1-20 of 613 Search Results for

tempo

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Articles
Music Perception. 2019; 37126–41 doi: https://doi.org/10.1525/mp.2019.37.1.26
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...
Images
Published: 01 April 2019
FIGURE 14. Tempo over time in the RS corpus. FIGURE 14. Tempo over time in the RS corpus.
Journal Articles
Music Perception. 2017; 343303–312 doi: https://doi.org/10.1525/mp.2017.34.3.303
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; 335523–545 doi: https://doi.org/10.1525/mp.2016.33.5.523
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; 332179–198 doi: https://doi.org/10.1525/mp.2015.33.2.179
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...
Images
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
Images
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
Images
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
Images
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
Images
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
Images
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).
Images
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
Images
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
Journal Articles
Music Perception. 2011; 285473–490 doi: https://doi.org/10.1525/mp.2011.28.5.473
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; 285449–460 doi: https://doi.org/10.1525/mp.2011.28.5.449
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; 285433–448 doi: https://doi.org/10.1525/mp.2011.28.5.433
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; 284367–386 doi: https://doi.org/10.1525/mp.2011.28.4.367
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; 265401–413 doi: https://doi.org/10.1525/mp.2009.26.5.401
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; 255471–476 doi: https://doi.org/10.1525/mp.2008.25.5.471
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; 242155–166 doi: https://doi.org/10.1525/mp.2006.24.2.155
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...