The matching rate with overall for each perspective [%] [shown in our previous work (Hashizume and Toda, 2025)]
| Perspectives | Drums | Bass | Piano | Guitar | Others | Music |
|---|---|---|---|---|---|---|
| Timbre | 74.7 | 74.5 | 75.6 | 75.1 | 75.3 | 74.3 |
| Rhythm | 84.4 | 80.1 | 78.4 | 80.6 | 79.8 | 82.0 |
| Melody | 56.7 | 79.0 | 80.7 | 81.0 | 83.1 | 82.8 |
| Perspectives | Drums | Bass | Piano | Guitar | Others | Music |
|---|---|---|---|---|---|---|
| Timbre | 74.7 | 74.5 | 75.6 | 75.1 | 75.3 | 74.3 |
| Rhythm | 78.4 | 79.8 | ||||
| Melody | 56.7 | 79.0 |
For a given sample set, the perspectives for which a participant’s evaluations matched the overall evaluation were considered to be given priority, and thus, perspectives with higher matching rates were interpreted as more important in perception. Note that N/A is included in counting and treated as a mismatch with both A and B