Metrical Accents Do Not Create Illusory Dynamic Accents

Size: px
Start display at page:

Download "Metrical Accents Do Not Create Illusory Dynamic Accents"

Transcription

1 Metrical Accents Do Not Create Illusory Dynamic Accents runo. Repp askins Laboratories, New aven, Connecticut Renaud rochard Université de ourgogne, Dijon, France ohn R. Iversen The Neurosciences Institute, San Diego, California Ève Poudrier Yale University, New aven, Connecticut Address correspondence to: runo. Repp askins Laboratories 300 George Street New aven, CT phone: (203) , ext. 236 fax: (203)

2 Repp et al.: Metrical accents and loudness 2 Abstract Metrical accents, which are said to arise from perception of a beat in a rhythm, confer subjective prominence to events that fall on the beat. Does that mean the metrically accented events are perceived as physically more prominent (e.g., louder or longer) than other events? A recent study requiring participants to detect small physical changes in melodies having a subjectively imposed beat (Repp, 2010) suggested a negative answer. The present study used a much simpler beat induction paradigm to revisit this issue. Following a brief isochronous induction sequence, musically trained participants heard two probe tones, one of which, or neither of which, fell on the projected beat. The task was to compare the two probe tones with regard to their relative loudness, which was varied systematically. The results showed that some participants judged an on-beat probe tone to be relatively louder than an off-beat tone, but only when the second probe tone fell on the first beat following the induction sequence and the beat tempo was relatively fast. ecause this result was also obtained when all but the last induction tone were omitted, it probably reflects a rhythmic grouping accent (Povel & Essens, 1985) rather than a metrical accent. Therefore, the study provides no evidence that a metrical accent creates a phenomenal dynamic accent.

3 Repp et al.: Metrical accents and loudness 3 When a rhythmic structure gives rise to perception of a regular beat ( tactus ), the on-beat positions in the resulting metrical hierarchy are considered strong or metrically accented (Lerdahl & ackendoff, 1983). This means that auditory events falling on the beat are subjectively more prominent than those not falling on the beat, even though they may not differ in their physical properties. Induction of a beat can give rise to overt periodic movements such as foot tapping and engages brain areas involved in motor control even when overt movement is absent (Grahn & rett, 2007; Grahn & Rowe, 2009). eat induction also creates expectations of hearing auditory events in temporal on-beat positions (Snyder & Large, 2005), and it focuses attention on these positions (Large & ones, 1999). As a result, it is theoretically possible that metrically accented events are actually perceived to be physically different from metrically unaccented events: Their increased subjective prominence may result in illusory increases in their subjective loudness or duration that in turn reinforce their prominence. Alternatively, the increased subjective prominence conveyed by metrical accentuation may be purely cognitive or motoric, leaving the perception of auditory event properties unaffected. A recent study (Repp, 2010) addressed this issue empirically. In each trial, musically trained participants heard an isochronous melody composed of 12 tones, played twice in succession with legato articulation. In the second presentation, depending on the experimental condition, one of the 12 tones was louder, softer, longer, or shorter than the other tones, and the task was to identify this changed tone. The deviant tone could fall either on or off the beat of the melody. The melody had a 6/8 (2 3) meter, which was

4 Repp et al.: Metrical accents and loudness 4 prescribed by music notation displayed on a screen, and it started on the beat. Consequently every third note was metrically accented. Three different melodies were created from the same sequence of pitches by shifting the starting pitch, in order to separate effects of pitch structure from effects of meter. The results of this study provided no evidence of perceptual biases indicating that tones on the beat were perceived as louder or longer than notes off the beat. The results did indicate, however, that participants paid more attention to tones on the beat because sensitivity to deviations in loudness or duration was increased in those positions. The data of that study were rather complex because the effects of meter were overlaid on pronounced effects of pitch structure and serial position. Also, the metrical structure was somewhat labile because the imposed meter sometimes conflicted with metrical cues contained in the pitch structure. Therefore, the results can hardly be considered definitive. The purpose of the present study was to introduce a much simpler paradigm to re-address the specific question of whether metrically accented tones sound louder than metrically unaccented tones. Instead of a subjectively imposed meter, a simple beat was induced by an isochronous sequence of tones, which was followed by two probe tones whose relative loudness had to be judged. Four experiments were conducted, and author R piloted additional experiments on himself (described in an Appendix). The four experiments aimed to investigate whether an on-beat probe tone is perceived as louder than an off-beat probe tone and whether that effect depends on the beat period (Experiment 1), whether it extends beyond a silent beat following the induction tones (Experiment 2), whether it depends on the number of induction tones

5 Repp et al.: Metrical accents and loudness 5 (Experiment 3), and whether it is influenced by patterns of accentuation in the induction tones (Experiment 4). Methods Participants The participants were nine graduate students from the Yale School of Music (3 men, 6 women, ages 21-27), who were paid for their efforts. They all played their primary musical instruments (piano (2), violin, viola (2), flute, trombone, harp, guitar) at a professional level, having studied them for years. All were regular participants in rhythm perception and production experiments in author R s laboratory. Author R also ran himself in all experiments, but his data were not included (see Appendix). Materials and equipment Figure 1 shows a schematic diagram of the paradigm. A short sequence of induction tones (also referred to as beats here) with a constant inter-beat interval (II) was followed by two probe tones (T1, T2). The probe tones were separated by an interval equal to half the II and followed the final induction tone after an interval equal either to the II, or three fourths of the II, or half the II. Consequently, either T1 coincided with the next projected beat ( T1 on beat ), or neither tone coincided with that beat ( Off beat ), or T2 coincided with it ( T2 on beat ) Insert Figure 1 here

6 Repp et al.: Metrical accents and loudness 6 All tones had a piano timbre and a nominal duration of 40 ms. Induction tones had the pitch C4, whereas probe tones had the pitch D4. All induction tones had the same intensity (MIDI velocity of 60). The two probe tones had five possible intensity relationships, one of which was equality (MIDI velocities of 60/60). The other four pairs of MIDI velocities were 54/66, 57/63, 63/57, and 66/54. These differences between T1 and T2 are approximately equal to -3, -1.5, 1.5, and 3 d, respectively (Repp, 1997). The tones were produced by a Roland RD-250s digital piano under control of a program written in Max/MSP that ran on an Intel imac computer. The combination of three probe tone phases and five intensity relationships yielded 15 trials. In each of the four experiments reported here, there was a third variable with three levels, which increased the number of different trials to 45. A random sequence of these 45 trials made up one trial block, and each experiment consisted of five such blocks. In Experiments 1 and 2, the third variable was II duration: 400, 600, or 800 ms. In Experiment 1, the probe tones were timed as shown in Figure 1. In Experiment 2, the probe tones occurred near the second projected beat, with the first projected beat being silent. In other words, the probe tones followed the final induction tone with delays of 2*II, 1.75*II, or 1.5*II. In Experiments 3 and 4, the II was fixed at 400 ms. In Experiment 3, the third variable was the number of induction tones: 1, 4, or 7. In Experiment 4, there were again four induction tones and the third variable was their relative loudness. They were either of equal intensity (MIDI velocity of 60), or the first and third tones were louder (MIDI velocity of 72) while the second and fourth tones were

7 Repp et al.: Metrical accents and loudness 7 softer (MIDI velocity of 48), or the reverse. The intensity difference amounted to about 6 d (Repp, 1997). Procedure Each experiment took about 25 minutes. Experiments 1 and 2 were conducted in one 1-hour session, and Experiments 3 and 4 in another 1-hour session, about six weeks later. Their order was not counterbalanced. Participants sat in front of the computer and listened over Sennheiser D280 pro headphones at a comfortable intensity. After the task had been explained, they started the first trial in a block by clicking on a virtual button on the screen. On the screen the question Which of the two probe tones was louder? was displayed. elow the question was an array of seven virtual response buttons that increased in size from the center outwards. The large button on the left was labeled First, the large button on the right was labeled Second, and the small button in the middle was labeled??. Participants were instructed to click the button whose size reflected their confidence in the response. Then they clicked another virtual button to start the next trial. At the end of a block of trials, participants saved their data in a file. Analysis The seven response levels were scored as -3 (T1 definitely louder than T2) to 3 (T2 definitely louder than T1). These relative loudness ratings were averaged across the five repetitions of each trial (i.e., across blocks) and analyzed in repeated-measures ANOVAs with Greenhouse-Geisser correction where appropriate.

8 Repp et al.: Metrical accents and loudness 8 Results Experiment 1 The purpose of Experiment 1 was to see whether there is any effect of probe tone phase at all, and whether that effect depends on the beat period (II). If probe tones falling on the beat are perceived as louder, then ratings should be highest for T2 on beat, intermediate for Off beat, and lowest for T1 on beat. In addition, of course, ratings should increase as the actual intensity of T2 relative to T1 increases. The results are shown in Figure 2. Relative loudness ratings increased with the T2 T1 intensity difference, as expected, but probe tone phase seemed to have an effect only at the shortest II. A 3 (II) 3 (phase) 5 (intensity) ANOVA naturally yielded a highly significant main effect of intensity and also an II Intensity interaction, F(8, 64) = 4.37, p =.015, because the response functions differed somewhat in shape for the three II durations. owever, the main effect of phase, F(2, 16) = 4.21, p =.066, and the II Phase interaction, F(4, 32) = 2.91, p =.090, both fell short of significance. In a separate two-way ANOVA on the II = 400 ms condition, the main effect of phase still did not reach significance, F(2, 16) = 4.20, p =.059. Inspection of individual results revealed substantial individual differences, with some participants showing large effects of phase at II = 400 ms, but others showing no effect whatsoever Insert Figure 2 here

9 Repp et al.: Metrical accents and loudness 9 Experiment 2 The purpose of Experiment 2 was to investigate whether there was any effect of phase at the second projected beat, assuming there is an effect at the first beat. (The results of Experiment 1, conducted in the same session, were not yet known.) There was no trace of any effect of phase; the average response functions coincided almost exactly at each of the three IIs. Experiment 3 With the results of Experiment 1 now known, the purpose of Experiment 3 was to follow up the (albeit rather inconsistent) effect of phase at II = 400 ms and to see whether it depends on the number of induction tones. If the effect is due to beat induction and metrical accentuation, then it should disappear when all but the last induction tone are omitted. If the number of induction tones is increased from four to seven, however, the effect of phase might increase, due to stronger beat induction. If the effect decreases with seven induction tones, that too could be taken as evidence for beat induction: Since a beat tempo of 400 ms II is relatively fast, it could be that the real tactus has a period of 800 ms, in which case the probe tones would fall around a weaker beat after seven induction tones than after four (assuming the odd-numbered induction tones constitute the tactus; rochard et al., 2003). The results are shown in Figure 3. Surprisingly, there were similar effects of phase in all three induction-tone conditions. In the ANOVA, where the third variable was now number of induction tones, the main effect of phase was significant, F(2, 16) =

10 Repp et al.: Metrical accents and loudness , p =.002, and interacted with intensity, F(8, 64) = 4.31, p =.012, due to somewhat different shapes of the response functions for the different phases. owever, it did not interact with number of induction tones, F(4, 32) = 1.76, p =.201. Moreover, the effect of phase was asymmetric, being almost entirely due to the T2 on beat condition. The results for the T1 on beat condition did not differ significantly from the Off beat condition, as was confirmed in a separate ANOVA, F(1, 8) = 1.89, p = Insert Figure 3 here Experiment 4 The purpose of Experiment 4 was to ascertain whether dynamically accenting two beats (either 1 and 3 or 2 and 4) in a sequence of four induction tones makes any difference. Assuming that such accentuation induces a tactus or higher-level beat with a period of 800 ms, and given that the probe tones occurred around the fifth beat (the first projected beat), accenting beats 1 and 3 should enhance the effect of probe tone phase, whereas accenting beats 2 and 4 should decrease it, if the effect is due to metrical accentuation. (Results of Experiment 3 were not known at that point.) The results are shown in Figure 4. There seemed to be again an asymmetric effect of phase, as one should expect because Experiment 4 was conducted in the same session as Experiment 3, and the no-accents condition was identical with the four-induction-tones condition In Experiment 3. Relative to the no-accents condition, the effect of phase seemed enhanced in the 1-3 accentuation condition, but not reduced in the 2-4 accentuation condition. The results of the ANOVA (with accent as the third variable) did

11 Repp et al.: Metrical accents and loudness 11 not support these visual impressions, however. The main effect of phase was not significant, F(2, 16) = 1.38, p =.281, nor was the interaction of accent and phase, F(4, 32) = 0.986, p =.378. esides the obviously significant main effect of intensity, only the main effect of accent reached significance, F(2, 16) = 5.49, p =.043, due to higher scores overall in the 1-3 accentuation condition. There were large individual differences, with the apparent effect of phase being mainly due to three individuals who showed huge effects, while most others showed little or no effect Insert Figure 4 here Discussion The present study introduced a simple psychophysical paradigm with which to test the hypothesis that an induced beat affects the perceived loudness of a tone that coincides with it. The results suggest that it does not. This conclusion is based on the following considerations. Experiment 1 showed that an effect of probe tone phase, if any, occurred only at the fastest beat tempo. According to our hypothesis, however, beat induction should have occurred at all three beat tempi, especially at II = 600 ms, which according to some studies (e.g., Parncutt, 1994) is close to the preferred beat tempo. Experiment 2 showed no effect of phase when the probe tones occurred near the second projected beat, following a silent beat. This is contrary to our hypothesis, although it is possible that a projected beat rapidly loses power or precision (cf. anata & Paroo, 2006).

12 Repp et al.: Metrical accents and loudness 12 Experiment 4 showed the effect of phase to be idiosyncratic and not reliably affected by accentuation of alternate induction tones. Thus it provided no support for our hypothesis either. Experiments 1, 2, and 4 used four induction tones, and it is possible that this number was not sufficient to induce a beat. owever, the results of Experiment 3 suggest that this was not the problem: The effect of probe tone phase, which was statistically reliable only in this experiment, did not change when seven induction tones were presented. The crucial result of this experiment, however, was that a similar effect of phase was obtained after only a single induction tone. A single tone cannot possibly induce a beat. owever, it could be argued that, because the single-induction-tone trials occurred in the context of other trials that had four or seven induction tones, and because the II was fixed at 400 ms, participants expected a beat to occur 400 ms after the single induction tone. To the extent that beat induction is equivalent to the generation of temporal expectations, this argument could account for the results. There is an alternative explanation, however, which takes into account the fact that the effect of phase was asymmetric, being almost entirely due to T2 occurring on the beat (Experiments 1, 3, 4). The explanation also considers that the effect of phase occurred only at a relatively fast tempo (II = 400 ms; Experiment 1) and only on the first projected beat (Experiment 2). When T2 was on the beat, T1 and T2 followed the last induction tone with short inter-onset-intervals of 200 ms, which resulted in a tight rhythmic group (see Figure 1). It is known from the research of Povel and Essens (1985) that in a rhythmic group of three or more tones, the first and last tones are perceived as accented. This accent is called grouping accent, and it is independent of metrical accent.

13 Repp et al.: Metrical accents and loudness 13 Moreover, there is some evidence that a tone with grouping accent is perceived as louder than a tone without grouping accent (Povel & Okkerman, 1981; see also Repp, 2005). ere, when T2 occurred on the beat, it also carried a grouping accent because of its group-final position, whereas T1 did not carry a grouping accent, being wedged between the final induction tone and T2. When T1 occurred on the beat, or when both probe tones were off beat, a longer interval (400 or 300 ms) intervened between the final induction tone and T1, which prevented grouping of the probe tones with the final induction tone. In that case, T1 and T2 formed a two-tone group by themselves, and although the second tone in such a group tends to be perceived as accented, this tendency may not have been pronounced at the particular interval durations employed here (cf. Povel & Okkerman, 1981). It should have led to T2 being judged as louder than an equally intense T1 when T1 fell on the beat, but there was no indication of such a bias in the data (see Figures 2-4). It is plausible that grouping accent is relatively stronger in a three-tone group than in a two-tone group, which has no medial tones for the outer tones to contrast with. The strength of rhythmic grouping naturally decreases with temporal separation, which explains why effects of phase occurred only at a relatively fast beat tempo (Experiment 1), and not at all after a long silent interval (Experiment 2). The number of preceding induction tones (Experiment 3) is irrelevant to grouping of tones that occur in rapid sequence. We consider it likely, therefore, that the effects of probe tone phase we have found reflect grouping accent, not metrical accent. This conclusion is also consistent with the findings of Repp (2010), which indicated that metrical accents do not generate perceptual biases in loudness or duration judgments.

14 Repp et al.: Metrical accents and loudness 14 The pronounced individual differences remain puzzling. Why did some participants show a large effect of phase, whereas others did not show any effect at all? The latter, incidentally, seemed to be the ones with the relatively better rhythmic skills, as judged informally from various earlier experiments in which they had participated. Two possibilities suggest themselves: One is that the phase effect, when it occurred, was due to rhythmic grouping but that participants not showing the effect did not group the probe tones with the final induction tone, perhaps because of their pitch difference. The other possibility is that rhythmic grouping was not the cause of the phase effect, after all, but that participants showing the effect either showed a real effect of metrical accent on perceived loudness or conflated metrical accent (of which, as musicians, they were naturally aware) with loudness in their judgments. In other words, they may have been judging relative prominence or accentedness rather than loudness as such (see also the Appendix). In either case, the fact that some participants showed no effects of phase is evidence that the loudness of the probe tones can be perceived veridically, which suggests that metrical accent at least has no obligatory effect on perceived loudness, but more likely has no effect at all.

15 Repp et al.: Metrical accents and loudness 15 Acknowledgments This research was supported by National Science Foundation grant CS Address correspondence to runo. Repp, askins Laboratories, 300 George Street, New aven, CT , USA.

16 Repp et al.: Metrical accents and loudness 16 Appendix: Personal Observations of Author R The experimental paradigm used here was inspired by rhythmic stimuli employed in a study by Abecasis et al. (2009). These authors investigated electromagnetic brain responses to identical tones that were either metrically accented or metrically unaccented but had the same grouping accent because they occurred second in a two-tone group. The critical tones (indicated here by underlining) occurred in a cyclically repeated xxoxxoxo sequence (x = tone, o = silence), which was intended to induce a beat (indicated here by bold face) that fell on the first tone of the first two-tone group but on the second tone of the second two-tone group (i.e., xxoxxoxo). The authors found that metrical accentuation of a group-final tone resulted in a larger brain response. I had an opportunity to listen to these sequences when visiting coauthor R in the spring of To my ears, the rhythm was metrically unstable: Sometimes I heard it as intended, with the beat alternately on the first and on the second tone of successive twotone groups, but at other times I always heard the beat falling on the second tone, which resulted in a temporally irregular beat (3+3+2) and seemed to be irreversible unless I took a break from listening. I am mentioning this not to cast doubt on results obtained with these stimuli, but to suggest that grouping accent (which tends to favor the second tone in two-tone groups) was strong enough to compete with a preference for temporal regularity of the beat, at least in my perception. In the present study, I simplified this paradigm by preceding a single two-tone group with an isochronous induction sequence. As is my habit, I ran myself through each

17 Repp et al.: Metrical accents and loudness 17 experiment before running my regular group of musicians, and I also explored several additional conditions. My coauthors also ran themselves in some of the experiments. My first run through Experiment 1 yielded huge, symmetric (i.e., deviating in both directions from the off beat baseline) effects of probe tone phase at all three II durations, with only a slight decrease as II duration increased. I was excited by these results because the paradigm seemed to work, yet puzzled because the large effect of metrical accentuation conflicted with the negative results of my previous study (Repp, 2010). My excitement was soon tempered, however, by pilot results from coauthors R, who showed only a small effect of phase (and only when T1 > T2), and RI, who showed no effect at all. I then ran myself through Experiment 2 and found no effect of phase, just as in the group results. Clearly, whatever had caused the effects for me in Experiment 1 did not extend to the second projected beat. (Much later, coauthor EP ran herself in Experiment 2, and she did seem to show a small effect of phase, which remains a singular result.) I then ran myself in a version of Experiment 1 in which T1 and T2 were separated by only one fourth of the II, to see how good my temporal resolution at the first projected beat was. With these stimuli I obtained effects similar to the group results in Figure 2, with a clear effect of phase at II = 400 ms and much smaller effects (if any) at the two longer IIs. This could be attributed to poorer temporal resolution at the longer IIs. At this point I realized that my large effects of phase in my first run through Experiment 1 may have been due to the way I phrased the instructions to myself. For me, the question on the screen said Which of the two probe tones was more accented? In

18 Repp et al.: Metrical accents and loudness 18 judging relative accentedness, I may have conflated metrical accent with loudness (i.e., dynamic accent). From this point on, I displayed the question that said louder rather than accented (as in the instructions to the musician participants) and made efforts to focus my attention specifically on the relative loudness of the tones. With these new self-instructions, I ran myself in a version of Experiment 1 which had the original II/2 separation of T1 and T2, but with IIs of 400, 800, and 1200 ms. I obtained a very clear, symmetric effect of phase at II = 400 ms, though it was smaller than in my first run, perhaps due to my new focus on relative loudness. At II = 800 ms, the phase effect was much reduced (also relative to my first run), and at II = 1200 ms it was barely present. This could again be attributed to increasing temporal uncertainty about the projected beat. Next I ran myself in a version of Experiment 3 in which the number of induction tones was 3, 4, or 5, to see whether it mattered whether the probe tones fell on an even or an odd beat (cf. rochard et al., 2003). It did not matter: I showed a clear, slightly asymmetric effect of phase in all three conditions. owever, there was a new effect: I showed a strong bias to rate T1 as louder than T2. This seemed like an effect of grouping accent, but it was unexpectedly favoring T1. (The group results also showed a tendency in that direction see the off beat condition for T2 T1 = 0 in Figures 2, 4, and 4 but my bias was much stronger.) My next venture was Experiment 4. The accentuation of induction tones did not seem to make any difference for me. I again showed clear effects of phase, with an asymmetry resembling that shown in Figure 4, though less pronounced. A bias favoring T1 was also present. Coauthor EP also ran herself and showed very large, asymmetric

19 Repp et al.: Metrical accents and loudness 19 effects of phase, with the largest effect when induction tones 1 and 3 were accented (cf. Figure 4), and the smallest effect when induction tones 2 and 4 were accented. She also showed a bias in favor of T1. Next I ran myself in the version of Experiment 3 that the group of musicians received, with 1, 4, or 7 induction tones. I showed the largest phase effect with 4 tones, but also effects with 1 and 7 tones. The effects were fairly symmetric, but a bias favoring T1 was still present. EP ran herself, too, and showed large asymmetric effects of phase with 1 and 4 tones, a small effect with 7 tones, and a bias in favor of T1. I followed this with a version of the experiment with 1, 2, or 3 induction tones. ere the effects of phase were a good deal smaller for me, but they seemed to increase with the number of induction tones. This result is consistent with the suggestion that there may be projection of a beat even from a single induction tone when there is a constant II in the experiment: With fewer induction tones overall and thus less exposure to the II, such projection would be weakened. My bias favoring T1 was still present. After a break of about 6 months, I returned to this project for some further explorations. In what might have become Experiment 5, I introduced subdivisions between the induction beats. Three tones with pitches G4, E4, and D4 were repeated four times in an isochronous sequence, followed by another G4. Thus there were five induction beats (G4), with triple subdivision of the four IIs. The probe tones occurred around the first projected beat, and their separation from the last induction beat was II/3. There were three II durations: 450, 600, and 750 ms. With this design, and after a long break, I failed to obtain a clear effect of phase at any II. My bias in favor of T1 also had largely disappeared.

20 Repp et al.: Metrical accents and loudness 20 My final explorations were inspired by the work of Phillips-Silver and Trainor (2007, 2008) and Trainor et al. (2009), which had also partially motivated my earlier study (Repp, 2010). As I discussed there, the results of these authors could be interpreted as indicating that tones accompanied by head movement (but not by leg movement) are perceived as louder, due to engagement of the vestibular system and its potential interaction with auditory perception. The question now was: Would engaging the vestibular system by head nodding with the beat create (or enhance) an effect of probe tone phase? I repeated the last experiment, nodding my head in synchrony with beats 3, 4, 5, and 6, where the last beat was the projected one, so that the on-beat probe tone was also accompanied by a head nod. I repeated this experiment once, to be sure of the results. Then I ran myself one last time, this time tapping my foot instead of nodding my head. In all three runs I obtained moderately sized effects of phase, where previously I had obtained none. The effects did not seem to depend on II duration. These results were encouraging in that moving with the beat seemed to have had an effect for me. owever, there was no difference between head nodding and foot tapping, contrary to what the hypothesis of vestibular engagement would predict. Moreover, the prolonged head nodding had some aftereffects: I felt dizzy for the rest of the day and even the next day. This may have been due to my age, but I thought the experiment was potentially causing discomfort and decided not to collect data from musicians. Now that I am retired, I leave it to younger and more intrepid researchers to pursue similar lines of research.

21 Repp et al.: Metrical accents and loudness 21 References Abecasis, D., rochard, R., del Rio, D., Dufour, A., & Ortiz, T. (2009). rain lateralization of metrical accenting in musicians. Annals of the New York Academy of Sciences, 1169, rochard, R., Abecasis, D., Potter, D., Ragot, R., & Drake, C. (2003). The ticktock of our internal clock: Direct brain evidence of subjective accents in isochronous sequences. Psychological Science, 14, Grahn,. A., & rett, M. (2007). Rhythm and beat perception in motor areas of the brain. ournal of Cognitive Neuroscience, 19, Grahn,. A., & Rowe,.. (2009). Feeling the beat: Premotor and striatal interactions in musicians and nonmusicians during beat perception. ournal of Neuroscience, 29, anata, P., & Paroo, K. (2006). Acuity of aditory images in pitch and time. Perception & Psychophysics, 68, Large, E. W., & ones, M. R. (1999). The dynamics of attending: ow people track timevarying events. Psychological Review, 106, Lerdahl, F., & ackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press. Parncutt, R. (1994). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, Phillips-Silver,., & Trainor, L.. (2007). earing what the body feels: Auditory encoding of rhythmic movement. Cognition, 105,

22 Repp et al.: Metrical accents and loudness 22 Phillips-Silver,., & Trainor, L.. (2008). Vestibular influence on auditory metrical interpretation. rain and Cognition, 67, Povel, D.-., & Essens, P. (1985). Perception of temporal patterns. Music Perception, 2, Povel, D.-., & Okkerman,. (1981). Accents in equitone sequences. Perception & Psychophysics, 30, Repp,.. (1997). Acoustics, perception, and production of legato articulation on a computer controlled grand piano. ournal of the Acoustical Society of America, 102, Repp,.. (2005). Rate limits of on-beat and off-beat tapping with simple auditory rhythms: 2. The role of different kinds of accent. Music Perception, 23, Repp,.. (2010). Do metrical accents create illusory phenomenal accents? Attention, Perception, & Psychophysics, 72, Snyder,. S., & Large, E. W. (2005). Gamma-band activity reflects the metric structure of rhythmic tone sequences. Cognitive rain Research, 24, Trainor, L.., Gao, X., Lei,.-., Lehtovaara, K., & arris, L. R. (2009). The primal role of the vestibular system in determining musical rhythm. Cortex, 45,

23 Repp et al.: Metrical accents and loudness 23 Figure Captions Fig. 1. Schematic diagram of the experimental paradigm. Vertical bars indicate tones. The grey bar indicates the projected beat when it does not coincide with a probe tone. II = inter-beat interval. Fig. 2. Results of Experiment 1: Relative T2 > T1 loudness ratings as a function of T2 T1 intensity difference, with standard error bars, for three II durations. Fig. 3. Results of Experiment 3: Relative T2 > T1 loudness ratings as a function of T2 T1 intensity difference, with standard error bars, for 1, 4, or 7 induction tones. Fig. 4. Results of Experiment 4: Relative T2 > T1 loudness ratings as a function of T2 T1 intensity difference, with standard error bars, for three accent conditions.

24 Repp et al.: Metrical accents and loudness 24 02")$"/+45" 67"/+45" 03")$"/+45" #$%&'()$"*+,&+$'+" -.)/+"0)$+1"!""""""""!""""""""!""""""""!" #9#888888" 02" 03"!""""""""!""""""""!""""""""!""""""""!""""""""""!"""!" 02" 03"!""""""""!""""""""!""""""""!"""""""""""!"""!" 02" 03"!"""!" Fig. 1

25 Repp et al.: Metrical accents and loudness 25 Relative Loudness Rating Relative Loudness Rating Relative Loudness Rating 3 II = 400 ms T2 on beat -2-3 Off beat T1 on beat II = 600 ms II = 800 ms T2 - T1 (MIDI Velocity Units) Fig. 2

26 Repp et al.: Metrical accents and loudness 26 Relative Loudness Rating Relative Loudness Rating Relative Loudness Rating 3 1 tone T2 on beat -2 Off beat T1 on beat tones tones T2 - T1 (MIDI Velocity Units) Fig. 3

27 Repp et al.: Metrical accents and loudness 27 Relative Loudness Rating Relative Loudness Rating Relative Loudness Rating 3 2 No accents T2 on beat -2 Off beat T1 on beat accented accented T2 - T1 (MIDI Velocity Units) Fig. 4

Do metrical accents create illusory phenomenal accents?

Do metrical accents create illusory phenomenal accents? Attention, Perception, & Psychophysics 21, 72 (5), 139-143 doi:1.3758/app.72.5.139 Do metrical accents create illusory phenomenal accents? BRUNO H. REPP Haskins Laboratories, New Haven, Connecticut In

More information

DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring Week 6 Class Notes

DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring Week 6 Class Notes DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring 2009 Week 6 Class Notes Pitch Perception Introduction Pitch may be described as that attribute of auditory sensation in terms

More information

MUCH OF THE WORLD S MUSIC involves

MUCH OF THE WORLD S MUSIC involves Production and Synchronization of Uneven Rhythms at Fast Tempi 61 PRODUCTION AND SYNCHRONIZATION OF UNEVEN RHYTHMS AT FAST TEMPI BRUNO H. REPP Haskins Laboratories, New Haven, Connecticut JUSTIN LONDON

More information

Quarterly Progress and Status Report. Perception of just noticeable time displacement of a tone presented in a metrical sequence at different tempos

Quarterly Progress and Status Report. Perception of just noticeable time displacement of a tone presented in a metrical sequence at different tempos Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Perception of just noticeable time displacement of a tone presented in a metrical sequence at different tempos Friberg, A. and Sundberg,

More information

THE INTERACTION BETWEEN MELODIC PITCH CONTENT AND RHYTHMIC PERCEPTION. Gideon Broshy, Leah Latterner and Kevin Sherwin

THE INTERACTION BETWEEN MELODIC PITCH CONTENT AND RHYTHMIC PERCEPTION. Gideon Broshy, Leah Latterner and Kevin Sherwin THE INTERACTION BETWEEN MELODIC PITCH CONTENT AND RHYTHMIC PERCEPTION. BACKGROUND AND AIMS [Leah Latterner]. Introduction Gideon Broshy, Leah Latterner and Kevin Sherwin Yale University, Cognition of Musical

More information

Activation of learned action sequences by auditory feedback

Activation of learned action sequences by auditory feedback Psychon Bull Rev (2011) 18:544 549 DOI 10.3758/s13423-011-0077-x Activation of learned action sequences by auditory feedback Peter Q. Pfordresher & Peter E. Keller & Iring Koch & Caroline Palmer & Ece

More information

Timing variations in music performance: Musical communication, perceptual compensation, and/or motor control?

Timing variations in music performance: Musical communication, perceptual compensation, and/or motor control? Perception & Psychophysics 2004, 66 (4), 545-562 Timing variations in music performance: Musical communication, perceptual compensation, and/or motor control? AMANDINE PENEL and CAROLYN DRAKE Laboratoire

More information

However, in studies of expressive timing, the aim is to investigate production rather than perception of timing, that is, independently of the listene

However, in studies of expressive timing, the aim is to investigate production rather than perception of timing, that is, independently of the listene Beat Extraction from Expressive Musical Performances Simon Dixon, Werner Goebl and Emilios Cambouropoulos Austrian Research Institute for Artificial Intelligence, Schottengasse 3, A-1010 Vienna, Austria.

More information

Tapping to Uneven Beats

Tapping to Uneven Beats Tapping to Uneven Beats Stephen Guerra, Julia Hosch, Peter Selinsky Yale University, Cognition of Musical Rhythm, Virtual Lab 1. BACKGROUND AND AIMS [Hosch] 1.1 Introduction One of the brain s most complex

More information

The Tone Height of Multiharmonic Sounds. Introduction

The Tone Height of Multiharmonic Sounds. Introduction Music-Perception Winter 1990, Vol. 8, No. 2, 203-214 I990 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA The Tone Height of Multiharmonic Sounds ROY D. PATTERSON MRC Applied Psychology Unit, Cambridge,

More information

Computer Coordination With Popular Music: A New Research Agenda 1

Computer Coordination With Popular Music: A New Research Agenda 1 Computer Coordination With Popular Music: A New Research Agenda 1 Roger B. Dannenberg roger.dannenberg@cs.cmu.edu http://www.cs.cmu.edu/~rbd School of Computer Science Carnegie Mellon University Pittsburgh,

More information

Acoustic and musical foundations of the speech/song illusion

Acoustic and musical foundations of the speech/song illusion Acoustic and musical foundations of the speech/song illusion Adam Tierney, *1 Aniruddh Patel #2, Mara Breen^3 * Department of Psychological Sciences, Birkbeck, University of London, United Kingdom # Department

More information

On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance

On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance RHYTHM IN MUSIC PERFORMANCE AND PERCEIVED STRUCTURE 1 On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance W. Luke Windsor, Rinus Aarts, Peter

More information

Polyrhythms Lawrence Ward Cogs 401

Polyrhythms Lawrence Ward Cogs 401 Polyrhythms Lawrence Ward Cogs 401 What, why, how! Perception and experience of polyrhythms; Poudrier work! Oldest form of music except voice; some of the most satisfying music; rhythm is important in

More information

Human Preferences for Tempo Smoothness

Human Preferences for Tempo Smoothness In H. Lappalainen (Ed.), Proceedings of the VII International Symposium on Systematic and Comparative Musicology, III International Conference on Cognitive Musicology, August, 6 9, 200. Jyväskylä, Finland,

More information

Effects of Tempo on the Timing of Simple Musical Rhythms

Effects of Tempo on the Timing of Simple Musical Rhythms Effects of Tempo on the Timing of Simple Musical Rhythms Bruno H. Repp Haskins Laboratories, New Haven, Connecticut W. Luke Windsor University of Leeds, Great Britain Peter Desain University of Nijmegen,

More information

SHORT TERM PITCH MEMORY IN WESTERN vs. OTHER EQUAL TEMPERAMENT TUNING SYSTEMS

SHORT TERM PITCH MEMORY IN WESTERN vs. OTHER EQUAL TEMPERAMENT TUNING SYSTEMS SHORT TERM PITCH MEMORY IN WESTERN vs. OTHER EQUAL TEMPERAMENT TUNING SYSTEMS Areti Andreopoulou Music and Audio Research Laboratory New York University, New York, USA aa1510@nyu.edu Morwaread Farbood

More information

A QUANTIFICATION OF THE RHYTHMIC QUALITIES OF SALIENCE AND KINESIS

A QUANTIFICATION OF THE RHYTHMIC QUALITIES OF SALIENCE AND KINESIS 10.2478/cris-2013-0006 A QUANTIFICATION OF THE RHYTHMIC QUALITIES OF SALIENCE AND KINESIS EDUARDO LOPES ANDRÉ GONÇALVES From a cognitive point of view, it is easily perceived that some music rhythmic structures

More information

The Beat Alignment Test (BAT): Surveying beat processing abilities in the general population

The Beat Alignment Test (BAT): Surveying beat processing abilities in the general population The Beat Alignment Test (BAT): Surveying beat processing abilities in the general population John R. Iversen Aniruddh D. Patel The Neurosciences Institute, San Diego, CA, USA 1 Abstract The ability to

More information

A filled duration illusion in music: Effects of metrical subdivision on the perception and production of beat tempo

A filled duration illusion in music: Effects of metrical subdivision on the perception and production of beat tempo RSRC rticle filled duration illusion in music: ffects of metrical subdivision on the perception and production of beat tempo Bruno. Repp 1 and Meiin Bruttomesso 2 1 askins Laboratories, New aven, Connecticut

More information

TEMPO AND BEAT are well-defined concepts in the PERCEPTUAL SMOOTHNESS OF TEMPO IN EXPRESSIVELY PERFORMED MUSIC

TEMPO AND BEAT are well-defined concepts in the PERCEPTUAL SMOOTHNESS OF TEMPO IN EXPRESSIVELY PERFORMED MUSIC Perceptual Smoothness of Tempo in Expressively Performed Music 195 PERCEPTUAL SMOOTHNESS OF TEMPO IN EXPRESSIVELY PERFORMED MUSIC SIMON DIXON Austrian Research Institute for Artificial Intelligence, Vienna,

More information

Influence of timbre, presence/absence of tonal hierarchy and musical training on the perception of musical tension and relaxation schemas

Influence of timbre, presence/absence of tonal hierarchy and musical training on the perception of musical tension and relaxation schemas Influence of timbre, presence/absence of tonal hierarchy and musical training on the perception of musical and schemas Stella Paraskeva (,) Stephen McAdams (,) () Institut de Recherche et de Coordination

More information

Perceptual Smoothness of Tempo in Expressively Performed Music

Perceptual Smoothness of Tempo in Expressively Performed Music Perceptual Smoothness of Tempo in Expressively Performed Music Simon Dixon Austrian Research Institute for Artificial Intelligence, Vienna, Austria Werner Goebl Austrian Research Institute for Artificial

More information

Perceiving temporal regularity in music

Perceiving temporal regularity in music Cognitive Science 26 (2002) 1 37 http://www.elsevier.com/locate/cogsci Perceiving temporal regularity in music Edward W. Large a, *, Caroline Palmer b a Florida Atlantic University, Boca Raton, FL 33431-0991,

More information

Francesco Villa. Playing Rhythm. Advanced rhythmics for all instruments

Francesco Villa. Playing Rhythm. Advanced rhythmics for all instruments Francesco Villa Playing Rhythm Advanced rhythmics for all instruments Playing Rhythm Advanced rhythmics for all instruments - 2015 Francesco Villa Published on CreateSpace Platform Original edition: Playing

More information

Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics)

Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics) 1 Musical Acoustics Lecture 15 Pitch & Frequency (Psycho-Acoustics) Pitch Pitch is a subjective characteristic of sound Some listeners even assign pitch differently depending upon whether the sound was

More information

MEASURING LOUDNESS OF LONG AND SHORT TONES USING MAGNITUDE ESTIMATION

MEASURING LOUDNESS OF LONG AND SHORT TONES USING MAGNITUDE ESTIMATION MEASURING LOUDNESS OF LONG AND SHORT TONES USING MAGNITUDE ESTIMATION Michael Epstein 1,2, Mary Florentine 1,3, and Søren Buus 1,2 1Institute for Hearing, Speech, and Language 2Communications and Digital

More information

Chapter Two: Long-Term Memory for Timbre

Chapter Two: Long-Term Memory for Timbre 25 Chapter Two: Long-Term Memory for Timbre Task In a test of long-term memory, listeners are asked to label timbres and indicate whether or not each timbre was heard in a previous phase of the experiment

More information

The Relationship Between Auditory Imagery and Musical Synchronization Abilities in Musicians

The Relationship Between Auditory Imagery and Musical Synchronization Abilities in Musicians The Relationship Between Auditory Imagery and Musical Synchronization Abilities in Musicians Nadine Pecenka, *1 Peter E. Keller, *2 * Music Cognition and Action Group, Max Planck Institute for Human Cognitive

More information

Differences in Metrical Structure Confound Tempo Judgments Justin London, August 2009

Differences in Metrical Structure Confound Tempo Judgments Justin London, August 2009 Presented at the Society for Music Perception and Cognition biannual meeting August 2009. Abstract Musical tempo is usually regarded as simply the rate of the tactus or beat, yet most rhythms involve multiple,

More information

Analysis of local and global timing and pitch change in ordinary

Analysis of local and global timing and pitch change in ordinary Alma Mater Studiorum University of Bologna, August -6 6 Analysis of local and global timing and pitch change in ordinary melodies Roger Watt Dept. of Psychology, University of Stirling, Scotland r.j.watt@stirling.ac.uk

More information

The Role of Accent Salience and Joint Accent Structure in Meter Perception

The Role of Accent Salience and Joint Accent Structure in Meter Perception Journal of Experimental Psychology: Human Perception and Performance 2009, Vol. 35, No. 1, 264 280 2009 American Psychological Association 0096-1523/09/$12.00 DOI: 10.1037/a0013482 The Role of Accent Salience

More information

Proceedings of Meetings on Acoustics

Proceedings of Meetings on Acoustics Proceedings of Meetings on Acoustics Volume 19, 2013 http://acousticalsociety.org/ ICA 2013 Montreal Montreal, Canada 2-7 June 2013 Psychological and Physiological Acoustics Session 1pPPb: Psychoacoustics

More information

46. Barrington Pheloung Morse on the Case

46. Barrington Pheloung Morse on the Case 46. Barrington Pheloung Morse on the Case (for Unit 6: Further Musical Understanding) Background information and performance circumstances Barrington Pheloung was born in Australia in 1954, but has been

More information

Rhythm: patterns of events in time. HST 725 Lecture 13 Music Perception & Cognition

Rhythm: patterns of events in time. HST 725 Lecture 13 Music Perception & Cognition Harvard-MIT Division of Sciences and Technology HST.725: Music Perception and Cognition Prof. Peter Cariani Rhythm: patterns of events in time HST 725 Lecture 13 Music Perception & Cognition (Image removed

More information

Effects of Musical Training on Key and Harmony Perception

Effects of Musical Training on Key and Harmony Perception THE NEUROSCIENCES AND MUSIC III DISORDERS AND PLASTICITY Effects of Musical Training on Key and Harmony Perception Kathleen A. Corrigall a and Laurel J. Trainor a,b a Department of Psychology, Neuroscience,

More information

Smooth Rhythms as Probes of Entrainment. Music Perception 10 (1993): ABSTRACT

Smooth Rhythms as Probes of Entrainment. Music Perception 10 (1993): ABSTRACT Smooth Rhythms as Probes of Entrainment Music Perception 10 (1993): 503-508 ABSTRACT If one hypothesizes rhythmic perception as a process employing oscillatory circuits in the brain that entrain to low-frequency

More information

MPATC-GE 2042: Psychology of Music. Citation and Reference Style Rhythm and Meter

MPATC-GE 2042: Psychology of Music. Citation and Reference Style Rhythm and Meter MPATC-GE 2042: Psychology of Music Citation and Reference Style Rhythm and Meter APA citation style APA Publication Manual (6 th Edition) will be used for the class. More on APA format can be found in

More information

Pitch Perception and Grouping. HST.723 Neural Coding and Perception of Sound

Pitch Perception and Grouping. HST.723 Neural Coding and Perception of Sound Pitch Perception and Grouping HST.723 Neural Coding and Perception of Sound Pitch Perception. I. Pure Tones The pitch of a pure tone is strongly related to the tone s frequency, although there are small

More information

The Human, the Mechanical, and the Spaces in between: Explorations in Human-Robotic Musical Improvisation

The Human, the Mechanical, and the Spaces in between: Explorations in Human-Robotic Musical Improvisation Musical Metacreation: Papers from the 2013 AIIDE Workshop (WS-13-22) The Human, the Mechanical, and the Spaces in between: Explorations in Human-Robotic Musical Improvisation Scott Barton Worcester Polytechnic

More information

Comparison, Categorization, and Metaphor Comprehension

Comparison, Categorization, and Metaphor Comprehension Comparison, Categorization, and Metaphor Comprehension Bahriye Selin Gokcesu (bgokcesu@hsc.edu) Department of Psychology, 1 College Rd. Hampden Sydney, VA, 23948 Abstract One of the prevailing questions

More information

EFFECT OF REPETITION OF STANDARD AND COMPARISON TONES ON RECOGNITION MEMORY FOR PITCH '

EFFECT OF REPETITION OF STANDARD AND COMPARISON TONES ON RECOGNITION MEMORY FOR PITCH ' Journal oj Experimental Psychology 1972, Vol. 93, No. 1, 156-162 EFFECT OF REPETITION OF STANDARD AND COMPARISON TONES ON RECOGNITION MEMORY FOR PITCH ' DIANA DEUTSCH " Center for Human Information Processing,

More information

Quarterly Progress and Status Report. Musicians and nonmusicians sensitivity to differences in music performance

Quarterly Progress and Status Report. Musicians and nonmusicians sensitivity to differences in music performance Dept. for Speech, Music and Hearing Quarterly Progress and Status Report Musicians and nonmusicians sensitivity to differences in music performance Sundberg, J. and Friberg, A. and Frydén, L. journal:

More information

Auditory Feedback in Music Performance: The Role of Melodic Structure and Musical Skill

Auditory Feedback in Music Performance: The Role of Melodic Structure and Musical Skill Journal of Experimental Psychology: Human Perception and Performance 2005, Vol. 31, No. 6, 1331 1345 Copyright 2005 by the American Psychological Association 0096-1523/05/$12.00 DOI: 10.1037/0096-1523.31.6.1331

More information

2005 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. The Influence of Pitch Interval on the Perception of Polyrhythms

2005 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. The Influence of Pitch Interval on the Perception of Polyrhythms Music Perception Spring 2005, Vol. 22, No. 3, 425 440 2005 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA ALL RIGHTS RESERVED. The Influence of Pitch Interval on the Perception of Polyrhythms DIRK MOELANTS

More information

Modeling the Effect of Meter in Rhythmic Categorization: Preliminary Results

Modeling the Effect of Meter in Rhythmic Categorization: Preliminary Results Modeling the Effect of Meter in Rhythmic Categorization: Preliminary Results Peter Desain and Henkjan Honing,2 Music, Mind, Machine Group NICI, University of Nijmegen P.O. Box 904, 6500 HE Nijmegen The

More information

Enhanced timing abilities in percussionists generalize to rhythms without a musical beat

Enhanced timing abilities in percussionists generalize to rhythms without a musical beat HUMAN NEUROSCIENCE ORIGINAL RESEARCH ARTICLE published: 10 December 2014 doi: 10.3389/fnhum.2014.01003 Enhanced timing abilities in percussionists generalize to rhythms without a musical beat Daniel J.

More information

HST 725 Music Perception & Cognition Assignment #1 =================================================================

HST 725 Music Perception & Cognition Assignment #1 ================================================================= HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani HST 725 Music Perception & Cognition Assignment #1 =================================================================

More information

Correlation between Groovy Singing and Words in Popular Music

Correlation between Groovy Singing and Words in Popular Music Proceedings of 20 th International Congress on Acoustics, ICA 2010 23-27 August 2010, Sydney, Australia Correlation between Groovy Singing and Words in Popular Music Yuma Sakabe, Katsuya Takase and Masashi

More information

On the contextual appropriateness of performance rules

On the contextual appropriateness of performance rules On the contextual appropriateness of performance rules R. Timmers (2002), On the contextual appropriateness of performance rules. In R. Timmers, Freedom and constraints in timing and ornamentation: investigations

More information

The purpose of this essay is to impart a basic vocabulary that you and your fellow

The purpose of this essay is to impart a basic vocabulary that you and your fellow Music Fundamentals By Benjamin DuPriest The purpose of this essay is to impart a basic vocabulary that you and your fellow students can draw on when discussing the sonic qualities of music. Excursions

More information

Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context

Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context Timing & Time Perception 5 (2017) 211 227 brill.com/time Perception of Rhythmic Similarity is Asymmetrical, and Is Influenced by Musical Training, Expressive Performance, and Musical Context Daniel Cameron

More information

A PRELIMINARY COMPUTATIONAL MODEL OF IMMANENT ACCENT SALIENCE IN TONAL MUSIC

A PRELIMINARY COMPUTATIONAL MODEL OF IMMANENT ACCENT SALIENCE IN TONAL MUSIC A PRELIMINARY COMPUTATIONAL MODEL OF IMMANENT ACCENT SALIENCE IN TONAL MUSIC Richard Parncutt Centre for Systematic Musicology University of Graz, Austria parncutt@uni-graz.at Erica Bisesi Centre for Systematic

More information

Influence of tonal context and timbral variation on perception of pitch

Influence of tonal context and timbral variation on perception of pitch Perception & Psychophysics 2002, 64 (2), 198-207 Influence of tonal context and timbral variation on perception of pitch CATHERINE M. WARRIER and ROBERT J. ZATORRE McGill University and Montreal Neurological

More information

Temporal coordination in string quartet performance

Temporal coordination in string quartet performance International Symposium on Performance Science ISBN 978-2-9601378-0-4 The Author 2013, Published by the AEC All rights reserved Temporal coordination in string quartet performance Renee Timmers 1, Satoshi

More information

Modeling perceived relationships between melody, harmony, and key

Modeling perceived relationships between melody, harmony, and key Perception & Psychophysics 1993, 53 (1), 13-24 Modeling perceived relationships between melody, harmony, and key WILLIAM FORDE THOMPSON York University, Toronto, Ontario, Canada Perceptual relationships

More information

Expressive performance in music: Mapping acoustic cues onto facial expressions

Expressive performance in music: Mapping acoustic cues onto facial expressions International Symposium on Performance Science ISBN 978-94-90306-02-1 The Author 2011, Published by the AEC All rights reserved Expressive performance in music: Mapping acoustic cues onto facial expressions

More information

EXPLAINING AND PREDICTING THE PERCEPTION OF MUSICAL STRUCTURE

EXPLAINING AND PREDICTING THE PERCEPTION OF MUSICAL STRUCTURE JORDAN B. L. SMITH MATHEMUSICAL CONVERSATIONS STUDY DAY, 12 FEBRUARY 2015 RAFFLES INSTITUTION EXPLAINING AND PREDICTING THE PERCEPTION OF MUSICAL STRUCTURE OUTLINE What is musical structure? How do people

More information

EMBODIED EFFECTS ON MUSICIANS MEMORY OF HIGHLY POLISHED PERFORMANCES

EMBODIED EFFECTS ON MUSICIANS MEMORY OF HIGHLY POLISHED PERFORMANCES EMBODIED EFFECTS ON MUSICIANS MEMORY OF HIGHLY POLISHED PERFORMANCES Kristen T. Begosh 1, Roger Chaffin 1, Luis Claudio Barros Silva 2, Jane Ginsborg 3 & Tânia Lisboa 4 1 University of Connecticut, Storrs,

More information

Effects of articulation styles on perception of modulated tempos in violin excerpts

Effects of articulation styles on perception of modulated tempos in violin excerpts Effects of articulation styles on perception of modulated tempos in violin excerpts By: John M. Geringer, Clifford K. Madsen, and Rebecca B. MacLeod Geringer, J. M., Madsen, C. K., MacLeod, R. B. (2007).

More information

Registration Reference Book

Registration Reference Book Exploring the new MUSIC ATELIER Registration Reference Book Index Chapter 1. The history of the organ 6 The difference between the organ and the piano 6 The continued evolution of the organ 7 The attraction

More information

LESSON 1 PITCH NOTATION AND INTERVALS

LESSON 1 PITCH NOTATION AND INTERVALS FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative

More information

From quantitative empirï to musical performology: Experience in performance measurements and analyses

From quantitative empirï to musical performology: Experience in performance measurements and analyses International Symposium on Performance Science ISBN 978-90-9022484-8 The Author 2007, Published by the AEC All rights reserved From quantitative empirï to musical performology: Experience in performance

More information

Autocorrelation in meter induction: The role of accent structure a)

Autocorrelation in meter induction: The role of accent structure a) Autocorrelation in meter induction: The role of accent structure a) Petri Toiviainen and Tuomas Eerola Department of Music, P.O. Box 35(M), 40014 University of Jyväskylä, Jyväskylä, Finland Received 16

More information

UC Merced Proceedings of the Annual Meeting of the Cognitive Science Society

UC Merced Proceedings of the Annual Meeting of the Cognitive Science Society UC Merced Proceedings of the Annual Meeting of the Cognitive Science Society Title Metrical Categories in Infancy and Adulthood Permalink https://escholarship.org/uc/item/6170j46c Journal Proceedings of

More information

Auditory Illusions. Diana Deutsch. The sounds we perceive do not always correspond to those that are

Auditory Illusions. Diana Deutsch. The sounds we perceive do not always correspond to those that are In: E. Bruce Goldstein (Ed) Encyclopedia of Perception, Volume 1, Sage, 2009, pp 160-164. Auditory Illusions Diana Deutsch The sounds we perceive do not always correspond to those that are presented. When

More information

Structure and Interpretation of Rhythm and Timing 1

Structure and Interpretation of Rhythm and Timing 1 henkjan honing Structure and Interpretation of Rhythm and Timing Rhythm, as it is performed and perceived, is only sparingly addressed in music theory. Eisting theories of rhythmic structure are often

More information

Measurement of overtone frequencies of a toy piano and perception of its pitch

Measurement of overtone frequencies of a toy piano and perception of its pitch Measurement of overtone frequencies of a toy piano and perception of its pitch PACS: 43.75.Mn ABSTRACT Akira Nishimura Department of Media and Cultural Studies, Tokyo University of Information Sciences,

More information

Sensory Versus Cognitive Components in Harmonic Priming

Sensory Versus Cognitive Components in Harmonic Priming Journal of Experimental Psychology: Human Perception and Performance 2003, Vol. 29, No. 1, 159 171 Copyright 2003 by the American Psychological Association, Inc. 0096-1523/03/$12.00 DOI: 10.1037/0096-1523.29.1.159

More information

Musicians Adjustment of Performance to Room Acoustics, Part III: Understanding the Variations in Musical Expressions

Musicians Adjustment of Performance to Room Acoustics, Part III: Understanding the Variations in Musical Expressions Musicians Adjustment of Performance to Room Acoustics, Part III: Understanding the Variations in Musical Expressions K. Kato a, K. Ueno b and K. Kawai c a Center for Advanced Science and Innovation, Osaka

More information

Temporal Coordination and Adaptation to Rate Change in Music Performance

Temporal Coordination and Adaptation to Rate Change in Music Performance Journal of Experimental Psychology: Human Perception and Performance 2011, Vol. 37, No. 4, 1292 1309 2011 American Psychological Association 0096-1523/11/$12.00 DOI: 10.1037/a0023102 Temporal Coordination

More information

University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal.

University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal. Perceiving Musical Time Author(s): Eric F. Clarke and Carol L. Krumhansl Source: Music Perception: An Interdisciplinary Journal, Vol. 7, No. 3 (Spring, 1990), pp. 213-251 Published by: University of California

More information

OpenStax-CNX module: m Time Signature * Catherine Schmidt-Jones

OpenStax-CNX module: m Time Signature * Catherine Schmidt-Jones OpenStax-CNX module: m10956 1 Time Signature * Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract The time signature

More information

Pitch. The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high.

Pitch. The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high. Pitch The perceptual correlate of frequency: the perceptual dimension along which sounds can be ordered from low to high. 1 The bottom line Pitch perception involves the integration of spectral (place)

More information

Creative Computing II

Creative Computing II Creative Computing II Christophe Rhodes c.rhodes@gold.ac.uk Autumn 2010, Wednesdays: 10:00 12:00: RHB307 & 14:00 16:00: WB316 Winter 2011, TBC The Ear The Ear Outer Ear Outer Ear: pinna: flap of skin;

More information

Effects of Auditory and Motor Mental Practice in Memorized Piano Performance

Effects of Auditory and Motor Mental Practice in Memorized Piano Performance Bulletin of the Council for Research in Music Education Spring, 2003, No. 156 Effects of Auditory and Motor Mental Practice in Memorized Piano Performance Zebulon Highben Ohio State University Caroline

More information

A Review of Fundamentals

A Review of Fundamentals Chapter 1 A Review of Fundamentals This chapter summarizes the most important principles of music fundamentals as presented in Finding The Right Pitch: A Guide To The Study Of Music Fundamentals. The creation

More information

Syncopation and the Score

Syncopation and the Score Chunyang Song*, Andrew J. R. Simpson, Christopher A. Harte, Marcus T. Pearce, Mark B. Sandler Centre for Digital Music, Queen Mary University of London, London, United Kingdom Abstract The score is a symbolic

More information

Rhythmic Dissonance: Introduction

Rhythmic Dissonance: Introduction The Concept Rhythmic Dissonance: Introduction One of the more difficult things for a singer to do is to maintain dissonance when singing. Because the ear is searching for consonance, singing a B natural

More information

Musical Entrainment Subsumes Bodily Gestures Its Definition Needs a Spatiotemporal Dimension

Musical Entrainment Subsumes Bodily Gestures Its Definition Needs a Spatiotemporal Dimension Musical Entrainment Subsumes Bodily Gestures Its Definition Needs a Spatiotemporal Dimension MARC LEMAN Ghent University, IPEM Department of Musicology ABSTRACT: In his paper What is entrainment? Definition

More information

Automatic meter extraction from MIDI files (Extraction automatique de mètres à partir de fichiers MIDI)

Automatic meter extraction from MIDI files (Extraction automatique de mètres à partir de fichiers MIDI) Journées d'informatique Musicale, 9 e édition, Marseille, 9-1 mai 00 Automatic meter extraction from MIDI files (Extraction automatique de mètres à partir de fichiers MIDI) Benoit Meudic Ircam - Centre

More information

Chapter 40: MIDI Tool

Chapter 40: MIDI Tool MIDI Tool 40-1 40: MIDI Tool MIDI Tool What it does This tool lets you edit the actual MIDI data that Finale stores with your music key velocities (how hard each note was struck), Start and Stop Times

More information

Reading Music: Common Notation. By: Catherine Schmidt-Jones

Reading Music: Common Notation. By: Catherine Schmidt-Jones Reading Music: Common Notation By: Catherine Schmidt-Jones Reading Music: Common Notation By: Catherine Schmidt-Jones Online: C O N N E X I O N S Rice University,

More information

AN ARTISTIC TECHNIQUE FOR AUDIO-TO-VIDEO TRANSLATION ON A MUSIC PERCEPTION STUDY

AN ARTISTIC TECHNIQUE FOR AUDIO-TO-VIDEO TRANSLATION ON A MUSIC PERCEPTION STUDY AN ARTISTIC TECHNIQUE FOR AUDIO-TO-VIDEO TRANSLATION ON A MUSIC PERCEPTION STUDY Eugene Mikyung Kim Department of Music Technology, Korea National University of Arts eugene@u.northwestern.edu ABSTRACT

More information

The Formation of Rhythmic Categories and Metric Priming

The Formation of Rhythmic Categories and Metric Priming The Formation of Rhythmic Categories and Metric Priming Peter Desain 1 and Henkjan Honing 1,2 Music, Mind, Machine Group NICI, University of Nijmegen 1 P.O. Box 9104, 6500 HE Nijmegen The Netherlands Music

More information

Elements of Music. How can we tell music from other sounds?

Elements of Music. How can we tell music from other sounds? Elements of Music How can we tell music from other sounds? Sound begins with the vibration of an object. The vibrations are transmitted to our ears by a medium usually air. As a result of the vibrations,

More information

The Research of Controlling Loudness in the Timbre Subjective Perception Experiment of Sheng

The Research of Controlling Loudness in the Timbre Subjective Perception Experiment of Sheng The Research of Controlling Loudness in the Timbre Subjective Perception Experiment of Sheng S. Zhu, P. Ji, W. Kuang and J. Yang Institute of Acoustics, CAS, O.21, Bei-Si-huan-Xi Road, 100190 Beijing,

More information

Affective Priming. Music 451A Final Project

Affective Priming. Music 451A Final Project Affective Priming Music 451A Final Project The Question Music often makes us feel a certain way. Does this feeling have semantic meaning like the words happy or sad do? Does music convey semantic emotional

More information

What is music as a cognitive ability?

What is music as a cognitive ability? What is music as a cognitive ability? The musical intuitions, conscious and unconscious, of a listener who is experienced in a musical idiom. Ability to organize and make coherent the surface patterns

More information

Variations on a Theme by Chopin: Relations Between Perception and Production of Timing in Music

Variations on a Theme by Chopin: Relations Between Perception and Production of Timing in Music Journal of Ex~montal Psychology: Copyright 1998 by the American Psychological Association, Inc. Human Perception and Performance 0096-1523/98/$3.00 1998, Vol. 24, No. 3, 791-811 Variations on a Theme by

More information

Musical Illusions Diana Deutsch Department of Psychology University of California, San Diego La Jolla, CA 92093

Musical Illusions Diana Deutsch Department of Psychology University of California, San Diego La Jolla, CA 92093 Musical Illusions Diana Deutsch Department of Psychology University of California, San Diego La Jolla, CA 92093 ddeutsch@ucsd.edu In Squire, L. (Ed.) New Encyclopedia of Neuroscience, (Oxford, Elsevier,

More information

Do Zwicker Tones Evoke a Musical Pitch?

Do Zwicker Tones Evoke a Musical Pitch? Do Zwicker Tones Evoke a Musical Pitch? Hedwig E. Gockel and Robert P. Carlyon Abstract It has been argued that musical pitch, i.e. pitch in its strictest sense, requires phase locking at the level of

More information

Music Theory: A Very Brief Introduction

Music Theory: A Very Brief Introduction Music Theory: A Very Brief Introduction I. Pitch --------------------------------------------------------------------------------------- A. Equal Temperament For the last few centuries, western composers

More information

Consonance perception of complex-tone dyads and chords

Consonance perception of complex-tone dyads and chords Downloaded from orbit.dtu.dk on: Nov 24, 28 Consonance perception of complex-tone dyads and chords Rasmussen, Marc; Santurette, Sébastien; MacDonald, Ewen Published in: Proceedings of Forum Acusticum Publication

More information

MELODIC AND RHYTHMIC CONTRASTS IN EMOTIONAL SPEECH AND MUSIC

MELODIC AND RHYTHMIC CONTRASTS IN EMOTIONAL SPEECH AND MUSIC MELODIC AND RHYTHMIC CONTRASTS IN EMOTIONAL SPEECH AND MUSIC Lena Quinto, William Forde Thompson, Felicity Louise Keating Psychology, Macquarie University, Australia lena.quinto@mq.edu.au Abstract Many

More information

Preface. Ken Davies March 20, 2002 Gautier, Mississippi iii

Preface. Ken Davies March 20, 2002 Gautier, Mississippi   iii Preface This book is for all who wanted to learn to read music but thought they couldn t and for all who still want to learn to read music but don t yet know they CAN! This book is a common sense approach

More information

LOUDNESS EFFECT OF THE DIFFERENT TONES ON THE TIMBRE SUBJECTIVE PERCEPTION EXPERIMENT OF ERHU

LOUDNESS EFFECT OF THE DIFFERENT TONES ON THE TIMBRE SUBJECTIVE PERCEPTION EXPERIMENT OF ERHU The 21 st International Congress on Sound and Vibration 13-17 July, 2014, Beijing/China LOUDNESS EFFECT OF THE DIFFERENT TONES ON THE TIMBRE SUBJECTIVE PERCEPTION EXPERIMENT OF ERHU Siyu Zhu, Peifeng Ji,

More information

Chapter Five: The Elements of Music

Chapter Five: The Elements of Music Chapter Five: The Elements of Music What Students Should Know and Be Able to Do in the Arts Education Reform, Standards, and the Arts Summary Statement to the National Standards - http://www.menc.org/publication/books/summary.html

More information

Texas Music Education Research

Texas Music Education Research Texas Music Education Research Reports of Research in Music Education Presented at the Annual Meetings of the Texas Music Educators Association San Antonio, Texas Robert A. Duke, Chair TMEA Research Committee

More information

Spatial-frequency masking with briefly pulsed patterns

Spatial-frequency masking with briefly pulsed patterns Perception, 1978, volume 7, pages 161-166 Spatial-frequency masking with briefly pulsed patterns Gordon E Legge Department of Psychology, University of Minnesota, Minneapolis, Minnesota 55455, USA Michael

More information