Re: studies on perception of expressive features in music performance (Bruno Repp )


Subject: Re: studies on perception of expressive features in music performance
From:    Bruno Repp  <repp@xxxxxxxx>
Date:    Wed, 27 Jul 2011 10:59:29 -0400
List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>

This is a multi-part message in MIME format. --------------020107070900050808090002 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by torrent.cc.mcgill.ca id p6RExVNN003926 Hi Ju-Lee: Here is a list of relevant papers by other authors. It is surely=20 incomplete, as I have not kept close track of this literature in recent=20 years. Best, Bruno Sloboda, J. A. (1983). The communication of musical metre in piano=20 performance. /Quarterly Journal of Experimental Psychology, 35A,/ 377-396. Sloboda, J. A. (1985). Expressive skill in two pianists: Metrical=20 communication in real and simulated performances. /Canadian Journal of=20 Psychology, 39,/ 273-293. Clarke, E. F., & Baker-Short, C. (1987). The imitation of perceived=20 rubato: a preliminary study. /Psychology of Music, 15,/ 58-75. Nakamura, T. (1987). The communication of dynamics between musicians and=20 listeners through musical performance. /Perception & Psychophysics, 41,/=20 525-533. Clarke, E. F. (1989). The perception of expressive timing in music.=20 /Psychological Research, 51,/ 2-9. Kendall, R. A., & Carterette, E. C. (1990). The communication of musical=20 expression. /Music Perception, 8,/ 129-164. Sundberg, J., Friberg, A., & Fryd=E9n, L. (1991). Threshold and preferenc= e=20 quantities of rules for music performance. /Music Perception, 9,/ 71-91. Clarke, E. F. (1993). Imitating and evaluating real and transformed=20 musical performances. /Music Perception, 10,/ 317-342. Kurakata, K., Kuwano, S., & Namba, S. (1993). Factors determining the=20 impression of the equality of intensity in piano performance. /Journal=20 of the Acoustical Society of Japan (E), 14,/ 441-447. Kuwano, S., Namba, S., Yamasaki, T., & Nishiyama, K. (1994). Impression=20 of smoothness of a sound stream in relation to legato in musical=20 performance. /Perception & Psychophysics, 56,/ 173-182. Johnson, C. M. (1996). Musicians' and nonmusicians' assessment of=20 perceived rubato in musical performance. /Journal of Research in Music=20 Education, 44,/ 84-96. Clarke, E. F., & Windsor, W. L. (2000). Real and simulated expression: a=20 listening study. /Music Perception, 17,/ 277-314. Juslin, P. N. (2000). Cue utilization in communication of emotion in=20 music performance: Relating performance to perception. /Journal of=20 Experimental Psychology: Human Perception and Performance, 26,/ 1797-1812. Schubert, E., & Fabian, D. (2001). Perception and preference of dotted=20 6/8 patterns by experienced and less experienced baroque music=20 listeners. /Journal of Music Perception and Cognition, 7,/ 113-132. Johnson, C. M. (2003). Effect of rubato magnitude on the perception of=20 musicianship in musical performance. /Journal of Research in Music=20 Education, 51,/ 115-123. Honing, H. (2005). Is there a perception-based alternative to kinematic=20 models of /tempo rubato/? /Music Perception, 23,/ 79-86. Honing, H. (2006). Evidence for tempo-specific timing in music using a=20 web-based experimental setup. /Journal of Experimental Psychology: Human=20 Perception and Performance, 32,/ 780-786. Fabian, D., & Schubert, E. (2008). Musical character and the performance=20 and perception of dotting, articulation and tempo in 34 recordings of=20 Variation 7 from J. S. Bach's /Goldberg Variations/ (BWV 988). /Musicae=20 Scientiae, 12,/ 177-206. Honing, H., & Ladinig, O. (2009). Exposure influences expressive timing=20 judgments in music. /Journal of Experimental Psychology: Human=20 Perception and Performance, 35,/ 281-288. Bhatara, A., Tirovolas, A. K., Duan, L. M., Levy, B., & Levitin, D.=20 (2011). Perception of emotional expression in musical performance.=20 /Journal of Experimental Psychology: Human Perception and Performance,=20 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 > --=20 Bruno H. Repp Senior Research Scientist Music Perception and Action Haskins Laboratories 300 George Street New Haven, CT 06511-6624 E-mail: repp@xxxxxxxx Web page: http://www.haskins.yale.edu/staff/repp.html --------------020107070900050808090002 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <meta content="text/html; charset=ISO-8859-1" http-equiv="Content-Type"> </head> <body bgcolor="#ffffff" text="#000000"> Hi Ju-Lee:<br> <br> 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.<br> <br> Best,<br> Bruno<br> <style>@xxxxxxxx { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; }</style> <p class="MsoNormal">&nbsp;</p> <p class="MsoNormal" style=""><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Sloboda, J. A. (1983). The communication of musical metre in piano performance. <i style="">Quarterly Journal of Experimental Psychology, 35A,</i> 377-396.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Sloboda, J. A. (1985). Expressive skill in two pianists: Metrical communication in real and simulated performances. <i style="">Canadian Journal of Psychology, 39,</i> 273-293.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Clarke, E. F., &amp; Baker-Short, C. (1987). The imitation of perceived rubato: a preliminary study. <i style="">Psychology of Music, 15,</i> 58-75.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Nakamura, T. (1987). The communication of dynamics between musicians and listeners through musical performance. <i style="">Perception &amp; Psychophysics, 41,</i> 525-533.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Clarke, E. F. (1989). The perception of expressive timing in music. <i style="">Psychological Research, 51,</i> 2-9.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Kendall, R. A., &amp; Carterette, E. C. (1990). The communication of musical expression. <i style="">Music Perception, 8,</i> 129-164.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Sundberg, J., Friberg, A., &amp; Fryd&eacute;n, L. (1991). Threshold and preference quantities of rules for music performance. <i style="">Music Perception, 9,</i> 71-91.</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">Clarke, E. F. (1993). Imitating and evaluating real and transformed musical performances. <i style="">Music Perception, 10,</i> 317-342.</span><span style=""></span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;"><span style="">&nbsp;</span></p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Kurakata, K., Kuwano, S., &amp; Namba, S. (1993). Factors determining the impression of the equality of intensity in piano performance. <i style="">Journal of the Acoustical Society of Japan (E), 14,</i> 441-447.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Kuwano, S., Namba, S., Yamasaki, T., &amp; Nishiyama, K. (1994). Impression of smoothness of a sound stream in relation to legato in musical performance. <i style="">Perception &amp; Psychophysics, 56,</i> 173-182.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Johnson, C. M. (1996). Musicians&#8217; and nonmusicians&#8217; assessment of perceived rubato in musical performance. <i style="">Journal of Research in Music Education, 44,</i> 84-96.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Clarke, E. F., &amp; Windsor, W. L. (2000). Real and simulated expression: a listening study. <i style="">Music Perception, 17,</i> 277-314.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Juslin, P. N. (2000). Cue utilization in communication of emotion in music performance: Relating performance to perception. <i style="">Journal of Experimental Psychology: Human Perception and Performance, 26,</i> 1797-1812.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Schubert, E., &amp; Fabian, D. (2001). Perception and preference of dotted 6/8 patterns by experienced and less experienced baroque music listeners. <i style="">Journal of Music Perception and Cognition, 7,</i> 113-132.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Johnson, C. M. (2003). Effect of rubato magnitude on the perception of musicianship in musical performance. <i style="">Journal of Research in Music Education, 51,</i> 115-123.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Honing, H. (2005). Is there a perception-based alternative to kinematic models of <i style="">tempo rubato</i>? <i style="">Music Perception, 23,</i> 79-86.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Honing, H. (2006). Evidence for tempo-specific timing in music using a web-based experimental setup. <i style="">Journal of Experimental Psychology: Human Perception and Performance, 32,</i> 780-786.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Fabian, D., &amp; 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&#8217;s <i style="">Goldberg Variations</i> (BWV 988). <i style="">Musicae Scientiae, 12,</i> 177-206.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Honing, H., &amp; Ladinig, O. (2009). Exposure influences expressive timing judgments in music. <i style="">Journal of Experimental Psychology: Human Perception and Performance, 35,</i> 281-288.</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">&nbsp;</p> <p class="MsoNormal" style="margin-left: 0.5in; text-indent: -0.5in;">Bhatara, A., Tirovolas, A. K., Duan, L. M., Levy, B., &amp; Levitin, D. (2011). Perception of emotional expression in musical performance. <i style="">Journal of Experimental Psychology: Human Perception and Performance, 37,</i> 921-934.</p> <br> <br> On 7/27/11 4:23 AM, Ju-Lee Hong wrote: <blockquote cite="mid:14651_1311755559_4E2FCD26_14651_802_1_51144.109.157.156.196.1311755032.squirrel@xxxxxxxx" type="cite"> <pre wrap="">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&#8217;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 </pre> </blockquote> <br> <br> <pre class="moz-signature" cols="72">-- Bruno H. Repp Senior Research Scientist Music Perception and Action Haskins Laboratories 300 George Street New Haven, CT 06511-6624 E-mail: <a class="moz-txt-link-abbreviated" href="mailto:repp@xxxxxxxx">repp@xxxxxxxx</a> Web page: <a class="moz-txt-link-freetext" href="http://www.haskins.yale.edu/staff/repp.html">http://www.haskins.yale.edu/staff/repp.html</a></pre> </body> </html> --------------020107070900050808090002--


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