Search Results for nonverbal-communication
1-20 of 75 Search Results for
Music Perception (2008) 26 (2): 129–143.
Published: 01 December 2008
...Clemens Wööllner; Wolfgang Auhagen INSIGHTS INTO MUSICAL CONDUCTING are traditionally derived from educational manuals and from interviews with conductors about their intuitive knowledge. Conducting as a form of highly specialized nonverbal communication has scarcely been studied empirically up to...
Music Perception (1997) 14 (4): 383–418.
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 (2004) 22 (1): 145–158.
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 (2020) 37 (5): 423–434.
Published: 10 June 2020
...-musicians . Paper presented in INTERSPEECH 2005 - Eurospeech, 9th European Conference on Speech Communication and Technology , Lisbon, Portugal . Best , C. T. ( 1995 ). A direct realist perspective on cross-language speech perception . In W. Strange (Ed.), Speech perception and...
Music Perception (2020) 37 (4): 323–338.
Published: 11 March 2020
...Eliot Farmer; Crescent Jicol; Karin Petrini Music expertise has been shown to enhance emotion recognition from speech prosody. Yet, it is currently unclear whether music training enhances the recognition of emotions through other communicative modalities such as vision and whether it enhances the...
Music Perception (2020) 37 (3): 185–195.
Published: 01 February 2020
... , E. H. , Wong , P. C. M. , Simchy-Gross , R. , & Mcauley , D. ( 2019 ). What the music said: Narrative listening across cultures . Palgrave Communications , 5 , 146 . Mcallester , D. P. ( 1954 ). Enemy way music . Cambridge, MA : Harvard University Press...
Music Perception (2019) 37 (2): 95–110.
Published: 01 December 2019
... are studied as communicative signals that are encoded in sound by a performer, then decoded by the listening audience ( Juslin & Laukka, 2003 ), for whom hearing music as expressive involves registering its resemblance with the bodily or vocal expressions of mental states ( Juslin & Västfjäll...
Music Perception (2019) 37 (1): 1–25.
Published: 01 September 2019
... showed that performers communicated gesturally following held notes. Gesture patterns became more consistent as duos rehearsed, though consistency dropped again during a final performance given under no-visual-contact conditions. Movements were smoother and interperformer coordination was stronger during...
Music Perception (2019) 36 (4): 390–405.
Published: 01 April 2019
... . Krauss, R. M. , Chen, Y. , & Chawla, P. ( 1996 ). Nonverbal behavior and nonverbal communication: What do conversational hand gestures tell us? Advances in Experimental Social Psychology , 28 ( C ), 389 – 450 . Lakens, D. , & Stel, M. ( 2011 ). If they move in sync, they must feel...
Music Perception (2019) 36 (3): 289–299.
Published: 01 February 2019
... Iorwerth, Glasgow Caledonian University, Cowcaddens Road, Glasgow G4 0BA. E-mail: email@example.com communication ensemble nonverbal communication performance technology References ABRSM . ( 2017 ). Apps and practice tools . Retrieved January 29 , 2018 , from https...
Music Perception (2019) 36 (3): 253–272.
Published: 01 February 2019
... , 292 – 306 . DOI: 10.1037/1196-19126.96.36.1992 Shannon, C. E. ( 1948 ). A mathematical theory of communication . Bell Systems Technical Journal , 27 , 379 – 423 , 623 – 656 . Updated version available at http://math.harvard.edu/~ctm/home/text/others/shannon/entropy/entropy.pdf Sloboda...
Music Perception (2018) 36 (1): 53–59.
Published: 01 September 2018
...Ronald S. Friedman A ccording to J uslin (2001), final ritardandi constitute part of the acoustic code employed by musicians to communicate two distinct emotional states: sadness and tenderness. To test this proposition, in two experiments, participants were exposed to a set of hymns that were...
Includes: Multimedia, Supplementary data
Music Perception (2018) 35 (5): 579–593.
Published: 01 June 2018
... to extend to less-advantaged groups. In a series of studies in collaboration with the Harmony Project, a program that provides free music education to children from low- income communities, Kraus and colleagues have demon- strated that children ages 6 9 who began to learn an instrument showed...
Music Perception (2018) 35 (3): 332–363.
Published: 01 February 2018
... UCLA community, age 18 31 (M ¼ 20.3, SD ¼ 2.07). Subjects self-reported their number of years of formal music training (M ¼ 6.83 years, SD ¼ 5.93); they were all non-music majors with musical backgrounds ranging from no formal experi- ence (7 subjects) to 20 years (1 subject). Participants were also...
Includes: Supplementary data
Music Perception (2017) 34 (3): 253–266.
Published: 01 February 2017
... face memory test and Cambridge face perception test. Cognitive Neuropsychology, 26, 423-455. BRITON, N. J., & HALL, J. A. (1995). Beliefs about female and male nonverbal communication. Sex Roles, 32, 79-90. BROSGOLE, L., & WEISMAN, J. (1995). Mood recognition across the ages. International Journal of...
Music Perception (2016) 34 (2): 167–182.
Published: 01 December 2016
... 167 may convey various types of information, thus hinging on different neural and psychological systems. For example, listening to a Bach piece is not the same as listening to a mechanically played and very simplified (e.g., MIDI) melody. While the former was created by the composer to communicate...
Music Perception (2016) 34 (1): 40–55.
Published: 01 September 2016
... & Granot, 2006), as well as nonverbal speeded discrimination tasks (Eitan, Schupak, & Marks, 2008). Pitch is often associated with spatial height, and pitch change with motions up or down. The perceptual reality of this mapping, expressed in diverse languages (as in Western musical notation), has been...
Music Perception (2016) 33 (5): 523–545.
Published: 01 June 2016
... the choreography. Subsequently, the dancers joined the ensemble. First, musicians and dan- cers performed the dance together, without any prior communication. After this first joint performance, the dancers provided feedback and worked together with the musicians to come to a performance in which...
Music Perception (2015) 32 (5): 515–529.
Published: 01 June 2015
... that IMT has the potential to enhance: 1) skills that underpin social interaction; and 2) lower levels in the domain of joint attention. The study findings showed that IMT more efficiently facilitated joint attention behaviors (eye con- tact) as well as nonverbal social communication (turn taking...
Music Perception (2014) 32 (2): 125–142.
Published: 01 December 2014
.... Received: September 25, 2012, accepted February 28, 2014. Key words: aging, musical emotions, musical expertise, neural deterioration, positivity effect M USIC COMMUNICATES EMOTIONS THAT WEcan recognize, enjoy, and be moved by. Thecognitive and neural underpinnings of musi- cal emotions is a topic that has...