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Journal Articles
Music Perception. 2014; 322201–217 doi: https://doi.org/10.1525/mp.2014.32.2.201
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...
Journal Articles
Music Perception. 2004; 222239–263 doi: https://doi.org/10.1525/mp.2004.22.2.239
Published: 01 December 2004
...Béénéédicte Poulin-Charronnat; Emmanuel Bigand; Philippe Lalitte; Franççois Madurell; Sandrine Vieillard; Stephen McAdams The present study investigates the effect of a change in instrumentation on the recognition of musical excerpts in Western contemporary and tonal music. The critical finding was...
Journal Articles
Music Perception. 1990; 8195–105 doi: https://doi.org/10.2307/40285487
Published: 01 October 1990
...Rita S. Wolpert This study examined the salience of instrumentation over melody and harmonic accompaniment in identifying music excerpts. Musicians and nonmusicians were tested on match-to-sample recognition tasks. In the first task, subjects were asked to choose which resembled the model more: (a...
Journal Articles
Music Perception. 1987; 52207–213 doi: https://doi.org/10.2307/40285393
Published: 01 December 1987
...Robert Batt References Geiringer, K. The structure of Beethoven's Diabelli Variations. Musical Quarterly, 1964, 50,496-503. Gotlieb, H., & Konecni, V. J. The effects of instrumentation, playing style, and structure in the Goldberg Variations by Johann Sebastian Bach. Music Perception...
Journal Articles
Music Perception. 1985; 3187–101 doi: https://doi.org/10.2307/40285323
Published: 01 October 1985
..., SAPM 198,020, 1954. Kochevitsky, G. Performing Bach's keyboard music-the choice of an instrument. Bach, 1972, 3, 33-37. Konečni, V. J. Elusive effects of artists' 'messages'. In W. R. Crozier & A. J. Chapman (Eds.), Cognitive processes in the perception of art. Amsterdam: North-Holland...
Published: 11 March 2020
Figure 1. Instrumental configurations of syncopations in one-stream (A-C), two-stream (D-I) and three-stream patterns (J-L). Black bars = onsets on the quarter note pulse. Grey bars = syncopated onsets. Circles denote syncopations. A) Syncopated bass drum, B) syncopated snare drum, C) syncopated
Journal Articles
Music Perception. 2018; 361109–128 doi: https://doi.org/10.1525/mp.2018.36.1.109
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...
Journal Articles
Music Perception. 2018; 355540–560 doi: https://doi.org/10.1525/mp.2018.35.5.540
Published: 01 June 2018
...Niels Chr. Hansen; David Huron Given the extensive instrumental resources afforded by an orchestra, why would a composer elect to feature a single solo instrument? In this study we explore one possible use of solos—that of conveying or enhancing a sad affect. Orchestral passages were identified...
Journal Articles
Music Perception. 2018; 354454–474 doi: https://doi.org/10.1525/mp.2018.35.4.454
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...
Journal Articles
Music Perception. 2017; 35160–76 doi: https://doi.org/10.1525/mp.2017.35.1.60
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...
Journal Articles
Music Perception. 2017; 344371–386 doi: https://doi.org/10.1525/mp.2017.34.4.371
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...
Published: 01 September 2018
FIGURE 2. Experimental set-up with instrument and accompanying laptop for changing settings. FIGURE 2. Experimental set-up with instrument and accompanying laptop for changing settings.
Published: 01 September 2018
FIGURE 1. The instrument built from eight ceramic tiles with piezo discs attached to them to sense vibrations. FIGURE 1. The instrument built from eight ceramic tiles with piezo discs attached to them to sense vibrations.
Journal Articles
Music Perception. 2016; 334446–456 doi: https://doi.org/10.1525/mp.2016.33.4.446
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...
Journal Articles
Music Perception. 2018; 362175–200 doi: https://doi.org/10.1525/mp.2018.36.2.175
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...
Journal Articles
Music Perception. 2015; 324355–363 doi: https://doi.org/10.1525/mp.2015.32.4.355
Published: 01 April 2015
... production may be accommodated compositionally. Number of skips and their distribution within a melody’s pitch range were compared between diverse statistical samples of vocal and instrumental melodies. Skips occurred less frequently in vocal melodies. Skips occurred more frequently in melodies’ lower and...
Journal Articles
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
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...
Journal Articles
Music Perception. 2020; 375373–391 doi: https://doi.org/10.1525/mp.2020.37.5.373
Published: 10 June 2020
... features, and that rondos would involve more acoustic cues for happiness (e.g., higher average pitch height and higher average attack rate). In a corpus analysis, we examined paired movement openings from 180 instrumental works, composed between 1770 and 1799. Rondos had significantly higher pitch height...
Journal Articles
Music Perception. 2012; 302117–128 doi: https://doi.org/10.1525/mp.2012.30.2.117
Published: 01 December 2012
...Damien Tardieu; Stephen McAdams perception of instrumental blend is important for understanding aspects of orchestration, but no work has studied blends of impulsive and sustained instruments. The first experiment identified the factors that influence the rating of blendedness of dyads formed of...
Journal Articles
Music Perception. 2012; 30149–70 doi: https://doi.org/10.1525/mp.2012.30.1.49
Published: 01 September 2012
... role of timbre in the perception of affect dimensions in isolated musical sounds, by way of three behavioral experiments. In Experiment 1, participants evaluated perceived affects of 110 instrument sounds that were equal in duration, pitch, and dynamics using a three-dimensional affect model (valence...