Christopher Gayford - Academia.edu (original) (raw)
Related Authors
Norwegian University of Science and Technology
Uploads
Papers by Christopher Gayford
Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audienc... more Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audience relies on a shared bodily experience of music. We investigated one aspect of listeners' experience, topical pitch perception (TPP), and its effect on listeners' memory for pitches and chords, and perception of tonality. A total of 1063 participants undertook a survey and three listening tests on-line (Study 1); in a partial replication (Study 2), 249 participants subsequently carried out the first survey in vivo. TPP was reported by 85% of experimental group participants in Study 1 who identified the specific locations where they "felt" pitches on the body, out of 229 potential choices, and 87.5% of all participants in Study 2 who chose from a total of five locations. Low pitches were consistently felt low in the body; high pitches were felt high in the body. While there were no effects of group on memory, experimental group participants defined as TPP "feelers&q...
Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audienc... more Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audience relies on a shared bodily experience of music. We investigated one aspect of listeners' experience, topical pitch perception (TPP), and its effect on listeners' memory for pitches and chords, and perception of tonality. A total of 1063 participants undertook a survey and three listening tests on-line (Study 1); in a partial replication (Study 2), 249 participants subsequently carried out the first survey in vivo. TPP was reported by 85% of experimental group participants in Study 1 who identified the specific locations where they "felt" pitches on the body, out of 229 potential choices, and 87.5% of all participants in Study 2 who chose from a total of five locations. Low pitches were consistently felt low in the body; high pitches were felt high in the body. While there were no effects of group on memory, experimental group participants defined as TPP "feelers&q...
Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audienc... more Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audience relies on a shared bodily experience of music. We investigated one aspect of listeners' experience, topical pitch perception (TPP), and its effect on listeners' memory for pitches and chords, and perception of tonality. A total of 1063 participants undertook a survey and three listening tests on-line (Study 1); in a partial replication (Study 2), 249 participants subsequently carried out the first survey in vivo. TPP was reported by 85% of experimental group participants in Study 1 who identified the specific locations where they "felt" pitches on the body, out of 229 potential choices, and 87.5% of all participants in Study 2 who chose from a total of five locations. Low pitches were consistently felt low in the body; high pitches were felt high in the body. While there were no effects of group on memory, experimental group participants defined as TPP "feelers&q...
Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audienc... more Sloboda, Gayford and Minassian (2003) suggest that communication between performer(s) and audience relies on a shared bodily experience of music. We investigated one aspect of listeners' experience, topical pitch perception (TPP), and its effect on listeners' memory for pitches and chords, and perception of tonality. A total of 1063 participants undertook a survey and three listening tests on-line (Study 1); in a partial replication (Study 2), 249 participants subsequently carried out the first survey in vivo. TPP was reported by 85% of experimental group participants in Study 1 who identified the specific locations where they "felt" pitches on the body, out of 229 potential choices, and 87.5% of all participants in Study 2 who chose from a total of five locations. Low pitches were consistently felt low in the body; high pitches were felt high in the body. While there were no effects of group on memory, experimental group participants defined as TPP "feelers&q...