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Explained variance ( R  2 ) for each semantic scale with the stepwise multi...
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
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Images
Marker and joint locations. a) Anterior and posterior views of the marker p...
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
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Movement features of duo musicians playing vs. acting the solo and accompan...
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
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Observers’ average dwell time on duo musicians performing congruently (musi...
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
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A sample of pitch contour + timing patterns, like those used by  Creel (201...
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
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Experiment 1, two example melodies (top lines) with a 3/4 context (lines 2-...
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
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Experiment 1, metrical restoration effect as a function of timbre and rate ...
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
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Experiment 2, metrical restoration (dark gray), with overall effects from E...
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
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Experiment 3 metrical restoration (dark gray), with Experiment 2’s analogou...
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
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Summary of effects in Experiments 2-6, showing how rhythmic patterns were d...
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
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Images
Experiment 2, probe ratings for the most 6/8-biased and the most 3/4-biased...
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
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Experiment 1, six example melodies. Measure-long rhythmic patterns are nota...
Published: 25 November 2020
Figure C1. Experiment 1, six example melodies. Measure-long rhythmic patterns are notated numerically above each measure. More
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Experiment 2, first half of each of the eight melodies. Rhythmic patterns a...
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
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Experiment 3, example pair of melodies with shared rhythmic patterns (4 1 1...
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
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Experiment 4, example melodies with changed rhythmic patterns (first 8 meas...
Published: 25 November 2020
Figure C4. Experiment 4, example melodies with changed rhythmic patterns (first 8 measures of each melody). More