A Test of an Auditory Motion Hypothesis for Continuous and Discrete Sounds Moving in Pitch Space
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An Investigation of Tactile Localization and Skin-Based Maps
Where was I touched? – An investigation of tactile localization and skin-based maps Jack Brooks Doctor of Philosophy Neuroscience Research Australia School of Medical Sciences, Faculty of Medicine University of New South Wales November 2017 ii Preface The coding of the position of touch on the skin and of the size and shape of the body are both fundamental for interacting with our surrounds. The aim of this thesis was to learn more about the mechanisms of tactile localization and to characterize the principles by which skin-based representations of the body update. It is commonly accepted that skin-based representations of the body are generated from the statistics of touch and other inputs. My studies required skin stimulation customised to account for inter-individual differences in touch sensitivity and forearm shape. Within the constraints of these methodological challenges, the central questions of this thesis were addressed by performing multiple behavioural experiments. In my first study, I tested how touch intensity and history influence touch localization. The study showed that reducing touch intensity increases the variability of pointing responses to touch and results in spatial biases to the middle of the recent history of touch. Thus, I showed that when uncertain about perceived touch location, a strategy is used that minimises localization errors over time. This error minimisation mechanism stabilises our perception of events on the skin and their sensory features. Next, I investigated uncertainty in a motion stimulus by fragmenting it. Studies in vision suggest that missing sensory inputs are filled-in from the surrounds, while previous tactile studies suggest fragmented motion could influence skin-based representations. -
Space and Time in Perception and Action Edited by Romi Nijhawan and Beena Khurana Index More Information
Cambridge University Press 978-0-521-86318-6 - Space and Time in Perception and Action Edited by Romi Nijhawan and Beena Khurana Index More information Index absolute time, 1, 232 effect on perceived speed, 233 acceleration, 99, 118, 124, 133, 177, 287, 342, 366, 449, effect on time perception, 269, 272 545 endogenous, 269–271, 532, 543 acuity, visual, 102, 105, 449 exogenous, 269–271 adaptation, 43, 44, 48, 63, 64, 68, 78, 97, 124, 128, 202, 209, in flash-lag effect, 396–403, 414, 423, 479, 487, 493–495 212, 236, 243, 245, 248, 284, 288, 295, 345, 351, 352, in Frohlich¨ effect, 321, 328–331, 334 359, 489, 531, 532 and motion information, 521, 524–526, 528–532 Adelson, E. H., 126, 137, 281, 392, 418, 525, 530 and perceptual asynchrony, 269–271, 516, 517 afference, 13, 57, 95, 97, 211, 423–428, 431, 435, 436, 438, in representational momentum, 343, 348, 358, 367 543–545, 548, 551 and salience, 284, 294 after-image, 13, 33, 95–97, 100 shifts in, 203, 243, 256 aim, target, 109, 110, 113, 118 in temporal order, 170, 174, 272, 286 Alais, D., 233, 240, 272, 273, 402, 479, 481, 482, 493, 546 audiovisual interaction, 236, 243, 245, 247, 278, 279, 284, algorithm, 278, 282, 284, 295, 350, 357, 358 286, 293–295, 303, 546 aliasing. See temporal aliasing audition, 3, 73, 74, 80, 152, 159, 160, 166, 169, 182, 217, 228, allocentric location. See also exocentric location 247, 254, 271, 278, 283, 288, 290, 303, 342, 397, 479, amodal 481, 550 representation, 284 and simultaneity, 232–235, 238, 240, 241, 243, 245, 279, tokens, 278, 279 284, 286, 293–295 Andersen, R. -
TRF1: It Was the Best of Time(S)…
Timing & Time Perception 6 (2018) 231–414 brill.com/time TRF1: It Was the Best of Time(s)… Anne Giersch1 and Jennifer T. Coull2 1INSERM, France 2Laboratoire des Neurosciences Cognitives (UMR 7291), Aix-Marseille University & CNRS, Marseille, France The Timing Research Forum (TRF; http://timingforum.org/) is an interna- tional (Fig. 1), gender-inclusive, and open academic society for timing re- search, founded in 2016 by Argiro Vatakis and Sundeep Teki (Teki, 2016). Following a call to its Committee members in May 2016, we agreed to host the 1st Conference of the Timing Research Forum in Strasbourg, France (TRF1; http://trf-strasbourg.sciencesconf.org). First on the agenda was to decide on eminent keynote speakers to lend credibility to this very first TRF conference. We wanted one talk from the field of psychology and the other from the neurosciences, and so were delighted that both Lera Boro- ditsky and Warren Meck accepted our invitations immediately. Lera kicked off the conference for us, with an extremely entertaining talk about the spatial representation of time in different societies and cultures and how the linguistic metaphors we use to describe time influence our conception of time. Warren highlighted the key role of the striatal dopaminergic sys- tem for timing, illustrating his talk with data from an impressive variety of methodological techniques from the clinical level (performance in patients with Parkinson’s Disease) right down to the cellular (optogenetic studies in mice). Coincidentally, the role of dopamine in timing was also the subject of our third keynote talk. One of the mission statements of TRF is to pro- mote the work of young researchers, and Argiro and Sundeep had the great idea to invite an early-career researcher to give a keynote talk. -
The Kappa Effect in Pitch/Time Context Dissertation
THE KAPPA EFFECT IN PITCH/TIME CONTEXT DISSERTATION Presented in Partial Fulfillment of the Requirements for the degree Doctor of Philosophy in the Graduate School of The Ohio State University By Noah MacKenzie, M.A. ***** The Ohio State University 2007 Dissertation Committee: Professor Mari Jones, Adviser Professor Mark Pitt Approved by Professor James Todd Adviser Psychology Graduate Program ABSTRACT The kappa effect, an effect of spatial extent on the perception of time, is, relatively speaking, poorly understood, especially in the auditory domain. Five experiments demonstrate the kappa effect in the auditory domain by instructing listeners to judge the timing of a tone (Tone X) in relation to a tone immediately preceding it (Tone A) and immediately following it (Tone B). These three tones, together, are referred to as a kappa cell. Experiments 3, 4, and 5 illustrate how the serial context of kappa judgments can influence the strength of the effect. Experiment 1 served as a control experiment to demonstrate the effectiveness of the independent variables. Experiment 2 replicated Shigeno (1986), perhaps the clearest presentation to date of the auditory kappa effect, yet used pitch (frequency on a logarithmic scale) rather than frequency (on a linear scale) as an independent variable. Experiment 3 added a three-tone serial context to the kappa cell. Experiment 4 added a serial context to the kappa cell that strongly conflicted with its pitch trajectory. Experiment 5 examined kappa cells with larger pitch motion (or change in pitch per unit time). Results are discussed in terms of auditory motion and the assumption of constant velocity. -
An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists. Jerome Raymond Markoch Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Markoch, Jerome Raymond Jr, "An Approach to the Musical Analysis of Wind Band Literature Based on Analytical Modes Used by Wind Band Specialists and Music Theorists." (1995). LSU Historical Dissertations and Theses. 6030. https://digitalcommons.lsu.edu/gradschool_disstheses/6030 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality o f the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
BIOGRAPHIES of PRESENTERS & COMPOSERS Updated 10/23/17 Adler, Ayden Ayden Adler Is Dean of the Depauw University School of M
BIOGRAPHIES OF PRESENTERS & COMPOSERS updated 10/23/17 Adler, Ayden Ayden Adler is Dean of the Depauw University School of Music. In her previous role as dean of the New World Symphony, America’s Orchestral Academy, Dr. Adler redesigned the academic program to address 21st-century needs of music students by providing high-level training in audience engagement, community engagement, and digital engagement, musician health and wellness, entrepreneurship, and leadership development. Before working in higher education administration, Dr. Adler served as Executive Director of the Orpheus Chamber Orchestra in New York City. With support from the Mellon Foundation, she expanded the Orpheus Institute, through which Orpheus musicians mentor the next generation of musicians and business leaders in shared leadership, entrepreneurship, and communication. Dr. Adler has also served as Director of Education and Community Partnerships for the Philadelphia Orchestra and as the Atlanta Symphony Orchestra’s Director for Learning Development. As an orchestral musician, Dr. Adler performed in many countries under esteemed conductors, including Loren Maazel, Mstislav Rostropovich, and Alan Gilbert. Alberti, Alexander Alexander Alberti is the current director of instrumental music and psychology at Longleaf School of the Arts in Raleigh, North Carolina. In addition, he works with the Middle Creek High School Marching Mustang Band, instructing front ensemble and percussion. Alberti formerly taught at Southern Lee High School in Sanford, North Carolina, where he directed band, orchestra, chorus, and an extracurricular a cappella program. Alberti is an active researcher in the field of music theory pedagogy and music education, presenting his findings at NAfME, CMS National, and NCUR. Alberti currently holds a Bachelors of Music in Music Education from Appalachian State University with a minor in Psychology. -
Capturing-Sound-How-Technology-Has-Changed-Music.Pdf
ROTH FAMILY FOUNDATION Music in America Imprint Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. This publication has been supported by a subvention from the Gustave Reese Publication Endowment Fund of the American Musicological Society. The publisher gratefully acknowledges the generous contribution to this book provided by the Music in America Endowment Fund of the University of California Press Associates, which is supported by a major gift from Sukey and Gil Garcetti, Michael Roth, and the Roth Family Foundation. CAPTURING SOUND H O W CAPT T U E C R H N I O N L O G G Y S UNIVERSITY OF CALIFORNIA PRESS H A S O C H U A N N G E D D M BERKELEY LOS ANGELES LONDON U S I C tz mark ka University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England “The Entertainer” written by Billy Joel © 1974, JoelSongs [ASCAP]. All rights reserved. Used by permission. © 2004 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Katz, Mark, 1970–. Capturing sound : how technology has changed music / Mark Katz. p. cm. Includes bibliographical references and index. ISBN 0-520-24196-7 (cloth : alk. paper)— ISBN 0-520-24380-3 (pbk. : alk. paper) 1. Sound recording industry. 2. Music and technology. I. Title. ml3790.k277 2005 781.49—dc22 2004011383 Manufactured in the United States of America 13 12 11 10 09 08 07 06 05 04 10987654 321 The paper used in this publication is both acid-free and totally chlorine-free (TCF). -
The Solution-Focused Approach to Practice and Performance
COACHING in APPLIED MUSIC EDUCATION: The Solution-Focused Approach to Practice and Performance by Bo Yon Koh A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Bo Yon Koh 2014 COACHING in APPLIED MUSIC EDUCATION: The Solution-Focused Approach to Practice and Performance Bo Yon Koh Doctor of Musical Arts Faculty of Music University of Toronto 2014 Abstract The shift towards student-centered learning has been one of the most significant developments in education in the twentieth century. Many research projects have studied the effectiveness of student-centered instruction in facilitating independent learning. In most private music education settings, however, the traditional culture of master teacher and apprentice roles still exists. This study began as an effort to introduce an environment for student-centered learning for advanced music students while respecting the existing culture in music schools. The client-centered approach in Solution-Focused Brief Therapy (SFBT) parallels many principles of student-centered learning. SFBT is an empirically developed intervention method from social work and counselling therapy disciplines that aims to create clients’ preferred future by focusing on strengths and solution precursors. In SFBT, unlike many other intervention models, practitioners assume the non-expert stance in their interaction with clients. SFBT provides the tools and framework to promote student-centered learning without imposing changes to the existing student-teacher relationship. ii Within the structure of the study, the researcher provided solution-focused private coaching sessions as well as facilitated peer group meetings over one academic semester for eighteen participants studying music performance at the university level. -
The Only Common Thread: Race, Youth, and the Everyday Rebellion of Rock and Roll, Cleveland, Ohio, 1952-1966
THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH Bachelor of Arts in Communications Lake Erie College May, 2006 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN HISTORY at the CLEVELAND STATE UNIVERSITY May, 2010 This thesis has been approved for the Department of HISTORY and the College of Graduate Studies by _____________________________________________ Thesis Chairperson, Dr. Karen Sotiropoulos ___________________________ Department & Date _____________________________________________ Dr. David Goldberg ___________________________ Department & Date _____________________________________________ Dr. Thomas Humphrey ___________________________ Department & Date THE ONLY COMMON THREAD: RACE, YOUTH, AND THE EVERYDAY REBELLION OF ROCK AND ROLL, CLEVELAND, OHIO, 1952-1966 DANA ARITONOVICH ABSTRACT This thesis is a social and cultural history of young people, race relations, and rock and roll music in Cleveland between 1952 and 1966. It explores how the combination of de facto segregation and rock and roll shaped attitudes about race for those coming of age after the Second World War. Population changes during the Second Great Migration helped bring the sound of southern black music to northern cities like Cleveland, and provided fertile ground for rock and roll to flourish, and for racial prejudice to be confronted. Critics blamed the music for violence, juvenile delinquency, and sexual depravity, among other social problems. In reality, the music facilitated racial understanding, and gave black and white artists an outlet through which they could express their hopes and frustrations about their lives and communities. Through the years, the music provided a window into the lives of “the other” that young Americans in a segregated environment might not otherwise experience. -
Light Music in the Practice of Australian Composers in the Postwar Period, C.1945-1980
Pragmatism and In-betweenery: Light music in the practice of Australian composers in the postwar period, c.1945-1980 James Philip Koehne Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts University of Adelaide May 2015 i Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission in my name for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. _________________________________ James Koehne _________________________________ Date ii Abstract More than a style, light music was a significant category of musical production in the twentieth century, meeting a demand from various generators of production, prominently radio, recording, film, television and production music libraries. -
The Columbus Dispatch - November 09, 2014 12:37 AM Blog RSS Feed
Columbus, Ohio • Jan 11, 2017 • 53° Overcast Hot Links: What's happening onstage and backstage in theater, comedy and the arts SEARCH CONNECT WITH THIS By: Michael Grossberg BLOG The Columbus Dispatch - November 09, 2014 12:37 AM Blog RSS feed 41 7 105 CONTRIBUTOR Next week will mark a milestone in the evolution of central Ohio’s arts and cultural scene: the 25th Michael Grossberg anniversary of the Wexner Center for the Arts. For many of those years, Sherri Geldin has been thinking about the center’s distinctive mission and guiding its diverse creative possibilities to become realities. RECENT POSTS Geldin, director of the center for all but the first four years after it opened on Nov. 16, 1989 on the Ohio State University campus, has interesting thoughts to share about the center’s rich past and future. CATEGORIES ARCHIVE January 2017 December 2016 November 2016 October 2016 September 2016 August 2016 July 2016 June 2016 May 2016 April 2016 March 2016 February 2016 Advertisement • Place an ad Sherri Geldin, director of the Wexner Center for the Arts, celebrates her 20th year at the institution Sept. 25, 2013. She is photographed in front of a William T. Williams 1969 painting titled Trane, Credit Line: The Studio Museum in Harlem, Gift of Charles Cowles, New York. (Photo by Tessa Berg) Q What’s the biggest difference at the center today compared to when it opened in 1989? A There’s more contemporary, more vanguard programming. If you consider our key programs in 1989 in music, dance, theater, film and the visual arts and compare those programs to the cultural offerings today – here and at our peer institutions – I think you’d see exponential growth. -
November Concert Lawrence University Choirs Phillip A
November Concert Lawrence University Choirs Phillip A. Swan and Stephen M. Sieck, conductors Guest artist: Professor Carl Rath, bassoon Friday, November 15, 2019 8:00 p.m. Lawrence Memorial Chapel Please donate to Music for Food before leaving tonight! What is Music for Food? Music for Food believes both music and food are essential to human life and growth. Music has the power to call forth the best in us, inspiring awareness and action when artists and audiences work together to transform the ineffable into tangible and needed food resources. Music for Food is a musician-led initiative for local hunger relief. Our concerts raise resources and awareness in the fight against hunger, empowering all musicians who wish to use their artistry to further social justice. Donations of non-perishable food items or checks will be accepted at the door. All monetary donations are tax-deductible, and will be processed by the national office of Music for Food. 100% will be sent to the food pantry at St. Joseph’s. Each year the St. Joseph Food Program distributes thousands of pounds of food to those who are hungry in the Fox Valley. Lawrence is proud to help. Concert Choir As the Sunflower Turns on Her God Timothy C. Takach (b. 1978) Bianca Pratte, soloist Small Ensemble: Bianca Pratte, Rehanna Rexroat, Henry McCammond-Watts, Caro Granner, Tommy Dubnicka, Preston Parker, Baron Lam, Maxim Muter Gøta Peder Karlsson (b. 1963) Cum Sancto Spiritu from Gloria Hyo-Won Woo (b. 1974) Viking Bass Clef Ensemble Alleluia Andrew Steffen (b. 1990) Viking Chorale Fog Elna Khel arr.