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(BI am interested in the perception of very short silent periods. The
(Btitle of my musical piece would be "433 ms." It seems vital to clarify
(Bthe perceptual nature of silence in order to understand how we perceive
(Bauditory patterns in time.
(BEven in a simplified situation as in basic auditory experiments, a
(Bcertain type of context is required to cause the perception of silence.
(BMy hypothesis is that a subjectively silent period should be created by
(Ba preceding context like a very short sound or the termination (offset)
(Bof a continuous sound. Silence is something to be perceived after
(Bperceiving sound. When the termination of a sound and the onset of
(Banother sound are perceived in this order within a single auditory
(Bstream, a silence should be perceived in between in order to make the
(BIt is indeed possible in speech perception for a silent duration to be
(Bperceived as filled. In music, very short sounds of percussion followed
(Bby silent periods can represent long notes. An analytical listening
(Battitude sometimes enables us to perceive silent periods in these
(Bcases. Probably, a synthetic attitude tends to inhibit the auditory
(Bsystem from interpreting silent periods as such.
(B Yoshitaka Nakajima
(B Kyushu Institute of Design
(B (To be a part of Kyushu University in October)
(BNakajima, Y., Sasaki, T., Kanafuka, K., Miyamoto, A., Remijn, G., & ten
(BHoopen, G. (2000). Illusory recouplings of onsets and terminations of
(Bglide tone components. Perception & Psychophysics, 62, 1413-1425.