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Journal Articles
Music Perception. 2017; 345557–568 doi: https://doi.org/10.1525/mp.2017.34.5.557
Published: 01 June 2017
... structure. I suggest that research in music perception and performance can benefit from systematically adopting phase space plots, a visualization technique originally developed in mathematical physics that overcomes the aforementioned limitations. By jointly plotting adjacent interonset intervals (IOI...
Images
<b>Visualization</b> of the stimulus sequence (from  Torppa et al., 2012 ). 1 = st...
Published: 01 December 2018
FIGURE 3. Visualization of the stimulus sequence (from Torppa et al., 2012 ). 1 = standard, 2 = pitch deviant, 3 = intensity deviant, 4 = gap deviant, 5 = musical instrument deviant, 6 = duration deviant. After every stimulus there was a pause, not marked in the visualisation. The SOA was a FIGURE 3. Visualization of the stimulus sequence (from Torppa et al., 2012 ). 1 = standard, 2 = pitch deviant, 3 = intensity deviant, 4 = gap deviant, 5 = musical instrument deviant, 6 = duration deviant. After every stimulus there was a pause, not marked in the visualisation. The SOA was a More
Journal Articles
Music Perception. 2019; 3711–25 doi: https://doi.org/10.1525/mp.2019.37.1.1
Published: 01 September 2019
... interact visually, particularly when the musical timing is irregular. This study investigated the performance conditions that encourage visual signaling and interaction between ensemble members. Piano and clarinet duos rehearsed a new piece as their body motion was recorded. Analyses of head movement...
Images
Distributions of valence ratings in Experiments 2 and 3 (<b>Visual</b> analog scal...
Published: 11 March 2020
Figure 7. Distributions of valence ratings in Experiments 2 and 3 (Visual analog scale). Figure 7. Distributions of valence ratings in Experiments 2 and 3 (Visual analog scale). More
Journal Articles
Music Perception. 2018; 353364–375 doi: https://doi.org/10.1525/mp.2018.35.3.364
Published: 01 February 2018
...Noola K. Griffiths; Jonathon L. Reay Aural and visual information have been shown to affect audience evaluations of music performance (Griffiths, 2010; Juslin, 2000); however, it is not fully understood which modality has the greatest relative impact upon judgements of performance or if the...
Journal Articles
Music Perception. 2020; 374298–322 doi: https://doi.org/10.1525/mp.2020.37.4.298
Published: 11 March 2020
...Figure 7. Distributions of valence ratings in Experiments 2 and 3 (Visual analog scale). ...
Images
<b>Visual</b> representation of predictor relationships using Commonality Analysis...
Published: 01 September 2019
FIGURE 2. Visual representation of predictor relationships using Commonality Analysis as used here, adapted from original by Capraro and Capraro (2001) . FIGURE 2. Visual representation of predictor relationships using Commonality Analysis as used here, adapted from original by Capraro and FIGURE 2. Visual representation of predictor relationships using Commonality Analysis as used here, adapted from original by Capraro and Capraro (2001) . FIGURE 2. Visual representation of predictor relationships using Commonality Analysis as used here, adapted from original by Capraro and More
Images
<b>Visual</b> representation of a break routine consisting of the musical passages...
Published: 01 April 2019
FIGURE 1. Visual representation of a break routine consisting of the musical passages’ breakdown, build-up and drop. Above a logarithmic dBV spectrogram with window size 1024, while the audio waveform is presented below. This break routine example is Track 3 used in the listening experiment FIGURE 1. Visual representation of a break routine consisting of the musical passages’ breakdown, build-up and drop. Above a logarithmic dBV spectrogram with window size 1024, while the audio waveform is presented below. This break routine example is Track 3 used in the listening experiment More
Journal Articles
Music Perception. 2020; 374323–338 doi: https://doi.org/10.1525/mp.2020.37.4.323
Published: 11 March 2020
... feeling of such emotions. Musicians and nonmusicians were presented with visual, auditory, and audiovisual clips consisting of the biological motion and speech prosody of two agents interacting. Participants judged as quickly as possible whether the expressed emotion was happiness or anger, and...
Journal Articles
Music Perception. 2016; 333344–366 doi: https://doi.org/10.1525/mp.2016.33.3.344
Published: 01 February 2016
... described, including how the model traces the dynamics of tonal perception. A real-time implementation of the model is applied to cadential tipping point examples to visualize the effect of tipping points on tonal perception. The analyses show how tipping points influence tonal perception—clarifying...
Journal Articles
Music Perception. 2016; 334457–471 doi: https://doi.org/10.1525/mp.2016.33.4.457
Published: 01 April 2016
...Jonna K. Vuoskoski; Marc R. Thompson; Charles Spence; Eric F. Clarke Recently, Vuoskoski, Thompson, Clarke, and Spence (2014) demonstrated that visual kinematic performance cues may be more important than auditory performance cues in terms of observers’ ratings of expressivity perceived in...
Journal Articles
Music Perception. 2005; 232137–152 doi: https://doi.org/10.1525/mp.2005.23.2.137
Published: 01 December 2005
...Bradley W. Vines; Regina L. Nuzzo; Daniel J. Levitin THIS ARTICLE INTRODUCES THEORETICAL and analytical tools for research involving musical emotion or musical change. We describe techniques for visualizing and analyzing data drawn from timevarying processes, such as continuous tension judgments...
Journal Articles
Music Perception. 2012; 302187–204 doi: https://doi.org/10.1525/mp.2012.30.2.187
Published: 01 December 2012
... presenting metronomic timing or equal temperament tun- ing as a reference. The implication is that there is one cor- rect way to perform the music (e.g., Wilson, Lee, Callaghan, & Thorpe, 2008). Alternatively, performance characteristics may be visualized without an indication of a norm (as when using a...
Journal Articles
Music Perception. 2012; 30137–47 doi: https://doi.org/10.1525/mp.2012.30.1.37
Published: 01 September 2012
...Matthew J. C. Crump; Gordon D. Logan; Jerry Kimbrough we investigate a role for vision in skilled guitar playing, focusing on visual contributions to the representation of basic first-position root chords (C, A, G, E, D). Experiment 1 involved naming or playing guitar chords displayed in different...
Journal Articles
Music Perception. 2012; 30171–83 doi: https://doi.org/10.1525/mp.2012.30.1.71
Published: 01 September 2012
...Friedrich Platz; Reinhard Kopiez the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained...
Journal Articles
Music Perception. 2012; 30185–96 doi: https://doi.org/10.1525/mp.2012.30.1.85
Published: 01 September 2012
...Thomas H. Rammsayer; Franziska Buttkus; Eckart Altenmüller the present study was designed to investigate differences in auditory and visual temporal information processing between musicians and nonmusicians. For this purpose, timing performance on a set of six different psychophysical temporal...
Journal Articles
Music Perception. 2017; 35177–93 doi: https://doi.org/10.1525/mp.2017.35.1.77
Published: 01 September 2017
...Marilyn G. Boltz Although the visual modality often dominates the auditory one, one exception occurs in the presence of tempo discrepancies between the two perceptual systems: variations in auditory rate typically have a greater influence on perceived visual rate than vice versa. This phenomenon...
Images
Proportion of happy and angry trials where participants felt the emotion th...
Published: 11 March 2020
Figure 4. Proportion of happy and angry trials where participants felt the emotion they had perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. Figure 4. Proportion of happy and angry trials where participants felt the emotion they had perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. More
Images
Proportion of happy and angry trials where participants felt the emotion th...
Published: 11 March 2020
Figure A2. Proportion of happy and angry trials where participants felt the emotion they had correctly perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. Figure A2. Proportion of happy and angry trials where participants felt the emotion they had correctly perceived in visual-only, auditory-only, and audiovisual clips, collapsing across musical experience. Error bars represent standard errors. More
Journal Articles
Music Perception. 2009; 27143–59 doi: https://doi.org/10.1525/mp.2009.27.1.43
Published: 01 September 2009
...Marilyn G. Boltz; Brittany Ebendorf; Benjamin Field PREVIOUS RESEARCH HAS DEMONSTRATED THAT MUSICAL soundtracks can influence the emotional impact, interpretation, and remembering of visual information. The present research examines the reverse relationship and whether visual information influences...