1-20 of 211 Search Results for

point-light-display

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
Journal Articles
Music Perception. 2020; 374323–338 doi: https://doi.org/10.1525/mp.2020.37.4.323
Published: 11 March 2020
.... , Field , D. T. , Hampson , S. E. , & Rose , D. ( 2005 ). The perception of emotion from body movement in point-light displays of interpersonal dialogue . Perception , 34 ( 10 ), 1171 – 1180 . DOI: 10.1068/p5203 Collignon , O. , Girard , S. , Gosselin , F. , Roy...
Journal Articles
Music Perception. 2020; 374363–365 doi: https://doi.org/10.1525/mp.2020.37.4.363
Published: 11 March 2020
...Jeremy Day-O’Connell In charting the “territory between speech and song,” Cummins (2020) identifies various forms of vocal behavior involving “multiple people uttering the same thing at the same time”—what the author calls “joint speech.” I interrogate this conceptual framework in light of specific...
Journal Articles
Music Perception. 2020; 373196–207 doi: https://doi.org/10.1525/mp.2020.37.3.196
Published: 01 February 2020
... light of training and the kinematics involved in pianist keystrokes compared to musicians synchronizing movements in other studies. We also overview how these differences across motor effector synchronization and training must be accounted for in models of perception and action. Figure 1. One trial...
Journal Articles
Music Perception. 2019; 37295–110 doi: https://doi.org/10.1525/mp.2019.37.2.95
Published: 01 December 2019
... genre, participants had to indicate how much they enjoyed listening to such music, using a 7-point Likert scale. In addition, for genres rated above 5, they had to cite three of their favorite tunes for that genre. Genres listed in the survey were inspired by typical taxonomies of internet music...
Journal Articles
Music Perception. 2019; 372111–133 doi: https://doi.org/10.1525/mp.2019.37.2.111
Published: 01 December 2019
...., tapping accuracy or variability), operationalized as the standard deviation (in ms) of tapping offset from rhythmic reference points; and 3) subjective ratings of groove on a Likert scale (i.e., degree of “wanting to move the body to the music” and “musical well-formedness”). In our experimental...
Journal Articles
Music Perception. 2019; 37166–91 doi: https://doi.org/10.1525/mp.2019.37.1.66
Published: 01 September 2019
.... Additionally, our musically resolved excerpts varied in duration from excerpts used in Experiment 1 and 2 (see Appendix C ). As such, it is possible that stimuli duration played a role in the differences, and our conclusions should be interpreted in that light. Nonetheless, this trade-off is inevitable in...
Journal Articles
Music Perception. 2019; 37126–41 doi: https://doi.org/10.1525/mp.2019.37.1.26
Published: 01 September 2019
... commensurate across the different BPM levels. 1 All stimuli were in simple duple meter (i.e., 4/4) with a light amount of ‘‘swing’’ (i.e., no overt triplet subdivision), and all are well established members of the American 1960's R&B canon, as indicated by their chart positions. 2 To assess how...
Journal Articles
Music Perception. 2019; 364390–405 doi: https://doi.org/10.1525/mp.2019.36.4.390
Published: 01 April 2019
... Dittrich, W. H. , Troscianko, T. , Lea, S. E. G. , & Morgan, D. ( 1996 ). Perception of emotion from dynamic point-light displays represented in dance . Perception , 25 ( 6 ), 727 – 738 . Dziobek, I. , Preißler, S. , Grozdanovic, Z. , Heuser, I. , Heekeren, H. R. , & Roepke, S...
Journal Articles
Music Perception. 2019; 364371–389 doi: https://doi.org/10.1525/mp.2019.36.4.371
Published: 01 April 2019
... sensations. Participants reported intense affective experience with EDM despite being removed from the club context, and attributed this experience to the drop in particular. They described these experiences as energizing and uplifting, and pointed to an embodied, kinaesthetic experience of the music. Drop...
Journal Articles
Music Perception. 2019; 364406–430 doi: https://doi.org/10.1525/mp.2019.36.4.406
Published: 01 April 2019
... identified at every onset in any voice. White bars: Prepared chords, in which one or more notes are held from the previous chord. Black bars: Unprepared chords, in which all onsets are simultaneous. FIGURE 3. Results of Exper iment 1. Points are mean listener ratings over 40 participants. Error bars...
Journal Articles
Music Perception. 2019; 363253–272 doi: https://doi.org/10.1525/mp.2019.36.3.253
Published: 01 February 2019
...Miriam Rainsford; Matthew A. Palmer; James D. Sauer D istinctive stimuli are better recognized than typical stimuli in many domains (e.g., faces, words). Distinctiveness predicts the point of recognition of a melody ( Bailes, 2010 ), and the recognition of unique tones within a melody ( Vuvan...
Journal Articles
Music Perception. 2019; 363289–299 doi: https://doi.org/10.1525/mp.2019.36.3.289
Published: 01 February 2019
... time taken. This was a key test to the approach, particularly from a commercial point of view. The amount of music recorded and the quality of the musicianship was similar to previous collocated sessions for the ABRSM. All of the musicians commented on how unusual the separation felt to them, but...
Journal Articles
Music Perception. 2018; 362135–155 doi: https://doi.org/10.1525/mp.2018.36.2.135
Published: 01 December 2018
... onset of music training. Participants majoring in Chinese traditional instruments at CN-SCOM and CN-CNU were excluded. The data points at leftmost and rightmost ends of each line include the earlier and later years, respectively. Each row of numbers between the panels represents the numbers of...
Journal Articles
Music Perception. 2018; 36177–97 doi: https://doi.org/10.1525/mp.2018.36.1.77
Published: 01 September 2018
... sequence of motives from the following categories: Melodic, Pizzicato, Scale, Plucked Trichord. Section IX (mm. 144-165) Lack of internal surface contrasts and clear segmentation points. The boundaries in terms of both musical features and formal segmentation between motives from Scale, Melodic, and...
Includes: Supplementary data
Journal Articles
Music Perception. 2018; 36124–39 doi: https://doi.org/10.1525/mp.2018.36.1.24
Published: 01 September 2018
... a significant effect of pitch variability for musicians when pitch patterns varied between standard and comparison sequences. Experiment 3 high-lighted the impact of the timbral dissimilarity of swapped sounds and indicated a recency effect in timbre recognition. Experiment 4 confirmed the...
Journal Articles
Music Perception. 2018; 355540–560 doi: https://doi.org/10.1525/mp.2018.35.5.540
Published: 01 June 2018
... mode, for example, experienced musicians can readily point to works or passages that contradict the presumed minor/sad and major/happy associations. For example, Mozart s Rondo alla Turca and Rimsky- Korsakov s Flight of the Bumblebee are predominantly in the minor mode, yet neither work sounds sad...
Journal Articles
Music Perception. 2018; 354518–523 doi: https://doi.org/10.1525/mp.2018.35.4.518
Published: 01 April 2018
... sequence began and ended with the first/lowest tone in the gamut (110 Hz). To create a sense of tonic, this first tone was accompanied by a light tom-tom drum beat to further draw attention to it as a reference point (London, 2004). A standard gamut was created based on one recently used by Loui...
Journal Articles
Music Perception. 2018; 353364–375 doi: https://doi.org/10.1525/mp.2018.35.3.364
Published: 01 February 2018
... was dominant in conveying a range of performance manners. She found that observers shown performances recorded in point light (both audiovisually and vision only) were able to distinguish accurately between three intended performance manners: deadpan, projected, and exaggerated. In one case it was in...
Journal Articles
Music Perception. 2018; 353376–399 doi: https://doi.org/10.1525/mp.2018.35.3.376
Published: 01 February 2018
... frequently used self-report measures of music preferences is the Short Test of Musical Pre- ferences (the STOMP; Rentfrow & Gosling, 2003). Respondents rate their preference for 14 music genres (e.g., alternative, country, jazz, or rock) on a 7-point scale (a revised version of the STOMP comprises 23 genres...
Includes: Supplementary data
Journal Articles
Music Perception. 2018; 353332–363 doi: https://doi.org/10.1525/mp.2018.35.3.332
Published: 01 February 2018
... functional mag- netic resonance imaging (fMRI) in order to investi- gate the most fundamental affective axis of timbre, its valence, from a theoretical vantage point of embodied music cognition. TIMBRE AND THE EMBODIED MIND Embodied cognition is a contemporary research para- digm that emphasizes the primary...
Includes: Supplementary data