Being able to imagine the sound of music from notation as a result of so-called notational audiation, without the physical presence of sound, is an indispensable skill for professional musicians. However, up until now there has been no assessment for the evaluation of the skill responsible for the reading-imagery task. The development of an assessment for the skill of using notation-evoked sound imagery (henceforth called NESI) described in this study was based on the embedded-melody paradigm. Participants first had to read a figural variation from notation and imagine the sound without singing or humming. After the notation disappeared from the screen, the sound of a theme was played, which either matched the original melody harmonically or contained small but significant deviations from the original harmonic progression (the so-called “lure” variation). Participants had to decide whether the variation and theme matched in terms of their harmonic structure. We analyzed the item characteristics in three pilot studies to select a reduced and validated number of item triads. Internal validity and unidimensionality were tested by use of item response theory. In the main study, this selection of item triads was validated by a sample of N = 55 music students in a comprehensive test setting to determine correlations with other subskills such as ear training skills, absolute pitch, working memory capacity, or melodic memory. The final path model showed that NESI has a strong relationship with general ear training skills but is only slightly correlated with working memory, spatial orientation and melodic memory.
{"title":"Thinking in Music: An Objective Measure of Notation-Evoked Sound Imagery in Musicians","authors":"Anna Wolf, R. Kopiez, F. Platz","doi":"10.1037/pmu0000225","DOIUrl":"https://doi.org/10.1037/pmu0000225","url":null,"abstract":"Being able to imagine the sound of music from notation as a result of so-called notational audiation, without the physical presence of sound, is an indispensable skill for professional musicians. However, up until now there has been no assessment for the evaluation of the skill responsible for the reading-imagery task. The development of an assessment for the skill of using notation-evoked sound imagery (henceforth called NESI) described in this study was based on the embedded-melody paradigm. Participants first had to read a figural variation from notation and imagine the sound without singing or humming. After the notation disappeared from the screen, the sound of a theme was played, which either matched the original melody harmonically or contained small but significant deviations from the original harmonic progression (the so-called “lure” variation). Participants had to decide whether the variation and theme matched in terms of their harmonic structure. We analyzed the item characteristics in three pilot studies to select a reduced and validated number of item triads. Internal validity and unidimensionality were tested by use of item response theory. In the main study, this selection of item triads was validated by a sample of N = 55 music students in a comprehensive test setting to determine correlations with other subskills such as ear training skills, absolute pitch, working memory capacity, or melodic memory. The final path model showed that NESI has a strong relationship with general ear training skills but is only slightly correlated with working memory, spatial orientation and melodic memory.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"47 1","pages":"209–221"},"PeriodicalIF":1.3,"publicationDate":"2018-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81786947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jazz musicians rely on different skills than do classical musicians for successful performances. We investigated the working memory span of classical and jazz student musicians on musical and nonmusical working memory tasks. College-aged musicians completed the Bucknell Auditory Imagery Scale, followed by verbal working memory tests and musical working memory tests that included visual and auditory presentation modes and written or played recall. Participants were asked to recall the last word (or pitch) from each task after a distraction task, by writing, speaking, or playing the pitch on the piano. Jazz musicians recalled more pitches that were presented in auditory versions and recalled on the piano compared with classical musicians. Scores were positively correlated to years of jazz-playing experience. We conclude that type of training should be considered in studies of musical expertise, and that tests of musicians’ cognitive skills should include domain-specific components.
{"title":"Score One for Jazz: Working Memory in Jazz and Classical Musicians","authors":"Bryan E. Nichols, Clemens Wöllner, A. Halpern","doi":"10.1037/pmu0000211","DOIUrl":"https://doi.org/10.1037/pmu0000211","url":null,"abstract":"Jazz musicians rely on different skills than do classical musicians for successful performances. We investigated the working memory span of classical and jazz student musicians on musical and nonmusical working memory tasks. College-aged musicians completed the Bucknell Auditory Imagery Scale, followed by verbal working memory tests and musical working memory tests that included visual and auditory presentation modes and written or played recall. Participants were asked to recall the last word (or pitch) from each task after a distraction task, by writing, speaking, or playing the pitch on the piano. Jazz musicians recalled more pitches that were presented in auditory versions and recalled on the piano compared with classical musicians. Scores were positively correlated to years of jazz-playing experience. We conclude that type of training should be considered in studies of musical expertise, and that tests of musicians’ cognitive skills should include domain-specific components.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"3 1","pages":"101–107"},"PeriodicalIF":1.3,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89501433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How we experience music depends largely on how we orient our attention. For example, we can orient attention toward aspects of the music or toward thoughts that are evoked while listening. Often, those thoughts are memories that are associated with the music. To better understand how task set and the associated attentional focus recruit brain networks during attentive music listening, we performed two experiments: (a) a single-factor behavioral experiment manipulating Attentional Focus and (b) a balanced 2 × 2 factorial design functional MRI experiment crossing Attentional Focus with Memory Status. Before listening to 30-s song excerpts, half of which were known to be memory evoking in the functional MRI experiment, participants were instructed to either focus on the retrieval of memories evoked by the music, or to determine how many instruments were playing. Attentional Focus accounted for the majority of variability in brain activity and modulated both functional connectivity and community structure of brain regions during music listening. Consistent with previous research on music-evoked autobiographical memories (MEAMs), we found that the medial temporal lobe may not be necessary for MEAMs to be experienced. However, focusing attention toward MEAMs increased medial temporal lobe activity and behavioral ratings of memory reliving. Focusing on MEAMs also increased connectivity between the left hippocampus and default-mode network regions supporting autobiographical recall, in addition to sensorimotor regions that music familiarity is known to modulate. The results substantiate the notion that how we experience music and associated memories depends on how we attend to the music. We provide initial evidence suggesting that music-evoked remembering integrates a sensorimotor representation of the music with episodic representations for the related autobiographical content.
{"title":"Listening for Memories: Attentional Focus Dissociates Functional Brain Networks Engaged by Memory-Evoking Music","authors":"B. Kubit, P. Janata","doi":"10.1037/pmu0000210","DOIUrl":"https://doi.org/10.1037/pmu0000210","url":null,"abstract":"How we experience music depends largely on how we orient our attention. For example, we can orient attention toward aspects of the music or toward thoughts that are evoked while listening. Often, those thoughts are memories that are associated with the music. To better understand how task set and the associated attentional focus recruit brain networks during attentive music listening, we performed two experiments: (a) a single-factor behavioral experiment manipulating Attentional Focus and (b) a balanced 2 × 2 factorial design functional MRI experiment crossing Attentional Focus with Memory Status. Before listening to 30-s song excerpts, half of which were known to be memory evoking in the functional MRI experiment, participants were instructed to either focus on the retrieval of memories evoked by the music, or to determine how many instruments were playing. Attentional Focus accounted for the majority of variability in brain activity and modulated both functional connectivity and community structure of brain regions during music listening. Consistent with previous research on music-evoked autobiographical memories (MEAMs), we found that the medial temporal lobe may not be necessary for MEAMs to be experienced. However, focusing attention toward MEAMs increased medial temporal lobe activity and behavioral ratings of memory reliving. Focusing on MEAMs also increased connectivity between the left hippocampus and default-mode network regions supporting autobiographical recall, in addition to sensorimotor regions that music familiarity is known to modulate. The results substantiate the notion that how we experience music and associated memories depends on how we attend to the music. We provide initial evidence suggesting that music-evoked remembering integrates a sensorimotor representation of the music with episodic representations for the related autobiographical content.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"40 1","pages":"82–100"},"PeriodicalIF":1.3,"publicationDate":"2018-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85840683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this study was to examine the effects of mental practice, physical practice, and mental and physical practice combined on the ability to create melodic jazz solos within chord progressions, possessing relatively simple or complex harmonic characteristics. We also explored whether improvisation achievement varied as a function of general mental imagery ability. Fifty-six jazz studies majors from two large North American universities were randomly assigned to one of three experimental conditions (physical practice, mental practice, or physical and mental practice combined) and tasked with preparing melodic improvised solos over two sets of chord changes that varied in complexity (i.e., simple vs. complex). The participants’ solos were rated for melodic jazz improvisation achievement by two expert-level professional jazz artists. Participants also completed a self-report questionnaire that captured the degree of the vividness of their visual, aural, cutaneous, kinesthetic, and organic mental imagery. We did not find significant differences in melodic improvisation achievement as a function of practice condition nor did we find that chord progression complexity moderated the effect of practice condition. However, significant differences were detected as a function of chord progression complexity. Theoretical avenues for designing future experiments are discussed in-depth with respect to the typical practice approaches jazz musicians use when developing improvised solos, issues of closed- versus open-class motor skills, cognitive load, and expert memory storage and retrieval.
{"title":"The Effect of Mental Practice on Melodic Jazz Improvisation Achievement","authors":"Peter Miksza, Kevin E. Watson, Ian Calhoun","doi":"10.1037/pmu0000206","DOIUrl":"https://doi.org/10.1037/pmu0000206","url":null,"abstract":"The purpose of this study was to examine the effects of mental practice, physical practice, and mental and physical practice combined on the ability to create melodic jazz solos within chord progressions, possessing relatively simple or complex harmonic characteristics. We also explored whether improvisation achievement varied as a function of general mental imagery ability. Fifty-six jazz studies majors from two large North American universities were randomly assigned to one of three experimental conditions (physical practice, mental practice, or physical and mental practice combined) and tasked with preparing melodic improvised solos over two sets of chord changes that varied in complexity (i.e., simple vs. complex). The participants’ solos were rated for melodic jazz improvisation achievement by two expert-level professional jazz artists. Participants also completed a self-report questionnaire that captured the degree of the vividness of their visual, aural, cutaneous, kinesthetic, and organic mental imagery. We did not find significant differences in melodic improvisation achievement as a function of practice condition nor did we find that chord progression complexity moderated the effect of practice condition. However, significant differences were detected as a function of chord progression complexity. Theoretical avenues for designing future experiments are discussed in-depth with respect to the typical practice approaches jazz musicians use when developing improvised solos, issues of closed- versus open-class motor skills, cognitive load, and expert memory storage and retrieval.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"82 1","pages":"40–49"},"PeriodicalIF":1.3,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84222742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An experiment that investigates how a tonal context affects pitch recognition is presented. Melodic sequences that were composed to invoke varying degrees of tonality were rated by musicians (N = 34) for perceived strength of tonality. The sequences were then used in a pitch memory test based on a delayed-tone recognition paradigm. Listeners (N = 48) were asked to compare the first note of each melody (the standard) with a final, appended comparison tone that was either the same pitch or transposed by one semitone. The results showed that various factors including the presence of an interference tone one semitone away from the standard tone, the degree of tonality of the melodic sequence, and the tonal fitness of the standard and comparison tones predicted listener responses. In particular, the fitness of the comparison tone was a key factor in how listeners performed in the recognition task: comparison tones with higher fitness values increased performance when the comparison and standard were the same but decreased performance when they were different. These results illustrate how tonality can both facilitate and interfere with pitch encoding and recognition, providing a detailed and definitive perspective on how pitch memory is influenced by tonal contexts.
{"title":"The Mutability of Pitch Memory in a Tonal Context","authors":"M. Farbood, P. Mavromatis","doi":"10.1037/pmu0000205","DOIUrl":"https://doi.org/10.1037/pmu0000205","url":null,"abstract":"An experiment that investigates how a tonal context affects pitch recognition is presented. Melodic sequences that were composed to invoke varying degrees of tonality were rated by musicians (N = 34) for perceived strength of tonality. The sequences were then used in a pitch memory test based on a delayed-tone recognition paradigm. Listeners (N = 48) were asked to compare the first note of each melody (the standard) with a final, appended comparison tone that was either the same pitch or transposed by one semitone. The results showed that various factors including the presence of an interference tone one semitone away from the standard tone, the degree of tonality of the melodic sequence, and the tonal fitness of the standard and comparison tones predicted listener responses. In particular, the fitness of the comparison tone was a key factor in how listeners performed in the recognition task: comparison tones with higher fitness values increased performance when the comparison and standard were the same but decreased performance when they were different. These results illustrate how tonality can both facilitate and interfere with pitch encoding and recognition, providing a detailed and definitive perspective on how pitch memory is influenced by tonal contexts.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"2020 1","pages":"1–16"},"PeriodicalIF":1.3,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79236228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The current study investigates the learning of microtonal tuning systems, which have a different pitch interval structure than the Western tonal system (12-tone equal temperament). To examine the influence of structural similarity, we included systems that differed from the 12-tone equal temperament system in different degrees in terms of temperament, pitch ratio, and pitch differences. After a brief exposure phase in which participants became acquainted with the previously unfamiliar systems, we assessed aspects of their learning. We measured pitch memory performance and the knowledge of pitch membership using a pitch deviant detection task and a goodness-of-fit perception task. In the pitch deviant detection task, participants were required to detect pitch shifts in a second playing of a given melody, whereas in the goodness-of-fit task, they made judgments about whether the last tone (probe) fits or does not fit with the context of the just presented melody. A total of 30 musically untrained individuals were tested in each experiment, and results showed that learning was limited; hence the task was difficult in such a short period. Pitch deviant detection was better in the microtonal system that is well-formed with two step sizes than that in the other systems in the test. Goodness-of-fit perception was similar between 12-tone equal temperament and the other microtonal systems, and participants who were fundamentally better at pitch discrimination and contour perception were better at rejecting incongruent probes (nonmember of the system) in the goodness-of-fit task. This study has implications for music perception of pitch ratio- and pitch difference-based tuning systems.
{"title":"The Difficulty of Learning Microtonal Tunings Rapidly: The Influence of Pitch Intervals and Structural Familiarity","authors":"Yvonne Leung, R. Dean","doi":"10.1037/pmu0000207","DOIUrl":"https://doi.org/10.1037/pmu0000207","url":null,"abstract":"The current study investigates the learning of microtonal tuning systems, which have a different pitch interval structure than the Western tonal system (12-tone equal temperament). To examine the influence of structural similarity, we included systems that differed from the 12-tone equal temperament system in different degrees in terms of temperament, pitch ratio, and pitch differences. After a brief exposure phase in which participants became acquainted with the previously unfamiliar systems, we assessed aspects of their learning. We measured pitch memory performance and the knowledge of pitch membership using a pitch deviant detection task and a goodness-of-fit perception task. In the pitch deviant detection task, participants were required to detect pitch shifts in a second playing of a given melody, whereas in the goodness-of-fit task, they made judgments about whether the last tone (probe) fits or does not fit with the context of the just presented melody. A total of 30 musically untrained individuals were tested in each experiment, and results showed that learning was limited; hence the task was difficult in such a short period. Pitch deviant detection was better in the microtonal system that is well-formed with two step sizes than that in the other systems in the test. Goodness-of-fit perception was similar between 12-tone equal temperament and the other microtonal systems, and participants who were fundamentally better at pitch discrimination and contour perception were better at rejecting incongruent probes (nonmember of the system) in the goodness-of-fit task. This study has implications for music perception of pitch ratio- and pitch difference-based tuning systems.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"41 1","pages":"50–63"},"PeriodicalIF":1.3,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73890406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The objective of the present study was to investigate the efficacy of Raga Bhairavi for the promotion of spiritual wellness among aggressive adolescents. It was hypothesized that postintervention scores on spiritual wellness would be significantly higher as compared with preintervention scores. A pre- and postassessment design was adopted. The Spiritual Wellness Inventory (Elliott Ingersoll, 1995) and Aggression Questionnaire (Buss & Perry, 1992) were used to identify 32 adolescents with low spirituality and high aggression. A flute version of Raga Bhairavi was played for eight sessions. Scores were subjected to t test statistical comparison. Postintervention mean scores on subscales of spiritual wellness were comparatively higher than preintervention scores. Results revealed that raga therapy enhanced connectedness (t = 3.04; p < .01), meaning (t = 2.02; p < .05) and hope (t = 2.11; p < .05) dimensions of spiritual wellness. The difference between pre- and postintervention scores on aggression was also observed.
{"title":"Spiritual Wellness Among Aggressive Adolescents: Efficacy of Raga Bhairavi","authors":"Vandana Sharma, Sukhminder Kaur","doi":"10.1037/pmu0000200","DOIUrl":"https://doi.org/10.1037/pmu0000200","url":null,"abstract":"The objective of the present study was to investigate the efficacy of Raga Bhairavi for the promotion of spiritual wellness among aggressive adolescents. It was hypothesized that postintervention scores on spiritual wellness would be significantly higher as compared with preintervention scores. A pre- and postassessment design was adopted. The Spiritual Wellness Inventory (Elliott Ingersoll, 1995) and Aggression Questionnaire (Buss & Perry, 1992) were used to identify 32 adolescents with low spirituality and high aggression. A flute version of Raga Bhairavi was played for eight sessions. Scores were subjected to t test statistical comparison. Postintervention mean scores on subscales of spiritual wellness were comparatively higher than preintervention scores. Results revealed that raga therapy enhanced connectedness (t = 3.04; p < .01), meaning (t = 2.02; p < .05) and hope (t = 2.11; p < .05) dimensions of spiritual wellness. The difference between pre- and postintervention scores on aggression was also observed.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"14 1","pages":"350–354"},"PeriodicalIF":1.3,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84650202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Zsuzsa Földes, E. Ala-Ruona, Birgitta Burger, G. Orsi
Anxiety and claustrophobic reactions in MRI examinations cause unintentional movements, and such motion artifacts lead to interpretation problems. Furthermore, requested anesthesia makes the process costly. A total of 60 outpatients were examined in the Diagnostic Centre of Pécs, Hungary, to test whether synchronizing recorded music to the gradient pulsation of the MRI device can improve the sedative effect of the music. The patients were assigned to three groups: a nonmusic (control), an original tempo (random) and a synchronized music (synchronous) group. Results showed a significantly decreased state anxiety level after the MRI examination in the random and synchronous groups as compared with the control group. However, there was no difference in the effectiveness of either music conditions regarding state anxiety level after the examination. Participants in the music groups found the examination significantly more pleasant compared with the control group. In conclusion, the present study provides support for the notion that listening to music during an MRI examination significantly reduces patient anxiety, whereas noise attenuating devices do not provide the same effect.
{"title":"Anxiety Reduction With Music and Tempo Synchronization on Magnetic Resonance Imaging Patients","authors":"Zsuzsa Földes, E. Ala-Ruona, Birgitta Burger, G. Orsi","doi":"10.1037/pmu0000199","DOIUrl":"https://doi.org/10.1037/pmu0000199","url":null,"abstract":"Anxiety and claustrophobic reactions in MRI examinations cause unintentional movements, and such motion artifacts lead to interpretation problems. Furthermore, requested anesthesia makes the process costly. A total of 60 outpatients were examined in the Diagnostic Centre of Pécs, Hungary, to test whether synchronizing recorded music to the gradient pulsation of the MRI device can improve the sedative effect of the music. The patients were assigned to three groups: a nonmusic (control), an original tempo (random) and a synchronized music (synchronous) group. Results showed a significantly decreased state anxiety level after the MRI examination in the random and synchronous groups as compared with the control group. However, there was no difference in the effectiveness of either music conditions regarding state anxiety level after the examination. Participants in the music groups found the examination significantly more pleasant compared with the control group. In conclusion, the present study provides support for the notion that listening to music during an MRI examination significantly reduces patient anxiety, whereas noise attenuating devices do not provide the same effect.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"23 1","pages":"343–349"},"PeriodicalIF":1.3,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84042610","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using an online survey and a week-long diary study, the relationship between music listening behaviors in everyday life and the occurrence of involuntary musical imagery (INMI) is investigated. It is expected that musical imagery may occur as a consequence of everyday conditioning through music listening, with everyday listening shaping INMI experiences. The results confirm a close relationship between listening behavior and experiences of INMI, providing tentative support for this prediction, as the study is exploratory and correlational. In particular, a differentiation is found between positive and negative experiences of INMI, which relate to frequency and type of music engagement. Additionally, support is found for the notion that INMI may function as a substitute for actual music listening and can serve similar functions in the absence of music.
{"title":"Relationships Between Everyday Music Listening Habits and Involuntary Musical Imagery: Does Music Listening Condition Musical Imagery?","authors":"Ioanna Filippidi, R. Timmers","doi":"10.1037/pmu0000194","DOIUrl":"https://doi.org/10.1037/pmu0000194","url":null,"abstract":"Using an online survey and a week-long diary study, the relationship between music listening behaviors in everyday life and the occurrence of involuntary musical imagery (INMI) is investigated. It is expected that musical imagery may occur as a consequence of everyday conditioning through music listening, with everyday listening shaping INMI experiences. The results confirm a close relationship between listening behavior and experiences of INMI, providing tentative support for this prediction, as the study is exploratory and correlational. In particular, a differentiation is found between positive and negative experiences of INMI, which relate to frequency and type of music engagement. Additionally, support is found for the notion that INMI may function as a substitute for actual music listening and can serve similar functions in the absence of music.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"8 1","pages":"312–326"},"PeriodicalIF":1.3,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79174781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Exploring a listener’s mental representation of tonal hierarchy typically uses several classes of tones or chords embedded in a musical context. Owing to this complexity, a gap exists between behavioral methods, such as the probe tone technique, and physiological studies using electroencephalography (EEG) that commonly require averaging over many stimulus presentations and thus are typically limited in the number of experimental conditions. Here, we propose a novel method for multivariate classification-based EEG feature extraction enhancing EEG multiclass differentiation in the domain of music perception. In a show-case application, we (a) investigate how 13 listeners rate the perceived harmonic distance of 11 classes of chord changes in a continuous stimulus train of major triad chords, (b) apply the proposed method to aggregate typical change-related components of event-related potentials into a compact 11-valued neural profile, and (c) compare both with various change representations derived from music theory. Although the behavioral profiles varied interindividually, showing influences of tonal categories and/or pitch distance, the event-related potential-based neural profiles revealed a dominant influence of pitch distance in 8/13 participants. Thus, a task-driven behavioral rating (reflecting tonal categories) indicates that pitch-based neural representations can be overridden in some participants, whereas in others they could dominate and lead to task-deviant (pitch-based) ratings. In summary, we demonstrate that multivariate analysis methods can extend the scope of music perception-related EEG studies with respect to the number of stimulus conditions at the single-participant level complementing established behavioral methods.
{"title":"Multivariate EEG Analysis Reveals Neural Correlates for the Differential Perception of Chord Progressions","authors":"I. Sturm, B. Blankertz, G. Curio","doi":"10.1037/pmu0000196","DOIUrl":"https://doi.org/10.1037/pmu0000196","url":null,"abstract":"Exploring a listener’s mental representation of tonal hierarchy typically uses several classes of tones or chords embedded in a musical context. Owing to this complexity, a gap exists between behavioral methods, such as the probe tone technique, and physiological studies using electroencephalography (EEG) that commonly require averaging over many stimulus presentations and thus are typically limited in the number of experimental conditions. Here, we propose a novel method for multivariate classification-based EEG feature extraction enhancing EEG multiclass differentiation in the domain of music perception. In a show-case application, we (a) investigate how 13 listeners rate the perceived harmonic distance of 11 classes of chord changes in a continuous stimulus train of major triad chords, (b) apply the proposed method to aggregate typical change-related components of event-related potentials into a compact 11-valued neural profile, and (c) compare both with various change representations derived from music theory. Although the behavioral profiles varied interindividually, showing influences of tonal categories and/or pitch distance, the event-related potential-based neural profiles revealed a dominant influence of pitch distance in 8/13 participants. Thus, a task-driven behavioral rating (reflecting tonal categories) indicates that pitch-based neural representations can be overridden in some participants, whereas in others they could dominate and lead to task-deviant (pitch-based) ratings. In summary, we demonstrate that multivariate analysis methods can extend the scope of music perception-related EEG studies with respect to the number of stimulus conditions at the single-participant level complementing established behavioral methods.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"1 1","pages":"281–296"},"PeriodicalIF":1.3,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88293279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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