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The playing of an accent: Preliminary observations from temporal and kinematic analysis of percussionists
KTH, Superseded Departments, Speech, Music and Hearing.
2000 (English)In: Journal of New Music Research, ISSN 0929-8215, E-ISSN 1744-5027, Vol. 29, no 3, 225-233 p.Article in journal (Refereed) Published
Abstract [en]

The movements and timing when playing an interleaved accent in drumming were studied for three professionals and one amateur. The movement analysis showed that the subjects prepared for the accented stroke by raising the drumstick up to a greater height. The movement strategies used, however, differed widely in appearance.

The timing analysis showed two basic features, a slow change in tempo over a longer time span ("drift"), and a short ter variation between adjacent intervals ("flutter"). Cyclic patterns, with every fourth interval prolonged, could be seen in the flutter. The lengthening of the interval, beginning with the accented stroke, seems to be a common way for the player to give the accent more emphasis. A listening test was performed to investigate if these cyclic patterns conveyed information to a listener about the grouping of the strokes. Listeners identified sequences where the magnitude of the inter-onset interval fluctuations were large during the cyclic patterns.

Place, publisher, year, edition, pages
2000. Vol. 29, no 3, 225-233 p.
National Category
Musicology
Identifiers
URN: urn:nbn:se:kth:diva-6549DOI: 10.1076/jnmr.29.3.225.3090ISI: 000168323100005OAI: oai:DiVA.org:kth-6549DiVA: diva2:11292
Note
QC 20101001Available from: 2005-09-20 Created: 2005-09-20 Last updated: 2017-12-14Bibliographically approved
In thesis
1. On the beat: human movement and timing in the production and perception of music
Open this publication in new window or tab >>On the beat: human movement and timing in the production and perception of music
2005 (English)Doctoral thesis, comprehensive summary (Other scientific)
Abstract [en]

This thesis addresses three aspects of movement, performance and perception in music performance. First, the playing of an accent, a simple but much used and practiced element in drumming is studied, second, the perception of gradually changing tempo, and third, the perception and communication of specific emotional intentions through movements during music performance.

Papers I and II investigated the execution and interpretation of an accent in drumming, performed under different playing conditions. Players' movements, striking velocities and timing patterns were studied for different tempi, dynamic levels and striking surfaces. It was found that the players used differing movement strategies and that interpreted the accent differently, reflected in their movement trajectories. Strokes at higher dynamic levels were played from a greater average height and with higher striking velocities. All players initiated the accented strokes from a greater height, and delivered the accent with increased striking velocity compared to the unaccented strokes. The interval beginning with the accented stroke was also prolonged, generally by delaying the following stroke. Recurrent cyclic patterns were found in the players' timing performances. In a listening test, listeners perceived grouping of the strokes according to the cyclic patterns.

Paper III concerned the perception of gradual tempo changes in auditory sequences. Using an adaptive test procedure subjects judged stimuli consisting of click sequences with either increasing or decreasing tempo, respectively. Each experiment included three test sessions at different nominal tempi (80, 120, and 180~beats per minute). The results showed that ten of the eleven subjects showed an inherent bias in their perception of tempo drift. The direction and magnitude of the bias was consistent between test sessions but varied between individuals. The just noticeable differences for tempo drift agreed well with the estimated tempo drifts in production data, but were much smaller than earlier reported thresholds for tempo drift.

Paper IV studied how emotional intent in music performances is conveyed to observers through the movements of the musicians. Three players of marimba, bassoon, and saxophone respectively, were filmed when playing with the expressive intentions Happiness, Sadness, Anger and Fear. Observers rated the emotional content and movement cues in the videos clips shown without sound. The results showed that the observers were able to identify the intentions Sadness, Anger, and Happiness, but not Fear. The rated movement cues showed that an Angry performance was characterized by jerky movements, Happy performances by large, and somewhat fast and jerky movements, and Sad performances by slow, and smooth movements.

Place, publisher, year, edition, pages
Stockholm: KTH, 2005. x, 77 p.
Series
Trita-TMH, ISSN 1104-5787 ; 2005:5
National Category
Musicology
Identifiers
urn:nbn:se:kth:diva-422 (URN)91-7178-134-X (ISBN)
Public defence
2005-09-29, Salongen, KTHB, Osquars backe 31, Stockholm, 10:00
Opponent
Supervisors
Note
QC 20101004Available from: 2005-09-20 Created: 2005-09-20 Last updated: 2010-10-04Bibliographically approved

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