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1-20 of 2023
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Journal Articles
Journal:
Music Perception
Music Perception (2022) 39 (4): 341–360.
Published: 01 April 2022
Includes: Supplementary data
Journal Articles
Journal:
Music Perception
Music Perception (2022) 39 (4): 361–370.
Published: 01 April 2022
Includes: Supplementary data
Journal Articles
Journal Articles
Journal Articles
Images
Published: 01 April 2022
Figure 1. An example of the stimulus chord sequences. The first four chords (A minor, E minor, B minor, D major) establish the key of G major. The fifth chord is the standard tonic ending (G major, upper), the flat supertonic (A♭ major, middle), or the subdominant deviant ending (C major, lower). More
Images
Published: 01 April 2022
Figure 2. Response patterns from the implicit (upper) and explicit (lower) tasks as a function of condition (key or harmony) and chordal ending (standard or deviant). For the implicit task, there was no interaction between condition and ending. For the explicit task, ratings were higher for standa... More
Images
Published: 01 April 2022
Figure 3. Difference scores (standard endings – deviant endings) collapsed across key and harmony conditions, for response times in the implicit task (upper) and ratings in the explicit task (lower). For the implicit task, absolute values are illustrated. In both panels, the difference between sta... More
Images
in Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone
> Music Perception
Published: 01 April 2022
Figure 1. Example of four bars of music from tune M2 (I’ve Heard That Song Before, Cahn & Styne, 1942/2005) , transcribed into A) jazz, B) classical, and C) explicit notations. More
Images
in Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone
> Music Perception
Published: 01 April 2022
Figure 2. Swing ratings by notation style. A) Violin plots, individual ratings (×), and mean ratings (•) of the performances’ swing. Asterisks indicate significant differences ( p < .05) between notation styles. B) Mean +/− 1 SD of swing ratings grouped by score-dependent and -independent pa... More
Images
in Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone
> Music Perception
Published: 01 April 2022
Figure 3. Features pointed out by jazz listeners in the evaluation of classical musicians’ swing. Bar height and numbers above bars indicate the number of mentions. Symbol key: Art = articulation; BeatDev = Deviation from beat; BeatSynch = Synchronization with beat; Dyn = Dynamics; Eights = Eighth... More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 1. Linguistic illustration of the rising tone. More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 2. Linguistic illustration of the falling tone. More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 3. Musical illustration of tone-progression vis-à-vis its relationship with a preceding note. More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 4. Musical illustration of the rising tone. More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 5. Musical illustration of the falling tone. More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 6. Mutation of the intended message of “Nụrụ ákwá ụmụ gi” (Hear your children’s cry) through tone-tune variations of / ákwá / HH (cry). More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 7. A) Tone of / íké / HH (strength) as treated in the LTD version of “Ihụnanya M” B) Tone of / íké / HH (strength) as treated in the M/CD version of “Ihụnanya M.” More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 8a & 8b. Tone of / ézí / HH (good) as treated in the LTD and M/CD versions of “Ihụnanya M.” More
Images
in Can the Intended Messages of Mismatched Lexical Tone in Igbo Music Be Understood? A Test for Listeners’ Perception of the Matched Versus Mismatched Compositions
> Music Perception
Published: 01 April 2022
Figure 9a & 9b. Tone of / ákwà / HL (cloth) as treated in the LTD and M/CD versions of “Ihụnanya M.” More