{"title":"Review of The Routledge Companion to Music Cognition.","authors":"A. Schiavio","doi":"10.1037/pmu0000231","DOIUrl":"https://doi.org/10.1037/pmu0000231","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86648407","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 “Hearing Music as . . .”: Metaphors Evoked by the Sound of Classical Music","authors":"","doi":"10.1037/pmu0000233.supp","DOIUrl":"https://doi.org/10.1037/pmu0000233.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80472563","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 Is Empathy Involved in Our Emotional Response to Music? The Role of the PRL Gene, Empathy, and Arousal in Response to Happy and Sad Music","authors":"","doi":"10.1037/pmu0000230.supp","DOIUrl":"https://doi.org/10.1037/pmu0000230.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81933512","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 the Impact of Continual Drones on Perceived Musical Emotion","authors":"","doi":"10.1037/pmu0000237.supp","DOIUrl":"https://doi.org/10.1037/pmu0000237.supp","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88828021","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":"A review of research on music and coping in adolescence.","authors":"D. Miranda","doi":"10.1037/PMU0000229","DOIUrl":"https://doi.org/10.1037/PMU0000229","url":null,"abstract":"","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80986099","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}
Manuel Anglada-Tort, Heather Thueringer, D. Omigie
A field experiment was conducted with a professional busker in the London Underground over the course of 24 days. Its aim was to investigate the extent to which performative aspects influence behavioural responses to music street performances. Two aspects of the performance were manipulated: familiarity of the music (familiar vs. unfamiliar) and body movements (expressive vs. restricted). The amount of money donated and number of people who donated were recorded. A total of 278 people donated over the experiment. The music stimuli, which was selected in an online study to differ only in familiarity, had been previously recorded by the busker. During the experimental sessions, the busker lip-synced to the pre-recorded recordings. Thus, the audio input in the experiment remained identical across sessions and the only variables that changed across conditions were the familiarity of the music and the expressivity of performed body movements. The results indicated that neither music familiarity nor performer’s body movements had a significant impact on the amount of money donated (Rm2= .033) nor the number of donors (Rm2= .023). These results do not support previous literature on the influence of familiarity and performers’ body movements, typically conducted in lab and artificial environments. The findings are further discussed with regard to potential extraneous variables that are crucial to control for (i.e., location of the performance, physical appearance, the bandwagon effect) and the advantages of field versus laboratory experiments. A novel research framework to study music judgements and behaviour is introduced, namely, the behavioural economics of music.
{"title":"The busking experiment: A field study measuring behavioral responses to street music performances.","authors":"Manuel Anglada-Tort, Heather Thueringer, D. Omigie","doi":"10.1037/PMU0000236","DOIUrl":"https://doi.org/10.1037/PMU0000236","url":null,"abstract":"A field experiment was conducted with a professional busker in the London Underground over the course of 24 days. Its aim was to investigate the extent to which performative aspects influence behavioural responses to music street performances. Two aspects of the performance were manipulated: familiarity of the music (familiar vs. unfamiliar) and body movements (expressive vs. restricted). The amount of money donated and number of people who donated were recorded. A total of 278 people donated over the experiment. The music stimuli, which was selected in an online study to differ only in familiarity, had been previously recorded by the busker. During the experimental sessions, the busker lip-synced to the pre-recorded recordings. Thus, the audio input in the experiment remained identical across sessions and the only variables that changed across conditions were the familiarity of the music and the expressivity of performed body movements. The results indicated that neither music familiarity nor performer’s body movements had a significant impact on the amount of money donated (Rm2= .033) nor the number of donors (Rm2= .023). These results do not support previous literature on the influence of familiarity and performers’ body movements, typically conducted in lab and artificial environments. The findings are further discussed with regard to potential extraneous variables that are crucial to control for (i.e., location of the performance, physical appearance, the bandwagon effect) and the advantages of field versus laboratory experiments. A novel research framework to study music judgements and behaviour is introduced, namely, the behavioural economics of music.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81643826","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 study’s purpose was to examine a 6-function model of conducting using concurrent measures in 3 ensemble types. The model sorts conducting gestures into mechanical precision, expressive, motivational, psychosocial, physical technique, and unrestrained tone functions. A convenience sample of choir, orchestra, and band conductors (N = 3) at a Midwestern U.S. top-tier university consented to different levels of data collection designed to test measures by type of validity. Conducting Priorities Survey (CPS) ratings across all ensembles (N = 62) supported content and construct validity with strong subscale alpha reliabilities. Correlations between conductor CPS self-ratings, ensemble CPS average ratings, researcher observations of band and orchestra conducting, and band conductor and random band member interview content were significant and substantial, supporting concurrent validity. Strongest significant correlations among observed conducting functions demonstrate how the band conductor drew on musician-oriented functions to support music-oriented functions. Strongest significant correlations between observed band conductor functions and computerized analysis of band ensemble sound support convergent validity, and with descriptive interview content plausibly explain how a conductor functionally shaped ensemble sound. Present study findings illustrate the potential application of mixed methods and the 6-function model in future research and teaching of conducting and support the CPS as a valid accessible measurement tool.
{"title":"Music Conducting Functions: A Mixed-Methods Evaluation of Theory and Survey Validity","authors":"Alan J. Gumm","doi":"10.1037/pmu0000218","DOIUrl":"https://doi.org/10.1037/pmu0000218","url":null,"abstract":"The study’s purpose was to examine a 6-function model of conducting using concurrent measures in 3 ensemble types. The model sorts conducting gestures into mechanical precision, expressive, motivational, psychosocial, physical technique, and unrestrained tone functions. A convenience sample of choir, orchestra, and band conductors (N = 3) at a Midwestern U.S. top-tier university consented to different levels of data collection designed to test measures by type of validity. Conducting Priorities Survey (CPS) ratings across all ensembles (N = 62) supported content and construct validity with strong subscale alpha reliabilities. Correlations between conductor CPS self-ratings, ensemble CPS average ratings, researcher observations of band and orchestra conducting, and band conductor and random band member interview content were significant and substantial, supporting concurrent validity. Strongest significant correlations among observed conducting functions demonstrate how the band conductor drew on musician-oriented functions to support music-oriented functions. Strongest significant correlations between observed band conductor functions and computerized analysis of band ensemble sound support convergent validity, and with descriptive interview content plausibly explain how a conductor functionally shaped ensemble sound. Present study findings illustrate the potential application of mixed methods and the 6-function model in future research and teaching of conducting and support the CPS as a valid accessible measurement tool.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88464260","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}
Musicians use silent music reading for memorizing, and this includes different types of mental imagery and analytical functions. The aim of this mixed-methods study was to address the effects of musical expertise, general level cognitive traits, and situational strategies on pianists’ performances after silent memorizing of notated music. We also compared pianists’ silent memorizing strategies between tonal and nontonal music. Thirty pianists performed short musical excerpts from memory after silently reading the notation for 1 minute. Following this, they described their memorizing strategies in an interview, and completed tests of cognitive style, aural skills, working memory, and music-processing style. The performances were assessed in terms of “recall rate” separately for both hands (accuracy of memorization) and “overall impression” (pianistic fluency and style). In tonal music, pianists’ aural imagery focused on imagining the melody, whereas in nontonal music, aural imagery typically focused on rhythmic aspects. In tonal music, conceptual strategies were related to traditional music analysis, whereas in nontonal music they were more piecemeal and atomistic in nature. According to linear mixed-effect models, right-hand recall rate was associated with higher aural skills, but left-hand recall rate was related to verbal cognitive style and analytical music-processing style, that is, more frequent use of music analysis in regular practice. Better performances in terms of overall impression were related to higher aural skills. Music education develops skills and strategies that are effective for memorizing, and beyond one’s working memory capacity. However, cognitive styles may also play a role in musicians’ silent memorizing.
{"title":"Memorizing Silently to Perform Tonal and Nontonal Notated Music: A Mixed-Methods Study With Pianists","authors":"N. Loimusalo, Erkki Huovinen","doi":"10.1037/pmu0000227","DOIUrl":"https://doi.org/10.1037/pmu0000227","url":null,"abstract":"Musicians use silent music reading for memorizing, and this includes different types of mental imagery and analytical functions. The aim of this mixed-methods study was to address the effects of musical expertise, general level cognitive traits, and situational strategies on pianists’ performances after silent memorizing of notated music. We also compared pianists’ silent memorizing strategies between tonal and nontonal music. Thirty pianists performed short musical excerpts from memory after silently reading the notation for 1 minute. Following this, they described their memorizing strategies in an interview, and completed tests of cognitive style, aural skills, working memory, and music-processing style. The performances were assessed in terms of “recall rate” separately for both hands (accuracy of memorization) and “overall impression” (pianistic fluency and style). In tonal music, pianists’ aural imagery focused on imagining the melody, whereas in nontonal music, aural imagery typically focused on rhythmic aspects. In tonal music, conceptual strategies were related to traditional music analysis, whereas in nontonal music they were more piecemeal and atomistic in nature. According to linear mixed-effect models, right-hand recall rate was associated with higher aural skills, but left-hand recall rate was related to verbal cognitive style and analytical music-processing style, that is, more frequent use of music analysis in regular practice. Better performances in terms of overall impression were related to higher aural skills. Music education develops skills and strategies that are effective for memorizing, and beyond one’s working memory capacity. However, cognitive styles may also play a role in musicians’ silent memorizing.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84981354","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}
Familiar music contains salient cues that often evoke vivid and emotionally powerful autobiographical memories. Prior work suggests that memories evoked by music may be different from memories evoked by other cues (e.g., words and visual images). For example, music-evoked autobiographical memories (MEAMs) have been shown to contain a greater proportion of episodic details than memories evoked by images. Neuroimaging work has suggested an important role for the medial prefrontal cortex (mPFC) in connecting music with vivid and specific autobiographical memories. Here, we sought to investigate whether the mPFC is a necessary structure for episodically rich MEAMs, by studying individuals with damage to this region. We predicted that individuals with damage to the mPFC would have less episodically rich MEAMs than demographically matched healthy adults, but that there would not be any difference in memories evoked by images. Participants listened to popular music clips and viewed images of famous persons. After each stimulus, participants reported whether the stimulus evoked a memory; if it did, participants then verbally described the memories. Memories were recorded, transcribed, and scored to assess episodic richness. In support of our main prediction, the results indicated that the mPFC group performed significantly lower than the comparison group for music-evoked, but not face-evoked, memories. These results can be taken to suggest that the mPFC is a critical structure for connecting musical cues with particularly specific and episodically detailed autobiographical memories.
{"title":"Damage to the Medial Prefrontal Cortex Impairs Music-Evoked Autobiographical Memories","authors":"Amy M. Belfi, Brett Karlan, D. Tranel","doi":"10.1037/pmu0000222","DOIUrl":"https://doi.org/10.1037/pmu0000222","url":null,"abstract":"Familiar music contains salient cues that often evoke vivid and emotionally powerful autobiographical memories. Prior work suggests that memories evoked by music may be different from memories evoked by other cues (e.g., words and visual images). For example, music-evoked autobiographical memories (MEAMs) have been shown to contain a greater proportion of episodic details than memories evoked by images. Neuroimaging work has suggested an important role for the medial prefrontal cortex (mPFC) in connecting music with vivid and specific autobiographical memories. Here, we sought to investigate whether the mPFC is a necessary structure for episodically rich MEAMs, by studying individuals with damage to this region. We predicted that individuals with damage to the mPFC would have less episodically rich MEAMs than demographically matched healthy adults, but that there would not be any difference in memories evoked by images. Participants listened to popular music clips and viewed images of famous persons. After each stimulus, participants reported whether the stimulus evoked a memory; if it did, participants then verbally described the memories. Memories were recorded, transcribed, and scored to assess episodic richness. In support of our main prediction, the results indicated that the mPFC group performed significantly lower than the comparison group for music-evoked, but not face-evoked, memories. These results can be taken to suggest that the mPFC is a critical structure for connecting musical cues with particularly specific and episodically detailed autobiographical memories.","PeriodicalId":29942,"journal":{"name":"Psychomusicology","volume":null,"pages":null},"PeriodicalIF":1.3,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82746829","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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