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Hi Ju-Lee: 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. Best, Bruno
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 |