{"title":"Supplemental Material for Using Auditory Imagery Tasks to Map the Cognitive Linguistic Dimensions of Musical Instrument Timbre Qualia","authors":"","doi":"10.1037/pmu0000263.supp","DOIUrl":"https://doi.org/10.1037/pmu0000263.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84334352","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 Pleasant Music Improves Explicit but Not Implicit Processing in Spatial Neglect and Extinction","authors":"","doi":"10.1037/pmu0000268.supp","DOIUrl":"https://doi.org/10.1037/pmu0000268.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79196577","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":"Influences of chord change on metric accent.","authors":"C. White","doi":"10.1037/pmu0000244","DOIUrl":"https://doi.org/10.1037/pmu0000244","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73014598","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":"Effects of audiovisual congruency on perceived emotions in film.","authors":"Ninett Rosenfeld, J. Steffens","doi":"10.1037/PMU0000242","DOIUrl":"https://doi.org/10.1037/PMU0000242","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85864861","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}
Perceptual studies of timbre semantics have revealed certain consistencies in the linguistic concep-tualization of acoustic attributes. In the standard experimental paradigm, participants hear timbral stimuli and provide behavioral responses. However, it remains unclear the extent to which descriptive consistency would be observed if this paradigm were reversed, that is, if participants were instructed to create novel timbres in response to target adjectives. Given an unfamiliar synthesis interface, would musically trained participants craft similar timbral profiles for the same familiar adjectives? In this study, we explore timbre semantics using a novel frequency modulation (FM) synthesis production task. Participants ( N (cid:2) 64) created unique timbral outputs in response to 20 common timbre descriptors drawn from orchestration treatises (e.g., brilliant , dull , harsh ). Acoustic analyses of the resultant 1,280 signals, in conjunction with linear mixed-effects modeling and clustering analysis, indicate that participants were moderately consistent in their timbral creations. Word valence and arousal interacted to influence average spectral centroid and noisiness. Specifically, clearly positive and negative words produced significantly different acoustical profiles than more affectively neutral words. This result confirms a number of findings from the perceptual literature while offering preliminary evidence that affective dimensions of timbre semantics sys- tematically influence sound production in an unfamiliar context. subcluster suggests commonalities in acoustic profiles for these three words.
{"title":"Creating novel tones from adjectives: An exploratory study using FM synthesis.","authors":"Zachary Wallmark, R. J. Frank, L. Nghiem","doi":"10.1037/PMU0000240","DOIUrl":"https://doi.org/10.1037/PMU0000240","url":null,"abstract":"Perceptual studies of timbre semantics have revealed certain consistencies in the linguistic concep-tualization of acoustic attributes. In the standard experimental paradigm, participants hear timbral stimuli and provide behavioral responses. However, it remains unclear the extent to which descriptive consistency would be observed if this paradigm were reversed, that is, if participants were instructed to create novel timbres in response to target adjectives. Given an unfamiliar synthesis interface, would musically trained participants craft similar timbral profiles for the same familiar adjectives? In this study, we explore timbre semantics using a novel frequency modulation (FM) synthesis production task. Participants ( N (cid:2) 64) created unique timbral outputs in response to 20 common timbre descriptors drawn from orchestration treatises (e.g., brilliant , dull , harsh ). Acoustic analyses of the resultant 1,280 signals, in conjunction with linear mixed-effects modeling and clustering analysis, indicate that participants were moderately consistent in their timbral creations. Word valence and arousal interacted to influence average spectral centroid and noisiness. Specifically, clearly positive and negative words produced significantly different acoustical profiles than more affectively neutral words. This result confirms a number of findings from the perceptual literature while offering preliminary evidence that affective dimensions of timbre semantics sys- tematically influence sound production in an unfamiliar context. subcluster suggests commonalities in acoustic profiles for these three words.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79076463","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}
R. MacAulay, Philip B. Edelman, A. Boeve, Nathan Sprangers, A. Halpin
{"title":"Group music training as a multimodal cognitive intervention for older adults.","authors":"R. MacAulay, Philip B. Edelman, A. Boeve, Nathan Sprangers, A. Halpin","doi":"10.1037/PMU0000239","DOIUrl":"https://doi.org/10.1037/PMU0000239","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75353662","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":"Exploring the impact of continual drones on perceived musical emotion.","authors":"R. Friedman","doi":"10.1037/pmu0000237","DOIUrl":"https://doi.org/10.1037/pmu0000237","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80976259","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}
Studies have suggested that visual imagery forms an important part of the listening experience and might be one of the mechanisms by which music induces emotions in a listener. However, little is known about the content, prevalence, and function of visual imagery during music listening. To that end, an online survey was constructed to explore music-related visual imagery. This included 24 statements about visual imagery based on previous research and an open question regarding the content of their inner images. Several standardized questionnaires (Vividness of Visual Imagery Questionnaire and Goldsmiths Musical Sophistication Index) were included as well to investigate the link to visual imagery in non-musical contexts and across individuals with various levels of musical training. In total, 669 participants provided responses to an online survey. A factorial structure of music and visual imagery statements provided a three-factor structure consisting of vivid, soothing, and disruptive visual imagery, although the actual factor structure was nonidentical between the musically trained and untrained respondents. Separate analyses of factors for musically trained and untrained participants yielded a more parsimonious structure of visual imagery, which consisted of vivid and soothing visual imagery. These two factors consistently exhibited different weights across the items; for musically trained participants, vivid imagery was more related to modulating arousal than for untrained participants. The ability to conjure up vivid visual imagery was only weakly related to the presence of music-related visual imagery. A content analysis of the open question revealed common themes that related to a mixture of concrete visual imagery (landscapes, images of people, and scenes from past events) and abstract visual imagery (shapes, objects, and colors). Implications of these findings for further studies on music-induced emotions are discussed with a focus on a recent constructionist account of emotional meanings in music.
{"title":"The content and functions of vivid and soothing visual imagery during music listening: Findings from a survey study.","authors":"M. Küssner, T. Eerola","doi":"10.1037/PMU0000238","DOIUrl":"https://doi.org/10.1037/PMU0000238","url":null,"abstract":"Studies have suggested that visual imagery forms an important part of the listening experience and might be one of the mechanisms by which music induces emotions in a listener. However, little is known about the content, prevalence, and function of visual imagery during music listening. To that end, an online survey was constructed to explore music-related visual imagery. This included 24 statements about visual imagery based on previous research and an open question regarding the content of their inner images. Several standardized questionnaires (Vividness of Visual Imagery Questionnaire and Goldsmiths Musical Sophistication Index) were included as well to investigate the link to visual imagery in non-musical contexts and across individuals with various levels of musical training. In total, 669 participants provided responses to an online survey. A factorial structure of music and visual imagery statements provided a three-factor structure consisting of vivid, soothing, and disruptive visual imagery, although the actual factor structure was nonidentical between the musically trained and untrained respondents. Separate analyses of factors for musically trained and untrained participants yielded a more parsimonious structure of visual imagery, which consisted of vivid and soothing visual imagery. These two factors consistently exhibited different weights across the items; for musically trained participants, vivid imagery was more related to modulating arousal than for untrained participants. The ability to conjure up vivid visual imagery was only weakly related to the presence of music-related visual imagery. A content analysis of the open question revealed common themes that related to a mixture of concrete visual imagery (landscapes, images of people, and scenes from past events) and abstract visual imagery (shapes, objects, and colors). Implications of these findings for further studies on music-induced emotions are discussed with a focus on a recent constructionist account of emotional meanings in music.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85904747","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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{"title":"Engagement and visual imagery in music listening: An exploratory study.","authors":"Graziana Presicce, F. Bailes","doi":"10.1037/pmu0000243","DOIUrl":"https://doi.org/10.1037/pmu0000243","url":null,"abstract":"eprints@whiterose.ac.uk https://eprints.whiterose.ac.uk/ Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88723267","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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