Search Results for participatory-design
1-18 of 18 Search Results for
Music Perception (2020) 37 (5): 403–422.
Published: 10 June 2020
.... Inspired by the main insights of 4E cognition, we thus designed an experiment that involves a learning task based on action; examines the reciprocal interaction between co-actors; and includes the manipulation of a non-biological device to aid learning (i.e., a computer). We assessed the three learning...
Music Perception (2020) 37 (4): 347–358.
Published: 11 March 2020
... characterized by a strong belief in the autonomous individual, most notably expressed in the models of contemporary scientific psychology. When language is framed in this manner, it appears as something categorically removed from the participatory activities that give rise to music and ritual. Joint speech...
Music Perception (2019) 37 (2): 111–133.
Published: 01 December 2019
... MATLAB analyses and design of Figure 2 ; Peter Vuust, Dag Erik Eilertsen and Rebekah Oomen for advice at earlier stages of the manuscript; and Lara Katrina Garvija (LKG) for testing some of the participants. This work was partially supported by the Research Council of Norway through its Centres of...
Music Perception (2019) 37 (1): 1–25.
Published: 01 September 2019
... experimental design). Alignments were made per section, between performances (e.g., the second performance ending was aligned with the third performance ending). Distances between the aligned test and reference sections (“test-reference distances”) served as our measure of consistency. (See Appendix for...
Music Perception (2018) 36 (2): 175–200.
Published: 01 December 2018
... construct of enjoyment emerged as the primary predictor of listening times. It strongly mediated the effects of an affective construct of mood congruency, a cognitive construct of interestingness, and even the more participatory motoric constructs of urge to move and groove. This result differs from...
Music Perception (2018) 35 (4): 454–474.
Published: 01 April 2018
... consider the broad range of per- ceived benefits of music participation with singers and instrumentalists within the same research design. Therefore, the second part of the current research addressed this research gap. Specifically, the items iden- tified in the existing research literature served as the...
Music Perception (2017) 34 (4): 438–451.
Published: 01 April 2017
...; Fraisse, 1963; London, 2004; Povel, 1981) an idea nurtured by the notational conventions of Western music as well as by ethnomusicological, in particular Africanist concepts of metric pulse (Arom, 1984; Koet- ting, 1970; Kubik, 1988) and the corresponding, grid- based notational designs and practices. Yet...
Music Perception (2017) 34 (3): 291–302.
Published: 01 February 2017
... studies (see Figure 2 in Honing & Haas, 2008). It is notable that Roger Linn, who was largely respon- sible for designing the Akai MPC series of drum machines that became industry standards in hip-hop music production, incorporated an adjustable swing set- ting into his products (Scarth & Linn, 2013...
Music Perception (2016) 33 (5): 571–589.
Published: 01 June 2016
... design was employed with factors Groove (Low, Mid, High) and Intensity (Low, Mid, High). Each participant rated every music exemplar, but heard only one intensity version of the exemplar in order to minimize confounding of groove ratings with multiple exposures to the same music over the course of the...
Includes: Multimedia, Supplementary data
Music Perception (2016) 33 (4): 493–508.
Published: 01 April 2016
... perceiving music through a CI, such as listening to a radio, appreciating the soundtrack of a film, or creating music. In order to address users needs and desires, Oliver and colleagues adopted a participatory design approach in developing a prototype Interactive Music Awareness Program (IMAP) with...
Music Perception (2015) 32 (3): 293–302.
Published: 01 February 2015
... not all designed for the same purpose and were thus not identical in all respects. A particular issue we address now has to do with the recruitment strategy. Whereas child samples were drawn randomly from respective grades, the earlier study with college students adopted a more focused sampling...
Music Perception (2013) 30 (5): 497–510.
Published: 01 June 2013
... groove ratings were not recorded across a range of microtiming manipulations in the stimuli. Therefore the principal aim of this study is to experimentally test whether microtiming patterns do indeed facilitate groove. To this end we devised a listening experiment designed to give favorable conditions...
Music Perception (2012) 30 (2): 129–146.
Published: 01 December 2012
... designed for singing along in groups have gained popularity recently, such as Sing-Along Messiah evenings or events for singing along with popular musicals, such as Sing-a-long-a Production s The Sound of Music. More survey-type research on the extent of music-making in the general population, such as...
Music Perception (2010) 28 (1): 27–46.
Published: 01 September 2010
... music-like action sequences has employed behavioral tasks designed to measure the degree to which images of one s own upcoming sounds influence the manner in which subsequent movements are carried out (Keller & Koch, 2006, 2008; Keller, Dalla Bella, & Koch, 2010). The results of these studies indicate...
Music Perception (2010) 27 (3): 157–176.
Published: 01 February 2010
... presumably more assertive in keeping the time. Results The results were analyzed by a four-factor mixed-design analysis of variance (ANOVA) with repeated measures for the factors of tempo, instrument, and asynchrony width, and between groups for listening strategy instructions. The ANOVA showed no...
Music Perception (2007) 24 (5): 485–506.
Published: 01 June 2007
... context-dependent acoustic element: silence. Acoustically, silences can be defined as periods during which the acoustic signal descends below some thresh- old of detectable volume. Acoustic silences are com- putable automatically by a program designed to analyze sound signals and extract spans during...
Music Perception (2006) 24 (2): 201–208.
Published: 01 December 2006
... to make valid ratings. The study was designed to provide natural conditions and some degree of ecological validity, in order to meet the demands of a phenomenological approach and those of a first inquiry into these questions. Participants were therefore typical music listeners without formal or...
Music Perception (2006) 23 (3): 195–214.
Published: 01 February 2006
... were designed to examine beat perception in different ways. Brief reports of these experiments were presented previously by Cambouropoulos, Dixon, Goebl, and Widmer (2001), Dixon, Goebl, and Cambouropoulos Perceptual Smoothness of Tempo in Expressively Performed Music 197 02.MUSIC.23_195-214.qxd 01/02...