Mastery through imitation: A preliminary study

Musicae Scientiae

Volumn 9, Issue 1, 2005, Pages 75-110

  Tânia, Lisboa ^a   Williamon, Aaron ^a   Zicari, Massimo ^b   Eiholzer, Hubert ^b  

^a ROYAL COLLEGE OF MUSIC   (United Kingdom)

^b Conservatorio della Svizzera Italiana ^*  (Switzerland)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84990365145     PISSN: 10298649     EISSN: None     Source Type: Journal    
DOI: 10.1177/102986490500900103     Document Type: Article

References (18)

1. Berliner P. F. (1994). Thinking in Jazz: The Infinite Art of Improvisation. Chicago, IL: Chicago University Press.
2. Clarke E. F. Baker-Short C. (1987). The imitation of perceived rubato: A preliminary study. Psychology of Music, 15, 58–75.
3. Clarke E. F. (1993). Imitating and evaluating real and transformed musical performances. Music Perception, 10, 317–41.
4. Elliott D. J. (2000). Music and affect: The praxial view. Philosophy of Music Education Review, 8, 79–88.
5. Ericsson K. A. Krampe R. T. Tesch-Römer C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363–406.
6. Johnson J. H. (1995). Listening in Paris: A Cultural History. Berkeley, CA: University of California Press.
7. Juslin P. N. Laukka P. (2000). Improving emotional communication in music performance through cognitive feedback. Musicæ Scientiœ, 4, 151–83.
8. Kohut D. L. (1973). Instrumental Music Pedagogy. Englewood Cliffs, NJ: Prentice-Hall.
9. Langer S. K. (1942). Philosophy in a New Key. Cambridge, Ma: Harvard University Press.
10. Lisboa T. Williamon A. Zicari M. Eiholzer H. (2002). An alternative to midi data: Analysing timing and dynamics of string performances. In Stevens C. Burnham D. McPherson G. Schubert E. Renwick J. (eds), Proceedings of the 7th International Conference on Music Perception and Cognition (pp. 624–26). Adelaide: Causal Productions.
11. Lindström E. Juslin P. N. Bresin R. Williamon A. (2003). “Expressivity comes from within your soul”: A questionnaire study of music students’ perspectives on expressivity. Research Studies in Music Education, 20, 23–47.
12. Persson R. S. (1996a). Brilliant performers as teachers: A case study of commonsense teaching in a conservatoire setting. International Journal of Music Education, 28, 1–15.
13. Persson R. S. (1996b). Studying with a musical maestro: A case study of commonsense teaching in artistic training. Creativity Research Journal, 9, 33–46.
14. Repp B. H. (1998). Individual differences in shaping a musical phrase: The opening of Chopin’s Etude in E Major. In YiS. W.,(ed. ), Fifth International Conference on Music Perception and Cognition (pp. 27–34). Seoul, Korea: Seoul National University.
15. Repp B. H. (2000). Pattern typicality and dimensional interactions in pianists’ imitation of expressive timing and dynamics. Music Perception, 18, 173–211.
16. Tait M. (1992). Teaching strategies and styles. In CowellR.,(ed. ), Handbook of Research on Music Teaching and Learning (pp. 525–34). New York: Schirmer Books.
17. Woody R. H. (1999). The relationship between explicit planning and expressive performance of dynamic variations in an aural modeling task. Journal of Research in Music Education, 47, 331–42.
18. Woody R. H. (2002). The relationship between musicians’ expectations and their perception of expressive features in an aural model. Research Studies in Music Education, 18, 54–62.