Musical motion in perception and performance.
| Number | 1087 |
|---|---|
| Year | 1998 |
| Drawer | 20 |
| Entry Date | 11/22/1999 |
| Authors | Repp, B.H. |
| Contact | |
| Publication | In D.A. Rosenbaum & C. E. Collyer (eds.), Timing of behavior: neural, psychological, and computational perspectives (pp. 125-144). Cambridge, MA: MIT Press. |
| url | http://www.haskins.yale.edu/Reprints/HL1087.pdf |
| Abstract | A series of experiments has demonstrated that the relative difficulty of detecting a small change in the duration of a single inter-onset interval (IOI) in an otherwise isochronously played musical excerpt is closely related to the relative lengthening of that IOI in a typical expressive performance of the music. These results suggest that musical structures have kinematic implications that not only compel performers to modulate their tempo in certain ways but also induce corresponding perceptual biases in (musically trained) listeners. The perceptual effects may be understood as a form of perceptual-motor interaction. Unlike expressive timing in performance, which is under cognitive control (“interpretation”), the perceptual biases elicited by a piece of music may reflect a precognitive, obligatory response to implied musical motion. |
| Notes |
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