Search Results for neutral-syllable
1-20 of 25 Search Results for
Music Perception (2019) 36 (5): 468–479.
Published: 01 June 2019
... as the influence on singing with a neutral syllable or text on both variables. Children aged 4 to 9 ( n = 137) were administered the SVDM individually and three raters evaluated recordings of the children's singing, both for the use of singing voice (i.e., effective use of pitch range and register...
Music Perception (2019) 36 (3): 273–288.
Published: 01 February 2019
... recordings of a singer who was unaware of our hypothesis, so as not to unconsciously bias the recordings. Finally, because we wanted to isolate the effects of oral transmission on melodic structure, we wanted recordings in which the songs were sung on a neutral syllable. A suitable corpus that fulfills...
Music Perception (2018) 35 (5): 527–539.
Published: 01 June 2018
...- plete list of context-congruent and context-neutral words). In choosing the foils that accompanied each target word in a trial, we ensured they were matched, where possible, on the number of syllables, onset pho- neme category, coda, and rhyming characteristics. TABLE 1. Demographic Information Group...
Includes: Supplementary data
Music Perception (2017) 34 (5): 515–530.
Published: 01 June 2017
... easily facilitate implicit learning through listen- ing; and that consequently, there is a culture-neutral preference for these more hierarchizable scales across world music. DEFINITION OF HIERARCHIZABILITY Evaluating this last claim in particular requires a more precise definition of hierarchizability...
Music Perception (2016) 33 (5): 631–661.
Published: 01 June 2016
... relative relevance with respect to other musical aspects). S&C AS A META-PROTOTYPE The S&C model is designed and formulated to be appli- cable in a versatile way to multiple musical dimensions and to a wide variety of music pieces. As a neutral level of analysis (Nattiez, 1987), the proposed approach does...
Music Perception (2016) 33 (4): 446–456.
Published: 01 April 2016
... the Own, Different, and Controls grand-means in order to neutralize the instrument-related specific effects, since the sound and the mechanics of violin and clarinet are so dramatically different. Indeed we wished to observe the effects of musical expertise for a specific instrument, regardless of the...
Music Perception (2015) 32 (3): 283–292.
Published: 01 February 2015
... coefficients indicating the 284 Joanne Rutkowski relationship between the children s speaking and singing voices were statistically significant but weak speaking voice with singing using a neutral syllable (r ¼ .22) and with singing using text (r ¼ .21). The researchers noted that the procedures for...
Music Perception (2015) 32 (3): 266–271.
Published: 01 February 2015
... neutral syllable (doo) from long-term memory. Seattle Singing Accuracy Protocol (SSAP) PROCEDURES 1. Comfortable Range. This is a series of short tasks that allow the researcher to reliably identify the singer s comfortable singing range. By identifying the comfort pitch from the average of these three...
Music Perception (2014) 32 (2): 160–169.
Published: 01 December 2014
... than the nature of the spoken and sung stimuli itself. In their study, infants listened longer to happy stimuli regardless of whether it was sung or spoken. However, considering that the happy stimuli portrayed ID speech or song and the neutral stimuli, adult-directed speech or hummed mel- odies, the...
Music Perception (2013) 30 (5): 441–462.
Published: 01 June 2013
..., compared to the nor- mative sentence-final falling intonation of focus-neutral declarative statements (Hadding-Koch & Studdert- Kennedy, 1964; see also, review in Eady & Cooper, 1986). The robust intelligibility of prosody is readily apparent in cases of syntactic and/or pragmatic ambigu- ity, as...
Music Perception (2013) 30 (4): 361–367.
Published: 01 April 2013
... performance sung with different emotional intentions (happy, neutral, and sad). Audio-visual presentations successfully elicited facial mimicry in observers that were congruent with the performer’s intended emotions. Happy singing performances elicited increased activity in the zygomaticus major muscle region...
Music Perception (2012) 30 (2): 129–146.
Published: 01 December 2012
... (e.g., raspiness and breathiness of the voice), aspects of the lyrics (the number of people addressed, the use of nonsense syllables, rhymes, etc and more variables of compositional structure (e.g., the lowest and highest pitch of the hook). The conditional variable importance gives an estimate for how...
Music Perception (2012) 29 (5): 521–531.
Published: 01 June 2012
... memory. It is well- known that words with an emotional content are better memorized than neutral ones in a list learning task (Kensinger & Corkin, 2003). Thus, music may enhance memory via emotional mechanisms (Eschrich, Münte, & Altenmüller, 2008; Jäncke, 2008). Finally, emotion could also influence...
Music Perception (2011) 28 (5): 473–490.
Published: 01 June 2011
... work by Fraisse (1982), demonstrating an average inter- step interval of 540 ms (111 bpm) in neutral walking. If there were one natural tempo that tends to fit all musical performances well, then this would account for low variability across recordings. However, it is obvious that different tempi would...
Music Perception (2011) 28 (3): 247–264.
Published: 01 February 2011
..., creative problem solving, and heuristics tasks is better following manipulations that induce a positive mood (e.g., receiving a chocolate bar, playing a happy tune) compared to manipulations that represent a neutral mood (Isen & Daubman, 1984; Isen, Niedenthal, & Cantor, 1992; Kahn & Isen, 1993). On the...
Music Perception (2010) 27 (5): 337–354.
Published: 01 June 2010
..., harmony, and meter), with many experiments using materials composed for that purpose and/or pre- sented in timbre-neutral sounds (such as piano). As an example, take a typical study on whether listeners have knowledge of the structure of the major scale. Melodies would be composed for the experiment that...
Music Perception (2009) 26 (5): 475–488.
Published: 01 June 2009
... recorded with motion capture as they watched and imitated phrases of emotional singing. Four different participants were recorded using facial electromyography (EMG) while performing the same task. Participants saw and heard recordings of musical phrases sung with happy, sad, and neutral emotional...
Music Perception (2009) 26 (3): 235–246.
Published: 01 February 2009
... sounds of their second language (English). Yet, Slevc and Miyake only looked at the ability to discriminate segmental contrasts, by asking participants to decide which mem- ber of a minimal pair like playing/praying was pre- sented in contextually neutral sentences. What the present results suggest is...
Music Perception (2008) 25 (4): 369–381.
Published: 01 April 2008
... C4. When the stimulus appeared, two C4 notes on the beat were presented along with a pulse of 60 beats/s and partici- pants had to sight read the stimuli by singing the note names or on a neutral syllable la, whichever they found more comfortable. They all used note names. Each stimulus length...
Music Perception (2001) 18 (4): 409–425.
Published: 01 June 2001
... scale (1 = not at all appropriate, 4 = neutral, 7 = very appropriate.) During debriefing, raters were asked whether they noticed any system- TABLE 1 Classification of the 12 Songs Sung by Fathers Category Song Title Play Songs Row, Row, Row Your Boat Row, Row, Row Your Boat Itsy Bitsy Spider Old...