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Bring out the counterpoint: exploring the relationship between implied polyphony and rubato in Bach's solo violin music
8 references·0 citing·34 second hop
Bring out the counterpoint: exploring the relationship between implied polyphony and rubato in Bach's solo violin music (2009)Bring out the counterpoint: exploring the…Communicative Pressure and the Evolution of Musical Styles (2004)Communicative Pressure and th…Music Performance Research at the Millennium (2003)Music Performance Research at…Performing through history (2002)Performing through historyHistorical performance and the modern performer (2002)Historical performance and th…Historical developments of expert performance: public performance of music (1998)Historical developments of ex…Anatomy of a Performance: Sources of Musical Expression (1996)Anatomy of a Performance: Sou…Stolen time: the history of tempo rubato (1995)Stolen time: the history of t…Diversity and commonality in music performance: An analysis of timing microstructure in Schumann’s ‘‘Träumerei’’ (1992)Diversity and commonality in …The Thematic Process in Music (1951)EXPERT AND EXCEPTIONAL PERFORMANCE: Evidence of Maximal Adaptation to Task Constraints (1996)Sensorimotor synchronization: A review of the tapping literature (2005)Emotion and Meaning in Music (1961)The Analysis and Cognition of Basic Melodic Structures: The Implication-Realization Model (1993)A microcosm of musical expression. I. Quantitative analysis of pianists’ timing in the initial measures of Chopin’s Etude in E major (1998)The Adjudication of Six Performances of a Chopin Etude: A Study of Expert Knowledge (1998)The Form of Performance: Analyzing Pattern Distribution in Select Recordings of Chopin's Mazurka Op. 24 No. 2 (2010)The Origins and Development of the English Language (1967)Classic Music: Expression, Form, and Style (1981)Principles of Linguistic Change: Internal Factors (1994)Grounding in musical interaction: Evidence from jazz performances (2008)Musical Style, Psychoaesthetics, and Prospects for Entropy as an Analytic Tool (2008)Diachronic Changes in Jazz Harmony (2013)Improvisation: Its Nature And Practice In Music (1980)The role of practice in the development of performing musicians (1996)The Science and Psychology of Music Performance Creative Strategies for Teaching and Learning (2002)Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance (2003)When passion leads to excellence: the case of musicians (2010)Sight over sound in the judgment of music performance (2013)A Social History of Music: From the Middle Ages to Beethoven (1973)Music and society since 1815 (1976)The Historical Performance of Music (1999)Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century (1983)Authenticities (1995)The Cambridge History of Musical Performance (2012)The performer and the composer (2012)Classical and Romantic Performing Practice (2025)Giftedness Viewed from the Expert-Performance Perspective (2005)Creativity and Competition: The Beatles (2006)Dancing without Space – On Nijinsky'sL'Après-midi d'un Faune(1912) (2009)Tempo, duration, and flexibility: Techniques in the analysis of performance (1996)"Rigoroso (♪ = 126)": "The Rite of Spring" and the Forging of a Modernist Performing Style (1999)Vocal performance in the seventeenth century (2012)
this work references cited by second hop

References

  • 1992Diversity and commonality in music performance: An analysis of timing microstructure in Schumann’s ‘‘Träumerei’’356 cited
  • 2003Music Performance Research at the Millennium300 cited
  • 1996Anatomy of a Performance: Sources of Musical Expression169 cited
  • 1995Stolen time: the history of tempo rubato110 cited
  • 2002Historical performance and the modern performer65 cited
  • 2004Communicative Pressure and the Evolution of Musical Styles56 cited
  • 1998Historical developments of expert performance: public performance of music17 cited
  • 2002Performing through history11 cited

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