摘要：Background in ethnomusicology.In ethnomusicology the emotional expressiveness of musical performances still remains a minimally discussed topic. The expansion of local stylessuch as gypsy swingto global scales prompts one toseek cross-culturalbodily gesturesbehind theexpressive conventions of musical styles; furthermore,such expressive conventions may be guided by the physical features of musical instruments.Background in cognitive musicology. Considerable researchin music cognition has been carried to identify the expressive performance cues. However, most studies concentrate on conveniently measurable properties of the instrumentsand on performance of composed worksthat have been recorded multiple times.Expression in improvisational music has not received much attention yet despite the broader range of possibilities it offers for the expressive devices.Aims. The aim in terms of ethnomusicology is to explore the expressive cues in a context of a particular musical style and an instrument.The aims in terms of cognitive musicology is toanalyze improvised folk music, and to design a novel analysis method for this purpose.Main contribution. Studies of virtuoso performance of real, partially improvised music have so far been scarce. This study applied a novel method of analysisto explore expressive cues in improvisatory and non-notated musical materials.The consisted of phrase-level segmentation, tempo deviationand frequency-content analysis, and a summary of acoustic and musical features.This analysisdiscovered the effects that the player employed to convey expression on this particular instrument in this style. These features, roughness of sound, highdynamicvariationand twangy sound quality may be regardedas idiomatic to gypsy swing.Implications. An important portion of all music (e.g., popular music, folk music) is performed without any available notation. Existing analysis methods do not cover such renditions particularly well. In order to gain understanding on expression in musicalperformance, an anthropologist needs to acquaint herself with the pertinent methods of cognitive musicology
