Advanced Search

Journal Navigation

Journal Home

Subscriptions

Archive

Contact Us

Table of Contents

CiteULike is a free service for managing and discovering scholarly references - click here to get started.

Sign In to gain access to subscriptions and/or personal tools.
Psychology of Music
This Article
Right arrow Full Text (PDF)
Right arrow References
Right arrow Alert me when this article is cited
Right arrow Alert me if a correction is posted
Services
Right arrow Email this article to a friend
Right arrow Similar articles in this journal
Right arrow Alert me to new issues of the journal
Right arrow Add to Saved Citations
Right arrow Download to citation manager
Right arrowRequest Permissions
Right arrow Request Reprints
Right arrow Add to My Marked Citations
Citing Articles
Right arrow Citing Articles via HighWire
Right arrow Citing Articles via Google Scholar
Right arrow Citing Articles via Scopus
Google Scholar
Right arrow Articles by Gillman, E.
Right arrow Articles by Morehen, J.
Right arrow Search for Related Content
Social Bookmarking
Add to CiteULike   Add to Complore   Add to Connotea   Add to Del.icio.us   Add to Digg   Add to Reddit   Add to Technorati   Add to Twitter  
What's this?

Recognition of Visually Presented Musical Intervals

Elizabeth Gillman

Geoffrey Underwood

John Morehen

School of Psychology, University Park, Nottingham, U.K., NG7 2RDlpxerg{at}psychology.nottingham.ac.uk

The recognition of intervals is likely to underlie skilled sight-reading, since auditory coding and fingering selection are normally dependent on the relative pitches of notes in the score. Therefore, the purpose of this experiment is to investigate the processing of visually presented intervals. Participants were required to perform a matching task, indicating whether two consecutively presented intervals were the "same" or "different". These pairs of intervals were visually similar, visually dissimilar or spatially dissimilar. Sight-readers were most accurate at judging "same" intervals when pairs were visually similar and least accurate at judging "same" intervals when pairs were spatially dissimilar. Conversely, sight-readers were most accurate at judging "different" intervals when pairs were spatially dissimilar and least accurate at judging "different" intervals when pairs were visually similar. This interaction between actual similarity and visual similarity was greater for poor sight-readers compared with good sight-readers.

Psychology of Music, Vol. 30, No. 1, 48-57 (2002)
DOI: 10.1177/0305735602301006
Add to CiteULike CiteULike   Add to Complore Complore   Add to Connotea Connotea   Add to Del.icio.us Del.icio.us   Add to Digg Digg   Add to Reddit Reddit   Add to Technorati Technorati   Add to Twitter Twitter    What's this?


This article has been cited by other articles:


Home page
 Psychology of MusicHome page
A. Gabrielsson
Music Performance Research at the Millennium
Psychology of Music, July 1, 2003; 31(3): 221 - 272.
[Abstract] [PDF]