Log in

Relevant bibliographies by topics / Performance expressive / Journal articles

To see the other types of publications on this topic, follow the link: Performance expressive.

Journal articles on the topic 'Performance expressive'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Performance expressive.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Repp, Bruno H. "Effects of Auditory Feedback Deprivation on Expressive Piano Performance." Music Perception 16, no. 4 (1999): 409–38. http://dx.doi.org/10.2307/40285802.

Full text

Abstract:

Previous studies have suggested that elimination of auditory feedback has no significant effect on the accuracy of keyboard performance. In the present study, this issue was investigated further by focusing specifically on parameters of expression in piano performance: horizontal and vertical timing, horizontal and vertical dynamics, and pedaling. Six pianists performed a short musical excerpt (bars 1-5 of Chopin's Etude in E Major, op. 10, no. 3) 10 times on a digital piano in each of four conditions: expressive with and without feedback, and metronomic with and without feedback. The data analyses revealed significant effects of feedback deprivation on all expressive parameters in both expressive and metronomic performance. However, these effects were very small, except for some substantial changes in pedaling by some pianists. To determine the perceptual and aesthetic significance of these effects, a group of pianist listeners was presented with a forced- choice test in which expressive performances produced with and without feedback were paired with each other. The listeners correctly identified the performance played without feedback on only 63.5% of the trials, which confirms the relative subtlety of the effects of feedback deprivation. Although expression seems to be controlled primarily by an internal representation of the music, auditory feedback may be important in fine-tuning a performance and in the control of pedaling. However, it is also possible that the effects of auditory feedback deprivation merely reflect a lack of motivation to play expressively in the absence of sound.

APA, Harvard, Vancouver, ISO, and other styles

2

Broomhead, Paul, and Jon B. Skidmore. "Creating an Expressive Performance Mindset." Music Educators Journal 100, no. 3 (March 2014): 33–37. http://dx.doi.org/10.1177/0027432113515930.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Geringer, John M., and Justine K. Sasanfar. "Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist." Journal of Research in Music Education 61, no. 2 (June 13, 2013): 160–74. http://dx.doi.org/10.1177/0022429413485246.

Full text

Abstract:

Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Sixty-six undergraduate and graduate music students turned a Continuous Response Digital Interface dial to indicate their ongoing perception of expressivity as they listened throughout each performance. Graphic analysis of listeners’ responses for both pieces illustrated that they differentiated between sections with expressive and unexpressive playing by the pianist. Statistical analysis revealed that sections in which the pianist played expressively were perceived with significantly higher levels of expressivity than unexpressive sections. We found no significant differences in perceived expressivity between performance experience groups, gender, graduates versus undergraduates, or orders. Thus, in collaborative performances of a vocalist or instrumentalist with a pianist, pianist expressiveness appears to influence perception of overall expressivity.

APA, Harvard, Vancouver, ISO, and other styles

4

Amâncio, Moacir. "EMMC. Performance / EMMC. Performance." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 25. http://dx.doi.org/10.17851/2359-0076.40.63.25-32.

Full text

Abstract:

Resumo: A poesia do autor português Ernesto Manuel de Melo e Castro, radicado no Brasil, desconhece limites geográficos e da expressão, pautando-se pelos ritmos da liberdade. Sua obra, marcada pelo concretismo brasileiro, confirma o movimento, conferindo-lhe não um papel de superioridade e influência, mas um papel de diálogo, de junção das experiências e a busca de linguagens contemporâneas. O que não se limita à experimentação expressiva, pois implica a atuação num espectro amplo e da quebra de tabus. O questionamento incansável é a pauta de sua obra.Palavras-chave: poesia portuguesa; vanguarda; experimentação; concretismo; barroco.Abstract: The poetry of Portuguese author Ernesto Manuel de Melo e Castro, based in Brazil, is oblivious to limits of geography and expression, guided instead by the rhythms of freedom. His work, marked by Brazilian Concretism, confirms the movement, providing not a role of superiority and influence, but of dialogue, of bringing together experiences and the search for contemporary languages. This is not limited to expressive experimentation, as it implies acting on a broad spectrum and breaking taboos. The tireless questioning is his work’s agenda.Keywords: Portuguese poetry; vanguard; experimentation; concretism; baroque.

APA, Harvard, Vancouver, ISO, and other styles

5

Woody, Robert H. "Explaining Expressive Performance: Component Cognitive Skills in an Aural Modeling Task." Journal of Research in Music Education 51, no. 1 (April 2003): 51–63. http://dx.doi.org/10.2307/3345648.

Full text

Abstract:

This study is an examination of musicians' expressive performances, in an aural modeling task, paying special attention to the skills of goal imaging and motor production. Twenty-five university musicians heard expressive piano excerpts preceded by expressionless “deadpan” versions to use as the bases of comparison. After giving imitative performances of each expressive model, subjects indicated the perceived dynamic and tempo contours of the model by drawing on a chart. Multiple regression analyses were used to explain the dynamic variations of subjects' expressive performances. A theoretical model designated “contextual goal image” consisted of (a) subjects' previous attempts at performing in a deadpan manner (indicating the expressive conventions automatically applied to the excerpts' musical contexts) and (b) their line drawings of what they perceived in the models. Overall, the contextual goal image model explained a large proportion of the variance in performance, indicating the importance of supplementing automatically applied performance conventions with an explicit goal performance plan.

APA, Harvard, Vancouver, ISO, and other styles

6

Ashley, Richard. "Expressive performance of jazz ballad melodies." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3190. http://dx.doi.org/10.1121/1.419239.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

MORISHIMA, Daichi, Natsumi HASEGAWA, and Koji SHIBUYA. "Expressive Performance by Violin-Playing Robot." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2016 (2016): 1P1–14b4. http://dx.doi.org/10.1299/jsmermd.2016.1p1-14b4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Meissner, Henrique. "Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study." International Journal of Music Education 35, no. 1 (June 23, 2016): 118–35. http://dx.doi.org/10.1177/0255761416643850.

Full text

Abstract:

This article presents findings from an action research project that investigated instrumental teachers’ strategies for facilitating children’s learning of expressive music performance. Nine teachers and 14 pupils (aged 9–15) participated in this project, which consisted of 10 weeks of teaching. At the beginning and end of this period pupils’ concerts were held and performances were audio-recorded. Participating teachers used various strategies for improving students’ expressive performance: teacher’s enquiry, discussion, explanation of expressive devices, gestures and movements, singing, imagery, modelling, “projected performance” and listening to own recordings. According to teachers these strategies had been useful in lessons. However, analysis of assessments of students’ performances did not show a significant improvement. Four out of five pupils who did improve their expressiveness were taught by teachers who used enquiry and discussion of musical character and instruction about modifying expressive devices. This project influenced the practice of participating tutors as they focused more on teaching expressive performance.

APA, Harvard, Vancouver, ISO, and other styles

9

Canazza, Sergio, Giovanni De Poli, and Antonio Rodà. "CaRo 2.0: An Interactive System for Expressive Music Rendering." Advances in Human-Computer Interaction 2015 (2015): 1–13. http://dx.doi.org/10.1155/2015/850474.

Full text

Abstract:

In several application contexts in multimedia field (educational, extreme gaming), the interaction with the user requests that system is able to render music in expressive way. The expressiveness is the added value of a performance and is part of the reason that music is interesting to listen. Understanding and modeling expressive content communication is important for many engineering applications in information technology (e.g., Music Information Retrieval, as well as several applications in the affective computing field). In this paper, we present an original approach to modify the expressive content of a performance in a gradual way, applying a smooth morphing among performances with different expressive content in order to adapt the audio expressive character to the user’s desires. The system won the final stage of Rencon 2011. This performance RENdering CONtest is a research project that organizes contests for computer systems generating expressive musical performances.

APA, Harvard, Vancouver, ISO, and other styles

10

Bishop, Laura, Freya Bailes, and Roger T. Dean. "Musical Imagery and the Planning of Dynamics and Articulation During Performance." Music Perception 31, no. 2 (December 2012): 97–117. http://dx.doi.org/10.1525/mp.2013.31.2.97.

Full text

Abstract:

Musicians anticipate the effects of their actions during performance. Online musical imagery, or the consciously accessible anticipation of desired effects, may enable expressive performance when auditory feedback is disrupted and help guide performance when it is present. This study tested the hypotheses that imagery 1) can occur concurrently with normal performance, 2) is strongest when auditory feedback is absent but motor feedback is present, and 3) improves with increasing musical expertise. Auditory and motor feedback conditions were manipulated as pianists performed melodies expressively from notation. Dynamic and articulation markings were introduced into the score during performance and pianists indicated verbally whether the markings matched their expressive intentions while continuing to play their own interpretation. Expression was similar under auditory-motor (i.e., normal feedback) and motor-only (i.e., no auditory feedback) performance conditions, and verbal task performance suggested that imagery was stronger when auditory feedback was absent. Verbal task performance also improved with increasing expertise, suggesting a strengthening of online imagery.

APA, Harvard, Vancouver, ISO, and other styles

11

Tillmann, Barbara, W. Jay Dowling, Philippe Lalitte, Paul Molin, Katrin Schulze, Bénédicte Poulin-Charronnat, Daniele Schoen, and Emmanuel Bigand. "Influence of Expressive Versus Mechanical Musical Performance on Short-term Memory for Musical Excerpts." Music Perception 30, no. 4 (December 2012): 419–25. http://dx.doi.org/10.1525/mp.2013.30.4.419.

Full text

Abstract:

Recognition memory for details of musical phrases (discrimination between targets and similar lures) improves for up to 15 s following the presentation of a target, during continuous listening to the ongoing piece. This is attributable to binding of stimulus features during that time interval. The ongoing-listening paradigm is an ecologically valid approach for investigating short-term memory, but previous studies made use of relatively mechanical MIDI-produced stimuli. The present study assessed whether expressive performances would modulate the previously reported finding. Given that expressive performances introduced slight differences between initially presented targets and their target-test items, expressive performance could make the task more difficult overall than did the previously used mechanical renderings. However, results revealed an even stronger improvement for the expressive pieces than for the mechanical pieces. The pattern of results was observed for participants varying in their level of musical experience, though the difference between expressive and mechanical conditions was more pronounced for the less-experienced participants. Overall, our study showed that the memory improvement phenomenon extends to more realistic musical material, which includes expressive timing characteristics of live performance.

APA, Harvard, Vancouver, ISO, and other styles

12

Ishiyama, Yuna, Naoto Suzuki, Masanori Oikawa, and Haruka Oikawa. "How Expressive Writing Benefits Defensive Pessimists’ Performance:." Japanese Journal of Educational Psychology 68, no. 1 (March 30, 2020): 1–10. http://dx.doi.org/10.5926/jjep.68.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Broomhead, Paul. "Shaping Expressive Performance: A Problem-Solving Approach." Music Educators Journal 91, no. 5 (May 2005): 63–67. http://dx.doi.org/10.2307/3400145.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Widmer, Gerhard. "Learning expressive performance: The structure‐level approach." Journal of New Music Research 25, no. 2 (June 1996): 179–205. http://dx.doi.org/10.1080/09298219608570702.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Langner, Jörg, and Werner Goebl. "Visualizing Expressive Performance in Tempo—Loudness Space." Computer Music Journal 27, no. 4 (December 2003): 69–83. http://dx.doi.org/10.1162/014892603322730514.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Müller, Stefan, and Guerino Mazzola. "The Extraction of Expressive Shaping in Performance." Computer Music Journal 27, no. 1 (March 2003): 47–58. http://dx.doi.org/10.1162/01489260360613335.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

VINES, B. W. "Dimensions of Emotion in Expressive Musical Performance." Annals of the New York Academy of Sciences 1060, no. 1 (December 1, 2005): 462–66. http://dx.doi.org/10.1196/annals.1360.052.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Nakahara, Hidehiro, Shinichi Furuya, Peter R. Francis, and Hiroshi Kinoshita. "Psycho-physiological responses to expressive piano performance." International Journal of Psychophysiology 75, no. 3 (March 2010): 268–76. http://dx.doi.org/10.1016/j.ijpsycho.2009.12.008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

RAMIREZ, RAFAEL, and AMAURY HAZAN. "A TOOL FOR GENERATING AND EXPLAINING EXPRESSIVE MUSIC PERFORMANCES OF MONOPHONIC JAZZ MELODIES." International Journal on Artificial Intelligence Tools 15, no. 04 (August 2006): 673–91. http://dx.doi.org/10.1142/s0218213006002862.

Full text

Abstract:

In this paper we present a machine learning approach to modeling the knowledge applied by a musician when performing a score in order to produce an expressive performance of a piece. We describe a tool for both generating and explaining expressive music performances of monophonic Jazz melodies. The tool consists of three components: (a) a melodic transcription component which extracts a set of acoustic features from monophonic recordings, (b) a machine learning component which induce both an expressive transformation model and a set of expressive performance rules from the extracted acoustic features, and (c) a melody synthesis component which generates expressive monophonic output (MIDI or audio) from inexpressive melody descriptions using the induced expressive transformation model. We compare several machine learning techniques we have explored for inducing the expressive transformation model.

APA, Harvard, Vancouver, ISO, and other styles

20

Woody, Robert H. "The Relationship between Explicit Planning and Expressive Performance of Dynamic Variations in an Aural Modeling Task." Journal of Research in Music Education 47, no. 4 (December 1999): 331–42. http://dx.doi.org/10.2307/3345488.

Full text

Abstract:

The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their own performance on the piano. Results indicated that expressive performance of dynamic variations is influenced by the performer's explicit identification of dynamic features and their incorporation into a specific goal performance plan. Analyses of individual dynamic features revealed that subjects who identified features consistently performed the features differently than did the subjects who did not identify them. Subjects who identified features played nonidiomatic features more accurately and played idiomatic features at more pronounced overall levels.

APA, Harvard, Vancouver, ISO, and other styles

21

Broomhead, Paul. "Individual Expressive Performance: Its Relationship to Ensemble Achievement, Technical Achievement, and Musical Background." Journal of Research in Music Education 49, no. 1 (April 2001): 71–84. http://dx.doi.org/10.2307/3345811.

Full text

Abstract:

Participation in an expressive ensemble may be inappropriately presumed to produce expressive independence in individual ensemble members. This study is an examination of relationships between individual expressive achievement and (a) the expressive achievement of choral ensembles, (b) technical performance, and (c) musical background. Subjects included 11 high school choral ensembles and 82 individual ensemble members. A multivariate analysis of variance (MANOVA) revealed no significant relationships between individual and ensemble expressive achievement. Cor-relations showed technical and expressive performance to be strongly related. Significantly related musical background factors from a MANOVA included: (a) involvement in outside performing groups, (b) semesters of high school choir, (c) private vocal lessons, and (d) age of first private lessons. The study provided grounds for questioning the assumption that expressive ensembles yield expressive individuals.

APA, Harvard, Vancouver, ISO, and other styles

22

Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance." Journal of Research in Music Education 54, no. 1 (April 2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.

Full text

Abstract:

This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006

APA, Harvard, Vancouver, ISO, and other styles

23

Demos, Alexander P., Roger Chaffin, and Topher Logan. "Musicians body sway embodies musical structure and expression: A recurrence-based approach." Musicae Scientiae 22, no. 2 (January 9, 2017): 244–63. http://dx.doi.org/10.1177/1029864916685928.

Full text

Abstract:

Musicians’ sway during performance seems to be related to musical structure. However, it has yet to be shown that examples of the relationship are not simply due to chance. Progress has been impeded by three problems: the assumption that musical structure is constant across performances; the complexity of the movements; and the inability of traditional statistical tests to accurately model the multilevel temporal hierarchies involved. We solved these problems in a study of the side-to-side postural sway of two trombonists as they each recorded two performances of each of two solo pieces in each of three different performance styles (normal, expressive, non-expressive). The musicians reported their phrasing immediately after each performance by marking copies of the score. We measured the rate and stability (mean line) of recurrence (self-similarity) and assessed the effect of serial position within a phrase, using mixed linear models to model the nesting of phrases within pieces, within performances, across expressive styles and musicians. Recurrence and stability of recurrence changed systematically across the course of a phrase, producing sinusoidal-like and arch-shaped phrasing contours that differed with the performance style and length of phrase. As long suspected, musicians’ expressive movements reflect musical structure.

APA, Harvard, Vancouver, ISO, and other styles

24

Jessop, Elena. "Capturing the Body Live: A Framework for Technological Recognition and Extension of Physical Expression in Performance." Leonardo 48, no. 1 (February 2015): 32–38. http://dx.doi.org/10.1162/leon_a_00935.

Full text

Abstract:

Performing artists have frequently used technology to sense and extend the body’s natural expressivity through live control of multimedia. However, the sophistication, emotional content and variety of expression possible through the original physical channels are often not captured by these technologies and thus cannot be transferred from body to digital media. In this article the author brings together research from expressive performance analysis, machine learning and technological performance extension techniques to define a new framework for recognition and extension of expressive physical performance.

APA, Harvard, Vancouver, ISO, and other styles

25

Baird, Jo Ann C. "Video Views: Rehearsal Techniques for the Expressive Performance." Music Educators Journal 76, no. 2 (October 1989): 60–61. http://dx.doi.org/10.2307/3400948.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Jungst, Martijn. "Dynamics of negative and expressive ties on performance." Academy of Management Proceedings 2019, no. 1 (August 1, 2019): 11513. http://dx.doi.org/10.5465/ambpp.2019.11513abstract.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Chapple, Eliot D., and Martha Davis. "Expressive Movement and Performance: Toward a Unifying Theory." TDR (1988-) 32, no. 4 (1988): 53. http://dx.doi.org/10.2307/1145889.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Meissner, Henrique, and Renee Timmers. "Teaching young musicians expressive performance: an experimental study." Music Education Research 21, no. 1 (May 2, 2018): 20–39. http://dx.doi.org/10.1080/14613808.2018.1465031.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Johnson, M. L. "Toward an expert system for expressive musical performance." Computer 24, no. 7 (July 1991): 30–34. http://dx.doi.org/10.1109/2.84832.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Oore, Sageev, Ian Simon, Sander Dieleman, Douglas Eck, and Karen Simonyan. "This time with feeling: learning expressive musical performance." Neural Computing and Applications 32, no. 4 (November 14, 2018): 955–67. http://dx.doi.org/10.1007/s00521-018-3758-9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Schogler, Benjaman, Gert-Jan Pepping, and David N. Lee. "TauG-guidance of transients in expressive musical performance." Experimental Brain Research 189, no. 3 (June 17, 2008): 361–72. http://dx.doi.org/10.1007/s00221-008-1431-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Öztürkmen, Arzu. "The Park, the Penguin, and the Gas: Performance in Progress in Gezi Park." TDR/The Drama Review 58, no. 3 (September 2014): 39–68. http://dx.doi.org/10.1162/dram_a_00372.

Full text

Abstract:

The performances that were part of the Gezi Park protests in Istanbul, Turkey, during the summer of 2013, proliferated via social media and helped spread the protests throughout Turkey and the world. A wide range of performance forms emerged as an urgent public expression of the political frustrations with increasing authoritarianism. From these expressive forms, iconic images caught the public imagination and spread from one genre and media to the next.

APA, Harvard, Vancouver, ISO, and other styles

33

Price, Harry E., and E. Christina Chang. "Conductor and Ensemble Performance Expressivity and State Festival Ratings." Journal of Research in Music Education 53, no. 1 (April 2005): 66–77. http://dx.doi.org/10.1177/002242940505300106.

Full text

Abstract:

This study is the second in a series examining the relationship between conducting and ensemble performance. The purpose was to further examine the associations among conductor, ensemble performance expressivity, and festival ratings. Participants were asked to rate the expressivity of video-only conducting and parallel audio-only excerpts from a state-level concert festival. There were significant differences among scores for conducting across festival ratings; however, there were no significant differences for ensemble performances. There was a significant interaction between festival ratings and video and audio excerpts. The relationship between expressivity of conducting and expressivity of ensemble performances found in some previous research was not found in this study; indeed, there was not even a relationship found in expressivity of ensemble performance to festival ratings. The lack of an apparent relationship of expressive conducting to expressive performance found here replicates, in part, the results of Price and Chang (2001). September 10, 2004 February 2, 2005.

APA, Harvard, Vancouver, ISO, and other styles

34

Kragness, Haley E., and Laurel J. Trainor. "Nonmusicians Express Emotions in Musical Productions Using Conventional Cues." Music & Science 2 (January 1, 2019): 205920431983494. http://dx.doi.org/10.1177/2059204319834943.

Full text

Abstract:

Expert musicians use a number of expressive cues to communicate specific emotions in musical performance. In turn, listeners readily identify the intended emotions. Previous studies of cue utilization have studied the performances of expert or highly trained musicians, limiting the generalizability of the results. Here, we use a musical self-pacing paradigm to investigate expressive cue use by non-expert individuals with varying levels of formal music training. Participants controlled the onset and offset of each chord in a musical sequence by repeatedly pressing and lifting a single key on a MIDI piano, controlling tempo and articulation. In addition, the velocity with which they pressed the key controlled the sound level ( dynamics). Participants were asked to “perform” the music to express basic emotions that were (1) positively or negatively valenced and (2) high- or low-arousal ( joy, sadness, peacefulness, and anger). Nonmusicians’ expressive cue use was consistent with patterns of cue use by professional musicians described in the literature. In a secondary analysis, we explored whether formal training affected how tempo, articulation, dynamics, rhythm, and phrasing were employed to express the target emotions. We observed that the patterns of cue use were strikingly consistent across groups with differing levels of formal musical training. Future work could investigate whether expertise is implicated in the expression of more complex emotions and/or in the expression of more complex musical structures, as well as explore the role of emotional intelligence and informal musical experiences in expressive performance.

APA, Harvard, Vancouver, ISO, and other styles

35

Clarke, Eric F., and W. Luke Windsor. "Real and Simulated Expression: A Listening Study." Music Perception 17, no. 3 (2000): 277–313. http://dx.doi.org/10.2307/40285819.

Full text

Abstract:

A number of attempts have been made in the past 10 to 15 years to construct artificial systems that can simulate human expressive performance, but few systematic studies of the relationship between model output and comparable human performances have been undertaken. In this study, we assessed listeners' responses to real and artificially generated performances. Subjects were asked to identify and evaluate performances of two differently notated editions of two pieces, played by a panel of experienced pianists and by an artificial performer. The results suggest that expressive timing and dynamics do not relate to one another in the simple manner that is implemented in the model (Todd, 1992) used here, that small objective differences in the expressive profiles of different performances can lead to distinctly different judgments by listeners, and that what appears to be the same expressive feature in performance can fulfill different functions. Although one purpose of such a study is to assess the model on which it is based, more important is its demonstration of the general value of comparing human data with a model. As is often the case, it is what the model does not explain that is most interesting.

APA, Harvard, Vancouver, ISO, and other styles

36

Kendall, Roger A., and Edward C. Carterette. "The Communication of Musical Expression." Music Perception 8, no. 2 (1990): 129–63. http://dx.doi.org/10.2307/40285493.

Full text

Abstract:

This study focuses on the performer-listener link of the chain of musical communication. Using different perceptual methods (categorization, matching, and rating), as well as acoustical analyses of timing and amplitude, we found that both musicians and nonmusicians could discern among the levels of expressive intent of violin, trumpet, clarinet, oboe, and piano performers. Time-contour profiles showed distinct signatures between instruments and across expressive levels, which affords a basis for perceptual discrimination. For example, for "appropriate" expressive performances, a gradual lengthening of successive durations leads to the cadence. Although synthesized versions based on performance timings led to less response accuracy than did the complete natural performance, evidence suggests that timing may be more salient as a perceptual cue than amplitude. We outline a metabolic communication theory of musical expression that is based on a system of sequences of states, and changes of state, which fill gaps of inexorable time. We assume that musical states have a flexible, topologically deformable nature. Our conception allows for hierarchies and structure in active music processing that static generative grammars do not. This theory is supported by the data, in which patterns of timings and amplitudes differed among and between instruments and levels of expression.

APA, Harvard, Vancouver, ISO, and other styles

37

Demos, Alexander P., Tânia Lisboa, Kristen T. Begosh, Topher Logan, and Roger Chaffin. "A longitudinal study of the development of expressive timing." Psychology of Music 48, no. 1 (July 16, 2018): 50–66. http://dx.doi.org/10.1177/0305735618783563.

Full text

Abstract:

Tempo arches have often been reported in polished music performances, but their development during the learning of a new piece has not been studied. We examined the development of expressive timing at three levels of musical structure (piece, section, phrase) as an experienced concert soloist (the second author) prepared the Prelude from J. S. Bach’s Suite No. 6 for solo cello for public performance. We used mixed effect models to assess the development of expressive timing and the effects of the performance cues (PCs) that the cellist used as mental landmarks to guide her performance. Tempo arches appeared early in practice at all three levels of musical structure and changed over time in complex ways, first becoming more pronounced and more asymmetrical and then shrinking somewhat in later performances. Arches were also more pronounced in phrases that contained PCs, suggesting that PCs reminded the cellist where to “breathe” between phrases. The early development of tempo arches suggests that they were an automatic product of basic cognitive or motor processes. The complex trajectory of their later development appeared to be the result, at least in part, of a deliberate communicative strategy intended to draw listeners’ attention to some musical boundaries more than others.

APA, Harvard, Vancouver, ISO, and other styles

38

Yarian, Marley, Karla N. Washington, Caroline E. Spencer, Jennifer Vannest, and Kathryn Crowe. "Exploring Predictors of Expressive Grammar Across Different Assessment Tasks in Preschoolers With or Without DLD." Communication Disorders Quarterly 42, no. 2 (August 23, 2019): 111–21. http://dx.doi.org/10.1177/1525740119868238.

Full text

Abstract:

Predictors of expressive grammar were compared in formal and naturalistic assessment tasks for children with typically developing (TD) language and with Developmental Langauge Disorder (DLD). Standardized expressive language assessments were administered to 110 preschoolers. The parents of these children reported whether or not they were concerned about their child’s speech and language development. Stepwise regression analyses revealed receptive language as the only significant predictor of expressive grammar across assessment tasks. For TD preschoolers, receptive vocabulary and grammar accounted for expressive grammar performance in the formal task; however, only receptive grammar accounted for performance in the naturalistic task. For DLD preschoolers, only receptive vocabulary accounted for expressive grammar performance across both tasks. Nonverbal IQ and parent concern did not predict expressive grammar performance in either task. Implications for treatment of preschool DLD using relative strengths in vocabulary are discussed.

APA, Harvard, Vancouver, ISO, and other styles

39

Repp, Bruno H. "Quantitative Effects of Global Tempo on Expressive Timing in Music Performance: Some Perceptual Evidence." Music Perception 13, no. 1 (1995): 39–57. http://dx.doi.org/10.2307/40285684.

Full text

Abstract:

This study examines whether global tempo and expressive timing microstructure are independent in the aesthetic judgment of music performance. Measurements of tone interonset intervals in pianists' performances of pieces by Schumann ("Traumerei") and Debussy ("La fille aux cheveux de lin") at three different tempi show a tendency toward reduced relative variation in expressive timing at both faster and slower tempi, relative to the pianist's original tempo. However, this could reflect merely the pianists' discomfort when playing at an unfamiliar tempo. Therefore, a perceptual approach was taken here. Experimental stimuli were created artificially by independently manipulating global tempo (three levels) and "relative modulation depth" of expressive timing (RMD, five levels) in MIDI-recorded complete performances of the Schumann and Debussy pieces. Skilled pianists rated the quality of the resulting two sets of 15 performances on a 10-point scale. The question was whether the same RMD would receive the highest rating at all three tempi, or whether an interaction would emerge, such that different RMDs are preferred at different tempi. A small but significant interaction was obtained for both pieces, indicating that the listeners preferred a reduced RMD when the tempo was increased, but the same or a larger RMD when the tempo was decreased. Thus, they associated an increase in tempo with a decrease in (relative) expressive timing variation, which, in general agreement with the performance data, suggests that the two temporal dimensions are not independent.

APA, Harvard, Vancouver, ISO, and other styles

40

Broomhead, Paul, Jon B. Skidmore, Dennis L. Eggett, and Melissa M. Mills. "The Effects of a Positive Mindset Trigger Word Pre-Performance Routine on the Expressive Performance of Junior High Age Singers." Journal of Research in Music Education 60, no. 1 (February 15, 2012): 62–80. http://dx.doi.org/10.1177/0022429411435363.

Full text

Abstract:

The effects of a positive mindset trigger word intervention on the expressive performance of individual junior high singers were tested in this study. Participants ( N = 155) were assigned randomly to a control group or an experimental group. Members of the experimental group participated in a 40-min intervention while members of the control group participated in normal rehearsal. The intervention involved a pre-performance routine of breathing and silently repeating the words bold, confident, and free. It also involved practice activities for applying the technique to performance. Participants were tested individually directly before and after the intervention and 2 weeks later. Results indicated a significant positive effect on Overall Expressive Performance ( p < .001) and on the subcategories Dynamics ( p < .001), Performance Factors ( p < .001), and Timing ( p < .001). There was no significant effect on subcategories Articulation ( p = .195) and Tone ( p = .035). Implications were that (1) use of positive mindset trigger words in a pre-performance routine may bring immediate improvement in expressive performance for junior high age singers, (2) junior high age singers may possess higher levels of expressive performance skill than they or teachers recognize, and (3) review and repetition likely are needed for junior high age students to retain the intervention benefits.

APA, Harvard, Vancouver, ISO, and other styles

41

Kirke, Alexis, and Eduardo Reck Miranda. "A survey of computer systems for expressive music performance." ACM Computing Surveys 42, no. 1 (December 2009): 1–41. http://dx.doi.org/10.1145/1592451.1592454.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Repp, Bruno H. "Patterns of note onset asynchronies in expressive piano performance." Journal of the Acoustical Society of America 100, no. 6 (December 1996): 3917–32. http://dx.doi.org/10.1121/1.417245.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Repp, Bruno H. "The dynamics of expressive piano performance: Schumann’s ‘‘Träumerei’’ revisited." Journal of the Acoustical Society of America 100, no. 1 (July 1996): 641–50. http://dx.doi.org/10.1121/1.415889.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Goebl, Werner. "Melody lead in piano performance: Expressive device or artifact?" Journal of the Acoustical Society of America 110, no. 1 (July 2001): 563–72. http://dx.doi.org/10.1121/1.1376133.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

POLI, GIOVANNI. "Analysis and Modeling of Expressive Intentions in Music Performance." Annals of the New York Academy of Sciences 999, no. 1 (November 2003): 118–23. http://dx.doi.org/10.1196/annals.1284.012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Brandmeyer, Alex, Renee Timmers, Makiko Sadakata, and Peter Desain. "Learning expressive percussion performance under different visual feedback conditions." Psychological Research 75, no. 2 (June 24, 2010): 107–21. http://dx.doi.org/10.1007/s00426-010-0291-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

Full text

Abstract:

This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures similar to Clynes's composer-specific patterns, and also in a deadpan version. Listeners representing a wide range of musical experience judged to what extent each computer performance had the composer's individual expression, relative to the deadpan version. Listeners showed an overall preference for the Beethoven and Haydn pulses. The pattern of pulse preferences varied significantly among individual pieces, but little among different composers. These results indirectly support the general notion that expressive variation is contingent on musical structure, but they offer little evidence in support of fixed, composer-specific patterns of expressive microstructure.

APA, Harvard, Vancouver, ISO, and other styles

48

Barthet, Mathieu, Philippe Depalle, Richard Kronland-Martinet, and Søølvi Ystad. "Acoustical Correlates of Timbre and Expressiveness in Clarinet Performance." Music Perception 28, no. 2 (December 1, 2010): 135–54. http://dx.doi.org/10.1525/mp.2010.28.2.135.

Full text

Abstract:

This study deals with the acoustical factors liable to account for expressiveness in clarinet performances. Mechanical and expressive performances of excerpts from Bach's Suite No. II and Mozart's Quintet for Clarinet and Strings were recorded. Timbre, timing, dynamics, and pitch descriptors were extracted from the recorded performances. The data were processed using a two-way analysis of variance, where the musician's expressive intentions and the note factors were defined as the independent variables. In both musical excerpts, a strong effect of the expressive intention was observed on the timbre (attack time, spectral centroid, odd/even ratio), timing (intertone onset intervals) and dynamics (root mean square envelope) descriptors. The changes in the timbre descriptors were found to depend on the position of the notes in the musical phrases. These results suggest that timbre, as well as timing and dynamics variations, may mediate expressiveness in the musical messages transmitted from performers to listeners.

APA, Harvard, Vancouver, ISO, and other styles

49

Stark, Rachel E., and John M. Heinz. "Perception of Stop Consonants in Children With Expressive and Receptive-Expressive Language Impairments." Journal of Speech, Language, and Hearing Research 39, no. 4 (August 1996): 676–86. http://dx.doi.org/10.1044/jshr.3904.676.

Full text

Abstract:

The performance of 32 children with language impairment—11 with expressive language impairment only (LI-E subgroup) and 21 with both receptive and expressive language impairment (LI-ER subgroup)—and of 22 children without language impairment (LN subgroup) was examined in a study of perception and imitation of synthesized /ba/ and /da/ syllables. Formant transition duration and task difficulty were varied in the perceptual tasks. The LI-E children were able to identify the syllables as well as the LN; the LI-ER were not. Of the children who succeeded on an identification task and proceeded to a serial ordering task incorporating the same stimuli, the LI-E children were the least successful on the second task. The ability to label the stimuli perceptually was highly correlated with absence of speech articulation errors in the LI children and with performance on the imitation task in all subjects. The findings are examined in relation to the hypotheses that rapid-rate perceptual processing is the sole basis of language impairment in children and that, in these children, production skill may predict phoneme perception rather than the reverse.

APA, Harvard, Vancouver, ISO, and other styles

50

Demos, Alexander P., and Roger Chaffin. "How Music Moves Us." Music Perception 35, no. 4 (April 1, 2018): 405–24. http://dx.doi.org/10.1525/mp.2018.35.4.405.

Full text

Abstract:

We measured the postural sway of two trombonists as they each recorded multiple performances of two solo pieces in each of three different expressive styles (normal, expressive, non-expressive). We then measured the postural sway of 29 non-trombonist listeners as they moved their arms and body, “air-conducting” the recorded sound as if to draw out the emotion from the performance (Experiment 1), and of the two trombonists as they played along with the same recorded performances (Experiment 2). In both experiments, the velocity of listeners’ postural sway was more like that of the performer than expected by chance. Listeners entrained more to back-and-forth than to side-to-side sway in Experiment 1 and only to back-and-forth sway in Experiment 2. Entrainment was not due entirely to performer and listener both swaying to the musical pulse in the same way. Listeners in Experiment 1 rated performances as more expressive when they entrained more, suggesting that entrainment enhanced their aesthetic experience of the music. The whole body appears to contribute to unpacking the expressive content of musical communication.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!