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<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">JCER</journal-id><journal-title-group><journal-title>Journal of Contemporary Educational Research</journal-title></journal-title-group><issn>2208-8466</issn><eissn>2208-8474</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/jcer.v5i7.2309</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>Emotional Expression and Artistic Reconstruction in Musical Performance</title><url>https://artdesignp.com/journal/JCER/5/7/10.26689/jcer.v5i7.2309</url><author>YueLi</author><pub-date pub-type="publication-year"><year>2021</year></pub-date><volume>5</volume><issue>7</issue><history><date date-type="pub"><published-time>2021-07-30</published-time></date></history><abstract>The emotional expression brought by music is the self-realization and artistic reconstruction of the art of music in performance. From the perspective of the development of musical performance, artistic reconstruction is an important means of expression which does not only explores the emotional connotation of music but also endows music with stronger vitality through the performers’ understanding and imagination, presenting them to the audience in a more three-dimensional way and stirring up deep resonance. Performers can also gradually develop their own style of performance. How to better integrate the interaction between the two is an important proposition in exploring musical performance. This paper focuses on the relationship between emotional expression and artistic reconstruction in addition to elaborating the important role of the two in musical performance to provide a useful reference for music creators and performers.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Mao Y, 2014, Music Performance Aesthetics, Nanjing Jiangsu Literature and Art Publishing House.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Tang F, 2004, Emotion Control in Vocal Music Singing, New Sound of Yuefu: Journal of Shenyang Conservatory of Music, (06).</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Guo P, 2007, Musical Expression in Vocal Music Art, China Conservatory of Music Gushi Paper.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>De Hegel, 1996, Aesthetics. The Commercial Press.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B5" content-type="article"><label>5</label><element-citation publication-type="journal"><p>Wang F, 2005, Aesthetic Principles of Recreation of Music Performing Arts, Master Dissertation of Jilin University of the Arts.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
