Techniques of Expressivity in Music Performance

  1. Manuel del Sol 1
  1. 1 Universidad de Valladolid
    info

    Universidad de Valladolid

    Valladolid, España

    ROR https://ror.org/01fvbaw18

Journal:
Cuadernos de Investigación Musical

ISSN: 2530-6847

Year of publication: 2020

Issue: 10

Pages: 120-129

Type: Article

DOI: 10.18239/INVESMUSIC.2020.10.05 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Cuadernos de Investigación Musical

Abstract

Historically all performers had had the same difficulties in ‘making music’ because there is an innate variable in the act of performing: the expression. What do the performers do? The most basic requirement is that a performer should produce the correct notes, rhythms, dynamics, etc. of a musical idea’ (Clarke, 2002, p. 59). In this sense, we may define the interpretation as a mechanical process; nevertheless, an interpretation without expression is not musical. Thus, Erick Clarke clarified that it was also necessary ‘to go beyond’ due to the expert performers are obliged to transmit a musical idea and recreate expressively the score. This statement could be controlled and measured because, in an interpretation, one may observe whether the performer had played the exact musical symbols of the score or not, but the issue is more subjective when we value expressivity. Hence, it is not surprising that the psychology of performance has focused on the question of interpretation and expression with a substantial amount of research such as the GERMS Model (Juslin, 2003). Overall, it is hoped that this approach proposed here may contribute to a greater understanding of learning and teaching expressive skills in music performance

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