The shape of action.

Hard, Bridgette Martin; Recchia, Gabriel; Tversky, Barbara

doi:10.1037/a0024310

Cited by 111 publications

(166 citation statements)

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“…It was hypothesized that if participants differentiated between boundaries and nonboundaries, the length of time that they spent on each type of chord would differ. It was found that participants spent more time on boundary chords than nonboundary chords, which is consistent with previous work using dwell YOUNG CHILDREN PAUSE ON PHRASE BOUNDARIES 23 time methods for studying musical boundaries in adults as well as for action segmentation (Hard et al, 2011;Meyer et al, 2011).…”

Section: Methodssupporting

confidence: 80%

“…They are not given any instructions for how to time their key presses and they experience the sequence as it unfolds. The dwell time method has previously been used to YOUNG CHILDREN PAUSE ON PHRASE BOUNDARIES 10 investigate action segmentation, showing that participants "dwell" (spend relatively more time on) slides depicting event boundaries (Hard, Recchia, & Tversky, 2011). Preliminary work has found converging results with preschoolers and infants (Meyer, Baldwin, & Sage, 2011;Sage, Ross, & Baldwin, 2012).…”

Section: Young Children Pause On Phrase Boundariesmentioning

confidence: 85%

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Young children pause on phrase boundaries in self-paced music listening: The role of harmonic cues

Kragness¹,

Trainor²

2017

Preprint

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Proper segmentation of auditory streams is essential for understanding music. Many cues, including meter, melodic contour, and harmony, influence adults' perception of musical phrase boundaries. To date, no studies have examined young children's musical grouping in a production task. We used a musical self-pacing method to investigate (1) whether dwell times index young children's musical phrase grouping and, if so, (2) whether children dwell longer on phrase boundaries defined by harmonic cues specifically. In Experiment 1, we asked 3-year-old children to self-pace through chord progressions from Bach chorales (sequences in which metrical, harmonic, and melodic contour grouping cues aligned) by pressing a computer key to present each chord in the sequence. Participants dwelled longer on chords in the eighth position, which corresponded to phrase endings. In Experiment 2, we tested 3-, 4-, and 7-year-old children's sensitivity to harmonic cues to phrase grouping when metrical regularity cues and melodic contour cues were misaligned with the harmonic phrase boundaries. In this case, 7-and 4-year-olds but not 3-year-olds dwelled longer on harmonic phrase boundaries, suggesting that the influence of harmonic cues on phrase boundary perception develops substantially between 3 and 4 years of age in Western children. Overall, we show that the musical dwell time method is child-friendly and can be used to investigate various aspects of young children's musical understanding, including phrase grouping and harmonic knowledge.

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Section: Methodssupporting

confidence: 80%

Section: Young Children Pause On Phrase Boundariesmentioning

confidence: 85%

Young children pause on phrase boundaries in self-paced music listening: The role of harmonic cues

Kragness¹,

Trainor²

2017

Preprint

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“…All pairwise comparisons were 13 significant: dwelling was greater for fine than non-boundaries (t(13) = -2.475, p < .0167), greater 14 for coarse than fine boundaries (t(13) = -3.749, p < .01), and greater for coarse than non-15 boundaries (t(13) = -3.819, p < .01). In the original dwell time study for action segmentation (Hard et al, 2011), it was found 9 that participants who looked longer at boundaries recalled more actions from the slideshow. The …”

mentioning

confidence: 99%

Listeners lengthen phrase boundaries in self-paced music.

Kragness

Trainor

2016

Journal of Experimental Psychology: Human Perception and Perfor

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1Previous work has shown that musicians tend to slow down as they approach phrase boundaries 2 (phrase-final lengthening). In the present experiments, we used a paradigm from the action 3 perception literature, the dwell time paradigm (Hard, Recchia, & Tversky, 2011), to investigate 4 whether participants engage in phrase boundary lengthening when self-pacing through musical 5 sequences. When participants used a key press to produce each successive chord of Bach 6 chorales, they dwelled longer on boundary chords than non-boundary chords in both the original 7 chorales and atonal manipulations of the chorales. When a novel musical sequence was 8 composed that controlled for metrical and melodic contour cues to boundaries, the dwell time 9 difference between boundaries and non-boundaries was greater in the tonal condition than in the 10 atonal condition. Furthermore, similar results were found for a group of non-musicians, 11suggesting that phrase-final lengthening in musical production is not dependent on musical 12 training and can be evoked by harmonic cues. 13 LISTENERS LENGTHEN BOUNDARIES IN SELF-PACED MUSIC 4Listeners Lengthen Phrase Boundaries in Self-Paced Music 1 Across perceptual domains, parsing events into groups as they unfold across time helps to 2 consolidate low-level information and to focus attention on structurally important features 3 (Chiappe & Schmuckler, 1997;Deutsch, 1980;Dowling, 1973;Large & Jones, 1999; Miller, 4 1956;Zacks & Swallow, 2007). Accurate parsing of real world auditory streams requires 5 separating two or more co-occurring streams (stream segregation) as well as grouping elements 6 in a stream across time (stream integration) (Bregman, 1990). A sequence of musical events can 7 be grouped into phrases. A musical phrase is a subset of contiguous notes that culminates in a 8 musical boundary. Students of music theory commonly learn about the features that Western 9 composers use to indicate a boundary, and phrasing is often indicated in musical notation. Thus, 10 musicians have explicit knowledge of phrase structures. Previous studies have shown that 11 musicians tend to lengthen notes at the ends of phrases (phrase-final lengthening, Palmer, 1989; 12 Repp, 1992a;Seashore, 1938;Todd, 1985). The current study employs a paradigm from the field 13 of action segmentation, the dwell time paradigm, to examine whether participants, including 14 non-musicians, engage in phrase-final lengthening when they control the timing of chord 15 sequences. We additionally investigate whether listeners use harmonic cues (cadences) to 16 determine phrase boundary locations, by examining whether phrase-final lengthening is larger 17 for tonal than atonal chord sequences when other cues such as metrical (rhythmic) structure and 18 melodic contour cues are reduced. Finally, we examine whether non-musicians with minimal 19 musical training also exhibit phrase-final lengthening and use harmonic cues to locate phrase 20 endings. In this way, we offer a novel method for probing listeners' ...

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“…In addition, studies, e.g. by Hard et al [8], have shown that the amount of information contained in a video sequence around breakpoints depends on the action granularity of the corresponding breakpoints, with breakpoints associated with coarser action units carrying more information than breakpoints associated with finer units. Interestingly, the concept of granularity has received little attention in the context of video annotations [17,19] despite their high significance for visual cognition.…”

Section: Introductionmentioning

confidence: 99%

The Language of Actions: Recovering the Syntax and Semantics of Goal-Directed Human Activities

Kuehne

Arslan

Serre

2014

2014 IEEE Conference on Computer Vision and Pattern Recognition

450

480

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This paper describes a framework for modeling human activities as temporally structured processes. Our approach is motivated by the inherently hierarchical nature of human activities and the close correspondence between human actions and speech: We model action units using Hidden Markov Models, much like words in speech. These action units then form the building blocks to model complex human activities as sentences using an action grammar.To evaluate our approach, we collected a large dataset of daily cooking activities: The dataset includes a total of 52 participants, each performing a total of 10 cooking activities in multiple real-life kitchens, resulting in over 77 hours of video footage. We evaluate the HTK toolkit, a stateof-the-art speech recognition engine, in combination with multiple video feature descriptors, for both the recognition of cooking activities (e.g., making pancakes) as well as the semantic parsing of videos into action units (e.g., cracking eggs). Our results demonstrate the benefits of structured temporal generative approaches over existing discriminative approaches in coping with the complexity of human daily life activities.

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The shape of action.

Cited by 111 publications

References 29 publications

Young children pause on phrase boundaries in self-paced music listening: The role of harmonic cues

Young children pause on phrase boundaries in self-paced music listening: The role of harmonic cues

Listeners lengthen phrase boundaries in self-paced music.

The Language of Actions: Recovering the Syntax and Semantics of Goal-Directed Human Activities

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