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Keywords: performance
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Journal Articles
Music Perception (2019) 37 (2): 147–164.
Published: 01 December 2019
...Aviel Sulem; Ehud Bodner; Noam Amir E xpressive M usical T erms (EMTs) are commonly used by composers as verbal descriptions of musical expressiveness and characters that performers are requested to convey. We suggest a classification of 55 of these terms, based on the perception of professional...
Journal Articles
Music Perception (2019) 36 (3): 289–299.
Published: 01 February 2019
...Miriam Iorwerth; Don Knox C lassical musicians in ensembles are accustomed to performing in the same physical space. However, situations such as networked music performance (NMP) require physical separation with audio and sometimes video links. Effects of latency on synchronization have been...
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
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) 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...
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 (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 (2012) 30 (2): 187–204.
Published: 01 December 2012
...Renee Timmers; Makiko Sadakata; Peter Desain in developing a visual feedback system for a creative activity such as music performance, the objective is not just to reinforce one particular manner of performing. Instead, a desirable characteristic might be that the visual feedback enhances...
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
...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 (2007) 25 (2): 117–134.
Published: 01 December 2007
... four emotions: happiness, sadness, love, and anger. The performers adapted the type of ornaments to the instructed emotion as well as the characteristics of the ornaments. The flutist specifically varied the duration, timing, and complexity of the ornamentation, while the violinist varied the...
Journal Articles
Music Perception (2007) 25 (1): 13–29.
Published: 01 September 2007
...Sam Thompson; Aaron Williamon; Elizabeth Valentine CONCERTGOERS, CRITICS, TEACHERS, AND PERFORMERS are often called upon to cast judgment on the performances they hear. Research to date has typically focused on the judgments themselves, with very few empirical studies of the processes and decisions...
Journal Articles
Music Perception (2006) 24 (1): 49–62.
Published: 01 September 2006
...Christopher Bartlette; Dave Headlam; Mark Bocko; Gordana Velikic We investigate the effects of different levels of delay (or latency) on the coordination, pace and timing regularity of musicians who are in remote locations—a situation encountered in an interactive network performance. Two pairs...