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Amandine Penel

Publications and source records attributed to Amandine Penel.

5 recordsLinked to original sources
PubMed2006

A structurally guided method for the decomposition of expression in music performance.

A method for separating, profiling, and quantifying the contributions of different structural components to expressive musical performance is described. The method is demonstrated through its application to a set of expert piano performances of a short piece from the classical period. The results show that the output of the method aids in the understanding of how the different structural components in a piece of music combine in the generation of an expressive performance. A second demonstration applies the method to performances at different tempi to illustrate its effectiveness in pinpointing the structural features responsible for small but statistically significant differences between performances. The method is compared with other approaches to the analysis and modeling of musical performance, and a number of potential applications are identified.

Analysis of Variance↗
PubMed2004

Timing variations in music performance: musical communication, perceptual compensation, and/or motor control?

A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.

Adult↗
PubMed2003

Rhythmic movement is attracted more strongly to auditory than to visual rhythms.

People often move in synchrony with auditory rhythms (e.g., music), whereas synchronization of movement with purely visual rhythms is rare. In two experiments, this apparent attraction of movement to auditory rhythms was investigated by requiring participants to tap their index finger in synchrony with an isochronous auditory (tone) or visual (flashing light) target sequence while a distractor sequence was presented in the other modality at one of various phase relationships. The obtained asynchronies and their variability showed that auditory distractors strongly attracted participants' taps, whereas visual distractors had much weaker effects, if any. This asymmetry held regardless of the spatial congruence or relative salience of the stimuli in the two modalities. When different irregular timing patterns were imposed on target and distractor sequences, participants' taps tended to track the timing pattern of auditory distractor sequences when they were approximately in phase with visual target sequences, but not the reverse. These results confirm that rhythmic movement is more strongly attracted to auditory than to visual rhythms. To the extent that this is an innate proclivity, it may have been an important factor in the evolution of music.

Acoustic Stimulation↗
PubMed2002

Auditory dominance in temporal processing: new evidence from synchronization with simultaneous visual and auditory sequences.

Evidence that audition dominates vision in temporal processing has come from perceptual judgment tasks. This study shows that this auditory dominance extends to the largely subconscious processes involved in sensorimotor coordination. Participants tapped their finger in synchrony with auditory and visual sequences containing an event onset shift (EOS), expected to elicit an involuntary phase correction response (PCR), and also tried to detect the EOS. Sequences were presented in unimodal and bimodal conditions, including one in which auditory and visual EOSs of opposite sign coincided. Unimodal results showed greater variability of taps, smaller PCRs, and poorer EOS detection in vision than in audition. In bimodal conditions, variability of taps was similar to that for unimodal auditory sequences, and PCRs depended more on auditory than on visual information, even though attention was always focused on the visual sequences.

Analysis of Variance↗