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Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus
Meter is one of the core features of music perception. It is the cognitive grouping of regular sound sequences, typically for every 2, 3, or 4 beats. Previous studies have suggested that one can not only passively perceive the meter from acoustic cues such as loudness, pitch, and duration of sound e...
Autores principales: | , , |
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Formato: | Online Artículo Texto |
Lenguaje: | English |
Publicado: |
Public Library of Science
2021
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Materias: | |
Acceso en línea: | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8405023/ https://www.ncbi.nlm.nih.gov/pubmed/34460855 http://dx.doi.org/10.1371/journal.pone.0256712 |
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author | Kondoh, Sotaro Okanoya, Kazuo Tachibana, Ryosuke O. |
author_facet | Kondoh, Sotaro Okanoya, Kazuo Tachibana, Ryosuke O. |
author_sort | Kondoh, Sotaro |
collection | PubMed |
description | Meter is one of the core features of music perception. It is the cognitive grouping of regular sound sequences, typically for every 2, 3, or 4 beats. Previous studies have suggested that one can not only passively perceive the meter from acoustic cues such as loudness, pitch, and duration of sound elements, but also actively perceive it by paying attention to isochronous sound events without any acoustic cues. Studying the interaction of top-down and bottom-up processing in meter perception leads to understanding the cognitive system’s ability to perceive the entire structure of music. The present study aimed to demonstrate that meter perception requires the top-down process (which maintains and switches attention between cues) as well as the bottom-up process for discriminating acoustic cues. We created a “biphasic” sound stimulus, which consists of successive tone sequences designed to provide cues for both the triple and quadruple meters in different sound attributes, frequency, and duration. Participants were asked to focus on either frequency or duration of the stimulus, and to answer how they perceived meters on a five-point scale (ranged from “strongly triple” to “strongly quadruple”). As a result, we found that participants perceived different meters by switching their attention to specific cues. This result adds evidence to the idea that meter perception involves the interaction between top-down and bottom-up processes. |
format | Online Article Text |
id | pubmed-8405023 |
institution | National Center for Biotechnology Information |
language | English |
publishDate | 2021 |
publisher | Public Library of Science |
record_format | MEDLINE/PubMed |
spelling | pubmed-84050232021-08-31 Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus Kondoh, Sotaro Okanoya, Kazuo Tachibana, Ryosuke O. PLoS One Research Article Meter is one of the core features of music perception. It is the cognitive grouping of regular sound sequences, typically for every 2, 3, or 4 beats. Previous studies have suggested that one can not only passively perceive the meter from acoustic cues such as loudness, pitch, and duration of sound elements, but also actively perceive it by paying attention to isochronous sound events without any acoustic cues. Studying the interaction of top-down and bottom-up processing in meter perception leads to understanding the cognitive system’s ability to perceive the entire structure of music. The present study aimed to demonstrate that meter perception requires the top-down process (which maintains and switches attention between cues) as well as the bottom-up process for discriminating acoustic cues. We created a “biphasic” sound stimulus, which consists of successive tone sequences designed to provide cues for both the triple and quadruple meters in different sound attributes, frequency, and duration. Participants were asked to focus on either frequency or duration of the stimulus, and to answer how they perceived meters on a five-point scale (ranged from “strongly triple” to “strongly quadruple”). As a result, we found that participants perceived different meters by switching their attention to specific cues. This result adds evidence to the idea that meter perception involves the interaction between top-down and bottom-up processes. Public Library of Science 2021-08-30 /pmc/articles/PMC8405023/ /pubmed/34460855 http://dx.doi.org/10.1371/journal.pone.0256712 Text en © 2021 Kondoh et al https://creativecommons.org/licenses/by/4.0/This is an open access article distributed under the terms of the Creative Commons Attribution License (https://creativecommons.org/licenses/by/4.0/) , which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. |
spellingShingle | Research Article Kondoh, Sotaro Okanoya, Kazuo Tachibana, Ryosuke O. Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title | Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title_full | Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title_fullStr | Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title_full_unstemmed | Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title_short | Switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
title_sort | switching perception of musical meters by listening to different acoustic cues of biphasic sound stimulus |
topic | Research Article |
url | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8405023/ https://www.ncbi.nlm.nih.gov/pubmed/34460855 http://dx.doi.org/10.1371/journal.pone.0256712 |
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