Journal articles on the topic 'Perceived musicality'
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1
Howard, David, Stuart Rosen, and Victoria Broad. "Major/Minor Triad Identification and Discrimination by Musically Trained and Untrained Listeners." Music Perception 10, no. 2 (1992): 205–20. http://dx.doi.org/10.2307/40285607.
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The extent to which a computer-synthesized continuum of major to minor triads was categorically perceived was examined using labeling and discrimination tests. The 32 listeners varied widely in " musicality," assessed by an objective test of basic musical skills. There was a strong positive relationship between musicality and ability to label the major/minor continuum consistently ( measured by the slope of the labeling function). Overall discrimination performance varied only weakly with musicality, although the pattern of discrimination performance across the continuum differed strongly among three listener subgroups, distinguished on the basis of musicality. The most "musical" listeners showed a close relationship between the position of the discrimination peak and the category boundary calculated from the labeling function, a strong indicator of categorical perception. On similar criteria, the evidence for categorical perception was nonexistent in the least musical listeners and moderate in an intermediate group. From the evidence that the extent of categorical perception appears to vary in a graded fashion with the degree of musicality, we conclude that categorical perception can arise primarily through a process of learning.
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Dalgarno, Gordon. "Improving on What is Possible with Hearing Aids for Listening to Music." British Journal of Music Education 7, no. 2 (July 1990): 99–121. http://dx.doi.org/10.1017/s0265051700007610.
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There is no difference between the inherent musicality of people with impaired hearing and those with normal hearing. This applies even to the profoundly deaf, provided that music can adequately be perceived. Recognising the shortcomings of hearing aids designed primarily for speech, the author shows how music listening for the deaf can be very considerably improved by using readily available equipment to process sound in particular ways to compensate for different types of hearing deficiency. He observes that some deaf people seem able to perceive music, especially the pitch of notes, more clearly than others who are substantially less hearing impaired. A possible explanation for this paradox is given.
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Tierney, Adam, Aniruddh D. Patel, and Mara Breen. "Repetition Enhances the Musicality of Speech and Tone Stimuli to Similar Degrees." Music Perception 35, no. 5 (June 1, 2018): 573–78. http://dx.doi.org/10.1525/mp.2018.35.5.573.
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Certain spoken phrases, when removed from context and repeated, begin to sound as if they were sung. Prior work has uncovered several acoustic factors that determine whether a phrase sounds sung after repetition. However, the reason why repetition is necessary for song to be perceived in speech is unclear. One possibility is that by default pitch is not a salient attribute of speech in non-tonal languages, as spectral information is more vital for determining meaning. However, repetition may satiate lexical processing, increasing pitch salience. A second possibility is that it takes time to establish the precise pitch perception necessary for assigning each syllable a musical scale degree. Here we tested these hypotheses by asking participants to rate the musicality of spoken phrases and complex tones with matching pitch contours after each of eight repetitions. Although musicality ratings were overall higher for the tone stimuli, both the speech and complex tone stimuli increased in musicality to a similar degree with repetition. Thus, although the rapid spectral variation of speech may inhibit pitch salience, this inhibition does not decrease with repetition. Instead, repetition may be necessary for the perception of song in speech because the perception of exact pitch intervals takes time.
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Mamonova, Yana A., and Denis V. Tsarev. "Advantages of Music Game As a Method of Teaching Junior Schoolchildren." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 148–55. http://dx.doi.org/10.17922/2071-5323-2021-20-1-148-155.
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The purpose of the work is to theoretically justify and experimentally prove the effectiveness of the use of musical and didactic games as a means of teaching younger students in music lessons and identify its advantages in comparison with traditional methods. The main conclusion of the work – a comparative analysis of the results of experimental work showed that significant changes took place in the development of the musicality of elementary school students, in which musical and didactic games were used. In general, after the use of music and didactic games in music lessons in elementary school, more schoolchildren with a high level of musicality development were identified. The results of the study showed the effectiveness and efficiency of developing the musicality of primary school students using music and didactic games and the feasibility of their use in music lessons in primary school. The great advantage of games is that this type of work is joyfully perceived by younger students, and you can organize the game so that it will contribute to solving the problems of their musical training, education, development. When using music and didactic games in music lessons in elementary school, the dynamics of the development of the musicianship of students is clearly observed.
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Bugaj, Katarzyna A., James Mick, and Alice-Ann Darrow. "The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality." String Research Journal 9, no. 1 (June 25, 2019): 23–33. http://dx.doi.org/10.1177/1948499219851374.
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The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.
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Monaci, Maria Grazia, Maya Gratier, Colwyn Trevarthen, Didier Grandjean, Pierre Kuhn, and Manuela Filippa. "Parental Perception of Vocal Contact with Preterm Infants: Communicative Musicality in the Neonatal Intensive Care Unit." Children 8, no. 6 (June 17, 2021): 513. http://dx.doi.org/10.3390/children8060513.
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In this study, we evaluate mothers’ subjective experience of speaking and singing to their infants while they are in their incubators. We also discuss the relevance of the theoretical framework of Communicative Musicality for identifying the underlying mechanisms that may help explain its beneficial effects, both for parents and infants. Nineteen mothers talked and sung to their stable preterm infants in the incubators, for 5 min each, in three sessions over a period of 6 days. After each session, mothers were asked to assess in a self-report questionnaire the ease and the effectiveness of addressing their infants by speaking and singing and their prior musical experience. Perceived ease and effectiveness in communication were found to increase progressively from one session to the next. Mothers rated the speech to be increasingly more effective. This intuitive mean of interaction between parents and infants could be encouraged and supported by the nurses and the medical staff. Furthermore, individual musical experience affects perceived ease of communicating vocally with infants after a premature birth and should thus be encouraged during pregnancy.
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Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.
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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.
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Costes-Onishi, Pamela. "Negotiating the boundaries between the formal and the informal: An experienced teacher's reflective adaptations of informal learning in a keyboard class for at-risk students." British Journal of Music Education 33, no. 3 (June 30, 2016): 309–26. http://dx.doi.org/10.1017/s0265051716000140.
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The objective of this study is to address the important questions raised in literature on the intersections between formal and informal learning. Specifically, this will be discussed within the concept of ‘productive dissonance’ and the pedagogical tensions that arise in the effort of experienced teachers to transition from the formal to the informal. This case study discusses the issues that ensue when strict demarcations between formal and informal are perceived, and demonstrates that the former is vital to the facilitation of the latter. The blurring of formal and informal pedagogical approaches has shown that the concept of ‘critical musicality’ becomes more apparent in student learning and that engagement increases especially among at-risk students.
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Cramer, Alfred W. "Of Serpentina and Stenography: Shapes of Handwriting in Romantic Melody." 19th-Century Music 30, no. 2 (2006): 133–65. http://dx.doi.org/10.1525/ncm.2006.30.2.133.
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Like nineteenth-century handwriting, Romantic melody consisted of a single unbroken, shaped curviline and was invested with the ability to evoke the ideal, maternal feminine, to evoke deeper images and specific meanings, and to function simultaneously as language and as signifier of infinite meaning. It can be fruitfully compared with stenography, a handwriting-based information technology flourishing in the middle nineteenth century. This article documents the perceived handwriting-like nature of music and the perceived musicality of stenography through writings of E. T. A. Hoffmann, Robert Schumann, Wagner, and the stenographer F. X. Gabelsberger. The perceptual phenomenon of auditory streaming, along with analytical approaches developed by Robert O. Gjerdingen and Eugene Narmour, makes it possible to demonstrate structural similarities between stenography and melody (in examples by Berlioz, Mendelssohn, and Wagner) and to show commonalities between the notion of the "music of the future" and the futuristic aspirations of stenography. In turn, it becomes possible to perform the shapes of handwriting in Romantic melody and hear voices and fantastic visions in those shapes.
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Chybowski, Julia J. "Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield." Journal of the Society for American Music 15, no. 3 (August 2021): 305–20. http://dx.doi.org/10.1017/s1752196321000195.
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AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.
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Andermann, Martin, Roy D. Patterson, and André Rupp. "Transient and sustained processing of musical consonance in auditory cortex and the effect of musicality." Journal of Neurophysiology 123, no. 4 (April 1, 2020): 1320–31. http://dx.doi.org/10.1152/jn.00876.2018.
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In recent years, electroencephalography and magnetoencephalography (MEG) have both been used to investigate the response in human auditory cortex to musical sounds that are perceived as consonant or dissonant. These studies have typically focused on the transient components of the physiological activity at sound onset, specifically, the N1 wave of the auditory evoked potential and the auditory evoked field, respectively. Unfortunately, the morphology of the N1 wave is confounded by the prominent neural response to energy onset at stimulus onset. It is also the case that the perception of pitch is not limited to sound onset; the perception lasts as long as the note producing it. This suggests that consonance studies should also consider the sustained activity that appears after the transient components die away. The current MEG study shows how energy-balanced sounds can focus the response waves on the consonance-dissonance distinction rather than energy changes and how source modeling techniques can be used to measure the sustained field associated with extended consonant and dissonant sounds. The study shows that musical dyads evoke distinct transient and sustained neuromagnetic responses in auditory cortex. The form of the response depends on both whether the dyads are consonant or dissonant and whether the listeners are musical or nonmusical. The results also show that auditory cortex requires more time for the early transient processing of dissonant dyads than it does for consonant dyads and that the continuous representation of temporal regularity in auditory cortex might be modulated by processes beyond auditory cortex. NEW & NOTEWORTHY We report a magnetoencephalography (MEG) study on transient and sustained cortical consonance processing. Stimuli were long-duration, energy-balanced, musical dyads that were either consonant or dissonant. Spatiotemporal source analysis revealed specific transient and sustained neuromagnetic activity in response to the dyads; in particular, the morphology of the responses was shaped by the dyad’s consonance and the listener’s musicality. Our results also suggest that the sustained representation of stimulus regularity might be modulated by processes beyond auditory cortex.
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Lockart, Rebekah, and Sharynne McLeod. "Factors That Enhance English-Speaking Speech-Language Pathologists' Transcription of Cantonese-Speaking Children's Consonants." American Journal of Speech-Language Pathology 22, no. 3 (August 2013): 523–39. http://dx.doi.org/10.1044/1058-0360(2012/12-0009).
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Purpose To investigate speech-language pathology students' ability to identify errors and transcribe typical and atypical speech in Cantonese, a nonnative language. Method Thirty-three English-speaking speech-language pathology students completed 3 tasks in an experimental within-subjects design. Results Task 1 (baseline) involved transcribing English words. In Task 2, students transcribed 25 words spoken by a Cantonese adult. An average of 59.1% consonants was transcribed correctly (72.9% when Cantonese–English transfer patterns were allowed). There was higher accuracy on shared English and Cantonese syllable-initial consonants /m,n,f,s,h,j,w,l/ and syllable-final consonants. In Task 3, students identified consonant errors and transcribed 100 words spoken by Cantonese-speaking children under 4 additive conditions: (1) baseline, (2) +adult model, (3) +information about Cantonese phonology, and (4) all variables (2 and 3 were counterbalanced). There was a significant improvement in the students' identification and transcription scores for conditions 2, 3, and 4, with a moderate effect size. Increased skill was not based on listeners' proficiency in speaking another language, perceived transcription skill, musicality, or confidence with multilingual clients. Conclusion Speech-language pathology students, with no exposure to or specific training in Cantonese, have some skills to identify errors and transcribe Cantonese. Provision of a Cantonese-adult model and information about Cantonese phonology increased students' accuracy in transcribing Cantonese speech.
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Senchuk, Iryna. "Musical Code of Samuel Beckett’s Novel “Murphy”." Слово і Час, no. 11 (November 15, 2019): 50–62. http://dx.doi.org/10.33608/0236-1477.2019.11.50-61.
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The paper explores the ways in which music manifests itself on lexical-semantic, structural and rhythmic-syntactic levels of the novel “Murphy” (1938) by Samuel Beckett, whose Anglo- and Francophone writing is an attempt to synthesize prose and music. Beckett’s aesthetic ideas, his understanding of the expressivity of word and music were considerably influenced by Wittgenstein’s philosophy of linguistic skepticism and Schopenhauer’s vision of music as the only way of expressing the essence of the world.
In his work, not only does Beckett combine the two forms of art through allusions and references, phonetic sound imitation or modeling of particular musical forms, but also makes an attempt to use the imagery of music and its ability to directly express feelings and thoughts, focusing on ‘semantic possibilities’ of music as a metaphor. Being sensitive to the sounding qualities of phrases in his works, Beckett perceived any sounds, even human ones, as music. He saturates the novel “Murphy” with auditory memories, rising and falling sounds, rhythms, melodies and musical categories, which enhance its musical effect. The diversity of musicality in Beckettian text is also manifested in the rhythmic organization, the presence of leitmotifs, and extensive use of verbal and structural repetitions.
Therefore, Beckett’s method in “Murphy” involves using devices of musical expressiveness, as well as transforming the musical categories into metaphors of different experiences. Simultaneously, the rhythm of repetitions makes the emotional tonality of the work more distinct and creates the effect of intense movement of the consciousness.
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Barlow, Helen. "‘Praise the Lord! We are a Musical Nation’: The Welsh Working Classes and Religious Singing." Nineteenth-Century Music Review 17, no. 3 (April 14, 2020): 445–72. http://dx.doi.org/10.1017/s1479409819000570.
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The title quotation from Under Milk Wood encapsulates a widely held belief in the innate musicality of the Welsh and its religious roots. These roots were put down deeply during the nineteenth century, in a huge expansion of choral and congregational singing across Wales and particularly in the industrial communities. This development has been described as ‘a democratic popular choral culture rooted in the lives of ordinary people’, and central to it was the cymanfa ganu, the mass hymn-singing festival. Choral and congregational singing, typified by the cymanfa ganu, underpinned the perception of Wales by the Welsh and by many non-Welsh people as ‘the land of song’.Alongside this phenomenon ran the tradition of the plygain, a Welsh Christmas carol service. While the cymanfa developed in nonconformist chapels in the mid to late nineteenth century, and on a large – often massive – scale, the plygain is a tradition dating from a period much further back, when Welsh Christianity was Catholic; it belonged to agricultural workers rather than the industrial communities; and the singers sang in much smaller groups – often just twos or threes.This article describes the nature and origins of these contrasting traditions, and looks at the responses of listeners both Welsh and non-Welsh, and the extent to which they perceived these practices as expressive of a peculiarly Welsh identity. It also considers some of the problems of gathering evidence of working-class responses, and how far the sources give an insight into working-class listening experiences.
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Hoeschele, Marisa, Hugo Merchant, Yukiko Kikuchi, Yuko Hattori, and Carel ten Cate. "Searching for the origins of musicality across species." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140094. http://dx.doi.org/10.1098/rstb.2014.0094.
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In the introduction to this theme issue, Honing et al. suggest that the origins of musicality—the capacity that makes it possible for us to perceive, appreciate and produce music—can be pursued productively by searching for components of musicality in other species. Recent studies have highlighted that the behavioural relevance of stimuli to animals and the relation of experimental procedures to their natural behaviour can have a large impact on the type of results that can be obtained for a given species. Through reviewing laboratory findings on animal auditory perception and behaviour, as well as relevant findings on natural behaviour, we provide evidence that both traditional laboratory studies and studies relating to natural behaviour are needed to answer the problem of musicality. Traditional laboratory studies use synthetic stimuli that provide more control than more naturalistic studies, and are in many ways suitable to test the perceptual abilities of animals. However, naturalistic studies are essential to inform us as to what might constitute relevant stimuli and parameters to test with laboratory studies, or why we may or may not expect certain stimulus manipulations to be relevant. These two approaches are both vital in the comparative study of musicality.
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Rothenberg, David, and Michael Deal. "A New Morphological Notation for the Music of Humpback Whales." Art & Perception 3, no. 3 (2015): 347–58. http://dx.doi.org/10.1163/22134913-00002040.
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The humpback whale sings a song that defies easy characterization and human perception. This paper attempts to develop a new form a visual notation for this song which enables humans to better perceive its musicality, tonality and morphology, combining elements of sonographic and musical notations. The beauty of the humpback whale song is considered as to whether it is an inherent characteristic or a human projection.
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Commodari, Elena, and Jasmine Sole. "Music education in junior high school: Perception of emotions conveyed by music and mental imagery in students who attend the standard or musical curriculum." Psychology of Music 48, no. 6 (March 21, 2019): 824–35. http://dx.doi.org/10.1177/0305735619832962.
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The ability to perceive emotions conveyed by music and recognize multiple and mixed emotions improves with age. Several studies have found that mental imagery is one of the mechanisms that underlie emotional reactivity to music, and music has a facilitating effect on mental imagery. In particular, researchers have hypothesized a relationship between the perception of emotions expressed by music, visual imagery, and musical training. However, the results of previous studies are not homogenous. This study investigated the ability to perceive emotions in music in 130 students in their final year of junior high school and analyzed the contribution of musical training in visual imagery performances. Each student listened to one of two musical tracks, which were arranged to convey positive and negative emotions, respectively. After listening, the students reported the emotions they perceived and completed a visual imagery test. The results showed that the students could recognize simple, multiple and mixed emotions conveyed by the music. Moreover, the musically-trained students showed higher visual imagery ability.
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Bowles, Chelcy, Teryl Dobbs, and Janet Jensen. "Self-Perceived Influences on Musically Active Nonmusic Majors Related to Continued Engagement." Update: Applications of Research in Music Education 33, no. 1 (June 27, 2014): 11–20. http://dx.doi.org/10.1177/8755123314540657.
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Poluboyaryna, Irina. "MUSICAL TALENT IN THE WORKS OF FOREIGN RESEARCHERS." 1 1, no. 1 (September 2020): 17–22. http://dx.doi.org/10.34142/27091805.2020.1.01.03.
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Object. The article analyzes the theoretical approaches of foreign researchers to the definition of musical talent. Empirical material devoted to the study of the determinants of the manifestation of musical talent in foreign music psychology and pedagogy is substantiated and concretized. Research methods (analytical, historical and comparative, retrospective, comparative analysis of scientific and pedagogical literature, educational materials) allowed to distinguish different approaches to understanding the significance of the development of musical abilities (M. Shawen, R. Mueller-Freinfels, M. Hassler, U. Mursell, B. Probst and others). Results. It is determined that at the beginning of the twentieth century in Western musical psychological and pedagogical works outlined two approaches to the essence of musicality: musicality as a holistic property of the individual; musicality as a category of personality ability. It is established that in the foreign scientific literature there are several approaches to the problem of identifying musical abilities. The first approach is that musical talent consists of a number of components that are assessed by tests separately. The second approach is to test the ability to perceive classical musical forms. It is established that the perfection of a musician is largely determined by the presence of innate inclinations to musical activity. It is proved that the development of musical talent has a direct relationship between the level of development of musical abilities and external socio-pedagogical factors. At the same time, natural data and specially organized classes complement each other, and professional music training helps a person to reach his full potential. Conclusions. In foreign music psychology and pedagogy, a large amount of empirical material has been accumulated, devoted to the study of the determinants of the manifestation of musical talent. However, the question of the structure of musical talent and its components remains open. At the theoretical level, the issues of the relationship between the concepts of «musical abilities», «musical talent», «musicality» remain unsolved.
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Petrović, Milena, Gordana Ačić, and Vera Milanković. "Sound of picture vs picture of sound: Musical palindrome." New Sound, no. 50-2 (2017): 217–28. http://dx.doi.org/10.5937/newso1750217p.
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This study investigated whether and how the musical palindrome (tonal, melodic, and metric) can be recognized in auditory and/or visual perception in musically trained participants. According to the results, we suggest that palindrome recognition can only be aurally perceived if it is short enough and the listener is quite sophisticated. There is a fair amount of research on the recognition of transformed auditory and visual patterns, as well as the visual symmetry perception in persons with ASD. Thus, a future study will test more people with ASD, on one hand, and musically trained participants recognizing short musical palindromes.
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Thompson, William F., and Lola L. Cuddy. "Sensitivity to Key Change in Chorale Sequences: A Comparison of Single Voices and Four-Voice Harmony." Music Perception 7, no. 2 (1989): 151–68. http://dx.doi.org/10.2307/40285455.
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Two experiments examined sensitivity to key change in short sequences adapted from Bach chorales. In Experiment 1, musically trained listeners identified key changes in single-voice (i.e., soprano, alto, tenor, bass) and in four-voice presentations of the sequences. There were two main findings. First, listeners judged the distance and direction of key change in single voices and in four-voice harmony with approximately equal ease. Second, for four-voice harmony but not for single voices, the direction of key change on the cycle of fifths influenced perceived distance. For an equivalent number of steps on the cycle, greater distance was associated with modulations moving in the counterclockwise, rather than in the clockwise, direction. These findings were replicated in Experiment 2, in which musically untrained listeners rated perceived distance of key change. In addition, the directional asymmetry found for four-voice harmony also was found for individual bass voices. The evidence suggests that harmony and melody operate somewhat independently in the implication of key structure. Difficulties for a strictly hierarchical model of perceived musical pitch structure are discussed and a partially hierarchical model is considered.
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Epstein, Shulamit, Cochavit Elefant, and Grace Thompson. "Music Therapists’ Perceptions of the Therapeutic Potentials Using Music When Working With Verbal Children on the Autism Spectrum: A Qualitative Analysis." Journal of Music Therapy 57, no. 1 (December 9, 2019): 66–90. http://dx.doi.org/10.1093/jmt/thz017.
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Abstract While there are numerous descriptions of the use of music and its therapeutic potential by music therapists working with nonverbal children on the autism spectrum, only limited literature focuses on exploring how music therapists use music and perceive its therapeutic potential when working with children on the spectrum who have verbal skills. This qualitative study aimed to explore music therapists’ descriptions of the use of music and its therapeutic potential in their work with children on the autism spectrum who have verbal skills. Semi-structured interviews were conducted with six qualified music therapists from Israel and then analyzed according to the principles of interpretative phenomenological analysis (IPA). Three main themes were identified: (a) musical infrastructure, which describes how the music therapists facilitated musical experiences to support the children’s ability to regulate their arousal, attention and emotions; (b) the meeting point between musical and verbal playfulness, which reflects the music therapists’ beliefs about how musical experiences add vitality and support the development of both verbal and nonverbal imaginative play; and (c) musical responses, which describes the different ways music therapists use their voice and songs to interact musically with verbal children. The experiences described by the participants emphasize the importance of the therapist musically attuning to the child’s emotional, physiological, creative, and playful qualities, even when the child has verbal skills. These musical interactions help to create a shared experience between the child and therapist that are perceived to help the child’s different forms of regulation, continuity, and vitality within the play.
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Haas, F., S. Distenfeld, and K. Axen. "Effects of perceived musical rhythm on respiratory pattern." Journal of Applied Physiology 61, no. 3 (September 1, 1986): 1185–91. http://dx.doi.org/10.1152/jappl.1986.61.3.1185.
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The effects of rhythmic input on breath period (TT) under constant metabolic drive were assessed in 10 musically trained and 10 untrained subjects. They tapped to a metronome and then to four musical segments, each for 5 min. Ten of these subjects (5 from each group) also listened to the selections without tapping. TT, beat period (TB), and phase coupling (PC) were assessed during the last 20 breaths of each presentation. TT coefficient of variation decreased significantly (P less than 0.001) in all subjects (base line = 23%; listening = 15%; listening and tapping = 10%). Significant correlation between rhythm and TT, indicating relative entrainment, was found in half of the subjects (r greater than 0.45; P less than 0.01). Significant integer TT/TB ratio and PC, both indicating tight entrainment between rhythm and breathing, were observed in 12 subjects (though not consistently in each one). These data advance the following hypothesis: musical rhythm can be a zeitgeber (i.e., pacemaker), with its ability to entrain respiration dependent on the strength of its signal relative to spurious signals from the higher neural centers that introduce noise into the central pattern generator. Tapping reinforces the zeitgeber, increasing its signal-to-noise ratio and thereby promoting entrainment.
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Rasch, Rudolf A. "Perception of Melodic and Harmonic Intonation of Two-Part Musical Fragments." Music Perception 2, no. 4 (1985): 441–58. http://dx.doi.org/10.2307/40285312.
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Short musical fragments consisting of a melody part and a synchronous bass part were mistuned in various ways and in various degrees. Mistuning was applied to the harmonic intervals between simultaneous tones in melody and bass (harmonic mistuning), which caused at the same time a mistuning of the melodic intervals between successive tones in the melody part (melodic mistuning of melody) and/or the bass part (melodic mistuning of bass part). The fragments were presented to musically trained subjects for judgments of the perceived quality of intonation. Results showed that the melodic mistuning of the melody parts had the largest disturbing effects on the perceived quality of intonation, followed closely by the harmonic mistuning. Melodic mistuning of the bass was less influential. It could be reasoned that the deviating interval size was probably of more importance in the perception of harmonic mistuning than the presence of beats.
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Kokotsaki, Dimitra. "Musical involvement outside school: How important is it for student-teachers in secondary education?" British Journal of Music Education 27, no. 2 (June 2, 2010): 151–70. http://dx.doi.org/10.1017/s0265051710000069.
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This study aims to assess the perceived impact of Post-Graduate Certificate in Education (PGCE) music students' engagement in music making outside school on their teaching. Fifty-one students training to become secondary school music teachers in England were asked to report on the perceived impact that their participation in music making outside school had on their lives during their training and on its expected impact as a qualified music teacher. They believed that being musically involved outside school has both personal and professional benefits for them as it has the potential to increase their anticipated job satisfaction as qualified teachers and help them become better teachers. They all expressed a desire to be involved in such musical activities as qualified music teachers because they felt that these can help them maintain their enthusiasm, be more confident and motivated, and keep their technique and performance standards to a high level.
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Szilâgyi, Ana. "A theory of piano interpretation based on cybernetics." New Sound, no. 46 (2015): 107–15. http://dx.doi.org/10.5937/newso1546107s.
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Ana Piti§ and Ioana Minei discovered in the 70-80s, a complex theory of piano interpretation that gives another view in the art of piano playing. The two authors systematically research the original musical information coming from the composer. This information passes through more codes until it is perceived by the public: through the musical text (the score), through the musical images of the interpreter and through technical means. The merit of this theory lies in the fact that the authors point out the audio-mental operations that take place in the brain of the interpreter reading the score before playing. This interior hearing is based on musically characteristic operations, on sound ordering, respecting musical laws. The advantage of these operations is that the piano sound is no longer perceived as mechanical, but espressive, with meaning. In the opinion of the authors, the feedback of the cybernetics causes the sound perception of the public: the sound will be heard with qualities such as timbre, dynamics and expression.
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Krumhansl, Carol L., Gregory J. Sandell, and Desmond C. Sergeant. "The Perception of Tone Hierarchies and Mirror Forms in Twelve-Tone Serial Music." Music Perception 5, no. 1 (1987): 31–77. http://dx.doi.org/10.2307/40285385.
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Four experiments are reported in which the materials are derived from two 12-tone serial compositions (Schoenberg's Wind Quintet and String Quartet, No. 4). Two experiments use the probe tone method (Krumhansl & Shepard, 1979) to assess factors contributing to tone prominence in serial music. The contexts in Experiment 1 are musically neutral statements of the complete or incomplete tone rows; the contexts in Experiment 4 are excerpts from the two pieces. Two experiments use a classification task to evaluate whether the prime form of the row is perceived as similar to its mirror forms (inversion, retrograde, and retrograde inversion). The materials are neutral presentations of the forms (Experiment 2) or excerpts from the pieces (Experiment 3). Large individual differences are found. A subgroup of listeners, with more music training on average, show the following effects in the probe tone experiments: low ratings for tones sounded more recently in the contexts and high ratings for tones not yet sounded; low ratings for tones fitting with local tonal implications; similar patterns for the neutral contexts and the musical excerpts. The remaining listeners show the opposite effects. Classification accuracy of mirror forms is above chance and is higher for the neutral sequences than the musical excerpts; performance is correlated with music training. The experiments show that some, but not all, listeners can perceive invariant structures in serial music despite mirror transformations, octave transpositions of tones, and variations of rhythm and phrasing.
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Behne, Klaus-Ernst, and Clemens Wöllner. "Seeing or hearing the pianists? A synopsis of an early audiovisual perception experiment and a replication." Musicae Scientiae 15, no. 3 (August 15, 2011): 324–42. http://dx.doi.org/10.1177/1029864911410955.
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The visual impact of musicians’ body movements has increasingly attracted research interest over the past twenty years. This article gives an overview of the main findings of this research and introduces and replicates one of the first experiments on visual information in music performance evaluations. In Behne’s study (originally published in German in 1990), a pianist was video-recorded performing compositions by Brahms and Chopin. Using an audiovisual manipulation paradigm, further pianists acted as doubles and pretended to perform the music to the soundtrack of the first pianist. Different groups of ninety-three musicians and non-musicians rated audiovisual presentations of the videos. Only one participant in the whole series of experiments supposed that the musical soundtrack was similar across different performers. Even musically trained participants strongly believed that they perceived differences between performances. Further findings suggest gender effects, such that male interpretations were perceived to be more precise and female interpretations to be more dramatic. The replication generally confirmed the results for a present-day audience. Potential consequences for music evaluations and theories of audiovisual music perception are discussed.
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Wierød Borčak, Lea. "Community as a discursive construct in contemporary Danish singing culture." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 81–97. http://dx.doi.org/10.7146/se.v9i1.113023.
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Community singing—the informal practice of collective singing at social occasions—has traditionally served various societal purposes. Recently, however, new types of community singing events have emerged in Denmark that make the singing act itself the central purpose for gathering rather than an appendage. Such events indicate that community singing is becoming more about participating in a performance and less about consolidating an ideological common ground. On the basis of an analysis of present public discourse, this article pursues the questions of how singing is perceived to construct community, and what kind of community can be formed when the importance of semantic song content fades. In conclusion, it is proposed that modern singing events, rather than merely reinforcing existing communities, now produce self-reliant, musically imagined communities.
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PARK, JUYONG, OSCAR CELMA, MARKUS KOPPENBERGER, PEDRO CANO, and JAVIER M. BULDÚ. "THE SOCIAL NETWORK OF CONTEMPORARY POPULAR MUSICIANS." International Journal of Bifurcation and Chaos 17, no. 07 (July 2007): 2281–88. http://dx.doi.org/10.1142/s0218127407018385.
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In this paper, we analyze two social network datasets of contemporary musicians constructed from allmusic.com (AMG), a music and artists' information database: one is the collaboration network in which two musicians are connected if they have performed or produced an album together, and the other is the similarity network in which they are connected if they were musically similar according to the music experts. We find that, while both networks exhibit typical features of social networks such as high transitivity (clustering), we find that they differ significantly in some key network features such as the degree and the betweenness distributions. We believe that this highlights the fundamental differences in the construction mechanism (self-organized collaboration and human-perceived similarity) of the new networks.
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COCHRAN, TIMOTHY B. "‘Crying Out With Life and Truth’: Simulating Immersion in Messiaen'sDes Canyons aux étoiles. . ." Twentieth-Century Music 14, no. 2 (June 2017): 179–207. http://dx.doi.org/10.1017/s1478572217000202.
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AbstractInDes Canyons aux étoiles. . ., a work commissioned to celebrate the American bicentennial, Olivier Messiaen defines the United States through representations of Utah's birds and canyons. Focusing on the phenomenological power rather than the pictorial intentions of Messiaen's music, this article examines ways that Messiaen uses textural saturation and varied repetition to draw the listener into a musically mediated Bryce Canyon. The music challenges a stable subject/object relationship for the listener by promoting humility and awe within the landscape over more visually oriented touristic encounters. Simulations of immersion serve implicit political and evangelistic goals as city-dwelling listeners are invited to embrace dwelling in the natural environment as a means of revaluing faith and breaking free from what Messiaen perceived as the twin hindrances of mechanized civilization and secularism.
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BIRBAUMER, N., W. LUTZENBERGER, H. RAU, C. BRAUN, and G. MAYER-KRESS. "PERCEPTION OF MUSIC AND DIMENSIONAL COMPLEXITY OF BRAIN ACTIVITY." International Journal of Bifurcation and Chaos 06, no. 02 (February 1996): 267–78. http://dx.doi.org/10.1142/s0218127496000047.
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The nonlinear resonance hypothesis of music perception was tested in an experiment comparing a group of musically sophisticated and a group of less sophisticated subjects. The prediction that weakly chaotic music entrains less complex brain wave (EEG) oscillations at the prefrontal cortex was confirmed by using a correlational dimension algorithm. Strongly chaotic (stochastic) and periodic music both stimulated higher brain wave complexity. More sophisticated subjects who prefer classical music showed higher EEG dimensions while less sophisticated subjects responded with a drop in brain wave complexity to rhythmical weakly chaotic music. Subjects ratings of perceived complexity of the musical pieces followed mathematical (objective) structure of the music and did not reflect the changes in brain wave complexity. The results are interpreted in the context of an associated (Hebbian) network theory of nonlinear brain dynamics.
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Farbood, Morwaread M. "Memory of a Tonal Center After Modulation." Music Perception 34, no. 1 (September 1, 2016): 71–93. http://dx.doi.org/10.1525/mp.2016.34.1.71.
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This study examines how long the percept of a tonal center is retained in memory following a modulation to a new key, and how harmonic context in the new key area affects recall of the original key. In Experiment 1, musically trained listeners (N = 50) were asked to rate perceived harmonic tension while listening to chord sequences that consisted of three parts: the first section established an initial key, the second section modulated to a new key, and the last section modulated back to the original key. The duration of the new key section ranged from 3 to 21 seconds. The tension slopes following the modulations indicated a gradual decay in the memory of the previous key as the length of the new key section increased. When sequences lacked cadences, traces of the initial key appeared to persist longer. In Experiment 2, musically trained listeners (N = 31) were asked to rate harmonic tension while listening to sequences with longer timescales of up to 45 s in a new key area. Additionally, responses to “closed” modulations, which returned to the original key, and “open” modulations, which departed from both the original and new keys, were compared. The combined results of Experiments 1 and 2 showed that the original key was retained in memory after 15-20 s in a new key. However, there was not enough evidence to conclude it persisted beyond 20 s.
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Yong-Hee Kim. "A Survey of the Backgrounds of Musically-talented Students’ Parents and Their Perceived Environments for the Musical Development of Their Children." Journal of Research in Curriculum Instruction 16, no. 2 (June 2012): 461–80. http://dx.doi.org/10.24231/rici.2012.16.2.461.
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Clark, Maribeth. "The Quadrille as Embodied Musical Experience in 19th-Century Paris." Journal of Musicology 19, no. 3 (2002): 503–26. http://dx.doi.org/10.1525/jm.2002.19.3.503.
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During the 1830s in Paris the quadrille, a five-movement figure dance, became musically omnipresent to the distress of many critics, who saw the genre as detrimental to French music and musical taste. Discussions of the dance in journalism and literature associate bourgeois women and girls and working-class men with promotion of the genre. As a figure dance with walking steps, the quadrille was enjoyed by respectable women who experienced it as a safe frame for civilized social interaction, although their male counterparts found the dance boring and uninviting. In contrast, working-class men were known for their engaging and energetic performances as cancanneurs, improvisatory dancers exhibiting a lack of control associated with political instability and revolution. Quadrilles were perceived to have a negative influence on musical education for girls, who resembled the cancanneurs in their mechanical and animalistic qualities, and who preferred quadrilles over more ambitious pieces for piano. More serious was the perceived damage that arrangements of operas as quadrilles inflicted on the original, reducing great works to the banal through simplification. By serving as an example of all that stands in opposition to art in French music, the quadrille contributed to the formulation of the concept of music as art.
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Balkwill, Laura-Lee, and William Forde Thompson. "A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues." Music Perception 17, no. 1 (1999): 43–64. http://dx.doi.org/10.2307/40285811.
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Studies of the link between music and emotion have primarily focused on listeners' sensitivity to emotion in the music of their own culture. This sensitivity may reflect listeners' enculturation to the conventions of their culture's tonal system. However, it may also reflect responses to psychophysical dimensions of sound that are independent of musical experience. A model of listeners' perception of emotion in music is proposed in which emotion in music is communicated through a combination of universal and cultural cues. Listeners may rely on either of these cues, or both, to arrive at an understanding of musically expressed emotion. The current study addressed the hypotheses derived from this model using a cross-cultural approach. The following questions were investigated: Can people identify the intended emotion in music from an unfamiliar tonal system? If they can, is their sensitivity to intended emotions associated with perceived changes in psychophysical dimensions of music? Thirty Western listeners rated the degree of joy, sadness, anger, and peace in 12 Hindustani raga excerpts (field recordings obtained in North India). In accordance with the raga-rasa system, each excerpt was intended to convey one of the four moods or "rasas" that corresponded to the four emotions rated by listeners. Listeners also provided ratings of four psychophysical variables: tempo, rhythmic complexity, melodic complexity, and pitch range. Listeners were sensitive to the intended emotion in ragas when that emotion was joy, sadness, or anger. Judgments of emotion were significantly related to judgments of psychophysical dimensions, and, in some cases, to instrument timbre. The findings suggest that listeners are sensitive to musically expressed emotion in an unfamiliar tonal system, and that this sensitivity is facilitated by psychophysical cues.
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Alessandri, Elena, Dawn Rose, Olivier Senn, Katrin Szamatulski, Antonio Baldassarre, and Victoria Jane Williamson. "Consumers on Critique: A Survey of Classical Music Listeners’ Engagement with Professional Music Reviews." Music & Science 3 (January 1, 2020): 205920432093133. http://dx.doi.org/10.1177/2059204320931337.
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Music criticism has a long tradition as a leading agent in the classical music discourse. However, some people question its function in the contemporary music market. We explored the topicality of classical music critique by asking: Who reads professional reviews today? And what do readers expect from review? Through an online survey (English/German), we profiled the listening habits of classical music listeners ( N = 1200) and their engagement with professional reviews. Our participants were more actively engaged with music, but contrary to the ‘highbrow’ stereotype, not more highly musically trained than the general population. They consumed music and opinion sources in a variety of ways. Approximately two-thirds ( n = 741) of the participants had recently engaged with professional reviews, which were perceived as the most useful form of opinion, followed by short written commentaries and, lastly, ratings. A multiple logistic regression model suggested that the typical consumer of professional music critique was older with higher levels of musical engagement and education, had a higher inclination to purchase music and lower usage of streaming services, and had a preference for detailed reviews from traditional sources (e.g. newspapers). According to review readers, reviews should cover a variety of topics and offer evaluations underpinned with reasons. Reviewers should be constructive, open-minded, respectful, and well informed; their professional background was less relevant. Professional reviews should not necessarily provide a recommendation on what to buy, but rather guide listeners’ musical appreciation and understanding. Professional criticism still has an audience, although more so among older, musically educated listeners. Critics need to explore various channels in order to connect to a new generation of classical music listeners.
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Castro, São Luís, and César F. Lima. "Age and Musical Expertise Influence Emotion Recognition in Music." Music Perception 32, no. 2 (December 1, 2014): 125–42. http://dx.doi.org/10.1525/mp.2014.32.2.125.
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We investigated how age and musical expertise influence emotion recognition in music. Musically trained and untrained participants from two age cohorts, young and middle-aged adults (N = 80), were presented with music excerpts expressing happiness, peacefulness, sadness, and fear/threat. Participants rated how much each excerpt expressed the four emotions on 10-point scales. The intended emotions were consistently perceived, but responses varied across groups. Advancing age was associated with selective decrements in the recognition of sadness and fear/threat, a finding consistent with previous research (Lima & Castro, 2011a); the recognition of happiness and peacefulness remained stable. Years of music training were associated with enhanced recognition accuracy. These effects were independent of domain-general cognitive abilities and personality traits, but they were echoed in differences in how efficiently music structural cues (e.g., tempo, mode) were relied upon. Thus, age and musical expertise are experiential factors explaining individual variability in emotion recognition in music.
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Repp, Bruno H. "Metrical Subdivision Results in Subjective Slowing of the Beat." Music Perception 26, no. 1 (September 1, 2008): 19–39. http://dx.doi.org/10.1525/mp.2008.26.1.19.
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FOUR EXPERIMENTS INVESTIGATED whether metrical subdivision affects perceived beat tempo. In Experiment 1, musically trained participants tapped in synchrony with the beat of an isochronous pacing sequence and continued tapping the beat after the sequence stopped. Continuation tapping was slower when the pacing beat was subdivided than when it was not. Experiment 2 found the same effect when the subdivisions during synchronization were self-generated. The effect was neutralized, however, when subdivisions were tapped during continuation. In Experiment 3, an effect of subdivision was found in a purely perceptual tempo judgment task. Experiment 4 tested musicians and nonmusicians in matched perception and reproduction tasks. Musicians showed the expected effect of subdivision in both tasks, whereas nonmusicians showed a larger effect in reproduction but a smaller effect in perception. Overall, the findings suggest that subdivided inter-beat intervals are subjectively longer than empty intervals, in agreement with the "filled duration illusion" in psychophysics.
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Madsen, Clifford K., and Katia Madsen. "Perception and Cognition in Music: Musically Trained and Untrained Adults Compared to Sixth-Grade and Eighth-Grade Children." Journal of Research in Music Education 50, no. 2 (July 2002): 111–30. http://dx.doi.org/10.2307/3345816.
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We investigated different levels of age and musical training in relation to subjects' melodic perception in music by testing their ability to perceive a target melody when extremely similar melodies are interpolated between this original melody and its reoccurrence. Participants were sixth graders, eighth graders, young adults, and trained musicians who listened to 16 original melodies, each of which was followed by 8 extremely similar melodies. Two different experiments (A and B) tested different arrangements of mode and meter interpolations. We also asked the adult musicians to specify cognitive strategies for accomplishing the task. Results demonstrated greater accuracy among experienced musicians, yet results show that even young students are capable of remembering and discriminating similar melodies with high accuracy. Written analyses of strategies used by musicians indicated they considered the task extremely difficult and that their past musical training helped with the task; they also indicated that children could not do this task, which was not the case.
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Kaiser, Ramona, and Peter E. Keller. "Music's Impact on the Visual Perception of Emotional Dyadic Interactions." Musicae Scientiae 15, no. 2 (July 2011): 270–87. http://dx.doi.org/10.1177/102986491101500208.
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Research showing that emotions can be recognized in point-light displays of human dyadic interactions was extended in the current study by investigating the impact of music on the perception of normal and exaggerated expressions of happiness, contentedness, sadness and anger in such visual stimuli. Sixteen musically untrained participants viewed short video clips of these emotion portrayals, each presented with emotionally compatible (e.g., happy music accompanies a happy interaction) and emotionally incompatible piano music (e.g., sad music accompanies a happy interaction). It was hypothesized that music will increase the accuracy of emotion judgements in displays where auditory and visual information is compatible relative to displays with incompatible audio-visual information. A two-dimensional emotion space was used to record participants' judgements of emotion in only the visual stimuli. Results indicated that music affected the accuracy of emotion judgements. Happiness and sadness were perceived more accurately in compatible than in incompatible conditions, while the opposite was the case for contentedness. Anger was perceived accurately in all conditions. Exaggerated expressions of sadness, which were evaluated more accurately than normal expressions of sadness, were also found to be resistant to the music. These findings can be interpreted in the light of previous research demonstrating that music's cross-modal impact depends on the degree of emotional ambiguity in the visual display. More generally, the results demonstrate that the perception of emotions in biological motion can be affected by music.
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Kaiser, Ramona, and Peter E. Keller. "Music’s impact on the visual perception of emotional dyadic interactions." Musicae Scientiae 15, no. 2 (July 2011): 270–87. http://dx.doi.org/10.1177/1029864911401173.
Full textAbstract:
Research showing that emotions can be recognized in point-light displays of human dyadic interactions was extended in the current study by investigating the impact of music on the perception of normal and exaggerated expressions of happiness, contentedness, sadness and anger in such visual stimuli. Sixteen musically untrained participants viewed short video clips of these emotion portrayals, each presented with emotionally compatible (e.g., happy music accompanies a happy interaction) and emotionally incompatible piano music (e.g., sad music accompanies a happy interaction). It was hypothesized that music will increase the accuracy of emotion judgements in displays where auditory and visual information is compatible relative to displays with incompatible audio-visual information. A two-dimensional emotion space was used to record participants’ judgements of emotion in only the visual stimuli. Results indicated that music affected the accuracy of emotion judgements. Happiness and sadness were perceived more accurately in compatible than in incompatible conditions, while the opposite was the case for contentedness. Anger was perceived accurately in all conditions. Exaggerated expressions of sadness, which were evaluated more accurately than normal expressions of sadness, were also found to be resistant to the music. These findings can be interpreted in the light of previous research demonstrating that music’s cross-modal impact depends on the degree of emotional ambiguity in the visual display. More generally, the results demonstrate that the perception of emotions in biological motion can be affected by music.
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Huang, Jennifer, and Carol Lynne Krumhansl. "What does seeing the performer add? It depends on musical style, amount of stage behavior, and audience expertise." Musicae Scientiae 15, no. 3 (July 29, 2011): 343–64. http://dx.doi.org/10.1177/1029864911414172.
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The purpose of this study was to examine the effects of musical style, amount of stage behavior, audience expertise, and modality of presentation on structural, emotional, and summary ratings of piano performances. Twenty-four musically trained and 24 untrained participants rated two-minute excerpts of pieces by Bach, Chopin, and Copland, each performed by the same pianist, who was asked to vary his stage behavior from minimal to natural to exaggerated. Participants rated the performances under either audio-only or audiovisual conditions. The composer’s style had a consistently strong effect on the performance evaluations, highlighting the importance of careful repertoire selection. Moreover, the preferred degree of stage behavior depended on the style. The interaction between expertise, modality, and stage behavior revealed that non-musicians perceived differences across the three degrees of stage behavior only audiovisually and not in the audio-only condition. In contrast, musicians perceived these differences under both audiovisual and audio-only conditions, with the lowest ratings for minimal stage behavior. This suggests that varying the degree of stage behavior altered the quality of the performance. In addition, participants were asked to select two emotions that best characterized each performance. They preferentially chose more subtle emotions from Hevner’s (1936) Adjective Circle over the five general emotions of happiness, sadness, anger, fear, and tenderness traditionally used in music cognition studies, suggesting that these five emotions are less apt to describe the emotions conveyed through musical performance.
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Huron, David. "Voice Denumerability in Polyphonic Music of Homogeneous Timbres." Music Perception 6, no. 4 (1989): 361–82. http://dx.doi.org/10.2307/40285438.
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An experiment was carried out to determine limitations in listeners' abilities to identify the number of concurrently sounding voices in polyphonic textures. As the number of concurrent voices in a musical texture increases, expert musicians are both slower to respond to the addition of new voices and more prone to identify incorrectly the number of voices present. For musical textures employing relatively homogeneous timbres, the accuracy of identifying the number of concurrent voices drops markedly at the point where a three-voice texture is augmented to four voices. Beyond three voices, confusions become commonplace; the most frequent type of confusion is underestimation of the number of voices present. Voice entries were found to be perceived more easily than voice exits, and entries of outer voices were found to be identified more easily than entries of inner voices. Compared with a nonmusician subject, musicians were found to be more accurate and consistent in denumerating concurrent voices—suggesting that an awareness of textural density may be a musically relevant skill.
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Gold, Benjamin P., Ernest Mas-Herrero, Yashar Zeighami, Mitchel Benovoy, Alain Dagher, and Robert J. Zatorre. "Musical reward prediction errors engage the nucleus accumbens and motivate learning." Proceedings of the National Academy of Sciences 116, no. 8 (February 6, 2019): 3310–15. http://dx.doi.org/10.1073/pnas.1809855116.
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Enjoying music reliably ranks among life’s greatest pleasures. Like many hedonic experiences, it engages several reward-related brain areas, with activity in the nucleus accumbens (NAc) most consistently reflecting the listener’s subjective response. Converging evidence suggests that this activity arises from musical “reward prediction errors” (RPEs) that signal the difference between expected and perceived musical events, but this hypothesis has not been directly tested. In the present fMRI experiment, we assessed whether music could elicit formally modeled RPEs in the NAc by applying a well-established decision-making protocol designed and validated for studying RPEs. In the scanner, participants chose between arbitrary cues that probabilistically led to dissonant or consonant music, and learned to make choices associated with the consonance, which they preferred. We modeled regressors of trial-by-trial RPEs, finding that NAc activity tracked musically elicited RPEs, to an extent that explained variance in the individual learning rates. These results demonstrate that music can act as a reward, driving learning and eliciting RPEs in the NAc, a hub of reward- and music enjoyment-related activity.
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Skinner, Ryan Thomas. "Civil taxis and wild trucks: the dialectics of social space and subjectivity in Dimanche à Bamako." Popular Music 29, no. 1 (January 2010): 17–39. http://dx.doi.org/10.1017/s0261143009990365.
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AbstractThis article presents a close reading (or listening) of Amadou & Mariam's 2004 album, Dimanche à Bamako, meaning ‘Sunday in Bamako’, produced ‘by and with’ world music maverick Manu Chao. I consider how Dimanche à Bamako musically renders, through sound and lyrical expression, the tensions of ‘global modernity’ in postcolonial Africa and its diaspora. ‘Global modernity’ refers to the fraught encounter between local actors and the globalised socio-economic conditions in which modern subjects are increasingly embedded. By framing these local and global tensions in the context of a modern African city, Dimanche à Bamako offers a theoretically sophisticated representation of urban African social space that, while rooted in a particular place (Bamako, Mali) attends to the wider world in which a local sense of place gives way to the wanderlust and anxieties of living and labouring in a globalised world. Through critical application of Lefebvrian and Mande socio-spatial theory and focused analysis of several of the album's tracks, I argue that Dimanche à Bamako elucidates a dialectic of ‘civility’ and ‘wildness’ that shapes the way social space and subjectivity are conceived, lived, and perceived in urban African communities in an era of global modernity.
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Zavadska, Galina. "CRITERIA AND INDICATORS OF THE DEVELOPMENT OF MUSICIAN’S TIMBRE HEARING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 1 (May 28, 2021): 787–95. http://dx.doi.org/10.17770/sie2021vol1.6191.
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Musical practice constantly lays down requirements to a musician’s hearing. An important tendency of a contemporary musical thinking is the intensification of the timbral beginning, which now starts to come to the foreground as one of the most significant expressive and form-developing means. Timbre hearing is one type of harmonic hearing (Teplov, 1947) and one of the most essential components at teaching a contemporary musician’s hearing, though in the teaching practice it has not been adequately reflected as yet. The development of the ability of hearing to perceive the expressive sense of a timbre sounding is a vital condition for achieving professionalism in a musician’s musical-performing activity. The precondition for a successful development of musical hearing, including that of timbre, is the process of diagnosticating its actual developmental level, which will help a teacher to organize a student’s musically-practical activity.The paper offers criteria and indicators for identifying the developmental level of musician’s timbre hearing.Research Aim: to study the theoretical basis of timbre hearing and to develop criteria and indicators of its development.Research methods: monitoring, modelling.
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Battcock, Aimee, and Michael Schutz. "Acoustically Expressing Affect." Music Perception 37, no. 1 (September 1, 2019): 66–91. http://dx.doi.org/10.1525/mp.2019.37.1.66.
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Composers convey emotion through music by co-varying structural cues. Although the complex interplay provides a rich listening experience, this creates challenges for understanding the contributions of individual cues. Here we investigate how three specific cues (attack rate, mode, and pitch height) work together to convey emotion in Bach's Well Tempered-Clavier (WTC). In three experiments, we explore responses to (1) eight-measure excerpts and (2) musically “resolved” excerpts, and (3) investigate the role of different standard dimensional scales of emotion. In each experiment, thirty nonmusician participants rated perceived emotion along scales of valence and intensity (Experiments 1 & 2) or valence and arousal (Experiment 3) for 48 pieces in the WTC. Responses indicate listeners used attack rate, Mode, and pitch height to make judgements of valence, but only attack rate for intensity/arousal. Commonality analyses revealed mode predicted the most variance for valence ratings, followed by attack rate, with pitch height contributing minimally. In Experiment 2 mode increased in predictive power compared to Experiment 1. For Experiment 3, using “arousal” instead of “intensity” showed similar results to Experiment 1. We discuss how these results complement and extend previous findings of studies with tightly controlled stimuli, providing additional perspective on complex issues of interpersonal communication.
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Petersen, Erik Alan, Tom Colinot, Philippe Guillemain, and Jean Kergomard. "The link between the tonehole lattice cutoff frequency and clarinet sound radiation: a quantitative study." Acta Acustica 4, no. 5 (2020): 18. http://dx.doi.org/10.1051/aacus/2020018.
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Musical instruments are said to have a personality, which we notice in the sound that they produce. The oscillation mechanism inside woodwinds is commonly studied, but the transmission from internal waveforms to radiated sound is often overlooked, although it is musically essential. It is influenced by the geometry of their resonators which are acoustical waveguides with frequency dependent behavior due in part to the lattice of open toneholes. For this acoustically periodic medium, wave propagation theory predicts that waves are evanescent in low frequency and propagate into the lattice above the cutoff frequency. These phenomena are generally assumed to impact the external sound perceived by the instrumentalist and the audience, however, a quantitative link has never been demonstrated. Here we show that the lattice shapes the radiated sound by inducing a reinforced frequency band in the envelope of the spectrum near the cutoff of the lattice. This is a direct result of the size and spacing between toneholes, independent of the generating sound source and musician, which we show using external measurements and simulations in playing conditions. As with the clarinet, the amplitude of the even harmonics increases with frequency until they match odd harmonics at the reinforced spectrum region.
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Rothfarb, Lee. "August Halm on Body and Spirit in Music." 19th-Century Music 29, no. 2 (2005): 121–41. http://dx.doi.org/10.1525/ncm.2005.29.2.121.
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This article explores and explains August Halm's and Heinrich Schenker's differing opinions of Brahms and Bruckner based on Halm's notions of corporeality and spirituality, body and soul, in music, and on differences in symphonic style between the two composers. Corporeality manifests itself in thematic gestures whose contours trace distinctive shapes in music's imaginary space, resulting in the impression of depth, something metaphorically tangible. When the dynamic course of a passage is clearly manifest in the aural immediacy of its rhythmic and thematic gestures, Halm acknowledges its corporeality (Korperlichkeit). When a work's dynamic course is concealed or musically too subtle to be readily perceived, it exemplifies a different quality, spirituality (Geistigkeit), which resides in between the notes and occurs, so to speak, subterraneously. Schenker's Urlinie was thus for Halm a case of unnecessarily "spiritualizing the spiritual yet again."Halm's advocacy for Bruckner's symphonies as marking the beginning of "a new era and culture" was incomprehensible for Schenker, who conceded to Bruckner only a "very modest power of invention." SchenkerÕs unqualified enthusiasm for Brahms, on the other hand, the "last master of German composition," gave Halm a "painful jolt." For Halm, Bruckner is a "cosmic epicist," for Schenker "too much a foreground composer." Letters between Schenker and Halm as well as other, hitherto unknown archival materials among Halm's estate papers delineate Halm's views in contrast to those of Schenker.