@article{ref1,
title="Mapping musical thought to musical performance",
journal="Journal of experimental psychology: human perception and performance",
year="1989",
author="Palmer, C.",
volume="15",
number="2",
pages="331-346",
abstract="Expressive timing methods are described that map pianists' musical thoughts to sounded performance. In Experiment 1, 6 pianists performed the same musical excerpt on a computer-monitored keyboard. Each performance contained 3 expressive timing patterns: chord asynchronies, rubato patterns, and overlaps (staccato and legato). Each pattern was strongest in experienced pianists' performances and decreased when pianists attempted to play unmusically. In Experiment 2 pianists performed another musical excerpt and notated their musical intentions on an unedited score. The notated interpretations correlated with the presence of the 3 methods: The notated melody preceded other events in chords (chord asynchrony); events notated as phase boundaries showed greatest tempo changes (rubato); and the notated melody showed most consistent amount of overlap between adjacent events (staccato and legato). These results suggest that the mapping of musical thought to musical action is rule-governed, and the same rules produce different interpretations.<p /><p>Language: en</p>",
language="en",
issn="0096-1523",
doi="",
url="http://dx.doi.org/"
}