The learning and transfer of multifrequency patterns
Track 1 4 repetitions of the 5:3 polyrhythm as used in the experiment
Track 2 4 repetitions of the previously unpracticed rhythm 3:2
Track 3 4 repetitions of the previously unpracticed rhythm 2:5
Track 4 4 repetitions of the previously unpracticed rhythm 4:3
Track 5 4 repetitions of the previously unpracticed rhythm 5:4
Synchronization error: an error in time perception
Andreas Wohlschläger and Robert
Koch
Track 6 sample stimulus trace for the control condition of an experi&endash;ment in which subjects had to tap in synchrony to clicks (10 ms tone bursts of 1000 Hz separated by 637.5 ms)
Track 7 sample stimulus trace for the experimental condition of an experiment in which subjects had to tap in synchrony to clicks (same as in audio example A), superimposed on the beats of 8 measures of percussion music
Track 8 sample stimulus trace for the control condition of an experiment in which subjects had to tap in synchrony to clicks (10 ms tone bursts of 1000 Hz separated by 800 ms)
Track 9 sample stimulus trace for the experimental condition of an experiment in which subjects had to tap in synchrony to clicks (same as in audio example C), with 10 additional clicks (10 ms, pitch randomly chosen between 120 Hz and 3000 Hz) superimposed on each empty interval of the control condition at random points in time and at half the amplitude of the regular clicks
Dynamics and embodyment in beat induction
Douglas Eck, Michael Gasser and
Robert Port
Track 10 summed output of 40 fully-connected Fitzhugh-Nagumo neurons (sine tone) synchronizing with a period 60 pulse (noise burst)
Track 11 summed output of 40 fully-connected phase pulling oscillators (sine tone) synchronizing with a period 60 pulse (noise burst)
Track 12 Summed output of 40 fully-connected phase pulling oscillators (sine tone) synchronizing with a period 60 pulse (noise burst) with some random noise
Track 13 summed output of all oscillators (sine tone) synchronizing with a period 30 pulse (noise burst; one strong and two weak pulses)
Demonstrations of time-shrinking
Daigoh Suetomi, Yoshitaka Nakajima, Takayuki
Sasaki and Gert Ten Hoopen
Track 14 stimulus patterns of Figure 2; empty durations are marked by 10 ms pure tone bursts of 1000 Hz including a rise time of 2 ms and a fall time of 5 ms
Track 15 stimulus patterns of Figure 3, first series; empty durations are marked by 10 ms pure tone bursts of 1000 Hz including a rise time of 2 ms and a fall time of 5 ms
Track 16 stimulus patterns of Figure 3, second series; empty durations are marked by 10 ms pure tone bursts of 1000 Hz including a rise time of 2 ms and a fall time of 5 ms
Track 17 stimulus patterns of Figure 6; empty durations are marked by 10 ms pure tone bursts of 1000 Hz including a rise time of 2 ms and a fall time of 5 ms
Spatial attention deficits and the perception of interaural rhythmic sequences – a preliminary study
Sophie K. Scott , Jason Mattingley,
Tom Manly and Richard J.S. Wise
Track 18 example of the perceptually regular binaural sequences for the control subjects
Track 19 example of the perceptually regular binaural sequences for the 2 patients
Rhythmic aspects of vibrato
Peter Desain, Henkjan Honing, Rinus
Aarts and Renee Timmers
Track 20 sine-tone with slow pitch vibrato (4 Hz)
Track 21 sine-tone with fast pitch vibrato (12 Hz)
Track 22 example of synthetic vibrato: pure sine-tone with constant pitch vibrato
Track 23 theremin playing the first repetition of the theme along with the piano accompaniment at tempo 60
Track 24 six repetitions of the same note (last note of the theme at tempo 68.6) by the violin (high consistency) and tenor (low consistency)
Track 25 example of note transition for the theremin: transition between note 2 and 3, at tempo 61.5, 63.2, 64.9, 66.7, and 68.6 (first repetition)
Track 26 example of an acceleration of vibrato rate at the end of the note by the cello
On time: the influence of tempo, structure and style on the timing of grace notes in skilled musical performance
W. Luke Windsor, Rinus Aarts, Peter Desain,
Hank Heijink and Renee Timmers
Track 27 performance of the theme from Beethoven’s six variations in G-major WoO 70 (1795)
Track 28 grace note 1 (short) versus grace note 2 (long)
Track 29 grace note 7 (short) versus grace note 10 (long)
Track 30 10 repetitions of grace note 2 with increasing local tempo; exerpts from the whole theme
Track 31 10 repetitions of grace note 5 with increasing local tempo; exerpts from the whole theme
Rhythm in music performance and perceived structure
Amandine Penel and Carolyn Drake
Track 32 "melody" sequence (beginning of Schumann's Träumerei) corresponding to performance 1
Track 33 "melody" sequence corresponding to performance 2
Track 34 "melody" sequence corresponding to the "mechanical" per&endash;for&endash;mance. All IOIs are as written in the score according to an average tempo
Track 35 "rhythm" sequence corresponding to performance 1
Track 36 "rhythm" sequence corresponding to performance 2
Preliminary investigations of French and English speech rhythm: are cross-linguistic differences in rhythmic organisation primarily metrical in origin?
Christopher S. Lee, Neil P. McAngus
Todd, Geraldine A. Foster and Sevda Lomlu.
Track 37 the 8 utterances of the first of the English sentences
Track 38 the 8 utterances of the equivalent French sentence