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SV: [AUDITORY] Rhythmic discrimination fovea?
there are virtually countless variations of short rhythms like these. It's not clear to me what scientific question you want to address with them, and that determines to a large extent which references that may be relevant.
However, here are a few papers that should be relevant. Please mail me directly if you can provide more detailed description of your goal, in which case I might be able to give more specific tips.
1. Carson, B. (2007). Perceiving and distinguishing simple timespan ratios without metric reinforcement. Journal of New Music Research, 36, 313-336.
2. Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming. Perception, 32, 341-365.
3. Dixon, S. E., Gouyon, F., & Widmer, G. (2004). Towards characterisation of music via rhythmic patterns. In Proceedings of the 5th International Conference on Music Information Retrieval Barcelona, Spain.
4. Drake, C. (1993). Reproduction of musical rhythms by children, adult musicians, and adult nonmusicians. Perception & Psychophysics, 53, 25-33.
5. Drake, C. (1993). Influence of age and musical experience on timing and intensity variations in reproductions of short musical rhythms. Psychologica Belgica, 33, 217-228.
6. Essens, P. & Povel, D. J. (1985). Metrical and nonmetrical representations of temporal patterns. Perception & Psychophysics, 37, 1-7.
7. Essens, P. (1986). Hierarchical organization of temporal patterns. Perception & Psychophysics, 40, 69-73.
8. Essens, P. (1995). Structuring temporal sequences: Comparison of models and factors of complexity. Perception & Psychophysics, 57, 519-532.
9. Franek, M., Radil, T., Indra, M., & Lansky, P. (1987). Following complex rhythmical acoustical patterns by tapping. International Journal of Psychophysiology, 5, 187-192.
10. Franek, M., Radil, T., & Indra, M. (1988). Tracking irregular acoustic patterns by finger tapping. International Journal of Psychophysiology, 6, 327-330.
11. Franek, M., Radil, T., & Indra, M. (1990). Subjective timing of rhythmical patterns during synchronization and reproduction of acoustic sequences. Studia Psychologica, 32, 203-209.
12. Gabrielsson, A. (1973). Similarity ratings and dimension analyses of auditory rhythm patterns: II. Scandinavian Journal of Psychology, 14, 161-176.
13. Gabrielsson, A. (1973). Similarity ratings and dimension analyses of auditory rhythm patterns: I. Scandinavian Journal of Psychology, 14, 138-160.
14. Gardner, H. (1971). Children's duplication of rhythmic patterns. Journal of Research in Music Education, 19, 355-360.
15. Garner, W. R. & Gottwald, R. L. (1967). Some perceptual factors in the learning of sequential patterns of binary events. Journal of Verbal Learning and Verbal Behavior, 6, 582-589.
16. Garner, W. R. & Gottwald, R. L. (1968). The perception and learning of temporal patterns. Journal of Experimental Psychology, 20, 97-109.
17. Garner, W. R. (1974). The processing of information and structure. Potomac, MD: Erlbaum.
18. Handel, S. & Todd, P. (1981). Segmentation of sequential patterns. Journal of Experimental Psychology: Human Perception and Performance, 7, 41-55.
19. Handel, S. & Oshinsky, J. S. (1981). The meter of syncopated auditory polyrhythms. Perception & Psychophysics, 30, 1-9.
20. Handel, S. (1984). Using polyrhythms to study rhythm. Music Perception, 1, 465-484.
21. Hannon, E. E., Snyder, J. S., Eerola, T., & Krumhansl, C. L. (2004). The role of melodic and temporal cues in perceiving musical meter. Journal of Experimental Psychology: Human Perception and Performance, 30, 956-974.
22. Hannon, E. E. & Trehub, S. E. (2005). Tuning in to musical rhythms: Infants learn more readily than adults. Proceedings of the National Academy of Sciences, 102, 12639-12643.
23. Hofmann-Engl, L. (2002). Rhythmic similarity: A theoretical and empirical approach. In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (Eds.), (pp. 564-567). Adelaide: Causal Productions.
24. Jones, M. R. (1987). Dynamic pattern structure in music: Recent theory and research. Perception & Psychophysics, 41, 621-634.
25. Povel, D. J. & Okkerman, H. (1981). Accents in equitone sequences. Perception & Psychophysics, 30, 565-572.
26. Povel, D. J. (1981). Internal representation of simple temporal patterns. Journal of Experimental Psychology: Human Perception and Performance, 7, 3-18.
27. Povel, D. J. (1984). A theoretical framework for rhythm perception. Psychological Research, 45, 315-337.
28. Povel, D. J. & Essens, P. (1985). Perception of temporal patterns. Music Perception, 2, 411-440.
29. Reinhold, M. (2007). Träning förbättrar asynkronin - Ensidig kontra varierad träning. P Department of Psychology, Umeå University.
30. Repp, B. H. (2000). Rhythm and meter in music and speech. In P.Desain & W. L. Windsor (Eds.), Rhythm perception and production (pp. 235-237). Lisse, the Netherlands: Swets and Zeitlinger.
31. Royer, F. L. & Garner, W. R. (1966). Response uncertainty and perceptual difficulty of auditory temporal patterns. Perception & Psychophysics, 1, 41-47.
32. Royer, F. L. & Garner, W. R. (1970). Perceptual organization of nine-element auditory temporal patterns. Perception & Psychophysics, 7, 115-120.
33. Shmulevich, I. & Povel, D. J. (2000). Measures of temporal pattern complexity. Journal of New Music Research, 29, 61-69.
34. Shmulevich, I. & Povel, D. J. (2000). Complexity measures of musical rhythms. In P.Desain & W. L. Windsor (Eds.), Rhythm perception and production (pp. 239-244). Lisse, the Netherlands: Swets and Zeitlinger.
35. Summers, J. J., Sargent, G. I., & Hawkins, S. R. (1984). Rhythm and the timing of movement sequences. Psychological Research, 46, 107-119.
36. Summers, J. J., Hawkins, S. R., & Mayers, H. (1986). Imitation and production of interval ratios. Perception & Psychophysics, 39, 437-444.
37. Summers, J. J., Bell, R., & Burns, B. D. (1989). Perceptual and motor factors in the imitation of simple temporal patterns. Special Issue: Rhythm perception, rhythm production, and timing. Psychological Research, 51, 23-27.
Från: AUDITORY - Research in Auditory Perception [mailto:AUDITORY@xxxxxxxxxxxxxxx] För Eliot Handelman
Skickat: den 20 december 2010 15:48
Ämne: [AUDITORY] Rhythmic discrimination fovea?
consider a rhythm like (a) 2 1 1 2 1 1 in contrast to one like (b) 3 2 2
3 2 2 or
(c) 5 2 2 5 2 2 ...
(a) is an "equal" rhythm with one long and two shorts that add up to the
In (b) & (c), the "shape" is the same, but the shorts don't add up to
Now scale all rhythms so that their cycles have the same durations, and
the tempo, play pairs to listeners and get "same/different" judgements.
Question: what is the range of tempo in which such judgments would be
Thanks for pointers to existing research or ideas.