Search Results for perceptual-sharpening
1-20 of 35 Search Results for
Music Perception. 2019; 37126–41 doi: https://doi.org/10.1525/mp.2019.37.1.26
Published: 01 September 2019
... accordance with BPM rates for stimuli that were not tempo-shifted. The roles of beat salience, melodic structure, and memory for tempo are discussed, and the TAE as an example of perceptual sharpening is considered. TABLE 1. Musical Stimuli Used in Experiment 1 Artist Title BPM R...
Music Perception. 2018; 362156–174 doi: https://doi.org/10.1525/mp.2018.36.2.156
Published: 01 December 2018
.... , & Zatorre, R. J. ( 2017 ). Musical training sharpens and bonds ears and tongue to hear speech better . Proceedings of the National Academy of Sciences of the United States of America , 114 , 13579 – 13584 . Escera, C. , & Corral, M. J. ( 2007 ). Role of mismatch negativity and novelty-P3 in...
Music Perception. 2018; 3611–23 doi: https://doi.org/10.1525/mp.2018.36.1.1
Published: 01 September 2018
...Rainer Polak; Nori Jacoby; Timo Fischinger; Daniel Goldberg; Andre Holzapfel; Justin London I t has long been assumed that rhythm cognition builds on perceptual categories tied to prototypes defined by small-integer ratios, such as 1:1 and 2:1. This study aims to evaluate the relative contributions...
Includes: Supplementary data
Music Perception. 2017; 352211–234 doi: https://doi.org/10.1525/mp.2017.35.2.211
Published: 01 December 2017
... optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in order to gain a better understanding of perceptual relationships between cadences. Pairwise dissimilarity ratings between cadences are transformed into a perceptual space and a verbal attribute magnitude estimation...
Music Perception. 2017; 3513–37 doi: https://doi.org/10.1525/mp.2017.35.1.3
Published: 01 September 2017
...). As Bregman puts it, in order to create a virtual source, music manipulates the factors that control the forma- tion of sequential and simultaneous streams Impor- tantly, the virtual source in music plays the same perceptual role as our perception of a real source does in natural environments...
Music Perception. 2016; 333367–393 doi: https://doi.org/10.1525/mp.2016.33.3.367
Published: 01 February 2016
... across sev- eral tonal maps to arrive at the correct mode. In Carna¯- tic music, there are several ra¯gams that share all but one pitch (see Figure 1). Thus, schematic knowledge (Bhar- ucha, 1987) of Carna¯tic music may take appreciably more time than Western schematic knowledge to apply in perceptual...
Music Perception. 2015; 33132–69 doi: https://doi.org/10.1525/mp.2015.33.1.32
Published: 01 September 2015
... CALIFORNIA PRESS S RIGHTS AND PERMISSIONS WEBSITE, HTTPWWW.UCPRESSJOURNALS.COM/REPRINTINFO.ASP. DOI: 10.1525/MP.2015.33.1.32 32 Eugene Narmour localization; left column, Figure 1; texture is a paramet- ric compilation). The art of music splays these into twenty-six bottom-up perceptual categories, whose ter...
Music Perception. 2015; 324364–393 doi: https://doi.org/10.1525/mp.2015.32.4.364
Published: 01 April 2015
... spectral component in the log-frequency domain to model perceptual inaccu- racy for example, we might expect that two spectral components separated by one cent are likely to be per- ceived as having identical pitch. The width of this smearing called smoothing width is a nonlinear parameter in our models...
Music Perception. 2014; 322125–142 doi: https://doi.org/10.1525/mp.2014.32.2.125
Published: 01 December 2014
... exclusively by compositional structure through varia- tions in mode, dissonance, pitch range, tone density, rhythmic regularity, and tempo. Procedures used for perceptual validation (Vieillard et al., 2008) included categorization, gating, and dissimilarity judgments, and they confirmed that the intended...
Music Perception. 2014; 313192–204 doi: https://doi.org/10.1525/mp.2014.31.3.192
Published: 01 February 2014
... of inquiry such that it can be accomplished through machine computation, hence as a form of computational musicology, and further, that the results have import for the study of music cognition. If anything, the sharpening of concepts and categories into algorithmic form may require one to make even...
Music Perception. 2011; 292133–146 doi: https://doi.org/10.1525/mp.2011.29.2.133
Published: 01 December 2011
... academic progress, emotional health, and vocational success. Received December 12, 2010, accepted July 21, 2011. Key words: musicians, language, attention, memory, brain Debates concerning music training s impact on general cognitive and perceptual abilities are eas-ily sparked, partly due to the...
Music Perception. 2011; 2911–21 doi: https://doi.org/10.1525/mp.2011.29.1.1
Published: 01 September 2011
... mathematical properties of time and space (intervallic and durational ratios; pitch height, re- gistral direction, return of pitch frequencies; meters on many levels, etc Yet perceptual experiences swirl con- stantly, like the blades of a windmill (see Figure 1). Theories of music cognition bring this windmill...
Music Perception. 2010; 274297–306 doi: https://doi.org/10.1525/mp.2010.27.4.297
Published: 01 April 2010
...Bharath Chandrasekaran; Nina Kraus CHILDREN WITH LANGUAGE-BASED LEARNING disorders show impaired processing of speech in challenging listening environments, suggesting a noise-exclusion deficit. Musical expertise induces neuroplastic changes throughout the nervous system, including sharpening of...
Music Perception. 2009; 27289–101 doi: https://doi.org/10.1525/mp.2009.27.2.89
Published: 01 December 2009
... possible perceptual magnet effect for the pitch class A, following mainly from the finding that the class G#, in particular, often is mislabelled as A (which we read as consistent with some of the results obtained by Van Krevelen, 1951, who recorded mean recognition frequencies for G# and 90 Patrick...
Music Perception. 2009; 263279–285 doi: https://doi.org/10.1525/mp.2009.26.3.279
Published: 01 February 2009
... connections. The effects of perceptual learning have been observed in animal electrophysiology across visual, sensory, and auditory systems (Edeline, 1999; Weinberger, 2004). Anatomically, daily intensive train- ing with sensory-motor tasks in monkeys modifies brain functional maps (Jenkins, Merzenich...
Music Perception. 2008; 254325–330 doi: https://doi.org/10.1525/mp.2008.25.4.325
Published: 01 April 2008
... with learning and recall. Musical learning may also confer a neuro- physiological advantage through the stronger synchro- nization of the same neuronal cell assemblies underlying conventional verbal learning and memory. In both cases, the temporal structure implicit in musical stimuli may sharpen the...
Music Perception. 2006; 242167–176 doi: https://doi.org/10.1525/mp.2006.24.2.167
Published: 01 December 2006
... an audio file. We present two extensions to this baseline that gradually increase both the complexity and performance of the model. The first extension is to use a measure of the spikiness of each phase entry entropy or variance to sharpen the a (k). The second extension is to infer tempo and meter...
Music Perception. 2006; 233221–248 doi: https://doi.org/10.1525/mp.2006.23.3.221
Published: 01 February 2006
... research produces sophisticated digital devices mapping bodily motion and gesture into auditory information (Camurri & Volpe, 2003; Wanderley & Battier, 2000). Indeed, perceptual experiments, using simple audi- tory stimuli, have suggested that auditory parameters such as pitch height or loudness and...
Music Perception. 2005; 23161–78 doi: https://doi.org/10.1525/mp.2005.23.1.61
Published: 01 September 2005
... approached 2:1, which implies a sharpening of the con- trast between the long and short intervals. Less pro- nounced sharpening was observed in sequences composed of three (2:3:3), five (2:2:2:3:3), or seven intervals (2:2:3:2:3:2:3; Essens & Povel, 1985, Exp. 2), but even musically trained participants were...
Music Perception. 2004; 222173–205 doi: https://doi.org/10.1525/mp.2004.22.2.173
Published: 01 December 2004
...Roger Reynolds A composer describes his concerns in relation to a 34-minute musical work (The Angel of Death) written in consultation with perceptual psychologists. This work was conceived, and has served, as an experimental object suited to the testing of a range of issues of interest to composers...