Skip Nav Destination
1-5 of 5
Music Perception (2017) 34 (5): 605–623.
Published: 01 June 2017
... loudness in a film soundtrack to suggest diegetic music (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of...
Music Perception (2016) 34 (1): 40–55.
Published: 01 September 2016
...Dafna Kohn; Zohar Eitan We examined how children (5- and 8-year-olds) associate changes in musical parameters with bodily motion, using movement and verbal tasks. In Task 1, participants moved to short musical stimuli involving bidirectional changes in pitch, loudness, or tempo. In Task 2...
Music Perception (2016) 33 (5): 571–589.
Published: 01 June 2016
... event density, showing that an algorithm that emphasizes variability between beats predicted groove ratings better. In Study 2 we manipulated RMS levels and groove category (low, mid, and high groove) to confirm that perceived groove is not a function of loudness. In Study 3 we utilized novel music...
Includes: Multimedia, Supplementary data
Music Perception (2013) 31 (2): 171–185.
Published: 01 December 2013
... piano pieces by Mendelssohn and Mozart. Modifications included versions without dynamics and without agogics as well as versions in which the music was reduced to its melodic, harmonic, or outer voice components. Additionally, we compared tension ratings with a loudness model. Tension ratings for...
Music Perception (2011) 28 (3): 219–246.
Published: 01 February 2011
... short melodic sequences that combined manipulations of pitch direction, pitch register, loudness change, and tempo change, and rated in each sequence the overall tension level, as well as the direction of tension change (increasing or decreasing). For overall tension ratings, repeated measures ANOVAs...