Journal articles on the topic 'Pitch dimensions'
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McDermott, Josh H., Andriana J. Lehr, and Andrew J. Oxenham. "Is Relative Pitch Specific to Pitch?" Psychological Science 19, no. 12 (December 2008): 1263–71. http://dx.doi.org/10.1111/j.1467-9280.2008.02235.x.
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Melodies, speech, and other stimuli that vary in pitch are processed largely in terms of the relative pitch differences between sounds. Relative representations permit recognition of pitch patterns despite variations in overall pitch level between instruments or speakers. A key component of relative pitch is the sequence of pitch increases and decreases from note to note, known as the melodic contour. Here we report that contour representations are also produced by patterns in loudness and brightness (an aspect of timbre). The representations of contours in different dimensions evidently have much in common, as contours in one dimension can be readily recognized in other dimensions. Moreover, contours in loudness and brightness are nearly as useful as pitch contours for recognizing familiar melodies that are normally conveyed via pitch. Our results indicate that relative representations via contour extraction are a general feature of the auditory system, and may have a common central locus.
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Prince, Jon B. "The Integration of Stimulus Dimensions in the Perception of Music." Quarterly Journal of Experimental Psychology 64, no. 11 (November 2011): 2125–52. http://dx.doi.org/10.1080/17470218.2011.573080.
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A central aim of cognitive psychology is to explain how we integrate stimulus dimensions into a unified percept, but how the dimensions of pitch and time combine in the perception of music remains a largely unresolved issue. The goal of this study was to test the effect of varying the degree of conformity to dimensional structure in pitch and time (specifically, tonality and metre) on goodness ratings and classifications of melodies. The pitches and durations of melodies were either presented in their original order, as a reordered sequence, or replaced with random elements. Musically trained and untrained participants (24 each) rated melodic goodness, attending selectively to the dimensions of pitch, time, or both. Also, 24 trained participants classified whether or not the melodies were tonal, metric, or both. Pitch and temporal manipulations always influenced responses, but participants successfully emphasized either dimension in accordance with instructions. Effects of pitch and time were mostly independent for selective attention conditions, but more interactive when evaluating both dimensions. When interactions occurred, the effect of either dimension increased as the other dimension conformed more to its original structure. Relative main effect sizes (| pitch η2 – time η2 |) predicted the strength of pitch–time interactions (pitch × time η2); interactions were stronger when main effect sizes were more evenly matched. These results have implications for dimensional integration in several domains. Relative main effect size could serve as an indicator of dimensional salience, such that interactions are more likely when dimensions are equally salient.
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Irwin, Robert D., and Daniel L. Weber. "Factors Influencing the Perceived Urgency of Auditory Stimuli." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 42, no. 4 (October 1998): 419–23. http://dx.doi.org/10.1177/154193129804200404.
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The interaction among two spectral and two temporal dimensions that contribute to urgency was investigated by conducting a discrimination experiment. Discrimination performance for each dimension was evaluated when a second dimension (i.e., dimension not being discriminated) was subject to no variation, correlated variation, and uncorrelated variability. For the pair of spectral dimensions and the pair of temporal dimensions, variation on the second dimension produces facilitation in the correlated condition and interference in the uncorrelated condition. No influence occurs for other pairings. The implications of these results were confirmed in a multi-dimensional scaling (MDS) experiment examining the pitch, perceived repetition rate, and urgency of sounds. The data obtained from the pitch and perceived repetition rate conditions indicate that the spectral dimensions determine the pitch of sounds and the temporal dimensions determine the perceived repetition rate of sounds. The data obtained from the urgency conditions indicate all four dimensions influence urgency and frequency is the most salient.
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Umemoto, Takao. "The Psychological Structure of Music." Music Perception 8, no. 2 (1990): 115–27. http://dx.doi.org/10.2307/40285492.
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Music is rich in information that can be processed along different dimensions. Four types of musical dimensions that correspond to different levels of perception and cognition are discussed: (1) the dimension of sound, (2) the dimensions of melody, rhythm, and harmony, (3) the dimension of compositional structure, and (4) the dimension of compositional content. These psychological dimensions of music, and the psychological activities relevant to these dimensions, depend highly on context and on schema. Thus the four types of musical dimensions are not independent, but interact with each other. Some evidence from new research on the sense of pitch deviation, the sense of fitness of timbre to melody, and similarity and octave judgments referring to the problem of wording are discussed.
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Monahan, Caroline B., and Edward C. Carterette. "Pitch and Duration as Determinants of Musical Space." Music Perception 3, no. 1 (1985): 1–32. http://dx.doi.org/10.2307/40285320.
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In an experiment aimed at assessing dimensional properties of musical space, musicians rated the similarity of pairs of brief melodies on a 9-point scale. From our review of previous work, we hypothesized (1) that pitch variables would be considered more important than time or rhythmic variables by our subjects and (2) that the metrical consonance of pitch and duration patterns would generate a factor related to pattern regularity in listeners' musical space. Four melodies and their inversions were played in each of four rhythmic patterns (anapestic, dactylic, iambic, and trochaic) for a total of 1024 pattern pairs. Both multidimensional scaling and cluster analyses of similarity showed that at least five dimensions were needed for a good accounting of the perceptual space of these melodies. Surprisingly, the major dimensions found were rhythmic: (1) duple or triple rhythm, (2) accent first or last, and (3) iambic-dactylic versus trochaic-anapestic. Other dimensions were (4) rising or falling pitch and (5) the number of pitch—contour inflections. The tendency to rate patterns on the basis of time or rhythm (Dimensions I, II, and III) was negatively correlated with the tendency to rate patterns on the basis of pitch (Dimensions IV and V). It could not be determined whether this result depends on cognitive processing limitations, attention, or preferences. No factor was found that related to pattern regularity as we defined it.
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Malone, Shane, Kieran D. Collins, and Dominic A. Doran. "The running performance and estimated energy cost of hurling specific small-sided games." International Journal of Sports Science & Coaching 11, no. 6 (November 2, 2016): 853–58. http://dx.doi.org/10.1177/1747954116676112.
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The current study examined the extent to which pitch dimensions can influence the physical and estimated energetic demands of hurling small-sided games. Training data ( n = 990) were collected from 24 (age 25.5 ± 3.2 years; height 178.9 ± 3.2 cm; body mass 78.5 ± 4.5 kg) hurling players using 4-Hz global positioning system technology (VX Sport, Lower Hutt, New Zealand). Total distance (m), high-speed running distance (m; ≥ 17 km/h), very high-speed running distance (m; ≥ 22 km/h), total accelerations ( n), acceleration distance (m), peak and mean velocity (km/h) were considered. In addition changes in velocity were analysed by assessing the acceleration actions during SSG. This allowed for the assessment of estimated energy expenditure (kJ/kg) and the equivalent distance covered a different metabolic power thresholds. The main findings show that traditional speed-based data increased as pitch dimensions were increased ( p = 0.002; d = 4.53 ± 0.46; very large). Furthermore, as relative player area increased there was an increase in estimated energy expenditure ( p = 0.004; d = 2. 16 ± 0.20; very large) and average metabolic power metrics ( p = 0.002; d = 1.13 ± 0.46; moderate). Distances covered at metabolic power categories (TP) increased with small-sided games pitch dimension ( p = 0.002; d = 0.3 ± 0.06; small). The study enables coaches to better understand the physical demands imposed on players during specific hurling small-sided games pitch dimensions, and highlights that traditional speed-based data underestimate the running demands of small-sided games.
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Melara, Robert D., and Lawrence E. Marks. "Interaction among auditory dimensions: Timbre, pitch, and loudness." Perception & Psychophysics 48, no. 2 (March 1990): 169–78. http://dx.doi.org/10.3758/bf03207084.
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Krishnan, Ananthanarayan, Jayaganesh Swaminathan, and Jackson T. Gandour. "Experience-dependent Enhancement of Linguistic Pitch Representation in the Brainstem Is Not Specific to a Speech Context." Journal of Cognitive Neuroscience 21, no. 6 (June 2009): 1092–105. http://dx.doi.org/10.1162/jocn.2009.21077.
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Neural representation of pitch is influenced by lifelong experiences with music and language at both cortical and subcortical levels of processing. The aim of this article is to determine whether neural plasticity for pitch representation at the level of the brainstem is dependent upon specific dimensions of pitch contours that commonly occur as part of a native listener's language experience. Brainstem frequency following responses (FFRs) were recorded from Chinese and English participants in response to four Mandarin tonal contours presented in a nonspeech context in the form of iterated rippled noise. Pitch strength (whole contour, 250 msec; 40-msec segments) and pitch-tracking accuracy (whole contour) were extracted from the FFRs using autocorrelation algorithms. Narrow band spectrograms were used to extract spectral information. Results showed that the Chinese group exhibits smoother pitch tracking than the English group in three out of the four tones. Moreover, cross-language comparisons of pitch strength of 40-msec segments revealed that the Chinese group exhibits more robust pitch representation of those segments containing rapidly changing pitch movements across all four tones. FFR spectral data were complementary showing that the Chinese group exhibits stronger representation of multiple pitch-relevant harmonics relative to the English group across all four tones. These findings support the view that at early preattentive stages of subcortical processing, neural mechanisms underlying pitch representation are shaped by particular dimensions of the auditory stream rather than speech per se. Adopting a temporal correlation analysis scheme for pitch encoding, we propose that long-term experience sharpens the tuning characteristics of neurons along the pitch axis with enhanced sensitivity to linguistically relevant variations in pitch.
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Clemente, Filipe Manuel, Adam Owen, Jaime Serra-Olivares, Acácio Correia, João Bernardo Sequeiros, Frutuoso GM Silva, and Fernando Manuel Lourenço Martins. "The effects of large-sided soccer training games and pitch size manipulation on time–motion profile, spatial exploration and surface area: Tactical opportunities." Proceedings of the Institution of Mechanical Engineers, Part P: Journal of Sports Engineering and Technology 232, no. 2 (August 7, 2017): 160–65. http://dx.doi.org/10.1177/1754337117722658.
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Analysis of the physical, technical and physiological variations induced through the use of different soccer game formats have been widely discussed. However, the coaching justification for the specific use of certain game formats based on individual and collective spatial awareness is unclear. As a result, the purpose of this study was to analyze 11 versus 11 game formats conducted across two pitch sizes (half-size: 54 m × 68 m vs full-size: 108 m × 68 m) to identify effects of time–motion profiles, individual exploration behavior and collective organization. A total of 10 amateur soccer players from the same team (23.39 ± 3.91 years old) participated in this study. Data position of the players was used to calculate the spatial exploration index and the surface area. Distances covered in different speeds were used to observe the time–motion profile. The full-size pitch dimensions significantly contributed to greater distances covered via running (3.86–5.52 m s−1) and sprinting (>5.52 m s−1). Total distance and number of sprints were also significantly greater in the full-size pitch as compared to the half-size pitch. The surface area covered by the team (half-size pitch: 431.83 m2 vs full-size pitch: 589.14 m2) was significantly larger in the full-size pitch condition. However, the reduced half-size pitch significantly contributed to a greater individual spatial exploration. Results of this study suggest that running and sprinting activities increase when large, full-size pitch dimensions are utilized. Smaller surface area half-size pitch contributes to a better exploration of the pitch measured by spatial exploration index while maintaining adequate surface area coverage by the team. In conclusion, the authors suggest that the small half-size pitch is more appropriate for low-intensity training sessions and field exploration for players in different positions. Alternatively, the large full-size pitch is more appropriate for greater physically demanding training sessions with players focused on positional tactical behavior.
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Zraick, Richard I., Julie M. Liss, Michael F. Dorman, James L. Case, Leonard L. LaPointe, and Stephen P. Beals. "Multidimensional Scaling of Nasal Voice Quality." Journal of Speech, Language, and Hearing Research 43, no. 4 (August 2000): 989–96. http://dx.doi.org/10.1044/jslhr.4304.989.
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Listeners judged the dissimilarity of pairs of synthesized nasal voices that varied on 3 dimensions. Separate nonmetric multidimensional scaling (MDS) solutions were calculated for each listener and the group. Similar 3-dimensional solutions were derived for the group and each of the listeners, with the group MDS solution accounting for 83% of the total variance in listeners' judgments. Dimension 1 ("Nasality") accounted for 54% of the variance, Dimension 2 ("Loudness") for 18% of the variance, and Dimension 3 ("Pitch") for 11% of the variance. The 3 dimensions were significantly and positively correlated with objective measures of nasalization, intensity, and fundamental frequency. The results of this experiment are discussed in relation to other MDS studies of voice perception, and there is a discussion of methodological issues for future research.
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Tekman, Hasan Gürkan. "Interactions of Perceived Intensity, Duration, and Pitch in Pure Tone Sequences." Music Perception 14, no. 3 (1997): 281–94. http://dx.doi.org/10.2307/40285722.
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If one dimension of sound is manipulated in a way that suggests a particular rhythmic organization, does perception of other dimensions change in ways that are consistent with the same rhythmic organization? When subjects were asked to judge or adjust intensities of tones, rhythmic manipulations of pitch structure changed the perception of intensity. When subjects were asked to judge timing, rhythmic manipulations of intensity had a similar effect. Timing manipulations did not have an effect on judgments of pitch. The results indicate that temporal structure as a whole is more accessible than the individual physical manipulations that give rise to that structure. It may be concluded that the temporal structure itself, rather than pitches, intensities, and durations in isolation, is a perceptual object.
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Formato, Andrea, Domenico Ianniello, Raffaele Romano, Arcangelo Pellegrino, and Francesco Villecco. "Design and Development of a New Press for Grape Marc." Machines 7, no. 3 (July 9, 2019): 51. http://dx.doi.org/10.3390/machines7030051.
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The purpose of this research was to determine the optimal geometry of a variable pitch conical helicoid to be used in a pressing machine for grape pomace, also known as grape marc. This study attempted to understand if the optimized geometry of the considered helicoid after every pitch resulted in volume decrease DVc, equal to that obtained during the pressing phase of grape pomace DVp, using an optimized membrane press. The conical helicoid with variable pitch was replaced in a machine that offered continuous pressing of grape pomace using a cylindrical helicoid with constant pitch (constant pressure distribution, not optimized, along the cochlea axis). As this was a machine already available in the market, the overall dimensions were already established—5.95 m in length and 1.5 m in width. The pressure distribution p1 and volume change DVp, obtained during the grape pomace pressing phase in the optimized membrane press (producing high-quality wine) was taken into consideration in this research. Furthermore, the optimized pressure distribution p1 was applied in seven phases during the pressing process, and a consequent volume change value DVp was obtained for each phase. Therefore, this study determined the geometry of the variable pitch conical helicoid, which, after every pitch, resulted in volume changing DVc that was similar to the volume changing DVp obtained by the optimized membrane press. For this scope, calculations were realized using the Mathematica 10 program code, which, on being assigned the overall dimensions, slope angle of the helicoid, and volume for the first pitch value, determined the radius and pitch values of the helicoid, total volume, and volume change DVc. It was also noted that by appropriately varying the geometric parameters (taper and pitch of the helicoid), different options of pressure distribution on grape pomace can be obtained, thus enabling improvement and optimization of product quality.
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Ponsot, Emmanuel, Juan José Burred, Pascal Belin, and Jean-Julien Aucouturier. "Cracking the social code of speech prosody using reverse correlation." Proceedings of the National Academy of Sciences 115, no. 15 (March 26, 2018): 3972–77. http://dx.doi.org/10.1073/pnas.1716090115.
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Human listeners excel at forming high-level social representations about each other, even from the briefest of utterances. In particular, pitch is widely recognized as the auditory dimension that conveys most of the information about a speaker’s traits, emotional states, and attitudes. While past research has primarily looked at the influence of mean pitch, almost nothing is known about how intonation patterns, i.e., finely tuned pitch trajectories around the mean, may determine social judgments in speech. Here, we introduce an experimental paradigm that combines state-of-the-art voice transformation algorithms with psychophysical reverse correlation and show that two of the most important dimensions of social judgments, a speaker’s perceived dominance and trustworthiness, are driven by robust and distinguishing pitch trajectories in short utterances like the word “Hello,” which remained remarkably stable whether male or female listeners judged male or female speakers. These findings reveal a unique communicative adaptation that enables listeners to infer social traits regardless of speakers’ physical characteristics, such as sex and mean pitch. By characterizing how any given individual’s mental representations may differ from this generic code, the method introduced here opens avenues to explore dysprosody and social-cognitive deficits in disorders like autism spectrum and schizophrenia. In addition, once derived experimentally, these prototypes can be applied to novel utterances, thus providing a principled way to modulate personality impressions in arbitrary speech signals.
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Chien, Liang-Han, and R. L. Webb. "A Parametric Study of Nucleate Boiling on Structured Surfaces, Part I: Effect of Tunnel Dimensions." Journal of Heat Transfer 120, no. 4 (November 1, 1998): 1042–48. http://dx.doi.org/10.1115/1.2825888.
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This two-part experimental work identifies the effect of geometric dimensions on the boiling performance of “tunneled” enhanced boiling surfaces. The surface is formed on an integral-fin tube having a copper foil wrapped over the fin tips. Pores of known diameter and pitch are pierced in the foil cover. Tests were performed on a 19.1-mm diameter horizontal tube using R-11 and R-123 at 26.7°C for heat fluxes from 2 to 70 kW/m2. The first part of the study defines the effect of the tunnel dimensions. The data show that greater tunnel height and smaller tunnel pitch are preferred. Sharp tunnel corners provides greater enhancement.
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Chien, Liang-Han, and R. L. Webb. "A Parametric Study of Nucleate Boiling on Structured Surfaces, Part II: Effect of Pore Diameter and Pore Pitch." Journal of Heat Transfer 120, no. 4 (November 1, 1998): 1049–54. http://dx.doi.org/10.1115/1.2825889.
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This two-part experimental work identifies the effect of geometric dimensions on the boiling performance of “tunneled” enhanced boiling surfaces, which is similar to the Hitachi Thermoexcel-E surface. Tests were performed on a horizontal tube using R-11 and R-123 at 26.7°C for heat fluxes from 2 to 70 kW/m2. This second part of the study defines the effect of the pore dimensions (pore diameter and pore pitch). The pore diameters are 0.12, 0.18, 0.23, and 0.28 mm and the pore pitches are 0.75, 1.5, and 3.0 mm. The results are interpreted to explain the relationship between pore diameter and pore pitch on the boiling performance.
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Walker, Laura, Peter Walker, and Brian Francis. "A common scheme for cross-sensory correspondences across stimulus domains." Seeing and Perceiving 25 (2012): 67. http://dx.doi.org/10.1163/187847612x646884.
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Following Karwoski et al. (1942), it is proposed that cross-sensory correspondences can arise from extensive, bidirectional cross-activation between dimensions of connotative meaning. If this account is correct, the same set of cross-sensory correspondences (e.g., smallness with brightness, brightness with high pitch, high pitch with sharpness) should emerge regardless of the sensory channel (visual, auditory or tactile) that is probed. To test this prediction, participants rated a range of visual, auditory, and tactile stimuli on a series of rating scales relating to different dimensions of connotative meaning. The same set of cross-sensory correspondences emerged from all types of stimulus variation. This supports the suggestion that cross-sensory correspondences can reflect reciprocal interactions between dimensions of connotative meaning, and indicates that Spence’s (2011) theoretical framework might be usefully extended to include semantically-based correspondences.
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Frencken, Wouter, Jorrit Van Der Plaats, Chris Visscher, and Koen Lemmink. "Size matters: Pitch dimensions constrain interactive team behaviour in soccer." Journal of Systems Science and Complexity 26, no. 1 (February 2013): 85–93. http://dx.doi.org/10.1007/s11424-013-2284-1.
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Eckardt, Jason. "Surface Elaboration of Pitch-Class Sets Using Nonpitched Musical Dimensions." Perspectives of New Music 43, no. 1 (2005): 120–40. http://dx.doi.org/10.1353/pnm.2005.0005.
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Martins, Marta, Susana Silva, and São Luís Castro. "Perceiving Rhythmic Repetition and Change Across Development: Effects of Concurrent Pitch." Empirical Studies of the Arts 38, no. 2 (January 9, 2019): 212–35. http://dx.doi.org/10.1177/0276237418822895.
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The ability to perceive repetition and change in rhythm is fundamental to music understanding. How is this ability affected by other musical dimensions, such as pitch? We compared the perception of rhythmic repetition and change in rhythm-only stimuli versus rhythm-and-pitch stimuli. A sample of 357 participants, aged from 6 to 22 years, performed Same (repetition) versus Different (change) judgments on rhythmic stimuli with and without concurrent pitch variation. Rhythm-and-pitch stimuli impaired the perception of rhythmic repetition but not the perception of change, and this was independent from participants’ age. Our findings are consistent with two concurrent effects of pitch on rhythmic perception: a change-highlighting effect, acting only in rhythmic change, and a working-memory-overload effect that acts in both repetition and change. We discuss the implications regarding composer–listener communication across development.
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Asad, Jennah, Mary Jane Spiller, and Clare Jonas. "Auditory and Visual Crossmodal Correspondences With Haptically Perceived Liquid Viscosity." Multisensory Research 29, no. 8 (2016): 727–47. http://dx.doi.org/10.1163/22134808-00002534.
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Past research on crossmodal correspondences as they relate to tactile perception has largely been restricted to solid substances. We investigated the role of haptically explored liquid viscosity in crossmodal correspondences with visually presented luminance, saturation, roundedness, size, number and visual elevation, as well as pure-tone pitch and kiki–bouba-type letter strings. In Experiment 1, we presented two tactile and two visual or auditory stimuli simultaneously, and found significant inter-participant agreement () when pairing viscosity with luminance, saturation, roundedness, size, pitch and letter string type. To assess whether these crossmodal correspondences were relative or absolute, another 32 participants were presented, in Experiment 2, with two tactile stimuli but only one visual/auditory stimulus per trial. In this second experiment, we found that high viscosity was paired with low luminance, roundness, low saturation, and the bouba-type letter string, while low viscosity was paired with high pitch. However, the inverse associations (e.g. low viscosity with high luminance, high viscosity with low pitch) were not significant. These findings indicate that viscosity can be added to the list of dimensions that invoke crossmodal correspondences, and that the majority of crossmodal correspondences involving viscosity are absolute rather than relative, since they appear without explicit comparisons along the visual/auditory dimensions we measured.
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Roque, Jérémy, Jérémie Lafraire, and Malika Auvray. "Audiovisual Crossmodal Correspondence between Bubbles’ Size and Pouring Sounds’ Pitch in Carbonated Beverages." Foods 9, no. 8 (July 22, 2020): 966. http://dx.doi.org/10.3390/foods9080966.
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Visual and auditory carbonation have been separately documented as being two sensory markers of perceived freshness in beverages. The aim of the present study is to investigate the cross-modal interactions between these two dimensions of carbonation. Three experiments focused on crossmodal correspondences between bubble size and pouring sound pitch, which have never been investigated with ecological stimuli. Experiment 1, using an implicit association test (IAT), showed a crossmodal correspondence between bubble size and pouring sound pitch. Experiment 2 confirmed this pitch-size correspondence effect by means of a Go/No-Go Association Task (GNAT). Experiment 3 investigated the mutual dependence between pitch, size, and spatial elevation as well as the influence of attentional factors. No dependence was found, however pitch-size correspondences were obtained only in the condition requiring attentional processes, suggesting that these effects might be driven by top-down influences. These results highlight the robustness of the pitch-size crossmodal correspondence across stimulus contexts varying in complexity. Thus, this correspondence might be fruitfully used to modulate consumers’ perceptions and expectations about carbonated beverages.
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Yu, Man-Ching. "Pitch-class analysis: Some aspects of IC5 and IC1 design in Gyôrgy Ligeti's piano 'Études'." New Sound, no. 43-1 (2014): 173–90. http://dx.doi.org/10.5937/newso1443173y.
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This paper investigates pitch-class organization in Gyorgy Ligeti's Piano Études, focusing on the organizational design of particular interval classes. In the etudes, IC5 and IC1 are generative in constructing materials in different dimensions and at different surface levels. Additionally, the unfolding of pitch classes initiates ascending and descending circles of fifths, at small-scale and large-scale structural levels alike, illuminating the prominence of the fifth in Ligeti's work, which harks back to the common practice period.
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Cai, Yukui, Wenlong Chang, Xichun Luo, and Yi Qin. "Superhydrophobicity of microstructured surfaces on zirconia by nanosecond pulsed laser." Journal of Micromanufacturing 2, no. 1 (October 9, 2018): 5–14. http://dx.doi.org/10.1177/2516598418799933.
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This article presents a systematic approach to improve the hydrophobicity of microstructured surfaces. It includes a contact angle prediction model for microstructures obtained by nanosecond pulsed laser. Combining with the theoretical constraints for stable Cassie–Baxter state, this approach can be used to optimize microstructures dimensions for maximizing surface hydrophobicity. Laser machining experiments were conducted to evaluate the prediction model. It shows that the proposed systematic approach can accurately predict the contact angle and obtain microstructures dimensions for maximizing surface hydrophobicity. The results also indicate that the contact angle increases with the decrease of pitch of the microstructures. Superhydrophobicity with maximum contact angle of 155.7° is obtained, for the first time, on a microstructured surface (P030) of zirconia with a pitch of 30 µm machined under a laser power at 8W.
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Bidelman, Gavin M., Jackson T. Gandour, and Ananthanarayan Krishnan. "Cross-domain Effects of Music and Language Experience on the Representation of Pitch in the Human Auditory Brainstem." Journal of Cognitive Neuroscience 23, no. 2 (February 2011): 425–34. http://dx.doi.org/10.1162/jocn.2009.21362.
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Neural encoding of pitch in the auditory brainstem is known to be shaped by long-term experience with language or music, implying that early sensory processing is subject to experience-dependent neural plasticity. In language, pitch patterns consist of sequences of continuous, curvilinear contours; in music, pitch patterns consist of relatively discrete, stair-stepped sequences of notes. The primary aim was to determine the influence of domain-specific experience (language vs. music) on the encoding of pitch in the brainstem. Frequency-following responses were recorded from the brainstem in native Chinese, English amateur musicians, and English nonmusicians in response to iterated rippled noise homologues of a musical pitch interval (major third; M3) and a lexical tone (Mandarin tone 2; T2) from the music and language domains, respectively. Pitch-tracking accuracy (whole contour) and pitch strength (50 msec sections) were computed from the brainstem responses using autocorrelation algorithms. Pitch-tracking accuracy was higher in the Chinese and musicians than in the nonmusicians across domains. Pitch strength was more robust across sections in musicians than in nonmusicians regardless of domain. In contrast, the Chinese showed larger pitch strength, relative to nonmusicians, only in those sections of T2 with rapid changes in pitch. Interestingly, musicians exhibited greater pitch strength than the Chinese in one section of M3, corresponding to the onset of the second musical note, and two sections within T2, corresponding to a note along the diatonic musical scale. We infer that experience-dependent plasticity of brainstem responses is shaped by the relative saliency of acoustic dimensions underlying the pitch patterns associated with a particular domain.
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Spence, Charles. "On the Relative Nature of (Pitch-Based) Crossmodal Correspondences." Multisensory Research 32, no. 3 (2019): 235–65. http://dx.doi.org/10.1163/22134808-20191407.
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Abstract This review deals with the question of the relative vs absolute nature of crossmodal correspondences, with a specific focus on those correspondences involving the auditory dimension of pitch. Crossmodal correspondences have been defined as the often-surprising crossmodal associations that people experience between features, attributes, or dimensions of experience in different sensory modalities, when either physically present, or else merely imagined. In the literature, crossmodal correspondences have often been contrasted with synaesthesia in that the former are frequently said to be relative phenomena (e.g., it is the higher-pitched of two sounds that is matched with the smaller of two visual stimuli, say, rather than there being a specific one-to-one crossmodal mapping between a particular pitch of sound and size of object). By contrast, in the case of synaesthesia, the idiosyncratic mapping between inducer and concurrent tends to be absolute (e.g., it is a particular sonic inducer that elicits a specific colour concurrent). However, a closer analysis of the literature soon reveals that the distinction between relative and absolute in the case of crossmodal correspondences may not be as clear-cut as some commentators would have us believe. Furthermore, it is important to note that the relative vs absolute question may receive different answers depending on the particular (class of) correspondence under empirical investigation.
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Bradley, Evan David. "Tone language experience enhances sensitivity to melodic contour." LSA Annual Meeting Extended Abstracts 3 (April 8, 2012): 40. http://dx.doi.org/10.3765/exabs.v0i0.612.
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Lexical tones are perceived along several dimensions, including pitch height, direction, and slope. Melody is also factored into several dimensions, key, contour, and interval, argued to correspond to phonetic dimensions. Tone speakers are expected to possess enhanced sensitivity to musical properties corresponding to properties of their tonal inventories. Mandarin- and English-speaking non-musicians took a melody discrimination test. Mandarin listeners more accurately discriminated melodic contour and interval, corresponding to relevant Mandarin tonal properties direction and slope. Groups performed similarly on other dimensions, indicating that tone language experience causes specific, rather than general, melody perception improvement, consistent with neural and perceptual learning theories.
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Prince, Jon B., William F. Thompson, and Mark A. Schmuckler. "Pitch and time, tonality and meter: How do musical dimensions combine?" Journal of Experimental Psychology: Human Perception and Performance 35, no. 5 (2009): 1598–617. http://dx.doi.org/10.1037/a0016456.
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Steffman, Jeremy, and Sun-Ah Jun. "Listeners integrate pitch and durational cues to prosodic structure in word categorization." Proceedings of the Linguistic Society of America 4, no. 1 (March 15, 2019): 49. http://dx.doi.org/10.3765/plsa.v4i1.4536.
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In this study we investigate how listeners perceive vowel duration as a cue to voicing based on changes in pitch height, using a 2AFC task in which they categorized a target word from a vowel duration continuum as “coat” or “code”. We consider this issue in light of (1) psychoacoustic perceptual interactions between pitch and duration and (2) compensatory effects for prosodically driven patterning of pitch and duration in the accentual/prominence-marking system of English. In two experiments we found that listeners’ interpretation of pitch as a psychoacoustic, or prosodic event is dependent on continuum step size and range. In Experiment 1 listeners exemplified the expected psychoacoustic pattern in categorization. In Experiment 2, we altered the duration continuum in an attempt to highlight pitch as a language-specific prosodic property and found that listeners do indeed compensate for prosodically driven patterning of pitch and duration. The results thus highlight flexibility in listeners’ interpretation of these acoustic dimensions. We argue that, in the right circumstances, prosodic patterns influence listeners’ interpretation of pitch and expectations about vowel duration in the perception of isolated words. Results are discussed in terms of more general implications for listeners’ perception of prosodic and segmental cues, and possibilities for cross-linguistic extension.
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As, Corina J. van, Florien J. Koopmans-van Beinum, Louis C. W. Pols, and Frans J. M. Hilgers. "Perceptual Evaluation of Tracheoesophageal Speech by Naive and Experienced Judges Through the Use of Semantic Differential Scales." Journal of Speech, Language, and Hearing Research 46, no. 4 (August 2003): 947–59. http://dx.doi.org/10.1044/1092-4388(2003/074).
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The present study was conducted to investigate voice quality in tracheoesophageal speech by means of perceptual evaluations and to develop a clinically useful subset of perceptual scales sufficient for these perceptual evaluations. The perceptual ratings were obtained from both naive and trained raters (speechlanguage pathologists [SLPs]) after listening to a read-aloud text. The perceptual evaluations were performed by means of 19 semantic bipolar 7-point scales for the naive raters and 20 semantic bipolar 7-point scales for the trained raters. The trained raters were also asked to judge the overall voice quality as good, reasonable, or poor. Both naive listeners and trained SLPs were able to perform reliable perceptual judgments. Naive raters judged the tracheoesophageal voice as more deviant than the trained raters did. Naive raters made judgments based on 2 underlying perceptual dimensions (voice quality and pitch), whereas the trained raters made judgments based on 4 underlying perceptual dimensions (voice quality, tonicity, pitch, and tempo). These perceptual dimensions were further subdivided into a subset of 4 perceptual scales for the naive raters and a subset of 8 perceptual scales for the trained raters. This appeared to provide a sufficient coverage of the underlying perceptual dimensions used by the listeners.
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ZHANG, ZHIDONG, ZHIGUANG LI, and JINGLI LIU. "MOLECULAR THEORETICAL CALCULATIONS ON TEMPERATURE DEPENDENCE OF THE PITCH OF CHOLESTERIC LIQUID CRYSTALS." Modern Physics Letters B 16, no. 19 (August 20, 2002): 721–26. http://dx.doi.org/10.1142/s0217984902004238.
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The temperature-dependent pitch of a cholesteric phase is studied using both molecular field theory and the two-particle cluster theory. The interacting chiral molecules (as derived by van der Meer et al.) are placed at the sites of a three-dimensional, simple cubic lattice with orientations confined to two dimensions. The equilibrium pitch as functions of temperature is calculated and numerical results are compared with those predicted by Monte Carlo computer simulation. The two-particle cluster theory, taking into account short-range correlations between molecules, yields improved values compared with molecular field theory.
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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (December 1, 2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.
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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. fall) did not affect tempo preferences; nevertheless, pitch change in both directions elicited faster tempi than a repeating, unchanging pitch. The effect of register on tempo preference was stronger for participants with music training, and also (unexpectedly) for female participants. In Experiment 2, melodic figures typically related to lower and higher parts in common-period music were associated with slower and faster tempi, respectively. Results support a “holistic” notion of musical tempo, viewing the choice of proper tempo as determined by interactions among diverse musical dimensions, including aspects of pitch structure, rather than by rhythmic considerations alone. The experimental design presented here can be further applied to explore the effects of other musical parameters on tempo preferences.
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Crisinel, Anne-Sylvie, and Charles Spence. "Crossmodal correspondences between chemosensory stimuli and musical notes." Seeing and Perceiving 25 (2012): 72. http://dx.doi.org/10.1163/187847612x646938.
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We report a series of experiments investigating crossmodal correspondences between various food-related stimuli (water-based solutions, milk-based flavoured solutions, crisps, chocolate and odours) and sounds varying in pitch and played by four different types of musical instruments. Participants tasted or smelled stimuli before matching them to a musical note. Our results demonstrate that participants preferentially match certain stimuli to specific pitches and instrument types. Through participants’ ratings of the stimuli along a number of dimensions (e.g., pleasantness, complexity, familiarity or sweetness), we explore the psychological dimensions involved in these crossmodal correspondences, using principal components analysis (PCA). While pleasantness seems to play an important role in the choice of instrument associated with chemosensory stimuli, the pitch seems to also depend on the quality of the taste (bitter, salty, sour or sweet). The level at which such crossmodal correspondences might occur, as well as the potential applications of such results, will be discussed.
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Boettcher, Lars, D. Manessis, S. Karaszkiewicz, A. Ostmann, and H. Reichl. "Next Generation System in a Package Manufacturing by Embedded Chip Technologies." Journal of Microelectronics and Electronic Packaging 7, no. 3 (July 1, 2010): 131–37. http://dx.doi.org/10.4071/imaps.261.
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The embedding of active and passive components offers a wide range of benefits and potentials. With the use of laminate based technology concepts, components can be moved from surface mount into the build-up layers of substrates by embedding and thereby the third dimension will be available for further layers or assemblies. This paper will briefly discuss the necessary process steps of the embedded chip technology and more importantly it will focus on new efforts to actually use chip embedding concepts for the realization of standard-type industrial quad flat packages with embedded chips (embedded chip QFN). Chips of 50 μm thickness, a pad pitch of 100 μm, and pad size of 85 μm are die bonded to a copper substrate and subsequently embedded in RCC (resin coated copper) layers by using vacuum lamination. The resulting QFN packages are only 160 μm thick and provide standard pads at 400 μm pitch and a total number of 84 I/Os with dimensions of 10 × 10 mm2. All embedded chip QFN packages at the prototype level are manufactured in 250 × 300 mm2 panels.
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TAKAHASHI, Koichi, Norio ITO, and Shinobu TOYAMA. "Design of Angular Hypoid Gears. 1st Report. Pitch Cone and Basic Dimensions." Transactions of the Japan Society of Mechanical Engineers Series C 57, no. 544 (1991): 3934–40. http://dx.doi.org/10.1299/kikaic.57.3934.
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Goodrum, WJ, and D. Cebon. "Synthesising spatially repeatable tyre forces from axle load probability distributions." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 230, no. 5 (March 13, 2015): 699–714. http://dx.doi.org/10.1177/0954406215575581.
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Spatially repeatable dynamic tyre forces arise because heavy trucks are similar in weights, dimensions and dynamic characteristics and they travel at similar speeds. It is important to be able to model the statistical and spatial characteristics of dynamic tyre forces, using efficient algorithms, when studying the effects of vehicle–road interaction. Pitch-plane vehicle models derived from ‘per-vehicle’ weigh-in-motion (WIM) data of US ‘Class 9’ vehicles were used to generate a Virtual WIM vehicle fleet for spatial repeatability calculations. Four methods were investigated for simulating dynamic tyre forces with a level of spatial repeatability similar to the Virtual WIM fleet: (i) randomised pitch-plane models, (ii) randomised quarter car models (both derived from axle load probability distributions), (iii) phase-shifted quarter car models and (iv) phase-shifted pitch-plane models. Of these four methods, the best was found to be the phase-shifted pitch-plane models, which required four orders of magnitude less computation time than the Virtual WIM case, while approximating the spatial repeatability of the Virtual WIM fleet with reasonable accuracy.
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Healey, Glenn. "A Bayesian method for computing intrinsic pitch values using kernel density and nonparametric regression estimates." Journal of Quantitative Analysis in Sports 15, no. 1 (February 25, 2019): 59–74. http://dx.doi.org/10.1515/jqas-2017-0058.
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Abstract The deployment of sensors that characterize the trajectory of pitches and batted balls in three dimensions provides the opportunity to assign an intrinsic value to a pitch that depends on its physical properties and not on its observed outcome. We exploit this opportunity by using a Bayesian framework to learn a set of mappings from five-dimensional velocity, movement, and location vectors to intrinsic pitch values. A kernel method generates nonparametric estimates for the component probability density functions in Bayes theorem while nonparametric regression is used to derive a batted ball weight function that is invariant to the defense, ballpark, and atmospheric conditions. Cross-validation is used to determine the parameters of the model. We use Cronbach’s alpha to show that intrinsic pitch values have a significantly higher reliability than outcome-based pitch values. We also develop a method to combine intrinsic values at the individual pitch level into a statistic that captures the value of a pitcher’s collection of pitches over a period of time. We use this statistic to show that pitchers who outperform their intrinsic values during a season tend to perform worse the following year. We also show that this statistic provides better predictive value for future Earned Run Average (ERA) than either current ERA or Fielding Independent Pitching (FIP).
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Casamichana, David, Paul S. Bradley, and Julen Castellano. "Influence of the Varied Pitch Shape on Soccer Players Physiological Responses and Time-Motion Characteristics During Small-Sided Games." Journal of Human Kinetics 64, no. 1 (October 15, 2018): 171–80. http://dx.doi.org/10.1515/hukin-2017-0192.
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Abstract The aim of this study was to investigate the effect of pitch shape modifications on heart rate responses and time-motion characteristics in soccer players during 5-a-side small-sided games (SSGs). Players completed four different SSG dimensions: (1) short narrow pitch (SN; 40 × 25 m), (2) short wide pitch (SW; 66 × 25 m), (3) long narrow pitch (LN; 40 × 50 m), and (4) long wide pitch (LW; 66 × 50 m). Twenty amateur soccer players (age: 21 ± 5 yr; stature: 176.8 ± 1.9 cm; body mass: 72.7 ± 3.7 kg) were monitored using a heart rate monitor and a 10 Hz GPS device. Mean maximum heart rate (%HRmax), rating of perceived exertion (RPE), peak running speed, total distance covered (TD), distance covered in four speed categories, number of moderate and high accelerations (Ac), decelerations (Dc), changes of direction (COD) and player load were recorded. Increasing the pitch length had a greater effect compared to increasing the pitch width especially on RPE (3.8, 6.3, 4.9 and 6.6 AU to SN, LN, SW and LW, respectively) and time-motion characteristics such as TD (101, 127, 108 and 131 m·min-1 to SN, LN, SW and LW, respectively), peak speed (4.8, 6.1, 5.2 and 6.2 m·s-1 to SN, LN, SW and LW, respectively), and the number of accelerations, decelerations, and changes of direction. The data demonstrates that increasing the length rather than the width of 5-a-side SSG has a greater impact on players’ responses in terms of increasing workloads.
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Chen, Yuqing, Moneim Elshobaki, Ryan Gebhardt, Stephen Bergeson, Max Noack, Joong-Mok Park, Andrew C. Hillier, Kai-Ming Ho, Rana Biswas, and Sumit Chaudhary. "Reducing optical losses in organic solar cells using microlens arrays: theoretical and experimental investigation of microlens dimensions." Physical Chemistry Chemical Physics 17, no. 5 (2015): 3723–30. http://dx.doi.org/10.1039/c4cp05221h.
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Andrews, Melinda W., and W. Jay Dowling. "The Development of Perception of Interleaved Melodies and Control of Auditory Attention." Music Perception 8, no. 4 (1991): 349–68. http://dx.doi.org/10.2307/40285518.
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Between the ages of 5 and 10, children gain skill in focusing expectancies and attention. We asked children in that age range (and adults) to discern familiar target melodies whose notes were temporally interleaved with distractor notes. Targets varied in perceptual salience: the most hidden targets were interleaved with distractors of the same pitch range, loudness, and timbre, whereas the most salient targets differed in those dimensions from their distractors. Targets either retained their familiar "straight" form or wandered in pitch. Wandering targets preserved contour (ups and downs) but not pitch intervals, and either remained within the original key ("tonal") or deviated from it ("atonal"). Distractors were drawn from the original key ("tonal") or a distant key ("atonal"). Performance improved with age and experience, was better with salient (vs. hidden) targets, and better with straight (vs. wandering) targets. All but the 5- and 6-year-olds found salient targets easier with tonal distractors and hidden targets easier with atonal distractors. Only the youngest children found same-timbre distractors outside the pitch range of the target as disruptive as same-timbre distractors within that range. By 7—8 years of age, children were able to focus attention within the target pitch range to follow straight targets, indicating the focusing of attention in pitch; and by 9-10 years of age they were able to discern clearly the most hidden straight targets, demonstrating a rhythmic control of expectancies.
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Ilie, Gabriella, and William Forde Thompson. "A Comparison of Acoustic Cues in Music and Speech for Three Dimensions of Affect." Music Perception 23, no. 4 (April 1, 2006): 319–30. http://dx.doi.org/10.1525/mp.2006.23.4.319.
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Using a three-dimensional model of affect, we compared the affective consequences of manipulating intensity, rate, and pitch height in music and speech. Participants rated 64 music and 64 speech excerpts on valence (pleasant-unpleasant), energy arousal (awake-tired), and tension arousal (tense-relaxed). For music and speech, loud excerpts were judged as more pleasant, energetic, and tense than soft excerpts. Manipulations of rate had overlapping effects on music and speech. Fast music and speech were judged as having greater energy than slow music and speech. However, whereas fast speech was judged as less pleasant than slow speech, fast music was judged as having greater tension than slow music. Pitch height had opposite consequences for music and speech, with high-pitched speech but lowpitched music associated with higher ratings of valence (more pleasant). Interactive effects on judgments were also observed. We discuss similarities and differences between vocal and musical communication of affect, and the need to distinguish between two types of arousal: energy and tension.
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Pisanski, Katarzyna, Anna Oleszkiewicz, Justyna Plachetka, Marzena Gmiterek, and David Reby. "Voice pitch modulation in human mate choice." Proceedings of the Royal Society B: Biological Sciences 285, no. 1893 (December 19, 2018): 20181634. http://dx.doi.org/10.1098/rspb.2018.1634.
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Inter-individual differences in human fundamental frequency ( F 0, perceived as voice pitch) predict mate quality and reproductive success, and affect listeners' social attributions. Although humans can readily and volitionally manipulate their vocal apparatus and resultant voice pitch, for instance, in the production of speech sounds and singing, little is known about whether humans exploit this capacity to adjust the non-verbal dimensions of their voices during social (including sexual) interactions. Here, we recorded full-length conversations of 30 adult men and women taking part in real speed-dating events and tested whether their voice pitch (mean, range and variability) changed with their personal mate choice preferences and the overall desirability of each dating partner. Within-individual analyses indicated that men lowered the minimum pitch of their voices when interacting with women who were overall highly desired by other men. Men also lowered their mean voice pitch on dates with women they selected as potential mates, particularly those who indicated a mutual preference (matches). Interestingly, although women spoke with a higher and more variable voice pitch towards men they selected as potential mates, women lowered both voice pitch parameters towards men who were most desired by other women and whom they also personally preferred. Between-individual analyses indicated that men in turn preferred women with lower-pitched voices, wherein women's minimum voice pitch explained up to 55% of the variance in men's mate preferences. These results, derived in an ecologically valid setting, show that individual- and group-level mate preferences can interact to affect vocal behaviour, and support the hypothesis that human voice modulation functions in non-verbal communication to elicit favourable judgements and behaviours from others, including potential mates.
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Crilly, Tony, and Alan Pryor. "Rugby conversions: a 3-dimensional model." Mathematical Gazette 94, no. 530 (July 2010): 233–38. http://dx.doi.org/10.1017/s0025557200006495.
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From which position on a rugby pitch should a player choose to kick in order to convert a try? The problem is to find the optimal distance from the try-line conforming to a geometrical constraint: Law 13 of the Rugby Union code stipulates, ‘after a try has been scored, the scoring team has the right to take a place kick or drop kick at goal, on a line through the place where the try was scored’.The mathematical problem is not new and has been treated in the Gazette on several occasions [1, 2, 3], and in each case the modelling has been in two dimensions, taking a planar view of the pitch. Figure 1 represents this ‘planar model’.
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Lentz, Jennifer J., and Yuan He. "Perceptual Dimensions Underlying Tinnitus-Like Sounds." Journal of Speech, Language, and Hearing Research 63, no. 10 (October 16, 2020): 3560–66. http://dx.doi.org/10.1044/2020_jslhr-19-00327.
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Purpose The goal of this study was to establish the perceptual underpinnings of the terms that are commonly used by patients when describing the quality of their tinnitus. Method Using a free-classification method, 15 subjects with normal hearing placed 60 different tinnitus-like sounds into similarity clusters on a grid. Multidimensional scaling, hierarchical clustering, and acoustic analyses were used to determine the acoustic underpinnings of the perceptual dimensions and perceptual similarity. Results Multidimensional scaling revealed three different perceptual dimensions (pitch, modulation depth + spectral elements, and envelope rate). Hierarchical clustering revealed five explicit similarity clusters: tonal, steady noise, pulsatile, low-frequency fluctuating noise, and high-frequency fluctuating. Conclusions Results are consistent with tinnitus perceptions falling into a small set of categories that can be characterized by their acoustics. As a result, there is the potential to develop different tools to assess tinnitus using a variety of different sounds.
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Boltz, Marilyn G. "Illusory Tempo Changes Due to Musical Characteristics." Music Perception 28, no. 4 (April 1, 2011): 367–86. http://dx.doi.org/10.1525/mp.2011.28.4.367.
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Recent research in music cognition has investigated ways in which different structural dimensions interact to influence perception and cognition. In the present research, various musical characteristics were manipulated to observe their potential influence on perceived tempo. In Experiment 1, participants were given a paired comparison task in which music-like patterns differed in both the pitch octave (high vs. low) and timbre (bright vs. dull) in which they were played. The results indicated that relative to their standard referents, comparison melodies were judged faster when displaying a higher pitch and/or a brighter timbre—even when no actual tempo differences existed. Experiment 2 converged on these findings by demonstrating that the perceived tempo of a melody was judged faster when it increased in pitch and/or loudness over time. These results are suggested to stem from an overgeneralization of certain structural correlations within the natural environment that, in turn, has implications for both musical performance and the processing of tempo information.
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Xiao, Zhuoxing, Zijin Liu, and Yan Gu. "Integration of digital maxillary dental casts with 3D facial images in orthodontic patients:." Angle Orthodontist 90, no. 3 (January 20, 2019): 397–404. http://dx.doi.org/10.2319/071619-473.1.
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ABSTRACT Objective To evaluate three-dimensional (3D) accuracy and reliability of nonradiographic dentofacial images integrated with a two-step method. Methods 3D facial images, cone-beam computed tomography (CBCT) images and digital maxillary dental casts were obtained from 20 pre-orthodontic subjects. Digital dental casts were integrated into 3D facial images using a two-step method based on the anterior tooth area. 3D coordinate values of five dental landmarks were identified in both dentofacial images and CBCT images. The accuracy of the integration method was assessed with paired t-tests between dentofacial images and CBCT-based reference standards. Intraclass correlation coefficients (ICCs) were assessed for the reliability of dentofacial images and CBCT-based images. Analysis of variance and Kruskal-Wallis tests evaluated the accuracy of the method in different dimensions. Results There was no statistical difference between dentofacial images and CBCT reference standards in both translational and rotational dimensions (P > .05). Translational mean absolute errors for full dentitions were within 0.42 mm and ICCs were over 0.998 in x, y, and z directions. Rotational mean absolute errors for full dentitions were within 0.92° and ICCs over 0.734 in pitch, yaw, and roll orientations. Integration errors were significantly greater in the first molar, z-translation, and pitch rotation (P < .05). Conclusions Integrating 3D dentofacial images with the two-step method is precise and acceptable for clinical diagnostics and scientific purposes. Errors were greater in the molar region, z-translation, and pitch rotation.
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Rakowski, Andrzej. "Perceptual Dimensions of Pitch and Their Appearance in the Phonological System of Music." Musicae Scientiae 3, no. 1 (March 1999): 23–39. http://dx.doi.org/10.1177/102986499900300102.
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Abadjieva, Emilia, Valentin Abadjiev, and Akihiro Naganawa. "Spatial Rack Drives Pitch Configurations: Essence and Content." Journal of Theoretical and Applied Mechanics 48, no. 1 (March 1, 2018): 3–22. http://dx.doi.org/10.2478/jtam-2018-0001.
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Abstract The practical realization of all types of mechanical motions converters is preceded by solving the task of their kinematic synthesis. In this way, the determination of the optimal values of the constant geometrical parameters of the chosen structure of the created mechanical system is achieved. The searched result is a guarantee of the preliminary defined kinematic characteristics of the synthesized transmission and in the first place, to guarantee the law of motions transformation. The kinematic synthesis of mechanical transmissions is based on adequate mathematical modelling of the process of motions transformation and on the object, realizing this transformation. Basic primitives of the mathematical models for synthesis upon a pitch contact point are geometric and kinematic pitch configurations. Their dimensions and mutual position in space are the input parameters for the processes of design and elaboration of the synthesized mechanical device. The study presented here is a brief review of the theory of pitch configurations. It is an independent scientific branch of the spatial gearing theory (theory of hyperboloid gears). On this basis, the essence and content of the corresponding primitives, applicable to the synthesis of spatial rack drives, are defined.
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Szota, Piotr, and Henryk Dyja. "Using of FEM to Analyse of the Reinforcement Bar Rolling Process." Materials Science Forum 539-543 (March 2007): 2536–41. http://dx.doi.org/10.4028/www.scientific.net/msf.539-543.2536.
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Reinforcement bars are chiefly used in the building industry at production of reinforced concrete constructions and as working elements in bridge building. An important factor for strength joining bar and concrete are dimensions and positioning of ribs at the bar’s surface. In this paper the computer simulation of the rolling of the round reinforcement bar is presented. It has been performed in order to define the specific features of the mode of metal flow in the roll gap and to determine the effect of the shape and dimensions of the roll on the pitch of the ribs of the finished bar.
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Eitan, Zohar, and Lawrence E. Marks. "Garner’s paradigm and audiovisual correspondence in dynamic stimuli: Pitch and vertical direction." Seeing and Perceiving 25 (2012): 70. http://dx.doi.org/10.1163/187847612x646910.
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Garner’s speeded discrimination paradigm is a central tool in studying crossmodal interaction, revealing automatic perceptual correspondences between dimensions in different modalities. To date, however, the paradigm has been used solely with static, unchanging stimuli, limiting its ecological validity. Here, we use Garner’s paradigm to examine interactions between dynamic (time-varying) audiovisual dimensions — pitch direction and vertical visual motion. In Experiment 1, 32 participants rapidly discriminated ascending vs. descending pitch glides, ignoring concurrent visual motion (auditory task), and ascending vs. descending visual motion, ignoring pitch change (visual task). Results in both tasks revealed strong congruence effects, but no Garner interference, an unusual pattern inconsistent with some interpretations of Garner interference. To examine whether this pattern of results is specific to dynamic stimuli, Experiment 2 (testing another 64 participants) used a modified Garner design with two baseline conditions: The irrelevant stimuli were dynamic in one baseline and static in the other, the test stimuli always being dynamic. The results showed significant Garner interference relative to the static baseline (for both the auditory and visual tasks), but not relative to the dynamic baseline. Congruence effects were evident throughout. We suggest that dynamic stimuli reduce attention to and memory of between-trial variation, thereby reducing Garner interference. Because congruence effects depend primarily on within-trial relations, however, congruence effects are unaffected. Results indicate how a classic tool such as Garner’s paradigm, used productively to examine dimensional interactions between static stimuli, may be readily adapted to probe the radically different behavior of dynamic, time-varying multisensory stimuli.
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Hulse, Stewart H., Annie H. Takeuchi, and Richard F. Braaten. "Perceptual Invariances in the Comparative Psychology of Music." Music Perception 10, no. 2 (1992): 151–84. http://dx.doi.org/10.2307/40285605.
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If one stimulus pattern is transposed to another, and if the two are recognizably the same, then they are said to be perceptually invariant. Usually, transpositions that lead to perceptual invariance involve changes on a ratio scale between the stimuli comprising the two patterns. In this paper, we survey the literature with a view to the conditions of pitch structure (melody and harmony), spectral structure (timbre), intensity structure (loudness), and temporal structure (rhythm, meter, and tempo) that produce perceptual invariance. The review compares perceptual invariance for human infants, young children, and adults and nonhuman animals. For the most part, perceptual invariance holds at all levels of development and for all species throughout the acoustic dimensions surveyed. However, for melody perception, there is evidence that humans go through a stage in early childhood in which absolute (as distinguished from relative) pitch perception plays a role. Without doubt, absolute pitch is important in perception of serial acoustic (melodic) structures by animals. For both humans and nonhumans, melody perception appears to be governed by a hierarchy of perceptual strategies that includes both absolute and relative pitch. The survey suggests the value of a comparative perspective in understanding the perceptual principles underlying music perception in humans and the principles by which human infants and nonhuman animals process acoustic information.