Different pieces of music offer different expressive possibilities. Even a single piece of music offers the possibility to be treated in several expressive ways. How much of this variety of possible interpretations is exhibited in actual performances of the music? Do pianists make use of the different parameters of the piece to shape their performance? Do variety in performances and variety in musical parameters relate to each other? Previous studies stress the relation between timing variations and musical structure, but provide no clear answer to the freedom that is allowed within this regularity, especially when multiple structural descriptions play a role simultaneously. In an experiment the melody of Variations on an Original Theme (Op...
The purpose of this study was to examine the effect of changing the magnitude of rubato in a musical...
Tempo and rubato in Alexander Scriabin’s early piano preludes The score is the main source on which...
Studies of early 20th-century performance practice tend to focus on features that are alien to late ...
Item does not contain fulltextDifferent pieces of music offer different expressive possibilities. Ev...
Item does not contain fulltextIn this study we investigated whether and how the timing of musical rh...
Evidence is presented that expressive timing in music is not relationally invariant with global temp...
This study examines the timing of grace notes by separating the timing variation caused by the grace...
A note interonset interval (IOI) increment in mechanically timed music is more difficult o detect wh...
Musical motives are short melodic, rhythmic and/or harmonic patterns repeated either exactly or in v...
Musical motives are short melodic, rhythmic and/or harmonic patterns repeated either exactly or in v...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
The score is the main source on which a performer’s interpretation is based. Despite its level of de...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
A perceptual performance paradigm was designed to disentangle the timing variations in music perform...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
The purpose of this study was to examine the effect of changing the magnitude of rubato in a musical...
Tempo and rubato in Alexander Scriabin’s early piano preludes The score is the main source on which...
Studies of early 20th-century performance practice tend to focus on features that are alien to late ...
Item does not contain fulltextDifferent pieces of music offer different expressive possibilities. Ev...
Item does not contain fulltextIn this study we investigated whether and how the timing of musical rh...
Evidence is presented that expressive timing in music is not relationally invariant with global temp...
This study examines the timing of grace notes by separating the timing variation caused by the grace...
A note interonset interval (IOI) increment in mechanically timed music is more difficult o detect wh...
Musical motives are short melodic, rhythmic and/or harmonic patterns repeated either exactly or in v...
Musical motives are short melodic, rhythmic and/or harmonic patterns repeated either exactly or in v...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
The score is the main source on which a performer’s interpretation is based. Despite its level of de...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
A perceptual performance paradigm was designed to disentangle the timing variations in music perform...
Musicians have to make many interpretive decisions when performing a piece. For example, the grace n...
The purpose of this study was to examine the effect of changing the magnitude of rubato in a musical...
Tempo and rubato in Alexander Scriabin’s early piano preludes The score is the main source on which...
Studies of early 20th-century performance practice tend to focus on features that are alien to late ...