Here is a list of relevant papers by other authors. It is surely incomplete, as I have not kept close track of this literature in recent years.
Sloboda, J. A. (1983). The communication of musical metre in piano performance. Quarterly Journal of Experimental Psychology, 35A, 377-396.
Sloboda, J. A. (1985). Expressive skill in two pianists: Metrical communication in real and simulated performances. Canadian Journal of Psychology, 39, 273-293.
Clarke, E. F., & Baker-Short, C. (1987). The imitation of perceived rubato: a preliminary study. Psychology of Music, 15, 58-75.
Nakamura, T. (1987). The communication of dynamics between musicians and listeners through musical performance. Perception & Psychophysics, 41, 525-533.
Clarke, E. F. (1989). The perception of expressive timing in music. Psychological Research, 51, 2-9.
Kendall, R. A., & Carterette, E. C. (1990). The communication of musical _expression_. Music Perception, 8, 129-164.
Sundberg, J., Friberg, A., & Frydén, L. (1991). Threshold and preference quantities of rules for music performance. Music Perception, 9, 71-91.
Clarke, E. F. (1993). Imitating and evaluating real and transformed musical performances. Music Perception, 10, 317-342.
Kurakata, K., Kuwano, S., & Namba, S. (1993). Factors determining the impression of the equality of intensity in piano performance. Journal of the Acoustical Society of Japan (E), 14, 441-447.
Kuwano, S., Namba, S., Yamasaki, T., & Nishiyama, K. (1994). Impression of smoothness of a sound stream in relation to legato in musical performance. Perception & Psychophysics, 56, 173-182.
Johnson, C. M. (1996). Musicians’ and nonmusicians’ assessment of perceived rubato in musical performance. Journal of Research in Music Education, 44, 84-96.
Clarke, E. F., & Windsor, W. L. (2000). Real and simulated _expression_: a listening study. Music Perception, 17, 277-314.
Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. Journal of Experimental Psychology: Human Perception and Performance, 26, 1797-1812.
Schubert, E., & Fabian, D. (2001). Perception and preference of dotted 6/8 patterns by experienced and less experienced baroque music listeners. Journal of Music Perception and Cognition, 7, 113-132.
Johnson, C. M. (2003). Effect of rubato magnitude on the perception of musicianship in musical performance. Journal of Research in Music Education, 51, 115-123.
Honing, H. (2005). Is there a perception-based alternative to kinematic models of tempo rubato? Music Perception, 23, 79-86.
Honing, H. (2006). Evidence for tempo-specific timing in music using a web-based experimental setup. Journal of Experimental Psychology: Human Perception and Performance, 32, 780-786.
Fabian, D., & Schubert, E. (2008). Musical character and the performance and perception of dotting, articulation and tempo in 34 recordings of Variation 7 from J. S. Bach’s Goldberg Variations (BWV 988). Musicae Scientiae, 12, 177-206.
Honing, H., & Ladinig, O. (2009). Exposure influences expressive timing judgments in music. Journal of Experimental Psychology: Human Perception and Performance, 35, 281-288.
Bhatara, A., Tirovolas, A. K., Duan, L. M., Levy, B., & Levitin, D. (2011). Perception of emotional _expression_ in musical performance. Journal of Experimental Psychology: Human Perception and Performance, 37, 921-934.
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