| 1. |
- Krantz, Göran, et al.
(författare)
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Melodic intervals and body movement
- 2003
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Ingår i: Dance and Education. Proceedings of the 17th International Congress on Dance Research. - Athens, Greece : IOAFA. ; , s. 141-148
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Konferensbidrag (refereegranskat)
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| 2. |
- Lindestad, Per Å, et al.
(författare)
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Voice source characteristics in mongolian throat singing studied with high-speed imaging technique, acoustic spectra, and inverse filtering
- 2001
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Ingår i: Journal of Voice. - 0892-1997 .- 1873-4588. ; 15:1, s. 78-85
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Tidskriftsartikel (refereegranskat)abstract
- Mongolian “throat singing” can be performed in different modes. In Mongolia, the bass-type is called Kargyraa. The voice source in bass-type throat singing was studied in one male singer. The subject alternated between modal voice and the throat singing mode. Vocal fold vibrations were observed with high-speed photography, using a computerized recording system. The spectral characteristics of the sound signal were analyzed. Kymographic image data were compared to the sound signal and flow inverse filtering data from the same singer were obtained on a separate occasion. It was found that the vocal folds vibrated at the same frequency throughout both modes of singing. During throat singing the ventricular folds vibrated with complete but short closures at half the frequency of the true vocal folds, covering every second vocal fold closure. Kymographic data confirmed the findings. The spectrum contained added subharmonics compared to modal voice. In the inverse filtered signal the amplitude of every second airflow pulse was considerably lowered. The ventricular folds appeared to modulate the sound by reducing the glottal flow of every other vocal fold vibratory cycle.
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| 3. |
- Madison, Guy, 1961-, et al.
(författare)
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Consistency in listeners’ ratings as a function of listening time
- 2003
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Ingår i: Proceedings of the Stockholm music acoustics conference. - Stockholm : Royal College of Technology. ; , s. 639-642
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Konferensbidrag (refereegranskat)abstract
- We examined the consistency and similarity of adjective ratings of 10 music examples (ME) across 7 different example durations. Although the effect of ME was generally statistically significant for all 14 adjectives and all durations from 0.5 to 16s, the agreement between the relative ratings of MEs was poor for some adjectives. Consistency, in terms of F ratios, did not increase with duration, which seems to contradict the hypothesis that more information entails better judgements. We discuss possible explanations for these results, and conclude that further examination of the validity of adjective ratings is warranted.
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| 4. |
- Madison, Guy, et al.
(författare)
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Human sensorimotor tracking of continuous subliminal deviations from isochrony
- 2004
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Ingår i: Neuroscience Letters. - : Elsevier BV. - 0304-3940. ; 370, s. 69-73
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- We show that people continuously react to time perturbations in the range 3-96 ms in otherwise isochronous sound sequences. Musically trained and untrained participants were asked to synchronise with a sequence of sounds, and these two groups performed almost equally below the threshold for conscious detection of the deviations. Above this threshold the motor reactions accounted for a larger proportion of the stimulus deviations for musically trained participants.
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| 5. |
- Madison, Guy, 1961-, et al.
(författare)
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On the limits of anisochrony in pulse attribution
- 2002
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Ingår i: Psychological Research. - : Springer Science and Business Media LLC. - 0340-0727 .- 1430-2772. ; 66:3, s. 201-207
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Tidskriftsartikel (refereegranskat)abstract
- Pulse is the subjective experience of isochrony, which is typically elicited by series of sensory events with close to isochronous spacing, as is common in music and poetry. We measured the amount of anisochrony in a 10-event sequence with 570-630 ms nominal inter onset intervals (IOI) that corresponded to the threshold for pulse attribution. This threshold was 8.6% of the IOI across 28 participants with a wide range of musical training, as compared with 3.5% for detection of anisochrony in the same kind of sequence. Musical training led to lower thresholds for detection of irregularity but had no effect on pulse attribution. The relatively larger amount of anisochrony in pulse attribution may reflect the limit for predicting and synchronising with future events. We suggest that this limit reflects a compromise between tolerance for naturally occurring deviations and the need for precision in timing.
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