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Music Perception (2020) 37 (4): 263–277.
Published: 11 March 2020
... with musical rhythmic patterns played at three different tempi. They synchronized with multiple metrical levels (half notes, quarter notes, eighth notes) of these patterns using a finger-tapping paradigm and listened without tapping. After each trial, stimulus duration was judged using a verbal...
Music Perception (2012) 30 (2): 205–223.
Published: 01 December 2012
... synchronization task (Repp, London, & Keller, 2011) have suggested an upward-shifted AR (USAR) somewhat greater than 0.5. Three new experiments suggest that this shift is not due to synchronization versus continuation tapping, the range of interval ratios employed, unimanual versus bimanual tapping, intensity...
Music Perception (2010) 27 (5): 389–397.
Published: 01 June 2010
... metronome. Interval durations ranged from 1 s to 3.25 s.Musically trained participants tapped in synchrony with the metronome while: (1) refraining from any subdivision, (2) mentally bisecting each interval, (3) making additional taps at the bisection points (double tempo tapping), or (4) tapping only at...
Music Perception (2009) 27 (2): 103–120.
Published: 01 December 2009
... perception of anacruses. The independent variables were rhythmic figure, initial melodic direction, initial melodic interval, implied harmony, articulation, and tempo. Participants tapped "every other beat" to melodies composed for each experiment; the phase-alignment of taps with the stimulus was the...
Music Perception (2008) 26 (2): 171–175.
Published: 01 December 2008
... (3:2 interval ratios), using musically trained participants. In isochronous control sequences, the phase correction response (PCR) of the tap following a small phase shift was larger when the intervals were long (600 ms) than when they were short (400 ms). In nonisochronous cyclic two-interval...
Music Perception (2008) 26 (1): 1–18.
Published: 01 September 2008
...Bruno H. Repp; John R. Iversen; Aniruddh D. Patel RHYTHMIC STRUCTURE OFTEN FAVORS a particular beat that is marked by frequent tone onsets and grouping accents. Using rhythms similar to those of Povel and Essens (1985), we asked musically trained participants to tap on physically or mentally...