ResearcherPage View Count

Geo Map
Region#
AS - Asia1007
EU - Europe495
NA - North America474
HKU - The University of Hong Kong93
AF - Africa68
OC - Oceania45
SA - South America5
UND - Undefined39
Total2226
Country#
CN - China482
US - United States446
GB - United Kingdom269
HK - Hong Kong161
KR - Republic of Korea156
SG - Singapore104
HKU - The University of Hong Kong93
IE - Ireland82
ZA - South Africa48
NL - Netherlands47
OTH - Others338
Total2226
City#
Singapore99
Beijing93
The University of Hong Kong93
Dublin82
Ashburn71
Guangzhou56
Central District54
Central54
Johannesburg48
Busan48
Others1528
Total2226
Looking back and reconstructing: dialogical voices in Hugo Riemann's Theories on phrasing and rests117
Eye-Hand Span is not an Indicator of but a Strategy for Proficient Sight-Reading in Piano Performance31
Translation of Ulrich Konrad, “Zu den ‘Fassungen’ von W. A. Mozarts Die Entfuhrung aus dem Serail KV 384.”116
(De) Constructing the disciplinary identity of music theory: the case of theories of rhythm at the turn of the Twentieth Century25
Pianist as action executer and observer: Fingering in musical communication22
Contextualizing Music and the Body: An Introduction47
The will sets in activity the nervous fibers, like the keys of a piano: music and force in Early Music Psychological Discourse28
‘Boundaries’ and ‘Thresholds’: Conceptual Models of the Musical Mind in the History of Music Psychology73
Attending to Musical Action: The Psychology of Music Performance in the Early Twentieth Century22
‘The Voice in Silence’: Hugo Riemann’s Pausenlehre and Its Psychological Implications56
Change in left inferior frontal connectivity with less unexpected harmonic cadence by musical expertise33
Dissociation of Connectivity for Syntactic Irregularity and Perceptual Ambiguity in Musical Chord Stimuli10
'Minding Gaps’: Theorizing Bodily and Musical Motions in the Early 20th Century23
'In Search of Lost Time': Connections between Theories of Hearing and Performance Discourse26
Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany. By Myles W. Jackson. pp. x + 365. MIT Press, Cambridge, Mass. and London, 2006, £29.95. ISBN 978-0-262-10116-5.21
Motion, Force, and 'Rhythm Form': Keywords in the Piano Theories of the Early Twentieth Century34
Force, afterimages, and the ears: changing notions of music listening in Late 19th-century Thoughts25
Tracing Voice: The Human Voice and Its Signification in Early Music Psychology42
Hearing pauses: theories and analyses at the turn of the 20th Century94
Increased fronto-temporal connectivity by modified melody in real music35
’Resonance’ in Piano Fingering: A Historical and Empirical Study9
The emergence of the psychology of music in the late 19th Century and its conceptualization of the human psyche271
‘Imagery’ and ‘Force’: Conceptual Metaphors in the Early Music Psychology of Late-Nineteenth and Early Twentieth Centuries127
Music in the Ear's Mind53
Conceptualization of Tonal Relations in Writings by Hugo Riemann and his Contemporary Psychologists112
Early Music Psychology as an Interdiscipline: Historical Reflections on Music Theory and the Psychology of Music226
Early music psychology as an interdiscipline: historical reflections on music theory and the psychology of music118
Music in the Hands: The Convergence of Performance Theory and Music Psychology in History23
Music Psychology of the Piano-Playing Hands in Historical Discourse53
The Oxford Handbook of Music and the Body231
Is There Disabled Music?: Music and the Body from Dame Evelyn Glennie’s Perspective61
Listening to the Musicking Body: A Cross-Disciplinary and Historical Perspective62


TotJulAugSepOctNovDecJanFebMarAprMayJun
2017/20182872125392340221850193126
2018/201933137251033323323218225244
2019/20203948699917111765521010513
2020/202191314819377331855248322782729
2021/2022301174211635429168528217
2022/20230000000000000
Ever2226