.labri.fr/main/dafx07_ proceedings.html.
[14] LIEBMAN, Elad – ORNOY, Eitan – CHOR, Benny. A Phylogenetic Approach to Music Performance Analysis (2012). Journal of New Music Research, 2012, roč. 41, č. 2, s. 215–242.
[15] NEWLIN, Dika. Schoenberg Remembered: Diaries and Recollections (1938–76). New York: Pendragon Press, 1980, s. 164.
[16] SAPP, Craig Stuart. Mazurka Project Plugins for Sonic Visualiser [online]. Poslední aktualizace 6. 5. 2006 [cit. 24. 9. 2017]. Dostupné z URL: http://sv.mazurka.org.uk/.
[17] SCHENKER, Heinrich. Der Tonwille. Flugblätter zum Zeugnis unwandelbarer Gesetze der Tonkunst einer neuen Jugend dargebracht. Heft 6, Wien: Universal-Edition, 1923.
[18] SMÉKAL, Zdeněk. Systémy a signály: 1D a 2D diskrétní a číslicové zpracování. Praha: Sdělovací technika, 2013.
[19] STRAVINSKY, Igor. Poétique musicale. Cambridge: MA, 1942.
[20] ZICH, Jaroslav. Kapitoly a studie z hudební estetiky. Praha: Supraphon (1975), 1987.
[21] ZICH, Otakar. Estetika dramatického umění. Praha: Supraphon (1931), 1986.