Search Results for instrumental-music
1-20 of 829 Search Results for
Music Perception (2003) 21 (2): 159–216.
Published: 01 December 2003
...MONDHER AYARI; STEPHEN McADAMS This study addresses the perception of Arabic improvised music. The modal musical system (maqāām) as well as the model par excellence of instantaneous musical exposition and composition——instrumental improvisation (taqsīīm)——are presented. The classical Arabic maqāām...
Music Perception (2018) 35 (5): 540–560.
Published: 01 June 2018
... University of California 2018 17 8 2017 11 2 2018 emotion music analysis instrumental music cognitive musicology corpus THE LONE INSTRUMENT: MUSICAL SOLOS AND SADNESS-RELATED FEATURES NIELS CHR. HANSEN & DAVID HURON Ohio State University GIVEN THE EXTENSIVE INSTRUMENTAL RESOURCES...
Music Perception (2016) 34 (1): 94–103.
Published: 01 September 2016
...Angela C. Carpenter; Andrea G. Levitt Previous research has demonstrated similarities in the rhythmic characteristics of the speech and instrumental music within individual languages, such as French or English, but clear differences in these rhythmic patterns between languages. A recent finding has...
Music Perception (2017) 35 (2): 193–199.
Published: 01 December 2017
... nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that...
Music Perception (2017) 35 (1): 38–59.
Published: 01 September 2017
... instrumentation, musical form, style, and familiarity. We collected a wide range of subjective responses from 30 highly trained musicians to music varying along the affective dimensions of arousal and valence. Experiment 2 examined a set of psychophysiological correlates of emotion in 20 different musicians by...
Music Perception (2015) 32 (5): 470–483.
Published: 01 June 2015
...Nathaniel Condit-Schultz; David Huron Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical...
Music Perception (2017) 34 (4): 371–386.
Published: 01 April 2017
...Eduardo Coutinho; Klaus R. Scherer The systematic study of music-induced emotions requires standardized measurement instruments to reliably assess the nature of affective reactions to music, which tend to go beyond garden-variety basic emotions. We describe the development and conceptual validation...
Music Perception (2018) 36 (1): 109–128.
Published: 01 September 2018
...Robert H. Jack; Adib Mehrabi; Tony Stockman; Andrew McPherson A synchrony between tactile and auditory feedback (action-sound latency) when playing a musical instrument is widely recognized as disruptive to musical performance. In this paper we present a study that assesses the effects of delayed...
Music Perception (2018) 35 (4): 454–474.
Published: 01 April 2018
...-being music-making qualitative meta-analysis music participation MUSICAL ACTIVITY AND WELL-BEING: A NEW QUANTITATIVE MEASUREMENT INSTRUMENT AMANDA E. KRAUSE Curtin University, Perth, Australia & The University of Melbourne, Parkville, Australia JANE W. DAVIDSON The University of Melbourne...
Music Perception (2017) 35 (1): 60–76.
Published: 01 September 2017
... listened to Stravinsky’s Symphonies of Wind Instruments twice and responded to the music in real time. During the first listening, they continuously rated their level of interest and at the same time mentally identified the major themes. During the second listening, they indicated when they heard the major...
Music Perception (2009) 26 (4): 355–364.
Published: 01 April 2009
... genres; and 3) musicians did not differ signifi- cantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference...
Music Perception (2010) 28 (1): 59–70.
Published: 01 September 2010
...-induced movement. Musicians were presented with a piece of instrumental music in 4/4 time, played at four different tempi ranging from 92 to 138 bpm. Participants were instructed to move to the music, and their movements were recorded with a high quality optical motion capture system. Subsequently, signal...
Music Perception (2011) 28 (3): 307–314.
Published: 01 February 2011
...Rebecca W. McGowan; Andrea G. Levitt Informal Observations have Often been Made That a country's language is reflected in its instrumental music. Limited research exists studying similarities between the rhythmic characteristics of French music and language on the one hand and British music and...
Music Perception (2018) 36 (2): 175–200.
Published: 01 December 2018
...-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In...
Music Perception (2016) 33 (4): 446–456.
Published: 01 April 2016
...Alice Mado Proverbio; Andrea Orlandi A large body of evidence has shown that musicians’ brains differ in many ways from nonmusicians’ brains due to the particularly intense and prolonged sensorimotor training involved. Not much is known about the effects of the specific musical instrument played on...
Music Perception (2012) 29 (4): 429–446.
Published: 01 April 2012
... years of formal music training. In this paper, we explore a more comprehensive model of musicianship, and introduce a self-report instrument that captures both quantity and quality dimensions of produc- ing and receiving music. Production and recePtion Processes of Music Production. Musicianship has...
Music Perception (2018) 35 (3): 376–399.
Published: 01 February 2018
...Tan-Chyuan Chin; Eduardo Coutinho; Klaus R. Scherer; Nikki S. Rickard Music engagement is complex and is influenced by music training, capacity, preferences, and motivations. A multi-modular self-report instrument (the Music Use and Background Questionnaire, or MUSEBAQ) was developed to measure a...
Includes: Supplementary data
Music Perception (2014) 32 (2): 201–217.
Published: 01 December 2014
...Maria A. G. Witek; Eric F. Clarke; Morten L. Kringelbach; Peter Vuust In music, the rhythms of different instruments are often syncopated against each other to create tension. Existing perceptual theories of syncopation cannot adequately model such kinds of syncopation since they assume monophony...
Music Perception (2018) 35 (4): 502–517.
Published: 01 April 2018
... employing a similar research design and measurement instruments. Therefore, we used instrumental film music instead of vocal music, and assessed listeners’ music expertise. The present results show similarities and differences in patterns of psychological and physiological responses as compared to the...
Music Perception (2019) 37 (2): 95–110.
Published: 01 December 2019
...Rosalie Ollivier; Louise Goupil; Marco Liuni; Jean-Julien Aucouturier T raditional neurobiological theories of musical emotions explain well why extreme music such as punk, hardcore, or metal—whose vocal and instrumental characteristics share much similarity with acoustic threat signals—should...