An empirical study is reported which investigates the relationship between musical structure and ... more An empirical study is reported which investigates the relationship between musical structure and the timing of 11 grace notes in 45 performances by the same performer of a short Beethoven piano piece at a range of tempi. These performances were recorded and analysed so as ...
ABSTRACT. The authors performed ,a behavioral ,study of the complexity of left-hand finger moveme... more ABSTRACT. The authors performed ,a behavioral ,study of the complexity of left-hand finger movements,in classical guitar play- ing. Six professional guitarists played movement ,sequences in a fixed tempo. Left-hand finger movements ,were ,recorded ,in 3 dimensions, and the guitar sound was recorded synchronously. Assuming,that performers prefer to avoid ,extreme ,joint angles when moving, the authors hypothesized 3 complexity factors. The
Different pieces of music offer different expressive possibilities. Even a single piece of music ... more Different pieces of music offer different expressive possibilities. Even a single piece of music offers the possibility to be treated in several expressive ways see (Repp, 1998). How much of this variety of possible interpretations is exhibited in actual performances of the music? Do pianists make use of the different parameters of the piece to shape their performance? Do variety in performances and variety in musical parameters relate to each other? Previous studies stress the relation between timing variations and musical structure (see Clarke, ...
We previously reported that the kinematics of reaching movements reflect the superimposition of t... more We previously reported that the kinematics of reaching movements reflect the superimposition of two separate control mechanisms specifying the hand's spatial trajectory and its final equilibrium position. We now asked whether the brain maintains separate representations of the spatial goals for planning hand trajectory and final position. One group of subjects learned a 30 degrees visuomotor rotation about the hand's starting point while performing a movement reversal task ("slicing") in which they reversed direction at one target and terminated movement at another. This task required accuracy in acquiring a target mid-movement. A second group adapted while moving to -- and stabilizing at -- a single target ("reaching"). This task required accuracy in specifying an intended final position. We examined how learning in the two tasks generalized both to movements made from untrained initial positions and to movements directed toward untrained targets. Shifting initial hand position had differential effects on the location of reversals and final positions: Trajectory directions remained unchanged and reversal locations were displaced in slicing whereas final positions of both reaches and slices were relatively unchanged. Generalization across directions in slicing was consistent with a hand-centered representation of desired reversal point as demonstrated previously for this task whereas the distributions of final positions were consistent with an eye-centered representation as found previously in studies of pointing in three-dimensional space. Our findings indicate that the intended trajectory and final position are represented in different coordinate frames, reconciling previous conflicting claims of hand-centered (vectorial) and eye-centered representations in reach planning.
The authors performed a behavioral study of the complexity of left-hand finger movements in class... more The authors performed a behavioral study of the complexity of left-hand finger movements in classical guitar playing. Six professional guitarists played movement sequences in a fixed tempo. Left-hand finger movements were recorded in 3 dimensions, and the guitar sound was recorded synchronously. Assuming that performers prefer to avoid extreme joint angles when moving, the authors hypothesized 3 complexity factors. The results showed differential effects of the complexity factors on the performance measures and on participants' judgments of complexity. The results demonstrated that keeping the joints in the middle of their range is an important principle in guitar playing, and players exploit the available tolerance in timing and placement of the left-hand fingers to control the acoustic output variability.
IntroductionThis study focuses upon the execution of grace notes in musical performance in anatte... more IntroductionThis study focuses upon the execution of grace notes in musical performance in anattempt to address both musicological and psychological issues related to their timing. An experiment is reported which investigates the relationship between musicalstructure, predictions from the performance practice literature, and the timing ofeleven grace notes in a short piano piece in five repeated performances at ninedifferent tempi (Windsor, Aarts, Desain, Heijink and Timmers, submitted). Gracenotes can be seen as additional notes that ...
Proceedings of the 1997 International Computer Music Conference, Sep 1, 1997
Linking notes in a musical performance to the corresponding notes in a score, so-called score-per... more Linking notes in a musical performance to the corresponding notes in a score, so-called score-performance matching, has been the topic of quite a large body of research. Proper matching algorithms are crucial for realtime composition and automatic accompaniment systems, as well as for music performance research and the design of expression editors. A matching algorithm is presented that takes advantage of the temporal structure that is annotated in the score. It is compared to two alternative matching procedures that use ...
Rhythm Perception and Production. Lisse: Swets & Zeitlinger, 2000
This study focuses upon the execution of grace notes in musical performance in an attempt to addr... more This study focuses upon the execution of grace notes in musical performance in an attempt to address both musicological and psychological issues related to their timing. An experiment is reported which investigates the relationship between musical structure, predictions from the performance practice literature, and the timing of eleven grace notes in a short piano piece in five repeated performances at nine different tempi (Windsor, Aarts, Desain, Heijink and Timmers, submitted). Grace notes can be seen as additional notes ...
An empirical study is reported which investigates the relationship between musical structure and ... more An empirical study is reported which investigates the relationship between musical structure and the timing of 11 grace notes in 45 performances by the same performer of a short Beethoven piano piece at a range of tempi. These performances were recorded and analysed so as ...
ABSTRACT. The authors performed ,a behavioral ,study of the complexity of left-hand finger moveme... more ABSTRACT. The authors performed ,a behavioral ,study of the complexity of left-hand finger movements,in classical guitar play- ing. Six professional guitarists played movement ,sequences in a fixed tempo. Left-hand finger movements ,were ,recorded ,in 3 dimensions, and the guitar sound was recorded synchronously. Assuming,that performers prefer to avoid ,extreme ,joint angles when moving, the authors hypothesized 3 complexity factors. The
Different pieces of music offer different expressive possibilities. Even a single piece of music ... more Different pieces of music offer different expressive possibilities. Even a single piece of music offers the possibility to be treated in several expressive ways see (Repp, 1998). How much of this variety of possible interpretations is exhibited in actual performances of the music? Do pianists make use of the different parameters of the piece to shape their performance? Do variety in performances and variety in musical parameters relate to each other? Previous studies stress the relation between timing variations and musical structure (see Clarke, ...
We previously reported that the kinematics of reaching movements reflect the superimposition of t... more We previously reported that the kinematics of reaching movements reflect the superimposition of two separate control mechanisms specifying the hand's spatial trajectory and its final equilibrium position. We now asked whether the brain maintains separate representations of the spatial goals for planning hand trajectory and final position. One group of subjects learned a 30 degrees visuomotor rotation about the hand's starting point while performing a movement reversal task ("slicing") in which they reversed direction at one target and terminated movement at another. This task required accuracy in acquiring a target mid-movement. A second group adapted while moving to -- and stabilizing at -- a single target ("reaching"). This task required accuracy in specifying an intended final position. We examined how learning in the two tasks generalized both to movements made from untrained initial positions and to movements directed toward untrained targets. Shifting initial hand position had differential effects on the location of reversals and final positions: Trajectory directions remained unchanged and reversal locations were displaced in slicing whereas final positions of both reaches and slices were relatively unchanged. Generalization across directions in slicing was consistent with a hand-centered representation of desired reversal point as demonstrated previously for this task whereas the distributions of final positions were consistent with an eye-centered representation as found previously in studies of pointing in three-dimensional space. Our findings indicate that the intended trajectory and final position are represented in different coordinate frames, reconciling previous conflicting claims of hand-centered (vectorial) and eye-centered representations in reach planning.
The authors performed a behavioral study of the complexity of left-hand finger movements in class... more The authors performed a behavioral study of the complexity of left-hand finger movements in classical guitar playing. Six professional guitarists played movement sequences in a fixed tempo. Left-hand finger movements were recorded in 3 dimensions, and the guitar sound was recorded synchronously. Assuming that performers prefer to avoid extreme joint angles when moving, the authors hypothesized 3 complexity factors. The results showed differential effects of the complexity factors on the performance measures and on participants' judgments of complexity. The results demonstrated that keeping the joints in the middle of their range is an important principle in guitar playing, and players exploit the available tolerance in timing and placement of the left-hand fingers to control the acoustic output variability.
IntroductionThis study focuses upon the execution of grace notes in musical performance in anatte... more IntroductionThis study focuses upon the execution of grace notes in musical performance in anattempt to address both musicological and psychological issues related to their timing. An experiment is reported which investigates the relationship between musicalstructure, predictions from the performance practice literature, and the timing ofeleven grace notes in a short piano piece in five repeated performances at ninedifferent tempi (Windsor, Aarts, Desain, Heijink and Timmers, submitted). Gracenotes can be seen as additional notes that ...
Proceedings of the 1997 International Computer Music Conference, Sep 1, 1997
Linking notes in a musical performance to the corresponding notes in a score, so-called score-per... more Linking notes in a musical performance to the corresponding notes in a score, so-called score-performance matching, has been the topic of quite a large body of research. Proper matching algorithms are crucial for realtime composition and automatic accompaniment systems, as well as for music performance research and the design of expression editors. A matching algorithm is presented that takes advantage of the temporal structure that is annotated in the score. It is compared to two alternative matching procedures that use ...
Rhythm Perception and Production. Lisse: Swets & Zeitlinger, 2000
This study focuses upon the execution of grace notes in musical performance in an attempt to addr... more This study focuses upon the execution of grace notes in musical performance in an attempt to address both musicological and psychological issues related to their timing. An experiment is reported which investigates the relationship between musical structure, predictions from the performance practice literature, and the timing of eleven grace notes in a short piano piece in five repeated performances at nine different tempi (Windsor, Aarts, Desain, Heijink and Timmers, submitted). Grace notes can be seen as additional notes ...
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