Ritical reflection on a recorded performance

Please take the following notes under serious consideration as my last paper done from you got only a 50% even though I was assured I would get a 2:1.

Critical reflection on a recorded performance: or communicates the music to their audience and how this activity is informed by the musical structures themselves. Some of these structures will have been provided by the composer but they could also be the work of an arranger or of the performer themselves.
It is, therefore, worth considering whether the recording was made in front of a live audience or whether it is a studio performance and what the implications of this are for feedback and response and what the priorities of the performer may have been in making the recording.
There are established methods of classifying gestures and body language in the psychological literature, but these are only broad categorisations relating to the function of the gesture and do not attempt to draw on finer detail as you will be able to in your work. You may like to refer to the categories below in your work, but you could also usefully consider the semiotic content of the music and the relationship between performer and audience and how that is mediated.

Referencing Requirements:
Please take the following notes under serious consideration as my last paper done from you got only a 50% even though I was assured I would get a 2:1.

Critical reflection on a recorded performance: or communicates the music to their audience and how this activity is informed by the musical structures themselves. Some of these structures will have been provided by the composer but they could also be the work of an arranger or of the performer themselves.
It is, therefore, worth considering whether the recording was made in front of a live audience or whether it is a studio performance and what the implications of this are for feedback and response and what the priorities of the performer may have been in making the recording.
There are established methods of classifying gestures and body language in the psychological literature, but these are only broad categorisations relating to the function of the gesture and do not attempt to draw on finer detail as you will be able to in your work. You may like to refer to the categories below in your work, but you could also usefully consider the semiotic content of the music and the relationship between performer and audience and how that is mediated.