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List of publications

Back to Selected Publications • My profile at  Google Scholar: Werner Goebl

    2023

  1. Goebl, W. and Bishop, L. (in press).
    Joint Shaping of Musical Time: How Togetherness Emerges in Music Ensemble Performance.
    In C. Wöllner and J. London (eds.), Moving Bodies: Experiencing Time in Music and Dance. Oxford University Press.

  2. D’Amario, S., Schmidbauer, H., Roesch, A., Goebl, W., Niemand, A., & Bishop, L. (2023).
    Interperformer coordination in piano-singing duo performances: Phrase structure and empathy impact.
    Psychological Research, 1–24. doi:10.1007/s00426-023-01818-8 Open Access Open Access

  3. 2022

  4. D’Amario, S., Goebl, W., & Bishop, L. (2022).
    Judgment of togetherness in performances by musical duos.
    Frontiers in Psychology. Performance Science, 13, 1–19.
    doi:10.3389/fpsyg.2022.997752 Open Access Open Access

  5. Goebl, W., and Weigl, D. M. (2022).
    The mei-friend Web Application: Editing MEI in the Browser.
    In Music Encoding Conference Proceedings 2022. Halifax, Canada.

  6. Goebl, W., & Weigl, D. M. (2022).
    Alleviating the last mile of encoding: The mei-friend package for the Atom text editor.
    In S. Münnich & D. Rizo (Eds.), Music Encoding Conference Proceedings 2021 (pp. 31–39). University of Alicante.
    doi:10.17613/fc1c-mx52 Open Access Open Access
    (Best paper award MEC 2021)

  7. Weigl, D. M., VanderHart, C., Pescoller, M., Rammler, D., Grassl, M., Trümpi, F., & Goebl, W. (2022).
    The Vienna Philharmonic Orchestra’s New Year’s Concerts: Building a FAIR Data Corpus for Musicology.
    In DLfM2022: 9th International Conference on Digital Libraries for Musicology (pp. 36–40). ACM Digital Library.
    doi:10.1145/3543882.3543892 Open Access Open Access

  8. D´Amario, S., Schmidbauer, H, Roesch, A., Goebl, W. & Bishop, L. (2022).
    Empathy affects body coordina-tion in piano-singing duo performance.
    Paper presented at the Musical Togetherness Symposium, 13–15 July 2022, Vienna, Austria.

  9. Niemand, A., D’Amario, S., Goebl, W. & Bishop, L. (2022).
    Respiratory Interaction during Lied-Duo Performances.
    Paper presented at the Musical Togetherness Symposium, 13–15 July 2022, Vienna, Austria.

  10. 2021

  11. Parncutt, R., and Goebl, W. (2021).
    Piano.
    In G. McPherson (ed.), Oxford Handbook on Music Performance. Oxford: Oxford University Press, pp. 355–377.
    doi:10.1093/oxfordhb/9780190058869.013.18

  12. Weigl, D. M., Crawford, T., Gkiokas, A., Goebl, W., Gómez, E., Gutiérrez, N. F., Liem, C. C. S., and Santos, P. (2021).
    FAIR Interconnection and Enrichment of Public-Domain Music Resources on the Web.
    Empirical Musicology Review, 16(1), 16–33.
    doi:10.18061/emr.v16i1.7643 Open Access Open Access

  13. Weigl, D. M., and Goebl, W. (2021).
    Playing with a Web of Music: Connecting and enriching online music repositories.
    In E. Berner, and M. Santi (eds.), Music, Media, History. Re-Thinking Musicology in an Age of Digital Media, Bielefeld: transcript, pp. 263–282.
    doi:10.14361/9783839451458-015 Open Access Open Access

  14. Bishop, L., Cancino-Chacón, C., & Goebl, W. (2021).
    Beyond Synchronization: How and Why do Ensemble Performers Communicate?
    In: R. Timmers, F. Bailes, and H. Daffern (eds), Together in Music. Oxford, U.K.: Oxford University Press, pp. 182–188.
    doi:10.1093/oso/9780198860761.003.0023

  15. Pamies-Vila, M., Mayer, A., Goebl, W., and Widholm, Gregor (2021).
    Repetitionsverhalten beim Pianino: Spielbarkeit nach Einbau unterstützender Federmechanik.
    In Tagungsband der DAGA 2021 – 47. Jahrestagung für Akustik (pp. 504–507).
    url:https://pub.dega-akustik.de/DAGA_2021/data/index.html Open Access Open Access

  16. Bishop, L. and Goebl, W. (2021).
    Shaping musical ensemble performance: How ensemble musicians come up with a shared interpretation.
    Paper presented at Art in Motion 2021, Munich, Germany.

  17. D’Amario, S., Niemand, A., Goebl, W., & Bishop, L. (2021).
    Changes in rhythmic body motion in highly-trained piano-singing duos
    Poster presented at the Rhythm Perception and Production Workshop 2021, RITMO, University of Oslo, Norway Poster Blitz Video

  18. Weigl, D. M., Goebl, W., Baker, D. J., Crawford, T., Zubani, F., Gkiokas, A., Gutierrez, N. F., Porter, A., & Santos, P. (2021).
    Notes on Music.
    In DLfM‘21: 8th International Conference on Digital Libraries for Musicology (pp. 23–31). Association for Computing Machinery.
    doi:10.1145/3469013.3469017 Open Access Open Access

  19. D’Amario, S., Bishop, L., Goebl, W., and Niemand, A. (2021)
    Judging Togetherness in Point-Light Displays of Professional Duo Performances.
    Paper presented at the International Conference on Music Perception and Cognition (ICMPC) (Sheffield, U.K.).

  20. 2020

  21. Bishop, L., and Goebl, W. (2020).
    Negotiating a Shared Interpretation During Piano Duo Performance.
    Music & Science, 3, 2059204319896152.
    doi:10.1177/2059204319896152 Open Access Open Access

  22. Weigl, D. M., and Goebl, W. (2020).
    Rehearsal encodings with a social life.
    Proceedings of the Music Encodings Conference 2020, Boston: Tufts University, pp. 51–53.
    doi:10.17613/5ae5-8387 Open Access Open Access

  23. Weigl, D. M., Goebl, W., Hofmann, A., Crawford, T., Zubani, F., Liem, C. C. S., and Porter, A. (2020).
    Read/Write Digital Libraries for Musicology.
    In Proccedings of the 7th International Workshop on Digital Libraries for Musicology, New York: Association for Computing Machinery, pp. 48–52.
    doi:10.1145/3424911.3425519 Open Access Open Access

  24. 2019

  25. Bishop, L., Cancino-Chacón, C. E., and Goebl, W. (2019).
    Moving to Communicate, Moving to Interact: Patterns of Body Motion in Musical Duo Performance.
    Music Perception, 37(1), 1–25.
    doi:10.1525/mp.2019.37.1.1. Open Access Open Access

  26. Bishop, L., Cancino-Chacón, C. E., and Goebl, W. (2019).
    Eye gaze as a means of giving and seeking information during musical interaction.
    Consciousness and Cognition, 68(1), 73–96.
    doi:10.1016/j.concog.2019.01.002 Open Access Open Access

  27. Weigl, D. M., Goebl, W., Crawford, T., Gkiokas, A., Gutierrez, N. F., Porter, A., . . . van Tilburg, M. (2019).
    Interweaving and Enriching Digital Music Collections for Scholarship, Performance, and Enjoyment.
    In: Proceedings of the 6th International Workshop on Digital Libraries for Musicology. The Hague, NL.
    doi:10.1145/3358664.3358666 Open Access Open Access

  28. Weigl, D. M., Cancino-Chacón, C., Bonev, M., & Goebl, W. (2019).
    Linking and visualising performance data and semantic music encoding in real time
    In: Proceedings of the 20th International Society for Music Information Retrieval Conference. Delft, NL.

  29. Weigl, D. M., Liem, C. C. S., Gómez, E., Crawford, T., Ahmed, R., Klerkx, W., and Goebl, W. (2019).
    Towards Richer Online Music Public-domain Archives: Providing enriched access to classical music encodings.
    Paper presented at the Music Encoding Conference, Vienna, Austria

  30. 2018

  31. Cancino-Chacón, C. E., Grachten, M., Goebl, W., and Widmer, G. (2018).
    Computational Models of Expressive Music Performance: A Comprehensive and Critical Review.
    Frontiers in Digital Humanities. Digital Musicology. 5(25),
    doi:10.3389/fdigh.2018.00025 Open Access Open Access

  32. Bishop, L., and Goebl, W. (2018).
    Performers and an Active Audience: Movement in Music Production and Perception.
    [Musizierende und ein aktives Publikum: Der Aspekt der Bewegung beim Ausüben und Wahrnehmen von Musik].
    In Jahrbuch Musikpsychologie, Vol. 28: Musikpsychologie — Musik und Bewegung, e19. doi:10.5964/jbdgm.2018v28.19 Open Access Open Access

  33. Bishop, L., and Goebl, W. (2018).
    Beating Time: How ensemble musicians’ cueing gestures communicate beat position and tempo.
    Psychology of Music, 46(1), 84–106. doi:10.1177/0305735617702971 Open Access Open Access

  34. Goebl, W. (2018).
    Movement and touch in piano performance.
    In B. Müller and S. I. Wolf (Eds.), Springer Handbook of Human Motion. Berlin: Springer, pp. 1–18. doi:10.1007/978-3-319-30808-1_109-1. (post-print version )

  35. Bishop, L., and Goebl, W. (2018).
    Visual Signals between Improvisers Indicate Attention rather than Intentions.
    Paper presented at the 15th International Conference on Music Perception and Cognition (ICMPC) and 10th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM), Graz, Austria.

  36. Bishop, L., and Goebl, W. (2018).
    Beyond Synchronization: How and Why do Ensemble Performers Communicate?
    Paper presented at the Together in Music: Expression, Performance and Communication in Ensembles (TIM-18), Sheffield, U.K.

  37. 2017

  38. Hofmann, A., Wesolowski, B., and Goebl, W. (2017).
    The tight-interlocked rhythm section: Production and perception of synchronisation in Jazz Trio Performance.
    Journal of New Music Research, 46(4), 329–341. doi:10.1080/09298215.2017.1355394. Open Access Open Access

  39. Bishop, L., and Goebl, W. (2017).
    Communication for coordination: Gesture kinematics and conventionality affect synchronization success in piano duos.
    Psychological Research, published online 21 July 2017. doi:10.1007/s00426-017-0893-3 Open Access Open Access

  40. Bishop, L., and Goebl, W. (2017).
    Mind reading during ensemble performance: Communicating with nonverbal signals.
    In U. Hemetek & C. Szabó-Knotik (Eds.), Best of isaScience 2013–2016. An Interdisciplinary Collection of Essays on Music and Arts. Vienna: Hollitzer Verlag, pp. 111–133. (final preprint )

  41. Bishop, L., and Goebl, W. (2017).
    Music and movement: Musical instruments and performers.
    In R. Ashley and R. Timmers (Eds.), Routledge Companion to Music Cognition. New York: Routledge, pp. 349–361.

  42. Cancino-Chacón, C. E., Bonev, M., Durand, A., Grachten, M., Arzt, A., Bishop, L., Goebl, W., and Widmer, G. (2017). The ACCompanion v0.1: An Expressive Accompaniment System. Paper presented at the 18th International Society for Music Information Retrieval Conference (ISMIR), Suzhou, China. http://arxiv.org/abs/1711.02427.

  43. 2016

  44. Hofmann, A., and Goebl, W. (2016).
    Finger Forces in Clarinet Playing.
    Frontiers in Psychology. Performance Science, 7(1140), 1–12. doi:10.3389/fpsyg.2016.01140. Open Access Open Access

  45. Goebl, W. (2016).
    Geformte Zeit in der Musik. In W. Kautek, R. Neck, and H. Schmidinger (Eds.) Zeit in den Wissenschaften (Wissenschaft, Bildung, Politik, Band 19, Österreichischer Wissenschaftstag 2015). Wien, Köln, Weimar: Böhlau Verlag, pp. 179–199.

  46. Bishop, L., and Goebl, W. (2016).
    Coordinating piece entrances: Communication of beat position and tempo through ensemble musicians' cueing gestures.
    Jahrestagung der Deutschen Gesellschaft für Musikpsychologie. Vienna, Austria.

  47. Hofmann, A., Goebl, W., and Wesolowski, B. (2016).
    Synchronisation im Jazz Ensemble.
    Jahrestagung der Deutschen Gesellschaft für Musikpsychologie. Vienna, Austria.

  48. 2015

  49. Bishop, L., and Goebl, W. (2015).
    When they listen and when they watch: Pianists’ use of nonverbal audio and visual cues during duet performance.
    Musicae Scientiae, 19(1), 84–110. doi:10.1177/1029864915570355. Open Access Open Access

  50. Bishop, L., and Goebl, W. (2015).
    Pianists’ use of nonverbal audio and visual cues during duet performance.
    Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM), Manchester, U.K.

  51. Bishop, L., and Goebl, W. (2015).
    Ready, Set, Go: Mapping the gestures used to cue entrances in duo performance.
    International Symposium on Performance Science (ISPS’2015), Kyoto, Japan.

  52. Arzt, Andreas; Goebl, Werner, and Widmer, Gerhard (2015)
    Flexible score following: The Piano Music Companion and beyond, in Proceedings of the Third Vienna Talk on Music Acoustics, 16–19 Sept 2015. Vienna, Austria: Institute Of Music Acoustics (Wiener Klangstil), pp. 220–223. urn:nbn:at:at-ubmw-20151022112731174-1423154-3

  53. Bishop, L., and Goebl, W. (2015).
    Enabling synchronization: Auditory and visual modes of communication during ensemble performance (abstract),
    in: Proceedings of the Third Vienna Talk on Music Acoustics, 16–19 Sept 2015. Vienna: Institute of Music Acoustics (IWK), University of Music and Performing Arts Vienna (mdw), p. 207.

  54. Goebl, W., & Guggenberger, D. (2015).
    TappingFriend – An interactive science exhibit for experiencing synchronicity with real and artificial partners,
    in: Proceedings of the Third Vienna Talk on Music Acoustics, 16–19 Sept 2015. Vienna: Institute of Music Acoustics (IWK), University of Music and Performing Arts Vienna (mdw), pp. 227–230.
    urn:nbn:at:at-ubmw-20151022112655691-1444937-3

  55. Wesolowski, B., Hofmann, A., Schultz, B., and Goebl, W. (2015).
    Temporal Synchronization in improvised and groove-based jazz performances (abstract).
    Improvising Brain Concert and Symposium, Atlanta, GA.

  56. Hofmann, A., Wesolowski, B., and Goebl, W. (2015).
    Hi-hat as groove lock in a jazz ensemble?
    Poster presented at the Rhythm Production and Perception Workshop (RPPW’15), Amsterdam, NL.

  57. Hofmann, A., Wesolowski, B., and Goebl, W. (2015).
    Rotating the Groove: Participatory Discrepancies with Varied Personnel in Jazz Trio Performance.
    International Symposium on Performance Science (ISPS’2015), Kyoto, Japan.

  58. Mayer, A., Chatziioannou, V., and Goebl, W. (Eds.). (2015).
    Proceedings of the Third Vienna Talk on Music Acoustics.
    Vienna, Austria: Institute of Music Acoustics, University of Music and Performing Arts, 311 pages.
    urn:nbn:at:at-ubmw-20151029154902813-1604213-2

  59. 2014

  60. Goebl, W., Bresin, R., and Fujinaga, I. (2014).
    Perception of touch quality in piano tones.
    Journal of the Acoustical Society of America, 136(5), 2839–2850. doi:10.1121/1.4896461.

  61. Bishop, L. and Goebl, W. (2014).
    Context-specific effects of musical expertise on audiovisual integration.
    Frontiers in Psychology | Cognitive Science, 6, 1123, doi:10.3389/fpsyg.2014.01123. Open Access Open Access

  62. Hofmann, A. and Goebl, W. (2014).
    Production and perception of legato, portato and staccato articulation in saxophone playing.
    Frontiers in Psychology | Cognitive Science, 6, 690, doi:10.3389/fpsyg.2014.00690. Open Access Open Access

  63. Goebl, W. (2014).
    Empirically assessing rhythmic entrainment: a re-analysis of Ohriner’s “Listener-Performance Synchronicity in Recorded Performances of Chopin’s Mazurkas.”
    Empirical Musicology Review, 9(2), 133–140. Creative Commons Attribution Non-Commercial Licence Creative Commons

  64. Goebl, W., Dixon, S., and Schubert, E. (2014).
    Quantitative methods: Motion analysis, audio analysis, and continuous response techniques.
    In D. Fabian, R. Timmers, and E. Schubert (Eds.), Expressiveness in Music Performance – Empirical Approaches Across Styles and Cultures, Oxford University Press, Oxford, U.K., pp. 221–239.

  65. Goebl, W. (2014).
    Translation in Performance Science.
    In W. Hasitschka (Ed.), Performing Translation. Schnittstellen zwischen Kunst, Pädagogik und Wissenschaft, Löcker, Wien, pp. 357–367 (ISBN: 978-3-85409-743-3).

  66. Bishop, L. and Goebl, W. (2014).
    Effects of musical expertise on audiovisual integration: Instrument-specific or generalisable?
    In Moo Kyoung Song (Ed.), Proceedings of the ICMPC-APSCOM 2014 Joint Conference: 13th International Conference on Music Perception and Cognition and 5th Conference of Asia-Pacific Society for the Cognitive Sciences of Music, College of Music, Yonsei University, Seoul, Korea, p. 64.

  67. Golka, G. and Goebl, W. (2014).
    Tracking expressive performances with linear and non-linear timing models.
    In Moo Kyoung Song (Ed.), Proceedings of the ICMPC-APSCOM 2014 Joint Conference: 13th International Conference on Music Perception and Cognition and 5th Conference of Asia-Pacific Society for the Cognitive Sciences of Music, College of Music, Yonsei University, Seoul, Korea, pp. 164–165.

  68. 2013

  69. Goebl, W. and Palmer, C. (2013).
    Temporal control and hand movement efficiency in skilled music performance.
    PLOS ONE, 8(1), e50901, doi:10.1371/journal.pone.0050901.  Open Access Open Access

  70. Williamon, A. and Goebl, W. (Eds.). (2013).
    Proceedings of the International Symposium on Performance Science 2013, Association Européenne des Conservatoires, Brussels, Belgium, 855 pages, ISBN: 978-2-9601378-0-4.

  71. Hadjakos, A., Grosshauser, T., and Goebl, W. (2013).
    Motion analysis of music ensembles with the Kinect. International Conference on New Interfaces for Musical Expression (NIME'13), Advanced Institute of Science and Technology, KAIST, Daejeon, Korea, pp. 106–110.

  72. Hofmann, A., Goebl, W., Weilguni, M., and Smetana, Walter (2013).
    Zooming into saxophone performance. Tongue and finger coordination. In A. Williamon and W. Goebl (Eds.), Proceedings of the International Symposium on Performance Science 2013 (ISPS), European Association of Conservatories, Brussels, Belgium, pp. 289–294.

  73. Hofmann, A., Chatziioannou, V., Weilguni, M., Goebl, W., and Kausel, W. (2013).
    Measurement setup for articulatory transient differences in woodwind performance (abstract). Journal of the Acoustical Society of America, 133(5 Pt.2), 3501, doi:10.1121/1.4799441, (also POMA 19, 035060).

  74. Hofmann, A., Goebl, W., and Weilguni, M. (2013).
    Evaluating A Wavelet-based Analysis Of Sensor Reed Signals For Performance Research. In R. Bresin and A. Askenfelt (Eds.), Proceedings of the Stockholm Music Acoustics Conference 2013 (SMAC'13). Stockholm, Sweden: KTH Royal Institute of Technology, pp. 398–402.

  75. Hofmann, A., Mayer, A., and Goebl, W. (2013).
    Towards a live-electronic setup with a sensor-reed saxophone and Csound. In I. Zmölnig and P. Plessas (Eds.), Linux Audio Conference 2013. Graz, Austria: Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts Graz, pp. 153–156.

  76. Weilguni, M., Hofmann, A., Smetana, W., Goebl, W., Nicolics, J., and Radosavljevic, G. (2013).
    Fabrication and mechanical characterization of ring-shaped LTCC/HTCC finger force sensors used for performance studies in clarinet playing. 17th International Conference on Solid-State Sensors, Actuators and Microsystems (Transducers/Eurosensors), Barcelona, Spain.

  77. Weilguni, M., Hofmann, A., Smetana, W., Goebl, W., Nicolics, J., and Radosavljevic, G. (2013).
    Comparison of the Life-Time Prediction of Low/High Temperature Co-Fired Ceramics for Force Sensor Applications. Proceedings of the 2013 Conference of the European Ceramic Society, Limoges, France.

  78. 2012

  79. Goebl, W., and Palmer, C. (2012).
    Examining finger-wrist joint-angle structure in piano playing with motion-capture technology. 12th International Conference on Music Perception and Cognition (ICMPC) and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM), (Aristotle University Thessaloniki, Thessaloniki, Greece), p. 358.

  80. Hofmann, A., Goebl, W., Weilguni, M., Mayer, A., and Smetana, W. (2012).
    Measuring tongue and finger coordination in saxophone performance. 12th International Conference on Music Perception and Cognition (ICMPC) and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM), (Aristotle University Thessaloniki, Thessaloniki, Greece), pp. 442–445.

  81. Hofmann, A., Chatziioannou, V., Kausel, W., Goebl, W., Weilguni, M., & Smetana, W. (2012).
    The influence of tonguing on tone production with single-reed instruments. Paper presented at the 5th Congress of the Alps Adria Acoustics Association, Petrcane (Zadar), Croatia.

  82. Weilguni, M., Smetana, W., Hofmann, A., Goebl, W., Radosavljevic, G., & Nicolics, J. (2012).
    A ring-shaped LTCC/HTCC sensor for detection of finger forces in clarinet playing. In IEEE Sensors, Taipei, Taiwan.

  83. Weilguni, M., Smetana, W., Radosavljevic, G., Nicolics, J., Goebl, W., and Hofmann, A. (2012).
    Low Temperature Co-fired Ceramics Processing Parameters Governing the Performance of Miniaturized Force Sensors. IMAPS/ACerS 8th International Conference and Exhibition on Ceramic Interconnect and Ceramic Microsystems Technologies (CICMT 2012), Erfurt, Germany.

  84. 2011

  85. Goebl, W. (2011).
    Temporarily out of sync: Momentary temporal independence of a solo voice as expressive device. Proceedings of Forum Acusticum 2011, (European Acoustics Association, Aalborg, Danmark), pp. 615–619.

  86. Goebl, W. (2011).
    Die ungleichzeitige Gleichzeitigkeit des Spiels: Tempo rubato in Magaloffs Chopin und andere Ansynchronizitäten. In: Gemessene Interpretation – Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen (Staatliches Institut für Musikforschung Preußischer Kulturbesitz, Berlin), edited by H. v. Loesch and S. Weinzierl, (Schott, Mainz, Germany), pp. 145–156.

  87. Weilguni, M., Smetana, W., Nicolics, J., Kausel, W., and Goebl, W. (2011).
    Influence of lamination parameters on mechanical properties of low temperature co-fired ceramic tapes.
    Microelectronics Reliability, 51(7), 1253–1256, doi:10.1016/j.microrel.2011.03.002.

  88. Weilguni, M., Atassi, I., Gschohsmann, W., Smetana, W., Nicolics, J., & Goebl, W. (2011)
    An analytical model for a two-layer LTCC beam. International Spring Seminar on Electronics Technology (ISSE'2011), High Tatras, Slovakia, pp. 194–195.

  89. 2010

  90. Goebl, W., Flossmann, S., and Widmer, G. (2010).
    Investigations into between-hand synchronization in Magaloff's Chopin.
    Computer Music Journal, 34(3), 35–44, doi:10.1162/COMJ_a_00002.

  91. Flossmann, S., Goebl, W., Grachten, M., Niedermayer, B., and Widmer, G. (2010).
    The Magaloff project: An interim report.
    Journal of New Music Research, 39(4), 363–377, doi:10.1080/09298215.2010.523469.

  92. Flossmann, S., Goebl, W. and Widmer, G. (2010).
    The Magaloff corpus: An empirical error study.
    Proceedings of the International Conference on Music Perception and Cognition (ICMPC'11), Seattle, Washington, USA, August 23–27, 2010, pp. 469–473.

  93. Goebl, W. and Palmer, C. (2010).
    Analyzing finger motion in piano performance: Touch and tempo effects.
    Poster presented at the Second Vienna Talk on Music Acoustics, Vienna, Austria, September 19–21, 2010.

  94. Goebl, W. (Ed.) (2010).
    Proceedings of the Second Vienna Talk on Music Acoustics, Institute of Music Acoustics (Wiener Klangstil), Vienna, Austria, 154 pages, ISBN: 978-3-900914-07-3.

  95. 2009

  96. Goebl, W., and Palmer, C. (2009).
    Synchronization of timing and motion among performing musicians.
    Music Perception, 26(5), 427–438, doi:10.1525/mp.2009.26.5.427.

  97. Goebl, W., and Widmer, G. (2009).
    On the use of computational methods for expressive music performance.
    In Modern Methods for Musicology: Prospects, Proposals, and Realities edited by T. Crawford and L. Gibson, (Ashgate Publishing, London), 93–113.

  98. Goebl, W., Flossmann, S., and Widmer, G. (2009).
    Computational investigations into between-hand synchronization in piano playing: Magaloff's complete Chopin. In Proceedings of the SMC 2009 – 6th Sound and Music Computing Conference, 23–25 July 2009, Porto, Portugal, pp. 291–296.

  99. Grachten, M., Goebl, W., Flossmann, S., and Widmer, G. (2009).
    Phase-plane representation and visualization of gestural structure in expressive timing.
    Journal of New Music Research, 38(2), 183–195, doi:10.1080/09298210903171160.

  100. Goebl, W., and Palmer, C. (2009).
    Finger motion in piano performance: Touch and tempo.
    International Symposium on Performance Science, ISPS 2009 (15–18 December 2009), Auckland, New Zealand. European Association of Conservatoires (AEC), Utrecht, NL, pp. 65–70.

  101. Flossmann, S., Goebl, W., and Widmer, G. (2009).
    Maintaining skill across the life span: Magaloff's entire Chopin at age 77.
    International Symposium on Performance Science, ISPS 2009 (15–18 December 2009), Auckland, New Zealand. European Association of Conservatoires (AEC), Utrecht, NL, pp. 119–124.

  102. 2008

  103. Goebl, W., and Palmer, C. (2008).
    Tactile feedback and timing accuracy in piano performance.
    Experimental Brain Research, 186(3), 471–479, doi:10.1007/s00221-007-1252-1.

  104. Goebl W., Dixon S., DePoli G., Friberg A., Bresin R., Widmer G. (2008).
    ‘Sense’ in Expressive Music Performance: Data Acquisition, Computational Studies, and Models.
    In P. Polotti and D. Rocchesso (Eds.), Sound to Sense – Sense to Sound: A State of the Art in Sound and Music Computing (pp. 195–242). Berlin: Logos. (ISBN 978-3-8325-1600-0)

  105. Goebl, W., and Palmer, C. (2008).
    Synchronization of Timing and Motion in Piano Duet Performance.
    Poster presented at The Neurosciences and Music III – Disorders and Placticity (June 25–28, 2008), McGill University, Montréal, QC, Canada.

  106. Goebl, W., and Palmer, C. (2008).
    Do movement strategies change across tempo in piano playing? Conference on Empirical Musicology, April 2–3, Institute of Musical Research, London, UK.

  107. Goebl, W., and Fujinaga, I. (2008).
    Do key-bottom sounds distinguish piano tones? International Conference on Music Perception and Cognition (ICMPC10), Sapporo, Japan, p. 292.

  108. Grachten, M., Goebl, W., Flossmann, S., and Widmer, G. (2008).
    Intuitive visualization of gestures in expressive timing: A case study on the final ritard. Proceedings of the International Conference on Music Perception and Cognition (ICMPC'10), Sapporo, Japan, pp. 228–235.

  109. Grachten, M., Goebl, W., Flossmann, S., and Widmer, G. (2008).
    Phase-plane visualizations of gestural structure in expressive timing. Proceedings of the Fourth Conference on Interdisciplinary Musicology (CIM'08) Thessaloniki, Greece: Department of Music Studies, Artistotle University of Thessaloniki.

  110. 2007

  111. Goebl, W., and Palmer, C. (2007).
    How do finger dynamics change with tempo in skilled piano performance? Proceedings of the Society of Music Perception and Cognition Conference (SMPC07), Montréal, Canada.

  112. Palmer, C., and Goebl, W. (2007).
    Anticipatory finger movements in musical sequences, 48th Annual Meeting of the Psychonomic Society, November 15–18, Long Beach, CA.

  113. Goebl, W., and Palmer, C. (2007).
    Proprioceptive feedback aids timing accuracy in complex finger sequences. Cognitive Neuroscience Meeting, May 5–8, 2007, New York, Journal of Cognitive Neuroscience, D134, p. 153.

  114. 2006

  115. Dixon, S. E., Goebl, W., and Cambouropoulos, E. (2006).
    Perceptual smoothness of tempo in expressively performed music.
    Music Perception, 23(3), 195–214, doi:10.1525/mp.2006.23.3.195.

  116. Goebl, W. and Palmer, C. (2006).
    Anticipatory motion in piano performance (abstract).
    Journal of the Acoustical Society of America, 120(5), 3004, doi:10.1121/1.4787010.

  117. Goebl, W. and Widmer, G. (2006).
    Unobtrusive practice tools for pianists.
    In Proceedings of the 9th International Conference on Music Perception and Cognition (ICMPC9), Aug. 21–26, 2006, Bologna, Italy, 209–214.
    Available as Report OFAI-TR-2006-10, Austrian Research Institute for Artificial Intelligence, Vienna.

    2005

  118. Goebl, W., Bresin, R., and Galembo, A. (2005).
    Touch and temporal behavior of grand piano actions.
    Journal of the Acoustical Society of America, 118(2), 1154–1165, doi:10.1121/1.1944648.

  119. Dixon S., Goebl W., and Widmer G. (2005).
    The 'Air Worm': An Interface for Real-Time Manipulation of Expressive Music Performance.
    In Proceedings of the 2005 International Computer Music Conference (ICMC2005), Sept. 5–9, 2005, Barcelona, Spain, pp. 614–617.
    Available as Report OFAI-TR-2005-15, Austrian Research Institute for Artificial Intelligence, Vienna.

  120. Widmer G., Dixon S., Flexer A., Goebl W., Knees P., Madsen S.T., Pampalk E., Pohle T., Schedl M., and Tobudic A. (2005).
    The Machine Learning and Intelligent Music Processing Group at the Austrian Research Institute for Artificial Intelligence (OFAI)
    In Proceedings of the 2005 International Computer Music Conference (ICMC2005), Sept. 5–9, 2005, Barcelona, Spain, pp. 169–172.
    Available as Report OFAI-TR-2005-12, Austrian Research Institute for Artificial Intelligence, Vienna.

  121. 2004

  122. Widmer, G. and Goebl, W. (2004).
    Computational models of expressive music performance: The state of the art.
    Journal of New Music Research, 33(3), 203–216, doi:10.1080/0929821042000317804.

  123. Goebl, W., Pampalk, E., and Widmer, G. (2004).
    Exploring expressive performance trajectories: Six famous pianists play six Chopin pieces.
    In Proceedings of the 8th International Conference on Music Perception and Cognition, Evanston (ICMPC8), Aug. 3–7, 2004, Adelaide: Causal Productions, pp. 505–509, CD-ROM.
    Available as Report OFAI-TR-2004-06, Austrian Research Institute for Artificial Intelligence, Vienna.

  124. Goebl, W., Bresin, R., and Galembo, A. (2004).
    Once again: The perception of piano touch and tone. Can touch audibly change piano sound independently of intensity? In Proceedings of the International Symposium on Musical Acoustics (ISMA’04), Nara, Japan, The Acoustical Society of Japan, pp. 332–335, CD-ROM.
    Available as Report OFAI-TR-2004-02, Austrian Research Institute for Artificial Intelligence, Vienna.

  125. 2003

  126. Goebl, W. (2003).
    The Role of Timing and Intensity in the Production and Perception of Melody in Expressive Piano Performance.
    Unpublished doctoral thesis, Karl-Franzens-Universität Graz, Graz, Austria. urn:nbn:at:at-ubg:3-8269

  127. Widmer, G., Dixon, S. E., Goebl, W., Pampalk, E., and Tobudic, A. (2003).
    In search of the Horowitz factor. AI Magazine, 24(3), 111–130.

  128. Goebl, W., & Bresin, R. (2003).
    Measurement and reproduction accuracy of computer-controlled grand pianos.
    Journal of the Acoustical Society of America, 114(4), 2273–2283, doi:10.1121/1.1605387.

  129. Langner, J., & Goebl, W. (2003).
    Visualizing expressive performance in tempo-loudness space.
    Computer Music Journal, 27(4), 69–83, doi:10.1162/014892603322730514.

  130. Kopiez, R., Bangert, M., Goebl, W., and Altenmüller, E. (2003).
    Tempo and loudness analysis of a continuous 28-hour performance of Erik Satie’s composition ‘Vexations.’
    Journal of New Music Research, 32(3), 243–258, doi:10.1076/jnmr.32.3.243.16864.

  131. Goebl, W., & Parncutt, R. (2003).
    Asynchrony versus intensity as cues for melody perception in chords and real music ( 134kB).
    In R. Kopiez, A. C. Lehmann, I. Wolther, and C. Wolf (Eds.), Proceedings of the 5th Triennial ESCOM Conference, September 8–13, 2003. Hanover, Germany: Hanover University of Music and Drama, pp. 376–380, CD-ROM.

  132. Kopiez, R., Bangert, M., Altenmüller, E., and Goebl, W. (2003).
    Tempo and loudness analysis of a continuous 28-hour performance of Erik Satie’s composition ‘Vexations.’ In R. Kopiez, A. C. Lehmann, I. Wolther, & C. Wolf (Eds.), Proceedings of the 5th Triennial ESCOM Conference, September 8–13, 2003. Hanover, Germany: Hanover University of Music and Drama, pp. 372–375, CD-ROM.

  133. Pampalk, E., Goebl, W., and Widmer, G. (2003).
    Visualizing changes in the inherent structure of data for exploratory feature selection. Proceedings of the Ninth ACM SIGKDD International Conference on Knowledge Discovery and Data Mining. Washington DC: ACM, pp. 157–166.

  134. Goebl, W., Bresin, R., and Galembo, A. (2003).
    The piano action as the performer’s interface: Timing properties, dynamic behaviour, and the performer’s possibilities. In R. Bresin (Ed.), Proceedings of the Stockholm Music Acoustics Conference, August 6–9, 2003 (SMAC03), Stockholm, Sweden: Department of Speech, Music, and Hearing, Royal Institute of Technology, vol. 1, pp. 156–162.

  135. Goebl, W. and Bresin, R. (2003).
    Measurement and reproduction accuracy of computer-controlled grand pianos. In R. Bresin (Ed.), Proceedings of the Stockholm Music Acoustics Conference, August 6–9, 2003 (SMAC03), Stockholm, Sweden: Department of Speech, Music, and Hearing, Royal Institute of Technology, vol. 1, pp. 155–158.

  136. 2002

  137. Dixon, S. E., Goebl, W., and Widmer, G. (2002).
    The Performance Worm: Real time visulisation based on Langner's representation. ( 715kB),
    In Proceedings of the 2002 International Computer Music Conference. Göteborg, Sweden, pp. 361–364.

  138. Dixon, S. E., Goebl, W., and Widmer, G. (2002).
    Real time tracking and visualisation of musical expression. ( 723kB),
    In C. Anagnostopoulou, M. Ferrand, & A. Smaill (Eds.), Proceedings of the Second International Conference on Music and Artificial Intelligence (ICMAI'2002), Edinburgh. Berlin etc.: Springer, pp. 58–68.

  139. Goebl, W. and Parncutt, R. (2002).
    The influence of loudness on the perception of onset asynchronies. (, 56kB),
    In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (Eds.), Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney. (ICMPC’2002). Adelaide: Causal Productions, pp. 613–616, CD-ROM.

  140. Dixon, S. E. and Goebl, W. (2002).
    Pinpointing the beat: Tapping to expressive performances ( 46kB),
    In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (Eds.), Proceedings of the 7th International Conference on Music Perception and Cognition, Sydney. (ICMPC’2002). Adelaide: Causal Productions, pp. 617–620, CD-ROM.

  141. Langner, J. and Goebl, W. (2002).
    Representing expressive performance in tempo-loudness space. ( 389kB)
    ESCOM 10th Anniversary Conference on Musical Creativity, April 5–8, 2002. Liège, CD-ROM.

  142. 2001

  143. Goebl, W. (2001).
    Melody lead in piano performance: Expressive device or artifact?
    Journal of the Acoustical Society of America, 110(1), 563–572, doi:10.1121/1.1376133.

    see also: Ball, P. (2001). Piano tunes out. Nature Science Update, 18 July 2001, doi:10.1038/news010719-17.



  144. Goebl, W. and Bresin, R. (2001).
    Are computer-controlled pianos a reliable tool in music performance research? Recording and reproduction precision of a Yamaha Disklavier grand piano. (, 287kB)
    Proceedings of the MOSART workshop on current research directions in computer music, 15–17 Nov 2001, Barcelona.

  145. Langner, J. and Goebl, W. (2001).
    Was kennzeichnet die Interpretation eines guten Musikers? Die integrierte Analyse von Tempo- und Lautstärkegestaltung und ihre musikpädagogischen Anwendungsperspektiven. (, 287kB)
    Multimedia als Gegenstand musikpädagogischer Forschung, 5.–7. Okt. 2001. Regensburg, Germany.

  146. Goebl, W. and Dixon, S. E. (2001).
    Analyses of tempo classes in performances of Mozart piano sonatas. (, 121kB)
    In H. Lappalainen (Ed.), Proceedings of the VII International Symposium on Systematic and Comparative Musicology, III International Conference on Cognitive Musicology, August 16–19, 2001. Jyväskylä, Finland, pp. 65–76.

  147. Cambouropoulos, E., Dixon, S. E., Goebl, W., and Widmer, G. (2001).
    Human preferences for tempo smoothness. ( 448kB)
    In H. Lappalainen (Ed.), Proceedings of the VII International Symposium on Systematic and Comparative Musicology, III International Conference on Cognitive Musicology, August, 16–19, 2001. Jyväskylä, Finland, pp. 18–26.

  148. Goebl, W. and Parncutt, R. (2001).
    Perception of onset asynchronies: Acoustic piano versus synthesized complex versus pure tones. ( 49kB)
    Meeting of the Society for Music Perception and Cognition (SMPC2001), August 9–11, 2001. Kingston, Ontario, Canada, pp. 21–22.

  149. Dixon, S. E., Goebl, W., and Cambouropoulos, E. (2001).
    Beat extraction from expressive musical performances.
    Meeting of the Society for Music Perception and Cognition (SMPC2001), August 9–11, 2001. Kingston, Ontario, Canada, pp. 62–63.

  150. 2000 and before

  151. Goebl, W. (2000).
    Skilled Piano Performance: Melody Lead Caused by Dynamic Differentiation.
    In C. Woods, G. Luck, R. Brochard, F. Seddon, and J. A. Sloboda (Eds.), Proceedings of the 6th International Conference on Music Perception and Cognition, Keele, UK (ICMPC6). Keele University, Department of Psychology, Keele U.K., pp. 1165–1176, CD-ROM.

  152. Goebl, W. (1999).
    Numerisch-klassifikatorische Interpretationsanalyse mit dem ‘Bösendorfer Computerflügel’.
    Diplomarbeit, Universität Wien 1999, 2 Bände, 181 Seiten. (in German) ( 2.4MB)

  153. Goebl, W. (1999).
    Analysis of piano performance: towards a common performance standard?
    Society of Music Perception and Cognition Conference (SMPC99), Evanston, USA, August 14–17, 1999.

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