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melodies

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Journal Articles
Music Perception. 2019; 37157–65 doi: https://doi.org/10.1525/mp.2019.37.1.57
Published: 01 September 2019
... . Journal of the Acoustical Society of America , 87 , 820 – 857 . https://doi.org/10.1121/1.398894 Larson, S. ( 2002 ). Musical forces, melodic expectation, and jazz melody . Music Perception , 19 , 351 – 385 . Livingstone, S. R. , Choi, D. , & Russo, F. A. ( 2014 ). The influence...
Journal Articles
Music Perception. 2019; 363253–272 doi: https://doi.org/10.1525/mp.2019.36.3.253
Published: 01 February 2019
...Miriam Rainsford; Matthew A. Palmer; James D. Sauer D istinctive stimuli are better recognized than typical stimuli in many domains (e.g., faces, words). Distinctiveness predicts the point of recognition of a melody ( Bailes, 2010 ), and the recognition of unique tones within a melody ( Vuvan...
Images
Published: 10 June 2020
Figure 3. Participants learned the melodies either together or individually.
Journal Articles
Music Perception. 2018; 355594–606 doi: https://doi.org/10.1525/mp.2018.35.5.594
Published: 01 June 2018
...Jung Nyo Kim; Edward W. Large; Yeongjin Gwon; Richard Ashley The importance of harmony perception in understanding tonal melodies has been extensively studied, but underlying processes of implied harmonic perception remain unexplored. This study explores how listeners perceive implied harmony in...
Images
Published: 01 December 2019
FIGURE 1. Design of the cross-modal affective priming paradigm. Musical melodies were used as primes, and emotional faces as targets. Facial images were affectively congruent or incongruent with the prime melodies. FIGURE 1. Design of the cross-modal affective priming paradigm. Musical melodies
Journal Articles
Music Perception. 2017; 345585–604 doi: https://doi.org/10.1525/mp.2017.34.5.585
Published: 01 June 2017
... the present research we sought to test this proposal directly by having accurate and VPID imitators produce or recognize short melodies based on their original form (untransformed), or after mentally transforming the auditory image of the melody. For the production task, group differences were largest...
Journal Articles
Music Perception. 2017; 343313–318 doi: https://doi.org/10.1525/mp.2017.34.3.313
Published: 01 February 2017
...Michael W. Weiss; E. Glenn Schellenberg; Sandra E. Trehub Children and adults, with or without music training, exhibit better memory for vocal melodies (without lyrics) than for instrumental melodies (Weiss, Schellenberg, Trehub, & Dawber, 2015; Weiss, Trehub, & Schellenberg, 2012; Weiss...
Images
Published: 01 June 2019
FIGURE 1. One of the 12 “high harmonicity” polyphonic melodies presented to participants (G Major, 96 BPM). In the “low harmonicity” condition, the upper voice of each melody was raised by a semitone (half-step), creating relatively inharmonic versions of the melodies that were separated by an
Images
Published: 01 February 2019
FIGURE 1. Samples of sixteen-note melodies from the high distinctiveness (panel A) and low distinctiveness (panel B) melody sets. The high distinctiveness melody features wide intervallic leaps, whereas the low distinctiveness melody features stepwise motion. FIGURE 1. Samples of sixteen-note
Images
Published: 01 February 2019
FIGURE 4. ROC curve analysis of sixteen-note melodies. A significant advantage was found for melodies of High Distinctiveness, whereas performance for Low Distinctiveness melodies was only just above chance. FIGURE 4. ROC curve analysis of sixteen-note melodies. A significant advantage was
Journal Articles
Music Perception. 2016; 34121–32 doi: https://doi.org/10.1525/mp.2016.34.1.21
Published: 01 September 2016
...Andrea Schiavio; Renee Timmers The present study investigated the role of motor and audiovisual learning in the memorization of four tonally ambiguous melodies for piano. A total of one hundred and twenty participants divided into three groups — pianists, other musicians (i.e., not pianists), and...
Images
Published: 01 February 2019
FIGURE 5. ROC curve analysis of eight-note melodies. Performance was improved in the High Distinctiveness melodies although the difference between the two groups did not reach significance. FIGURE 5. ROC curve analysis of eight-note melodies. Performance was improved in the High Distinctiveness
Images
Published: 01 February 2019
FIGURE 8. Predictors of correct recognition of target melodies (error bars indicate 95% confidence intervals). As for the overall model, modal interval (i.mode) predicts correct recognition of target melodies. FIGURE 8. Predictors of correct recognition of target melodies (error bars indicate
Images
Published: 01 February 2019
FIGURE 3. Participant view of interface for rating of melodies during Recognition testing. The sequencer object was removed and replaced with a progress bar. FIGURE 3. Participant view of interface for rating of melodies during Recognition testing. The sequencer object was removed and replaced
Images
Published: 01 February 2019
FIGURE 9. Predictors of false recognition of lure melodies (error bars indicate 95% confidence intervals). Interval absolute mean (i.abs.mean) is negatively related to false recognition, and local variation in step contour (step.cont.loc.var) is positively related to false recognition, thus
Journal Articles
Music Perception. 2015; 324355–363 doi: https://doi.org/10.1525/mp.2015.32.4.355
Published: 01 April 2015
...Paolo Ammirante; Frank A. Russo Skips are relatively infrequent in diatonic melodies and are compositionally treated in systematic ways. This treatment has been attributed to deliberate compositional strategies that are also subject to certain constraints. Study 1 showed that ease of vocal...
Journal Articles
Music Perception. 2014; 315418–435 doi: https://doi.org/10.1525/mp.2014.31.5.418
Published: 01 June 2014
...Daniel Müllensiefen; Andrea R. Halpern We investigated how well structural features such as note density or the relative number of changes in the melodic contour could predict success in implicit and explicit memory for unfamiliar melodies. We also analyzed which features are more likely to elicit...
Journal Articles
Music Perception. 2012; 295501–507 doi: https://doi.org/10.1525/mp.2012.29.5.501
Published: 01 June 2012
...Ashley D. Vanstone; Ritu Sikka; Leila Tangness; Rosalind Sham; Angeles Garcia; Lola L. Cuddy the present study addressed episodic and semantic memory for melodies in three groups of participants: 35 younger adults, 40 older adults, and 10 individuals with mild to moderate Alzheimer's disease (AD...
Journal Articles
Music Perception. 2012; 295479–491 doi: https://doi.org/10.1525/mp.2012.29.5.479
Published: 01 June 2012
...Lola L. Cuddy; Jacalyn M. Duffin; Sudeep S. Gill; Cassandra L. Brown; Ritu Sikka; Ashley D. Vanstone this research addressed the question: is musical memory preserved in dementia, specifically, dementia of the Alzheimer type (AD)? Six tests involving different aspects of melody and language...
Journal Articles
Music Perception. 2011; 283315–320 doi: https://doi.org/10.1525/mp.2011.28.3.315
Published: 01 February 2011
... perception of octave-ambiguous three-note melodies ending with tritones in two conditions: In the active condition, they saw a notated melody and played it on a keyboard to hear it, while in the passive condition they viewed the notation while the melody was played to them. Participants tended to report...