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Journal articles on the topic 'Musical tempo'

Author: Grafiati

Published: 11 March 2023

Last updated: 31 July 2025

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1

Iwanaga, Makoto, and Maki Tsukamoto. "Preference for Musical Tempo Involving Systematic Variations of Presented Tempi for Known and Unknown Musical Excerpts." Perceptual and Motor Skills 86, no. 1 (1998): 31–41. http://dx.doi.org/10.2466/pms.1998.86.1.31.

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Previous studies have indicated inconsistently that preferred tempo was moderate or fast. The basis for inconsistency might be differences in methods, i.e., differences in tempo operation and subjects' experience of listening to musical pieces. The present study examined the preference for tempo using known and unknown melodies which were presented at varied tempi systematically. 119 undergraduates not majoring in music were subjects, divided into three subgroups, slow, medium, and fast music groups according to tempi designated by composers. Subjects rated items about Perceived Activity and a

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2

Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.

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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. f

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3

Vigl, Julia, Francesca Talamini, Andreas Feller, Sonja Gerstgrasser, and Heike Henning. "Accuracy and Stability of Musical Tempo Memory and the Role of Musical Expertise." Music Perception: An Interdisciplinary Journal 41, no. 1 (2023): 15–35. http://dx.doi.org/10.1525/mp.2023.41.1.15.

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Previous studies have demonstrated that musical tempo memory, as the ability to recall a musical tempo without an external reference, is highly accurate. However, little is known about the stability of tempo memory for different genres and reproduction methods over time, and the factors that may influence them. In two longitudinal studies conducted over a 15-day period, we examined the accuracy and stability of musical tempo memory in individuals with different levels of music training. Specifically, we measured tempo memory every three days, and explored various factors including physiologica

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4

McKinney, Martin F., and Dirk Moelants. "Ambiguity in Tempo Perception: What Draws Listeners to Different Metrical Levels?" Music Perception 24, no. 2 (2006): 155–66. http://dx.doi.org/10.1525/mp.2006.24.2.155.

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The distribution of listeners’ perceived tempi across large collections of music has been modeled previously by a resonance function with a peak near the “preferred tempo” of 120 beats per minute (BPM) [Van Noorden and Moelants, J. New Music Res., 28, 43–66]. Here, through a series of experiments in which listeners were asked to tap to the most salient pulse of musical excerpts,we examined distributions of tapped tempi from single musical excerpts to see if the global resonance of preferred tempo is dependent on musical content. Results show that for some musical excerpts, the distribution of

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Septianto, Felix. "“Chopin” effect? An exploratory study on how musical tempo influence consumer choice of drink with different temperatures." Asia Pacific Journal of Marketing and Logistics 28, no. 5 (2016): 765–79. http://dx.doi.org/10.1108/apjml-11-2015-0182.

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Purpose The purpose of this paper is to explore the effect of musical tempo on consumer choice of tea in different temperatures. Design/methodology/approach Across two studies, participants were asked to listen to several musical stimuli with different tempi (i.e. slow or fast). Then, they were asked to evaluate and choose one drink (i.e. iced tea or hot tea). Findings Results suggest that consumers who listen to fast (slow) tempo music are more likely to choose iced (hot) tea. This effect is robust across different musical modes (i.e. major or minor) (Study 1). However, this musical tempo eff

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6

Oakes, Steve. "Musical tempo and waiting perceptions." Psychology and Marketing 20, no. 8 (2003): 685–705. http://dx.doi.org/10.1002/mar.10092.

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7

Repp, Bruno H., W. Luke Windsor, and Peter Desain. "Effects of Tempo on the Timing of Simple Musical Rhythms." Music Perception 19, no. 4 (2002): 565–93. http://dx.doi.org/10.1525/mp.2002.19.4.565.

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We investigated whether and how the timing of musical rhythms changes with tempo. Twelve skilled pianists played a monophonic eight-bar melody in 21 different rhythmic versions at four different tempi. Within bars, the rhythms represented two isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set {3, 2, 1}. The three-note rhythms also occurred in each of two meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the

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8

Bérces, Emese. "Terminological examination of musical tempo designations." Magyar Terminológia 5, no. 1 (2012): 79–87. http://dx.doi.org/10.1556/materm.5.2012.1.7.

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9

Hikiji, Rose Satiko Gitirana. "Música para matar o tempo intervalo, suspensão e imersão." Mana 12, no. 1 (2006): 151–78. http://dx.doi.org/10.1590/s0104-93132006000100006.

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Discuto neste artigo algumas relações da música com o tempo, em especial a relação entre as temporalidades dos grupos de crianças e jovens que pesquisei e certas propriedades do tempo da prática musical. Na pesquisa com alunos de um projeto governamental de ensino musical (Projeto Guri/ São Paulo), ouvi como principal justificativa para a procura pela música, a necessidade de "matar o tempo". Na perspectiva do senso comum, o tempo "ocioso" é um tempo perigoso. Para pais e proponentes, é preciso "ocupar o tempo" das crianças e jovens, é preciso "tirá-los da rua". Analiso aqui o processo de atri

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10

Trochidis, Konstantinos, and Emmanuel Bigand. "Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry." Journal of Psychophysiology 27, no. 3 (2013): 142–48. http://dx.doi.org/10.1027/0269-8803/a000099.

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The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and

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11

Krumhansl, Carol L. "A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas." Music Perception 13, no. 3 (1996): 401–32. http://dx.doi.org/10.2307/40286177.

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The experiments reported here provide a perceptual analysis of the first movement of Mozart's Piano Sonata in Eb Major, K. 282. The listeners, who varied in the extent of their musical training, performed three tasks while listening to the piece as it was reproduced from an expert performance. The first task determined how the music is perceived to be segmented, the second task determined how the experience of tension varies over time, and the third task determined what listeners identify as new musical ideas in the piece. These tasks were performed first on the entire piece and then on smalle

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Iwanaga, Makoto. "Relationship between Heart Rate and Preference for Tempo of Music." Perceptual and Motor Skills 81, no. 2 (1995): 435–40. http://dx.doi.org/10.1177/003151259508100215.

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People prefer music with tempi ranging from 70 to 100 cycles per minute similar to that of adults’ heart rate within normal daily situations. Previous studies of the relation between preferred tempi and heart rates using a pure tone also have indicated that subjects tended to prefer tempi similar to their heart rates. The present study examined this relationship using a musical piece (the theme of “It's a small world”) as a stimulus. 14 undergraduate women were subjects who searched for their favorite tempi by controlling the musical tempo by themselves. The most preferred tempo was close to t

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Boltz, Marilyn G. "Illusory Tempo Changes Due to Musical Characteristics." Music Perception 28, no. 4 (2011): 367–86. http://dx.doi.org/10.1525/mp.2011.28.4.367.

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Recent research in music cognition has investigated ways in which different structural dimensions interact to influence perception and cognition. In the present research, various musical characteristics were manipulated to observe their potential influence on perceived tempo. In Experiment 1, participants were given a paired comparison task in which music-like patterns differed in both the pitch octave (high vs. low) and timbre (bright vs. dull) in which they were played. The results indicated that relative to their standard referents, comparison melodies were judged faster when displaying a h

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Oliveira Souza, Luanda, and Viviane Cristina Cândido. "Experiência, tempo e vida." PoliÉtica. Revista de Ética e Filosofia Política 12, no. 2 (2024): 163–84. http://dx.doi.org/10.23925/politica.v12i2.68290.

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O artigo visa analisar o conceito de tempo na perspectiva musical filosófica de Zuckerkandl no contexto de uma filosofia da saúde, aproximando essa reflexão à finitude do paciente em cuidados paliativos. Usando a crítica de Bergson à forma de quantificação do tempo, expondo a relevância em conceituá-lo por meio do fenômeno da duração, Zuckerkandl desconstrói a ideia da métrica musical da teoria tradicional, dando lugar a uma nova relação tempo e experiência na música. Unindo e comparando os conceitos temporais, analisado o quão doloroso e complexo é saber de estar perto da finitude, especifica

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Sundqvist, Maria, Jakob Åsberg Johnels, Jonas Lindh, Katja Laakso, and Lena Hartelius. "Syllable Repetition vs. Finger Tapping: Aspects of Motor Timing in 100 Healthy Adults." Motor Control 20, no. 3 (2016): 233–54. http://dx.doi.org/10.1123/mc.2014-0068.

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In this study we systematically compared syllable repetition and finger tapping in healthy adults, and explored possible impacts of tempi, metronome, musical experience, and age on motor timing ability. One hundred healthy adults used finger-tapping and syllable repetition to perform an isochronous pulse in three different tempi, with and without a metronome. Results showed that the motor timing was more accurate with finger tapping than with syllable repetition in the slowest tempo, and the motor timing ability was better with the metronome than without. Persons with musical experience showed

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Rossetti, R., and G. A. Zangheri. "Tempo Bergsoniano e Ritmo na Linguagem Musical." Páginas de Filosofia 3, no. 1-2 (2011): 7–31. http://dx.doi.org/10.15603/2175-7747/pf.v3n1-2p7-31.

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Hammerschmidt, David, Clemens Wöllner, Justin London, and Birgitta Burger. "Disco Time: The Relationship Between Perceived Duration and Tempo in Music." Music & Science 4 (January 1, 2021): 205920432098638. http://dx.doi.org/10.1177/2059204320986384.

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Our perception of the duration of a piece of music is related to its tempo. When listening to music, absolute durations may seem longer as the tempo—the rate of an underlying pulse or beat—increases. Yet, the perception of tempo itself is not absolute. In a study on perceived tempo, participants were able to distinguish between different tempo-shifted versions of the same song (± 5 beats per minute (BPM)), yet their tempo ratings did not match the actual BPM rates; this finding was called tempo anchoring effect (TAE). In order to gain further insights into the relation between duration and tem

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Shkapa, Ekaterina A. "About Expressive Opportunities of the Musical Tempo: Studying the Relationship of Author Text and Performance Interpretation in Music and Theoretical Education." Musical Art and Education 8, no. 1 (2020): 59–72. http://dx.doi.org/10.31862/2309-1428-2020-8-1-59-72.

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Musical tempo is one of the most important elements of musical language, the expressive meaning of which is determined both by the composer’s idea and the performer’s interpretation. The ambiguity of the author’s tempo designations and the lightness of perception of tempo changes by listeners explain the wide use of variability of tempo interpretations for the implementation of individual performance concepts. The article reveals the role of tempo in forming ideas about composing styles among listeners of different eras, in updating existing performance stereotypes, and reveals the relationshi

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Threlfall, Robert. "TEMPO AND RACHMANINOFF'S ‘CORELLI’ VARIATIONS." Tempo 59, no. 231 (2005): 14–16. http://dx.doi.org/10.1017/s0040298205000021.

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Of all the different ingredients that combine to make up a musical performance, it often seems that the one which reveals most, and most extreme, variation is – tempo. Subject as it is also to various non-musical factors – such as acoustics; size of the locale; technical or instrumental limitations – as well as to other somewhat equally subjective conditions such as taste; historical or supposed authenticity; even fashion – this is hardly surprising. Maelzel's invention of his metronome almost two centuries ago has not necessarily succeeded in bringing order into chaos; it is notoriously diffi

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Montgomery, Amanda P. "Effect of Tempo on Music Preferences of Children in Elementary and Middle School." Journal of Research in Music Education 44, no. 2 (1996): 134–46. http://dx.doi.org/10.2307/3345666.

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This study was designed to examine the effect of tempo on preference responses of kindergarten to Grade 8 children. Listener age and gender were additional variables under consideration. In total, 996 subjects indicated preference opinions on pictographic Likert written response forms while listening to 15 excerpts of orchestral music from early Romantic opera. Two moderate and three fast musical examples were given the highest mean ratings. Spearman rank correlation indicated a positive significant relationship between tempo and preference (p < .01). Friedman analyses of variance revealed

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Vodolieieva, Natalia. "Musical Architectonics: A Methodological Aspect." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 109–16. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294636.

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The importance and functions of musical architectonics in the creative process of a composer and performer are considered in the paper. The conceptual basis of the work is the definition of musical architectonics and classification of its types by V. Moskalenko. Specific features of musical architectonics compared to musical composition are revealed. The functions of architectonics in the musical-creative process of a composer and performer are defined. A method of studying the architectonics of a musical work is proposed. It consists of the study of indirect data, the features of musical mate

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Sheldon, Deborah A. "Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception." Journal of Research in Music Education 42, no. 3 (1994): 190–202. http://dx.doi.org/10.2307/3345699.

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In this study, I investigated the effects of tempo direction, listening mode, and level of subjects' musical experience on speed and accuracy in tempo change detection abilities. Tempo-change and direction-change examples gradually decelerated, accelerated, or remained steady. Listening mode included listening only, listening and watching a conductor, and listening and moving. The two levels of musical experience were defined as music majors ( n = 80) and nonmajors ( n = 80). Subjects listened to music examples and manipulated a Continuous Response Digital Interface (CRDI) to demonstrate perce

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Mamantung, Rena Maria, R. A. Dinar Sri Hartati, and Luccylle M. Takalumang. "QUALITATIVE ANALYSIS ON THE APPLICATION OF TEMPO ON THE CHOIR SONGS WITHOUT TEMPO MARKINGS." SoCul: International Journal of Research in Social Cultural Issues 3, no. 4 (2024): 968–76. http://dx.doi.org/10.53682/soculijrccsscli.v3i4.8295.

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This research was conducted with the aim of understanding and explaining how tempo is applied in singing choir songs that do not have tempo markings. Tempo, in this context, refers to the speed or slowness with which a musical composition is sung, either by human vocals or musical instruments. To measure the speed of a song, a tool called a Maezel Metronome is used. Tempo markings can be classified into several groups, such as very slow, not very slow, medium, fast, and very fast tempos. This study is conducted using the qualitative research method in which the data collection is carried out t

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Trevor, Caitlyn, and David Huron. "Are Humoresques Humorous? On the Similarity Between Laughter and Staccato." Empirical Musicology Review 13, no. 1-2 (2019): 66. http://dx.doi.org/10.18061/emr.v13i1-2.5608.

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Two studies are reported testing the conjecture that certain musical sounds or musical works may emulate the punctuated sound (ha-ha-ha) of human laughter. In the first study, 25 participants were instructed to adjust the tempo and duty cycle (articulation) of simple tone sequences to produce the most laughter-like sound. The adjusted tempos were consistent across participants but slower than measures of actual human laughter. The adjusted duty cycles were comparable to those evident in human laughter. In the second study, comedic-related musical compositions (including humoresques, badineries

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Timmers, Renee, Richard Ashley, Peter Desain, Henkjan Honing, and W. Luke Windsor. "Timing of Ornaments in the Theme from Beethoven's Paisiello Variations: Empirical Data and a Model." Music Perception 20, no. 1 (2002): 3–33. http://dx.doi.org/10.1525/mp.2002.20.1.3.

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Musicians have to make many interpretive decisions when performing a piece. For example, the grace note, a one-note musical ornament, has no precise duration written in the score; it has to steal its duration from either the preceding or following melody notes. This study addressed several empirical questions: What duration are grace notes given? Does this vary depending upon musical context or individual preferences? And, are the durations of grace notes taken from the preceding or subsequent melody note, or is time added? In an experiment, 16 professional pianists performed three musical fra

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Nachmanowicz, Ricardo. "É POSSÍVEL OUVIR O TEMPO-DURÉE? UMA CRÍTICA AO BERGSONISMO MUSICAL." Kriterion: Revista de Filosofia 64, no. 156 (2023): 701–28. http://dx.doi.org/10.1590/0100-512x2023n15604rn.

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RESUMO O artigo analisa o tema da escuta musical do tempo na filosofia de Vladimir Jankélévitch, buscando avaliar qual seja a prova fenomênica alegada por Jankélévitch para sustentar a tese de que a escuta musical do tempo carrega as mesmas propriedades do conceito de durée de Henri Bergson. Concluímos que (1) as descrições temporais de Jankélévitch não são suficientes para sustentar que a escuta musical equivale à escuta das propriedades da durée, e que (2) esse fato implica um problema tanto para a máxima “a música é a arte do tempo” quanto para a capacidade geral do bergsonismo, verificado

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Cordeniz, Vera Inácio. "Ensino Musical e Enriquecimento Curricular." Per Musi 25 (March 25, 2024): 1–21. http://dx.doi.org/10.35699/2317-6377.2024.39352.

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Este artigo aborda os contornos da política de ação pública - “Escola a Tempo Inteiro” (ETI), compreendendo a operacionalização, passados cerca de 15 anos desta implementação, em Portugal Continental, numa interligação à possível igualdade de oportunidades a outras atividades - ensino da música (1.º ciclo Ensino Básico), assinalando o papel de poder do Estado. A metodologia analisa um conjunto de documentação legislativa/especializada e estudos científicos e procuramos compreender as implicações do ensino musical no enriquecimento curricular (AEC), em articulação com a nossa experiência. Assin

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Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.

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The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of U

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Coorevits, Esther, Dirk Moelants, Pieter-Jan Maes, and Marc Leman. "Exploring the effect of tempo changes on violinists’ body movements." Musicae Scientiae 23, no. 1 (2017): 87–110. http://dx.doi.org/10.1177/1029864917714609.

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In expressive music performance, tempo is known to be a fundamental parameter. In this article, we explored effects of changes in musical tempo on performers’ movement articulations. Eight duos (piano – violin) played two pieces at a predefined tempo, after which this start tempo was gradually increased and decreased. Throughout the different performances, we measured acceleration of the violinists’ head and right wrist, together with the downward force applied by their body to the ground surface. We calculated periodicities in downward force using fast Fourier transform (FFT) analyses and tes

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Mammì, Lorenzo. "Ideologia de Jehan de Murs." Revista Música 1, no. 2 (1990): 79. http://dx.doi.org/10.11606/rm.v1i2.55004.

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Dos primeiros sinais de rítmica modal às complexas combinações do moteto isorrítmico transcorre pouco mais de um século. Nesse período relativamente breve nasce e amadurece a idéia de um sistema completo e perfeitamente definido de durações, independente do texto, da liturgia ou da dança - o tempo musical como o entendemos ainda hoje, elemento da composição e função da sua forma, valor estético. O tratado Notitia Artis Musicae de Jehan de Murs, que será examinado aqui, já pertence à fase culminante desse processo, à Ars Nova. Procurarei lê-lo em seus aspectos ideológicos, mais do que técnicos,

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Angelo, Bruno. "Ensaio sobre a construção hermenêutica de um tempo narrativo em música." Arteriais - Revista do Programa de Pós-Gradução em Artes 1, no. 1 (2016): 116. http://dx.doi.org/10.18542/arteriais.v1i1.2726.

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Este é um ensaio especulativo, que aborda algumas questões sobre o tempo como um fator relevante na análise musical, as quais persistem como debate aberto aqui e em outros textos concernentes à teoria da música. Qual a origem do tempo na experiência musical; e qual o nosso papel, como ouvintes, em sua concepção: tais problemáticas servem de impulso para a argumentação aqui proposta, e estabelecem a base para uma abordagem ambivalente da ideia de tempo na música, a qual envolve conceitos da fenomenologia e teoria da metáfora. Como complementação, realizo um breve estudo analítico sobre minha pe

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Mütze, Hanna, Reinhard Kopiez, and Anna Wolf. "The effect of a rhythmic pulse on the heart rate: Little evidence for rhythmical ‘entrainment’ and ‘synchronization’." Musicae Scientiae 24, no. 3 (2018): 377–400. http://dx.doi.org/10.1177/1029864918817805.

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In this study, we investigate the influence of musical tempo on the heart rate. Previous studies showed ambiguous results. Two effects are considered: first, an adaption of the heart rate frequency to the tempo of a musical stimulus (‘entrainment’) and second, the phase synchronization between the stimulus-onset and the R-waves in the ECG (‘synchronization’). A regulatory feedback loop was programmed, which constantly measured the actual heart rate. A simple Djembé-beat was used as a musical stimulus and coupled to the actual heart rate in real-time. To test for ‘entrainment’ effects, we adapt

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MacRitchie, Jennifer, Steffen A. Herff, Andrea Procopio, and Peter E. Keller. "Negotiating between individual and joint goals in ensemble musical performance." Quarterly Journal of Experimental Psychology 71, no. 7 (2018): 1535–51. http://dx.doi.org/10.1080/17470218.2017.1339098.

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Successful joint action requires negotiation, especially in the event of goal incongruence. This article addresses goal incongruence in joint musical performance by manipulating the congruence of score instructions (congruent/incongruent) regarding tempo (speed) and dynamics (sound intensity) given to piano duos. The aim is to investigate how co-performers negotiate incongruent instructions for tempo and dynamics by balancing the prioritisation of individual goals versus the joint outcome and how this negotiation is modulated by musical expertise and personality (locus of control). In total, 1

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Scheirer, Eric D. "Tempo and beat analysis of acoustic musical signals." Journal of the Acoustical Society of America 103, no. 1 (1998): 588–601. http://dx.doi.org/10.1121/1.421129.

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North, Adrian C., David J. Hargreaves, and Sarah J. Heath. "Musical Tempo and Time Perception in a Gymnasium." Psychology of Music 26, no. 1 (1998): 78–88. http://dx.doi.org/10.1177/0305735698261007.

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Timmers, Renee, Richard Ashley, Peter Desain, and Hank Heijink. "The Influence of Musical Context on Tempo Rubato." Journal of New Music Research 29, no. 2 (2000): 131–58. http://dx.doi.org/10.1076/jnmr.29.2.131.3095.

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Grondin, Simon, and Martin Laforest. "Discriminating the tempo variations of a musical excerpt." Acoustical Science and Technology 25, no. 2 (2004): 159–62. http://dx.doi.org/10.1250/ast.25.159.

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Fukumoto, Makoto, and Kazuhisa Matsuo. "Effects of musical tempo on multiple subjective impressions." International Journal of Biometrics 2, no. 2 (2010): 124. http://dx.doi.org/10.1504/ijbm.2010.031792.

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Luiz Moraes Costa, Rogério. "O ambiente da improvisação musical e o tempo." Per Musi, no. 05 e 06 (January 1, 2002): 5–13. https://doi.org/10.35699/2317-6377.2002.56087.

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In this article, we strive to reflect about the questions related to time in the context of musical improvisation. How do the relationships and interactions occur between the musicians, between them and their instruments, and between the materials and procedures in the context of real-time practice? How are the issues related to the perception of the past, present, and future outlined in this environment? What is the role of memory in performances? How is time configured in the flow of the performance: as smooth time, unmeasured, or as striated, pulsed, and metrified time according to Pierre B

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Halpern, Andrea R. "Perceived and Imagined Tempos of Familiar Songs." Music Perception 6, no. 2 (1988): 193–202. http://dx.doi.org/10.2307/40285425.

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Two studies investigated the similarity of metronome settings to perceived and imagined familiar songs by subjects unselected for musical ability. In Study 1, mean tempo settings in the two tasks were about 100 beats per minute. Songs with slower perceived tempos tended to be faster in the imagery task and vice versa. In Study 2, subjects set fastest and slowest acceptable tempos for the same set of songs in the imagery mode. These settings were positively correlated with the preferred tempo for the song. Most subjects thought that there were limits on how fast or slow a song could be imagined

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Traldi, Cesar, Daniel Barreiro, and Renato Schiavetti. "A modelagem do tempo musical em Gravidade Zero, para bateria e tape." Orfeu 8, no. 2 (2023): e0203. http://dx.doi.org/10.5965/2525530408022023e0203.

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Neste artigo, discute-se a modelagem do tempo musical na obra eletroacústica mista Gravidade Zero (2020), para bateria e tape, de Cesar Traldi, com base na performance gravada em 2020 por Renato Schiavetti. A obra atribui ampla liberdade para o baterista criar materiais musicais que corporifiquem, em diálogo com o tape, a estrutura temporal especificada na partitura. A análise realizada toma como referência conceitual as considerações de Gérard Grisey sobre o tempo musical em camadas (esqueleto do tempo, carne do tempo e pele do tempo), expressas em seu artigo “Tempus ex machina: a composer’s

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Araújo, Ítalo Robert da Silva, and Alexsander Jorge Duarte. "Criação-performance partilhada em música." ouvirOUver 15, no. 2 (2020): 552–67. http://dx.doi.org/10.14393/ouv-v15n2a2019-46350.

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Este trabalho dedica-se ao estudo de práticas performativas coletivas nas quais o som, com intenção musical, é usado como material para a criação em tempo real. Trata-se de um tipo de prática musical em grupo onde a performance e a criação são assumidas pelos agentes como indissociáveis e que estão conotadas com formas de adjetivação da música como "improvisada", "livre", "experimental" e/ou "espontânea". Estes modos de fazer musical, diluidores da dicotomia compositor/intérprete, oferece outros valores ao processo de performance musical como "musicar" sem materiais musicais pré-concebidos. A

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London, Justin. "Cognitive Constraints on Metric Systems: Some Observations and Hypotheses." Music Perception 19, no. 4 (2002): 529–50. http://dx.doi.org/10.1525/mp.2002.19.4.529.

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This paper is a music-theoretic discussion of various studies on rhythmic perception and performance and their ramifications for discussions of musical meter. Meter is defined as a stable and recurring pattern of hierarchically structured temporal expectations. Metrical patterns, although related to the pattern of interonset intervals present in the musical surface, are distinct from that pattern. Studies of subjective rhythmization, spontaneous tempo, pulse perception, durational discrimination, and so forth are discussed with respect to their implications for meter. Not only do there seem to

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Fonterrada, Marisa Trench. "Lições que a fênix nos traz." Orfeu 6, no. 2 (2021): 10–29. http://dx.doi.org/10.5965/2525530406022021010.

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Trata-se neste artigo das mudanças que ocorrem no mundo em diferentes épocas e discute-se a concepção de tempo mítico em relação ao tempo linear, como sugere Mircea Eliade, que vê na sociedade ocidental múltiplos exemplos do que ele denomina “eterno retorno”, isto é, a volta cíclica de fenômenos ocorridos em determinada época, a tempos posteriores. Como símbolo dessa ideia, traz-se a figura da fênix, pela sua capacidade de renascimento eterno. Pretende-se examinar alguns exemplos de educação musical ocorridas em diferentes momentos, esperando encontrar exemplos de retorno de antigas concepções

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Damião, André. "Tempo de dentro e tempo de fora da música eletrônica." Arte e Ensaios 30, no. 48 (2025): 290–99. https://doi.org/10.60001/ae.n48.16.

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O presente artigo explora a interseção entre a criação musical eletrônica e seu contexto histórico, cultural e tecnológico no Brasil mediante breve análise da obra Ballet Lissajous, criada em 1974 por Aluizio Arcela e José Parrot Bastos no Laboratório de Engenharia Elétrica da PUC-Rio. O trabalho é contextualizado em momento de restrições tecnológicas e políticas durante a ditadura militar, o que moldou os rumos da pesquisa em música eletrônica no país em geral. A partir desse ponto, investiga-se a evolução das pesquisas de Arcela, que resultaram no teorema das Árvores-de-Tempo. O artigo faz u

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Hartini, Ni Putu. "Musical Composition of Gender Wayang "Silat Lidah" | Komposisi Musik Gender Wayang "Silat Lidah"." GHURNITA: Jurnal Seni Karawitan 1, no. 1 (2023): 65–72. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.311.

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Silat Lidah is a musical composition that uses the Instrument of Gender Wayang as a medium for expressing interesting musicals such as melody, rhythm, timbre (sound color), tempo, and dynamics. The meaning of Silat Lidah is to harmonize the family who are debating. The shape or structure of this music uses intermittent musical sentences in tempo and dynamics for different in perception in family conflicts. The concept of the Silat Lidah is divided into three parts, from the three sections producing different characters for approval of the Silat Lidah. The Karawitan artwork with the title Silat

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Furuya, Shinichi, and John F. Soechting. "Speed invariance of independent control of finger movements in pianists." Journal of Neurophysiology 108, no. 7 (2012): 2060–68. http://dx.doi.org/10.1152/jn.00378.2012.

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Independent control of finger movements characterizes skilled motor behaviors such as tool use and musical performance. The purpose of the present study was to identify the effect of movement frequency (tempo) on individuated finger movements in piano playing. Joint motion at the digits was recorded while 5 expert pianists were playing 30 excerpts from musical pieces with different fingering and key locations either at a predetermined normal tempo or as fast as possible. Principal component analysis and cluster analysis using an expectation-maximization algorithm determined three distinct patt

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Kurapov, Anton, Aleksandra Balashevych, and Hanna Tsurikova. "Complex Sound's Pitch and Tempo Perception: Psychological and Instructional Features." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology” 1, no. 13 (2021): 38–41. http://dx.doi.org/10.17721/bsp.2021.1(13).7.

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The study investigates features of complex sound's pitch and tempo perception depending on instructional set presence via the Likert scale and WAM test (wellbeing, activity, mood). Influence of objective complex sound characteristics (pitch and tempo) on a subjective evaluation of a music fragment, as well as the influence of instructional set (prior informing of a participant about objective differences between music fragments) on a subjective evaluation of a music fragment, were explored. The study looks at how people of different genders, whether they know how to play an instrument or have

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Sharmila, Biswas, and Singh Solanki Sandeep. "Singer Identification using Autocorrelation Method." International Journal of Recent Technology and Engineering (IJRTE) 9, no. 4 (2020): 134–38. https://doi.org/10.35940/ijrte.C4672.119420.

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songs are the compositions embedding voice and different instrument’s sound. Different human emotions can be created by playing the appropriate song .autocorrelation algorithm is used here to find out singer identification. In the first experiment three singers with three hindi songs (vocal) are taken as data set. Tempo is used as musical features. Then autocorrelation is proposed on concerning a total of three singers. Using bartlett test we have found the most significant autocorrelation values of those songs of three singers. In second experiment three singers with one hindi song (voc

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Iwanaga, Makoto. "Harmonic Relationship between Preferred Tempi and Heart Rate." Perceptual and Motor Skills 81, no. 1 (1995): 67–71. http://dx.doi.org/10.2466/pms.1995.81.1.67.

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Since people tend to prefer musical tempi ranging from 70 to 100 beats per minute, cyclic physiological response like heart rate is considered one of the factors affected by tempo preference. The present study aimed to examine the relationship between preferred tempi and heart rate. Subjects were instructed to find their favorite tempi while their heart rates were being measured. The presented tone stimulus was 440 Hz, 60 dB pressure of pure tone, and the presented tempo varied from 10 to 300 cycles per minute. The relationship between heart rate and preferred tempo was examined to calculate t

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