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Significant interactions in tapping <b>performance</b> for (A) circular variance (...
Published: 11 March 2020
Figure 5. Significant interactions in tapping performance for (A) circular variance (B) and asynchrony. Error bars indicate 95% confidence intervals. More
Journal Articles
Music Perception (2019) 37 (1): 1–25.
Published: 01 September 2019
... interact visually, particularly when the musical timing is irregular. This study investigated the performance conditions that encourage visual signaling and interaction between ensemble members. Piano and clarinet duos rehearsed a new piece as their body motion was recorded. Analyses of head movement...
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Duo recording procedure. (a) A piano duo recording a <b>performance</b> and (b) a ...
Published: 01 September 2019
FIGURE 2. Duo recording procedure. (a) A piano duo recording a performance and (b) a diagram of the recording set-up. Ten OptiTrack cameras lined the perimeter of the motion capture space, and duos sat (pianists) or stood (clarinettists) in the center. The clapboard was used to synchronize More
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ROC curve analysis of eight-note melodies. <b>Performance</b> was improved in the ...
Published: 01 February 2019
FIGURE 5. ROC curve analysis of eight-note melodies. Performance was improved in the High Distinctiveness melodies although the difference between the two groups did not reach significance. FIGURE 5. ROC curve analysis of eight-note melodies. Performance was improved in the High Distinctiveness More
Journal Articles
Music Perception (2018) 36 (1): 60–76.
Published: 01 September 2018
...George Waddell; Rosie Perkins; Aaron Williamon T his article examines the effects of composition length, familiarity, and likeability—as well as the location of performance errors—on the process of forming performance quality ratings. Five piano works by Chopin and a twentieth-century composer were...
Includes: Multimedia, Supplementary data
Journal Articles
Music Perception (2018) 36 (1): 98–108.
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
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Experiment 2: <b>Performance</b> of musician participants for the factors sequence...
Published: 01 September 2018
FIGURE 3. Experiment 2: Performance of musician participants for the factors sequence length and pitch variability. Error bars: 95% CI. FIGURE 3. Experiment 2: Performance of musician participants for the factors sequence length and pitch variability. Error bars: 95% CI. More
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Experiment 3: Recognition <b>performance</b> for the main effects of swap position...
Published: 01 September 2018
FIGURE 4. Experiment 3: Recognition performance for the main effects of swap position and timbral dissimilarity of swap (TDS). Error bars: 95% CI. FIGURE 4. Experiment 3: Recognition performance for the main effects of swap position and timbral dissimilarity of swap (TDS). Error bars: 95% CI. More
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Experiment 1: Recognition <b>performance</b> for the factors of sequence length an...
Published: 01 September 2018
FIGURE 2. Experiment 1: Recognition performance for the factors of sequence length and pitch variability for groups of musicians (A) and nonmusicians (B). Error bars represent (within-subject) 95% confidence intervals. FIGURE 2. Experiment 1: Recognition performance for the factors of sequence More
Journal Articles
Music Perception (2018) 35 (3): 364–375.
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...
Journal Articles
Music Perception (2017) 35 (2): 144–164.
Published: 01 December 2017
...). Previous research has left unanswered if and how musicians control these factors during performance to achieve blend. For instance, timbral adjustments could be oriented towards the leading performer. In order to study such adjustments, pairs of one bassoon and one horn player participated in a performance...
Journal Articles
Music Perception (2011) 28 (5): 449–460.
Published: 01 June 2011
...Dirk Moelants notes inégales is a common practice in the performance of French baroque music. It indicates that the first of a pair of equally notated notes is played longer, similar to the use of swing eighths in jazz. The performance of that inequality is an ongoing source of debate, but the...
Journal Articles
Music Perception (2016) 34 (2): 132–151.
Published: 01 December 2016
...Deborah L. E. de Graaff; Emery Schubert This paper presents a developing Pitch Error Coding Protocol for assessing the accuracy of a musician’s performance. The protocol organized performance errors into any of three main categories, each based on an established cognitive theory of music memory and...
Journal Articles
Music Perception (2016) 34 (1): 1–20.
Published: 01 September 2016
...Meghan Goodchild; Bruno Gingras; Stephen McAdams This study focuses on the relationships between music analysis, performance, and tension perception. Part 1 examines harpsichordists’ analyses and performances of an unmeasured prelude—a semi-improvisatory genre open to interpretive freedom. Twelve...
Journal Articles
Music Perception (2016) 33 (5): 662–678.
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...
Journal Articles
Music Perception (2016) 33 (4): 457–471.
Published: 01 April 2016
...Jonna K. Vuoskoski; Marc R. Thompson; Charles Spence; Eric F. Clarke Recently, Vuoskoski, Thompson, Clarke, and Spence (2014) demonstrated that visual kinematic performance cues may be more important than auditory performance cues in terms of observers’ ratings of expressivity perceived in...
Journal Articles
Music Perception (2015) 33 (2): 135–146.
Published: 01 December 2015
...Richard A. Warren; Meagan E. Curtis The belief that intonation accuracy is a key determinant of musical performance quality is ubiquitous in music pedagogy; nonetheless, empirical validation of this belief is lacking. We investigated the effects of intonation accuracy on perceived performance...
Journal Articles
Music Perception (2014) 32 (1): 33–50.
Published: 01 September 2014
...Anemone G. W. Van Zijl; Petri Toiviainen; Olivier Lartillot; Geoff Luck What is the effect of performers’ experienced emotions on the auditory characteristics of their performances? By asking performers to play a music phrase in response to three different instructions we attempted to answer this...
Journal Articles
Music Perception (2018) 35 (4): 437–453.
Published: 01 April 2018
... frequently when intending short groupings compared to long groupings. However, the extent of the change in motion varied across different sections of the excerpt. It appears that performers may invest more effort to emphasize the intended interpretation when a given local pitch structure more easily affords...
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Results of within-<b>performer</b> analyses. Note that while graphs include data f...
Published: 01 September 2019
FIGURE 5. Results of within-performer analyses. Note that while graphs include data for all performances, the fourth performance was excluded from analyses of rehearsal effects. The third and fourth performances were compared separately, where appropriate, to test for effects of visual contact More