A
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| Analyzing performance interpretation: The bouncing ball | p. 103-108 |
George Papageorgiou
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| Appassionata for guitar of Ronaldo Miranda: Relationship between timing variation and musical texture | p. 47 |
Guilherme Augusto de Ávila, Ricieri Carlini Zorzal
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| The art of hand-splitting: Vianna da Motta’s contribution toward a better rendering of Beethoven’s sonata op. 31/2 | p. 321-326 |
Luís Pipa
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| Assessing the importance of visual/theatrical features in the perception of music by an audience, using sociological tools | p. 147-152 |
Teresa Vila Verde
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| Authenticity in the twentieth century: Listening to composer’s own recordings | p. 353 |
Rui Pedro Pereira
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B
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| Biographical predictors of music-related motor skills in children pianists | p. 363-368 |
Hans-Christian Jabusch, Raymond Yong, Eckart Altenmüller
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C
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| La cathédrale engloutie: Is musicology changing the way we perform? | p. 109-114 |
Rui Pedro Pereira
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| Choral singing and psychological wellbeing: Findings from English choirs in a cross-national survey using the WHOQOL-BREF | p. 201-207 |
Stephen Clift, Grenville Hancox, Ian Morrison, Bärbel Hess, Gunter Kreutz, Don Stewart
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| Cognitive feedback and metaphors in emotional communication instruction of musical performance | p. 265-270 |
Nuno Arrais, Helena Rodrigues
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| A comparative study: Editions and manuscripts of the Concerto for Guitar and Orchestra by Villa-Lobos | p. 49-54 |
Ricardo Camponogara de Mello
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| Composing with Hyperscore in general music classes: An exploratory study | p. 225-230 |
Graça Mota, Daniel Gonçalves, Ana Daniela Oliveira, António Sousa, Fernando Calheiros, Helena Ribeiro
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| Control of affective content in music production | p. 91-96 |
António Pedro Oliveira, Amílcar Cardoso
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D
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| Diary of a child musician | p. 213-218 |
Gary McPherson
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E
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| The effect of retrieval cues developed during practice and rehearsal on an expert singer’s long-term recall for words and melody | p. 167-172 |
Jane Ginsborg, Roger Chaffin
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| The effects of the menopause and the use of hormonal replacement therapy on the female professional voice users’ perceptions | p. 209 |
Filipa Lã, Nancy Lee Harper, João Luis Silva Carvalho
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| Effects of musical texture, performer’s preparation, interpretative goals, and musical competence on error patterns in organ performance | p. 259-264 |
Bruno Gingras, Stephen McAdams, Peter Schubert
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| Enhancing music and dance performance with EEG-neurofeedback | p. 275 |
John Gruzelier, Joe Leach, Tony Steffert, Trevor Thompson
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| Epidemiology of musician’s dystonia: Experience from the London clinic, 2002-07 | p. 129 |
Karin Rosenkranz, Katherine Butler, Aaron Williamon
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| Excellence in achievement contexts: Psychological science applications and future directions | p. 17-22 |
Liliana S. Araújo, Leandro S. Almeida, José F. Cruz
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| Exploring the experience, expression, and control of anger among singers | p. 41-46 |
Daniela Coimbra
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F
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| Fernando Lopes-Graça’s choral music: Characteristics and interpretation | p. 327-332 |
Jorge Matta
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| From the Neanderthal to the concert hall: Development of sensory motor skills and brain plasticity in music performance | p. 5-14 |
Eckart Altenmüller
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| From quantitative empirï to musical performology: Experience in performance measurements and analyses | p. 141-146 |
Jan Tro
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G
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| Golden Section in the sonatas of Domenico Scarlatti: An examination of Kirkpatrick’s crux | p. 239-244 |
Nancy Lee Harper
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H
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| How singers influence the understanding of sung text | p. 253-258 |
Philip Fine, Jane Ginsborg
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I
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| The influence of the wider context of learning, gender, age, and individual differences on adolescent musicians’ performance anxiety | p. 219-224 |
Ioulia Papageorgi
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| Integration of improvisation in violin lessons: Why and how to build an accessible and efficient didactic tool | p. 123-128 |
Noémie Robidas, Louise Mathieu
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| Intended versus perceived emotion | p. 233-238 |
Cristina Capparelli Gerling, Regina Antunes Teixeira dos Santos
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J
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| Joint hypermobility is a liability for the performing artist | p. 281-285 |
Rodney Grahame
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| Just in Time as a scientific interface between rhythm composition and performance | p. 79-84 |
Eduardo Lopes, Paulo Gaspar
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K
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| Kinesics analysis in the investigation of the emotion expression in music performance | p. 375 |
António Salgado
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L
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| The learning of music as a means to improve mathematical skills | p. 135-140 |
Carlos Santos-Luiz
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| Learning to be…singing: A choral music education program | p. 97-102 |
Luis Miguel Simões Pacheco, Sandrina Dinis Fernandes Milhano
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M
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| Making sense out of taste: A study on listeners’ preferences of performed tonal music | p. 245-250 |
Ângelo Martingo
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| Measuring self-efficacy in music | p. 307-312 |
Laura Ritchie, Aaron Williamon
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| Motor control and learning: The basics of skilled instrumental performance | p. 115-120 |
Florian Pertzborn
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| Musical performance anxiety as a form of social anxiety? | p. 67-72 |
Susanne Gorges, Georg W. Alpers, Paul Pauli
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N
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| Neural correlates of professional classical singing | p. 335-343 |
Boris Kleber, Ralf Veit, Niels Birbaumer, Martin Lotze
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| Noise exposure and hearing thresholds among orchestral musicians | p. 23-28 |
Bradford C. Backus, Terry Clark, Aaron Williamon
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| Not quite so healthy: The lifestyles of music conservatoire students | p. 73-78 |
Gunter Kreutz
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O
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| Orofacial considerations concerning musicians | p. 279 |
Miguel Pais Clemente, Inês Carvalho, Mário Vasconcelos, Rogério Branco, José Cavalheiro, José Frias-Bulhosa
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P
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| Performance motives: Analysis and comparison of performance timing repetitions using pattern matching and Formal Concept Analysis | p. 175-180 |
Neta Spiro, Nicolas Gold, John Rink
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| PGCE music students’ perceptions of the benefits of their musical involvement outside of school | p. 379-384 |
Dimitra Kokotsaki
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| The phenomenology of performance: Exploring musicians’ perceptions and experiences | p. 35-40 |
Terry Clark, Aaron Williamon, Tânia Lisboa
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| A prototype system for rule-based expressive modifications of audio recordings | p. 355-360 |
Marco Fabiani, Anders Friberg
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R
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| Rhythm capacity: Comparison between professional dancers and dance students | p. 29-34 |
Ana Paula Batalha, Ana Macara
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| The role of timbre in expressive musical performance: A case study of Bach’s Prelude BWV 998 played on the acoustic guitar | p. 181-186 |
Andrew Earis, Patricia Holmes
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| The role of the Alexander technique in musical training and performing | p. 369-374 |
Malcolm Williamson, Neil Roberts, Andy Moorhouse
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| The role of retraining in rehabilitation from focal dystonia | p. 287-292 |
Rae de Lisle, Dale Speedy, John Thompson
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| The roles of expertise and partnership in collaborative rehearsal | p. 61-66 |
Jane Ginsborg, Elaine King
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S
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| Schubert’s lament: Original reading | p. 121 |
J. Miguel Ribeiro-Pereira
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| Science meets art: The body and its role in “shaping” piano music | p. 85-90 |
Cristine MacKie
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| Sensory immersion training for concert artists | p. 133 |
Joseph M. Sanders
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T
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| Tendencies of piano interpretation in the twentieth century: Concept and different types of “piano interpretation schools” | p. 187-192 |
Sofia Lourenço
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| Theoretical and practical applications of mental imagery | p. 295-300 |
Melanie J. Gregg, Terry Clark
|
| A theoretical framework for examining foundational instructional materials supporting the acquisition of performance skills | p. 385-390 |
Frank Heuser
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| The timbre vocabulary of professional female jazz vocalists | p. 347-352 |
Daniela Prem, Richard Parncutt
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| The tuned brain: Enhanced brain plasticity in musicians | p. 131 |
Karin Rosenkranz, Aaron Williamon, John C. Rothwell
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U
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| Unresolved dissonance? Subjectivity in music research | p. 155-160 |
Roger Chaffin, Mary Crawford
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V
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| Variability and automaticity in highly practiced cello performance | p. 161-166 |
Tânia Lisboa, Roger Chaffin, Topher Logan, Kristen Begosh
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| Virtuosity: Some (quasi phenomenological) thoughts | p. 315-320 |
Francisco Monteiro
|
| Voice source and acoustic measures of girls singing “classical” and “contemporary commercial” styles | p. 195-200 |
Chris Barlow, Jeannette LoVetri, David Howard
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W
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| What does mental imagery mean to university music students and their professors? | p. 301-306 |
Elizabeth Haddon
|
| When gesture sounds: Bodily significance in musical performance | p. 55-60 |
Elena Esteban Muñoz
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Y
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| Youth and dance: Relation of university students with different types of dance | p. 391-396 |
Ana Macara, Ana Paula Batalha
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