Continuous loudness response to acoustic intensity dynamics in melodies: Effects of melodic contour,tempo, and tonality

The aim of this work was to investigate perceived loudness change in response to melodies that increase (up-ramp) or decrease (down-ramp) in acoustic intensity, and the interaction with other musical factors such as melodic contour, tempo, and tonality (tonal/atonal). A within-subjects design manipulated direction of linear intensity change (up-ramp, down-ramp), melodic contour (ascending, descending), tempo, and tonality, using single ramp trials and paired ramp trials, where single up-ramps and down-ramps were assembled to create continuous up-ramp/down-ramp or down-ramp/up-ramp pairs. Twenty-nine (Exp 1) and thirty-six (Exp 2) participants rated loudness continuously in response to trials with monophonic 13-note piano melodies lasting either 6.4 s or 12 s. Linear correlation coefficients > .89 between loudness and time show that time-series loudness responses to dynamic up-ramp and down-ramp melodies are essentially linear across all melodies. Therefore, ‘indirect’ loudness change derived from the difference in loudness at the beginning and end points of the continuous response was calculated. Down-ramps were perceived to change significantly more in loudness than up-ramps in both tonalities and at a relatively slow tempo. Loudness change was also greater for down-ramps presented with a congruent descending melodic contour, relative to an incongruent pairing (down-ramp and ascending melodic contour). No differential effect of intensity ramp/melodic contour congruency was observed for up-ramps. In paired ramp trials assessing the possible impact of ramp context, loudness change in response to up-ramps was significantly greater when preceded by down-ramps, than when not preceded by another ramp. Ramp context did not affect down-ramp perception. The contribution to the fields of music perception and psychoacoustics are discussed in the context of real-time perception of music, principles of music composition, and performance of musical dynamics.     

Children's perception of melodies: the role of contour, frequency, and rate of presentation

Children 4 to 6 years of age were exposed to repetitions of a six-tone melody, then tested for their detection of transformations that either preserved or changed the contour of the standard melody. Discrimination performance was examined as a function of contour condition, magnitude of contour change, rate of presentation, and the presence of novel frequencies. Performance was superior for transformations that changed contour compared to those that did not, for greater changes in contour, and for faster presentation rates. Melodies transformed by a reordering of component tones were no less discriminable than those transformed by the addition of novel frequencies.     

Effects of contour proximity and lightness on Delboeuf illusions created by circumscribed letters

32 observers judged the size of a letter, either an "A" or an "S," which was surrounded by a circle. Both letters were overestimated, but larger surrounding circles reduced the illusion. Decreasing the lightness contrast of the surrounding circle relative to the central letter diminished the illusion. The results suggest that, like the Delboeuf illusion, these circumscribed letters illusions are produced by interactions among size-coding neurons.     

The distorted hand metric representation serves both perception and action

ABSTRACT

The representation of our body location is achieved by integrating sensorimotor inputs with information about our body size. Previous studies have shown that the metric representation of our hand, also called the body model, is distorted, namely overestimated in width and underestimated in length, although we are able to perform accurate fine movements. Considering the known dissociation between action-oriented and perception-oriented body representations, we asked whether the body model mainly serves body perception or whether it is also involved in movements. Twenty-one healthy adults were administered with the Localization Task (LT) which required the participants to localise the perceived position of their unseen hand by means of a stick held by their other hand, and the Proprioceptive Matching Task (PMT) which required the participants to match their perceived hand position with a visual target. LT and PMT maps were compared with the actual hand sizes. We found that the PMT map exhibited similar body model distortions, confirming that the body model is involved in motor programming. Furthermore, we observed that a partial adjustment of the distortions occurs in a motor condition.     

Children's perception of certain musical properties: scale and contour

Children's perception of scale and contour in melodies was investigated in five studies. Experimental tasks included judging transposed renditions of melodies (Studies 1 and 3), discriminating between transposed renditions of a melody (Study 2), judging contour-preserving transformations of melodies (Study 4), and judging similarity to a familiar target melody of transformations preserving rhythm or rhythm and contour (Study 5). The first and second studies showed that young children detect key transposition changes even in familiar melodies and they perceive similarity over key transpositions even in unfamiliar melodies. Young children also are sensitive to melodic contour over transformations that preserve it (Study 5), yet they distinguish spontaneously between melodies with the same contour and different intervals (Study 4). The key distance effect reported in the literature did not occur in the tasks of this investigation (Studies 1 and 3), and it may be apparent only for melodies shorter or more impoverished than those used here.     

Recognition of transposed melodies: Effects of pitch distance and harmonic distance

People easily recognize a familiar melody in a previously unheard key, but they also retain some key-specific information. Does the recognition of a transposed melody depend on either pitch distance or harmonic distance from the initially learned instances? Previous research has shown a stronger effect of pitch closeness than of harmonic similarity, but did not directly test for an additional effect of the latter variable. In the present experiment, we familiarized participants with a simple eight-note melody in two different keys (C and D) and then tested their ability to discriminate the target melody from foils in other keys. The transpositions included were to the keys of C# (close in pitch height, but harmonically distant), G (more distant in pitch, but harmonically close), and F# (more distant in pitch and harmonically distant). Across participants, the transpositions to F# and G were either higher or lower than the initially trained melodies, so that their average pitch distances from C and D were equated. A signal detection theory analysis confirmed that discriminability (d′) was better for targets and foils that were close in pitch distance to the studied exemplars. Harmonic similarity had no effect on discriminability, but it did affect response bias (c), in that harmonic similarity to the studied exemplars increased both hits and false alarms. Thus, both pitch distance and harmonic distance affect the recognition of transposed melodies, but with dissociable effects on discrimination and response bias.     

Effects of altered auditory feedback across effector systems: production of melodies by keyboard and singing

We report an experiment that tested whether effects of altered auditory feedback (AAF) during piano performance differ from its effects during singing. These effector systems differ with respect to the mapping between motor gestures and pitch content of auditory feedback. Whereas this action-effect mapping is highly reliable during phonation in any vocal motor task (singing or speaking), mapping between finger movements and pitch occurs only in limited situations, such as piano playing. Effects of AAF in both tasks replicated results previously found for keyboard performance (Pfordresher, 2003), in that asynchronous (delayed) feedback slowed timing whereas alterations to feedback pitch increased error rates, and the effect of asynchronous feedback was similar in magnitude across tasks. However, manipulations of feedback pitch had larger effects on singing than on keyboard production, suggesting effector-specific differences in sensitivity to action-effect mapping with respect to feedback content. These results support the view that disruption from AAF is based on abstract, effector independent, response-effect associations but that the strength of associations differs across effector systems.     

Expectancies generated by melodic intervals: Evaluation of principles of melodic implication in a melody-completion task

Bottom-up principles of melodic implication (Narmour, 1990) were evaluated in a melody-completion task. One hundred subjects (50 low training; 50 high training in music) were presented each of eight melodic intervals. For each interval, the subjects were asked to compose a short melody on a piano keyboard, treating the interval provided as the first two notes of the melody. For each melody, the first response—the note immediately following the initial interval—was analyzed. Multinomial log linear analyses were conducted to assess the extent to which responses could be predicted by Narmour’s (1990, 1992) bottom-up principles. Support was found for all of Narmour’s principles, and two additional predictors based on implied tonal structure. Responses of low- and high-training groups were similar.     

Warmth,spatial proximity,and social attachment: The embodied perception of a social metaphor

Recent experiments in embodied social cognition suggest a fundamental link between physical warmth and social affiliation. Findings from two experiments support the hypothesis that physical warmth serves as a symbolic cue signaling the close proximity of a source of affiliation. In Experiment 1, participants perceived a warm object as being physically closer than a cold object. In Experiment 2, being primed with warmth led participants to display higher levels of self-reported social affiliative motivation. In both studies, effects were moderated by individual differences in attachment style; priming effects were pronounced among those low in attachment avoidance and those high in attachment anxiety. These findings contribute to a growing literature suggesting deep connections between perception, physical experience, and social cognition.     

Confusion and compensation in visual perception: effects of spatiotemporal proximity and selective attention

The authors investigated spatial, temporal, and attentional manipulations in a short-term repetition priming paradigm. Brief primes produced a strong preference to choose the primed alternative, whereas long primes had the opposite effect. However, a 2nd brief presentation of a long prime produced a preference for the primed word despite the long total prime duration. These surprising results are explained by a computational model that posits the offsetting components of source confusion (prime features are confused with target features) and discounting (evidence from primed features is discounted). The authors obtained compelling evidence for these components by showing how they can cooperate or compete through different manipulations of prime salience. The model allows for dissociations between prime salience and the magnitude of priming, thereby providing a unified account of "subliminal" and "supraliminal" priming.     

The influence of head contour and nose angle on the perception of eye-gaze direction

We report seven experiments that investigate the influence that head orientation exerts on the perception of eye-gaze direction. In each of these experiments, participants were asked to decide whether the eyes in a brief and masked presentation were looking directly at them or were averted. In each case, the eyes could be presented alone, or in the context of congruent or incongruent stimuli In Experiment 1A, the congruent and incongruent stimuli were provided by the orientation of face features and head outline. Discrimination of gaze direction was found to be better when face and gaze were congruent than in both of the other conditions, an effect that was not eliminated by inversion of the stimuli (Experiment 1B). In Experiment 2A, the internal face features were removed, but the outline of the head profile was found to produce an identical pattern of effects on gaze discrimination, effects that were again insensitive to inversion (Experiment 2B) and which persisted when lateral displacement of the eyes was controlled (Experiment 2C). Finally, in Experiment 3A, nose angle was also found to influence participants' ability to discriminate direct gaze from averted gaze, but here the effect was eliminated by inversion of the stimuli (Experiment 3B). We concluded that an image-based mechanism is responsible for the influence of head profile on gaze perception, whereas the analysis of nose angle involves the configural processing of face features.     

The role of contour polarity,objectness, and regularities in haptic and visual perception

Regularities like symmetry (mirror reflection) and repetition (translation) play an important role in both visual and haptic (active touch) shape perception. Altering figure-ground factors to change what is perceived as an object influences regularity detection. For vision, symmetry is usually easier to detect within one object, whereas repetition is easier to detect across two objects. For haptics, we have not found this interaction between regularity type and objectness (Cecchetto & Lawson, Journal of Experimental Psychology: Human Perception and Performance, 43, 103–125, 2017; Lawson, Ajvani, & Cecchetto, Experimental Psychology, 63, 197–214, 2016). However, our studies used repetition stimuli with mismatched concavities, convexities, and luminance, and so had mismatched contour polarities. Such stimuli may be processed differently to stimuli with matching contour polarities. We investigated this possibility. For haptics, speeded symmetry and repetition detection for novel, planar shapes was similar. Performance deteriorated strikingly if contour polarity mismatched (keeping objectness constant), whilst there was a modest disadvantage for between-2objects:facing-sides compared to within-1object:outer-sides comparisons (keeping contour polarity constant). For the same task for vision, symmetry detection was similar to haptics (strong costs for mismatched contour polarity, weaker costs for between-2objects:facing-sides comparisons), but repetition detection was very different (weak costs for mismatched contour polarity, strong benefits for between-2objects:facing-sides comparisons). Thus, objectness was less influential than contour polarity for both haptic and visual symmetry detection, and for haptic repetition detection. However, for visual repetition detection, objectness effects reversed direction (within-1object:outer-sides comparisons were harder) and were stronger than contour polarity effects. This pattern of results suggests that regularity detection reflects information extraction as well as regularity distributions in the physical world.     

Identification of microtonal melodies: Effects of scale-step size,serial order,and training

The perception of microtonal scales was investigated in a melodic identification task. In each trial, eight pure tones, equally-spaced in log frequency in the vicinity of 700 Hz, were presented in one of nine different serial orders. There were two experiments, each with 108 trials (six scales [tone sets] × nine serial orders × two repetitions). In each experiment, 30 subjects, half of whom were musically trained, were asked to match each melody to one of 9 visual representations (frequency-time grids). In Experiment 1, the six scales were spaced at intervals of 25, 33, 50, 67, 100, and 133 cents (100 cents=1 semitone ≈6% of frequency). Performance was worse for scale steps of 25 and 33 cents than it was for wider scale steps. There were no significant effects at other intervals, including the interval of 100 cents, implying that melodic pattern identification is unaffected by long-term experience of music in 12-tone equally tempered tuning (e.g., piano music). In Experiment 2, the six scales were spaced at smaller intervals, of 10, 20, 30, 40, 50, and 60 cents. Performance for the three narrower scale steps was worse than that for the three wider scale steps. For some orders, performance for the narrowest scale step (10 cents) did not exceed chance. The smallest practical scale step for short microtonal melodies in a pattern-identification task was estimated as being 10–20 cents for chance performance, and 30–40 cents for asymptotic performance.     

Attentional signatures of perception: multiple object tracking reveals the automaticity of contour interpolation

Multiple object tracking (MOT) is an attentional task wherein observers attempt to track multiple targets among moving distractors. Contour interpolation is a perceptual process that fills-in nonvisible edges on the basis of how surrounding edges (inducers) are spatiotemporally related. In five experiments, we explored the automaticity of interpolation through its influences on tracking. We found that (1) when the edges of targets and distractors jointly formed dynamic illusory or occluded contours, tracking accuracy worsened; (2) when interpolation bound all four targets together, performance improved; (3) when interpolation strength was weakened (by altering the size or relative orientation of inducing edges), tracking effects disappeared; and (4) real and interpolated contours influenced tracking comparably, except that real contours could more effectively shift attention toward distractors. These results suggest that interpolation's characteristics-and, in particular, its automaticity-can be revealed through its attentional influences or "signatures" within tracking. Our results also imply that relatively detailed object representations are formed in parallel, and that such representations can affect tracking when they become relevant to scene segmentation.     

Mediatory cue proximity and mental subnormality in the perception of rectilinear dot progressions

This study investigated the relationship between illusory displacement of sequentially presented light stimuli and their proximity to mediatory cues. Twenty-four retardates, 24 equal CA normals, and 24 equal MA normals were tested to determine the relative stabilizing effects of four different frame conditions on these groups. Illusory displacement decreased from least to most proximate cue condition, was least for the MA group, and was most for retardates It was concluded that interstimulus mediation referents, rather than restricted eye movement, facilitated veridical perception of successive light positions. nt]mis|The author extends sincere appreciation to Dr. Ralph Osborne, superintendent of the Hamilton Township school system, Mr. George Murphy, principal of Hamilton High School West, and Mrs. Isabel Robinson, principal of Kuser School, for their generous cooperation in providing students and testing space for this experiment.