Search Results for music-performance
1-20 of 1168 Search Results for
Music Perception. 2018; 36198–108 doi: https://doi.org/10.1525/mp.2018.36.1.98
Published: 01 September 2018
...Anna Wolf; Reinhard Kopiez; Friedrich Platz; Hsin-Rui Lin; Hanna Mütze T he present study has investigated the minimal-distance hypothesis in music ( Langlois & Roggman, 1990 ; Repp, 1997 ) by replicating Repp's original study (1997) on the aesthetic quality of an averaged performance—compared...
Includes: Multimedia, Supplementary data
Music Perception. 2018; 353364–375 doi: https://doi.org/10.1525/mp.2018.35.3.364
Published: 01 February 2018
...Noola K. Griffiths; Jonathon L. Reay Aural and visual information have been shown to affect audience evaluations of music performance (Griffiths, 2010; Juslin, 2000); however, it is not fully understood which modality has the greatest relative impact upon judgements of performance or if the...
Music Perception. 2016; 335662–678 doi: https://doi.org/10.1525/mp.2016.33.5.662
Published: 01 June 2016
...Brian C. Wesolowski; Stefanie A. Wind; George Engelhard, Jr. The use of raters as a methodological tool to detect significant differences in performances and as a means to evaluate music performance achievement is a solidly defended practice in music psychology, education, and performance science...
Music Perception. 2012; 30171–83 doi: https://doi.org/10.1525/mp.2012.30.1.71
Published: 01 September 2012
...Friedrich Platz; Reinhard Kopiez the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained...
Music Perception. 2004; 221145–158 doi: https://doi.org/10.1525/mp.2004.22.1.145
Published: 01 September 2004
...Joel E. Resnicow; Peter Salovey; Bruno H. Repp Expression of emotion in music performance is a form of nonverbal communication to which people may be differentially receptive. The recently developed Mayer-Salovey-Caruso Emotional Intelligence Test assesses individual differences in the ability to...
Music Perception. 1985; 3159–86 doi: https://doi.org/10.2307/40285322
Published: 01 October 1985
...Alf Gabrielsson This article consists of three parts. In the first part, early empirical research on music performance is reviewed—with special emphasis on the contributions by C. E. Seashore and his co-workers at Iowa University in the 1930s. The second part presents a model for interplay between...
Music Perception. 2003; 21181–104 doi: https://doi.org/10.1525/mp.2003.21.1.81
Published: 01 September 2003
.... Temporal and Motor Transfer in Music Performance R O S A L E E K . M E Y E R & C A R O L I N E PA L M E R Ohio State University Three transfer-of-learning experiments were conducted to investigate performers ability to generalize knowledge of specific temporal struc- ture and motor movements from one...
Music Perception. 1993; 103379–382 doi: https://doi.org/10.2307/40285575
Published: 01 April 1993
...Neil. P. McAngus Todd References Askenfelt, A., & Jansson, E. V. On vibration sensation and finger touch in stringed in- strument playing. Music Perception, 1992, 9(3), 311-350. Davidson, J. The perception of expressive movement in musical performance. Unpublished Ph.D. thesis, City...
Music Perception. 1997; 144383–418 doi: https://doi.org/10.2307/40285731
Published: 01 July 1997
...Patrik N. Juslin The first part of this paper presents a systematic application of a functionalist perspective to the study of emotional communication in music performance. This involves the integration of ideas and concepts from psychological research on emotion and nonverbal communication with...
Music Perception. 1997; 144419–444 doi: https://doi.org/10.2307/40285732
Published: 01 July 1997
...Bruno H. Repp A statistically average or prototypical member of a category (e.g., human faces) is often perceived as more attractive than less typical category members. Two experiments explored to what extent this may hold for music performance, an artistic domain in which individuality (i.e...
Music Perception. 1996; 14123–56 doi: https://doi.org/10.2307/40285708
Published: 01 October 1996
...Caroline Palmer Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a...
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. 1993; 103343–378 doi: https://doi.org/10.2307/40285574
Published: 01 April 1993
...Carolyn Drake; Caroline Palmer Perceptual studies suggest that the segmentation of a musical sequence is influenced by three accent structures: rhythmic grouping, melodic, and metric accent structures. We investigate whether performers emphasize these types of accents with systematic performance...
Music Perception. 1991; 9171–91 doi: https://doi.org/10.2307/40286159
Published: 01 October 1991
...J. Sundberg; A. Friberg; L. Fryden In an analysis- by-synthesis investigation of music performance, rules have been developed that describe when and how expressive deviations are made from the nominal music notation in the score. Two experiments that consider the magnitudes of such deviations are...
Music Perception. 2017; 352144–164 doi: https://doi.org/10.1525/mp.2017.35.2.144
Published: 01 December 2017
... experiment, which involved several musical and acoustical factors. Performances were evaluated through acoustic measures and behavioral ratings, investigating differences across performer roles as leaders or followers, unison or non-unison intervals, and earlier or later segments of performances. In addition...
Music Perception. 2016; 334457–471 doi: https://doi.org/10.1525/mp.2016.33.4.457
Published: 01 April 2016
... experience of musical performance. Experiment 1 investigated the relative contributions of auditory and visual kinematic performance features to participants’ subjective emotional reactions evoked by piano performances, while Experiment 2 was designed to explore the effect of visual kinematic cues on the...
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. 1989; 7115–42 doi: https://doi.org/10.2307/40285446
Published: 01 October 1989
...William Forde Thompson This report examines Clynes's theory of "pulse" for performances of music by Mozart and Beethoven (e. g., Clynes, 1983,1987). In three experiments that used a total of seven different compositions, an analysis-bysynthesis approach was used to examine the repetitive patterns...
Music Perception. 2007; 245455–472 doi: https://doi.org/10.1525/mp.2007.24.5.455
Published: 01 June 2007
... any action. Musical gestures that make up the artist's interpretation (e.g., crescendos, ritardandos) are attenuated or exaggerated to different degrees in each performance, while movements critical for technique are less varied.We examined 7 highly polished performances of J.S. Bach's Italian...
Music Perception. 2006; 24149–62 doi: https://doi.org/10.1525/mp.2006.24.1.49
Published: 01 September 2006
... delayed); the musicians performed the duets under these conditions and rated their musicality and level of interactivity. Although the musicians chose different strategies to handle the latency, which resulted in different levels of success in maintaining coordination, pacing and regularity, both duets...