Musical rhythms are represented as sequences of symbols. The sequences may be composed of binary symbols denoting either silent or monophonic sounded pulses, or ternary symbols denoting silent pulses and two types of ...Musical rhythms are represented as sequences of symbols. The sequences may be composed of binary symbols denoting either silent or monophonic sounded pulses, or ternary symbols denoting silent pulses and two types of sounded pulses made up of low-pitched (dum) and high-pitched (tak) sounds. Experiments are described that compare the effectiveness of the many-to-many minimum-weight matching between two sequences to serve as a measure of similarity that correlates well with human judgements of rhythm similarity. This measure is also compared to the often used edit distance and to the one-to-one minimum-weight matching. New results are reported from experiments performed with three widely different datasets of real- world and artificially generated musical rhythms (including Afro-Cuban rhythms), and compared with results previously reported with a dataset of Middle Eastern dum-tak rhythms.展开更多
Attention can be selectively tuned to particular features at different spatial locations or objects.The deployment of attention can be guided by properties,such as color,orientation,and so forth,as guiding features.Wh...Attention can be selectively tuned to particular features at different spatial locations or objects.The deployment of attention can be guided by properties,such as color,orientation,and so forth,as guiding features.What might be such guiding features for visual stimuli under dynamic rhythmic conditions?We asked specifically what might be the parameters that attract attention when perceiving a visual rhythm.We used a visual search paradigm,in which a dynamic search display consisted of vertically“bouncing balls”with regular rhythms.The search target was defined by a unique visual rhythm(i.e.,with either a shorter or longer period)among rhythmic distractors sharing an identical period.We modulated amplitudes and phases of the distractor balls systematically.The results showed a crucial factor of the phase,not the amplitude.If the phase is violated,the target suddenly“pops out”as an“oddball,”showing an efficient parallel search.The findings indicate in general the essential role of the phase in conjunction with amplitude and period for visual rhythm perception.Furthermore,a higher saliency of moving objects with a higher frequency component has also been disclosed.展开更多
文摘Musical rhythms are represented as sequences of symbols. The sequences may be composed of binary symbols denoting either silent or monophonic sounded pulses, or ternary symbols denoting silent pulses and two types of sounded pulses made up of low-pitched (dum) and high-pitched (tak) sounds. Experiments are described that compare the effectiveness of the many-to-many minimum-weight matching between two sequences to serve as a measure of similarity that correlates well with human judgements of rhythm similarity. This measure is also compared to the often used edit distance and to the one-to-one minimum-weight matching. New results are reported from experiments performed with three widely different datasets of real- world and artificially generated musical rhythms (including Afro-Cuban rhythms), and compared with results previously reported with a dataset of Middle Eastern dum-tak rhythms.
基金National Natural Science Foundation of China,Grant/Award Numbers:31371018,31771213。
文摘Attention can be selectively tuned to particular features at different spatial locations or objects.The deployment of attention can be guided by properties,such as color,orientation,and so forth,as guiding features.What might be such guiding features for visual stimuli under dynamic rhythmic conditions?We asked specifically what might be the parameters that attract attention when perceiving a visual rhythm.We used a visual search paradigm,in which a dynamic search display consisted of vertically“bouncing balls”with regular rhythms.The search target was defined by a unique visual rhythm(i.e.,with either a shorter or longer period)among rhythmic distractors sharing an identical period.We modulated amplitudes and phases of the distractor balls systematically.The results showed a crucial factor of the phase,not the amplitude.If the phase is violated,the target suddenly“pops out”as an“oddball,”showing an efficient parallel search.The findings indicate in general the essential role of the phase in conjunction with amplitude and period for visual rhythm perception.Furthermore,a higher saliency of moving objects with a higher frequency component has also been disclosed.
