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Please use this identifier to cite or link to this item: https://doi.org/10.18061/1811/47559

dc.creatorAmmirante, Paolo
dc.creatorThompson, William Forde
dc.date.accessioned2011-01-14T15:53:05Z
dc.date.available2011-01-14T15:53:05Z
dc.date.issued2010-07
dc.identifier.citationEmpirical Musicology Review, v5 n3 (July 2010), pp 94-107en_US
dc.identifier.issn1559-5749
dc.identifier.otherEMR000088a
dc.identifier.urihttps://doi.org/10.18061/1811/47559
dc.identifier.urihttp://hdl.handle.net/1811/47559
dc.description.abstractIn a previous continuation tapping study (Ammirante, Thompson, & Russo, in press), each tap triggered a discrete tone in a sequence randomly varying in pitch height and contour. Although participants were instructed to ignore the tones, pitch distance and pitch contour influenced intertap interval (ITI) and tap velocity (TV). The current study replicated these findings with original melodies. Results were interpreted as an effect of apparent tonal motion, with deviation in ITI and TV mirroring implied tonal acceleration. Due to overlapping perceptual and motor representations, participants may have failed to disambiguate acceleration implied by tonal motion from the acceleration of their finger trajectory. Dissociative effects of pitch distance on ITI and pitch contour on TV implied that pitch distance influences the initial finger extension while pitch contour influences later finger flexion. Acceleration in ITI and TV were also both correlated with melodic accent strength values from perceptual data (Thomassen, 1982), suggesting that perception and production of melodic accent emerge from shared action associations.en_US
dc.language.isoenen_US
dc.publisherEmpirical Musicology Reviewen_US
dc.subjectCommon Codingen_US
dc.subjectpitch contouren_US
dc.subjectpitch distanceen_US
dc.subjectmelodic accenten_US
dc.titleMelodic Accent as an Emergent Property of Tonal Motionen_US
dc.typeArticleen_US


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