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continuous-response

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Journal Articles
Music Perception. 2010; 28147–57 doi: https://doi.org/10.1525/mp.2010.28.1.47
Published: 01 September 2010
... movement kinematics regression continuous response point-light display Music Perception volume 28, issue 1, pp. 47 57, issn 0730-7829, electronic issn 1533-8312 © 2010 by the regents of the university of california. all rights reserved. please direct all requests for permission to photocopy or...
Journal Articles
Music Perception. 2008; 262129–143 doi: https://doi.org/10.1525/mp.2008.26.2.129
Published: 01 December 2008
... even in visual-only video sequences. Crosscorrelations between quantitative characteristics of conductors' movements and observers' continuous expressiveness responses show a tendency for different response time lags. These time lags are related to individual conductors' general affective behavior...
Journal Articles
Music Perception. 2018; 353253–294 doi: https://doi.org/10.1525/mp.2018.35.3.253
Published: 01 February 2018
...Finn Upham; Stephen McAdams Music affects us physically and emotionally. Determining when changes in these reactions tend to manifest themselves can help us understand how and why. Activity Analysis quantifies alignment of response events across listeners and listenings through continuous responses...
Journal Articles
Music Perception. 2004; 222297–350 doi: https://doi.org/10.1525/mp.2004.22.2.297
Published: 01 December 2004
... for permission to photocopy or reproduce article content to University of California Press s Rights and Permissions website, at www.ucpress.edu/journals/rights.htm. Music Perception Winter 2004, Vol. 22, No. 2, 297 350 Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary...
Journal Articles
Music Perception. 2012; 294387–428 doi: https://doi.org/10.1525/mp.2012.29.4.387
Published: 01 April 2012
... continuous responses to longer, more complex musical stimuli. Both studies took into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, meter, rhythmic regularity, and syncopation. As an initial step, linear and nonlinear models were...
Journal Articles
Music Perception. 2010; 275399–412 doi: https://doi.org/10.1525/mp.2010.27.5.399
Published: 01 June 2010
...Brian J. Lucas; Emery Schubert; Andrea R. Halpern WE STUDIED THE EMOTIONAL RESPONSES BY MUSICIANS to familiar classical music excerpts both when the music was sounded, and when it was imagined.We used continuous response methodology to record response profiles for the dimensions of valence and...
Journal Articles
Music Perception. 2004; 214561–585 doi: https://doi.org/10.1525/mp.2004.21.4.561
Published: 01 June 2004
...Emery Schubert The relationship between musical features and perceived emotion was investigated by using continuous response methodology and time-series analysis. Sixty-seven participants responded to four pieces of Romantic music expressing different emotions. Responses were sampled once per...
Journal Articles
Music Perception. 2009; 263223–234 doi: https://doi.org/10.1525/mp.2009.26.3.223
Published: 01 February 2009
... stimuli. This manipulation destroyed the tonal relationships but preserved both the local and global temporal organization (rhythm and formal). Listeners were asked to indicate the onset of musical ideas, to estimate the arousing properties of the music in a continuous response task, and to rate the...
Journal Articles
Music Perception. 2001; 19187–120 doi: https://doi.org/10.1525/mp.2001.19.1.87
Published: 01 September 2001
..., subjects moved a mouse pointer on a continuous response computer interface, rating the moment-to-moment (concurrent) level of perceived emotionality. The correlation between postperformance ratings of expressivity and mean concurrent ratings was moderate (.50). In general, musical structure and the...
Journal Articles
Music Perception. 2016; 341104–117 doi: https://doi.org/10.1525/mp.2016.34.1.104
Published: 01 September 2016
...; McAdams, Vines, Vieillard, Smith, & Reynolds, 2004). The resulting time series of moment-by-moment percep- tual data can then be modeled in a bid to understand the dynamic factors that shape perceived affect. In the case of analyses of continuous responses (Schubert, 1996, 1999, 2004), the resultant...
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
... the continuous response digital interface . Journal of Music Therapy , 30 , 46 – 63 . Malmberg , C. F. ( 1918 ). The perception of consonance and dissonance . Psychological Monographs , 25 , 93 – 133 . McAdams , S. , Douglas , C. , & Vempala , N. N. ( 2017...
Journal Articles
Music Perception. 2020; 374278–297 doi: https://doi.org/10.1525/mp.2020.37.4.278
Published: 11 March 2020
... which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, MA, United States. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an...
Journal Articles
Music Perception. 2020; 374339–346 doi: https://doi.org/10.1525/mp.2020.37.4.339
Published: 11 March 2020
..., low-groove drum-breaks, these effects were eradicated, suggesting that the results of Experiment 1 were not merely due to demand characteristics or response biases. Together, these findings support the notion that listeners are more responsive to “participating in the music” when they are relatively...
Journal Articles
Music Perception. 2020; 374366–367 doi: https://doi.org/10.1525/mp.2020.37.4.366
Published: 11 March 2020
... no more than add a few comments that encourage such a continuation. Russo usefully positions the discussion of joint speech in the broad field of joint action, where a variety of theoretical frameworks co-exist, encompassing both representational and non-representational approaches. In Cummins...
Journal Articles
Music Perception. 2020; 374347–358 doi: https://doi.org/10.1525/mp.2020.37.4.347
Published: 11 March 2020
... variables, while the continuously varying elements were regarded as someone else’s responsibility. From this traditional perspective, there is nothing for linguistics to study in song, as it does not bring further linguistic contrasts to the table. Interestingly, within the discipline of phonetics...
Journal Articles
Music Perception. 2020; 373240–258 doi: https://doi.org/10.1525/mp.2020.37.3.240
Published: 01 February 2020
... continuous measurement of perceived emotions in music . Behavior Research Methods , 39 ( 2 ), 283 – 290 . Nater , U. M , Abbruzzese , E. , Krebs , M. , & Ehlert , U. ( 2006 ). Sex differences in emotional and psychophysiological responses to musical stimuli . International...
Journal Articles
Music Perception. 2020; 373183–184 doi: https://doi.org/10.1525/mp.2020.37.3.183
Published: 01 February 2020
... that those responsible for guiding such experiences should be skilled as musicians and as teachers. Through a career that began at the University of North Texas, then at the University of Washington, and finally at Northwestern University, Steve worked tirelessly to bring about the best in music-making...
Journal Articles
Music Perception. 2020; 373196–207 doi: https://doi.org/10.1525/mp.2020.37.3.196
Published: 01 February 2020
... the coefficient of variation (c) at segments of the auditory event sequence for pianists and non-pianists. Error bars indicate the standard error of the mean. Figure 3. Percentage of “on-time” responses for pianist (a) and non-pianist (b) groups in movement and no-movement trials. Error bars...
Journal Articles
Music Perception. 2020; 373225–239 doi: https://doi.org/10.1525/mp.2020.37.3.225
Published: 01 February 2020
... seven and then become bi-musicals by acquiring the Japanese tonal schema at age nine. Subsequently, they continue to develop sophistication in the two tonal schemata, becoming sensitive to defining differences in tonal stability between the tonal center and another scale tone by at age 13. Moreover, we...
Journal Articles
Music Perception. 2020; 373185–195 doi: https://doi.org/10.1525/mp.2020.37.3.185
Published: 01 February 2020
... . Frontiers in Psychology , 6 , 366 . Clarke , D. ( 2014 ). On not losing heart: A response to Savage and Brown’s “Toward a new comparative musicology.” Analytical Approaches to World Music , 3 ( 2 ), 1 – 14 . Clayton , M. ( 2007 ) Musical renaissance and its margins in England and...