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pro vyhledávání: '"Bruno H. Repp"'
Autor:
Bruno H. Repp
Publikováno v:
Empirical Musicology Review, Vol 6, Iss 1, Pp 56-61 (2011)
Objective measures of musical tempo are linked to a particular metrical pulse, and this is most likely true for subjective tempo as well. Therefore, tapping along with a rhythm should be predictive of relative tempo judgments. The difficulty of such
Externí odkaz:
https://doaj.org/article/6c0ad4362d4f4f769b1d63e8465f47a8
Autor:
Bruno H. Repp
Publikováno v:
Advances in Cognitive Psychology, Vol 2, Iss 2-3, Pp 163-181 (2006)
Empirical evidence for upper and lower rate li-mits of sensorimotor synchronization (typically, finger tapping with anauditory or visual event sequence) is reviewed. If biomechanical constraints are avoided, the upper rate limit can be as high as 8-1
Externí odkaz:
https://doaj.org/article/dc3f29b3977e4adf8dfe9aa998eb40de
Autor:
Bruno H. Repp
Publikováno v:
Empirical Musicology Review, Vol 2, Iss 1, Pp 14-16 (2007)
Todd, Cousins, and Lee (2007) have presented some intriguing data suggesting that body size, as measured by standard anthropometric indices, is related to the preferred beat period in a perceptual task. Curiously, however, they did not find a signifi
Externí odkaz:
https://doaj.org/article/08f5ec80d2794f15b594ecfe5be8bbfa
Publikováno v:
Timing & Time Perception. 3:32-51
The mechanisms that support sensorimotor synchronization — that is, the temporal coordination of movement with an external rhythm — are often investigated using linear computational models. The main method used for estimating the parameters of th
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::86ce3c3a4501fecd87a5bf6546523626
https://doi.org/10.1163/22134468-00002047
https://doi.org/10.1163/22134468-00002047
Publikováno v:
Timing & Time Perception. 3:52-87
Linear models have been used in several contexts to study the mechanisms that underpin sensorimotor synchronization. Given that their parameters are often linked to psychological processes such as phase correction and period correction, the fit of th
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::c3518d123a3890241611ba97c7131bdd
https://doi.org/10.1163/22134468-00002048
https://doi.org/10.1163/22134468-00002048
Publikováno v:
Psychomusicology: Music, Mind, and Brain. 23:6-20
Coperformers in musical ensembles continuously adapt the timing of their actions to maintain interpersonal coordination. The current study used a dyadic finger-tapping task to investigate whether such mutual adaptive timing is predominated by assimil
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::c114d2a92027aa08646b637bf89c0f83
https://doi.org/10.1037/a0032039
https://doi.org/10.1037/a0032039
Publikováno v:
Timing & Time Perception. 1:65-76
Several interesting studies in the literature have demonstrated that a temporal interval coinciding with or following a rapid sequence of auditory stimuli is subjectively lengthened relative to a baseline interval without such rapid auditory stimulat
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::1889a1dfeebf17709191a0884699911e
https://doi.org/10.1163/22134468-00002001
https://doi.org/10.1163/22134468-00002001
Autor:
Ève Poudrier, Bruno H. Repp
Publikováno v:
Music Perception. 30:369-390
The simultaneous presence of different meters is not uncommon in Western art music and the music of various non-Western cultures. However, it is unclear how listeners and performers deal with this situation, and whether it is possible to cognitively
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::f1f74127e7871964a58002bfd74a3320
https://doi.org/10.1525/mp.2013.30.4.369
https://doi.org/10.1525/mp.2013.30.4.369
Publikováno v:
Music Perception. 30:205-223
when rhythms consisting of two unequal intervals are reproduced cyclically, their interval ratio tends to be distorted in the direction of 1:2 (= 0.5), which thus seems to function as an “attractor ratio” (AR). However, recent results for musicia
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_________::497334b2cbda51bce1d1a53cae7ca222
https://doi.org/10.1525/mp.2012.30.2.205
https://doi.org/10.1525/mp.2012.30.2.205
Publikováno v:
Music Perception
In a classic study, Fraisse (1956) demonstrated that sequences of four sounds defining three different interval durations exhibit characteristic distortions in reproduction: The two more similar intervals tend to be assimilated to each other, resulti
Externí odkaz:
https://explore.openaire.eu/search/publication?articleId=doi_dedup___::e17daf72073f8c1b94d2be5618682519
https://doi.org/10.1525/mp.2012.30.3.291
https://doi.org/10.1525/mp.2012.30.3.291