Mario Baroni Expression: a controversial and elusive concept. Can we find any definition of it?

 P. Juslin, A. Friberg, E. Schoonderwaldt and J. Karlson, Feedback learning of musical expressivity, in A. Williamon ed., Musical excellence. Strategies and techniques to enhance performance, Oxford University Press, Oxford- New York 2004, pp

 1. Factors that may influence expressivity in music performance (the performed piece, the instruments, the performers, the listeners, the social context) 2. A selection of factors that transcend a specific time and place (the so called GERMS model proposed by them in «Musicae Scientiae» 2002) 3. The results obtained by research on music emotions (for example the volume by Juslin and Sloboda eds.: Music and Emotion, Oxford University Press, 2001) 4. A novel approach based on feedback learning and published in the article.

 How vs. why (motivation problem) Theory of structure vs. theory of meaning

 S. Canazza, G. De Poli, A. Rodà, A. Vidolin, Expressiveness in music performance: Analysis, models, mapping, encoding, in J. Steyn (ed.), Structurimg music through Markup language: Designs and architectures, IGI Global, 2012, pp

 G. De Poli, Methodology for expressiveness modelling and for music performance, «Journal of New Music Research», 33/3 2004, pp Camurri, A., De Poli, G., Friberg, A., Leman, M. &Volpe, G., The MEGA project: analysis and synthesis of multisensory expressive gesture in performing art applications, «Journal of New Music Research», 34/1, 2005, pp

 J.A. Sloboda and P. Juslin, At the interface between the inner and outer world. Psychological perspectives, in P. Juslin and J. Sloboda, Handbook of music and emotion. Theory, research, applications, Oxford University Press, Oxford and New York, 2010, p. 80.

 S. Canazza, G. De Poli, A, Rodà and A. Vidolin, An abstract control space for communication of sensory expressive intentions in music performance, «Journal of New Music Research», 32/3, 2003, pp

 Limits in my definition of expressivity 1. instrumental vs. vocal music 2. composition vs. performance

 L.B. Meyer, Explaining music, University of California Press, Berkeley, 1973 E.H. Margulis, A model of melodic expectation, «Music Perception» 21/4, 2005, pp D. Huron D, Sweet anticipation. Music and the psychology of expectation, MIT Press, Cambridge Mass.-London, 2006

 A. Gritten and E. King eds., Music and gesture, Ashgate, Aldershot, 2006 Leman M., Embodied music cognition and mediation technology, The MIT Press, Cambridge Mass-London, 2008 R.I. Godoy and M. Leman eds., Musical gestures. Sound movement and meaning, Routledge, New York and London, 2010 P.J. Maes, M.Leman, C.Palmer, M. Wanderley, Action based effects on music perception, «Frontiers of Psychology», January 2014

 K. Agawu, Playing with signs: A semiotic interpretation of classic music, Princeton University Press, Princeton, 1991 R. Monelle, The musical topic, Indiana University Press, Bloomington, 2006

 Meyer, L.B., Style and music. Theory, history and ideology, University of Pennsylvania Press, Philadelphia 1989 M. Baroni, Gusti musicali e gruppi sociali, in Enciclopedia della musica, Einaudi, Torino, vol. I, 2001, pp

 T. De Nora, Culture and music, in T. Bennet and J. Frows eds. The SAGE Handbook of cultural analysis, Sage, Los Angeles and London, 2008 M. Clayton, T. Herbert. R. Middleton eds., The cultural study of music, Routledge, New York and London, 3003

 Phrasing, micro-structures, tensions J. Sundberg, A. Friberg, and R. Bresin, Attempts to reproduce a pianist’s expressive timing with Director Musices performance rules, «Journal of New Music Research», 32/3, 2003, pp R. Parncutt, Accents and expression in piano performance, in Perspektiven und Methoden einer Systemischen Musikwissenshaft (Festschrift Fricke), Peter Lang, Frankfurt am Main, 2003, pp

 F. Lerdahl, and R. Jackendoff, A generative theory of tonal music, The M.I.T. Press, Cambridge Mass. 1983

 H.H. Unger, Die Beziehungen zwischen Musik und Rhetorik im Jahrhundert, Triltsch, Würtzburg, 1941 (Italian translation in 2003).

 CHARM Center for the History and Analysis of Recorded Music «Musicae Scientiae» 11/2 (2007): Between Science and Art: approaches to recoded music

 N.Cook, Performance analysis and Chopin Mazurkas «Musicae Scientiae» 11/2 (2007): Between Science and Art: approaches to recoded music

 M. Imberrty, La musica e l’inconscio, in Enciclopedia della musica, Einaudi, Torino (vol. II), 2002, pp H. Egermann and S. McAdams, Empathy and emotional contagion as a link between recongnized and felt emotions, «Music Perception» 31/2, 2013, pp