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baroque-music

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Journal Articles
Music Perception (2016) 33 (5): 523–545.
Published: 01 June 2016
... music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in...
Journal Articles
Music Perception (2011) 28 (5): 449–460.
Published: 01 June 2011
...Dirk Moelants notes inégales is a common practice in the performance of French baroque music. It indicates that the first of a pair of equally notated notes is played longer, similar to the use of swing eighths in jazz. The performance of that inequality is an ongoing source of debate, but the...
Journal Articles
Music Perception (2007) 25 (2): 117–134.
Published: 01 December 2007
...Renee Timmers; Richard Ashley ORNAMENTATION IS ONE ASPECT OF MUSIC ASSOCIATED with emotional affect in Baroque music. In an empirical study, the relationship between ornamentation and emotion was investigated by asking a violinist and flutist to ornament three melodies in different ways to express...
Journal Articles
Music Perception (2017) 35 (2): 235–248.
Published: 01 December 2017
...-1935 and were selected by music theorists to feature high contrast, and four of which featured Baroque and minimal music and were selected by music theorists to feature low contrast. After each one, they answered a variety of questions intended to assess their narrative engagement with the music. Brief...
Journal Articles
Music Perception (2016) 33 (4): 414–431.
Published: 01 April 2016
... Italian music has recently been ascribed to waning Italian and increasing German influence on Austro-German music after the Baroque Era. The inapplicability of controlled experimental methods to historical data necessitates further replication with more sensitive methods and new repertoire. Using novel...
Journal Articles
Music Perception (2013) 31 (1): 19–31.
Published: 01 September 2013
... recordings to directly measure event onset densities in notes per second. A strong correlation ( r s = .74, p < .002) between performed note speed and an instrument’s pitch range ( tessitura ) was found. Finally, a fourth study indicated that Baroque ornaments are more likely to appear in higher musical...
Journal Articles
Music Perception (2007) 24 (5): 417–432.
Published: 01 June 2007
...Mariateresa Storino; Rossana Dalmonte; Mario Baroni THIS STUDY FOCUSES ON THE PROCESSING of Italian Baroque composer Giovanni Legrenzi's musical style. In a previous work, Baroni, Dalmonte, and Jacoboni (2003) elaborated a generative grammar and implemented it in a computer program called LEGRE...
Journal Articles
Music Perception (2020) 37 (5): 373–391.
Published: 10 June 2020
... and attack rate, as predicted, and there were also significant differences related to dynamics, meter, and cadences. We then conducted an experiment involving participants with at least 5 years of formal music training or less than 6 months of formal music training. Participants listened to 120 15...
Journal Articles
Music Perception (2020) 37 (3): 208–224.
Published: 01 February 2020
...Peter M. C. Harrison; Marcus T. Pearce Voice leading is a common task in Western music composition whose conventions are consistent with fundamental principles of auditory perception. Here we introduce a computational cognitive model of voice leading, intended both for analyzing voice-leading...
Journal Articles
Music Perception (2020) 37 (3): 185–195.
Published: 01 February 2020
... . Singapore : Periplus Editions . Tenzer , M. ( 2000 ). Gamelan gong kebyar: The art of twentieth century Balinese music . Chicago, IL : University of Chicago Press . Tenzer , M. ( 2010 ). Temporal transformations in cross-cultural perspective: Augmentation in Baroque, Carnatic and...
Journal Articles
Music Perception (2019) 37 (1): 66–91.
Published: 01 September 2019
...Aimee Battcock; Michael Schutz C omposers convey emotion through music by co-varying structural cues. Although the complex interplay provides a rich listening experience, this creates challenges for understanding the contributions of individual cues. Here we investigate how three specific cues...
Journal Articles
Music Perception (2019) 36 (5): 448–456.
Published: 01 June 2019
...Douglas A. Kowalewski; Ronald S. Friedman; Stan Zavoyskiy; W. Trammell Neill I n a recent article , B onin , T rainor , B elyk , and Andrews (2016) proposed a novel way in which basic processes of auditory perception may influence affective responses to music. According to their source dilemma...
Journal Articles
Music Perception (2018) 36 (1): 60–76.
Published: 01 September 2018
..., Richard Dickins, the pianists who provided the recordings, and the study participants for their help throughout the project. © 2018 by The Regents of the University of California 2018 29 6 2017 12 3 2018 Aaron Williamon, Centre for Performance Science, Royal College of Music...
Includes: Multimedia, Supplementary data
Journal Articles
Music Perception (2018) 35 (5): 540–560.
Published: 01 June 2018
... musical scores. Notational practices have changed over the cen- turies. In general, scores have provided increasing levels of detail over time. Music composed in the Baroque and earlier periods often fail to include dynamic markings, tempo markings, and frequently omit indications of articulation. Another...
Journal Articles
Music Perception (2018) 35 (4): 475–501.
Published: 01 April 2018
...Richard Parncutt; Graham Hair The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as...
Journal Articles
Music Perception (2018) 35 (4): 437–453.
Published: 01 April 2018
...Madeline Huberth; Takako Fujioka Some movements that musicians make are non-essential to their instrumental playing, yet express their intentions and interpretations of music’s structures. One such potential interpretation is the choice to emphasize short melodic groupings or to integrate these...
Journal Articles
Music Perception (2017) 34 (4): 405–423.
Published: 01 April 2017
...Claire Arthur Probabilistic models have proved remarkably successful in modeling melodic organization (e.g., Huron, 2006a; Pearce, 2005; Temperley, 2008). However, the majority of these models rely on pitch information taken from melody alone. Given the prevalence of homophonic music in Western...
Journal Articles
Music Perception (2017) 34 (3): 267–290.
Published: 01 February 2017
..., 2004), pop songs (e.g., Bruderer et al., 2009), classical and Baroque instrumental pieces (e.g., Delie`ge, 1987, 1996), to composed contemporary folk songs for chil- dren (Koniari & Tsourgas, 2012), and complex 20th century musical pieces (Clarke & Krumhansl, 1990; Delie`ge & El Ahmadi, 1990). However...
Journal Articles
Music Perception (2016) 34 (1): 1–20.
Published: 01 September 2016
...Meghan Goodchild; Bruno Gingras; Stephen McAdams This study focuses on the relationships between music analysis, performance, and tension perception. Part 1 examines harpsichordists’ analyses and performances of an unmeasured prelude—a semi-improvisatory genre open to interpretive freedom. Twelve...
Journal Articles
Music Perception (2016) 33 (5): 590–600.
Published: 01 June 2016
...Steven M. Demorest; Steven J. Morrison; Vu Q. Nguyen; Erin N. Bodnar We have ample evidence of cultural bias influencing music cognition in a variety of ways including memory. The purpose of this study was to explore the influence of various musical elements on Western-born listeners’ cross...
Includes: Multimedia, Supplementary data