Hearing Gestures, Seeing Music: Vision Influences Perceived Tone Duration

Schutz, Michael; Lipscomb, Scott D.

doi:10.1068/p5635

Cited by 159 publications

(163 citation statements)

References 27 publications

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“…Such a design favors information utility over information quality, which is not uncommon in the design of our perceptual system-for example, our greater sensitivity to high frequencies allows for better detection of the most important frequency information (Fletcher & Munson, 1933). In conclusion, the discovery of the illusion by Schutz and Lipscomb (2007) was prompted by a debate among two schools of thought about marimba performance. Some thought that by modulating one's gesture, one could lengthen the duration of marimba notes; others claimed it could not as this is physically impossible.…”

Section: Final Remarksmentioning

confidence: 99%

“…The videos showed the upper body of the marimbist, including full stroke preparation and release. Reprinted from Schutz and Lipscomb (2007). the eight sustained sounds (two durations each of the clarinet, voice, French horn, and white noise).…”

Section: Data Analysesmentioning

confidence: 99%

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confidence: 99%

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Causality and cross-modal integration.

Schutz

Kubovy

2009

Journal of Experimental Psychology: Human Perception and Perfor

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Schutz and Lipscomb (2007) reported an audiovisual illusion in which the length of the gesture used to produce a sound altered the perception of that sound's duration. This contradicts the widely accepted claim that the auditory system generally dominates temporal tasks because of its superior temporal acuity. Here, in the first of 4 experiments, we show that impact gestures influence duration ratings of percussive but not sustained sounds. In the 2nd, we show that the illusion is present even if the percussive sound occurs up to 700 ms after the visible impact, but disappears if the percussive sound precedes the visible impact. In the 3rd experiment, we show that only the motion after the visible impact influences perceived tone duration. The 4th experiment (replacing the impact gestures with the written text long and short) suggests that the phenomenon is not due to response bias. Given that visual influence in this paradigm is dependent on the presence of an ecologically plausible audiovisual relationship, we conclude that cross-modal causality plays a key role in governing the integration of sensory information.

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Section: Final Remarksmentioning

confidence: 99%

Section: Data Analysesmentioning

confidence: 99%

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Causality and cross-modal integration.

Schutz

Kubovy

2009

Journal of Experimental Psychology: Human Perception and Perfor

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“…In trials where the kinematogram motion cue was ambiguous, the auditory cue would bias the response, but where visual motion was unambiguous, the auditory cues had little or no effect. In a set of recent studies that do engage a musical context, Schutz & Lipscomb (2007) and Schutz and Kubovy (2009) documented a visual-auditory illusion in which a percussionist's gestures altered the apparent duration of a marimba (or similar) tone. When the same marimba sound clip was paired with point-light displays of a percussionist striking the marimba with either an extended, relaxed gesture or a short, tense gesture, the former was heard as lasting longer than the latter.…”

Section: Introductionmentioning

confidence: 99%

Speed on the dance floor: Auditory and visual cues for musical tempo

et al. 2016

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Musical tempo is most strongly associated with the rate of the beat or "tactus," which may be defined as the most prominent rhythmic periodicity present in the music, typically in a range of 1.67-2hz. However, other factors such as rhythmic density, mean rhythmic inter-onset interval, metrical (accentual) structure, and rhythmic complexity can affect perceived tempo (Drake, Gros, & Penel 1999;London 2011). Visual information can also give rise to a perceived beat/tempo (Iversen, et al. 2015), and auditory and visual temporal cues can interact and mutually influence each other (Soto-Faraco & Kingston 2004;Spence 2015). A five-part experiment was performed to assess the integration of auditory and visual information in judgments of musical tempo. Participants rated the speed of six classic R&B songs on a seven point scale while observing an animated figure dancing to them. Participants were presented with original and time-stretched (±5%) versions of each song in audio-only, audio+video (A+V), and video-only conditions. In some videos the animations were of spontaneous movements to the different time-stretched versions of each song, and in other videos the animations were of "vigorous" versus "relaxed" interpretations of the same auditory stimulus. Two main results were observed. First, in all conditions with audio, even though participants were able to correctly rank the original vs. timestretched versions of each song, a song-specific tempo-anchoring effect was observed, such that sped-up versions of slower songs were judged to be faster than slowed-down versions of faster songs, even when their objective beat rates were the same. Second, when viewing a vigorous dancing figure in the A+V condition, participants gave faster tempo ratings than from the audio alone or when viewing the same audio with a relaxed dancing figure. The implications of this illusory tempo percept for cross-modal sensory integration and working memory are discussed, and an "energistic" account of tempo perception is proposed.

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“…L'étude de Vines montre en effet que la vision de certains gestes ancillaires du clarinettiste allongent la durée réelle des notes pendant les pauses, tandis que d'autres contribuent à marquer un début de phrase. Les variations de durée perçue des notes ont aussi été montrées par rapport à la vision des gestes ancillaires du joueur de marimba [Schutz 2007, Broughton 2009. Le jugement visuel de tension perçue quant à lui, est construit en relation avec des propriétés acoustiques bas-niveau, comme l'intensité sonore, la fréquence (pitch) et le timbre (richesse) de note [Schutz 2008].…”

Section: Perception Des éMotions Et De La Tension Musicaleunclassified

The influence of cellist's postural movements on their musical expressivity

Roze

Aramaki

Kronland‐Martinet

et al. 2017

The Journal of the Acoustical Society of America

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RemerciementsAvant de présenter ce travail de thèse, je souhaiterais remercier toutes les personnes ayant contribué de près ou de loin à la réalisation de ce projet. A commencer par mes parents pour leur soutien indéfectible, qui ont toujours su garder foi en moi malgré des choix de vie différents de leurs prévisions. Merci aussi à Pascal Gobin, professeur d'électroacoustique au conservatoire de Marseille, sans qui je n'aurais jamais eu connaissance des opportunités de recherche en acoustique instrumentale. Cela faisait longtemps en effet que je nourrissais l'envie de pouvoir mettre mes compétences scientifiques au service d'un instrument de musique devenu ma passion depuis huit ans maintenant : le violoncelle. L'opportunité m'en a été donnée grâce à l'équipe très chaleureuse de chercheurs qui m'ont accueilli et fait confiance pour entreprendre ce projet de thèse : ma directrice de thèse tout d'abord, Sølvi, dont la bonne humeur et patience à mon égard ont toujours été d'un grand soutien, surtout dans les périodes initiales et finales de la thèse... Richard ensuite, dont l'expérience et la justesse de raisonnement, m'ont bien souvent laissé admiratif. Et bien sûr Mitsuko dont les capacités d'écoute réactive et les point de vue avisés m'ont énormément apporté, notamment lors de la rédaction des articles scientifiques. Merci vraiment à cette équipe de trois encadrants aux grandes qualités humaines, pour être si investis, passionnés et ouverts sur les autres. A propos de qualité humaine, j'adresse un remerciement tout particulier à Pascal Campion de l'école doctorale ED353, pour son excellente écoute, ses précieux conseils et sa compréhension des fragilités individuelles.

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Hearing Gestures, Seeing Music: Vision Influences Perceived Tone Duration

Cited by 159 publications

References 27 publications

Causality and cross-modal integration.

Causality and cross-modal integration.

Speed on the dance floor: Auditory and visual cues for musical tempo

The influence of cellist's postural movements on their musical expressivity

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