A music-in-movie” history course that blends the research of film music composers with an evaluation of musical techniques from the earliest examples of film sound to film noir, westerns to James Bond, Hitchcock to musicals, and the Golden Era of Hollywood to Star Wars.
This bisensory interplay was observed solely when the musical rating was perceptually dominant, not when it was suppressed from consciousness, and it was noticed solely in people who may read music. In the beginning of every mimic-rivalry trial, a nonmelodic score and the flickering radial grating had been presented in physical alternation (i.e., left eye only followed by right eye solely) with none accompanying sound.
Trying first on the dominance trials (i.e., probe score and accompanying sound introduced when the probe rating was dominant), the variations between CON and INC dominance durations are statistically significant for trials during which wherever from 5 to 12 musical notes had been seen and heard; before that, CON and INC trials were statistically indiscriminable in period.
See Meeropol v. Nizer , supra, 560 F.2nd at 1070; Mura v. Columbia Broadcasting System, Inc., 245 587, 590 (S.D.N.Y.1965). S2 ). These results were primarily based on 20 participants, 17 of whom have been musicians, together with persons with absolute pitch participating in a larger study of musical rating and melody.