Contents

Further Reading

Further Reading

Warning

You are not expected to complete any of this reading before the supervision. However, if you find any of these topics interesting, here are some suggestions for where to go next.

Exercise 1 - Body Motion

  • Cao, Z., Hidalgo, G., Simon, T., Wei, E., Sheikh, Y. (2021). OpenPose: Realtime Multi-Person 2D Pose Estimation Using Part Affinity Fields. IEEE Transactions on Pattern Analysis and Machine Intelligence 43/1, 172-186.

  • Chang, A., Kragness, H. E., Livingstone, S. R., Bosnyak, D. K., Trainor, L. J. (2019). Body Sway Reflects Joint Emotional Expression in Music Ensemble Perfomrance. Scientific Reports 9/1, 205.

  • Duan, Z., Essid, S., Liem, C. C. S., Richard, G., & Sharma, G. (2019). Audiovisual Analysis of Music Performances: Overview of an Emerging Field. IEEE Signal Processing Magazine, 36(1), 63–73. https://doi.org/10.1109/MSP.2018.2875511

  • Eerola, T., Jakubowski, K., Moran, N., Keller, P. E., Clayton, M. (2018). Shared Periodic Performer Movements Coordinate Interactions in Duo Improvisations. Royal Society Open Science 5.

  • Jakubowski, K., Eerola, T., Alborno, P., Volpe, G., Camurri, A., Clayton, M. (2017). Extracting Coarse Body Movements from Video in Music Performance: a Comparison of Automated Computer Vision Techniques with Motion Capture Data. Frontiers in Digital Humanities 4,

Exercise 2 - Rhythm and Timing

  • Cheston, H., Schlichting, J. L., Cross, I., & Harrison, P. M. C. (2024). Rhythmic Qualities of Jazz Improvisation Predict Performer Identity and Style in Source-Separated Audio Recordings. PsyArXiv. https://doi.org/10.31234/osf.io/txy2f

  • Cheston, H., Schlichting, J. L., Cross, I., & Harrison, P. M. C. (2024). Cambridge Jazz Trio Database: Automated Timing Annotation of Jazz Piano Trio Recordings Processed Using Audio Source Separation. PsyArXiv. https://doi.org/10.31234/osf.io/jyqp3

  • Clarke, E. (1982). Timing in the Performance of Erik Satie’s ‘Vexations’. Acta Psychologica 50, 1-19.

  • Collier, G. L., & Collier, J. L. (2002). A Study of Timing in Two Louis Armstrong Solos. Music Perception 19/3, 463-483.

  • Doffman, M., Payne, E., & Young, T. (eds.) (2022, forthcoming). The Oxford Handbook of Time in Music. Oxford: Oxford University Press.

  • Fairhurst, M. T., Janata, P., & Keller, P. E. (2014). Leading the follower: An fMRI investigation of dynamic cooperativity and leader–follower strategies in synchronization with an adaptive virtual partner. NeuroImage, 84, 688–697. https://doi.org/10.1016/j.neuroimage.2013.09.027

  • Goebl, W. (2001). Melody lead in piano performance: Expressive device or artifact? The Journal of the Acoustical Society of America, 110(1), 563–572. https://doi.org/10.1121/1.1376133

  • Repp, B. H. (1990). Patterns of expressive timing in performances of a Beethoven minuet by nineteen famous pianists. The Journal of the Acoustical Society of America 88/2, 622-641.

  • Repp, B. H. (1992). Diversity and commonality in music performance: An analysis of timing microstructure in Schumann’s “Träumerei”. The Journal of the Acoustical Society of America 92/5, 2546-2568.

  • Repp, B. H. (1996). Patterns of note onset asynchronies in expressive piano performance. The Journal of the Acoustical Society of America, 100(6), 3917–3932. https://doi.org/10.1121/1.417245

  • Shaffer, L. H. (1984). Timing in solo and duet piano performances. The Quarterly Journal of Experimental Psychology 36/4, 577-595.

  • Murphy, N. (2020). Expressive Timing in Bob Dylan’s ‘With God on Our Side’. Music Analysis 39(3), 387-413.

Exercise 3 - Tempo and Speed

  • Collier, G. L., & Collier, J. L. (1994). An Exploration of the Use of Tempo in Jazz. Music Perception 11/3, 219-242.

  • Cook, N. (1987). Structure and Performance Timing in Bach’s C Major Prelude (WTCI): An Empirical Study. Music Analysis 6/3, 257-272.

  • Cook, N. (2009). Squaring the Circle: Phrase Arching in Recordings of Chopin’s Mazurkas. Musica Humana 1/1, 5-28.

Exercise 4 - Vibrato and Pitch

  • Manfredi, C., Barbagallo, D., Baracca, G., Orlandi, S., Bandini, A., Dejonckere, P. H. (2015). Automatic Assessment of Acoustic Parameters of the Singing Voice: Application to Professional Western Operatic and Jazz Singers. Journal of Voice 29/4, 517.e1-517.e9.

  • Percoraro, G., Curcio, D. F., Behlau, F. (2013). Vibrato Rate Variability in Three Professional Singing Styles: Opera, Rock, and Brazilian Country. Proceedings of Meetings on Acoustics. Montreal, CA.: Acoustical Society of America.

  • Prame, E. (1997). Vibrato Extent and Intonation in Professional Western Lyric Singing. Journal of the Acoustical Society of America 102, 616-621.

  • Sundberg, J. (1995). Acoustic and Psychoacoustic Aspects of Vocal Vibrato. In Vibrato, ed. by Dejonckere, P. H., Hirano, M., Sundberg, J. San Diego: Singular Publishing Group, pp.35-62.

Additional references (various topics)

  • Bishop, L., Cancino-Chacón, C., & Goebl, W. (2019). Moving to Communicate, Moving to Interact: Patterns of Body Motion in Musical Duo Performances. Music Perception, 37(1), 1–25. https://doi.org/10.1525/mp.2019.37.1.1

  • Butterfield, M. (2010). Participatory Discrepancies and the Perception of Beats in Jazz. Music Perception, 27(3), 157–176. https://doi.org/10.1525/mp.2010.27.3.157

  • Butterfield, M. W. (2011). Why Do Jazz Musicians Swing Their Eighth Notes? Music Theory Spectrum, 33(1), 3–26. https://doi.org/10.1525/mts.2011.33.1.3

  • Cheston, H., Cross, I., & Harrison, P. M. C. (2023). Trade-offs in Coordination Strategies for Networked Jazz Performances. PsyArXiv. https://doi.org/10.31234/osf.io/z8c7w

  • Clayton, M. (2007). Observing entrainment in music performance: Video-based observational analysis of Indian musicians’ tanpura playing and beat marking. Musicae Scientiae, 11(1), 27–59. https://doi.org/10.1177/102986490701100102

  • Clayton, M., Jakubowski, K., Eerola, T., Keller, P. E., Camurri, A., Volpe, G., & Alborno, P. (2020). Interpersonal Entrainment in Music Performance. Music Perception, 38(2), 136–194. https://doi.org/10.1525/mp.2020.38.2.136

  • Corcoran, C., & Frieler, K. (2021). Playing It Straight. Music Perception, 38(4), 372–385. https://doi.org/10.1525/mp.2021.38.4.372

  • Corcoran, C., Stupacher, J., & Vuust, P. (2022). Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone. Music Perception, 39(4), 386–400. https://doi.org/10.1525/mp.2022.39.4.386

  • Demos, A. P., & Palmer, C. (2023). Social and nonlinear dynamics unite: Musical group synchrony. Trends in Cognitive Sciences, S1364661323001225. https://doi.org/10.1016/j.tics.2023.05.005

  • Doffman, M. (2014). Temporality, Awareness, and the Feeling of Entrainment in Jazz Performance. In M. Clayton, B. Dueck, & L. Leante (Eds.), Experience and Meaning in Music Performance (pp. 62–85). Oxford University Press.

  • Friberg, A., & Sundström, A. (2002). Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern. Music Perception, 19(3), 333–349. https://doi.org/10.1525/mp.2002.19.3.333

  • Iyer, V. (2002). Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music. Music Perception, 19(3), 387–414. https://doi.org/10.1525/mp.2002.19.3.387

  • Huberth, M., & Fujioka, T. (2018). Performers’ Motions Reflect the Intention to Express Short or Long Melodic Groupings. Music Perception, 35(4), 437–453. https://doi.org/10.1525/mp.2018.35.4.437

  • Jacoby, N., Polak, R., & London, J. (2021). Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: Analysis and modelling of West African drum ensemble music. Philosophical Transactions of the Royal Society B: Biological Sciences, 376(1835), 20200331. https://doi.org/10.1098/rstb.2020.0331

  • Jakubowski, K., Polak, R., Rocamora, M., Jure, L., & Jacoby, N. (2022). Aesthetics of musical timing: Culture and expertise affect preferences for isochrony but not synchrony. Cognition, 227, 105205. https://doi.org/10.1016/j.cognition.2022.105205

  • Kilchenmann, L., & Senn, O. (2015). Microtiming in Swing and Funk affects the body movement behavior of music expert listeners. Frontiers in Psychology, 6. https://doi.org/10.3389/fpsyg.2015.0123

  • Küssner, M. B., Van Dyck, E., Burger, B., Moelants, D., & Vansteenkiste, P. (2020). All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention. Music Perception, 38(2), 195–213. https://doi.org/10.1525/mp.2020.38.2.195

  • Lerch, A., Arthur, C., Pati, A., & Gururani, S. (2020). An Interdisciplinary Review of Music Performance Analysis. Transactions of the International Society for Music Information Retrieval, 3(1), 221–245. https://doi.org/10.5334/tismir.53

  • London, J. (2013). Building a Representative Corpus of Classical Music. Music Perception, 31(1), 68–90. https://doi.org/10.1525/mp.2013.31.1.68

  • Repp, B. H. (1998). A microcosm of musical expression. I. Quantitative analysis of pianists’ timing in the initial measures of Chopin’s Etude in E major. The Journal of the Acoustical Society of America, 104(2), 1085–1100. https://doi.org/10.1121/1.423325

  • Senn, O., Kilchenmann, L., von Georgi, R., & Bullerjahn, C. (2016). The Effect of Expert Performance Microtiming on Listeners’ Experience of Groove in Swing or Funk Music. Frontiers in Psychology, 7. https://doi.org/10.3389/fpsyg.2016.01487

  • Timmers, R., Endo, S., Bradbury, A., & Wing, A. M. (2014). Synchronization and leadership in string quartet performance: A case study of auditory and visual cues. Frontiers in Psychology, 5. https://doi.org/10.3389/fpsyg.2014.00645

  • Wing, A. M., Endo, S., Bradbury, A., & Vorberg, D. (2014). Optimal feedback correction in string quartet synchronization. Journal of The Royal Society Interface, 11(93), 20131125. https://doi.org/10.1098/rsif.2013.1125

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Checklist of tasks for Exercise 4