I've published more than one study dealing with perception of expressive timing, and some of these also deal with perception of expressive dynamics. The references are listed below. I'll also try to compile a list of studies by other authors for you, which I'll send soon.
Repp, B. H. (1992). Probing the cognitive representation of musical time: Structural constraints on the perception of timing perturbations. Cognition, 44, 241-281.
Repp, B. H. (1995a). Quantitative effects of global tempo on expressive timing in music performance: Some perceptual evidence. Music Perception, 13, 39-57.
Repp, B. H. (1995b). Detectability of duration and intensity increments in melody tones: A partial connection between music perception and performance. Perception & Psychophysics, 57, 1217-1232.
Repp, B. H. (1998a). Obligatory "expectations" of expressive timing induced by perception of musical structure. Psychological Research, 61, 33-43.
Repp, B. H. (1998b). The detectability of local deviations from a typical expressive timing pattern. Music Perception, 15, 265-290.
Repp, B. H. (1998c). Variations on a theme by Chopin: Relations between perception and production of deviations from isochrony in music. Journal of Experimental Psychology: Human Perception and Performance, 24, 791-811.
Repp, B. H. (1999a). Detecting deviations from metronomic timing in music: Effects of perceptual structure on the mental timekeeper. Perception & Psychophysics, 61, 529-548.
Repp, B. H. (1999b). Relationships between performance timing, perception of timing perturbations, and perceptual-motor synchronization in two Chopin preludes. Australian Journal of Psychology, 51, 188 203.
Repp, B. H. (2000). Pattern typicality and dimensional interactions in pianists’ imitation of expressive timing and dynamics. Music Perception, 18, 173–211.
Repp, B. H. (2002). Perception of timing is more context sensitive than sensorimotor synchronization. Perception & Psychophysics, 64, 703–716.
Repp, B. H., & Knoblich, G. (2004). Perceiving action identity: How pianists recognize their own performances. Psychological Science, 15, 604–609.
On 7/27/11 4:23 AM, Ju-Lee Hong wrote:
Dear List, For a revision of my doctoral research, I am looking for references of studies on perception of expressive features in music performance. By expressive features of music performance, I mean timing, loudness, portamento and vibrato etc. I have found articles on timing perception by Bruno Repp (1998) in Journal of Experimental Psychology: human Perception and Performance and another by Eric Clarke (1989) in Psychological research, but I haven’t had much luck in finding articles about loudness perception of expressive music performance and also of portamento / vibrato perception. If you know any relevant studies that investigate loudness perception of expressive music performance and also of portamento / vibrato perception, could you kindly point out to me? Many thanks for your help in advance. Ju-Lee
-- Bruno H. Repp Senior Research Scientist Music Perception and Action Haskins Laboratories 300 George Street New Haven, CT 06511-6624 E-mail: repp@xxxxxxxxxxxxxxxx Web page: http://www.haskins.yale.edu/staff/repp.html