Perception of Emotional Expression in Musical Performance
Perception of Emotional Expression in Musical Performance
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DOI：
10.1037/a0021922
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发表时间：
2011-06-01
影响因子：
2.1
通讯作者：
Levitin, Daniel J.
中科院分区：
文献类型：
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作者：
Bhatara, Anjali;Tirovolas, Anna K.;Levitin, Daniel J.
音乐表演的表达很大程度上是通过演奏乐曲的方式来传达的。补充书面乐谱的解释方面。在钢琴演奏中，时间和幅度是演奏者可以改变的主要参数。我们研究了这种变化如何通过操纵古典钢琴作品演奏中的时间和幅度来传达情感。在三个实验中，听众对表演的情感表达力及其操纵版本进行了评分。在实验 1 和 2 中，时间和幅度信息是协变的；判断随着表现的变化而单调递减，这表明声学操作的排名顺序是由参与者的反应捕获的。此外，参与者的判断形成了一个 S 形（S 形）函数，其中对中间范围的音乐操作比对极端范围的音乐操作更敏感。在实验3中，时间和幅度是独立操纵的；人们发现时间变化比振幅提供更具表现力的信息。在所有三个实验中，听众都表现出了对我们操纵的表达线索的敏感性，并且敏感性随着音乐体验的增加而增加。
Expression in musical performance is largely communicated by the manner in which a piece is played; interpretive aspects that supplement the written score. In piano performance, timing and amplitude are the principal parameters the performer can vary. We examined the way in which such variation serves to communicate emotion by manipulating timing and amplitude in performances of classical piano pieces. Over three experiments, listeners rated the emotional expressivity of performances and their manipulated versions. In Experiments 1 and 2, timing and amplitude information were covaried; judgments were monotonically decreasing with performance variability, demonstrating that the rank ordering of acoustical manipulations was captured by participants' responses. Further, participants' judgments formed an S-shaped (sigmoidal) function in which greater sensitivity was seen for musical manipulations in the middle of the range than at the extremes. In Experiment 3, timing and amplitude were manipulated independently; timing variation was found to provide more expressive information than did amplitude. Across all three experiments, listeners demonstrated sensitivity to the expressive cues we manipulated, with sensitivity increasing as a function of musical experience.