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Journal Articles
Music Perception. 2020; 373185–195 doi: https://doi.org/10.1525/mp.2020.37.3.185
Published: 01 February 2020
..., empirical methods, and definitions of “music” and “culture.” Author Note Authors Nori Jacoby and Elizabeth Hellmuth Margulis contributed equally to this work. We would like to acknowledge the Max Planck Institute for Empirical Aesthetics and the institute’s directors...
Journal Articles
Music Perception. 2018; 3611–23 doi: https://doi.org/10.1525/mp.2018.36.1.1
Published: 01 September 2018
... Germany and writing the paper was funded by the Max Planck Institute for Empirical Aesthetics (MPIEA). Author Polak changed from HfMT Köln to MPIEA during the research. © 2018 by The Regents of the University of California 2018 3 8 2017 7 4 2018 Rainer Polak, Music Department...
Includes: Supplementary data
Journal Articles
Music Perception. 2018; 36198–108 doi: https://doi.org/10.1525/mp.2018.36.1.98
Published: 01 September 2018
...Anna Wolf; Reinhard Kopiez; Friedrich Platz; Hsin-Rui Lin; Hanna Mütze T he present study has investigated the minimal-distance hypothesis in music ( Langlois & Roggman, 1990 ; Repp, 1997 ) by replicating Repp's original study (1997) on the aesthetic quality of an averaged performance—compared...
Includes: Multimedia, Supplementary data
Journal Articles
Music Perception. 2017; 344489–495 doi: https://doi.org/10.1525/mp.2017.34.4.489
Published: 01 April 2017
... singing voice opera LAY LISTENERS CAN EVALUATE THE PITCH ACCURACY OF OPERATIC VOICES PAULINE LARROUY-MAESTRI Max-Planck-Institute for Empirical Aesthetics, Frankfurt, Germany DOMINIQUE MORSOMME University of Lie`ge, Lie`ge, Belgium DAVID MAGIS Fonds de la Recherche Scientifique-FNRS, Lie`ge, Belgium...
Journal Articles
Music Perception. 2018; 362217–242 doi: https://doi.org/10.1525/mp.2018.36.2.217
Published: 01 December 2018
... emotions to aesthetic emotions: Towards a unified theory of musical emotions . Physics of Life Reviews , 10 , 235 – 266 . DOI: 10.1016/j.plrev.2013.05.008 Juslin, P. N. , Friberg, A. , & Bresin, R. ( 2002 ). Toward a computational model of expression in music performance: The GERM model...
Journal Articles
Music Perception. 2008; 255397–418 doi: https://doi.org/10.1525/mp.2008.25.5.397
Published: 01 June 2008
... violating inter-opus constraints hardly affects listeners' aesthetic judgments. Here we examine how violating inner form affects such judgments. Musically trained and untrained listeners heard the intact opening movements of Mozart's piano sonatas, K. 280 and 332, as well as hybrids mixing sections from...
Journal Articles
Music Perception. 2017; 344438–451 doi: https://doi.org/10.1525/mp.2017.34.4.438
Published: 01 April 2017
... production and perception swing ratio timing Malian drumming non-Western music PERCEPTION AND EVALUATION OF TIMING PATTERNS IN DRUM ENSEMBLE MUSIC FROM MALI HANS NEUHOFF & RAINER POLAK Cologne University of Music and Dance, Cologne, Germany TIMO FISCHINGER Max Planck Institute for Empirical Aesthetics...
Journal Articles
Music Perception. 2007; 243247–264 doi: https://doi.org/10.1525/mp.2007.24.3.247
Published: 01 February 2007
... taken from examples of Baroque, Classi- cal, Romantic, Spanish guitar, Jazz, and Mambo music (M = 1.32, and 1.41 when Jazz and Mambo were excluded from the sample). The tendency for music to have ß values 1 has been explained by Schroeder (1991) using the results of studies in experimental aesthetics...
Journal Articles
Music Perception. 1997; 144419–444 doi: https://doi.org/10.2307/40285732
Published: 01 July 1997
..., 433-448. Whitfield, T. W. A., & Slatter, P. E. (1979). The effects of categorization and prototypicality on aesthetic choice in a furniture selection task. British Journal of Psychology, 70, 65- 75. Music Perception © 1997 by the regents of the Summer 1997, Vol. 14, No. 4, 419-444...
Journal Articles
Music Perception. 1992; 10163–72 doi: https://doi.org/10.2307/40285538
Published: 01 October 1992
... 1992, Vol. 10, No. 1, 63-72 university of California The Effects of Structural Interventions in the First Movement of Mozart's Symphony in G Minor K. 550 on Aesthetic Preference MITCHELL KARNO & VLADIMIR J. KONECNI University of California, San Diego In a debate in this journal concerning the...
Journal Articles
Music Perception. 1992; 102221–241 doi: https://doi.org/10.2307/40285608
Published: 01 December 1992
... measurements in 28 recorded performances by famous pianists suggest that the most common " temporal shape" of this (nominally isochronous) musical gesture is parabolic and that individual variations can be described largely by varying a single degree of freedom of the parabolic timing function. The aesthetic...
Journal Articles
Music Perception. 1987; 44373–391 doi: https://doi.org/10.2307/40285380
Published: 01 July 1987
...J. David Smith One can distinguish a culturally valued aesthetic response to music's intrinsic syntax from a culturally devalued aesthetic response to music's more extrinsic meaning. Experts probably hold a highly syntactic aesthetic ideal. By some accounts, novice listeners hold a less syntactic...
Journal Articles
Music Perception. 1985; 24459–470 doi: https://doi.org/10.2307/40285313
Published: 01 July 1985
... moderately pleasing ones. For music, but not visual stimuli, the most pleasing type was chosen in the longest runs. The results were interpreted in terms of global and local aesthetic- choice strategies people use to optimize mood. [Footnotes] 1 The hard-rock music consisted of selections from the...
Journal Articles
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
Published: 01 December 2019
... idea that extreme music lovers do so because of a different sensory response to threat, and highlight a potential contribution of controlled cognitive processes in their aesthetic experience. This work was funded by ERC StG CREAM (335536) to JJA. All data collected at the Centre...
Journal Articles
Music Perception. 2019; 364353–370 doi: https://doi.org/10.1525/mp.2019.36.4.353
Published: 01 April 2019
... occurrence in different parts of the 4/4 measure, its dependence on tempo, its historical evolution, and its aesthetic functions. TABLE 1. Standards and Syncopations at the 8th-note Level in the RS Corpus Syncopation type Standards Syncopations Syncs. / (Stds. + Syncs.) 1→8 1028...
Journal Articles
Music Perception. 2018; 354405–424 doi: https://doi.org/10.1525/mp.2018.35.4.405
Published: 01 April 2018
.... Listeners in Experiment 1 rated performances as more expressive when they entrained more, suggesting that entrainment enhanced their aesthetic experience of the music. The whole body appears to contribute to unpacking the expressive content of musical communication. © 2018 by The Regents of the...
Journal Articles
Music Perception. 2016; 334509–514 doi: https://doi.org/10.1525/mp.2016.33.4.509
Published: 01 April 2016
... was small. These results, although limited in some respects, support a large body of literature pointing to the importance of repetition in aesthetic experiences of music. © 2016 by The Regents of the University of California 2016 3 6 2014 24 3 2015 Elizabeth Hellmuth Margulis...
Journal Articles
Music Perception. 2015; 325460–469 doi: https://doi.org/10.1525/mp.2015.32.5.460
Published: 01 June 2015
... (Experiment 2). We conclude that the perception of the lower but not the upper pitch in a two note harmonic interval is affected by the interval’s consonance or dissonance. We discuss the results in terms of the theoretical framework of processing fluency and aesthetics proposed by Winkielman, Schwarz...
Journal Articles
Music Perception. 2018; 362175–200 doi: https://doi.org/10.1525/mp.2018.36.2.175
Published: 01 December 2018
... 2018 listening time aesthetics habituation repetition enjoyment personality Notes 1. This survey instrument is still under development and is not yet a suitable psychometric tool. The responses were therefore not analyzed in any of the experiments reported in this paper. 2...
Journal Articles
Music Perception. 2020; 374366–367 doi: https://doi.org/10.1525/mp.2020.37.4.366
Published: 11 March 2020
... debate, drawing our attention to new dimensions of the collective activity that brings forth music, not least to considerations of aesthetics and pleasure. I confess that my starting point as a phonetician leaves me less competent to comment here, but it is my hope that the nonce erasure of imagined...