Mapping musical thought to musical performance.

Palmer, Caroline

doi:10.1037/0096-1523.15.2.331

Cited by 186 publications

(255 citation statements)

References 24 publications

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“…Clarke, 1988;Nakamura, 1987;Palmer, 1997;Repp, 1992;Sloboda, 1983). For example, different performers can interpret the same musical piece with different phrase structures (Palmer, 1989(Palmer, , 1992; each performance reflects slowing down or pausing at events that are intended as phrase endings, similar to phrase-final lengthening in speech. Furthermore, listeners are influenced by these temporal fluctuations; the presence of phrase-final lengthening in different performances of the same music influenced listeners' judgments of phrase structure, indicating that the characteristic temporal fluctuations are information-bearing (Palmer, 1988).…”

Section: Temporal Fluctuations In Music Performancementioning

confidence: 99%

“…In particular, listeners hear sounded musical events in terms of durational categories corresponding to the eighth-notes, quarter-notes, half-notes, and so forth, of musical notation. This effortless ability to perceive temporal regularity in musical sequences is remarkable because the actual event durations in music performances deviate significantly from the regularity of duration categories (Clarke, 1989;Gabrielsson, 1987;Palmer, 1989;Repp, 1990). In addition, listeners perceive these temporal fluctuations or deviations from duration categories as systematically related to performers' musical intentions (Clarke, 1985;Palmer, 1996a;Sloboda, 1983;Todd, 1985).…”

Section: Introductionmentioning

confidence: 99%

“…We take a similar view here, that stimulus variability in music performances may help listeners identify rhythmic categories. Patterns of temporal variability in music performance have been shown to be systematic and intentional (Bengtsson & Gabrielsson, 1983;Palmer, 1989), and are likely to be perceptually informative.…”

Section: Introductionmentioning

confidence: 99%

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Perceiving temporal regularity in music

2002

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We address how listeners perceive temporal regularity in music performances, which are rich in temporal irregularities. A computational model is described in which a small system of internal self-sustained oscillations, operating at different periods with specific phase and period relations, entrains to the rhythms of music performances. Based on temporal expectancies embodied by the oscillations, the model predicts the categorization of temporally changing event intervals into discrete metrical categories, as well as the perceptual salience of deviations from these categories. The model's predictions are tested in two experiments using piano performances of the same music with different phrase structure interpretations (Experiment 1) or different melodic interpretations (Experiment 2). The model successfully tracked temporal regularity amidst the temporal fluctuations found in the performances. The model's sensitivity to performed deviations from its temporal expectations compared favorably with the performers' structural (phrasal and melodic) intentions. Furthermore, the model tracked normal performances (with increased temporal variability) better than performances in which temporal fluctuations associated with individual voices were removed (with decreased variability). The small, systematic temporal irregularities characteristic of human performances (chord asynchronies) improved tracking, but randomly generated temporal irregularities did not. These findings suggest that perception of temporal regularity in complex musical sequences is based on temporal expectancies that adapt in response to temporally fluctuating input.

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Section: Temporal Fluctuations In Music Performancementioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Perceiving temporal regularity in music

2002

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“…Phrase structure in music is often hierarchical, with 13 two or more "subphrases" occurring within a phrase (Palmer & Krumhansl, 1990), and greater 14 lengthening tends to be produced for phrase boundaries at higher hierarchical levels in musical 15 performances (Repp, 1992a;Todd, 1985). It has been proposed that boundary slowing is a 16 technique used by musicians to communicate the structure of a piece to a naïve listener (musical 17 expression hypothesis, Clarke, 1985;Palmer, 1989;Repp, 1992a (Repp, 1992b;Repp, 1999 were asked to self-pace through a slideshow of an actor performing a series of action sequences, 7 such as cleaning a room or eating breakfast. Participants controlled the onset of each slide by 8 pressing the spacebar.…”

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confidence: 99%

Listeners lengthen phrase boundaries in self-paced music.

Kragness

Trainor

2016

Journal of Experimental Psychology: Human Perception and Perfor

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1Previous work has shown that musicians tend to slow down as they approach phrase boundaries 2 (phrase-final lengthening). In the present experiments, we used a paradigm from the action 3 perception literature, the dwell time paradigm (Hard, Recchia, & Tversky, 2011), to investigate 4 whether participants engage in phrase boundary lengthening when self-pacing through musical 5 sequences. When participants used a key press to produce each successive chord of Bach 6 chorales, they dwelled longer on boundary chords than non-boundary chords in both the original 7 chorales and atonal manipulations of the chorales. When a novel musical sequence was 8 composed that controlled for metrical and melodic contour cues to boundaries, the dwell time 9 difference between boundaries and non-boundaries was greater in the tonal condition than in the 10 atonal condition. Furthermore, similar results were found for a group of non-musicians, 11suggesting that phrase-final lengthening in musical production is not dependent on musical 12 training and can be evoked by harmonic cues. 13 LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC 4Listeners Lengthen Phrase Boundaries in Self-Paced Music 1 Across perceptual domains, parsing events into groups as they unfold across time helps to 2 consolidate low-level information and to focus attention on structurally important features 3 (Chiappe & Schmuckler, 1997;Deutsch, 1980;Dowling, 1973;Large & Jones, 1999; Miller, 4 1956;Zacks & Swallow, 2007). Accurate parsing of real world auditory streams requires 5 separating two or more co-occurring streams (stream segregation) as well as grouping elements 6 in a stream across time (stream integration) (Bregman, 1990). A sequence of musical events can 7 be grouped into phrases. A musical phrase is a subset of contiguous notes that culminates in a 8 musical boundary. Students of music theory commonly learn about the features that Western 9 composers use to indicate a boundary, and phrasing is often indicated in musical notation. Thus, 10 musicians have explicit knowledge of phrase structures. Previous studies have shown that 11 musicians tend to lengthen notes at the ends of phrases (phrase-final lengthening, Palmer, 1989; 12 Repp, 1992a;Seashore, 1938;Todd, 1985). The current study employs a paradigm from the field 13 of action segmentation, the dwell time paradigm, to examine whether participants, including 14 non-musicians, engage in phrase-final lengthening when they control the timing of chord 15 sequences. We additionally investigate whether listeners use harmonic cues (cadences) to 16 determine phrase boundary locations, by examining whether phrase-final lengthening is larger 17 for tonal than atonal chord sequences when other cues such as metrical (rhythmic) structure and 18 melodic contour cues are reduced. Finally, we examine whether non-musicians with minimal 19 musical training also exhibit phrase-final lengthening and use harmonic cues to locate phrase 20 endings. In this way, we offer a novel method for probing listeners' ...

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“…In particular, it is important to determine which aspects of these theories generalize from perception to production. Studies of singing may likewise expand the scope of previous music production research, which has focused mostly on instrumentalists (especially pianists) and on rhythm and timing (e.g., Palmer, 1989;Todd, 1985; see Palmer, 1997, for a review).…”

mentioning

confidence: 97%

Representation and execution of vocal motor programs for expert singing of tonal melodies.

Zurbriggen

Fontenot

Meyer³

2006

Journal of Experimental Psychology: Human Perception and Perfor

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Three experiments were conducted to study motor programs used by expert singers to produce short tonal melodies. Each experiment involved a response-priming procedure in which singers prepared to sing a primary melody but on 50% of trials had to switch and sing a different (secondary) melody instead. In Experiment 1, secondary melodies in the same key as the primary melody were easier to produce than secondary melodies in a different key. Experiment 2 showed that it was the initial note rather than key per se that affected production of secondary melodies. In Experiment 3, secondary melodies involving exact transpositions were easier to sing than secondary melodies with a different contour than the primary melody. Also, switches between the keys of C and G were easier than those between C and E. Taken together, these results suggest that the initial note of a melody may be the most important element in the motor program, that key is represented in a hierarchical form, and that melodic contour is represented as a series of exact semitone offsets.

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Mapping musical thought to musical performance.

Cited by 186 publications

References 24 publications

Perceiving temporal regularity in music

Perceiving temporal regularity in music

Listeners lengthen phrase boundaries in self-paced music.

Representation and execution of vocal motor programs for expert singing of tonal melodies.

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