Search Results for mode-locking
1-20 of 31 Search Results for
Music Perception. 2016; 333319–331 doi: https://doi.org/10.1525/mp.2016.33.3.319
Published: 01 February 2016
... auditory responses. This leads us to reevaluate the significance of frequency relationships in the perception of music. Here, we present a dynamical systems analysis of mode-locked neural oscillation that predicts cross-cultural invariances in music perception and cognition. We show that this theoretical...
Includes: Multimedia, Supplementary data
Music Perception. 2020; 374278–297 doi: https://doi.org/10.1525/mp.2020.37.4.278
Published: 11 March 2020
... close to the tapping target (0 radians) during two- and three-stream syncopations, there was notable variability of phase angles and no clear single mode during one-stream syncopations. Further manual inspection of this condition confirmed that this uniformity was not due to intraindividual but...
Music Perception. 2020; 374347–358 doi: https://doi.org/10.1525/mp.2020.37.4.347
Published: 11 March 2020
... speech as a specific mode of language encourages us to identify and categorize patterns that are independent of the social context in which they occur. Linguists ponder what a sentence such as “John kicked the ball” is made of, without insisting that there be an actual person called John, who has, or...
Music Perception. 2018; 354405–424 doi: https://doi.org/10.1525/mp.2018.35.4.405
Published: 01 April 2018
... significant cross-correlation frequency of entrainment and similarity as required by the con- text. Cross-correlation indicates the extent to which two signals are both mode- and phase-locked. A significant cross-correlation via surrogates indicates that the simi- larity of two signals is not attributable...
Music Perception. 2018; 354475–501 doi: https://doi.org/10.1525/mp.2018.35.4.475
Published: 01 April 2018
... divisions of the octave), used today by musicians who compose and perform in different scales and tunings, as well as music researchers (e.g., Milne, Sethares, & Plamondon, 2008). Why are musical intervals not tuned to ratios, although temporal information and phase-locking are maintained along neural...
Music Perception. 2017; 351118–121 doi: https://doi.org/10.1525/mp.2017.35.1.118
Published: 01 September 2017
... approach. Berlin: Spiger-Verlag. PETERSON, J. (1925). A functional view of consonance. Psychological Review, 32, 17-33. PIAN, R. C. (1977). Modes, transposed scales, melody types and tune types. In D. Heartz & B. Wade (Eds Report of the Twelfth Congress Berkeley 1977 (pp. 536-549). Kassel: Ba¨renreiter...
Music Perception. 2016; 341104–117 doi: https://doi.org/10.1525/mp.2016.34.1.104
Published: 01 September 2016
..., using short simple (pitch-centered) tonal items that were algorithmically composed to permit parameter control, 77-89% of variance in the compo- nents of the circumplex model, though labeled differ- ently, could be explained by six musical cues: mode, tempo, dynamics, articulation, timbre, and register...
Music Perception. 2015; 325445–459 doi: https://doi.org/10.1525/mp.2015.32.5.445
Published: 01 June 2015
... intervals in musicians. Journal of Neuroscience, 29, 5832-5840. LERUD, K. D., ALMONTE, F. V., KIM, J. C., & LARGE, E. W. (2014). Mode-locking neurodynamics predict human auditory brainstem responses to musical intervals. Hearing Research, 308, 41-49. LIPPS, T. (1995). Consonance and dissonance in music (W...
Music Perception. 2015; 324364–393 doi: https://doi.org/10.1525/mp.2015.32.4.364
Published: 01 April 2015
... elements mean cor- relations for the different elements were r(10) ¼ .90 in major and r(10) ¼ .91 in minor so the ratings were averaged to produce the results shown in Figure 1. This implies that there were a total of 10 4 4 ¼ 160 observations per probe tone and mode, hence a total 0 (a) (b) 1 2 3 4 5 6...
Music Perception. 2011; 292185–194 doi: https://doi.org/10.1525/mp.2011.29.2.185
Published: 01 December 2011
...: Effects of enculturation and formal training on development. Trends in Cognitive Sciences, 11, 466 472. husain, g., thompson, w. f., & schellenberg, e. g. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception, 20, 149 169. isen, a. m. (2004). Some perspectives...
Music Perception. 2011; 285473–490 doi: https://doi.org/10.1525/mp.2011.28.5.473
Published: 01 June 2011
... on to another text. Djanba songs are composed in one of several rhythmic modes (the combination of clapstick tempo and vocal meter, see Barwick, 2003). Djanba 14 is in fast, even triple rhythmic mode, with one clapstick beat falling every three quavers of the vocal rhythm (indicated by x in Figure...
Music Perception. 2010; 2813–14 doi: https://doi.org/10.1525/mp.2010.28.1.3
Published: 01 September 2010
... (2009) also proposed a system of error correction in which two different modes are implemented by distinct neural systems. Merker discussed the dichotomy of copying mode versus central tendency mode. When copying, indi- viduals engaged in a joint rhythmic activity will copy the timing interval...
Music Perception. 2008; 255419–428 doi: https://doi.org/10.1525/mp.2008.25.5.419
Published: 01 June 2008
...-ratio spectra, nor were there any group by mode interactions (Table 4). Discussion Summary of Results The above results showed that the overall spectral structure of speech and song is similar. However, the slope of the major peaks was greater for song. There was also a difference in the number of...
Music Perception. 2007; 245511–514 doi: https://doi.org/10.1525/mp.2007.24.5.511
Published: 01 June 2007
... Sweet Anticipation is a detailed and plausi- ble explanation of a form of active musical listening that is common in Western culture, it may be less accu- rate in attempting to explain what occurs during other forms of musical experience. In contrast to the modes of listening and styles of music...
Music Perception. 2006; 233269–288 doi: https://doi.org/10.1525/mp.2006.23.3.269
Published: 01 February 2006
... successive interval ratios, and first interval (ms) 1/8 1/7 1/6 1/5 1/4 1/3 2/5 1/2 3/5 2/3 3/4 4/5 5/6 7/8 1:7 1:6 1:5 1:4 1:3 1:2 2:3 1:1 3:2 2:1 3:1 4:1 5:1 7:1 Mode and Data set N R 125 143 167 200 250 333 400 500 600 667 750 800 833 875 Perception [Desain & Honing] 17 1 166.9 - 169.8 197.7 270 338.6 421...
Music Perception. 2006; 234305–318 doi: https://doi.org/10.1525/mp.2006.23.4.305
Published: 01 April 2006
... on epileptiform activity. Clinical Electroencephalography, 29, 109 119. HUSAIN, G., THOMPSON, W. F., & SCHELLENBERG, E. G. (2002). Effects of musical tempo and mode on arousal, mood, and spatial abilities. Music Perception, 20, 151 171. No Evidence for the Mozart Effect in Children 315 References...
Music Perception. 2005; 224629–661 doi: https://doi.org/10.1525/mp.2005.22.4.629
Published: 01 April 2005
... aggregate pattern (see Figure 1G). Multipart textures afford four main attending modes: selective attention, divided attention, nonprioritized integrative attention, and prioritized integrative attention. Selective attending (SA) occurs when the individual focuses attention on a particular integrant pattern...
Music Perception. 2003; 21143–80 doi: https://doi.org/10.1525/mp.2003.21.1.43
Published: 01 September 2003
...-hand, right-hand, and whole versions of excerpts for each participant. We used only tap times that occurred after the first note of the music and no later than 99 ms after the final note of the music. We first determined the tapping mode, defined by the period and phase of tapping, as follows. We...
Music Perception. 2002; 194487–528 doi: https://doi.org/10.1525/mp.2002.19.4.487
Published: 01 June 2002
... potentials appear on the scalp as a result of the electrical activity of the brain. In distinction from other electroencephalographic (EEG) signals, the ERPs represent brain activity that is time-locked to specific events. The processing manifested by the ERPs may therefore be related to the prepara- tion...
Music Perception. 2001; 192199–222 doi: https://doi.org/10.1525/mp.2001.19.2.199
Published: 01 December 2001
.... Ten musicians and 10 nonmusicians, while concentrating on reading a book, were presented with sound stimuli that had an infrequent (p = 15%) pitch shift of 144 Hz. In the familiar condition, the infrequent third-position deviant changed the mode (major vs. minor) of the five-tone pattern. In the...