When investigating the perceived similarity of two musical stimuli, systematic asymmetries emerge which depend on the nature of the two elements being compared, relative to the musical context in which they appear. At the level of individual tones, Krumhansl (1979) found that if the order of presentation was diatonic/nondiatonic (relative to a tonal context), similarity ratings were lower than if that order was reversed. She concluded that when a change results in an element becoming less stable in terms of it's position on the tonal hierarchy, similarity perception will be lower than if a change increases it's stability. At the level of melodies, Bartlett and Dowling ( 1988) obtained a similar result, but claimed the asymmetry was due to violations of scalar structure, having little or nothing to do with the tonal hierarchy. To test between these different accounts, a series of experiments was conducted in which pairs of diatonic melodies were presented for similarity ratings. Each melody consisted of a context sequence and a target sequence. The context sequences were designed to promote either a C-major or a D-minor tonal hierarchy. These respective keys share similar notes in their scales, but the tonal hierarchies are inverted with respect to one another. According to Krumhansl's account of the asymmetry, noticeable changes in one key context should not be noticeable in the other, due to the reversal in stability of the component tones of the alteration. According to Bartlett and Dowling, no differential sensitivity should be observed, since all changes were within the scale structure of both contexts. In the first experiment, repetition of the tonic was employed as the key-instantiating stimulus, the result being that strong asymmetrical perception arose, both on the measures of similarity ratings, as well as alteration detection ability. Subsequent experiments employed triadic contexts (suggested by Krumhansl and others to be strongly key-instantiating), and note-frequency controlling contexts (to rule out the possibility of note repetition playing a role in the similarity ratings). The results supported the hypothesis that asymmetric perception is a result of the dynamic tone quality differences between scale degrees in a tonal melody. Two subsequent control studies ruled out the possibility oftarget sequences themselves being responsible for the asymmetries, and confirmed that listeners perceived the melodies in the keys specified in the experiment. A model based loosely on Tversky's explanation of asymmetric perception was put forth to explain these data, as well as those of Bartlett and Dowling. / Thesis / Doctor of Philosophy (PhD)

Estudos sugerem mudanças na percepção do tempo subjetivo com o envelhecimento, sendo comum a afirmação de que o tempo passa mais rapidamente com o aumento da idade. Alguns dos fatores estudados que afetam o tempo subjetivo são as emoções e o valor hedônico associado a estímulos musicais. Este estudo verificou se aspectos emocionais relacionados a diferentes estímulos musicais interferem na percepção subjetiva do tempo em diferentes fases da velhice. 54 pessoas de 50 até 90 anos de idade participaram do estudo. Foram apresentados quatro estímulos musicais para os diferentes grupos de idade e o tempo foi estimado pelo participante segundo o paradigma prospectivo, através da reprodução temporal. Os resultados mostraram que houve diferença nos tempos reproduzidos entre as categorias emocionais Alegria e Tristeza. Os estímulos Alegres foram percebidos como mais longos que os Tristes para todos os participantes. Foram encontradas diferenças significativas entre o grupo abaixo de 60 anos e o grupo acima de 80 anos, com reproduções mais curtas para o grupo abaixo de 60 anos. A música Triste apresentou correlação positiva significativa entre o tempo subjetivo e idade, com tempo subjetivo mais longo com o aumento da idade. De modo geral, foi verificado que todos os participantes subestimaram o tempo, e uma tendência a um aumento do tempo reproduzido em relação ao aumento da idade, se aproximando mais do valor real de duração do estímulo musical / Studies suggest changes on the perception of subjective time with aging, being ordinary the statement that says \"time goes by faster\" with the increasing of age. Some of the factors that affect subjective time are the emotions and the hedonic value associated to musical stimulus. This study verified if emotional aspects related to different musical stimulus interfere on the subjective perception of time on different stages of old age. 54 people between 50 and 90 years old participated on the study. Four musical stimuli were presented to different age groups and time was estimated by the participant according to the prospective paradigm, through temporal reproduction. The results showed that there was a difference on reproduced times between the emotional categories Happiness and Sadness. Happy stimuli were longer than the Sad ones for all participants. Significant differences were found between the group under 60 years old and the group older than 80 years old, with shorter reproduction found in the group under 60 years old. Sad music presented meaningful positive correlation between subjective time and age, with longer subjective time with aging. Generally, it was verified that all participants underestimated time, along with a tendency to increase reproduced time related with aging, getting closer to the real value of the duration of musical stimulus

Estudos sugerem mudanças na percepção do tempo subjetivo com o envelhecimento, sendo comum a afirmação de que o tempo passa mais rapidamente com o aumento da idade. Alguns dos fatores estudados que afetam o tempo subjetivo são as emoções e o valor hedônico associado a estímulos musicais. Este estudo verificou se aspectos emocionais relacionados a diferentes estímulos musicais interferem na percepção subjetiva do tempo em diferentes fases da velhice. 54 pessoas de 50 até 90 anos de idade participaram do estudo. Foram apresentados quatro estímulos musicais para os diferentes grupos de idade e o tempo foi estimado pelo participante segundo o paradigma prospectivo, através da reprodução temporal. Os resultados mostraram que houve diferença nos tempos reproduzidos entre as categorias emocionais Alegria e Tristeza. Os estímulos Alegres foram percebidos como mais longos que os Tristes para todos os participantes. Foram encontradas diferenças significativas entre o grupo abaixo de 60 anos e o grupo acima de 80 anos, com reproduções mais curtas para o grupo abaixo de 60 anos. A música Triste apresentou correlação positiva significativa entre o tempo subjetivo e idade, com tempo subjetivo mais longo com o aumento da idade. De modo geral, foi verificado que todos os participantes subestimaram o tempo, e uma tendência a um aumento do tempo reproduzido em relação ao aumento da idade, se aproximando mais do valor real de duração do estímulo musical / Studies suggest changes on the perception of subjective time with aging, being ordinary the statement that says \"time goes by faster\" with the increasing of age. Some of the factors that affect subjective time are the emotions and the hedonic value associated to musical stimulus. This study verified if emotional aspects related to different musical stimulus interfere on the subjective perception of time on different stages of old age. 54 people between 50 and 90 years old participated on the study. Four musical stimuli were presented to different age groups and time was estimated by the participant according to the prospective paradigm, through temporal reproduction. The results showed that there was a difference on reproduced times between the emotional categories Happiness and Sadness. Happy stimuli were longer than the Sad ones for all participants. Significant differences were found between the group under 60 years old and the group older than 80 years old, with shorter reproduction found in the group under 60 years old. Sad music presented meaningful positive correlation between subjective time and age, with longer subjective time with aging. Generally, it was verified that all participants underestimated time, along with a tendency to increase reproduced time related with aging, getting closer to the real value of the duration of musical stimulus

Orientador: Helena Maria André Bolini / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia de Alimentos / Made available in DSpace on 2018-08-22T00:28:49Z (GMT). No. of bitstreams: 1 Silva_DavidWesley_M.pdf: 6068957 bytes, checksum: b9b7736d1a2b785ad90fa44cc938bb86 (MD5) Previous issue date: 2013 / Resumo: A presença de bolo em celebrações é uma forte tradição cultural sempre acompanhada de música. Imensa maioria dos bolos são fabricados usando farinhas de trigo, que contém glúten; mas há uma parcela crescente da população que vem desenvolvendo a reação alérgica ao glúten, conhecida como doença celíaca, público esse carente de alimentos alternativos e de alta aceitação pelos consumidores. Assim, este estudo teve por objetivo desenvolver produto alimentício de alta aceitação direcionado a pessoas portadoras de doença celíaca, utilizando ingredientes funcionais, redutores calóricos, e relacionando a variabilidade dessa aceitação sob influência de diferentes gêneros musicais; buscando encontrar atributos físico-químicos e sensoriais associados aos níveis de preferência do produto pelos consumidores. Foram elaboradas seis variações da receita, alternando trigo e massa de banana verde, sacarose e edulcorantes. Todas as receitas foram avaliadas quanto à Composição Centesimal, Perfil de Textura, e Teste de Aceitação. Foram aplicados Análise de Variância, Teste de Média de Tukey e Mapa Interno de Preferência. Análises físico-químicas indicaram que as amostras se diferenciaram, associando as amostras com farinha de trigo e sacarose num primeiro grupo, pelo aumento de carboidratos e menor umidade. O segundo grupo associou as amostras com maior umidade e presença de edulcorante(s). A análise de TPA evidenciou que as amostras contendo trigo apresentaram maior elasticidade que as demais, embora nos parâmetros dureza, coesividade e mastigabilidade as amostras geralmente não se diferiram. Resultados do teste de aceitação indicaram que todas as amostras apresentaram boa aceitação, com exceção da formulação MBT. As amostras com sacarose receberam as maiores médias para todos os atributos avaliados. Um grupo intermediário de aceitação foi evidenciado com as amostras caracterizadas pela presença da sucralose. A análise multivariada pelo Mapa Interno de Preferência confirmou os mesmos achados e revelou como as amostras se alternaram no espectro intermediário. Observou-se que os aspecto mais importante para a aceitação de uma amostra de bolo de milho com biomassa foi o sabor: positivo para MBS, pelas características sensoriais da sacarose, e negativo para MBT pelas características sensoriais da estévia. Resultados dos testes de aceitação sob audição de diferentes estilos musicais evidenciou que a amostra controle permaneceu invariável, MBS variou pouco e as outras variaram em amplitude de até 14,4%, das mesmas médias sem música. A música afetou 9,2 % das médias. Mapas Internos de Preferência em sequência revelaram que os estilos musicais rock e "chorinho" alteraram os padrões comuns de distribuição das amostras dos outros testes. A massa da polpa de banana verde constituiu um ótimo substituto da farinha de trigo para o mini-bolo criado não alterando os padrões de aceitação, em uso conjunto a sacarose, podendo ser uma ótima opção de ingrediente na confecção de produtos de panificação doce, voltados ao público celíaco. Ademais ficou evidenciado que a música é um fator de influência nas respostas do consumidor frente a produtos alimentícios, podendo ser utilizada para potencializar a aceitação dos mesmos, principalmente no momento em que o consumidor está elaborando sua avaliação de novos produtos, mesmo que não tenha consciência disso / Abstract: The presence of a baked cake in parties remains strongly as a cultural tradition coming always along with music. Most of the cakes are made using wheat flour, which contains gluten; but there is an even growing population that is developing alergenic reactions to the gluten, known as the celiac disease. These people are needy of alternative food of high acceptance to the consumers. This research had for purpose to develop a food product of high acceptance for the coeliac people, utilizing functional ingredients, calorie reductors, and verifying variability of its acceptance influenced by different musical genres; searching for physico-chemical attributes as well sensory ones associated to the preference levels of the product accessed by consumers. Six variations of the recipe were developed, alternating wheat and green banana pulp, sacarose and sweeteners. All the recipes were evaluated for Chemical Composition, Texture Profile Analysis and Acceptance Test. It was used Analysis of Variance, Tukey's Mean Test and Internal Preference Map. Physico-chemical analysis returned that the samples were different, addressing the samples containing wheat and sacarose as a first group, with increased levels of carbohydrates. The second group joined the samples with higher moisture levels and presence of sweeteners. Texture analysis showed that samples containing wheat scored higher for springiness than the other samples, though as for parameters like hardness, cohesiveness and gumminess samples showed no differences mostly. Results for the Acceptance Test pointed that all sample but one (MBT), had good acceptance. Samples containing sacarose were given the higher mean scores for all evaluated attributes. An intermediate scored group for acceptance was classified linking the samples containing sucralose. Multivaried analysis made by Internal Preference Map confirmed the same findings and revealed how the samples alternated in the intermediate spectrum. It was observed that the most important aspect for samples acceptance was flavor: positive to MBS because of sacarose's sensory characteristics, and negative to MBT for stevia's sensory characteristics. The results of Acceptance Tests under audition of different music styles showed that the control sample remained unvaried, while the MBS sample changed little and others oscillated up to 14.4%, of the same means obtained without music. Music also affected 9.2% of the quantity of means. The Internal Preference Maps done for the sequence showed that rock and choro (brazilian) music styles altered the common patterns in the samples's distribution of other tests. Green banana pulp can be a very good substitute of wheat flour for the created mini-cake, since linked to sacarose, it did not change the high score patterns of acceptance, and it can be a good option of ingredient to be used in bakery of sweet products, addressed to the coeliac population. Finally it was shown that music is one of the influential factors to consumers responses regarding food products, and can be used to boost its acceptance, specially when consumer is in the moment of evaluation of new products, even if he is not aware of this / Mestrado / Consumo e Alimentos / Mestre em Alimentos e Nutrição

No / The results from previous experiments using structured musical stimuli to communicate coordinate locations within a graphical grid, navigation of an auditory cursor and simple shapes are used as a basis for further exploratory research to communicate diagrams. An experimental framework program (called AudioGraph) provided a platform for investigating musical information processing for blind users. Under this platform, simple arrangements of shapes (forming diagrams) were communicated to users using structured musical stimuli. Meaningfully arranged graphical shapes (at least for the visual sense) were communicated in the absence, and in the presence of a particular perceptual context or different perceptual contexts. The results indicated that perceptual context played an important role in the interpretation of the structured musical stimuli that communicated simple diagrams. The paper concludes with a discussion on the implications of the results, the role of context and the use of structured musical stimuli to communicate graphical information to visually impaired users.

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