{"id":1609,"date":"2012-09-16T23:27:28","date_gmt":"2012-09-16T23:27:28","guid":{"rendered":"https:\/\/teach.alimomeni.net\/2014fall2\/?p=1609"},"modified":"2012-09-16T23:42:19","modified_gmt":"2012-09-16T23:42:19","slug":"the-limits-of-time-perception","status":"publish","type":"post","link":"https:\/\/teach.alimomeni.net\/2014fall2\/?p=1609","title":{"rendered":"The Limits of Time Perception"},"content":{"rendered":"<p><strong>Some of the key findings of experimental psychology in the perception of time<\/strong><br \/>\n<em>Reference:<\/em>\u00a0<a href=\"http:\/\/www.amazon.com\/Hearing-Time-Psychological-Aspects-Musical\/dp\/0195160819\">Hearing in Time<\/a>\u00a0by Justin London<\/p>\n<p><strong>STIMULI<\/strong><\/p>\n<ul>\n<li><em>Difference in stimuli mean difference in perception<br \/>\n<\/em>Experimental results in discrimination and perception are different for sonic and visual stimili.<\/li>\n<li><em>Subjective Rhythmicization<br \/>\n<\/em>We group a series of identical, isochronous stiumuli into groups of twos and threes, i.e. we hear duplets and triplets or a two-beat or three-beat &#8220;measures&#8221; even when there are no structural cues.<\/li>\n<li><em>Upper limit of subjective rhythmicization: about 1800ms<br \/>\n<\/em>Above 1800ms successive sounds are not heard as continuous; therefore we no longer hear them in terms of a coordinated motion or movement.<\/li>\n<li><em>Connection between hearing\/seeing rhythm and perceiving movement<br \/>\n<\/em>Successive visual stimuli presented within a certain temporal range give the illusion of motion<\/li>\n<\/ul>\n<p><strong>TIME RESOLUTION<\/strong><\/p>\n<ul>\n<li><em>Shortest perceived interval:\u00a0<strong>~2ms<\/strong><br \/>\n<\/em>Usually measured as separation time required to discern that two tone onsents are present as opposed to one.<\/li>\n<li><em>Shortest ordered onset distinction:\u00a0<strong>~20ms<\/strong>\u00a0(10 times the previous number!)<br \/>\n<\/em>This is the shortest time necessary to discern which onset was first and which second.<\/li>\n<li><em>Longest interval that we can perceived\/performed rhythmically:\u00a0<strong>5-6 seconds<\/strong><\/em><\/li>\n<li><em>shortest perceptual duration regardless of sensory mode: around\u00a0<strong>130ms<\/strong>\u00a0with %5-10 accuracy<br \/>\n<\/em>Also shortest discernible interval between to brief sounds: (around 100ms)<br \/>\nAlso the minimum time to allow for the cortical processing of musical elements (around 100ms).<br \/>\nAlso the fastest possible vocal articulation of rapidly repeated syllables (around 120ms).<\/li>\n<li><em>Shortest musical beat\/pulse:\u00a0<strong>200-250ms<\/strong><br \/>\n<\/em>At intervals less than this range, subjects begin to tap every other beat (i.e. they sub-divide)<br \/>\nBut we can distinguish two onsets as two when they are 100ms apart! what&#8217;s up? Hearing a &#8220;beat&#8221; requires at least the potential for subdivision.<\/li>\n<li><em>Shortest anti-phrase repeatable musical beat: around\u00a0<strong>~450ms<\/strong><br \/>\n<\/em>Stimulus is a repeated tone, subject is asked to tap\/clap in between the notes<\/li>\n<li><em>The &#8220;Indifference Interval&#8221;:\u00a0<strong>600-700s<\/strong><br \/>\n<\/em>This is the tempo at which a beat is subjectively neither &#8220;too fast&#8221; or &#8220;too slow&#8221;<br \/>\nAlso the time interval below which subjects overestimate, and above which subjects underestimate the elapsed duration<br \/>\nAlso the &#8220;spontaneous temp&#8221; or &#8220;natural pace&#8221;: the tempo at which subjects tap a finger with no other instructions (there&#8217;s great variation, but the mean is ~600ms)<br \/>\nSpontaneous tempo varies with age: younger subjects (4-6 years) prefer ~400ms; suggests that &#8220;spontaneous tempo&#8221; is kinematically rooted (i.e. smaller body, faster tempo)<\/li>\n<li><em>The &#8220;Just Noticeable Difference&#8221;: 200-250ms<br \/>\n<\/em>A basic psychological measure of perceptual acuity: the shortest perceivable difference in duration between two complex stimuli; e.g.\u00a0Smallest perceivable difference of duration between two six-tone sequences over a wide range of inter-onset-intervals (from 100 to 1000ms)<br \/>\nThe JND is proportional to the total duration of the stimuli.<\/li>\n<li><em>Subject Rhythmic Organization<br \/>\n<\/em>Differing contexts or modes of attention affect perception of duration\/interval. For example, when performers are directed to shift their attention to different levels within the metrical hierarchy in a series of performances of the same passage, focusing on the eighth notes versus quarters versus half notes causes systematic shifts in tempo: Counting at higher levels leads to faster performances.<\/li>\n<\/ul>\n<p><strong>BIBLIOGRAPHY<\/strong><\/p>\n<p>London, J. (2004).\u00a0Hearing in time: Psychological aspects of musical meter. New York: Oxford University Press.<\/p>\n<p>Desain, P., &amp; Windsor, L. (2000).\u00a0Rhythm perception and production. Lisse ; Exton (PA): Swets &amp; Zeitlinger Publishers.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Some of the key findings of experimental psychology in the perception of time Reference:\u00a0Hearing in Time\u00a0by Justin London STIMULI Difference in stimuli mean difference in perception Experimental results in discrimination and perception are different for sonic and visual stimili. Subjective Rhythmicization We group a series of identical, isochronous stiumuli into groups of twos and threes, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,51],"tags":[],"coauthors":[37],"class_list":["post-1609","post","type-post","status-publish","format-standard","hentry","category-reference","category-scientific"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/posts\/1609","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1609"}],"version-history":[{"count":5,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/posts\/1609\/revisions"}],"predecessor-version":[{"id":1614,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=\/wp\/v2\/posts\/1609\/revisions\/1614"}],"wp:attachment":[{"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1609"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1609"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1609"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/teach.alimomeni.net\/2014fall2\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=1609"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}