In recent years, psychological models of perception have undergone reevaluation due to a broadening of focus toward understanding not only how observers perceive stimuli but also how they subjectively evaluate stimuli. Here, we investigated the time course of such aesthetic evaluations using a gating paradigm. In a series of experiments, participants heard excerpts of classical, jazz, and electronica music. Excerpts were of different durations (250 ms, 500 ms, 750 ms, 1,000 ms, 2,000 ms, 10,000 ms) or note values (eighth note, quarter note, half note, dotted-half note, whole note, and entire 10,000 ms excerpt). After each excerpt, participants rated how much they liked the excerpt on a 9-point Likert scale. In Experiment 1, listeners made accurate aesthetic judgments within 750 ms for classical and jazz pieces, while electronic pieces were judged within 500 ms. When translated into note values (Experiment 2), electronica and jazz clips were judged more quickly than classical. In Experiment 3, we manipulated the familiarity of the musical excerpts. Unfamiliar clips were judged more quickly (500 ms) than familiar clips (750 ms), but there was overall higher accuracy for familiar pieces. Finally, we investigated listeners' aesthetic judgments continuously over the time course of more naturalistic (60 s) excerpts: Within 3 s, listeners' judgments differed between most- and least-liked pieces. We suggest that such rapid aesthetic judgments represent initial gut-level decisions that are made quickly, but that even these initial judgments are influenced by characteristics such as genre and familiarity. (PsycINFO Database Record (c) 2018 APA, all rights reserved).

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While many techniques are known to music creators, the technique of repetition is one of the most commonly deployed. The mechanism by which repetition is effective as a music-making tool, however, is unknown. Building on the speech-to-song illusion (Deutsch, Henthorn, & Lapidis in Journal of the Acoustical Society of America, 129(4), 2245-2252, 2011), we explore a phenomenon in which perception of musical attributes are elicited from repeated, or Blooped,^auditory material usually perceived as nonmusical such as speech and environmental sounds. We assessed whether this effect holds true for speech stimuli of different lengths; nonspeech sounds (water dripping); and speech signals decomposed into their rhythmic and spectral components. Participants listened to looped stimuli (from 700 to 4,000 ms) and provided continuous as well as discrete perceptual ratings. We show that the regularizing effect of repetition generalizes to nonspeech auditory material and is strongest for shorter clip lengths in the speech and environmental cases. We also find that deconstructed pitch and rhythmic speech components independently elicit a regularizing effect, though the effect across segment duration is different than that for intact speech and environmental sounds. Taken together, these experiments suggest repetition may invoke active internal mechanisms that bias perception toward musical structure.