The Performance of Music

Gabrielsson, Alf

doi:10.1016/b978-012213564-4/50015-9

Cited by 330 publications

(183 citation statements)

References 238 publications

Supporting

Mentioning

170

Contrasting

Unclassified

Order By: Relevance

“…The two main auditory characteristics contributing to expressivity in piano performance are variations in timing and dynamics (i.e., tempo and loudness variation; e.g., Gabrielsson, 1999;Palmer, 1997), with the amount of variation being positively associated with perceived expressivity (e.g., Bhatara, Tirovolas, Marie Duan, Levy, & Levitin, 2011). Perceived expressivity is also positively associated with how much a performer moves (e.g., Davidson, 1994;Thompson & Luck, 2012).…”

Section: Usic Is An Inherently Multisensorymentioning

confidence: 99%

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

Vuoskoski

Thompson

Spence³

et al. 2016

Music Perception

View full text Add to dashboard Cite

Recently, Vuoskoski, Thompson, Clarke, and Spence (2014) demonstrated that visual kinematic performance cues may be more important than auditory performance cues in terms of observers’ ratings of expressivity perceived in audiovisual excerpts of piano playing, and that visual kinematic performance cues had crossmodal effects on the perception of auditory expressivity. The present study was designed to extend these findings, and to provide additional information about the roles of sight and sound in the perception and experience of musical performance. Experiment 1 investigated the relative contributions of auditory and visual kinematic performance features to participants’ subjective emotional reactions evoked by piano performances, while Experiment 2 was designed to explore the effect of visual kinematic cues on the perception of loudness and tempo variability. Experiment 1 revealed that visual performance cues seem to be just as important as auditory performance cues in terms of the subjective emotional reaction of the observer, thus highlighting the importance of non-auditory cues for music-induced emotions. The results of Experiment 2 revealed that visual kinematic cues only affected ratings of loudness variability, but not ratings of tempo variability.

show abstract

Section: Usic Is An Inherently Multisensorymentioning

confidence: 99%

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

Vuoskoski

Thompson

Spence³

et al. 2016

Music Perception

View full text Add to dashboard Cite

show abstract

“…Performers have at their disposal micro-level variations in tuning, vibrato, amplitude envelope, and tone color, possibilities for gliding up or down to a pitch (portamento), moment to moment alterations in overall tempo, and delays or anticipations in the onsets of individual notes (Clarke, 1999;Gabrielsson, 1999;Palmer, 1996;Repp, 1998Repp, , 2000Sloboda & Lehmann, 2001;Windsor & Clarke, 1997). Genres differ in what sorts of micro-level variations are considered acceptable or stylish.…”

Section: Affective Characteristics More Specific To Musicmentioning

confidence: 99%

The capacity for music: What is it, and what’s special about it?

2006

View full text Add to dashboard Cite

We explore the capacity for music in terms of five questions: (1) What cognitive structures are invoked by music? (2) What are the principles that create these structures? (3) How do listeners acquire these principles? (4) What pre-existing resources make such acquisition possible? (5) Which aspects of these resources are specific to music, and which are more general?We examine these issues by looking at the major components of musical organization: rhythm (an interaction of grouping and meter), tonal organization (the structure of melody and harmony), and affect (the interaction of music with emotion). Each domain reveals a combination of cognitively general phenomena, such as gestalt grouping principles, harmonic roughness, and stream segregation, with phenomena that appear special to music and language, such as metrical organization. These are subtly interwoven with a residue of components that are devoted specifically to music, such as the structure of tonal systems and the contours of melodic tension and relaxation that depend on tonality. In the domain of affect, these components are especially tangled, involving the interaction of such varied factors as general-purpose aesthetic framing, communication of affect by tone of voice, and the musically specific way that tonal pitch contours evoke patterns of posture and gesture.

show abstract

“…These durations were used to calculate the dio:d~i ratio, that is, the articulation of the tone (Bengtsson & Gabrielsson, 1983;Gabrielsson, 1999 The articulation variability was obtained by calculating the standard deviation of all articulation values across the entire performance. Note that because the performers were given full freedom in their interpretation of the melodic structure, their use of nonlegato articulation was not restricted to notes preceding rests (see Figure 2).…”

Section: Juslinmentioning

confidence: 99%

Cue utilization in communication of emotion in music performance: Relating performance to perception.

Juslin¹

2000

Journal of Experimental Psychology: Human Perception and Perfor

273

309

View full text Add to dashboard Cite

This study describes the utilization of acoustic cues in communication of emotions in music performance. Three professional guitarists were asked to perform 3 short melodies to communicate anger, sadness, happiness, and fear to listeners. The resulting performances were analyzed with respect to 5 acoustic cues and judged by 30 listeners on adjective scales. Multiple regression analysis was applied to the relationships between (a) the performer's intention and the cues and (b) the listeners' judgments and the cues. The analyses of performers and listeners were related using C. J. Hm'~h, K. R. Hammond, and J. L. Hursch's (1964) lens model equation. The results indicated that (a) performers were successful at communicating emotions to listeners, (b) performers' cue utilization was well matched to listeners' cue utilization, and (c) cue utilization was more consistent across different melodies than across different performers. Because of the redundancy of the cues, 2 performers could communicate equally well despite differences in cue utilization.

show abstract

The Performance of Music

Cited by 330 publications

References 238 publications

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

Interaction of Sight and Sound in the Perception and Experience of Musical Performance

The capacity for music: What is it, and what’s special about it?

Cue utilization in communication of emotion in music performance: Relating performance to perception.

Contact Info

Product

Resources

About