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tempo

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Journal Articles
Music Perception (2019) 37 (1): 26–41.
Published: 01 September 2019
...Justin London; Birgitta Burger; Marc Thompson; Molly Hildreth; Johanna Wilson; Nick Schally; Petri Toiviainen I n a study of tempo perception , L ondon , Burger, Thompson, and Toiviainen (2016) presented participants with digitally ‘‘tempo-shifted’’ R&B songs (i.e., sped up or slowed down...
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<b>Tempo</b> over time in the RS corpus.   FIGURE 14. <b>Tempo</b> over time in the RS co...
Published: 01 April 2019
FIGURE 14. Tempo over time in the RS corpus. FIGURE 14. Tempo over time in the RS corpus. More
Journal Articles
Music Perception (2017) 34 (3): 303–312.
Published: 01 February 2017
...Scott Barton; Laura Getz; Michael Kubovy We investigated the effect of tempo on the production of the syncopated 3-2 son clave rhythm. We recorded eleven experienced percussionists performing the clave pattern at tempi ranging from 70 bpm to 210 bpm. As tempo increased, percussionists shortened the...
Journal Articles
Music Perception (2016) 33 (5): 523–545.
Published: 01 June 2016
... music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in...
Journal Articles
Music Perception (2015) 33 (2): 179–198.
Published: 01 December 2015
...Hila Tamir-Ostrover; Zohar Eitan While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by...
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(a) Average <b>tempo</b> ratings of “time-shifted” percussive stimuli in  Experime...
Published: 01 September 2019
FIGURE 4. (a) Average tempo ratings of “time-shifted” percussive stimuli in Experiment 3 , grouped by core BPM level. (b) Average tempo ratings of “all BPM” stimuli in Experiment 3 . FIGURE 4. (a) Average tempo ratings of “time-shifted” percussive stimuli in Experiment 3, grouped by core BPM More
Images
(a) Average <b>tempo</b> ratings of rock drumming stimuli in  Experiment 2a . (b) ...
Published: 01 September 2019
FIGURE 3. (a) Average tempo ratings of rock drumming stimuli in Experiment 2a . (b) Average participant tempo ratings ( y -axis) for time-shifted disco stimuli in Experiment 2a , grouped by core BPM levels (N.B., Intro vs. Vocal ratings averaged at each stimulus level). (c) Average participant More
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(a) Average <b>tempo</b> ratings of rock drumming stimuli in  Experiment 1 . (b) A...
Published: 01 September 2019
FIGURE 2. (a) Average tempo ratings of rock drumming stimuli in Experiment 1 . (b) Average participant tempo ratings ( y -axis) for Motown stimuli in Experiment 1 , grouped by core BPM levels. Here and in all subsequent figures error bars indicate 1 standard deviation. FIGURE 2. (a) Average More
Images
Average <b>tempo</b> curves for pianists&#x27; performances. Interbeat intervals were c...
Published: 01 September 2019
FIGURE 3. Average tempo curves for pianists' performances. Interbeat intervals were computed for each duo using only the notes for which both primo and secondo onset times were available. Primo and secondo note onset times were then averaged, and a full series of interbeat intervals was computed More
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(A) 8th-level Syncopation Quotient as a function of <b>tempo</b> in the RS corpus....
Published: 01 April 2019
FIGURE 13. (A) 8th-level Syncopation Quotient as a function of tempo in the RS corpus. (B) 8th-level Syncopation Quotient over time in the RS corpus. (C) 16th-level Syncopation Quotient as a function of tempo in the RS corpus. (D) 16th-level Syncopation Quotient over time in the RS corpus More
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Responses to the 3:1, 2:1, and 3:2 ratios at the slow <b>tempo</b>, separated by e...
Published: 01 September 2018
FIGURE A2. Responses to the 3:1, 2:1, and 3:2 ratios at the slow tempo, separated by expertise clusters (musician vs. nonmusician groups). FIGURE A2. Responses to the 3:1, 2:1, and 3:2 ratios at the slow tempo, separated by expertise clusters (musician vs. nonmusician groups). More
Images
A. Responses to the 2:1, 4:3, and 1:1 ratios at the fast <b>tempo</b>. The  x -axi...
Published: 01 September 2018
FIGURE 3. A. Responses to the 2:1, 4:3, and 1:1 ratios at the fast tempo. The x -axis represents the stimuli (target rhythms) and the y -axis displays the mean values (symbols) and standard errors (error bars) of the corresponding responses. The given values specify the shorter of the two More
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A. Responses to the 3:1, 2:1, 3:2, and 1:1 ratios at the slow <b>tempo</b>. The  x...
Published: 01 September 2018
FIGURE 2. A. Responses to the 3:1, 2:1, 3:2, and 1:1 ratios at the slow tempo. The x -axis represents the stimuli (target rhythms) and the y -axis displays the mean values (symbols) and standard errors (error bars) of the corresponding responses. The given values specify the shorter of the two More
Journal Articles
Music Perception (2011) 28 (5): 473–490.
Published: 01 June 2011
...Freya Bailes; Linda Barwick songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well-known...
Journal Articles
Music Perception (2011) 28 (5): 449–460.
Published: 01 June 2011
... actual performance has not been studied yet. In an experiment, eight harpsichordists and eight baroque violinists performed six melodies of French baroque gavottes in three tempo conditions. The mean ratio of inequality was 1.63, with mean ratios of individual performers varying between 1.89 and 1.33...
Journal Articles
Music Perception (2011) 28 (5): 433–448.
Published: 01 June 2011
... that this behavior has a global basis in tempo or in a subdivision benefit. Tactus was more consistent within individuals, however, when viewed as following from one of three basic strategies: (1) tapping with a subdivided pulse, (2) tapping with the fastest consistent pulse in the music (a pulse with...
Journal Articles
Music Perception (2011) 28 (4): 367–386.
Published: 01 April 2011
...Marilyn G. Boltz Recent research in music cognition has investigated ways in which different structural dimensions interact to influence perception and cognition. In the present research, various musical characteristics were manipulated to observe their potential influence on perceived tempo. In...
Journal Articles
Music Perception (2009) 26 (5): 401–413.
Published: 01 June 2009
...Summer K. Rankin; Edward W. Large; Philip W. Fink WE INVESTIGATED PEOPLES' ABILITY TO ADAPT TO THE fluctuating tempi of music performance. In Experiment 1, four pieces from different musical styles were chosen, and performances were recorded from a skilled pianist who was instructed to play with...
Journal Articles
Music Perception (2008) 25 (5): 471–476.
Published: 01 June 2008
... tempi in jazz drumming. The experimental setup differs from earlier studies in a number of ways. First, swing ratios were systematically measured at different beat durations in a musically realistic range. Second, repeated performances were collected to check for consistency. Third, drummers were asked...
Journal Articles
Music Perception (2006) 24 (2): 155–166.
Published: 01 December 2006
...Martin F. McKinney; Dirk Moelants The distribution of listeners’ perceived tempi across large collections of music has been modeled previously by a resonance function with a peak near the “preferred tempo” of 120 beats per minute (BPM) [Van Noorden and Moelants, J. New Music Res., 28, 43–66]. Here...