{"title":"Characterizing experiences of music-evoked visual imagery in high prevalence contexts.","authors":"R. A. Day, W. Thompson, S. Boag","doi":"10.1037/pmu0000251","DOIUrl":"https://doi.org/10.1037/pmu0000251","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"252 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78524636","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}
Over the last 2 decades, 5 skills relating to visual (performing rehearsed music, sight-reading), aural (playing by ear, playing from memory), and creative (improvising) aspects of music performance have been defined and investigated. To date, however, there has been little research investigating the relationship between these 5 aspects of performance on general musicianship, and none using psychometric measures. The aim of this study was to empirically investigate this relationship through the use of the Goldsmiths Musical Sophistication Index (Gold-MSI). With the exception of ‘Sight-reading,’ results show that all skills were correlated with musical sophistication, with the ‘Playing by Ear’ skill having the highest correlation (explaining 47.0% of the variance). Further analysis with individual Goldsmiths Musical Sophistication Index subscales revealed specific interrelationships and attributions to Western art music-making practices. For example, the Performing Rehearsed Music skill was predicted by the Musical Training, Emotions, and Singing Abilities subscales; Playing by Ear was predicted by the Active Engagement and Singing Abilities subscales; and Improvising was predicted by the Active Engagement subscale. Only Sight-Reading had no significant predictors. The implications for each skill toward current musical training methods is highlighted and discussed. (PsycInfo Database Record (c) 2020 APA, all rights reserved)
{"title":"Aspects of music performance that are most highly related to musical sophistication.","authors":"J. D. Zhang, Emery Schubert, G. McPherson","doi":"10.1037/pmu0000252","DOIUrl":"https://doi.org/10.1037/pmu0000252","url":null,"abstract":"Over the last 2 decades, 5 skills relating to visual (performing rehearsed music, sight-reading), aural (playing by ear, playing from memory), and creative (improvising) aspects of music performance have been defined and investigated. To date, however, there has been little research investigating the relationship between these 5 aspects of performance on general musicianship, and none using psychometric measures. The aim of this study was to empirically investigate this relationship through the use of the Goldsmiths Musical Sophistication Index (Gold-MSI). With the exception of ‘Sight-reading,’ results show that all skills were correlated with musical sophistication, with the ‘Playing by Ear’ skill having the highest correlation (explaining 47.0% of the variance). Further analysis with individual Goldsmiths Musical Sophistication Index subscales revealed specific interrelationships and attributions to Western art music-making practices. For example, the Performing Rehearsed Music skill was predicted by the Musical Training, Emotions, and Singing Abilities subscales; Playing by Ear was predicted by the Active Engagement and Singing Abilities subscales; and Improvising was predicted by the Active Engagement subscale. Only Sight-Reading had no significant predictors. The implications for each skill toward current musical training methods is highlighted and discussed. (PsycInfo Database Record (c) 2020 APA, all rights reserved)","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"32 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86125866","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}
With so many formats available for individuals to use to listen to music, the present research adopted a Uses and Gratifications approach to investigate why people prefer particular formats. Specifically, the present study considered six formats: physical, digital file, freestreaming, paid-for streaming, radio, live music. A sample of 396 people (Mage = 34.53) completed an online survey, detailing the reasoning for their favourite format via a free-text response. Live music and digital files were the most popular formats. A thematic analysis of the uses and gratifications pertaining to each format highlighted how participants were attuned to the advantages (and disadvantages) of different formats, demonstrating an awareness of, and consideration relative to, rival formats. Findings suggest that choosing to listen to music across different formats may satisfy different needs, and that people demonstrate an awareness of their preference relative to the other available options.
{"title":"Freedom of choice: Examining music listening as a function of favorite music format.","authors":"S. Brown, A. Krause","doi":"10.1037/pmu0000254","DOIUrl":"https://doi.org/10.1037/pmu0000254","url":null,"abstract":"With so many formats available for individuals to use to listen to music, the present research adopted a Uses and Gratifications approach to investigate why people prefer particular formats. Specifically, the present study considered six formats: physical, digital file, freestreaming, paid-for streaming, radio, live music. A sample of 396 people (Mage = 34.53) completed an online survey, detailing the reasoning for their favourite format via a free-text response. Live music and digital files were the most popular formats. A thematic analysis of the uses and gratifications pertaining to each format highlighted how participants were attuned to the advantages (and disadvantages) of different formats, demonstrating an awareness of, and consideration relative to, rival formats. Findings suggest that choosing to listen to music across different formats may satisfy different needs, and that people demonstrate an awareness of their preference relative to the other available options.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"1 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76725209","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}
Research on tempo perception has shown that it is effectively modeled by tactus rate (musical pulse), and aligns with the theory of metrical hierarchy. This research typically draws from common-practice music (music from the Western European tradition, ca. 1750-1900), and therefore does not address traits found in other repertoire that may contend with these claims. The current study investigated the impact of the backbeat, a ubiquitous rhythmic feature of popular music, on tempo perception. The experiment asked listeners to compare the tempos of pairs of excerpts with the same tactus rate. Pairs of excerpts were always presented with different backbeats, shifting to either half-time or double-time. Results indicated that half-time trials were perceived to be slower, and double-time trials were perceived to be faster, despite identical tactus rates and metrical hierarchies. The findings provide empirical support for the idea that established theories of tempo perception and metrical hierarchy may not entirely extend to other musical styles, and that the backbeat may be a metrical feature of popular music, rather than simply a rhythmic one.
{"title":"Backbeat Placement Affects Tempo Judgments","authors":"Bryn Hughes, Dominique Vuvan","doi":"10.31234/osf.io/7fetj","DOIUrl":"https://doi.org/10.31234/osf.io/7fetj","url":null,"abstract":"Research on tempo perception has shown that it is effectively modeled by tactus rate (musical pulse), and aligns with the theory of metrical hierarchy. This research typically draws from common-practice music (music from the Western European tradition, ca. 1750-1900), and therefore does not address traits found in other repertoire that may contend with these claims. The current study investigated the impact of the backbeat, a ubiquitous rhythmic feature of popular music, on tempo perception. The experiment asked listeners to compare the tempos of pairs of excerpts with the same tactus rate. Pairs of excerpts were always presented with different backbeats, shifting to either half-time or double-time. Results indicated that half-time trials were perceived to be slower, and double-time trials were perceived to be faster, despite identical tactus rates and metrical hierarchies. The findings provide empirical support for the idea that established theories of tempo perception and metrical hierarchy may not entirely extend to other musical styles, and that the backbeat may be a metrical feature of popular music, rather than simply a rhythmic one.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"18 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74868604","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}
V. T. Fallon, S. Rubenstein, Rebecca Warfield, Hannah Ennerfelt, Brenna K Hearn, E. Leaver
{"title":"Stress reduction from a musical intervention.","authors":"V. T. Fallon, S. Rubenstein, Rebecca Warfield, Hannah Ennerfelt, Brenna K Hearn, E. Leaver","doi":"10.1037/pmu0000246","DOIUrl":"https://doi.org/10.1037/pmu0000246","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"24 1","pages":"20-27"},"PeriodicalIF":1.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75493538","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}
D. Omigie, K. Lehongre, V. Navarro, C. Adam, S. Samson
Studies investigating the neural processing of musico-acoustic features have tended to do so using highly controlled musical stimuli. However, it is increasingly argued that failing to use naturalistic stimuli limits the extent to which findings from lab studies can be extrapolated to rich and varied real-world experiences. Here, we recorded electrical brain activity from 8 epileptic patients, implanted for pre-surgical evaluation with Stereo-encephalography (SEEG), while they listened to pieces from the western tonal music repertoire. We estimated the sound intensity and key and pulse clarity of the stimuli using a toolbox for automatic extraction of musico-acoustic features. We then used partial-correlation analyses to examine the patterns of neuro-oscillatory activity associated with the processing of these features. Our results showed clear tracking of sound intensity in high-gamma and alpha frequency bands in posterior superior temporal gyrus, reflecting neural firing and the transfer of auditory information from the thalamus to auditory cortices, respectively. Patterns of partial correlations, in line with our hypotheses, also suggested limbic and inferior frontal cortical tracking of tonal and rhythmic uncertainty, albeit without the robustness shown for sound intensity tracking in auditory areas. The study provides an important contribution to the existing literature in its adherence to the call for a greater use of ecologically valid stimuli in neuroscientific investigations of music listening. Our results, specifically, have implications for research on the neural processing of musical uncertainty and for future studies seeking to use intracranial EEG to examine naturalistic music processing.
{"title":"Neuro-oscillatory tracking of low- and high-level musico-acoustic features during naturalistic music listening: Insights from an intracranial electroencephalography study.","authors":"D. Omigie, K. Lehongre, V. Navarro, C. Adam, S. Samson","doi":"10.1037/pmu0000249","DOIUrl":"https://doi.org/10.1037/pmu0000249","url":null,"abstract":"Studies investigating the neural processing of musico-acoustic features have tended to do so using highly controlled musical stimuli. However, it is increasingly argued that failing to use naturalistic stimuli limits the extent to which findings from lab studies can be extrapolated to rich and varied real-world experiences. Here, we recorded electrical brain activity from 8 epileptic patients, implanted for pre-surgical evaluation with Stereo-encephalography (SEEG), while they listened to pieces from the western tonal music repertoire. We estimated the sound intensity and key and pulse clarity of the stimuli using a toolbox for automatic extraction of musico-acoustic features. We then used partial-correlation analyses to examine the patterns of neuro-oscillatory activity associated with the processing of these features. Our results showed clear tracking of sound intensity in high-gamma and alpha frequency bands in posterior superior temporal gyrus, reflecting neural firing and the transfer of auditory information from the thalamus to auditory cortices, respectively. Patterns of partial correlations, in line with our hypotheses, also suggested limbic and inferior frontal cortical tracking of tonal and rhythmic uncertainty, albeit without the robustness shown for sound intensity tracking in auditory areas. The study provides an important contribution to the existing literature in its adherence to the call for a greater use of ecologically valid stimuli in neuroscientific investigations of music listening. Our results, specifically, have implications for research on the neural processing of musical uncertainty and for future studies seeking to use intracranial EEG to examine naturalistic music processing.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"81 1","pages":"37-51"},"PeriodicalIF":1.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86898235","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}
{"title":"Empirical test of aesthetic experience using the affect-space framework.","authors":"Emery Schubert, D. Hargreaves, Adrian C. North","doi":"10.1037/pmu0000248","DOIUrl":"https://doi.org/10.1037/pmu0000248","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"31 1","pages":"28-36"},"PeriodicalIF":1.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86080914","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}
{"title":"Supplemental Material for Short-Term Effects of Group Singing Versus Listening on Mood and State Self-Esteem","authors":"","doi":"10.1037/pmu0000266.supp","DOIUrl":"https://doi.org/10.1037/pmu0000266.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"107 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76170029","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}
{"title":"Supplemental Material for Exploring Mindfulness Attentional Skills Acquisition, Psychological and Physiological Functioning and Well-Being: Using Mindful Breathing or Mindful Listening in a Nonclinical Sample","authors":"","doi":"10.1037/pmu0000255.supp","DOIUrl":"https://doi.org/10.1037/pmu0000255.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":"56 1","pages":""},"PeriodicalIF":1.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79718240","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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