John M Geringer

Dados Biográficos

ID5872192
NOMEJohn M Geringer
PRENOMESJohn M
SOBRENOMEGeringer
ASSINATURAGERINGER J M
AFILIAÇÕESThe University of Texas at Austin
ORCID0000-0001-9179-8465
VERIFICADOSim
TOTAL DE OBRAS32
TOTAL DE CITAÇÕES153
TOTAL COMO AUTOR32
TOTAL COMO EDITOR0
PRIMEIRO ANO DE PUBLICAÇÃO1976
ANO MAIS RECENTE DE PUBLICAÇÃO2022
ÍNDICE H7

  • Effects of Transitional Elements on Listeners’ Aesthetic Responses to a Choral Performance

    Open AccessKari Adams, D Gregory Springer et al.ARTICLEJournal of Research in Music…2022Referências: 6

    The purpose of this study was to investigate the effect of transitional elements on listeners’ aesthetic responses. Participants ( N = 81) viewed an excerpt of a choral performance while manipulating a Continuous Response Digital Interface to record their aesthetic responses. Participants in one group viewed the original choral performance, which included two purposeful transitions and no applause between pieces. In the other group, participants …

  • The Effect of Wearing Foam and Etymotic Earplugs on Classical Musicians’ Pitch Perception

    Open AccessRebecca B MacLeod, John M Geringer et al.ARTICLEJournal of Research in Music…2021Referências: 12

    The purpose of this study was to investigate the effect of wearing earplugs on classical musicians’ pitch perception across three experimental conditions: no earplugs, foam earplugs, and Etymotic earplugs. Participants were graduate and undergraduate music majors attending a large school of music in the southeastern United States ( N = 72). Participants adjusted the pitch of five complex stimulus tones (C#4, C#5, C#3, G#4, and F#3) using a contin…

  • Listeners’ Perceptions of Choral Performances With Static and Expressive Movement

    Open AccessJessica Nápoles, John M Geringer et al.ARTICLEJournal of Research in Music…2021Referências: 9

    We examined how movement impacted listeners’ perceptions of choral performances. Participants ( N = 115; n = 60 nonmusic majors, n = 55 music majors) viewed excerpts of Moses Hogan’s “Didn’t My Lord Deliver Daniel” under four conditions: good tone/expressive movement (GT/EM), good tone/static movement (GT/SM), poor tone/expressive movement (PT/EM), and poor tone/static movement (PT/SM). They rated tone quality and overall expressivity for each ex…

  • Effects of Experience on Tempo Preference for Selected Wind Band Masterworks

    Open AccessDeborah A Confredo, John M Geringer et al.ARTICLEJournal of Research in Music…2020Citada por: 1Referências: 2

    We conducted two studies to complement extant tempo preference work. In Study 1, we explored preferred tempos for excerpts from selected wind band masterworks of band directors and undergraduate instrumental music majors. Participants used a sort-and-rank procedure to indicate tempo preferences of six excerpts. Preferences for four of the pieces were substantially the same: There was no difference between original tempos and the 6% increase in te…

  • Responses of Multi-Aged Music Students to Mid-20th-Century Art Music

    Open AccessClifford K Madsen, John M GeringerARTICLEJournal of Research in Music…2015Citada por: 1

    This investigation replicates previous research into K–12 students’ responses to mid-20th-century art music. The study extends that research to include undergraduates and graduates as well as an additional group of graduate students who had taken a 20th-century music class. Children’s responses showed remarkable consistency and indicated that younger children gave higher mean liking ratings than did older students. Kindergarten and third-grade yo…

  • In Tune or Out of Tune

    Open AccessJohn M Geringer, Rebecca B MacLeod et al.ARTICLEJournal of Research in Music…2015Citada por: 7

    We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: v…

  • Attitudes of String Teachers and Performers Toward Preparation for and Teaching of Private Lessons

    Open AccessWilliam E Fredrickson, John M Geringer et al.ARTICLEJournal of Research in Music…2013Referências: 1

    The present study was designed to examine attitudes toward private lesson teaching of a cross-section of string instrument instructors ( N = 1,617). The participant pool was drawn from the membership of the American String Teachers Association (ASTA). Results were similar in many ways to responses in previous studies also involving music faculty and music students. These groups indicated that they liked teaching, liked the challenges of teaching …

  • Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist

    Open AccessJohn M Geringer, Justine K SasanfarARTICLEJournal of Research in Music…2013Citada por: 2Referências: 1

    Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained app…

  • A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto

    Open AccessChristopher M Johnson, Clifford K Madsen et al.ARTICLEJournal of Research in Music…2012Referências: 1

    The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial…

  • Musicians’ Preferences for Tempo and Pitch Levels in Recorded Orchestral Music

    Open AccessJohn M GeringerARTICLEJournal of Research in Music…2010Citada por: 1Referências: 12

    This study was designed to ascertain musicians’ tempo and pitch level preferences when listening to orchestral music. Ninety graduate and undergraduate music major students were assigned randomly to one of three groups. Participants listened individually to recorded symphonic excerpts, 5 with relatively fast and 5 with relatively slow tempos. Listeners in the tempo group modulated a dial to adjust tempos to their preferred levels for each of the …

  • Perceived Pitch of Violin and Cello Vibrato Tones Among Music Majors

    Open AccessJohn M Geringer, Rebecca B MacLeod et al.ARTICLEJournal of Research in Music…2009Citada por: 1Referências: 2

    The purpose of this study was to investigate the perceived pitch of string vibrato tones. The authors used recordings of acoustic instruments (cello and violin) to provide both vibrato stimulus tones and the nonvibrato tones that listeners adjusted to match the perceived pitch of the vibrato stimuli. We were interested especially in whether there were differences in pitch perception of vibrato tones between string performers ( n = 36) and music m…

  • Adolescent Musicians' Perceptions of Conductors Within Musical Context

    Open AccessClifford K Madsen, John M Geringer et al.ARTICLEJournal of Research in Music…2009Referências: 6

    Attention to subtle changes in music, whether inadvertent or purposeful, occupies a great deal of practice and rehearsal time for the performer. Regardless of the extremely subtle acoustic changes that have been found to be perceptible within almost all studies, it is the total overall effect that most occupies the individual listener. This study investigated perception of digitally edited performances of Johann Strauss's Blue Danube Waltz, all p…

  • Reflections on Puccini's La Bohème

    Open AccessClifford K Madsen, John M GeringerARTICLEJournal of Research in Music…2008Citada por: 5Referências: 3

    A continuing line of research indicates that focus of attention is perhaps the most important attribute of actively participating in meaningful music listening and a model accounting for these findings has been developed. Music teachers are especially concerned with meaningful listening when having students discern important elements or attributes of music. Although newer listening devices offer sophisticated methods for continuous measurement, t…

  • Effects of Excerpt Duration, Tempo, and Performance Level on Musicians' Ratings of Wind Band Performances

    Open AccessJohn M Geringer, Christopher M JohnsonARTICLEJournal of Research in Music…2007Citada por: 3Referências: 4

    This study investigated effects of listening example duration on the musical evaluation of wind band performances. In it, 96 music majors rated wind band performances that varied in performance level (high school, university, and professional), tempo (fast and slow), and duration (approximately 12, 25, and 50 seconds). Results showed no main effect for duration; however, there was a significant interaction between duration, tempo, and performance…

  • The Effect of Articulation Style on Perception of Modulated Tempo

    John M Geringer, Clifford K Madsen et al.ARTICLEJournal of Research in Music…2006Citada por: 5Referências: 3

    We investigated the effect of legato and staccato articulation styles on the perception of modulated tempos. Ninety music majors served as participants. Listeners heard music examples that had been selected from two pieces, each of which included staccato and legato passages. Excerpts were presented to listeners in three conditions of tempo modulation: gradual increases, gradual decreases, or no change. Modulations were produced in small incremen…

  • Initial Movement and Continuity in Vibrato among High School and University String Players

    John M Geringer, Michael L Allen et al.ARTICLEJournal of Research in Music…2005Citada por: 4

    The purpose of the present study was to investigate aspects of vibrato performance among high school and university string players. The main questions were to determine whether students consistently initiate vibrato in an upward or downward direction and whether players vibrate continuously when performing slurs. Forty high school and university violin and cello students played exercises that included tones performed with and without vibrato. We …

  • An Analysis of Vibrato among High School and University Violin and Cello Students

    Open AccessJohn M Geringer, Michael L AllenARTICLEJournal of Research in Music…2004Citada por: 3Referências: 2

    We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharp…

  • On Publishing, Pluralism, and Pitching

    Open AccessJohn M GeringerARTICLEJournal of Research in Music…2000Citada por: 6Referências: 3

    John M. Geringer is the recipient of the MENC 2000 Senior Researcher Award. The following speech was presented on March 10, 2000, at a special session of the Society for Research in Music Education at MENC's National Biennial In-Service Conference held in Washington, D. C

  • Effects of Tone-Quality Changes on Intonation and Tone-Quality Ratings of High School and College Instrumentalists

    Open AccessJohn M Geringer, Michael D WorthyARTICLEJournal of Research in Music…1999Citada por: 10Referências: 2

    We investigated the effects of variations in tone quality on listeners' perception of both tone quality and intonation. University music and nonmusic major instrumentalists and high school students participating in instrumental ensembles served as listeners ( N = 116). High-quality digital samples of clarinet, trumpet, and trombone tones were used. The original tone quality of each instrument was manipulated to produce experimental stimuli of “br…

  • Musicians' Ratings of Good versus Bad Vocal and String Performances

    Open AccessJohn M Geringer, Clifford K MadsenARTICLEJournal of Research in Music…1998Citada por: 7Referências: 2

    This study continues a line of research attempting to ascertain the focus of musicians' attention when listening to music. It is the fifth study in a series structured to determine whether musicians demonstrate consistent listening patterns across excerpts intentionally designed to be perceived as good and bad performances. Soprano, tenor, violin, and cello excerpts varied considerably in intonation and tone quality and, to a lesser extent, in ot…

  • Nonmusic Majors' Cognitive and Affective Responses to Performance and Programmatic Music Videos

    Open AccessJohn M Geringer, Jane W Cassidy et al.ARTICLEJournal of Research in Music…1997Citada por: 3Referências: 1

    This study was designed to compare the effects of different kinds of visual presentations and music alone on university nonmusic students' affective and cognitive responses to music. Four groups of participants were presented with excerpts from the first and fourth movements of Beethoven's Symphony No. 6 in F major (“Pastoral”). Two groups heard music excerpts only, one interpretation conducted by Stowkowski and one by Bernstein. One of the video…

  • Effects of Music with Video on Responses of Nonmusic Majors

    Open AccessJohn M Geringer, Jane W Cassidy et al.ARTICLEJournal of Research in Music…1996Citada por: 6Referências: 5

    The purpose of this exploratory study was to investigate possible effects of visual information on nonmusic students' affective and cognitive responses to music. Excerpts were selected from compositions by Bach (abstract example) and Dukas (programmatic example) used in the movie Fantasia. One group of university nonmusic students viewed the video while hearing the music excerpts; a second group was presented the music only. All students (N = 103…

  • Continuous Loudness Judgments of Dynamics in Recorded Music Excerpts

    Open AccessJohn M GeringerARTICLEJournal of Research in Music…1995Citada por: 5

    This study was designed to investigate loudness judgments of musician and nonmu-sician listeners in response to performed dynamic changes within a musical context. Ten previously recorded music excerpts selected from diverse examples of music served as stimuli. Subjects listened individually and responded continuously during music examples using the Continuous Response Digital Interface (CRDI) to indicate perceived loudness levels. A three-way an…

  • Temporal Discrimination of Modulated Intensity in Music Excerpts and Tones

    Open AccessJohn M GeringerARTICLEJournal of Research in Music…1991Referências: 15

    This study was designed to investigate listener discrimination of modulated intensity. Synthesizer music, previously recorded music excerpts, and electronic tones with gradual increases, decreases, or no change in intensity were presented to 108 subjects, 54 musicians and 54 nonmusicians. The total amount of stimulus modulation for both increase and decrease conditions was 12 dB(A) at the rate of 1 dB per second, well above the relative threshold…

  • Performance of Perceived Beat in Relation to Age and Music Training

    Open AccessRobert A Duke, John M Geringer et al.ARTICLEJournal of Research in Music…1991Citada por: 7Referências: 2

    The perception of beat across a range of stimulus speeds was examined using monotonic I stimuli. Two hundred forty subjects representing four age-groups (graduate, undergraduate, high school, junior high school) and two levels of music participation (music major/enrollment in band versus no participation in organized music activities) served as subjects. Thirteen sets of consecutive periodic 349.23 Hz (F 4 ) tones were presented at various speeds…