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Images
in Semantic Dimensions of Sound Mass Music: Mappings between Perceptual and Acoustic Domains
> Music Perception
Published: 25 November 2020
Figure 1. Explained variance ( R 2 ) for each semantic scale with the stepwise multiple linear regression (in solid blue) and with the distance metric learning on neuromimetic representations (in dashed red). More
Images
in All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention
> Music Perception
Published: 25 November 2020
Figure 1. Example of musical duo (No. 4) performing during the experiment. More
Images
in All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention
> Music Perception
Published: 25 November 2020
Figure 2. Marker and joint locations. a) Anterior and posterior views of the marker placement on the participants’ bodies; b) Anterior view of the marker locations as stick figure illustration; c) Anterior view of the locations of the secondary markers/joints used in the analysis. More
Images
in All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention
> Music Perception
Published: 25 November 2020
Figure 3. Movement features of duo musicians playing vs. acting the solo and accompaniment part. A. Quantity of Motion (head and shoulders). B. Fluidity (head and shoulders). C. Bounding Rectangle (head and shoulders). D. Shoulder Speed along x-, y-, and z-axes. More
Images
in All Eyes on Me: Behaving as Soloist in Duo Performances Leads to Increased Body Movements and Attracts Observers’ Visual Attention
> Music Perception
Published: 25 November 2020
Figure 4. Observers’ average dwell time on duo musicians performing congruently (musical and behavioral roles aligned) and incongruently (musical and behavioral roles opposed). Note : Behav. = Behavioral. Acc. = Accompaniment. More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 1. A sample of pitch contour + timing patterns, like those used by Creel (2012) . While W and X share rhythmic patterns, Creel (2012) treated them as different motifs because their contours differed. Neither Creel (2012) nor the current study treat Y and Z as the same, even though they... More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 2. Experiment 1, two example melodies (top lines) with a 3/4 context (lines 2-3) and a 6/8 context (lines 4-5). Only one context (that is, accompaniment) was heard at a time. More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 3. Experiment 1, metrical restoration effect as a function of timbre and rate variability. (a) Raw goodness-of fit ratings; (b) metrical restoration score. The first four bars in (a) correspond to the first bar in (b). Throughout, error bars are standard errors. ** p < .01, * p < ... More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 4. Experiment 2, metrical restoration (dark gray), with overall effects from Experiment 1 for comparison (light gray). * p < .05, ** p < .01, *** p < .001 More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 5. Experiment 3 metrical restoration (dark gray), with Experiment 2’s analogous conditions (light gray). *** p < .001, ** p < .01 More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 6. Experiment 4, metrical restoration. ** p < .01, * p < .05 More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 7. Experiment 5, metrical restoration effect. *** p < .001, ** p < .01 More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 8. Experiment 6, metrical restoration. * p < .05 More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure 9. Summary of effects in Experiments 2-6, showing how rhythmic patterns were distributed across melodies. For each experiment, only “conflict” conditions are depicted—those where melody pairs with similar or shared rhythmic patterns, such as Melodies 1 and 2, mismatched in the meters they o... More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure B1. Control experiment, metrical probe ratings, ± standard errors. More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure B2. Experiment 2, probe ratings for the most 6/8-biased and the most 3/4-biased melody according to the control study. Experiment 2 ratings for the 6/8-biased melody were overall higher for 6/8, and the reverse was true for the 3/4 biased melody. Nonetheless, exposure effects were evident f... More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure C1. Experiment 1, six example melodies. Measure-long rhythmic patterns are notated numerically above each measure. More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure C2. Experiment 2, first half of each of the eight melodies. Rhythmic patterns are marked numerically over each measure. For present purposes, dotted half notes were not considered to be shared patterns. More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure C3. Experiment 3, example pair of melodies with shared rhythmic patterns (4 1 1, 3 1 1 1), first 8 measures of each melody. In the matching condition, both would be heard with 3/4 accompaniments (or both 6/8). In the conflicting condition, the first would be heard in 3/4 and the second ... More
Images
in Metrical Restoration From Local and Global Melodic Cues: Rhythmic Patterns and Overall Melodic Form
> Music Perception
Published: 25 November 2020
Figure C4. Experiment 4, example melodies with changed rhythmic patterns (first 8 measures of each melody). More