Search Results for habituation
1-20 of 51 Search Results for
Music Perception. 2018; 362175–200 doi: https://doi.org/10.1525/mp.2018.36.2.175
Published: 01 December 2018
...-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In...
Music Perception. 2018; 353376–399 doi: https://doi.org/10.1525/mp.2018.35.3.376
Published: 01 February 2018
... type of music from their habitual behavior for instance, by asking how fre- quently an individual listens to each genre. For example, while an individual may frequently report listening to pop music, this may be due to involuntary exposure in public places or from their peers selections, rather than...
Includes: Supplementary data
Music Perception. 2018; 353253–294 doi: https://doi.org/10.1525/mp.2018.35.3.253
Published: 01 February 2018
Music Perception. 2017; 35160–76 doi: https://doi.org/10.1525/mp.2017.35.1.60
Published: 01 September 2017
... habituation, a decrease in the level of a behavioral response when a stimulus is pre- sented repeatedly. The second is processing fluency, whereby a stimulus becomes easier to process, percep- tually and/or cognitively, when it is repeated. This greater fluency leads to a positive emotional response, which is...
Music Perception. 2016; 342123–131 doi: https://doi.org/10.1525/mp.2016.34.2.123
Published: 01 December 2016
... had a history of music lessons and/or other habitual music activities in addition to that of compulsory education. However, we chose not to discuss the influence of music experience since we did not find any evidence that this would affect our results.) All participants provided informed consent...
Music Perception. 2016; 342152–166 doi: https://doi.org/10.1525/mp.2016.34.2.152
Published: 01 December 2016
...). All these theories are further supported by the finding that the irrelevant sound effect can be reduced by allowing subjects to hear and habituate to distractor sounds before the visual task (Bell et al., 2012). This prior work suggests an explanation of why cer- tain musical lines seem to be...
Music Perception. 2016; 335561–570 doi: https://doi.org/10.1525/mp.2016.33.5.561
Published: 01 June 2016
...; Pressing, 1988). This observation may not be surprising to skilled improvisers, who are often well aware of the presence of habitual figures in their own improvised performances (Berliner, 1994; Norgaard, 2011). An artist-level pianist in a previous study described the process of improvisation as...
Music Perception. 2016; 333306–318 doi: https://doi.org/10.1525/mp.2016.33.3.306
Published: 01 February 2016
... REPRODUCE ARTICLE CONTENT THROUGH THE UNIVERSITY OF CALIFORNIA PRESS S REPRINTS AND PERMISSIONS WEB PAGE, HTTPWWW.UCPRESS.EDU/JOURNALS.PHP?P¼REPRINTS. DOI: 10.1525/MP.2016.33.03.306 306 Cecilia Taher, Rene´ Rusch, & Stephen McAdams Mackworth s (1969), and Synder s (2000) habituation models, and Gati and Ben...
Music Perception. 2015; 332199–216 doi: https://doi.org/10.1525/mp.2015.33.2.199
Published: 01 December 2015
... current, habitual, or recent personal earworm. The song or the artist may or may not be identified, essential is the actual earworm experience. Tweet 11. I have Some Nights stuck in my head but I only know the tune to the chorus so I ve been sing- ing it as a weird voodoo African chant instead By...
Music Perception. 2014; 314303–315 doi: https://doi.org/10.1525/mp.2014.31.4.303
Published: 01 April 2014
Music Perception. 2013; 304369–390 doi: https://doi.org/10.1525/mp.2013.30.4.369
Published: 01 April 2013
... basic total duration of 9,600 ms. The first cycle served as an induction period, and the second cycle as the test period during which the probe tone occurred. To avoid habituation to tempo, the IOIs and tone durations were randomly changed on each trial by a scaling factor of -10, -5, 0, 5, or 10...
Music Perception. 2012; 295479–491 doi: https://doi.org/10.1525/mp.2012.29.5.479
Published: 01 June 2012
... harpsichordist (Weinstein & McMillan, 2011). What is particularly noteworthy is that the musician played with expression and was able to create stylistically appropriate embellish- ments. The authors conclude that his retained musical ability is not procedural (i.e., habitually striking keys in response to...
Music Perception. 2011; 29137–50 doi: https://doi.org/10.1525/mp.2011.29.1.37
Published: 01 September 2011
... response to the music. The unexpected decrease of music preference from Piece 1 to Piece 2 in the Lounge condition, where the arousal induction was carried out during Piece 3 (Group 2), might be due to a habituation effect: Initially pleasant stimuli become more neutral in repeated exposures (Dijksterhuis...
Music Perception. 2011; 283279–296 doi: https://doi.org/10.1525/mp.2011.28.3.279
Published: 01 February 2011
Music Perception. 2010; 273177–182 doi: https://doi.org/10.1525/mp.2010.27.3.177
Published: 01 February 2010
... habituation. Thus, a single, but longer presentation of the music may diminish the observed differences. Finally, in all of the experiments, the participants rated the music that conveyed positive emotions higher in intensity than the music that conveyed neg- ative emotions (cf. Ali & Peynirciog lu, 2006...
Music Perception. 2009; 27125–42 doi: https://doi.org/10.1525/mp.2009.27.1.25
Published: 01 September 2009
... concerning the dissonance, ten- sion, and instability of chords suggest that there are acoustical grounds for considering the major and minor triads to be musically more sonorous than other triads. Undoubtedly, the learning of musical styles and habituation to the different kinds of harmonies, scales and...
Music Perception. 2008; 262129–143 doi: https://doi.org/10.1525/mp.2008.26.2.129
Published: 01 December 2008
... according to the participants normal positions in an orchestra given his or her par- ticular instrument. Thus, it did not play a role as to whether a participant was habituated to see a conduc- tor from the frontal perspective, e.g., as a flutist, from the left as a first violinist, or from the right as a...