Analysis, Performance, and Tension Perception of an Unmeasured Prelude for Harpsichord

Goodchild, Meghan; Gingras, Bruno; McAdams, Stephen

doi:10.1525/mp.2016.34.1.1

Cited by 10 publications

(13 citation statements)

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“…Of the remaining 26% of papers containing a split point value (7 out of 27), four papers detailed music lessons ( i.e. , instrumental, music theory, or private/group lessons; Andrade, Vanzella, Andrade, & Schellenberg, 2017; Frey, Hautbois, Bootz, & Tijus, 2014; Russo, Thompson, & Cuddy, 2015; Sears, Caplin, & McAdams, 2014); one paper detailed formal music lessons (Weijkamp & Sadakata, 2017); another on instrumental playing experience (Hansen, Wallentin, & Vuust, 2013); and one in terms of years in an undergraduate degree in music (Goodchild, Gingras, & McAdams, 2016).…”

Section: Resultsmentioning

confidence: 99%

“…In contrast, the greater number of years of MEC needed for affect-based tasks indicates that musicians with greater musical expertise were needed for more nuanced emotive responses. That is, greater musical knowledge was required to better respond to the task, for example, an experiment that required a scale rating of perceived tension based on implied harmony (Goodchild et al, 2016). Similarly, the greater increase in median number of years of MEC for combination-based tasks (9.5 years) may be due to the enhanced complexity of the task which needed more "experienced" participants.…”

Section: Experimental Taskmentioning

confidence: 99%

“…Within music training, 10 papers referred to "music training", including instrumental or classical/contemporary training; nine papers reported "formal music training"; and one paper specifically detailed the Suzukimethod as a type of music training (Joret, Germeys, & Gidron, 2017). Of the remaining 26% of papers containing a split point value (7 out of 27), four papers detailed music lessons (i.e., instrumental, music theory, or private/group lessons; Andrade, Vanzella, Andrade, & Schellenberg, 2017;Frey, Hautbois, Bootz, & Tijus, 2014;Russo, Thompson, & Cuddy, 2015;Sears, Caplin, & McAdams, 2014); one paper detailed formal music lessons (Weijkamp & Sadakata, 2017); another on instrumental playing experience (Hansen, Wallentin, & Vuust, 2013); and one in terms of years in an undergraduate degree in music (Goodchild, Gingras, & McAdams, 2016). Among the different forms of musical expertise, there was a noteable difference between the verbatim terms "music training" and "formal music training."…”

Section: Types Of Musical Expertisementioning

confidence: 99%

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The definition of a musician in music psychology: A literature review and the six-year rule

Zhang

Susino

McPherson

et al. 2018

Psychology of Music

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The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.

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Section: Resultsmentioning

confidence: 99%

Section: Experimental Taskmentioning

confidence: 99%

Section: Types Of Musical Expertisementioning

confidence: 99%

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The definition of a musician in music psychology: A literature review and the six-year rule

Zhang

Susino

McPherson

et al. 2018

Psychology of Music

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show abstract

“…In the work by Farbood and Price [12] the examined tones were static with fixed amounts of inharmonicity and the responses were given based on a pairwise comparison with relation to felt tension. However, since musically induced tension is a dynamic entity, it is very often measured through continuous real-time ratings in response to musical stimuli (e.g., [5]- [7], [15][16][17][18][19][20]). The presented study adopted this rating paradigm to obtain continuous responses regarding the brightness, roughness, mass and tension of synthetic tones with time-varying inharmonicity.…”

Section: Introductionmentioning

confidence: 99%

Interaction between time-varying tone inharmonicity, fundamental frequency and spectral shape affects felt tension and timbral semantics

Zacharakis

Pastiadis

2021

Acta Acust.

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Musically induced tension has been the subject of thorough study in the music cognition literature but its relationship with timbre is still poorly investigated. This study examines how the dynamic variation of a tone’s inharmonicity may affect a number of auditory qualities, namely brightness, roughness and mass along with felt tension under different acoustical conditions (i.e., F0, spectral shape and type of inharmonicity). Fifty-six musically trained participants gave real-time continuous ratings on eight time-varying stimuli upon the aforementioned qualities. Static ratings over the initial purely harmonic parts of the stimuli were also obtained by a subgroup of the listening panel. The fundamental frequency exhibits the strongest influence on the responses of the four qualities, followed by the type of inharmonicity and the spectral shape to a lesser degree. The profile patterns of mass and brightness proved to be strong predictors for tension profile patterns while the roughness profile magnitudes show a significant main effect on the magnitude of tension profiles. Overall, these results demonstrate that time-varying inharmonicity affects continuous responses on both timbral semantics and tension, while indicating that felt tension may be influenced by underlying timbral qualities in a dynamic context.

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“…Wiggins et al (2010) suggest that music theory is a kind of folk psychology, and thus, might benefit from being more explicitly informed by music cognition. The music cognition literature supports the hypothesis that much of the way we perform music is informed by the way we perceive music (Farbood, 2012;Goodchild et al, 2016).…”

Section: Use Of Cognitively Plausible Features and Modelsmentioning

confidence: 93%

Computational Models of Expressive Music Performance: A Comprehensive and Critical Review

Cancino-Chacón

Grachten

Goebl

et al. 2018

Front. Digit. Humanit.

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Expressive performance is an indispensable part of music making. When playing a piece, expert performers shape various parameters (tempo, timing, dynamics, intonation, articulation, etc.) in ways that are not prescribed by the notated score, in this way producing an expressive rendition that brings out dramatic, affective, and emotional qualities that may engage and affect the listeners. Given the central importance of this skill for many kinds of music, expressive performance has become an important research topic for disciplines like musicology, music psychology, etc. This paper focuses on a specific thread of research: work on computational music performance models. Computational models are attempts at codifying hypotheses about expressive performance in terms of mathematical formulas or computer programs, so that they can be evaluated in systematic and quantitative ways. Such models can serve at least two purposes: they permit us to systematically study certain hypotheses regarding performance; and they can be used as tools to generate automated or semi-automated performances, in artistic or educational contexts. The present article presents an up-to-date overview of the state of the art in this domain. We explore recent trends in the field, such as a strong focus on data-driven (machine learning) approaches; a growing interest in interactive expressive systems, such as conductor simulators and automatic accompaniment systems; and an increased interest in exploring cognitively plausible features and models. We provide an in-depth discussion of several important design choices in such computer models, and discuss a crucial (and still largely unsolved) problem that is hindering systematic progress: the question of how to evaluate such models in scientifically and musically meaningful ways. From all this, we finally derive some research directions that should be pursued with priority, in order to advance the field and our understanding of expressive music performance.

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Analysis, Performance, and Tension Perception of an Unmeasured Prelude for Harpsichord

Cited by 10 publications

References 0 publications

The definition of a musician in music psychology: A literature review and the six-year rule

The definition of a musician in music psychology: A literature review and the six-year rule

Interaction between time-varying tone inharmonicity, fundamental frequency and spectral shape affects felt tension and timbral semantics

Computational Models of Expressive Music Performance: A Comprehensive and Critical Review

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