scholarly journals Auditory event perception: The source-perception loop for posture in human gait

2008 ◽  
Vol 70 (1) ◽  
pp. 13-29 ◽  
Author(s):  
R. E. PASTORE ◽  
J. D. FLINT ◽  
J. R. GASTON ◽  
M. J. SOLOMON
Keyword(s):  
Human Gait ◽  
Event Perception ◽  
Auditory Event

Evaluating and Modeling Auditory Event Perception: Postural Contrasts in Human Gait

2004 ◽  
Author(s):  
Richard E. Pastore ◽  
Jeremy R. Gaston ◽  
Matthew J. Solomon ◽  
Jesse D. Flint
Keyword(s):  
Human Gait ◽  
Event Perception ◽  
Auditory Event

Stage analysis of auditory event perception: Posture in human gait

2004 ◽  
Vol 115 (5) ◽  
pp. 2460-2460
Author(s):  
Richard E. Pastore ◽  
Matthew J. Solomon ◽  
Jeremy R. Gaston ◽  
Jesse D. Flint ◽  
Melody S. Berens
Keyword(s):  
Human Gait ◽  
Event Perception ◽  
Auditory Event ◽  
Stage Analysis

What in the World Do We Hear?: An Ecological Approach to Auditory Event Perception

1993 ◽  
Vol 5 (1) ◽  
pp. 1-29 ◽  
Author(s):  
William W. Gaver
Keyword(s):  
Ecological Approach ◽  
Event Perception ◽  
Auditory Event ◽  
The World

What Do We Hear, When We Hear Music?: Music Perception and Musical Material

2001 ◽  
Vol 5 (2) ◽  
pp. 161-194 ◽  
Author(s):  
Nicola Dibben
Keyword(s):  
Music Perception ◽  
Empirical Studies ◽  
Physical Space ◽  
Acoustic Properties ◽  
Event Perception ◽  
Musical Meaning ◽  
Auditory Event ◽  
Listening Studies ◽  
Study Participants ◽  
Musical Listening

Theories of auditory event perception have highlighted a distinction between “everyday” and “musical” listening. This paper challenges this account of listening in two ways: first, it extends the notion of source specification to the specification of cultural and compositional categories, and second, it argues that listening to music involves listening to what sounds specify just as much as it involves listening to the acoustic characteristics of sounds. It is argued here that the characterisation of ‘musical’ listening as attending to the acoustic character of sound is a reflection of the prevailing reception ideology of the autonomous art work. This paper reports the results of two empirical studies which provide evidence for the perception of music in terms of categories of musical material (.i.e. what sounds specify). In the first study, participants were presented with triads of musical and everyday sounds presented in conflicting pairings and asked to identify the two that were most similar. In the second study listeners were asked to give commentaries on the sounds. These listening studies showed that while listeners pay attention to the acoustic properties of sounds they are also sensitive to what sounds specify (physical source, physical space and proximity, genre, musical function, performance skill, emotional attributes and social context). The results highlight the way in which listeners privilege particular kinds of specifications, and some of the factors involved in these choices are discussed briefly in relation to a performative theory of musical meaning.

Auditory Event-Related Potentials in Younger and Older Listeners

ASHA Leader ◽  
2009 ◽  
Vol 14 (15) ◽  
pp. 5-7
Author(s):  
Sridhar Krishnamurti ◽  
Haley Messersmith
Keyword(s):  
Event Related Potentials ◽  
Auditory Event ◽  
Related Potentials ◽  
Auditory Event Related Potentials

Dual-task studies of event perception

2009 ◽  
Author(s):  
Anna Pappafragou ◽  
John Trueswell
Keyword(s):  
Dual Task ◽  
Event Perception

Recognition memory for auditory event duration

1991 ◽  
Author(s):  
Marilyn Boltz
Keyword(s):  
Recognition Memory ◽  
Event Duration ◽  
Auditory Event
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