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81.
Michael S. Gordon 《Journal of Cognitive Psychology》2017,29(1):53-64
ABSTRACTListeners made same/different evaluations of a pair of musical presentations separated by a broadband noise. In the first experiment, the pair had either the same or a different: singers voice, language (Spanish or English), and reverberation (dry or very high reverb). A second experiment was conducted using the same vocal melodies played on guitars to emphasize non-linguistic content. In both Experiments 1 and 2, large-scale changes to Reverb were either completely undetected or ignored. A change of language in Experiment 1 supported only minimal sensitivity to change detection. Changes to multiple variables tended to increase listener sensitivity to a stimulus change. The results seem to indicate that the semantic coherence created by a musical background may limit attention to linguistic changes and voicing. Rather, those changes that more directly influence musical quality may be of greater salience in a musical context. 相似文献
82.
本研究在前人研究的基础上进一步探讨音乐对情感词的启动机制。采用内隐情感启动范式,运用脑电技术考察多种情感类型的音乐片段对情感意义一致或不一致的词加工的启动影响。行为实验结果显示,音乐对情感词产生启动效应。脑电实验的结果发现,音乐对情感词的启动效应表现为早晚两个子成分的N400效应,首先是音乐直接引发的情绪产生第一个启动,表现为早成分的N400;其次是音乐通过联想引发的情感语义而产生第二个启动,表现为晚成分的N400。据此可以认为,音乐对情感词的启动是双启动模式。 相似文献
83.
We examined the effects of manipulating the intensity (i.e., volume) of music on engagement in vocal stereotypy in 2 children with autism. Noncontingent access to music decreased immediate engagement in vocal stereotypy for each participant, but it produced only marginal effects on subsequent engagement in the behavior (i.e., after withdrawal). Manipulating the intensity of music did not produce differential effects on immediate engagement in vocal stereotypy. The implications of the results and applications for future research are discussed. 相似文献
84.
Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non‐Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. It employed a cross‐grammar design, using melodic materials from two modes (rāgas) that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. 相似文献
85.
《韶》乐来源于帝的《九招》,经过不断的发展,齐《韶》成为春秋时期齐国音乐文化发展水平的杰出代表,孔子的"尽善尽美"更是对齐《韶》的高度赞誉。齐《韶》作为齐国宫廷乐舞的重要组成部分,其场面宏大、优美典雅、刚毅庄重、欢快愉悦、情深意切、感人至深和音乐跌宕起伏,也成为齐国宫廷乐舞的音乐特点。 相似文献
86.
绝对音高感是一种敏锐的音高知觉能力。拥有这种能力的人可以在没有标准音(A4)参照下, 对所听到的音高进行命名。本文通过对比绝对音高感被试与不具有绝对音高感被试对音乐句法基本规则的知觉以及对音乐句法结构划分能力的差异, 探讨绝对音高感与音乐句法加工能力之间的关系。结果表明, 绝对音高感被试对音乐句法基本规则的知觉水平高于控制组; 同时, 这种知觉上的优势也延伸到他们对音乐句法结构的划分。这一结果说明, 绝对音高感被试不仅可以对音高进行孤立命名, 而且表现出对调性音乐音高关系加工的优势。 相似文献
87.
88.
H Tristram Engelhardt 《Christian Bioethics: Non-Ecumenical Studies in Medical Morality》2005,11(2):221-239
The project of articulating a coherent, canonical, content-full, secular morality-cum-bioethics fails, because it does not acknowledge sin, which is to say, it does not acknowledge the centrality of holiness, which is essential to a non-distorted understanding of human existence and of morality. Secular morality cannot establish a particular moral content, the harmony of the good and the right, or the necessary precedence of morality over prudence, because such is possible only in terms of an ultimate point of reference: God. The necessity of a rightly ordered appreciation of God places centrally the focus on holiness and the avoidance of sin. Because the cardinal relationship of creatures to their Creator is worship, and because the cardinal corporate act of human worship is the Liturgy, morality in general and bioethics in particular can be understood in terms of the conditions necessary, so as worthily to enter into Eucharistic liturgical participation. Morality can be summed up in terms of the requirements of ritual purity. A liturgical anthropology is foundational to an account of the content-full morality and bioethics that should bind humans, since humans are first and foremost creatures obliged to join in rightly ordered worship of their Creator. When humans worship correctly, when they avoid sin and pursue holiness, they participate in restoring created reality. 相似文献
89.
Although much research has explored emotional responses to music using single musical elements, none has explored the interactive effects of mode, texture, and tempo in a single experiment. To this end, a 2 (mode: major vs. minor) × 2 (texture: nonharmonized vs. harmonized) × 3 (tempo: 72, 108, 144 beats per min) within-participants experimental design was employed, in which 177 college students rated four, brief musical phrases on continuous happy-sad scales. Major keys, nonharmonized melodies, and faster tempos were associated with happier responses, whereas their respective opposites were associated with sadder responses. These effects were also interactive, such that the typically positive association between tempo and happiness was inverted among minor, nonharmonized phrases. Some of these effects were moderated by the gender and amount of musical experience of participants. A principal components analysis of responses to the stimuli revealed one negatively and one positively valenced factor of emotional musical stimuli. 相似文献
90.
Sequence Memory in Music Performance 总被引:1,自引:0,他引:1
Caroline Palmer 《Current directions in psychological science》2005,14(5):247-250
Abstract— How do people remember and produce complex sequences like music or speech? Music provides an example of excellent sequence memory under fast performance conditions; novices as well as skilled musicians can perform memorized music rapidly, without making mistakes. In addition, musical pitches repeat often within a melodic sequence in different orders, yet people do not confuse the sequential ordering; temporal properties of musical pitches aid sequence memory. I describe a contextual model of sequence memory that is sensitive to the rate at which musical sequences are produced and to individual differences among performers. Age and musical experience differentiate adults' and children's memory for musical sequences during performance. Performers' memory for the sequential structure of one melody transfers or generalizes to other melodies in terms of the sequence of pitch events, their temporal properties, and their movements. Motion-analysis techniques provide further views of the time course of the cognitive processes that make sequence memory for music so accurate. 相似文献