Open Access
Issue
Acta Acust.
Volume 8, 2024
Article Number 6
Number of page(s) 15
Section Musical Acoustics
DOI https://doi.org/10.1051/aacus/2023069
Published online 01 February 2024
  1. K. Schiltz: Church and chamber: the influence of acoustics on musical composition and performance. Early Music 31, 1 (2003) 64–80. [CrossRef] [Google Scholar]
  2. N. Eley, C. Lavandier, T. Psychoyou, M. Jossic, B.F.G. Katz: Performance analysis of solo baroque music played in a period and modern hall, in Proceedings of the 16th French Acoustics Congress, Marseille, France, 11–15 April, 2022, 1–6. [Google Scholar]
  3. N. Eley, T. Psychoyou, C. Lavandier, B.F.G. Katz: A custom feature set for analyzing historically informed baroque performances, in Proceedings of the 24th International Congress on Acoustics, Gyeongju, October 24–28, Acoustical Society of Korea, Seoul, South Korea, 2022, 1–89. [Google Scholar]
  4. C. Lawson, R. Stowell: The historical performance of music: an introduction. Cambridge handbooks to the historical performance of music. Cambridge University Press, Cambridge, UK, 2003. [Google Scholar]
  5. J. Rink: Musical performance: a guide to understanding. Cambridge University Press, Cambridge; New York, 2002. [CrossRef] [Google Scholar]
  6. R. Donington: The interpretation of early music. Faber and Faber, London, UK, 1963. [Google Scholar]
  7. J. Butt: Playing with history: the historical approach to musical performance. Cambridge University Press, Cambridge, UK, 2002. [Google Scholar]
  8. R. Donington: Baroque music style and performance: a handbook. W.W. Norton & Company, 1982. [Google Scholar]
  9. R. Donington: A performer’s guide to Baroque music. Charles Scribner’s Sons, New York, NY, 1973. [Google Scholar]
  10. B. Haynes: The end of early music: a period performer’s history of music. Oxford University Press, New York, NY, 2007. [Google Scholar]
  11. D. Fabian, E. Schubert: Baroque expressiveness and stylishness in three recordings of the D minor Sarabanda for solo violin by J.S. Bach. Music Performance Research 3 (2009) 36–56. [Google Scholar]
  12. D. Fabian, E. Schubert: Is there only one way of being expressive in musical performance? Lessons from listeners’ reactions to performances of J. S. Bach’s music, in: C.J. Stevens, D.K. Burnham, G. McPherson, E. Schubert, J. Renwick, Eds. Proceedings of the 7th International Conference on Music Perception and Cognition. Causal Productions [for] AMPS, Adelaide, South Australia, 2002, 112–115. [Google Scholar]
  13. D. Fabian, E. Schubert, R. Pulley: A Baroque Träumerei: the performance and perception of two violin renditions. Musicology Australia 32 (2010) 27–44. [CrossRef] [Google Scholar]
  14. K. Kato, K. Ueno, K. Kawai: Musicians’ adjustment of performance to room acoustics, part III: understanding the variations in musical expressions. Journal of the Acoustical Society of America 123 (2008) 3610. [CrossRef] [Google Scholar]
  15. K. Kato, K. Ueno, K. Kawai: Effect of room acoustics on musicians’ performance. part II: audio analysis of the variations in performed sound signals, Acta Acustica united with Acustica 101 (2015) 743–759. [CrossRef] [Google Scholar]
  16. T. Fischinger, K. Frieler, J. Louhivuori: Influence of virtual room acoustics on choir singing. Psychomusicology: Music, Mind, and Brain 25, 3 (2015) 208–218. [Google Scholar]
  17. S. Amengual Gari, M. Kob, T. Lokki: Analysis of trumpet performance adjustments due to room acoustics, in: Proceedings of the International Symposium on Room Acoustics (ISRA 2019), Amsterdam, 15–17 September, 2019, 65–73. [Google Scholar]
  18. N. Eley, S. Mullins, P. Stitt, B.F.G. Katz: Virtual Notre-Dame: preliminary results of real-time auralization with choir members, in: 2023 International Conference on Immersive and 3D Audio (I3DA), Bologna, Italy, September 8–10, 2021, 1–6. Video available at https://youtu.be/g6fwv8FzjS4. [Google Scholar]
  19. S. Mullins, V. Le Page, J. De Muynke, E.K. Canfield-Dafilou, F. Billiet, B.F.G. Katz: Preliminary report on the effect of room acoustics on choral performance in Notre-Dame and its pre-Gothic predecessor. 150 (2021) A258. [Google Scholar]
  20. W. Chiang, S.-T. Chen, C.-T. Huang: Subjective assessment of stage acoustics for solo and chamber music performances. Acta Acustica United with Acustica 89, 5 (2003) 848–856. [Google Scholar]
  21. P. Luizard, J. Steffens, S. Weinzierl: Singing in different rooms: Common or individual adaptation patterns to the acoustic conditions? Journal of the Acoustical Society of America 147 (2020) EL132–EL137. [CrossRef] [PubMed] [Google Scholar]
  22. A.H. Marshall, D. Gottlob, H. Alrutz: Acoustical conditions preferred for ensemble. Journal of the Acoustical Society of America 64 (1978) 1437–1442. [CrossRef] [Google Scholar]
  23. K. Kawai, K. Kato, K. Ueno, T. Sakuma: Experiment on adjustment of piano performance to room acoustics: Analysis of performance coded into MIDI data, in: Proceedings of the International Symposium on Room Acoustics (ISRA 2013), Toronto, 9–11 June, 2013, 1–6. [Google Scholar]
  24. Z. Schärer Kalkandjiev, S. Weinzierl: Playing slow in reverberant rooms – examination of a common concept based on empirical data, in: A. Mayer, V. Chatziioannou, W. Goebl, Ed. Proceedings of the Third Vienna Talk on Music Acoustics, 16–19 September, Institute of Music Acoustics, (Wiener Klangstil), University of Music and Performing Arts Vienna, Vienna, 2015, pp. 215–219. [Google Scholar]
  25. P. Luizard, E. Brauer, S. Weinzierl: Singing in physical and virtual environments: how performers adapt to room acoustical conditions, in: Proceedings of the AES International Conference on Immersive and Interactive Audio, 27–29 March, York, UK. [Google Scholar]
  26. S. Bolzinger, J. Risset: A preliminary study on the influence of room acoustics on piano performance. Journal de Physique IV 2 (1992) C1-93–C1-96. [Google Scholar]
  27. S. Bolzinger, O. Warusfel, E. Kahle: Study of the influence of room acoustics on piano performance. Journal de Physique Colloque 4 (1994) 617–620. https://doi.or/10.1051/jp4:19945132. [Google Scholar]
  28. M. Kob, S. Amengual Gari, Z. Schärer Kalkandjiev: Room effect on musicians’ performance, in: J. Blauert, J. Braasch, Eds. The technology of binaural understanding, Springer International Publishing, 2020, pp. 223–249. [CrossRef] [Google Scholar]
  29. C. Palmer: Mapping musical thought to musical performance. Journal of Experimental Psychology: Human Perception and Performance 15, 12 (1989) 331–346. [CrossRef] [PubMed] [Google Scholar]
  30. P.C. Mahalanobis: On the generalized distance in statistics. Proceedings of the National Institute of Sciences of India 2 (1936) 49–55. [Google Scholar]
  31. E. Schubert, D. Fabian: A taxonomy of listeners’ judgments of expressiveness in music performance, in: D. Fabian, R. Timmers, E. Schubert, Eds. Expressiveness in music performance: Empirical approaches across styles and cultures, Oxford University Press, 2014, pp. 283–303. [CrossRef] [Google Scholar]
  32. E. Schubert, D. Fabian:; The dimensions of baroque music performance: a semantic differential study. Psychology of Music 34 (2006) 573–587. [CrossRef] [Google Scholar]
  33. R.S. Witte, J.S. Witte: Statistics, 11th edn., Wiley, Hoboken, NJ, 2017. [Google Scholar]

Current usage metrics show cumulative count of Article Views (full-text article views including HTML views, PDF and ePub downloads, according to the available data) and Abstracts Views on Vision4Press platform.

Data correspond to usage on the plateform after 2015. The current usage metrics is available 48-96 hours after online publication and is updated daily on week days.

Initial download of the metrics may take a while.