Pub Date : 2024-08-08DOI: 10.1177/10298649241269011
Rory Kirk, Renee Timmers
There is widespread interest in the use of music to help with sleep, although there is little clear understanding of the features that distinguish music for sleep from music for other purposes. We asked if music intended to facilitate sleep is distinct from music more generally considered as relaxing by comparing the features of tracks comprising three types of playlist on the music streaming service Spotify. Ninety playlists to facilitate sleep, relaxation and, for comparison, energy were gathered, based on titles and descriptions. Our analysis found significant differences between many of the features of the tracks in the three playlist categories, and nature sounds were prominent in sleep music playlists. A nonlinear classification model correctly classified music from sleep playlists with an accuracy rate of 72%, with brightness being the strongest predictor in distinguishing music from sleep and relaxing playlists. Music from sleep playlists could generally be described as acoustic, instrumental, slower, quieter, and with less energy compared to the other playlists, conforming with previous work. Our results emphasize the importance of timbral qualities in music for sleep and confirm sleep music to be distinct from music for relaxation. The results can be used to guide the selection of music for sleep, and the transition from relaxation to sleep.
{"title":"Characterizing music for sleep: A comparison of Spotify playlists","authors":"Rory Kirk, Renee Timmers","doi":"10.1177/10298649241269011","DOIUrl":"https://doi.org/10.1177/10298649241269011","url":null,"abstract":"There is widespread interest in the use of music to help with sleep, although there is little clear understanding of the features that distinguish music for sleep from music for other purposes. We asked if music intended to facilitate sleep is distinct from music more generally considered as relaxing by comparing the features of tracks comprising three types of playlist on the music streaming service Spotify. Ninety playlists to facilitate sleep, relaxation and, for comparison, energy were gathered, based on titles and descriptions. Our analysis found significant differences between many of the features of the tracks in the three playlist categories, and nature sounds were prominent in sleep music playlists. A nonlinear classification model correctly classified music from sleep playlists with an accuracy rate of 72%, with brightness being the strongest predictor in distinguishing music from sleep and relaxing playlists. Music from sleep playlists could generally be described as acoustic, instrumental, slower, quieter, and with less energy compared to the other playlists, conforming with previous work. Our results emphasize the importance of timbral qualities in music for sleep and confirm sleep music to be distinct from music for relaxation. The results can be used to guide the selection of music for sleep, and the transition from relaxation to sleep.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141944927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-03DOI: 10.1177/10298649241252292
Johannes Lunde Hatfield
Performance profiling (PP) has been used by elite athletes and their coaches and/or trainers for more than three decades to identify, select, and implement the qualities they believe are most important for them to achieve peak performance in their own sport. It thus enhances athletes’ awareness and ability to establish task-relevant goals contributing to their pursuit of excellence. Given the similarities between athletes and musicians, and in particular the psychological, physiological, and technical requirements of their professions, I believe that PP could usefully be applied in the context of higher music education, with benefits for music students and their teachers. In this article I provide an overview of the theories on which PP is based and, review the ways in which it has been implemented, adapted for use with populations other than athletes, and evaluated. To date, musicians have used PP only to a limited extent, and research on its effectiveness for musicians is therefore scarce. I propose specific adaptations of existing approaches to PP for athletes with a protocol that can be used by music students with their peers and/or teachers.
{"title":"Performance profiling: A systematic approach to the enhancement of music practice and peak performance","authors":"Johannes Lunde Hatfield","doi":"10.1177/10298649241252292","DOIUrl":"https://doi.org/10.1177/10298649241252292","url":null,"abstract":"Performance profiling (PP) has been used by elite athletes and their coaches and/or trainers for more than three decades to identify, select, and implement the qualities they believe are most important for them to achieve peak performance in their own sport. It thus enhances athletes’ awareness and ability to establish task-relevant goals contributing to their pursuit of excellence. Given the similarities between athletes and musicians, and in particular the psychological, physiological, and technical requirements of their professions, I believe that PP could usefully be applied in the context of higher music education, with benefits for music students and their teachers. In this article I provide an overview of the theories on which PP is based and, review the ways in which it has been implemented, adapted for use with populations other than athletes, and evaluated. To date, musicians have used PP only to a limited extent, and research on its effectiveness for musicians is therefore scarce. I propose specific adaptations of existing approaches to PP for athletes with a protocol that can be used by music students with their peers and/or teachers.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141944928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/10298649241262672
Ariadne Loutrari
The human mind engages with repetition both in the form of external stimulation and as an internal psychological phenomenon. I studied these two facets of repetition in 111 musically untrained participants. The investigation was in two parts. In the first part, I looked at the speech-to-song (STS) illusion by comparing ratings of musicality for identical looped (repeated) spoken phrases and for looped spoken phrases including pitch transpositions. Contrary to previous evidence, the stimuli containing transposed presentations were rated more song-like. I attribute this finding to the particular patterns of transpositions used and the fact that the interval of transposition was a major second as opposed to the fractions of semitones used in previous studies. In the second part of the investigation, I partially adopted the stimulus design of the STS illusion paradigm, presenting participants with looped phrases and single phrases. Participants were asked to suppress them and click a button if they thought of them. An increase in button clicks suggests that participants found it significantly harder to suppress the looped phrases than the single phrases. As the stimuli in the second part had been shown in previous research not to induce the STS illusion when repeated, I attribute the differences between participants’ responses to the two kinds of stimuli to the repetition of the phrases rather than their being perceived as song-like. I consider these findings in the light of research on earworms, or involuntary musical imagery. Future directions for a more in-depth exploration of the STS illusion in conjunction with auditory imagery are also briefly discussed.
{"title":"A phrase in a loop: A rethink of verbatim repetition in the speech-to-song illusion and a new approach to the study of involuntary auditory imagery","authors":"Ariadne Loutrari","doi":"10.1177/10298649241262672","DOIUrl":"https://doi.org/10.1177/10298649241262672","url":null,"abstract":"The human mind engages with repetition both in the form of external stimulation and as an internal psychological phenomenon. I studied these two facets of repetition in 111 musically untrained participants. The investigation was in two parts. In the first part, I looked at the speech-to-song (STS) illusion by comparing ratings of musicality for identical looped (repeated) spoken phrases and for looped spoken phrases including pitch transpositions. Contrary to previous evidence, the stimuli containing transposed presentations were rated more song-like. I attribute this finding to the particular patterns of transpositions used and the fact that the interval of transposition was a major second as opposed to the fractions of semitones used in previous studies. In the second part of the investigation, I partially adopted the stimulus design of the STS illusion paradigm, presenting participants with looped phrases and single phrases. Participants were asked to suppress them and click a button if they thought of them. An increase in button clicks suggests that participants found it significantly harder to suppress the looped phrases than the single phrases. As the stimuli in the second part had been shown in previous research not to induce the STS illusion when repeated, I attribute the differences between participants’ responses to the two kinds of stimuli to the repetition of the phrases rather than their being perceived as song-like. I consider these findings in the light of research on earworms, or involuntary musical imagery. Future directions for a more in-depth exploration of the STS illusion in conjunction with auditory imagery are also briefly discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141777946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/10298649241256252
Peer-Ole Jacobsen, Hannah Strauss, Julia Vigl, Eva Zangerle, Marcel Zentner
The Geneva Emotional Music Scale (GEMS) is a widely used instrument to measure emotions evoked by music. Its original version includes 45 emotion-related adjectives that can be grouped into nine dimensions and three second-order factors. Because time is often critical, the same authors introduced a checklist that assesses each dimension with one item only (GEMS-9). The checklist is being increasingly used, but it remains at present unclear whether the two instruments produce comparable scores. To redress this gap, we had 192 participants rate 18 music excerpts from various music genres with both instruments. We found that although scores on the nine GEMS emotions did converge in terms of profile similarity, the GEMS-9 tended to produce somewhat higher absolute scores. Yet, when dimensions of the GEMS-45 were represented by their highest-scoring scale item, the absolute scores were consistent as well. We conclude that if researchers have time constraints but still wish to capture some of the distinct features of music-evoked emotion, the GEMS-9 provides an interesting alternative to the GEMS-45.
{"title":"Assessing aesthetic music-evoked emotions in a minute or less: A comparison of the GEMS-45 and the GEMS-9","authors":"Peer-Ole Jacobsen, Hannah Strauss, Julia Vigl, Eva Zangerle, Marcel Zentner","doi":"10.1177/10298649241256252","DOIUrl":"https://doi.org/10.1177/10298649241256252","url":null,"abstract":"The Geneva Emotional Music Scale (GEMS) is a widely used instrument to measure emotions evoked by music. Its original version includes 45 emotion-related adjectives that can be grouped into nine dimensions and three second-order factors. Because time is often critical, the same authors introduced a checklist that assesses each dimension with one item only (GEMS-9). The checklist is being increasingly used, but it remains at present unclear whether the two instruments produce comparable scores. To redress this gap, we had 192 participants rate 18 music excerpts from various music genres with both instruments. We found that although scores on the nine GEMS emotions did converge in terms of profile similarity, the GEMS-9 tended to produce somewhat higher absolute scores. Yet, when dimensions of the GEMS-45 were represented by their highest-scoring scale item, the absolute scores were consistent as well. We conclude that if researchers have time constraints but still wish to capture some of the distinct features of music-evoked emotion, the GEMS-9 provides an interesting alternative to the GEMS-45.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141778034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-01Epub Date: 2023-07-10DOI: 10.1177/10298649231184817
Negin Motamed Yeganeh, Taylor McKee, Janet F Werker, Nancy Hermiston, Lara A Boyd, Anja-Xiaoxing Cui
In an opera performance, singers must perform difficult musical repertoire at a high level while dealing with the stress of standing before a large audience. Previous literature suggests that individuals with better cognitive functions experience less stress. During a music performance such functions, especially attention, memory, and executive function, are in high demand, suggesting that cognitive functions may play a role in music performance. This study used physiological and cognitive measures to examine this phenomenon in opera performance. Cardiac activity data were collected from 24 opera trainees during a resting-state period before and during a real-life performance. Heart-rate variability (HRV) was used as an indicator of physiological stress, such that higher HRV indicates lower stress. Standardized neuropsychological tests were used to measure attention (IVA-2), memory (CVLT-3, WMS-IV), and executive function (Trail Making Test). Results showed cognitive function- and state-specific relationships between HRV and cognitive function: HRV during the resting state had a positive correlation with attention, while HRV during a performance had a positive correlation with executive function. These results suggest that greater cognitive function is related to lower stress during opera performance. The findings of this study provide initial evidence for a relationship between cognitive functions and music performance stress in opera trainees.
{"title":"Opera trainees' cognitive functioning is associated with physiological stress during performance.","authors":"Negin Motamed Yeganeh, Taylor McKee, Janet F Werker, Nancy Hermiston, Lara A Boyd, Anja-Xiaoxing Cui","doi":"10.1177/10298649231184817","DOIUrl":"10.1177/10298649231184817","url":null,"abstract":"<p><p>In an opera performance, singers must perform difficult musical repertoire at a high level while dealing with the stress of standing before a large audience. Previous literature suggests that individuals with better cognitive functions experience less stress. During a music performance such functions, especially attention, memory, and executive function, are in high demand, suggesting that cognitive functions may play a role in music performance. This study used physiological and cognitive measures to examine this phenomenon in opera performance. Cardiac activity data were collected from 24 opera trainees during a resting-state period before and during a real-life performance. Heart-rate variability (HRV) was used as an indicator of physiological stress, such that higher HRV indicates lower stress. Standardized neuropsychological tests were used to measure attention (IVA-2), memory (CVLT-3, WMS-IV), and executive function (Trail Making Test). Results showed cognitive function- and state-specific relationships between HRV and cognitive function: HRV during the resting state had a positive correlation with attention, while HRV during a performance had a positive correlation with executive function. These results suggest that greater cognitive function is related to lower stress during opera performance. The findings of this study provide initial evidence for a relationship between cognitive functions and music performance stress in opera trainees.</p>","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11108751/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77478959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-17DOI: 10.1177/10298649241249427
Mia Kuch, Clemens Wöllner
In this study, we examined how mobile music listening can change one’s perception of the environment. Using a mixed-methods approach, we subjected the written statements of 112 individuals to content analysis and association rule mining to identify categorical relationships. Findings revealed two distinct qualities of perception that are related to relevant factors: (1) Altered attentional focus is predominantly characterized by an intentional shift of attention, usually to exclude the external world from perception. Here, we found associations with situational context and affect regulation. (2) Altered perception and experience of the self are characterized by the inclusion and modification of the environment, or by an altered sense of oneself. They are related to musical attributes, affect regulation, situational context, and behavioral change. We also found an association between the two qualities of perception. Based on the patterns identified, we were able to determine temporal relationships between the effects of mobile music listening. For example, participants often reported that they consciously used music to improve or enhance their mood. On the one hand, they achieve this by focusing their attention on the music and thus blocking out the outside world. On the other hand, mood enhancement through music may lead to a more positive experience of the environment and behavioral consequences. We summarize our findings in a model showing patterns of changes in perception with regard to antecedents and consequences. This model exemplifies the plurality of mobile listening strategies and their psychological effects, advancing our understanding of the multifaceted nature of mobile music listening.
{"title":"Effects of mobile music listening: Patterns of changes in focus of attention, environmental perception, and self-experience","authors":"Mia Kuch, Clemens Wöllner","doi":"10.1177/10298649241249427","DOIUrl":"https://doi.org/10.1177/10298649241249427","url":null,"abstract":"In this study, we examined how mobile music listening can change one’s perception of the environment. Using a mixed-methods approach, we subjected the written statements of 112 individuals to content analysis and association rule mining to identify categorical relationships. Findings revealed two distinct qualities of perception that are related to relevant factors: (1) Altered attentional focus is predominantly characterized by an intentional shift of attention, usually to exclude the external world from perception. Here, we found associations with situational context and affect regulation. (2) Altered perception and experience of the self are characterized by the inclusion and modification of the environment, or by an altered sense of oneself. They are related to musical attributes, affect regulation, situational context, and behavioral change. We also found an association between the two qualities of perception. Based on the patterns identified, we were able to determine temporal relationships between the effects of mobile music listening. For example, participants often reported that they consciously used music to improve or enhance their mood. On the one hand, they achieve this by focusing their attention on the music and thus blocking out the outside world. On the other hand, mood enhancement through music may lead to a more positive experience of the environment and behavioral consequences. We summarize our findings in a model showing patterns of changes in perception with regard to antecedents and consequences. This model exemplifies the plurality of mobile listening strategies and their psychological effects, advancing our understanding of the multifaceted nature of mobile music listening.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140964991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-17DOI: 10.1177/10298649241249667
Annika Hörster, Jochim Hansen
High levels of mental pressure in musicians can lead to decrements in performance, but this effect may depend on individual dispositions. In this study, self-consciousness and trait anxiety were examined as predictors of decrements in performance in natural concert settings. The performance of 30 pianists was assessed in a condition without pressure (i.e., when playing alone) and in a condition with pressure (i.e., in a public concert). Audio recordings of the performances were evaluated on musical expression, technical precision, and overall performance by four independent jurors who were unaware of the condition in which they had been made. The differences between the pressure and no-pressure ratings were regressed on cognitive and somatic anxiety (assessed with an adaptation of the Competition Anxiety Inventory) as well as on public and private self-consciousness (assessed with the Self-Consciousness Scale). Participants performed better in the concert than when playing alone, despite increased state anxiety during the concert. The effect of the pressure condition on performance, however, was attenuated when participants scored high for private self-consciousness (i.e., the tendency to attend to one’s inner thoughts and feelings) but increased when they scored high for public self-consciousness (i.e., the tendency to see oneself from the outside as a social object). An attenuating effect of private self-consciousness emerged particularly for technical precision, whereas an enhancing effect of public self-consciousness emerged particularly for musical expression. The two subcomponents of self-consciousness were positively correlated, exerting a counteracting effect on overall performance ratings. Cognitive trait anxiety reduced performance quality, but only when somatic trait anxiety was not controlled for. The findings suggest a negative effect of inward-directed attention to the self (private self-consciousness) and a protective effect of habituation to outward-directed attention to the self as a social object (public self-consciousness) and may contribute to developing pedagogical activities or interventions to prevent fluctuations in performance.
{"title":"Self-consciousness and trait anxiety influence music performance in high-pressure situations","authors":"Annika Hörster, Jochim Hansen","doi":"10.1177/10298649241249667","DOIUrl":"https://doi.org/10.1177/10298649241249667","url":null,"abstract":"High levels of mental pressure in musicians can lead to decrements in performance, but this effect may depend on individual dispositions. In this study, self-consciousness and trait anxiety were examined as predictors of decrements in performance in natural concert settings. The performance of 30 pianists was assessed in a condition without pressure (i.e., when playing alone) and in a condition with pressure (i.e., in a public concert). Audio recordings of the performances were evaluated on musical expression, technical precision, and overall performance by four independent jurors who were unaware of the condition in which they had been made. The differences between the pressure and no-pressure ratings were regressed on cognitive and somatic anxiety (assessed with an adaptation of the Competition Anxiety Inventory) as well as on public and private self-consciousness (assessed with the Self-Consciousness Scale). Participants performed better in the concert than when playing alone, despite increased state anxiety during the concert. The effect of the pressure condition on performance, however, was attenuated when participants scored high for private self-consciousness (i.e., the tendency to attend to one’s inner thoughts and feelings) but increased when they scored high for public self-consciousness (i.e., the tendency to see oneself from the outside as a social object). An attenuating effect of private self-consciousness emerged particularly for technical precision, whereas an enhancing effect of public self-consciousness emerged particularly for musical expression. The two subcomponents of self-consciousness were positively correlated, exerting a counteracting effect on overall performance ratings. Cognitive trait anxiety reduced performance quality, but only when somatic trait anxiety was not controlled for. The findings suggest a negative effect of inward-directed attention to the self (private self-consciousness) and a protective effect of habituation to outward-directed attention to the self as a social object (public self-consciousness) and may contribute to developing pedagogical activities or interventions to prevent fluctuations in performance.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-05-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140964656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-27DOI: 10.1177/10298649241241405
Roger Chaffin, Cristina Capparelli Gerling, Alexander P. Demos
Experienced musicians can perform reliably from memory because they prepare performance cues (PCs) that allow them to recover when performance is disrupted. We describe a longitudinal case study in which a pianist (the second author) learned and performed Chopin’s Barcarolle, Op. 60, over a 12-year period. The pianist provided PC reports for 28 performances, starting a month before her first public performance. Shortly after each performance, she marked the features of the music that guided her playing (PCs) on a clean copy of the score, distinguishing five types of PC: structural, Schenkerian (tonal elaborations), expressive, interpretive, and basic. Structural PCs predominated at first and were later replaced by expressive and Schenkerian PCs. PCs were more frequent at structural boundaries than at other locations. This boundary effect was larger under typical, compared to atypical performance conditions, and increased over time, suggesting that the main function of PCs was promoting expression rather than guarding against mistakes. Although the pianist’s initial purpose in learning to use PCs was to have a safety net in case of memory failure, she was surprised to find that she enjoyed playing with PCs and believed they helped her to play more expressively.
经验丰富的音乐家可以根据记忆进行可靠的演奏，因为他们准备了演奏线索（PC），当演奏受到干扰时可以恢复记忆。我们描述了一项纵向案例研究，在这项研究中，一位钢琴家（第二作者）在 12 年的时间里学习并演奏了肖邦的《巴卡洛尔舞曲，作品 60》。该钢琴家提供了 28 场演出的 PC 报告，从她第一次公开演出前一个月开始。每次演奏后不久，她都会在一份干净的乐谱副本上标注出指导她演奏的音乐特征（PC），并区分出五种类型的 PC：结构性 PC、申克式 PC（调性阐述）、表现性 PC、诠释性 PC 和基本 PC。结构性 PC 起初占主导地位，后来被表现性 PC 和申克式 PC 所取代。结构性 PC 比其他位置的 PC 更常见。这种边界效应在典型演奏条件下比非典型演奏条件下更大，并随着时间的推移而增加，这表明 PC 的主要功能是促进表达而不是防止错误。虽然这位钢琴家学习使用个人计算机的最初目的是为了在记忆失败时有一个安全网，但她惊讶地发现自己很喜欢使用个人计算机演奏，并认为个人计算机有助于她更有表现力地演奏。
{"title":"How secure memorization promotes expression: A longitudinal case study of performing Chopin’s Barcarolle, Op. 60","authors":"Roger Chaffin, Cristina Capparelli Gerling, Alexander P. Demos","doi":"10.1177/10298649241241405","DOIUrl":"https://doi.org/10.1177/10298649241241405","url":null,"abstract":"Experienced musicians can perform reliably from memory because they prepare performance cues (PCs) that allow them to recover when performance is disrupted. We describe a longitudinal case study in which a pianist (the second author) learned and performed Chopin’s Barcarolle, Op. 60, over a 12-year period. The pianist provided PC reports for 28 performances, starting a month before her first public performance. Shortly after each performance, she marked the features of the music that guided her playing (PCs) on a clean copy of the score, distinguishing five types of PC: structural, Schenkerian (tonal elaborations), expressive, interpretive, and basic. Structural PCs predominated at first and were later replaced by expressive and Schenkerian PCs. PCs were more frequent at structural boundaries than at other locations. This boundary effect was larger under typical, compared to atypical performance conditions, and increased over time, suggesting that the main function of PCs was promoting expression rather than guarding against mistakes. Although the pianist’s initial purpose in learning to use PCs was to have a safety net in case of memory failure, she was surprised to find that she enjoyed playing with PCs and believed they helped her to play more expressively.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140811750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1177/10298649241245075
Çınar Gedizlioğlu, Kutluhan Erol
In the field of music information retrieval, the detection of global key in both popular and classical music has been studied extensively, but local key detection has been studied to a lesser extent, even though modulation is an important component of compositional style. It is particularly challenging to identify key change boundaries correctly. We modeled this task as an optimization problem, that of finding out how to divide a piece into sections in different keys taking into consideration both the quality of the fit between the key and the section and the number of sections. We determined the optimal assignment of key to section using the Krumhansl–Schmuckler algorithm with a slightly modified version of the Krumhansl and Kessler key profile. We included a regularization algorithm in the formulation of our problem to balance the number of sections and avoid superfluous modulations. Using a dataset of 80 randomly chosen pieces of music in a variety of genres and levels of complexity, we compared our algorithm with a hidden Markov model (HMM) to determine which method is better for identifying local key. Our approach yielded significantly more accurate results and suggests future avenues of research.
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Pub Date : 2024-03-18DOI: 10.1177/10298649241236770
Mark Reybrouck, Edith Van Dyck
In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some underlying mechanisms of peak experiences and their neurochemical properties and suggest that music may be regarded as an alternative psychoactive trigger, prompting neurochemical responses in the brain, with resulting feelings of coping, (aesthetic) pleasure, and reward.
{"title":"Is music a drug? How music listening may trigger neurochemical responses in the brain","authors":"Mark Reybrouck, Edith Van Dyck","doi":"10.1177/10298649241236770","DOIUrl":"https://doi.org/10.1177/10298649241236770","url":null,"abstract":"In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some underlying mechanisms of peak experiences and their neurochemical properties and suggest that music may be regarded as an alternative psychoactive trigger, prompting neurochemical responses in the brain, with resulting feelings of coping, (aesthetic) pleasure, and reward.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140172240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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