Abstract
A great deal of the motion perceived in music is apparent rather than real. On the piano, for example, no continuous movement in frequency occurs between two sequentially sounded tones. Though a listener may perceive a movement from the first tone to the second, each tone merely begins and ends at its stationary position on the frequency continuum. Recent advances in the modeling of apparent- motion effects in vision provide a starting point for the modeling of the strong apparent- motion effects in music. An adaptation of the Grossberg- Rudd model of apparent motion in vision, when given input representing the strengths of pitch sensations positioned along a one- dimensional frequency continuum, can simulate important musical phenomena of auditory stream segregation, van Noorden's melodic- fission/ temporal- coherence boundaries, various Gestalt effects, aspects of dynamic attending, and Narmour's predicted categorical distinction between musical intervals implying a continuation and those implying a reversal of direction.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
