Journal articles: 'Musical tempo'

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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (December 1, 2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.

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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. fall) did not affect tempo preferences; nevertheless, pitch change in both directions elicited faster tempi than a repeating, unchanging pitch. The effect of register on tempo preference was stronger for participants with music training, and also (unexpectedly) for female participants. In Experiment 2, melodic figures typically related to lower and higher parts in common-period music were associated with slower and faster tempi, respectively. Results support a “holistic” notion of musical tempo, viewing the choice of proper tempo as determined by interactions among diverse musical dimensions, including aspects of pitch structure, rather than by rhythmic considerations alone. The experimental design presented here can be further applied to explore the effects of other musical parameters on tempo preferences.

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Iwanaga, Makoto, and Maki Tsukamoto. "Preference for Musical Tempo Involving Systematic Variations of Presented Tempi for Known and Unknown Musical Excerpts." Perceptual and Motor Skills 86, no. 1 (February 1998): 31–41. http://dx.doi.org/10.2466/pms.1998.86.1.31.

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Previous studies have indicated inconsistently that preferred tempo was moderate or fast. The basis for inconsistency might be differences in methods, i.e., differences in tempo operation and subjects' experience of listening to musical pieces. The present study examined the preference for tempo using known and unknown melodies which were presented at varied tempi systematically. 119 undergraduates not majoring in music were subjects, divided into three subgroups, slow, medium, and fast music groups according to tempi designated by composers. Subjects rated items about Perceived Activity and affect for each stimulus presented at varied tempi. Subjects evaluated fast tempi as active regardless of differences in the designated tempi and prior listening experience. Affect (including preference) showed an inverted-U shape relationship to variations in tempo. The most preferred tempo was the designated tempo for known melodies, while moderate tempi (109 to 130 in metronome measure) were preferred for unknown melodies.

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McKinney, Martin F., and Dirk Moelants. "Ambiguity in Tempo Perception: What Draws Listeners to Different Metrical Levels?" Music Perception 24, no. 2 (December 1, 2006): 155–66. http://dx.doi.org/10.1525/mp.2006.24.2.155.

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The distribution of listeners’ perceived tempi across large collections of music has been modeled previously by a resonance function with a peak near the “preferred tempo” of 120 beats per minute (BPM) [Van Noorden and Moelants, J. New Music Res., 28, 43–66]. Here, through a series of experiments in which listeners were asked to tap to the most salient pulse of musical excerpts,we examined distributions of tapped tempi from single musical excerpts to see if the global resonance of preferred tempo is dependent on musical content. Results show that for some musical excerpts, the distribution of perceived tempi conforms to the global resonant form in that metrical levels with tempi near 120 BPM were perceived as most salient, while for other excerpts the most saliently perceived tempo sat well above or below 120 BPM. We then used a model, which quantifies relative strengths of periodicities in the audio signal, to demonstrate that deviations from the “preferred tempo” can be partially explained by dynamic rhythmic accents drawing listeners to tempi away from the resonance.

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Oakes, Steve. "Musical tempo and waiting perceptions." Psychology and Marketing 20, no. 8 (July 15, 2003): 685–705. http://dx.doi.org/10.1002/mar.10092.

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Fonseca, Modesto Flávio Chagas. "O arquivo musical da Orquestra Lira Sanjoanense no tempo da Companhia de Muzica." LaborHistórico 8, no. 1 (September 20, 2022): 127–39. http://dx.doi.org/10.24206/lh.v8i1.47629.

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O arquivo de documentos musicais da Orquestra Lira Sanjoanense é constituído de grande quantidade de fontes que transmitem obras musicais para as mais diversas demandas de ritos na sociedade local, sejam religiosos ou de entretenimento. Ter em foco obras acumuladas no exercício das funções propostas pelo grupo musical denominado de Companhia de Múzica é oportunidade para uma imerssão na dinâmica social de São João del-Rei na primeira metade do século XIX, vislumbrada pela ótica da prática musical. Esta ação permite verificar a organicidade dos documentos produzidos por aqueles músicos com os propósitos da instituição musical por eles delineada.

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Septianto, Felix. "“Chopin” effect? An exploratory study on how musical tempo influence consumer choice of drink with different temperatures." Asia Pacific Journal of Marketing and Logistics 28, no. 5 (November 14, 2016): 765–79. http://dx.doi.org/10.1108/apjml-11-2015-0182.

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Purpose The purpose of this paper is to explore the effect of musical tempo on consumer choice of tea in different temperatures. Design/methodology/approach Across two studies, participants were asked to listen to several musical stimuli with different tempi (i.e. slow or fast). Then, they were asked to evaluate and choose one drink (i.e. iced tea or hot tea). Findings Results suggest that consumers who listen to fast (slow) tempo music are more likely to choose iced (hot) tea. This effect is robust across different musical modes (i.e. major or minor) (Study 1). However, this musical tempo effect is attenuated when the participants are aware that the music they listened to can influence their judgments (Study 2). Research limitations/implications This research is an exploratory study. Thus, further examinations are needed to fully understand the underlying mechanism of this effect. Nonetheless, this research provides an initial evidence of the mediator of this effect. Originality/value This research explores how different musical tempi can influence consumer choice of hot or iced tea. Thus, this research adds understanding on how auditory cues (e.g. musical stimuli) can influence consumer choice of other food and drink variables (e.g. temperature).

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Araújo, Ítalo Robert da Silva, and Alexsander Jorge Duarte. "Criação-performance partilhada em música." ouvirOUver 15, no. 2 (March 10, 2020): 552–67. http://dx.doi.org/10.14393/ouv-v15n2a2019-46350.

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Este trabalho dedica-se ao estudo de práticas performativas coletivas nas quais o som, com intenção musical, é usado como material para a criação em tempo real. Trata-se de um tipo de prática musical em grupo onde a performance e a criação são assumidas pelos agentes como indissociáveis e que estão conotadas com formas de adjetivação da música como "improvisada", "livre", "experimental" e/ou "espontânea". Estes modos de fazer musical, diluidores da dicotomia compositor/intérprete, oferece outros valores ao processo de performance musical como "musicar" sem materiais musicais pré-concebidos. A pesquisa parte de um trabalho etnográfico com dois grupos praticantes deste modelo, sendo um no Brasil e outro em Portugal, e o modelo teórico de análise utilizado assenta-se no conceito da imprevisibilidade e no Paradigma da Complexidade que problematiza os conceitos de "ordem" e "desordem".

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Repp, Bruno H., W. Luke Windsor, and Peter Desain. "Effects of Tempo on the Timing of Simple Musical Rhythms." Music Perception 19, no. 4 (2002): 565–93. http://dx.doi.org/10.1525/mp.2002.19.4.565.

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We investigated whether and how the timing of musical rhythms changes with tempo. Twelve skilled pianists played a monophonic eight-bar melody in 21 different rhythmic versions at four different tempi. Within bars, the rhythms represented two isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set {3, 2, 1}. The three-note rhythms also occurred in each of two meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the two-note rhythms changed little with tempo. By contrast, those of the three-note rhythms showed increasing assimilation of the two longer intervals as tempo increased, while the relative duration of the short interval was barely affected by tempo. These results replicate previous findings of Fraisse (1956), obtained in a nonmetrical and non-musical context. At fast tempi, the distinction between three different interval durations seems difficult to maintain.

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Bérces, Emese. "Terminological examination of musical tempo designations." Magyar Terminológia 5, no. 1 (June 2012): 79–87. http://dx.doi.org/10.1556/materm.5.2012.1.7.

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Fonterrada, Marisa Trench. "Lições que a fênix nos traz." Orfeu 6, no. 2 (September 10, 2021): 10–29. http://dx.doi.org/10.5965/2525530406022021010.

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Trata-se neste artigo das mudanças que ocorrem no mundo em diferentes épocas e discute-se a concepção de tempo mítico em relação ao tempo linear, como sugere Mircea Eliade, que vê na sociedade ocidental múltiplos exemplos do que ele denomina “eterno retorno”, isto é, a volta cíclica de fenômenos ocorridos em determinada época, a tempos posteriores. Como símbolo dessa ideia, traz-se a figura da fênix, pela sua capacidade de renascimento eterno. Pretende-se examinar alguns exemplos de educação musical ocorridas em diferentes momentos, esperando encontrar exemplos de retorno de antigas concepções de educação e de educação musical a outros lugares e tempos. No final, buscam-se exemplos de educadores musicais da atualidade por considerar suas atividades como respostas criativas à problemática vivida hoje e procura-se mostrar, também, que muitos dos procedimentos que eles adotam aproximam-se de concepções educacionais de épocas anteriores, de tal modo que torna-se difícil afirmar o que é realmente novo e o que é definitivamente antigo.

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Socha, Eduardo. "Para um conceito materialista de tempo musical. A teoria dos tipos nos fragmentos de Adorno sobre Beethoven." Discurso 49, no. 1 (June 24, 2019): 161–84. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2019.137800.

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Pretende-se expor os elementos principais da teoria dos tipos, que encontramos nos Beethoven-Fragmente, de Theodor W. Adorno. Por meio desse modelo de pensamento, Adorno esclarece os critérios orientadores de seu conceito de tempo musical, que se particulariza criticamente nos escritos musicais posteriores, como as monografias sobre Wagner, Mahler e Berg, os ensaios sobre Stravinsky e as conferências sobre o serialismo pós-Webern. A teoria dos tipos envolveria as diferentes modalidades de “relação da música com o tempo em geral”. Além da exposição teórica, articulada à interpretação do tempo em Hegel, propõe-se a análise técnica de peças de Beethoven, sobretudo do 1º movimento da 3a Sinfonia, obra que fundamentaria in musicis o conceito adorniano de tempo musical.

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Hikiji, Rose Satiko Gitirana. "Música para matar o tempo intervalo, suspensão e imersão." Mana 12, no. 1 (April 2006): 151–78. http://dx.doi.org/10.1590/s0104-93132006000100006.

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Discuto neste artigo algumas relações da música com o tempo, em especial a relação entre as temporalidades dos grupos de crianças e jovens que pesquisei e certas propriedades do tempo da prática musical. Na pesquisa com alunos de um projeto governamental de ensino musical (Projeto Guri/ São Paulo), ouvi como principal justificativa para a procura pela música, a necessidade de "matar o tempo". Na perspectiva do senso comum, o tempo "ocioso" é um tempo perigoso. Para pais e proponentes, é preciso "ocupar o tempo" das crianças e jovens, é preciso "tirá-los da rua". Analiso aqui o processo de atribuição de valor negativo ao tempo livre e a especificidade do tempo do fazer musical. Aproximo o tempo musical do tempo do jogo, caracterizado pela imersão e pela suspensão do cotidiano. Analiso, finalmente, como o tempo para a música, inicialmente um intervalo, transborda para o resto da vida cotidiana, determinando ritmos, preenchendo vazios, construindo sentidos.

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Krumhansl, Carol L. "A Perceptual Analysis of Mozart's Piano Sonata K. 282: Segmentation, Tension, and Musical Ideas." Music Perception 13, no. 3 (1996): 401–32. http://dx.doi.org/10.2307/40286177.

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The experiments reported here provide a perceptual analysis of the first movement of Mozart's Piano Sonata in Eb Major, K. 282. The listeners, who varied in the extent of their musical training, performed three tasks while listening to the piece as it was reproduced from an expert performance. The first task determined how the music is perceived to be segmented, the second task determined how the experience of tension varies over time, and the third task determined what listeners identify as new musical ideas in the piece. These tasks were performed first on the entire piece and then on smaller sections from the beginning. These three aspects of music perception are coordinated with one another and correlate with various musical attributes. Judgments of section ends co- occurred with peaks in tension and slow tempos. Judgments of new musical ideas co- occurred with low tension levels and neutral tempos. Tension was influenced by melodic contour, note density, dynamics, harmony, tonality, and other factors. Judgments of large-scale section ends were less frequent than judgments of new musical ideas, but these were more nearly one-to-one on smaller time scales. A subsidiary experiment examined the extent to which tension judgments were influenced by performed tempo and dynamics. Listeners made tension judgments for four different versions of the piece: as performed, constant dynamics (with tempo as performed), constant tempo (with dynamics as performed), and constant tempo and dynamics. The tension curves were generally very similar, deviating only in a few regions containing major section ends. The results are considered in light of the metaphor of tension applied to music and the analogy between music and linguistic discourse.

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Boltz, Marilyn G. "Illusory Tempo Changes Due to Musical Characteristics." Music Perception 28, no. 4 (April 1, 2011): 367–86. http://dx.doi.org/10.1525/mp.2011.28.4.367.

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Recent research in music cognition has investigated ways in which different structural dimensions interact to influence perception and cognition. In the present research, various musical characteristics were manipulated to observe their potential influence on perceived tempo. In Experiment 1, participants were given a paired comparison task in which music-like patterns differed in both the pitch octave (high vs. low) and timbre (bright vs. dull) in which they were played. The results indicated that relative to their standard referents, comparison melodies were judged faster when displaying a higher pitch and/or a brighter timbre—even when no actual tempo differences existed. Experiment 2 converged on these findings by demonstrating that the perceived tempo of a melody was judged faster when it increased in pitch and/or loudness over time. These results are suggested to stem from an overgeneralization of certain structural correlations within the natural environment that, in turn, has implications for both musical performance and the processing of tempo information.

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Rossetti, R., and G. A. Zangheri. "Tempo Bergsoniano e Ritmo na Linguagem Musical." Páginas de Filosofia 3, no. 1-2 (December 31, 2011): 7–31. http://dx.doi.org/10.15603/2175-7747/pf.v3n1-2p7-31.

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Trochidis, Konstantinos, and Emmanuel Bigand. "Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry." Journal of Psychophysiology 27, no. 3 (July 1, 2013): 142–48. http://dx.doi.org/10.1027/0269-8803/a000099.

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The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and locrian modes, which, in turn, induced increased activation in the right hemisphere. The tempo modulates the arousal value of emotion with faster tempi associated with stronger feeling of happiness and anger and this effect is associated in EEG with an increase of frontal activation in the left hemisphere. By contrast, slow tempo induced decreased frontal activation in the left hemisphere. Some interactive effects were found between mode and tempo: An increase of tempo modulated the emotion differently depending on the mode of the piece.

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Iwanaga, Makoto. "Relationship between Heart Rate and Preference for Tempo of Music." Perceptual and Motor Skills 81, no. 2 (October 1995): 435–40. http://dx.doi.org/10.1177/003151259508100215.

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People prefer music with tempi ranging from 70 to 100 cycles per minute similar to that of adults’ heart rate within normal daily situations. Previous studies of the relation between preferred tempi and heart rates using a pure tone also have indicated that subjects tended to prefer tempi similar to their heart rates. The present study examined this relationship using a musical piece (the theme of “It's a small world”) as a stimulus. 14 undergraduate women were subjects who searched for their favorite tempi by controlling the musical tempo by themselves. The most preferred tempo was close to their cycle of heart beats, however, tempi that were one and a half and twice as fast as the heart rate were less preferred in the present study than in a previous study using a tone. Subjects preferred faster tempi in the descending series of stimuli than in the ascending one, and hence were influenced by the initial value of the tempo in the trial sequence. The effects due to the differences of the meaning of the stimuli are considered.

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Sheldon, Deborah A. "Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception." Journal of Research in Music Education 42, no. 3 (October 1994): 190–202. http://dx.doi.org/10.2307/3345699.

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In this study, I investigated the effects of tempo direction, listening mode, and level of subjects' musical experience on speed and accuracy in tempo change detection abilities. Tempo-change and direction-change examples gradually decelerated, accelerated, or remained steady. Listening mode included listening only, listening and watching a conductor, and listening and moving. The two levels of musical experience were defined as music majors ( n = 80) and nonmajors ( n = 80). Subjects listened to music examples and manipulated a Continuous Response Digital Interface (CRDI) to demonstrate perception of tempo alteration. Analysis of data included subject response latency and accuracy. Experience was found to be a determinant in quantifiably different temporal response. Music majors more accurately detected tempo changes than did nonmajors. Subjects were generally better at detecting tempo acceleration over tempo deceleration. Subjects demonstrated a slightly lower degree of response accuracy when listening and watching a conductor compared to the conditions of listening alone and listening and moving. Most demonstrated shorter initial response latencies during tempo acceleration. The combined variables of experience, tempo-change direction, and listening condition had an interactive effect on response latency.

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Threlfall, Robert. "TEMPO AND RACHMANINOFF'S ‘CORELLI’ VARIATIONS." Tempo 59, no. 231 (January 2005): 14–16. http://dx.doi.org/10.1017/s0040298205000021.

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Of all the different ingredients that combine to make up a musical performance, it often seems that the one which reveals most, and most extreme, variation is – tempo. Subject as it is also to various non-musical factors – such as acoustics; size of the locale; technical or instrumental limitations – as well as to other somewhat equally subjective conditions such as taste; historical or supposed authenticity; even fashion – this is hardly surprising. Maelzel's invention of his metronome almost two centuries ago has not necessarily succeeded in bringing order into chaos; it is notoriously difficult to set this device to give an incontrovertibly accurate answer to every question. (It is also known that some composers have possessed a metronome which, apparently being mechanically unsound, has raised more questions than it has answered.)

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Sundqvist, Maria, Jakob Åsberg Johnels, Jonas Lindh, Katja Laakso, and Lena Hartelius. "Syllable Repetition vs. Finger Tapping: Aspects of Motor Timing in 100 Healthy Adults." Motor Control 20, no. 3 (July 2016): 233–54. http://dx.doi.org/10.1123/mc.2014-0068.

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In this study we systematically compared syllable repetition and finger tapping in healthy adults, and explored possible impacts of tempi, metronome, musical experience, and age on motor timing ability. One hundred healthy adults used finger-tapping and syllable repetition to perform an isochronous pulse in three different tempi, with and without a metronome. Results showed that the motor timing was more accurate with finger tapping than with syllable repetition in the slowest tempo, and the motor timing ability was better with the metronome than without. Persons with musical experience showed better motor timing accuracy than persons without such experience, and the timing asynchrony increased with increasing age. The slowest tempo 90 bpm posed extra challenges to the participants. We speculate that this pattern reflects the fact that the slow tempo lies outside the 3–8 Hz syllable rate of natural speech, which in turn has been linked to theta-based oscillations in the brain.

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Shkapa, Ekaterina A. "About Expressive Opportunities of the Musical Tempo: Studying the Relationship of Author Text and Performance Interpretation in Music and Theoretical Education." Musical Art and Education 8, no. 1 (2020): 59–72. http://dx.doi.org/10.31862/2309-1428-2020-8-1-59-72.

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Musical tempo is one of the most important elements of musical language, the expressive meaning of which is determined both by the composer’s idea and the performer’s interpretation. The ambiguity of the author’s tempo designations and the lightness of perception of tempo changes by listeners explain the wide use of variability of tempo interpretations for the implementation of individual performance concepts. The article reveals the role of tempo in forming ideas about composing styles among listeners of different eras, in updating existing performance stereotypes, and reveals the relationship between the historical life of a work and the permissibility of its various tempo incarnations. Specific examples in the aspect of the problem of selecting audio materials for training courses in music-historical and music-theoretical disciplines show the expressive possibilities of musical tempo, its role in transmitting the genre, style, and image of musical works from the point of view of compliance of performing tempo solutions with the composer’s idea and artistic expediency. The possibility of including comparative characteristics of interpretations in the study of music-theoretical disciplines to reveal the diversity of music content is justified.

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Hammerschmidt, David, Clemens Wöllner, Justin London, and Birgitta Burger. "Disco Time: The Relationship Between Perceived Duration and Tempo in Music." Music & Science 4 (January 1, 2021): 205920432098638. http://dx.doi.org/10.1177/2059204320986384.

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Our perception of the duration of a piece of music is related to its tempo. When listening to music, absolute durations may seem longer as the tempo—the rate of an underlying pulse or beat—increases. Yet, the perception of tempo itself is not absolute. In a study on perceived tempo, participants were able to distinguish between different tempo-shifted versions of the same song (± 5 beats per minute (BPM)), yet their tempo ratings did not match the actual BPM rates; this finding was called tempo anchoring effect (TAE). In order to gain further insights into the relation between duration and tempo perception in music, the present study investigated the effect of musical tempo on two different duration measures, to see if there is an analog to the TAE in duration perception. Using a repeated-measures design, 32 participants (16 musicians) were randomly presented with instrumental excerpts of Disco songs at the original tempi and in tempo-shifted versions. The tasks were (a) to reproduce the absolute duration of each stimulus (14–20 s), (b) to estimate the absolute duration of the stimuli in seconds, and (c) to rate the perceived tempo. Results show that duration reproductions were longer with faster tempi, yet no such effect was found for duration estimations. Thus, lower-level reproductions were affected by the tempo, but higher-level estimations were not. The tempo-shifted versions showed no effect on both duration measures, suggesting that the tempo difference for the duration-lengthening effect requires a difference of at least 20 BPM, depending on the duration measure. Results of perceived tempo replicated the typical rating pattern of the TAE, but this was not found in duration measures. The roles of spontaneous motor tempo and musical experience are discussed, and implications for future studies are given.

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Scheirer, Eric D. "Tempo and beat analysis of acoustic musical signals." Journal of the Acoustical Society of America 103, no. 1 (January 1998): 588–601. http://dx.doi.org/10.1121/1.421129.

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North, Adrian C., David J. Hargreaves, and Sarah J. Heath. "Musical Tempo and Time Perception in a Gymnasium." Psychology of Music 26, no. 1 (April 1998): 78–88. http://dx.doi.org/10.1177/0305735698261007.

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Timmers, Renee, Richard Ashley, Peter Desain, and Hank Heijink. "The Influence of Musical Context on Tempo Rubato." Journal of New Music Research 29, no. 2 (June 30, 2000): 131–58. http://dx.doi.org/10.1076/jnmr.29.2.131.3095.

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Grondin, Simon, and Martin Laforest. "Discriminating the tempo variations of a musical excerpt." Acoustical Science and Technology 25, no. 2 (2004): 159–62. http://dx.doi.org/10.1250/ast.25.159.

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Fukumoto, Makoto, and Kazuhisa Matsuo. "Effects of musical tempo on multiple subjective impressions." International Journal of Biometrics 2, no. 2 (2010): 124. http://dx.doi.org/10.1504/ijbm.2010.031792.

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Montgomery, Amanda P. "Effect of Tempo on Music Preferences of Children in Elementary and Middle School." Journal of Research in Music Education 44, no. 2 (July 1996): 134–46. http://dx.doi.org/10.2307/3345666.

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This study was designed to examine the effect of tempo on preference responses of kindergarten to Grade 8 children. Listener age and gender were additional variables under consideration. In total, 996 subjects indicated preference opinions on pictographic Likert written response forms while listening to 15 excerpts of orchestral music from early Romantic opera. Two moderate and three fast musical examples were given the highest mean ratings. Spearman rank correlation indicated a positive significant relationship between tempo and preference (p < .01). Friedman analyses of variance revealed significant differences in mean preference ratings for music of differing tempos within Grades 3-8 (p < .01). Listener age was also indicated as a strong influence on overall preference ratings, with youngest children generally giving highest ratings. Results provide further support for the role of tempo and listener age in musical preference.

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Trevor, Caitlyn, and David Huron. "Are Humoresques Humorous? On the Similarity Between Laughter and Staccato." Empirical Musicology Review 13, no. 1-2 (January 17, 2019): 66. http://dx.doi.org/10.18061/emr.v13i1-2.5608.

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Two studies are reported testing the conjecture that certain musical sounds or musical works may emulate the punctuated sound (ha-ha-ha) of human laughter. In the first study, 25 participants were instructed to adjust the tempo and duty cycle (articulation) of simple tone sequences to produce the most laughter-like sound. The adjusted tempos were consistent across participants but slower than measures of actual human laughter. The adjusted duty cycles were comparable to those evident in human laughter. In the second study, comedic-related musical compositions (including humoresques, badineries, and Scherzos) were compared with similar-tempo works by the same composers. It is shown that humoresques contain more staccato passages. However, these detached articulations are not more likely to be isochronous as might be expected if emulating human laughter. Overall, the results provide mixed evidence consistent with the idea that composers emulate laughter when composing certain kinds of humorous passages.

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Timmers, Renee, Richard Ashley, Peter Desain, Henkjan Honing, and W. Luke Windsor. "Timing of Ornaments in the Theme from Beethoven's Paisiello Variations: Empirical Data and a Model." Music Perception 20, no. 1 (2002): 3–33. http://dx.doi.org/10.1525/mp.2002.20.1.3.

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Musicians have to make many interpretive decisions when performing a piece. For example, the grace note, a one-note musical ornament, has no precise duration written in the score; it has to steal its duration from either the preceding or following melody notes. This study addressed several empirical questions: What duration are grace notes given? Does this vary depending upon musical context or individual preferences? And, are the durations of grace notes taken from the preceding or subsequent melody note, or is time added? In an experiment, 16 professional pianists performed three musical fragments (from a Beethoven theme) "with" and "without" grace notes in seven different tempi. The timing of the grace notes was found not to be proportional to changes in global tempo for most, but not all performers, which replicates findings in earlier studies. In the majority of cases, increases in bar duration were matched by relative increases in grace-note duration that were smaller than predicted by a proportional tempo model, with a minority of subjects performing grace notes with fixed duration over tempo. In most cases, grace-note duration was "stolen" from the preceding melody note, with a small contribution from the following (main) note and with minimal disturbance to local tempo. Conversely, where grace notes were played as appoggiatura, the main source of their duration was the main note. The type of grace note performed depended both on its musical context and on individual differences between performers. A model of grace-note duration is proposed to account for these results.

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Novembre, Giacomo, Manuel Varlet, Shujau Muawiyath, Catherine J. Stevens, and Peter E. Keller. "The E-music box: an empirical method for exploring the universal capacity for musical production and for social interaction through music." Royal Society Open Science 2, no. 11 (November 2015): 150286. http://dx.doi.org/10.1098/rsos.150286.

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Humans are assumed to have a natural—universal—predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention—the E-music box—that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user’s movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings ‘active’ and ‘interactive’ musical capacities within everyone’s reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.

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Angelo, Bruno. "Ensaio sobre a construção hermenêutica de um tempo narrativo em música." Arteriais - Revista do Programa de Pós-Gradução em Artes 1, no. 1 (April 29, 2016): 116. http://dx.doi.org/10.18542/arteriais.v1i1.2726.

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Este é um ensaio especulativo, que aborda algumas questões sobre o tempo como um fator relevante na análise musical, as quais persistem como debate aberto aqui e em outros textos concernentes à teoria da música. Qual a origem do tempo na experiência musical; e qual o nosso papel, como ouvintes, em sua concepção: tais problemáticas servem de impulso para a argumentação aqui proposta, e estabelecem a base para uma abordagem ambivalente da ideia de tempo na música, a qual envolve conceitos da fenomenologia e teoria da metáfora. Como complementação, realizo um breve estudo analítico sobre minha peça para piano intitulada Pandorga. À guisa de conclusão, implicações em relação ao impacto potencial dessa abordagem sobre a análise musical são discutidas.

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Mammì, Lorenzo. "Ideologia de Jehan de Murs." Revista Música 1, no. 2 (November 1, 1990): 79. http://dx.doi.org/10.11606/rm.v1i2.55004.

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Dos primeiros sinais de rítmica modal às complexas combinações do moteto isorrítmico transcorre pouco mais de um século. Nesse período relativamente breve nasce e amadurece a idéia de um sistema completo e perfeitamente definido de durações, independente do texto, da liturgia ou da dança - o tempo musical como o entendemos ainda hoje, elemento da composição e função da sua forma, valor estético. O tratado Notitia Artis Musicae de Jehan de Murs, que será examinado aqui, já pertence à fase culminante desse processo, à Ars Nova. Procurarei lê-lo em seus aspectos ideológicos, mais do que técnicos, tentando decifrar, por meio dele, as concepções do tempo, da arte e da composição musical que fundamentaram a revolução arsnovista. Antes de enfrentar o texto, porém, será necessário fixar alguns pontos de referência, que permitam situá-lo na cultura e na sociedade do final da Idade Média.

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Vasconcelos, Felipe Mendes de. "Dialogismo musical e o Tempo: o enunciado musical à luz das visões bakhtiniana e beriana." OPUS 26, no. 1 (June 17, 2020): 1. http://dx.doi.org/10.20504/opus2020a2608.

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O presente artigo explora a noção de dialogismo musical e a sua relação com o Tempo. Embora cada obra tenha seu contexto específico (sua época, sua cultura), ela não permanece aprisionada à sua contemporaneidade, seus contatos dialógicos se estendem ao passado e ao futuro e, por consequência, podem incidir ativamente sobre ambos. Para refletir sobre isso, este texto toma como eixo os pensamentos do filósofo e estudioso da linguagem Mikhail Bakhtin (que também transitava pela Música) e do compositor Luciano Berio (que tinha uma rica interlocução com os estudos da linguagem). Ao relacionar as propostas de Berio e Bakhtin, verificamos a plausibilidade de se observar o tempo como um todo simultâneo no qual os enunciados musicais podem interagir com o seu passado com a capacidade de modificá-lo e trazer consequências de volta para o futuro.

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Coorevits, Esther, Dirk Moelants, Pieter-Jan Maes, and Marc Leman. "Exploring the effect of tempo changes on violinists’ body movements." Musicae Scientiae 23, no. 1 (June 19, 2017): 87–110. http://dx.doi.org/10.1177/1029864917714609.

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In expressive music performance, tempo is known to be a fundamental parameter. In this article, we explored effects of changes in musical tempo on performers’ movement articulations. Eight duos (piano – violin) played two pieces at a predefined tempo, after which this start tempo was gradually increased and decreased. Throughout the different performances, we measured acceleration of the violinists’ head and right wrist, together with the downward force applied by their body to the ground surface. We calculated periodicities in downward force using fast Fourier transform (FFT) analyses and tested whether differences occurred across different tempi. Also, we clustered acceleration and force patterns across different tempi using self-organizing maps (SOMs) and k-means clustering. The results show that a continuous change in performance tempo leads to distinct “performance states” with characteristic bodily behavior in terms of periodic body movement and co-articulated gestures, which supports theories of tempo-variant motor control.

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MacRitchie, Jennifer, Steffen A. Herff, Andrea Procopio, and Peter E. Keller. "Negotiating between individual and joint goals in ensemble musical performance." Quarterly Journal of Experimental Psychology 71, no. 7 (January 1, 2018): 1535–51. http://dx.doi.org/10.1080/17470218.2017.1339098.

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Successful joint action requires negotiation, especially in the event of goal incongruence. This article addresses goal incongruence in joint musical performance by manipulating the congruence of score instructions (congruent/incongruent) regarding tempo (speed) and dynamics (sound intensity) given to piano duos. The aim is to investigate how co-performers negotiate incongruent instructions for tempo and dynamics by balancing the prioritisation of individual goals versus the joint outcome and how this negotiation is modulated by musical expertise and personality (locus of control). In total, 14 pairs of pianists, who were not informed of the congruence manipulation, were placed back-to-back and were directed to achieve a successful performance over four repeated performances without verbal communication. Interpersonal coordination generally improved from the first to final performance in the congruent and incongruent conditions for both the tempo and dynamics tasks. Furthermore, in incongruent conditions, results suggest that performers prioritise the joint performance in the tempo task, but prioritise their own performance in the dynamics task. Although individual performance appears to be modulated by musical expertise, the balance of individual/joint performance across the duo is not influenced by musical part (melody vs accompaniment), expressive instruction, musical expertise or locus of control.

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Mütze, Hanna, Reinhard Kopiez, and Anna Wolf. "The effect of a rhythmic pulse on the heart rate: Little evidence for rhythmical ‘entrainment’ and ‘synchronization’." Musicae Scientiae 24, no. 3 (December 18, 2018): 377–400. http://dx.doi.org/10.1177/1029864918817805.

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In this study, we investigate the influence of musical tempo on the heart rate. Previous studies showed ambiguous results. Two effects are considered: first, an adaption of the heart rate frequency to the tempo of a musical stimulus (‘entrainment’) and second, the phase synchronization between the stimulus-onset and the R-waves in the ECG (‘synchronization’). A regulatory feedback loop was programmed, which constantly measured the actual heart rate. A simple Djembé-beat was used as a musical stimulus and coupled to the actual heart rate in real-time. To test for ‘entrainment’ effects, we adapted the tempo of the stimulus in real-time to the actual heart rate by increasing the rate 25%, 40% or 55% over the baseline tempo. To test for ‘synchronization’ effects, we presented the stimulus in a constant tempo, tracking the actual heart rate of the test person. Based on circular statistics, results showed no evidence for ‘entrainment’ or ‘synchronization’ effects of the stimulus on the heart rate. Overall, reactions to the trigger pulse were characterized by a high degree of interindividual differences. Thus, we conclude that there is no direct and simple correlation between the musical tempo and the HR contrary to what is often suggested in everyday psychology.

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Piedade, Acácio Tadeu de Camargo. "Modelação do tempo: Salvatore Sciarrino, janelas e nublamento." OPUS 23, no. 2 (August 27, 2017): 131. http://dx.doi.org/10.20504/opus2017b2306.

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Neste artigo pretendo discutir uma das figuras da linguagem musical do compositor italiano Salvatore Sciarrino: a forma em janelas. Após definir esta figura da maneira como o compositor a explica, procurarei mostrar que, na composição, as janelas podem se abrir tanto para dentro quanto para fora do discurso musical. De um lado, elas apontam para um ambiente interior da composição, constituindo uma remissão interna. De outro, provocam o ouvido a compreender a referência externa, construindo uma intertextualidade. A partir da janela para fora, tratarei de técnicas de distorção, particularmente daquela que chamo de nublamento. Nas conclusões retomarei a questão da memória e da composição enquanto modelação do tempo.

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Ramos, D., J. L. O. Bueno, and E. Bigand. "Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians." Brazilian Journal of Medical and Biological Research 44, no. 2 (February 2011): 165–72. http://dx.doi.org/10.1590/s0100-879x2010007500148.

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Halpern, Andrea R. "Perceived and Imagined Tempos of Familiar Songs." Music Perception 6, no. 2 (1988): 193–202. http://dx.doi.org/10.2307/40285425.

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Two studies investigated the similarity of metronome settings to perceived and imagined familiar songs by subjects unselected for musical ability. In Study 1, mean tempo settings in the two tasks were about 100 beats per minute. Songs with slower perceived tempos tended to be faster in the imagery task and vice versa. In Study 2, subjects set fastest and slowest acceptable tempos for the same set of songs in the imagery mode. These settings were positively correlated with the preferred tempo for the song. Most subjects thought that there were limits on how fast or slow a song could be imagined. These results suggest that tempo is explicitly represented in auditory imagery.

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London, Justin. "Cognitive Constraints on Metric Systems: Some Observations and Hypotheses." Music Perception 19, no. 4 (2002): 529–50. http://dx.doi.org/10.1525/mp.2002.19.4.529.

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This paper is a music-theoretic discussion of various studies on rhythmic perception and performance and their ramifications for discussions of musical meter. Meter is defined as a stable and recurring pattern of hierarchically structured temporal expectations. Metrical patterns, although related to the pattern of interonset intervals present in the musical surface, are distinct from that pattern. Studies of subjective rhythmization, spontaneous tempo, pulse perception, durational discrimination, and so forth are discussed with respect to their implications for meter. Not only do there seem to be upper and lower bounds for musical meter (from ≅≅100 ms to ≅≅6 s, depending on context), but there also appear to be important thresholds within this range (around 200––250 ms, 500––700 ms, and 1.5––2.0 s). Interactions between beats (i.e., interonset intervals between expectancies occurring at the rate perceived as the tactus), beat subdivision, and changes in tempo are discussed, and it is hypothesized that beat perception may require (at least potentially) the perception of a concomitant level of subdivision. The interactions between beat interonset interval, subdivision interonset interval, and various thresholds may also explain (in part) some of the differences in the expressive and/or motional character of rhythmic figures (duplets versus triplets) at different tempos. Last, a broader discussion of systematic relationships in larger metrical systems with respect to tempo is given. It is shown that the choice of tempo systematically constrains the number and kind of metric patterns that are available to the listener.

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Chebat, Jean-Charles, Claire Gelinas-Chebat, and Pierre Filiatrault. "Interactive Effects of Musical and Visual Cues on Time Perception: An Application to Waiting Lines in Banks." Perceptual and Motor Skills 77, no. 3 (December 1993): 995–1020. http://dx.doi.org/10.2466/pms.1993.77.3.995.

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This study explores the interactive effects of musical and visual cues on time perception in a specific situation, that of waiting in a bank. Videotapes are employed to simulate the situation; a 2 × 3 factorial design ( N = 427) is used: 2 (high vs low) amounts of visual information and 2 (fast vs slow) levels of musical tempo in addition to a no-music condition. Two mediating variables are tested in the relation between the independent variables (musical and visual ones) and the dependent variable (perceived waiting time), mood and attention. Results of multivariate analysis of variance and a system of simultaneous equations show that musical cues and visual cues have no symmetrical effects: the musical tempo has a global (moderating) effect on the whole structure of the relations between dependent, independent, and mediating variables but has no direct influence on time perception. The visual cues affect time perception, the significance of which depends on musical tempo. Also, the “Resource Allocation Model of Time Estimation” predicts the attention-time relation better than Ornstein's “storage-size theory.” Mood state serves as a substitute for time information with slow music, but its effects are cancelled with fast music.

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Kurapov, Anton, Aleksandra Balashevych, and Hanna Tsurikova. "Complex Sound's Pitch and Tempo Perception: Psychological and Instructional Features." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology” 1, no. 13 (2021): 38–41. http://dx.doi.org/10.17721/bsp.2021.1(13).7.

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The study investigates features of complex sound's pitch and tempo perception depending on instructional set presence via the Likert scale and WAM test (wellbeing, activity, mood). Influence of objective complex sound characteristics (pitch and tempo) on a subjective evaluation of a music fragment, as well as the influence of instructional set (prior informing of a participant about objective differences between music fragments) on a subjective evaluation of a music fragment, were explored. The study looks at how people of different genders, whether they know how to play an instrument or have had musical education, perceive music. It was discovered that high pitch music was embraced as more fun, bright, light, and indecisive. Music with a higher tempo was also perceived as carefree, which is subjectively evaluated as less heavy and more fun. People with musical education background notice more differences between fragments with various pitches and tempos, specifically, they are capable of differentiating pitch and tempo changes better. In general, the study has shown that it is possible to manipulate objective characteristics of a complex sound in order to create widely acceptable subjective and psychological interpretation.

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Bazhanov, Nikolay S. "AGOGIC AND TEMPO IN SOUNDING OF THE MUSICAL PIECE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 36 (2019): 130–39. http://dx.doi.org/10.17223/22220836/36/12.

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Nakada, Akira. "Automatic musical performance device capable of controlling the tempo." Journal of the Acoustical Society of America 85, no. 5 (May 1989): 2247. http://dx.doi.org/10.1121/1.397812.

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Bauer, Anna-Katharina R., Gunter Kreutz, and Christoph S. Herrmann. "Individual musical tempo preference correlates with EEG beta rhythm." Psychophysiology 52, no. 4 (October 29, 2014): 600–604. http://dx.doi.org/10.1111/psyp.12375.

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Furuya, Shinichi, and John F. Soechting. "Speed invariance of independent control of finger movements in pianists." Journal of Neurophysiology 108, no. 7 (October 1, 2012): 2060–68. http://dx.doi.org/10.1152/jn.00378.2012.

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Independent control of finger movements characterizes skilled motor behaviors such as tool use and musical performance. The purpose of the present study was to identify the effect of movement frequency (tempo) on individuated finger movements in piano playing. Joint motion at the digits was recorded while 5 expert pianists were playing 30 excerpts from musical pieces with different fingering and key locations either at a predetermined normal tempo or as fast as possible. Principal component analysis and cluster analysis using an expectation-maximization algorithm determined three distinct patterns of finger movement coordination for a keypress with each of the index, middle, ring, and little fingers at each of the two tempi. The finger kinematics of each coordination pattern was overall similar across the tempi. Tone sequences assigned into each cluster were also similar for both tempi. A linear regression analysis determined no apparent difference in the amount of movement covariation between the striking and nonstriking fingers at both metacarpo-phalangeal and proximal-interphalangeal joints across the two tempi, which indicated no effect of tempo on independent finger movements in piano playing. In addition, the standard deviation of interkeystroke interval across strokes did not differ between the two tempi, indicating maintenance of rhythmic accuracy of keystrokes. Strong temporal constraints on finger movements during piano playing may underlie the maintained independent control of fingers over a wider range of tempi, a feature being likely to be specific to skilled pianists.

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Sims, Wendy L. "Children's Ability to Demonstrate Music Concept Discriminations in Listening and Singing." Journal of Research in Music Education 43, no. 3 (October 1995): 204–21. http://dx.doi.org/10.2307/3345636.

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This study examined the relationship of grade level to children s ability to make musical discriminations when elements are presented simultaneously. Children enrolled in first through fifth grade were subjects for this study (N = 669). A listening test designed to assess the subjects' ability to discriminate and label contrasting musical characteristics related to tempo and articulation within single- and double-discrimination contexts was administered following a brief instructional period. A smaller sample of children (n = 60) then completed a singing task in which they were required to perform a familiar song to demonstrate varied combinations of the two musical elements. Results of the listening test indicated significant main effects for grade, characteristic, and type of discrimination, with significant interactions. Subjects were significantly more successful with single discriminations than double discriminations, and mean scores for tempo were significantly higher than for articulation, particularly under the double discrimination condition. When singing subjects demonstrated contrasting tempi and smooth articulation but had difficulty with choppy articulation, both in single-element as well as combined-element examples.

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Iwanaga, Makoto. "Harmonic Relationship between Preferred Tempi and Heart Rate." Perceptual and Motor Skills 81, no. 1 (August 1995): 67–71. http://dx.doi.org/10.2466/pms.1995.81.1.67.

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Since people tend to prefer musical tempi ranging from 70 to 100 beats per minute, cyclic physiological response like heart rate is considered one of the factors affected by tempo preference. The present study aimed to examine the relationship between preferred tempi and heart rate. Subjects were instructed to find their favorite tempi while their heart rates were being measured. The presented tone stimulus was 440 Hz, 60 dB pressure of pure tone, and the presented tempo varied from 10 to 300 cycles per minute. The relationship between heart rate and preferred tempo was examined to calculate the density function of ratios of preferred tempi to heart rate. This density function indicated that preferred tempi were distributed mostly one, one and a half, and two times as fast as heart rate. This finding indicated preferred tempi had a simple harmonic relationship to heart rate.

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Martens, Peter A. "The Ambiguous Tactus: Tempo, Subdivision Benefit, And Three Listener Strategies." Music Perception 28, no. 5 (June 1, 2011): 433–48. http://dx.doi.org/10.1525/mp.2011.28.5.433.

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the present study models listeners' tactus choices relative to the metric structure of fully musical excerpts using data from a tapping experiment. Viewed from the standpoint of metric structure, tactus was ambiguous between individuals and within excerpts, providing no evidence that this behavior has a global basis in tempo or in a subdivision benefit. Tactus was more consistent within individuals, however, when viewed as following from one of three basic strategies: (1) tapping with a subdivided pulse, (2) tapping with the fastest consistent pulse in the music (a pulse with no consistent subdivision), or (3) using a mixture of these two strategies based on inconsistent rhythmic activity at the musical surface. Music training correlated positively with the first of these strategies. Since individual listeners engage with musical meter in different ways, ambiguity of tactus should be an expected feature of any audience's response to metrical music.

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Journal articles on the topic 'Musical tempo'

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