Penel Amandine, Drake Carolyn
Laboratoire de Psychologie Expérimentale, CNRS UMR 8581 and Université René' Descartes (Paris V), Paris, France.
Percept Psychophys. 2004 May;66(4):545-62. doi: 10.3758/bf03194900.
A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.
设计了一种感知表现范式，以厘清音乐表演中由于感知补偿、运动控制和音乐交流而产生的时间变化。首先，钢琴家通过感知调整三段乐曲的起始间隔，使其听起来具有规律性。这些调整系统地偏离了规律性，凸显了时间感知中感知偏差的两个来源：节奏分组和心理声学强度效应。然后，参与者以相同的规律方式在钢琴上演奏这些乐曲。强度效应消失了，并且观察到与节奏组相关的一些由于运动限制而产生的变化。最后，参与者富有音乐性地演奏这些乐曲。由于音乐交流而产生的变化包括额外的组尾延长，这反映了乐曲的层次分组结构。这些结果强调了分组在音乐时间感知和产生中的核心作用。
