Search Results for rhythm
1-20 of 734 Search Results for
Music Perception. 2020; 373196–207 doi: https://doi.org/10.1525/mp.2020.37.3.196
Published: 01 February 2020
... less variable (lower coefficient of variation) in pianists compared to non-pianists. Consistent with the idea that the benefits of synchronization on rhythm perception are constrained by motor effector kinematics, this work helps clarify previous findings in this paradigm. We discuss these outcomes in...
Music Perception. 2019; 372111–133 doi: https://doi.org/10.1525/mp.2019.37.2.111
Published: 01 December 2019
... perception is independent of musical sophistication ( Bouwer, Van Zuijen, & Honing, 2014 ; Damsma & van Rijn, 2017 ), others suggest that musicianship and expertise develop cognitive metrical frameworks that can enhance the perception of rhythm ( Chen, Penhune, & Zatorre, 2008 ; Drake, Penel...
Published: 01 April 2019
FIGURE 2. Michael Jackson, “Billie Jean,” last line of chorus. (A) Original rhythm; (B) recomposed with syncopation removed. FIGURE 2. Michael Jackson, “Billie Jean,” last line of chorus. (A) Original rhythm; (B) recomposed with syncopation removed.
Published: 01 April 2019
FIGURE 11. The Beatles, “Hey Jude,” beginning of bridge. (A) Original rhythm; (B) recomposed with syncopation removed. FIGURE 11. The Beatles, “Hey Jude,” beginning of bridge. (A) Original rhythm; (B) recomposed with syncopation removed.
Music Perception. 2006; 24199–104 doi: https://doi.org/10.1525/mp.2006.24.1.99
Published: 01 September 2006
... pitch perception can be explained without invoking natural selection for music. However, they leave the issue of musical rhythm largely unexplored. This comment extends their conceptual approach to musical rhythm and suggests how issues of innateness, domain specificity, and human specificity might be...
Music Perception. 2017; 344452–481 doi: https://doi.org/10.1525/mp.2017.34.4.452
Published: 01 April 2017
...Christopher S. Lee; Lucinda Brown; Daniel Müllensiefen There is evidence that an emerging variety of English spoken by young Londoners—Multicultural London English (MLE)—has a more even syllable rhythm than Southern British English (SBE). Given findings that native language rhythm influences the...
Music Perception. 2017; 343303–312 doi: https://doi.org/10.1525/mp.2017.34.3.303
Published: 01 February 2017
...Scott Barton; Laura Getz; Michael Kubovy We investigated the effect of tempo on the production of the syncopated 3-2 son clave rhythm. We recorded eleven experienced percussionists performing the clave pattern at tempi ranging from 70 bpm to 210 bpm. As tempo increased, percussionists shortened the...
Music Perception. 2017; 343291–302 doi: https://doi.org/10.1525/mp.2017.34.3.291
Published: 01 February 2017
... divisions (at the swing level) that contain events. The importance of this quantity to the perceptual effect of swing is discussed. © 2017 by The Regents of the University of California 2017 12 10 2015 1 5 2016 swing microtiming hip-hop breakbeats sampling SWING RHYTHM IN...
Music Perception. 2016; 34194–103 doi: https://doi.org/10.1525/mp.2016.34.1.94
Published: 01 September 2016
... shown a comparable result for the rhythmic patterns of the spontaneous speech and instrumental music of musicians who speak different dialects of English, such that within-dialect speech and music rhythms are more similar to one another than are across-dialect rhythms. We extend the latter finding by...
Music Perception. 2016; 334414–431 doi: https://doi.org/10.1525/mp.2016.33.4.414
Published: 01 April 2016
...Niels Chr. Hansen; Makiko Sadakata; Marcus Pearce Research has used the normalized pairwise variability index (nPVI) to examine relationships between musical rhythm and durational contrast in composers’ native languages. Applying this methodology, linearly increasing nPVI in Austro-German, but not...
Music Perception. 2013; 31110–18 doi: https://doi.org/10.1525/mp.2013.31.1.10
Published: 01 September 2013
...Joseph R. Daniele; Aniruddh D. Patel This paper introduces a new approach for the historical study of musical rhythm based on an empirical measure of rhythm known as the nPVI (‘normalized pairwise variability index’). The nPVI is an equation that measures the degree of durational contrast between...
Music Perception. 2011; 283307–314 doi: https://doi.org/10.1525/mp.2011.28.3.307
Published: 01 February 2011
... characteristics are correlated in the speech and music in each dialect area. ©© 2011 By the Regents of the University of California speech rhythm musical rhythm dialects nPVI English Music Perception volume 28, issue 3, pp. 307 313, issn 0730-7829, electronic issn 1533-8312 © 2011 by the regents of...
Music Perception. 2010; 275355–376 doi: https://doi.org/10.1525/mp.2010.27.5.355
Published: 01 June 2010
...David Temperley THIS STUDY EXPLORES WAYS OF MODELING the compositional processes involved in common-practice rhythm (as represented by European classical music and folk music). Six probabilistic models of rhythm were evaluated using the method of cross-entropy: according to this method, the best...
Music Perception. 2006; 242125–134 doi: https://doi.org/10.1525/mp.2006.24.2.125
Published: 01 December 2006
...John Bispham This article explores human rhythmic abilities and behaviors within a framework of evolutionary theory highlighting the need for research in this area to be grounded upon solid psychologically valid definitions of rhythm . A wide-ranging cross-species comparison of rhythmic or quasi...
Music Perception. 2014; 315444–469 doi: https://doi.org/10.1525/mp.2014.31.5.444
Published: 01 June 2014
...Erica Cao; Max Lotstein; Philip N. Johnson-Laird What determines the similarity of musical rhythms? According to the “family” theory, which this paper presents, one factor is the temporal sequence of the onsets of notes: rhythms with the same pattern of interonset intervals tend to sound similar...
Music Perception. 2006; 233269–288 doi: https://doi.org/10.1525/mp.2006.23.3.269
Published: 01 February 2006
... the rhythmic categories. Thus we can relate the two kinds of informa- tion and predict perception data from production data. In this approach, the contrast between rhythm percep- tion and production data, taken from different studies in the literature, was shown almost to disappear, assem- bling...
Music Perception. 2005; 224629–661 doi: https://doi.org/10.1525/mp.2005.22.4.629
Published: 01 April 2005
... photocopy or reproduce article content to University of California Press s Rights and Permissions website, at www.ucpress.edu/journals/rights.htm. Music Perception Summer 2005, Vol. 22, No. 4, 629 661 Musical Meter in Attention to Multipart Rhythm P E T E R E . K E L L E R MARCS Auditory Laboratories...
Music Perception. 2005; 223365–369 doi: https://doi.org/10.1525/mp.2005.22.3.365
Published: 01 March 2005
... reproduce article content to University of California Press s Rights and Permissions website, at www.ucpress.edu/journals/rights.htm. Music Perception Spring 2005, Vol. 22, No. 3, 365 369 Editorial: New Research in Rhythm Perception and Production THIS special issue of Music Perception communicates research...
Music Perception. 2013; 303291–305 doi: https://doi.org/10.1525/mp.2012.30.3.291
Published: 01 February 2013
... in a rhythm containing just two interval durations. The present study examined whether highly trained musicians (including percussionists) are able to perform such rhythms accurately in a synchronization-continuation tapping paradigm. Eleven rhythms, a subset of those used by Fraisse, were presented...
Music Perception. 2017; 352193–199 doi: https://doi.org/10.1525/mp.2017.35.2.193
Published: 01 December 2017
... nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that...