Continuous Response Digital Interface

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Continuous Response Digital
Interface
What is it???
• Continuous Response Digital Interface a.k.a. CRDI
• Developed at the Florida State University Center
for Music Research in 1989
• Used to measure ongoing and changing musical
responses while people are listening to music
• A dial or a slide that can be manipulated by the
listener
• Used Music Therapy and Education Research
• (Wheeler, 1995)
Software
• Potentiometer
• Attached to a dial with a pointer
• Connected to a computer by 16-bit analog-todigital interface
• Can receive input from a max of 4 dials
• (Gregory, 1995)
http://myweb.fsu.edu/ekawaguchi/CRDI/
What does it do?
• Interface receives information from dial that is
manipulated by listener
• Saves the information
• Sends information to computer that reads it as
a graph
• 256 degrees on dial
• Can be used in two types of applications
• (Gregory,1995)
Continuum
-Movement of the pointer indicates a change in
the response of the listener
-Boundaries are pre-determined by researcher
-examples of boundaries; less-more, negativepositive
-256 degrees or positions
-Degrees are sampled continuously
-Samples are plotted
-Means and standard deviations (Gregory, 1995)
Category
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Degrees of dial divided into predetermined sections
Each section represents a separate category
Movement of dial indicates category selection
Using overlays makes it simple for subjects
Similar to multiple choice question (Gregory, 1995)
Reliability
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Input stability a concern
Study done by R.V. Britten
3 Levels of subject
Rated preference and complexity of piece
Participants using dial rated higher than pencil and paper
Another study tracked perceived intensity
CRDI scores were reliable but significantly different than static
responses (Madsen, 1999)
References
• DeNardo, G. F., & Kantorski, V. J. (1998). A comparison of listeners'
musical cognition using a continuous response assessment. Journal
of Research in Music Education, 46(2), 320-331.
• Gregory, D. (1995). The continuous response digital interface: An
analysis of reliability measures. Psychomusicology, 14, 197-208.
• Madsen, C. K., & Geringer, J. M. (1999). Comparison of good versus
bad tone quality/intonation of vocal and string performances: Issues
concerning measurement and reliability of the continuous response
digital interface. Bulletin of the Council for Research in Music
Education, (141), 86-92.
• Wheeler, B. L. (Ed.). (1995). Music therapy research: Quantitative
and qualitative perspectives Barcelona Publishers.

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