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Journal Articles
Music Perception. 2020; 375392–402 doi: https://doi.org/10.1525/mp.2020.37.5.392
Published: 10 June 2020
... distinguish between MEAMs and picture-evoked memories. Participants ( N = 18) listened to popular music and viewed pictures of famous persons, and described any autobiographical memories evoked by the stimuli. Memories were scored using the Autobiographical Interview (AI; Levine, Svoboda, Hay, Winocur...
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Published: 10 June 2020
Figure 7. Box plots of d ′ scores and bias (C) for participants with and without formal music training
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Published: 01 February 2020
Figure 2. Difference scores of 6- to 8-year-old, 8- to 10-year-old, 10- to 12-year-old, 13- to 14-year-old, 14- to 15-year-old, and adult groups for the Western melodies and the traditional Japanese melodies, respectively. Difference scores were calculated by subtracting ratings of the non-scale
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Published: 01 February 2020
Figure 3. Difference scores of 6- to 8-year-old, 8- to 10-year-old, 10- to 12-year-old, 13- to 14-year-old, 14- to 15-year-old, and adult groups for the Western melodies and the traditional Japanese melodies, respectively. Difference scores were calculated by subtracting ratings of the non-center
Journal Articles
Music Perception. 2019; 365468–479 doi: https://doi.org/10.1525/mp.2019.36.5.468
Published: 01 June 2019
... singing voice, suggesting that the use of neutral syllable in classroom singing activities might be beneficial to improve accuracy. Older children and girls obtained higher scores for the use of singing voice and accuracy. Within a common pitch range, children with higher SVDM scores sang accurately a...
Journal Articles
Music Perception. 2020; 375373–391 doi: https://doi.org/10.1525/mp.2020.37.5.373
Published: 10 June 2020
...Figure 7. Box plots of d ′ scores and bias (C) for participants with and without formal music training ...
Journal Articles
Music Perception. 2019; 364390–405 doi: https://doi.org/10.1525/mp.2019.36.4.390
Published: 01 April 2019
... consisting of 24 point-light animations were created using motion capture data selected from a sample of 99 dyads, based on self-reported trait empathy. Individuals whose Empathy Quotient (EQ) scores were in the top or bottom quartile of all scores were considered to have high or low empathy, respectively...
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Published: 01 June 2019
FIGURE 3. Plot of college-level music tuition score according to musical identity category (MIC) for instrumentally skilled participants (left) and all participants (right). Error bars indicate ±1 standard error of the mean. FIGURE 3. Plot of college-level music tuition score according to
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Published: 01 June 2019
FIGURE 4. Plot of OMSI score according to musical identity category (MIC) for instrumentally skilled participants (left) and all participants (right). Error bars indicate ±1 standard error of the mean. FIGURE 4. Plot of OMSI score according to musical identity category (MIC) for instrumentally
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Published: 01 February 2019
FIGURE 4. Distribution of nPVI scores across four corpora. The overall average of each corpus is represented by the height of each bar. In the European and Chinese corpora, cross-hairs indicate regions (sorted from lowest to highest nPVI) while dots indicate songs, randomly “jittered” across the
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Published: 01 February 2019
FIGURE 8. Distribution of pnPVI scores across three corpora—the Haydn corpus is excluded because it lacks phrasing information. The overall average of each corpus is represented by the height of each bar. For each corpora, the distribution of larger subgroups are indicated by cross-hair symbols
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Published: 01 December 2018
FIGURE 4. Percentages of the participants classified by their RP scores for each group. Participants majoring in Chinese traditional instruments at CN-SCOM and CN-CNU were excluded. The right-most area designated as AP Responses represents percentage of the participants who answered two AP names
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Published: 01 December 2018
FIGURE 2. Percentages of the participants classified according to their AP scores for different specialties in each conservatory-level group. FIGURE 2. Percentages of the participants classified according to their AP scores for different specialties in each conservatory-level group.
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Published: 01 December 2018
FIGURE 5. Percentages of the participants classified according to their RP scores for different specialties in each group. FIGURE 5. Percentages of the participants classified according to their RP scores for different specialties in each group.
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Published: 01 December 2018
FIGURE 6. Average RP score of the participants in different semesters for US-UMN, JP-KCUA, and JP-NGTU. Error bars show 95% confidence intervals. FIGURE 6. Average RP score of the participants in different semesters for US-UMN, JP-KCUA, and JP-NGTU. Error bars show 95% confidence intervals.
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Published: 01 December 2018
FIGURE 1. Percentages of the participants classified according to their AP scores for each group. JP-KCUA: Kyoto City University of Arts, JP-NGTU: Niigata University, CN-CCOM: Central Conservatory of Music (Beijing), CN-SCOM: Shanghai Conservatory of Music, CN-CNU: Capital Normal University
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Published: 01 December 2018
FIGURE 3. (A) Average AP scores and (B) percentages of accurate AP participants whose AP scores were 0.9 or higher for each group, as a function of age of onset of music training. Participants majoring in Chinese traditional instruments at CN-SCOM and CN-CNU were excluded. The data points at
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Published: 01 December 2018
FIGURE 7. Scatterplot showing as a whole the relationship between AP and RP scores averaged across participants for each group. Filled symbols represent the conservatory-level music universities and unfilled symbols show other non-conservatory groups. The groups are combined into three larger
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Published: 01 December 2018
FIGURE A1. The relationship between AP and RP scores for individuals in selected groups. Different symbols in each panel represent individual participants in subgroups of different specialties. Some symbols of the perfect AP in JP-KCUA (A) and the perfect RP in PL-UMFC (E) are offset horizontally
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Published: 01 September 2018
FIGURE 2. Mean familiarity and likeability scores for the five works. Three distinct groupings appeared: the Etude-Waltz pair showed high familiarity with no significant difference in likeability scores; the Prelude-Tarantelle pair showed significantly lower overall scores with significantly