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Journal Articles
Music Perception (2019) 37 (2): 147–164.
Published: 01 December 2019
...Aviel Sulem; Ehud Bodner; Noam Amir E xpressive M usical T erms (EMTs) are commonly used by composers as verbal descriptions of musical expressiveness and characters that performers are requested to convey. We suggest a classification of 55 of these terms, based on the perception of professional...
Journal Articles
Music Perception (2019) 37 (1): 66–91.
Published: 01 September 2019
... expression and perception of emotion . Current Directions in Psychological Science , 8 , 53 - 57 . Bachorowski, J. , & Owren, M. ( 1995 ). Vocal expression of emotion: Intensity and context . Psychological Science , 6 , 219 – 224 . Balkwill, L.-L. , & Thompson, W. F. ( 1999 ). A...
Journal Articles
Music Perception (2018) 36 (2): 201–216.
Published: 01 December 2018
...Euler C. F. Teixeira; Mauricio A. Loureiro; Hani C. Yehia T his article seeks to unveil quantitative relations between the patterns of movement recurrence of a group of expert clarinetists and expressive sonic manipulations they employ during their performances. The main hypothesis is that the...
Journal Articles
Music Perception (2018) 36 (1): 53–59.
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
Journal Articles
Music Perception (2018) 35 (4): 518–523.
Published: 01 April 2018
... variable, and more legato in articulation. However, the bulk of existing studies are either correlational or allow these expressive cues to covary freely, thereby making it difficult to confirm the causal influence of a given cue. To help address this gap, we experimentally assessed whether the average...
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 (2012) 29 (4): 339–357.
Published: 01 April 2012
...Mary C. Broughton; Catherine J. Stevens laban movement analysis, specifically effort-shape analysis, is offered as a system to study musicians' bodily expression. It proposes others' intentions are manifest in expressive bodily activity and understood through shared embodied processes. The present...
Journal Articles
Music Perception (2013) 30 (4): 419–425.
Published: 01 April 2013
...-produced stimuli. The present study assessed whether expressive performances would modulate the previously reported finding. Given that expressive performances introduced slight differences between initially presented targets and their target-test items, expressive performance could make the task more...
Journal Articles
Music Perception (2018) 35 (4): 405–424.
Published: 01 April 2018
...Alexander P. Demos; Roger Chaffin We measured the postural sway of two trombonists as they each recorded multiple performances of two solo pieces in each of three different expressive styles (normal, expressive, non-expressive). We then measured the postural sway of 29 non-trombonist listeners as...
Journal Articles
Music Perception (2012) 29 (3): 237–254.
Published: 01 February 2012
... the University of California 2012 Haruka Shoda, a research fellow of the Japan Society for the Promotion of Science, c/o Adachi Lab, Department of Psychology, Hokkaido University, N10 W7, Kita-ku, Sapporo, Japan, 060-0810. e-mail: shoda@let.hokudai.ac.jp piano performance expressive body...
Journal Articles
Music Perception (2011) 28 (5): 449–460.
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...
Journal Articles
Music Perception (2020) 37 (4): 323–338.
Published: 11 March 2020
... feeling of such emotions. Musicians and nonmusicians were presented with visual, auditory, and audiovisual clips consisting of the biological motion and speech prosody of two agents interacting. Participants judged as quickly as possible whether the expressed emotion was happiness or anger, and...
Journal Articles
Music Perception (2011) 28 (3): 265–278.
Published: 01 February 2011
...Mathieu Barthet; Philippe Depalle; Richard Kronland-Martinet; Søølvi Ystad In a Previous Study, Mechanical and Expressive clarinet performances of Bach's Suite No. II and Mozart's Quintet for Clarinet and Strings were analyzed to determine whether some acoustical correlates of timbre (e.g...
Journal Articles
Music Perception (2010) 28 (2): 135–154.
Published: 01 December 2010
...Mathieu Barthet; Philippe Depalle; Richard Kronland-Martinet; Søølvi Ystad This study deals with the acoustical factors liable to account for expressiveness in clarinet performances. Mechanical and expressive performances of excerpts from Bach's Suite No. II and Mozart's Quintet for Clarinet and...
Journal Articles
Music Perception (2010) 28 (1): 47–57.
Published: 01 September 2010
...Geoff Luck; Petri Toiviainen; Marc R. Thompson The visual channel has been shown to be more informative than the auditory channel in perceptual judgments of a performer's level of expression. Previous work has revealed a positive relationship between amplitude of music-related movement and ratings...
Journal Articles
Music Perception (2018) 35 (5): 540–560.
Published: 01 June 2018
... factors, passages were classified into nine previously defined expressive categories. Passages containing acoustic features associated with the “sad/relaxed” expressive category were twice as likely to employ solo texture. Moreover, a regression model incorporating all factors significantly predicted solo...
Journal Articles
Music Perception (2009) 26 (5): 475–488.
Published: 01 June 2009
...Steven R. Livingstone; William Forde Thompson; Frank A. Russo FACIAL EXPRESSIONS ARE USED IN MUSIC PERFORMANCE to communicate structural and emotional intentions. Exposure to emotional facial expressions also may lead to subtle facial movements that mirror those expressions. Seven participants were...
Journal Articles
Music Perception (2019) 37 (1): 42–56.
Published: 01 September 2019
... nonmusicians with classification accuracies that range from 69.2% (test set) to 93.8% (training set), despite the limited sample sizes available. Additionally, given the whole brain vector navigation method described and implemented here, our results suggest that it is possible to highlight the most expressive...
Journal Articles
Music Perception (2009) 26 (3): 263–278.
Published: 01 February 2009
... certain degree, a sensitivity for musical expression and its associated corporeal intentionality. ©© 2009 By the Regents of the University of California embodied music cognition music perception expression guqin music Music Perception VOLUME 26, ISSUE 3, PP. 263 278, ISSN 0730-7829...
Journal Articles
Music Perception (2008) 26 (2): 103–119.
Published: 01 December 2008
...Ginevra Castellano; Marcello Mortillaro; Antonio Camurri; Gualtiero Volpe; Klaus Scherer EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention...