Interactions between auditory and visual processing when listening to music in an audiovisual context: 1. Matching 2. Audio quality.

Iwamiya, Shin-ichiro

doi:10.1037/h0094098

Cited by 48 publications

(42 citation statements)

References 6 publications

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“…It has been shown that even when the intention of congruence between the auditory and the visual is removed, congruence can still be perceived and in fact very likely will be perceived (Bolivar, Cohen, & Fentress, 1994;Iwamiya, 1994;Lipscomb & Kendall, 1994). 23 As Mitchell and Gallaher conclude, "simultaneous presentation of visual and auditory stimuli (e.g., dance and music) may enhance the experience of a match between them from only a few similarities" (p. 67).…”

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confidence: 99%

Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance

Fogelsanger¹,

Afanador²

2017

AVANT

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Recent experimental psychological research on visual perception, auditory perception, and cross-modal perception has shed light on how these processes differ, and how the relations between visual and auditory stimuli shade our understanding of the events perceived. This work offers a possible way into considering the question of how music and dance "go together" or not, and particularly may shed light on the unusual twentieth-century human behavior of NOT having music and dance "go together." Our paper presents relevant research in perception, examines factors contributing to the separation of perceptual modalities that has often appeared in twentieth-century dance, and discusses the separation in terms of the specific behaviors of dancing and looking at dance.Keywords: perception; vision; audition; music; dance We come to this paper with a practical interest in what makes music and dance go together, or not, in that one of us choreographs and one of us composes, and we share a desire to make computer-interactive pieces. In such pieces the connection between movement and sound must be examined explicitly, and this has led us to explore the literature from experimental psychology relating sound to movement and attempt to connect it to the making and viewing of dances.We start by trying to distinguish between cases where dance and music are seen to "go together" and those where they are not. The latter appear to be unusual in human history. Indeed, one standard explanation for the evolution of music and dance hypothesizes that they contribute to group cohesion (McNeill, 1995;Cross, 1999;Brown, 2001;Hagen & Bryant, 2003), and perhaps the traditional cohesion of music and dance not only reflects

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confidence: 99%

Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance

Fogelsanger¹,

Afanador²

2017

AVANT

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“…At the same time, information from more than one of the five sensory channels can form a perceptional grouping such as the simultaneous presentation of the visual and music within the medium of film. When information from both channels match in either mood (Boltz, 2001(Boltz, , 2004 or synchronization (Lipscomb, 2005;Iwamiya, 1994), the perceptional relationship is known to be congruent. When these channels perceptually differ, an incongruent relationship between the channels has occurred.…”

Section: Cognitive Responses To Film and Musicmentioning

confidence: 99%

The effects of projected films on singers’ expressivity in choral performance.

Keown¹

2015

Psychomusicology: Music, Mind, and Brain

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The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

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“…In a study concerning auditory fidelity of high-definition television (HDTV), Neuman (1990) and Neuman, Crigler, and Bove (1991) found that subjects perceived an increase in visual quality when coupled with better audio. While investigating the effect of visual information on the impression of sound and the effect of auditory information on the impression of visual images when listening to music via audio-visual media, Iwamiya (1992) concluded that the factors of brightness, tightness, and cleanness of the auditory images enhanced the perception of brightness, tightness, and cleanness of the visual images. Hollier and Voelcker (1997) investigated the influence of video quality on audio perception and found that, when no video was present, the perceived audio quality was always worse than if video were present, and also that a decrease in video quality corresponded to a decrease in perceived audio quality.…”

Section: Theoretical Impactmentioning

confidence: 99%

Interactions in Perceived Quality of Auditory-Visual Displays

Storms

Zyda

2000

Presence: Teleoperators & Virtual Environments

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The quality of realism in virtual environments (VEs) is typically considered to be a function of visual and audio fidelity mutually exclusive of each other. However, the VE participant, being human, is multimodal by nature. Therefore, in order to validate more accurately the levels of auditory and visual fidelity that are required in a virtual environment, a better understanding is needed of the intersensory or crossmodal effects between the auditory and visual sense modalities. To identify whether any pertinent auditory-visual cross-modal perception phenomena exist, 108 subjects participated in three experiments which were completely automated using HTML, Java, and JavaScript programming languages. Visual and auditory display quality perceptions were measured intraand intermodally by manipulating the pixel resolution of the visual display and Gaussian white noise level, and by manipulating the sampling frequency of the auditory display and Gaussian white noise level. Statistically significant results indicate that high-quality auditory displays coupled with highquality visual displays increase the quality perception of the visual displays relative to the evaluation of the visual display alone, and that low-quality auditory displays coupled with high-quality visual displays decrease the quality perception of the auditory displays relative to the evaluation of the auditory display alone. These findings strongly suggest that the quality of realism in VEs must be a function of both auditory and visual display fidelities inclusive of each other.

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Interactions between auditory and visual processing when listening to music in an audiovisual context: 1. Matching 2. Audio quality.

Cited by 48 publications

References 6 publications

Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance

Parameters of Perception: Vision, Audition, and Twentieth-Century Music and Dance

The effects of projected films on singers’ expressivity in choral performance.

Interactions in Perceived Quality of Auditory-Visual Displays

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