Music and Time perception

The topic of this thesis is time perception with the special insight into time perception in music. At first, some complex influences of music on human are discussed. This contains some basics of music perception and brief introduction to a topic of musical emotions, All from a point of view of cognitive psychology. Then a topic of time perception is brought up. At first some important musical time propositions are briefly presented (tempo, metrum and rhythmicity). Then recent influential cognitive models of time perception are discussed and tried to applied to an issue of time in music. There is a study proposed in the empirical part of this thesis, which could transfer some knowledge from the field of time perception research into a context of melodies. This could be a contribution to a research of time in music. Keywords: time perception, music perception, psychology of timeTématem bakalářské práce je časová percepce se zaměřením na manifestaci času v hudbě. Práce se nejprve zabývá širším tématem působení hudby na člověka, tzn.: základy hudební percepce a stručně i problematikou vnímání emocí v hudbě. Dále uvádí čtenáře do tématu časové percepce. Nejprve stručně představuje způsoby manifestace času v hudbě prostřednictvím tempa, metra a rytmicity. Dále představuje současné vlivné kognitivní modely časové percepce a pokouší se tyto modely aplikovat na problematiku času v hudbě. V empirické části práce je navržen výzkum, který by mohl některé poznatky z oblasti výzkumu kratších časových intervalů rozšířit do kontextu melodií a tím přispět k výzkumu časové percepce v hudbě. Klíčová slova: časová percepce, hudební percepce, psychologie časuKatedra psychologieDepartment of PsychologyFilozofická fakultaFaculty of Art

Music Structure and Time Perception

Diplomová práce navazuje na bakalářskou práci Hudba a percepce času (Becková, 2017). Zabývá se časovou percepcí v hudbě. Podává přehled současných vlivných teorií a modelů ve výzkumu časové percepce obecně, i ve vztahu k hudbě, tj. modelů založených na existenci vnitřních časových hodin a modelů založených na pozornostních, paměťových a dalších dynamických procesech. Dále se práce zaměřuje na psychologické aspekty metra, rytmu a dalších hudebních charakteristik ve vztahu k časové percepci. Zmiňuje rovněž možné využití poznatků výzkumu na poli časové percepce v hudbě. V experimentu realizovaném v empirické části jsem aplikovala konkrétní poznatky z dosavadního výzkumu časové percepce na krátké zvukové stimuly v rozmezí několika sekund s využitím metody reprodukce. Podařilo se demonstrovat iluzi plného intervalu, iluzi rozděleného času a efekt výšky tónu na časovou percepci. Poznatky z experimentu by mohly být využity v návazném výzkumu a posloužit jako podklad pro další bádání v oblasti hudby a časové percepce. Klíčová slova: časová percepce, hudební percepce, vnímání časuThe diploma thesis follows the bachelor's thesis Music and Time Perception (Becková, 2017). It focuses on time perception in music. It reviews current influential theories and models in the research of time perception, and also time perception models in relation to music, ie models based on the existence of internal time clocks and models based on attentional, memory and other dynamic processes. It also focuses on the psychological aspects of the metrum, rhythm and other musical characteristics in relation to time perception. Possible use of research findings in the field of time perception in music is also mentioned. In the experimental part I applied specific findings from the current research of time perception to short acoustic stimuli in the range of suprasecond intervals using reproduction as experimental paradigma. The filled- duration illusion, the divided time illusion and an effect of tone pitch were demonstrated. The findings from the experiment could be used in future research in the field of music and time perception. Klíčová slova: time perception, music perception, psychology of timeKatedra psychologieDepartment of PsychologyFilozofická fakultaFaculty of Art

Registered Replication Report on Fischer, Castel, Dodd, and Pratt (2003)

The attentional spatial-numerical association of response codes (Att-SNARC) effect (Fischer, Castel, Dodd, & Pratt, 2003)—the finding that participants are quicker to detect left-side targets when the targets are preceded by small numbers and quicker to detect right-side targets when they are preceded by large numbers—has been used as evidence for embodied number representations and to support strong claims about the link between number and space (e.g., a mental number line). We attempted to replicate Experiment 2 of Fischer et al. by collecting data from 1,105 participants at 17 labs. Across all 1,105 participants and four interstimulus-interval conditions, the proportion of times the effect we observed was positive (i.e., directionally consistent with the original effect) was 50. Further, the effects we observed both within and across labs were minuscule and incompatible with those observed by Fischer et al. Given this, we conclude that we failed to replicate the effect reported by Fischer et al. In addition, our analysis of several participant-level moderators (finger-counting habits, reading and writing direction, handedness, and mathematics fluency and mathematics anxiety) revealed no substantial moderating effects. Our results indicate that the Att-SNARC effect cannot be used as evidence to support strong claims about the link between number and space

Registered Replication Report on Fischer, Castel, Dodd, and Pratt (2003)

The attentional spatial-numerical association of response codes (Att-SNARC) effect (Fischer, Castel, Dodd, & Pratt, 2003)—the finding that participants are quicker to detect left-side targets when the targets are preceded by small numbers and quicker to detect right-side targets when they are preceded by large numbers—has been used as evidence for embodied number representations and to support strong claims about the link between number and space (e.g., a mental number line). We attempted to replicate Experiment 2 of Fischer et al. by collecting data from 1,105 participants at 17 labs. Across all 1,105 participants and four interstimulus-interval conditions, the proportion of times the effect we observed was positive (i.e., directionally consistent with the original effect) was .50. Further, the effects we observed both within and across labs were minuscule and incompatible with those observed by Fischer et al. Given this, we conclude that we failed to replicate the effect reported by Fischer et al. In addition, our analysis of several participant-level moderators (finger-counting habits, reading and writing direction, handedness, and mathematics fluency and mathematics anxiety) revealed no substantial moderating effects. Our results indicate that the Att-SNARC effect cannot be used as evidence to support strong claims about the link between number and space

Registered replication report on Fischer, Castel, Dodd, and Pratt (2003)

The attentional spatial-numerical association of response codes (Att-SNARC) effect (Fischer, Castel, Dodd, & Pratt, 2003)—the finding that participants are quicker to detect left-side targets when the targets are preceded by small numbers and quicker to detect right-side targets when they are preceded by large numbers—has been used as evidence for embodied number representations and to support strong claims about the link between number and space (e.g., a mental number line). We attempted to replicate Experiment 2 of Fischer et al. by collecting data from 1,105 participants at 17 labs. Across all 1,105 participants and four interstimulus-interval conditions, the proportion of times the effect we observed was positive (i.e., directionally consistent with the original effect) was .50. Further, the effects we observed both within and across labs were minuscule and incompatible with those observed by Fischer et al. Given this, we conclude that we failed to replicate the effect reported by Fischer et al. In addition, our analysis of several participant-level moderators (finger-counting habits, reading and writing direction, handedness, and mathematics fluency and mathematics anxiety) revealed no substantial moderating effects. Our results indicate that the Att-SNARC effect cannot be used as evidence to support strong claims about the link between number and space

Music and Time perception

The topic of this thesis is time perception with the special insight into time perception in music. At first, some complex influences of music on human are discussed. This contains some basics of music perception and brief introduction to a topic of musical emotions, All from a point of view of cognitive psychology. Then a topic of time perception is brought up. At first some important musical time propositions are briefly presented (tempo, metrum and rhythmicity). Then recent influential cognitive models of time perception are discussed and tried to applied to an issue of time in music. There is a study proposed in the empirical part of this thesis, which could transfer some knowledge from the field of time perception research into a context of melodies. This could be a contribution to a research of time in music. Keywords: time perception, music perception, psychology of tim

Music Structure and Time Perception

The diploma thesis follows the bachelor's thesis Music and Time Perception (Becková, 2017). It focuses on time perception in music. It reviews current influential theories and models in the research of time perception, and also time perception models in relation to music, ie models based on the existence of internal time clocks and models based on attentional, memory and other dynamic processes. It also focuses on the psychological aspects of the metrum, rhythm and other musical characteristics in relation to time perception. Possible use of research findings in the field of time perception in music is also mentioned. In the experimental part I applied specific findings from the current research of time perception to short acoustic stimuli in the range of suprasecond intervals using reproduction as experimental paradigma. The filled- duration illusion, the divided time illusion and an effect of tone pitch were demonstrated. The findings from the experiment could be used in future research in the field of music and time perception. Klíčová slova: time perception, music perception, psychology of tim

Music Structure and Time Perception

The diploma thesis follows the bachelor's thesis Music and Time Perception (Becková, 2017). It focuses on time perception in music. It reviews current influential theories and models in the research of time perception, and also time perception models in relation to music, ie models based on the existence of internal time clocks and models based on attentional, memory and other dynamic processes. It also focuses on the psychological aspects of the metrum, rhythm and other musical characteristics in relation to time perception. Possible use of research findings in the field of time perception in music is also mentioned. In the experimental part I applied specific findings from the current research of time perception to short acoustic stimuli in the range of suprasecond intervals using reproduction as experimental paradigma. The filled- duration illusion, the divided time illusion and an effect of tone pitch were demonstrated. The findings from the experiment could be used in future research in the field of music and time perception. Klíčová slova: time perception, music perception, psychology of tim