RESUMO
Studies involving the interaction between musical mode and tempo on time perception have been carried out through comparisons between a single major mode and a single minor mode, presented in different tempi. However, classifying the modes only into major and minor has not been considered sufficient. The purpose of this study was to verify the influence of the musical mode and tempo interaction on time perception analyzing the effect of different modes performed in the slow, moderate and fast tempi. Fifty undergraduate students of both sexes individually listened to 12 musical excerpts (4 modes - Ionian, Mixolydian, Dorian and Aeolian - and 3 tempi - 72 bpm, 114 bpm, and 184 bpm), one excerpt at a time. After each excerpt, the participants performed a time-reproduction task, in which they had to press a button (beginning of the task), recal the duration of each excerpt and press a button again (end of the task). Results showed no interaction between mode and tempi and no differences between musical modes, regardless of tempo. However, regardless of the mode, excerpts in slow tempo was judged shorter than in moderate and fast tempi, respectively, and excerpts in moderate tempo was judged shorter than excerpts in fast tempo. These results can contribute to understanding the psychological processes of attention, memory and expectancy related to the perception of time in music listening situations.
Assuntos
Música , Percepção do Tempo , Atenção , Percepção Auditiva , Feminino , Humanos , Masculino , EstudantesRESUMO
The aim of this study was to observe the influence of the temporal order of musical keys involved in sudden modulations, which implies compositional developments in clockwise and counterclockwise directions of the circle of fifths, on subjective time estimations. Seventy-five undergraduate students from Universidade de Ribeirão Preto participated in this experiment, which consisted of listening to a modulating musical stimulus and retrospectively reproducing the duration with the aid of a stopwatch. The results showed that reverse sudden tonal modulation in the counterclockwise direction or, for instance, the temporal order from the original key of A-major to the arrival at the destination key of C-major, elicited shorter time estimations than the clockwise direction or, for instance, the temporal order from original key of C-major to the arrival at the destination key of A-major. These data were interpreted using the Expected Development Fraction model that describes the development of expectations when an inter-key distance is traversed during a certain time interval. This expected development is longer than the perceived duration, leading to the underestimation of time.
Assuntos
Estimulação Acústica/psicologia , Percepção Auditiva/fisiologia , Música/psicologia , Percepção do Tempo/fisiologia , Estimulação Acústica/métodos , Adolescente , Adulto , Feminino , Humanos , Masculino , Estudos Retrospectivos , Adulto JovemRESUMO
The aim of the present study was to investigate whether the perception of presentation durations of pictures of different body postures was distorted as function of the embodied movement that originally produced these postures. Participants were presented with two pictures, one with a low-arousal body posture judged to require no movement and the other with a high-arousal body posture judged to require considerable movement. In a temporal bisection task with two ranges of standard durations (0.4/1.6 s and 2/8 s), the participants had to judge whether the presentation duration of each of the pictures was more similar to the short or to the long standard duration. The results showed that the duration was judged longer for the posture requiring more movement than for the posture requiring less movement. However the magnitude of this overestimation was relatively greater for the range of short durations than for that of longer durations. Further analyses suggest that this lengthening effect was mediated by an arousal effect of limited duration on the speed of the internal clock system.