توجه: محتویات این صفحه به صورت خودکار پردازش شده و مقاله‌های نویسندگانی با تشابه اسمی، همگی در بخش یکسان نمایش داده می‌شوند.
۱Taichi Qi Flow in the Kinematic Process of Piano Playing: An Application of Chinese Science
نویسنده(ها): ،
اطلاعات انتشار: World Applied Sciences Journal، بيست و يكم،شماره۱، ۲۰۱۳، سال
تعداد صفحات: ۷
Reviewing different views and definitions labelling the psychological state of ‘being’ when a musician reaches peak performance, this study examines the hypothetical assumption that theories and movement from taichi’s qi flow(the Chinese medical term for vital force) may be a factor in contributing to what various scholars in psychological study as ‘flow,’ ‘peak experience,’ ‘heightened arousal,’ ‘becoming’ and so forth. The phenomenon and existence of the Chinese traditional scientific belief in qi flow is examined and applied to piano playing. Whether qi is just an experience similar to blood circulation in a Western viewpoint is considered. As a result of taichimotion analysis and practice–led research, three major factors contributing toqiflow are identified. The concept of yin and yang in taichi together with circular motion and the attainment ofqi flow are highlighted. The article exemplifies a new mind–body concept from a taichiperspective and its application to the kinematic process of piano playing.

۲The Perception of Musical Phrasing in Correlation to Movements in Sports Routines
نویسنده(ها): ،
اطلاعات انتشار: World Applied Sciences Journal، بيست و پنجم،شماره۴، ۲۰۱۳، سال
تعداد صفحات: ۸
Musical phrasing is an important element in generating expression, demonstrating the direction of music structure, giving a sense of melodic contour and so forth. Like other musical elements such as articulation, dynamics, harmony, meter, rhythm and tempo, musical phrasing also features greatly in the choreography of dance and of sports that involve a routine. As phrasing indicates the start and the end of a unit or sub–unit in a melodic structure, this indirectly correlates to a movement or series of movements in a routine or dance. This study looks into the perception of musical phrasing in movements in a Tai Chi routine from a musical perspective. A competition routine in which choreography and music were evaluated to have the most congruence was chosen. From the video recording, the initiation of musical phrases was recorded and compared with the phrasing of movements in the routine. While many musical elements are congruent with the movements, the result indicates that the Tai Chi practitioner’s perception of musical phrasing as applied to the choreography is rather different from the perception of a musician.
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