These correspond to the improvisations’ timeline appearing in S2 Fig and S1 and S2 Audio Files. (A) Histogram presentation of the octave number as percentage of the playing time. In “ugly”, the octave most used is no. 3, whereas for improvising “beautiful” it is octave no. 5. The histogram also shows that the higher pitch section of the keyboard was used for the latter. (B) Intensity histogram showing that “ugly” was played with more intensity than “beautiful”. Note that the ff (fortissimo) was the value most used in improvising the former but ppp (pianississimo) in the latter. (C) The pitch classes, as a percentage of playing time, showing that the black keys were preferable when improvising “ugly” and the white keys for “beautiful”; most ...
A sound composed of the harmonics of 131 Hz produces the note C3 with a buzzy timbre if the componen...
<p>Although the mode was perfect performance for each timbre (semitone errors counted as correct), t...
The recent re-introduction of improvisation as a professional practice within classical music, howev...
Shown here are the mean (A) intensity values and (B) octave numbers for the task collectives. Marked...
We assessed the hypothesis elaborated by Pressing and by the first author that improvisation is norm...
Music moves us, literally. We tend to move the body in synchrony with the beat. Individuals without ...
Contains fulltext : 54998.pdf (publisher's version ) (Open Access)Measurements of ...
<p>A. A scatter plot of sound levels (determined from the recordings made by the headstage microphon...
This dissertation analyzes temporal deviations across for performance by different pianists’ of the ...
<p>For each group, the piano-roll representation of the first 5 bars of the piano sequence played by...
Computed mean values of the task collectives: (A) The session time, broken down into the percentages...
<p>In this figure, the red stems and the blue stems indicate the in and out degree centrality contra...
The historically developed practice of learning to play a music instrument from notes instead of by ...
As it comes to the act of creation, performing musicians claim a rather specific role and position c...
The aim of the study was to investigate participants’ ability to identify the correct pitch and temp...
A sound composed of the harmonics of 131 Hz produces the note C3 with a buzzy timbre if the componen...
<p>Although the mode was perfect performance for each timbre (semitone errors counted as correct), t...
The recent re-introduction of improvisation as a professional practice within classical music, howev...
Shown here are the mean (A) intensity values and (B) octave numbers for the task collectives. Marked...
We assessed the hypothesis elaborated by Pressing and by the first author that improvisation is norm...
Music moves us, literally. We tend to move the body in synchrony with the beat. Individuals without ...
Contains fulltext : 54998.pdf (publisher's version ) (Open Access)Measurements of ...
<p>A. A scatter plot of sound levels (determined from the recordings made by the headstage microphon...
This dissertation analyzes temporal deviations across for performance by different pianists’ of the ...
<p>For each group, the piano-roll representation of the first 5 bars of the piano sequence played by...
Computed mean values of the task collectives: (A) The session time, broken down into the percentages...
<p>In this figure, the red stems and the blue stems indicate the in and out degree centrality contra...
The historically developed practice of learning to play a music instrument from notes instead of by ...
As it comes to the act of creation, performing musicians claim a rather specific role and position c...
The aim of the study was to investigate participants’ ability to identify the correct pitch and temp...
A sound composed of the harmonics of 131 Hz produces the note C3 with a buzzy timbre if the componen...
<p>Although the mode was perfect performance for each timbre (semitone errors counted as correct), t...
The recent re-introduction of improvisation as a professional practice within classical music, howev...