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ISBN 978-2-9601378-0-4
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identified variables included (1) articulation, (2) interval preceding, (3) interval succeeding, (4) interval direction preceding, (5) interval direction succeeding, (6) metrical placement, (7) instrument range, (8) tempo, and (9)
underlying harmonic character. An a priori power analysis was conducted in
order to calculate the appropriate sample size with the desired power of 0.80
and an alpha level of 0.05. The data indicated that 211 units of analysis were
needed. The relative signal energy for each individual eighth note performed
was calculated utilizing MIRtoolboxs mirrms (root square mean) function.
RESULTS
Note dynamics (N=231) were simultaneously regressed on metrical beat
placement, melodic character, intervals, articulation, range, underlying
harmony, and tempo (See Table 1). The omnibus test was statistically
significant (R2=0.223, F9,221=7.06, p<0.001). The independent variables
combined to account for 22.3% of the variance in note dynamics. Tempo
(=0.408, t6=427, p<0.001) was found to have a statistically significant effect on
note dynamics. All of the inter-correlations were non-significant beyond p=0.05.
DISCUSSION
The results indicate that, acoustically, only tempo has an effect on the examined eighth notes. Therefore, it can be argued that the perception of jazz syncopation may play more of an important role than the acoustical occurrences
of syncopation in a jazz listening experience. By using an acoustical underTable 1. Summary of the simultaneous regression analyses.
Variable
SE
VIF
.012
.006
.145
.029
1.241
Metrical placement
-.001
.002
.042
.500
1.082
Underlying harmony
-.007
.006
.082
.201
1.163
Interval preceding
.002
.002
.063
.355
1.322
Interval succeeding
.005
.002
.002
.974
1.096
.004
.006
.053
.450
1.383
.010
.006
.105
.090
1.085
Articulation
.002
.008
.014
.829
1.144
Tempo
.002
.000
.437
.000
1.177
Note.
R2=0.223
(p<0.001).
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