In this paper, we introduce two experiments with three groups. The first experiment the subjects are asked to place a given stimuli in a category based on pitch (first group), tempo (second group), or just listen to the stimulus (third group). Then, in the second experiment, subjects are asked to do the same categorization but now based on both dimensions (all groups). It turns out that both th...

This study examines the question of whether global tempo and expressive timing microstructure are independent in the aesthetic judgment of music performance. Measurements of tone interonset intervals in pianists' performances of pieces by Schumann ("Traumerei") and Debussy ("La fille aux cheveux de lin") at three different tempi show a tendency toward reduced (relative) expressive timing variat...

Perceptual invariance has been studied and found in several domains of cognition, including those of speech, motor behavior, and object motion. It has also been the topic of several studies in music perception. However, the existing perceptual studies present rather inconclusive evidence with regard to the perceptual invariance of expressive timing under tempo transformation in music performanc...

This study aimed to explore the effects of musical tempo on three psychological variables; stress, mood and self-efficacy. The Perceived Stress Scale (PSS), the UWIST Mood Adjective Checklist (UMACL) and the Generalised Self-efficacy Scale (GSES) were used as measurement. Digital recording technology was used to create two versions of a piece of music that varied in tempo but held pitch and oth...

Speech tempo (articulation rate) varies both between and within speakers. The present study investigates several factors affecting tempo in a corpus of spoken Dutch, consisting of interviews with 160 high-school teachers. Speech tempo was observed for each phrase separately, and analyzed by means of multilevel modeling of the speaker's sex, age, country, and dialect region (between speakers) an...

We presented four types of music (two fast tempo and two slow tempo types) during illusory self-motion perception (vection). Vection was induced by expansional dots (optic flow), and participants estimated its strength via magnitude estimation and by pressing a button. Our purpose of this study is to examine whether music alter vection strength. Results showed that vection was facilitated by tw...

Surface partitioning and lateral mobility of TEMPO (2,2,6,6-tetramethyl-1-piperidynyloxy free radical) in the aqueous liquid/gas interfacial region were investigated electrochemically with 100 nm wide, 1.0 cm long microband electrodes positioned at the air/water interface. For redox active amphiphiles such as TEMPO, the electrochemical current is the sum of the surface and solution components r...

" Dicono che c'` e un tempo per seminare e unopì u lungo per aspettare Io dico che c'era un tempo sognato che bisognava sognare "

Some studies have found that subjects give higher preference ratings and clearer emotional descriptions to pieces with the tempo/mode pairs fast/major and slow/minor. If these findings are true, one might expect to find a predominance of fast/major and slow/minor pairings in musical literature. This study looks for just such a trend in the canonical work of J.S. Bach’s Well Tempered Clavier. Bo...

Three experiments explored the relationships between surface rhythmic activity, tactus or beat rate, attentional focus, sensorimotor synchronization (tapping), and tempo perception. All involved a rhythmic standard followed by a comparison; the experimental task was a judgment of “slower, same, or faster.” In Experiment 1 participants simply judged relative speed; they focused on the beat level...