<i>Rebonds</i>: Structural Affordances, Negotiation, and Creation

Duinker, Ben

doi:10.30535/mto.27.4.5

Cited by 4 publications

(5 citation statements)

References 18 publications

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“…Rebonds has become standard in the solo percussion literature, having served as a test piece in many prominent percussion competitions including the Tromp International Percussion Competition (Eindhoven), the ARD Music Competition (Munich), the Concours de Genève (Geneva), and the Percussive Arts Society International Percussion Competition (Indianapolis). Many university-level percussionists therefore have some degree of familiarity with Rebonds ( Duinker, 2021 ). Indeed, four participants in each condition reported having experienced it, but not in the previous 6 months.…”

Section: Methodsmentioning

confidence: 99%

“…They were free to practice at any tempo but had been told that they would be playing the trials to a metronome set to 70 eighth-note beats per minute (bpm). This tempo was chosen because 70 bpm was the median tempo in a survey of 10 commercial recordings of Rebonds A ( Duinker, 2021 ). Each note of the score was given a sticking, marked with either an L or an R to indicate which mallet to use for each note (see Figure 1 ), determined by the instructor who delivered the coaching to all participants.…”

Section: Methodsmentioning

confidence: 99%

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Please unmute your microphone: Comparing the effectiveness of remote versus in-person percussion training

Loria,

Duinker,

Roth

et al. 2023

Musicae Scientiae

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Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students’ enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants’ self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education.

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Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Please unmute your microphone: Comparing the effectiveness of remote versus in-person percussion training

Loria,

Duinker,

Roth

et al. 2023

Musicae Scientiae

Self Cite

View full text Add to dashboard Cite

show abstract

“…The concept of affordances is also taken as analytical focus in studies on certain aspects of musical practice, such as gestures ( Godøy, 2010 ; Duby, 2019 ) and musical structures ( Duinker, 2021 ). Norman (1998) transformed the concept in his work of design theory.…”

Section: Affordances and Music Researchmentioning

confidence: 99%

“…Ecological psychology and its key concept of affordances has been applied to music research (examples include Folkestad, 1996 ; DeNora, 2000 ; Clarke, 2005 ; Godøy, 2010 ; Nilsson, 2011 ; Menin and Schiavio, 2012 ; Windsor and de Bézenac, 2012 ; Akoumianakis, 2013 ; Coessens and Östersjö, 2014 ; Krueger, 2014 ; Schiavio, 2014 ; Duby, 2019 ; Koszolko, 2019 ; Clarke, 2020 ; Duinker, 2021 ; Tullberg, 2021 ; Cross, 2022 ). However, while literature within the field shows a variety of understandings, interpretations and applications, the concept has not been satisfyingly defined with regards to musical instruments.…”

Section: Introductionmentioning

confidence: 99%

Affordances of musical instruments: Conceptual consideration

Tullberg

2022

Front. Psychol.

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While the concept of affordances has been applied in music research, it has not been satisfyingly developed regarding musical instruments. The resulting vagueness restricts the potential of the concept to guide exploration, discussion, and development of new approaches towards musical learning. Also, the concept of affordances comes with strong ontological claims and thus prompts the researcher to be careful when merging it with other theoretical domains or applying it in empirical studies. Consequently, the present article aims at contributing to a conceptualization of affordances of musical instruments by highlighting and discussing components that are necessary to consider in such a project. The first part consists of an overview of key elements of ecological psychology and more recent theoretical contributions, which are of relevance to the aim of the article: Material Engagement Theory, Skilled Intentionality Framework, and Sensorimotor Contingency Theory. A brief review of examples on how the concept of affordances has been applied in music research is presented. The main section of the article discusses four components, vital to further theoretical developments on affordances of musical instruments: the musical niche, spatial networks, sensorimotor relationship, and the amodal nature of affordances. Central to the argument is an understanding of affordances as relational, limited in scope and bound up with the physical interaction between musician and instrument. Accordingly, it is proposed that analytical focus in studies of musical instruments should be the sensorimotor relationship, spatiotemporally unfolding through a musical event. The article is concluded with comments upon educational implications of the presented perspective and suggestions on further research on the topic.

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“…Since this time, a small but significant body of empirical research into post-1945 contemporary music has emerged (Krytska, 2015;Sethares & Touissant, 2015;Utz, 2017;Duinker, 2021;Jones, 2022) in addition to the pioneering work of Clarke et al (2005), and others (Moelants, 2000;Nedelman, 2005), hitherto omitted from surveys of performance research (see for example Gabrielsson, 2003;Cook, 2013;Lerch et al, 2020). 3 This article offers a close reading of these studies, considering, among other things, repertoire chosen, selection of recordings, methodological approaches, themes addressed, the relevance of score analysis, the role of the performer, and the import of the research for audience perception and reception.…”

Section: Introductionmentioning

confidence: 99%

Empirical Approaches to the Performance Analysis of New Music

Jones

2024

MPR

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New Music inherently challenges norms of performance practice, expression, interpretation, perception, and audience reception. Given the centrality of these themes to musical performance studies and the significant recording and performance traditions of many works of New Music, it is surprising that so little attention has thus far been dedicated to this repertoire. In response to this lacuna and Clarke and Doffman’s (2014) prospective paradigm for a performance studies of New Music, this article offers a close reading of the relatively limited empirical performance literature, highlighting the novel and varied epistemological affordances of the works in question, with consideration for repertoire chosen; selection of recordings; methodological approaches; themes addressed; the relevance of score analysis; the role of the performer; and the import of the research for audiences. I then contribute my own practice-based research on Stockhausen’s Klavierstück X (1961), illustrating the creative potential of self-reflexive performance analysis for performers of complex music. I thus offer a state of play for empirical research, while showcasing further aims and objectives, allied to the peculiar exigencies, performance ecologies, and aesthetic qualities of New Music

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Rebonds: Structural Affordances, Negotiation, and Creation

Cited by 4 publications

References 18 publications

Please unmute your microphone: Comparing the effectiveness of remote versus in-person percussion training

Please unmute your microphone: Comparing the effectiveness of remote versus in-person percussion training

Affordances of musical instruments: Conceptual consideration

Empirical Approaches to the Performance Analysis of New Music

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