Search Results for pitch-direction
1-20 of 796 Search Results for
Music Perception. 2017; 343335–351 doi: https://doi.org/10.1525/mp.2017.34.3.335
Published: 01 February 2017
...Fang Liu; Cunmei Jiang; Tom Francart; Alice H. D. Chan; Patrick C. M. Wong Congenital amusia is a lifelong disorder of musical processing for which no effective treatments have been found. The present study aimed to treat amusics’ impairments in pitch direction identification through auditory...
Music Perception. 2016; 34140–55 doi: https://doi.org/10.1525/mp.2016.34.1.40
Published: 01 September 2016
... motion, and tempo change with speed and muscular energy. In both tasks and for both ages, directions of change in motion and musical parameters correlated, e.g., increase in loudness was associated with increasing speed, increasing muscular energy, and spatial rise. The effect of pitch direction was...
Music Perception. 2011; 283219–246 doi: https://doi.org/10.1525/mp.2011.28.3.219
Published: 01 February 2011
... Tension and Dynamic Auditory Parameters 233 contours were always perceived as more tense than fall- ing contours, and this effect was not modulated by reg- ister, tempo, or their combinations. Directionality. As mentioned earlier, sequences 17 20 were created by randomly reordering the pitches of...
Music Perception. 2015; 332179–198 doi: https://doi.org/10.1525/mp.2015.33.2.179
Published: 01 December 2015
... been reversed. Thus, had the gender/musicianship variables been counterbalanced, a larger - rather than smaller - gender effect would have been expected. We discuss this result further in the General Discussion. Experiment 1 s results demonstrate strong effects of pitch register and directionality on...
Music Perception. 2008; 254357–368 doi: https://doi.org/10.1525/mp.2008.25.4.357
Published: 01 April 2008
... basis of a final pitch fall or rise. This suggests that pitch direction perception deficits in amusia (known from previous psychophysical work) can extend to speech. For British amusics, the direction deficit is related to the rate of change of the final pitch glide in statements/ questions, with...
Music Perception. 2003; 2113–20 doi: https://doi.org/10.1525/mp.2003.21.1.3
Published: 01 September 2003
... different timbres. Participants with music training were timed as they decided whether one melody was rising or falling while ignoring the other. Pitch direction (up or down) and interval type (major second and perfect fifth) of attended and unattended intervals were orthogonally combined. The measure of...
Music Perception. 1986; 33259–274 doi: https://doi.org/10.2307/40285336
Published: 01 April 1986
...Lucinda A. Dewitt; Robert G. Crowder Three experiments on the recognition of short melodies investigated the influence of contour and interval information (respectively, the pattern of changes in pitch direction and the ordered sequence of pitch distances in a melody). Subjects rated pairs of...
Music Perception. 2017; 344405–423 doi: https://doi.org/10.1525/mp.2017.34.4.405
Published: 01 April 2017
... on pitch information taken from melody alone. Given the prevalence of homophonic music in Western culture, however, sur- prisingly little attention has been directed at exploring the predictive power of harmonic accompaniment in models of melodic organization. The research presented here uses a...
Music Perception. 2003; 203241–262 doi: https://doi.org/10.1525/mp.2003.20.3.241
Published: 01 March 2003
...-octave. In the ordered conditions, the boundary between ascending and descending pitch is sensitive to the direction of frequency change such that hysteresis, or perceptual assimilation, is observed. In Experiment 3, we obtain pitch judgments of all two-tone permutations of Shepard tones of the chromatic...
Music Perception. 2015; 331110–128 doi: https://doi.org/10.1525/mp.2015.33.1.110
Published: 01 September 2015
... main predispositions considered hard- wired by Narmour. The principle of registral direction states that small intervals imply continuations in the same pitch direction, whereas large intervals imply a change in direction. Narmour argues that the impli- cation to change direction after a large interval...
Music Perception. 2014; 313271–287 doi: https://doi.org/10.1525/mp.2014.31.3.271
Published: 01 February 2014
... corpus of 48 improvised solos by the jazz great Charlie Parker. To be able to compare melodic patterns independent of absolute pitch, all pitches were converted to directional intervals listed in half steps. Results showed that 82.6% of the notes played begin a 4-interval pattern and 57.6% begin interval...
Music Perception. 2001; 184409–425 doi: https://doi.org/10.1525/mp.2001.18.4.409
Published: 01 June 2001
... infant-absent renditions. Unlike mothers, however, fathers did not consistently raise the pitch of their infant-directed versions. Moreover,infants showed no preference for infant-directed over infant-absent versions unless the infant-directed versions were higher in pitch. Nevertheless, infants showed...
Music Perception. 2015; 33132–69 doi: https://doi.org/10.1525/mp.2015.33.1.32
Published: 01 September 2015
...Eugene Narmour By extensively revising the I-R model of melody (Meyer, 1973; Narmour, 1984, 1989, 1990, 1991a, 1991b, 1992, 1996, 2000) we can explain the structural functions of many musical parameters. Here I will deal with melodic interval, registral direction, pitch height, scale-step (major...
Music Perception. 2006; 242147–154 doi: https://doi.org/10.1525/mp.2006.24.2.147
Published: 01 December 2006
... direction of pitch change in the target songs. For child implant users, the power and pleasure of music may arise primarily from its rhythm. © 2006 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. 2006 singing children deaf pitch timing cochlear implant TAKAYUKI NAKATA...
Music Perception. 1996; 133383–400 doi: https://doi.org/10.2307/40286176
Published: 01 April 1996
... Melodic Anchoring YEARNING VECTOR Each factor, i, that exerts a pull on the current event, E, can be repre- sented as a psychological force vector, fEi, in unidimensional pitch-height space. It depicts the direction (up or down) and strength of the pull. The vector sum of all such forces yields the net...
Music Perception. 2020; 375373–391 doi: https://doi.org/10.1525/mp.2020.37.5.373
Published: 10 June 2020
... measurable), and it would not be clear which variables have a direct, causal influence on participants’ judgments. One proposal to investigate this further would be to generate music that directly and independently manipulated the features we measured (e.g., Weighted Average Pitch Height) to see if this...
Music Perception. 2020; 375423–434 doi: https://doi.org/10.1525/mp.2020.37.5.423
Published: 10 June 2020
..., Taipo, Hong Kong. E-mail: firstname.lastname@example.org OPERA hypothesis musical advantage pitch perception tone perception music-to-language transfer References Alexander , J. , Wong , P. C. M. , & Bradlow , A. R. ( 2005 ). Lexical tone perception in musicians and non...
Music Perception. 2020; 375403–422 doi: https://doi.org/10.1525/mp.2020.37.5.403
Published: 10 June 2020
... with the video, 2) take turns with the video, or 3) imitate the video. Participants from the duo group engaged in the same learning trials, but with a partner. Novices in both groups performed more accurately in pitch and time when learning in synchrony and turn-taking than in imitation. No differences...
Music Perception. 2014; 314339–358 doi: https://doi.org/10.1525/mp.2014.31.4.339
Published: 01 April 2014
... variable pitch using a predefined vocabulary of 30 adjectives. The common experimental protocol facilitated the investigation of the influence of language on musical timbre semantics by allowing for direct comparisons between linguistic groups. Data reduction techniques applied to the data of each group...
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
..., in those sequences the directionality of melodic pitch covaried with register. Therefore, the evidence of the influence of pitch register on perceived tension is inconclusive. In our studies we manipulated pitch register both in Experiment 2 and 3: the “low” pitch musical intervals were 19 semitones...