The study shows that listening to recordings forms an integral part of self-regulated learning activities and contributes to musicians’ development by increasing musical knowledge and stylistic awareness. The need to develop a distinct style had a positive influence on students’ practising and performing habits. Additionally, students were influenced by other people’s recommendations, especially their teachers’, and by other performers’ reputations when choosing recordings. Students were more likely to listen to recordings and, consequently, change aspects of their interpretations in the early stages of practising. The results show clear differences between students and professionals in the frequency of use and level of reliance on recordings, with students consistently exhibiting a greater preference for these resources. Respondents (N = 204) completed an online survey, and the data were analysed according to level of expertise: advanced music students (n = 147) and professional musicians (n = 57). A survey was designed to assess the use and importance of recordings on musicians’ listening and practising behaviours, their preferences when choosing recordings, and the type of influence exerted by recordings over self-regulatory processes. While previous research has partially acknowledged the contribution of external factors to self-regulated learning, the specific impact of recordings on performers’ approaches to practising remains largely uncharted. This article examines how musicians use recordings as learning resources in preparing for performance. I argue that these results suggest that it is possible to play both idiomatically and expressively with a hand-cranked mechanical instrument. The data showed that several participants employed phrase-arching, and also indicated not only 1) that different players demonstrated different tendencies in terms of temporal variation and beat emphasis but also 2) that different tendencies emerged among music box players across the two repertoire samples. I extracted onset bpm data using Sonic Visualiser and used a combination of Self-Organising Maps and manual data analysis to broadly group the different patterns of emphasis in these recordings and six others by professional pianists for comparison. Six participants played two extracts, by Scott Joplin and Fredric Chopin, on a music box. If a hand-cranked mechanical instrument does not produce a totally regular rendition, then what might such a performance look like in terms of temporal variation? My hypothesis was that different players would produce different kinds of patterns, and that some of these patterns could be related to conventions of expressive performance. However, a prominent tradition of nineteenth-century street performance – organ grinding – relied on mechanical instruments. Mechanical instruments have been studied as part of the pre-history of recording technologies, but have not typically been considered seriously as performance media. 6, appear to be idiomatic features of Grieg’s style.ĭrawing on earlier work in digital musicology that analysed beat onset data to create timing profiles for recorded performances, this research addresses the question of what kinds of timing data might be produced by a hand-cranked mechanical instrument. 1, and the rhetorical inflection of the melody in ‘To the Spring’, Op. Specifically, the rhythmic pull of the principal motif in ‘Butterfly’, Op. Results show that Grieg’s extreme flexibility in performance tempo distinguishes him from other interpreters. Second, exploratory Principal Components Analysis (PCA) is used to compare the composer’s timing profiles with those of other pianists in the sample. First, taking a bottom-up approach and starting from the composer’s recordings, salient gestures in Grieg’s performance style are traced using empirical techniques of beat-tempo analysis. This article reports an empirical investigation of Edvard Grieg’s performance style via historical recordings of two of his Lyric Pieces: ‘Butterfly’, Op. Despite their limitations, early recordings can provide a rich and reliable source of information for the performer-scholar. Historical recordings embody the material traces of legendary performers from the past and can offer an inspirational resource for modern interpreters.
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