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Journal Articles
Music Perception. 2020; 374339–346 doi: https://doi.org/10.1525/mp.2020.37.4.339
Published: 11 March 2020
Journal Articles
Music Perception. 2020; 374347–358 doi: https://doi.org/10.1525/mp.2020.37.4.347
Published: 11 March 2020
Journal Articles
Music Perception. 2020; 374323–338 doi: https://doi.org/10.1525/mp.2020.37.4.323
Published: 11 March 2020
Journal Articles
Music Perception. 2020; 374363–365 doi: https://doi.org/10.1525/mp.2020.37.4.363
Published: 11 March 2020
Journal Articles
Music Perception. 2020; 374359–362 doi: https://doi.org/10.1525/mp.2020.37.4.359
Published: 11 March 2020
Journal Articles
Journal Articles
Music Perception. 2020; 374278–297 doi: https://doi.org/10.1525/mp.2020.37.4.278
Published: 11 March 2020
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
Images
Results of Experiment 1 (Panel A) and Experiment 2 (Panel B) indexed by Lik...
Published: 11 March 2020
Figure 1. Results of Experiment 1 (Panel A) and Experiment 2 (Panel B) indexed by Likability and Rating Type. Error bars represent standard error of the mean. Figure 1. Results of Experiment 1 (Panel A) and Experiment 2 (Panel B) indexed by Likability and Rating Type. Error bars represent standard error of the mean. More
Images
Rhythmic pattern used in many protest chants, and traceable back to at leas...
Published: 11 March 2020
Figure 1. Rhythmic pattern used in many protest chants, and traceable back to at least Chile of the 1970s. Figure 1. Rhythmic pattern used in many protest chants, and traceable back to at least Chile of the 1970s. More
Images
Kesh Temple Hymn (Image courtesy of Walters Art Museum, Baltimore, Maryland...
Published: 11 March 2020
Figure 2. Kesh Temple Hymn (Image courtesy of Walters Art Museum, Baltimore, Maryland). Figure 2. Kesh Temple Hymn (Image courtesy of Walters Art Museum, Baltimore, Maryland). More
Images
Proportion of correct emotion judgements given by musicians and nonmusician...
Published: 11 March 2020
Figure 1. Proportion of correct emotion judgements given by musicians and nonmusicians in the three stimuli modalities when collapsing across emotion. Error bars represent standard errors. Figure 1. Proportion of correct emotion judgements given by musicians and nonmusicians in the three stimuli modalities when collapsing across emotion. Error bars represent standard errors. More
Images
Mean reaction time (s) of emotion judgements given by musicians and nonmusi...
Published: 11 March 2020
Figure 2. Mean reaction time (s) of emotion judgements given by musicians and nonmusicians in response to happy and angry clips when collapsing across stimuli modality. Error bars represent standard errors. Figure 2. Mean reaction time (s) of emotion judgements given by musicians and nonmusicians in response to happy and angry clips when collapsing across stimuli modality. Error bars represent standard errors. More
Images
Mean reaction time (s) of emotion judgements plotted as a function of years...
Published: 11 March 2020
Figure 3. Mean reaction time (s) of emotion judgements plotted as a function of years of music training. Figure 3. Mean reaction time (s) of emotion judgements plotted as a function of years of music training. More
Images
Proportion of happy and angry trials where participants felt the emotion th...
Published: 11 March 2020
Figure 4. Proportion of happy and angry trials where participants felt the emotion they had perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. Figure 4. Proportion of happy and angry trials where participants felt the emotion they had perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. More
Images
Mean reaction time (s) for correct emotion judgements given by musicians an...
Published: 11 March 2020
Figure A1. Mean reaction time (s) for correct emotion judgements given by musicians and nonmusicians in response to happy and angry clips when collapsing across stimuli modality. Error bars represent standard errors. Figure A1. Mean reaction time (s) for correct emotion judgements given by musicians and nonmusicians in response to happy and angry clips when collapsing across stimuli modality. Error bars represent standard errors. More
Images
Proportion of happy and angry trials where participants felt the emotion th...
Published: 11 March 2020
Figure A2. Proportion of happy and angry trials where participants felt the emotion they had correctly perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. Figure A2. Proportion of happy and angry trials where participants felt the emotion they had correctly perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. More
Images
Cummins conceptualizes joint speech as vocal activity falling somewhere alo...
Published: 11 March 2020
Figure 1. Cummins conceptualizes joint speech as vocal activity falling somewhere along the speech-song continuum. The activity is coordinated across participants and embedded in a physical and social context. Joint speech may also be conceptualized as a class of joint action phenomena. While all of the classes depend upon sensorimotor information that is shared between co-actors, they vary with respect to the specific sensory systems involved and the extent to which they involve neural entrainment. Joint speech is primarily auditory and tends to involve a high level of neural entrainment. Figure 1. Cummins conceptualizes joint speech as vocal activity falling somewhere along the speech-song continuum. The activity is coordinated across participants and embedded in a physical and social context. Joint speech may also be conceptualized as a class of joint action phenomena. While all ... More
Images
Instrumental configurations of syncopations in one-stream (A-C), two-stream...
Published: 11 March 2020
Figure 1. Instrumental configurations of syncopations in one-stream (A-C), two-stream (D-I) and three-stream patterns (J-L). Black bars = onsets on the quarter note pulse. Grey bars = syncopated onsets. Circles denote syncopations. A) Syncopated bass drum, B) syncopated snare drum, C) syncopated hihat, D) Syncopated bass drum with snare drum on the pulse, E) syncopated snare drum with bass drum on the pulse, F) syncopated bass drum with hihat on the pulse, G) syncopated snare drum with hihat on the pulse, H) syncopated hihat with bass drum on the pulse, I) syncopated hihat with snare drum on the pulse, J) Syncopated bass drum with snare drum and hihat on the pulse, K) syncopated snare drum with bass drum and hihat on the pulse, L) syncopated hihat with bass drum and snare drum on the pulse. Figure 1. Instrumental configurations of syncopations in one-stream (A-C), two-stream (D-I) and three-stream patterns (J-L). Black bars = onsets on the quarter note pulse. Grey bars = syncopated onsets. Circles denote syncopations. A) Syncopated bass drum, B) syncopated snare drum, C) syncopated h... More
Images
Effects of syncopation on finger-tapping synchronization, measured as MRL (...
Published: 11 March 2020
Figure 2. Effects of syncopation on finger-tapping synchronization, measured as MRL (mean resultant length), plotted as raw (not transformed) data. Left panel: Effect of the syncopation’s metric location; Right panel: the number of instrumental streams interacting with group. Figure 2. Effects of syncopation on finger-tapping synchronization, measured as MRL (mean resultant length), plotted as raw (not transformed) data. Left panel: Effect of the syncopation’s metric location; Right panel: the number of instrumental streams interacting with group. More