Music Performance Research at the Millennium

By A. Gabrielsson. 2003

273 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Music, Social Psychology

View Paper: https://www.semanticscholar.org/paper/ca72af367385fd63f3134e704400124bd8afd86f

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Cognitive Neuroscience

1. A. Lamont
2. Steven R. Livingstone
3. William Forde Thompson
4. J. Karlsson
5. Geneviève L. Lavigne
6. Patrik Juslin
7. V. Konečni
8. Arielle Bonneville-Roussy

In Music

1. Arielle Bonneville-Roussy
2. Robert J. Vallerand
3. J. Karlsson
4. A. Lamont
5. V. Konečni
6. Patrik Juslin
7. William Forde Thompson
8. Steven R. Livingstone

In Social Psychology

1. Arielle Bonneville-Roussy
2. Geneviève L. Lavigne
3. Robert J. Vallerand
4. William Forde Thompson
5. J. Karlsson
6. Patrik Juslin
7. V. Konečni
8. A. Lamont

Citations in the corpus

• Singing as Communication (2005, methodology): “Feedback can be auditory, visual, tactile, kinaesthetic, or vestibular (Welch 1985; Gabrielsson 2003) and it is used in the construction of individual musical identity, both in the sense of ‘identity in music’ – as a musician – as well as in the sense of ‘music in identity’ – as a feature of an indi”
• When passion leads to excellence: the case of musicians (2011, background): “Previous research on factors leading to expert and elite music performance Relatively little research has looked at the role of motivational factors in music performance, or the acquisition of expertise in music (Gabrielsson, 2003).”
• Emotion, engagement and meaning in strong experiences of music performance (2012, background): “The vast majority of research on emotion in performance centres on the communication of emotion to the listener (e.g., Gabrielsson, 2003; Juslin & Laukka, 2003; Juslin & Madison, 1999; Lindström, Juslin, Bresin, & Williamon, 2003).”
• The emergence of music from the Theory of Mind (2009, methodology): “Page 13 of 48 In step 5 the performer expresses their emotional interpretation of the musical work through a set of performance music-emotion rules (Gabrielsson, 1999, 2003; Juslin & Sloboda, 2001); these rules are similar to those used by the composer in step 2.”
• Five Facets of Musical Expression: A Psychologist's Perspective on Music Performance (2003, background): “As can be seen, this includes numerous factors related to the piece, the instrument, the performer, the listener and the performance context (for further discussion of factors that might be relevant, see Gabrielsson, 2003, this issue; Rink, 2003, this issue).”
• Real-time feedback in the singing studio: an innovatory action-research project using new voice technology (2005, background): “Feedback can be auditory, visual, tactile, kinaesthetic or vestibular (Welch, 1985; Gabrielsson, 2003).”
• Musical expression: an observational study of instrumental teaching (2008, background): “The observed lack of explicit goals and systematic teaching patterns could partly reflect the fact that many teachers are unfamiliar with research on music performance (e.g. Gabrielsson, 2003).”
• Does music induce emotion? A theoretical and methodological analysis. (2008, background): “Perhaps the most complete recent reviews of the effects of musical structure and performance attributes on expressiveness are by Gabrielsson (1999, 2003) and by Gabrielsson and Lindström (2001).”