Search Results for expressive-timing
1-20 of 779 Search Results for
Music Perception. 2011; 285449–460 doi: https://doi.org/10.1525/mp.2011.28.5.449
Published: 01 June 2011
..., musical structure, and individual performance style on expressive timing MP2805_02.indd 449 5/11/11 9:52:16 AM 450 Dirk Moelants compared to tender ones, and that the ratios may vary within the same piece. This source has the benefit of reflecting actual performance practice, beyond the purely theoretical...
Music Perception. 2000; 182173–211 doi: https://doi.org/10.2307/40285908
Published: 01 December 2000
... required pianists first to play a musical excerpt spontaneously and then to imitate model performances instantiating different patterns of expressive timing or dynamics, with the other dimension held constant at a typical pattern. The typical expressive pattern for a given musical passage seems to function...
Music Perception. 1998; 153265–289 doi: https://doi.org/10.2307/40285768
Published: 01 April 1998
...Bruno H. Repp In three experiments, musically trained listeners tried to detect local deviations from a typical pattern of expressive timing in the initial measures of Chopin's Etude in E Major. The goal of the experiments was to neutralize structurally based perceptual biases ("timing expectations...
Music Perception. 1997; 152127–152 doi: https://doi.org/10.2307/40285746
Published: 01 December 1997
...W. Luke Windsor; Eric F. Clarke This paper compares timing and key-velocity data collected from a skilled performance of Schubert's G♭-major Impromptu (Opus 90) with a number of performances generated by a version of a musical expression algorithm proposed by Todd (1992). Regression analysis is...
Music Perception. 1995; 13139–57 doi: https://doi.org/10.2307/40285684
Published: 01 October 1995
...Bruno H. Repp This study examines whether global tempo and expressive timing microstructure are independent in the aesthetic judgment of music performance. Measurements of tone interonset intervals in pianists' performances of pieces by Schumann ("Traumerei") and Debussy ("La fille aux cheveux de...
Music Perception. 1992; 102221–241 doi: https://doi.org/10.2307/40285608
Published: 01 December 1992
... constraints on music performance and judgment, particularly at the level of expressive microstructure. This study illustrates such a constraint in one specific case: the expressive timing of a melodic gesture that occurs repeatedly in Robert Schumann's famous piano piece, "Traumerei." Tone onset timing...
Music Perception. 1985; 3133–57 doi: https://doi.org/10.2307/40285321
Published: 01 October 1985
... of Lerdahl and Jackendoff's theory (1977, 1983). Also shown is an interesting analogy between this model and the algorithms of Grosjean, Grosjean, and Lane (1979). Thus the hypothesis that expression is largely determined by musical structure, and the formal parallel between time-span reduction and...
Music Perception. 2011; 283265–278 doi: https://doi.org/10.1525/mp.2011.28.3.265
Published: 01 February 2011
...., spectral centroid), timing (intertone onset interval), and dynamics (root mean square envelope) showed significant differences depending on the expressive intention of the performer. In the present companion study, we investigate the effects of these acoustical parameters on listeners' preferences. An...
Music Perception. 2013; 304419–425 doi: https://doi.org/10.1525/mp.2013.30.4.419
Published: 01 April 2013
... between expressive and mechanical conditions was more pronounced for the less-experienced participants. Overall, our study showed that the memory improvement phenomenon extends to more realistic musical material, which includes expressive timing characteristics of live performance. © 2013 by The...
Music Perception. 2002; 193311–332 doi: https://doi.org/10.1525/mp.2002.19.3.311
Published: 01 March 2002
...Richard Ashley This article examines a number of different performances of jazz ballad melodies in order to investigate the nature of expressive timing used by jazz soloists. Three performances of My Funny Valentine and two performances of Naima , taken from commercial recordings by master soloists...
Music Perception. 2005; 23179–85 doi: https://doi.org/10.1525/mp.2005.23.1.79
Published: 01 September 2005
... world and expressive timing in music performance. However, kinematic models predict that expressive timing is independent of (a) the number of events, (b) the rhythmic structure, and (c) the overall tempo of the performance. These factors have no effect on the predicted shape of a ritardando . Computer...
Music Perception. 1997; 144419–444 doi: https://doi.org/10.2307/40285732
Published: 01 July 1997
... judged second lowest in individuality. In Experiment 2, pianists judged 30 performances of the beginning of Chopin's Etude in E major, synthesized so as to vary only in expressive timing and tempo. The timing patterns were derived from expert pianists' recordings and from casual student performances, and...
Music Perception. 2018; 36153–59 doi: https://doi.org/10.1525/mp.2018.36.1.53
Published: 01 September 2018
... modified in mode and/or tempo to primarily express either happiness, sadness, or tenderness. In addition, the inclusion of final ritardandi was experimentally manipulated such that these timing variations were either present or absent in the hymn stimuli. Participants were then asked to rate the emotions...
Includes: Multimedia, Supplementary data
Music Perception. 2018; 362201–216 doi: https://doi.org/10.1525/mp.2018.36.2.201
Published: 01 December 2018
... audio analyses of several clarinet performances of excerpts in the classical repertoire are presented and discussed in conjunction. The results show strong correlations between the recurrence pattern of clarinetists’ ancillary movements and expressive manipulations of timing, timbre, and loudness...
Music Perception. 2008; 255471–476 doi: https://doi.org/10.1525/mp.2008.25.5.471
Published: 01 June 2008
... expressive timing generally does not scale with tempo. ©© 2008 By the Regents of the University of California music performance drumming jazz timing tempo Music Perception VOLUME 25, ISSUE 5, PP. 471 476, ISSN 0730-7829, ELECTRONIC ISSN 1533-8312 © 2008 BY THE REGENTS OF THE UNIVERSITY OF...
Music Perception. 2000; 1811–23 doi: https://doi.org/10.2307/40285899
Published: 01 October 2000
.... Psychological Research, 61, 12-32. Povel, D. J., & Essens, P. (1985). Perception of temporal patterns. Music Perception, 2, 411-440. Repp, B. H. (1999). Control of expressive and metronomic timing in pianists. Journal of Motor Behavior, 31, 145-164. Rosenthal, D. (1992). Emulation of human...
Music Perception. 2000; 173277–313 doi: https://doi.org/10.2307/40285819
Published: 01 April 2000
... that expressive timing and dynamics do not relate to one another in the simple manner that is implemented in the model (Todd, 1992) used here, that small objective differences in the expressive profiles of different performances can lead to distinctly different judgments by listeners, and that what...
Music Perception. 1999; 172197–221 doi: https://doi.org/10.2307/40285891
Published: 01 December 1999
...Patrik N. Juslin; Guy Madison The purpose of this study was to explore whether listeners can use timing patterns to decode the intended emotional expression of musical performances. We gradually removed different acoustic cues (tempo, dynamics, timing, articulation) from piano performances rendered...
Music Perception. 2020; 374323–338 doi: https://doi.org/10.1525/mp.2020.37.4.323
Published: 11 March 2020
... ; Lindström et al., 2003 ), and it is therefore plausible that musicians are less familiar with expressions of anger compared to happiness. In this case, the existence of a more pronounced speed-accuracy trade-off would explain why musicians in this current study spent more time processing the angry clips...
Music Perception. 2019; 37142–56 doi: https://doi.org/10.1525/mp.2019.37.1.42
Published: 01 September 2019
... activity registered in electroencephalogram (EEG) signals on a given time instant. Our experiment's results—with 26 volunteers (13 musicians and 13 nonmusicians) who listened the classical music Hungarian Dance No. 5 from Johannes Brahms—have shown that is possible to linearly differentiate musicians and...