Pub Date : 2024-03-18DOI: 10.1177/10298649241237775
Lena Heng, Stephen McAdams
Timbre has been identified as a potential component in the communication of affect in music. Although its function as a carrier of perceptually useful information about sound source mechanics has been established, less is understood about whether and how it functions as a carrier of information for communicating affect in music. To investigate these issues, listeners trained in Chinese and Western musical traditions were presented with Phrases, Measures, and Notes of recorded excerpts interpreted with a variety of affective intentions by performers on instruments from the two cultures. Results showed greater accuracy and more extreme responses in Chinese musician listeners and lowest accuracy in nonmusicians suggesting that musical training plays a role in listeners’ decoding of affective intention. Responses were more differentiated and more accurate with more musical information. Excerpts were also analyzed to determine acoustic features that are correlated with timbre characteristics. Temporal, spectral, and spectrotemporal attributes were consistently used in judging affective intent in music, suggesting purposeful use of these properties by listeners. Comparison between listeners’ use of acoustic features reveals a greater number of shared features between Western musicians and nonmusicians compared to Chinese musicians for valence, although the three groups shared more features for arousal. How timbre is utilized in musical communication appears to be different across musical traditions, and valence responses seem to be more culture-specific and arousal responses more similar across cultures.
{"title":"The function of timbre in the perception of affective intentions: Effect of enculturation in different musical traditions","authors":"Lena Heng, Stephen McAdams","doi":"10.1177/10298649241237775","DOIUrl":"https://doi.org/10.1177/10298649241237775","url":null,"abstract":"Timbre has been identified as a potential component in the communication of affect in music. Although its function as a carrier of perceptually useful information about sound source mechanics has been established, less is understood about whether and how it functions as a carrier of information for communicating affect in music. To investigate these issues, listeners trained in Chinese and Western musical traditions were presented with Phrases, Measures, and Notes of recorded excerpts interpreted with a variety of affective intentions by performers on instruments from the two cultures. Results showed greater accuracy and more extreme responses in Chinese musician listeners and lowest accuracy in nonmusicians suggesting that musical training plays a role in listeners’ decoding of affective intention. Responses were more differentiated and more accurate with more musical information. Excerpts were also analyzed to determine acoustic features that are correlated with timbre characteristics. Temporal, spectral, and spectrotemporal attributes were consistently used in judging affective intent in music, suggesting purposeful use of these properties by listeners. Comparison between listeners’ use of acoustic features reveals a greater number of shared features between Western musicians and nonmusicians compared to Chinese musicians for valence, although the three groups shared more features for arousal. How timbre is utilized in musical communication appears to be different across musical traditions, and valence responses seem to be more culture-specific and arousal responses more similar across cultures.","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":"140233332","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 : 2024-02-19DOI: 10.1177/10298649241230673
George Musgrave, Sally Anne Gross, Maike Klein
Being a career musician is typified by high risk. Despite low earnings, many musicians pursue their careers driven by self-belief, high expectations, and optimism. However, failure to obtain the success many optimistically aspire to has been seen to pose psychosocial risks relating to mental health conditions such as anxiety and depression. While studies have shown dispositional optimism as having many health-related benefits, it has also been conceptualized negatively in encouraging a tendency toward loss-making in one key area: gambling. In this article, we develop the argument that the risks of professional music-making are analogous to gambling, and the optimism displayed by many aspiring career musicians may therefore represent a form of what Berlant calls cruel optimism, with negative effects on mental health and wellbeing. In doing so, we draw on Berlant’s theoretical position to examine the potentially harmful intersections between risk-taking behaviors and creative desire. Drawing also on our clinical experience, we consider when and how musicians who are emotionally struggling with their work might find it advantageous to reorient their careers, or even withdraw from the labor market altogether, to support their health and wellbeing, and the challenges around the loss of identity these can present.
{"title":"The dark side of optimism: Musical dreams, belief, and gambling","authors":"George Musgrave, Sally Anne Gross, Maike Klein","doi":"10.1177/10298649241230673","DOIUrl":"https://doi.org/10.1177/10298649241230673","url":null,"abstract":"Being a career musician is typified by high risk. Despite low earnings, many musicians pursue their careers driven by self-belief, high expectations, and optimism. However, failure to obtain the success many optimistically aspire to has been seen to pose psychosocial risks relating to mental health conditions such as anxiety and depression. While studies have shown dispositional optimism as having many health-related benefits, it has also been conceptualized negatively in encouraging a tendency toward loss-making in one key area: gambling. In this article, we develop the argument that the risks of professional music-making are analogous to gambling, and the optimism displayed by many aspiring career musicians may therefore represent a form of what Berlant calls cruel optimism, with negative effects on mental health and wellbeing. In doing so, we draw on Berlant’s theoretical position to examine the potentially harmful intersections between risk-taking behaviors and creative desire. Drawing also on our clinical experience, we consider when and how musicians who are emotionally struggling with their work might find it advantageous to reorient their careers, or even withdraw from the labor market altogether, to support their health and wellbeing, and the challenges around the loss of identity these can present.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139947370","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 : 2024-02-15DOI: 10.1177/10298649231223077
Courtney N. Reed, Marcus Pearce, Andrew McPherson
In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers’ accuracy and expression.
{"title":"Auditory imagery ability influences accuracy when singing with altered auditory feedback","authors":"Courtney N. Reed, Marcus Pearce, Andrew McPherson","doi":"10.1177/10298649231223077","DOIUrl":"https://doi.org/10.1177/10298649231223077","url":null,"abstract":"In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers’ accuracy and expression.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139835637","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 : 2024-02-15DOI: 10.1177/10298649231223077
Courtney N. Reed, Marcus Pearce, Andrew McPherson
In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers’ accuracy and expression.
{"title":"Auditory imagery ability influences accuracy when singing with altered auditory feedback","authors":"Courtney N. Reed, Marcus Pearce, Andrew McPherson","doi":"10.1177/10298649231223077","DOIUrl":"https://doi.org/10.1177/10298649231223077","url":null,"abstract":"In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers’ accuracy and expression.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139776151","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 : 2024-02-14DOI: 10.1177/10298649241227812
Laura Vázquez-Fragua, Miguel Ángel Fernández-Blázquez, J. M. Ruiz-Sánchez de León
Despite the efforts made throughout the 20th century to develop standardized batteries to measure musical ability, there seems to be no consensus as to the construct’s gold standard. The Profile of Music Perception Skills (PROMS) was created with the aim of overcoming some of the limitations of previous assessment tests. The Mini-PROMS is the shortened version of the full battery and has a shorter application time. The aim of the present study was to validate the Mini-PROMS battery with a sample of Spanish musicians and non-musicians in order to provide useful scales for the development of research in the field of musical skills in the Spanish population. The results show that Mini-PROMS in Spanish is a reliable and valid tool for measuring the musical ability of musicians and non-musicians. Furthermore, this study provides information on some of the differences between musicians and non-musicians, offering useful scales for comparing the results of individuals with those of their reference population.
{"title":"Validation of the abbreviated version of the Profile of Musical Perception Skills (Mini-PROMS) in a Spanish sample of musicians and non-musicians","authors":"Laura Vázquez-Fragua, Miguel Ángel Fernández-Blázquez, J. M. Ruiz-Sánchez de León","doi":"10.1177/10298649241227812","DOIUrl":"https://doi.org/10.1177/10298649241227812","url":null,"abstract":"Despite the efforts made throughout the 20th century to develop standardized batteries to measure musical ability, there seems to be no consensus as to the construct’s gold standard. The Profile of Music Perception Skills (PROMS) was created with the aim of overcoming some of the limitations of previous assessment tests. The Mini-PROMS is the shortened version of the full battery and has a shorter application time. The aim of the present study was to validate the Mini-PROMS battery with a sample of Spanish musicians and non-musicians in order to provide useful scales for the development of research in the field of musical skills in the Spanish population. The results show that Mini-PROMS in Spanish is a reliable and valid tool for measuring the musical ability of musicians and non-musicians. Furthermore, this study provides information on some of the differences between musicians and non-musicians, offering useful scales for comparing the results of individuals with those of their reference population.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139836552","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 : 2024-02-14DOI: 10.1177/10298649241227812
Laura Vázquez-Fragua, Miguel Ángel Fernández-Blázquez, J. M. Ruiz-Sánchez de León
Despite the efforts made throughout the 20th century to develop standardized batteries to measure musical ability, there seems to be no consensus as to the construct’s gold standard. The Profile of Music Perception Skills (PROMS) was created with the aim of overcoming some of the limitations of previous assessment tests. The Mini-PROMS is the shortened version of the full battery and has a shorter application time. The aim of the present study was to validate the Mini-PROMS battery with a sample of Spanish musicians and non-musicians in order to provide useful scales for the development of research in the field of musical skills in the Spanish population. The results show that Mini-PROMS in Spanish is a reliable and valid tool for measuring the musical ability of musicians and non-musicians. Furthermore, this study provides information on some of the differences between musicians and non-musicians, offering useful scales for comparing the results of individuals with those of their reference population.
{"title":"Validation of the abbreviated version of the Profile of Musical Perception Skills (Mini-PROMS) in a Spanish sample of musicians and non-musicians","authors":"Laura Vázquez-Fragua, Miguel Ángel Fernández-Blázquez, J. M. Ruiz-Sánchez de León","doi":"10.1177/10298649241227812","DOIUrl":"https://doi.org/10.1177/10298649241227812","url":null,"abstract":"Despite the efforts made throughout the 20th century to develop standardized batteries to measure musical ability, there seems to be no consensus as to the construct’s gold standard. The Profile of Music Perception Skills (PROMS) was created with the aim of overcoming some of the limitations of previous assessment tests. The Mini-PROMS is the shortened version of the full battery and has a shorter application time. The aim of the present study was to validate the Mini-PROMS battery with a sample of Spanish musicians and non-musicians in order to provide useful scales for the development of research in the field of musical skills in the Spanish population. The results show that Mini-PROMS in Spanish is a reliable and valid tool for measuring the musical ability of musicians and non-musicians. Furthermore, this study provides information on some of the differences between musicians and non-musicians, offering useful scales for comparing the results of individuals with those of their reference population.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139776930","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 : 2024-02-09DOI: 10.1177/10298649241227615
Hannah Quigley, Raymond MacDonald
This study investigates the experiences of people involved in a virtual intervention involving community music and music therapy for individuals with autism. The intervention blends conventional music therapy and community music approaches. During the COVID-19 pandemic, many community music and music therapy projects shifted to an online format and there is a resultant need to understand more about how virtual music interventions may be of benefit for individuals with autism. We report on the design, implementation, and outcomes of one such intervention. Over an 8-week period, community musicians and music therapists ( music facilitators) based in Scotland and America delivered 16 music sessions, which were recorded using the Zoom software. During the sessions the participants wrote, performed, and recorded two songs. Semi-structured interviews were conducted with two of the participants, using video elicitation techniques, and six of the facilitators. Data were analyzed thematically. The intervention was found to (1) enable participants to explore their personal narratives, (2) promote self-perceptions of achievement, and (3) provide evidence of mastery, creativity, and self-expression. An international collaboration made possible by technology enabled facilitators to work remotely and participants to make use of new opportunities for engagement. This article demonstrates how community music practices focusing on participation and music therapy approaches focusing on clinical outcomes can be integrated. We present the online environment as its own social milieu in which creativity and connection can be explored in new ways.
{"title":"A qualitative investigation of a virtual community music and music therapy intervention: A Scottish–American collaboration","authors":"Hannah Quigley, Raymond MacDonald","doi":"10.1177/10298649241227615","DOIUrl":"https://doi.org/10.1177/10298649241227615","url":null,"abstract":"This study investigates the experiences of people involved in a virtual intervention involving community music and music therapy for individuals with autism. The intervention blends conventional music therapy and community music approaches. During the COVID-19 pandemic, many community music and music therapy projects shifted to an online format and there is a resultant need to understand more about how virtual music interventions may be of benefit for individuals with autism. We report on the design, implementation, and outcomes of one such intervention. Over an 8-week period, community musicians and music therapists ( music facilitators) based in Scotland and America delivered 16 music sessions, which were recorded using the Zoom software. During the sessions the participants wrote, performed, and recorded two songs. Semi-structured interviews were conducted with two of the participants, using video elicitation techniques, and six of the facilitators. Data were analyzed thematically. The intervention was found to (1) enable participants to explore their personal narratives, (2) promote self-perceptions of achievement, and (3) provide evidence of mastery, creativity, and self-expression. An international collaboration made possible by technology enabled facilitators to work remotely and participants to make use of new opportunities for engagement. This article demonstrates how community music practices focusing on participation and music therapy approaches focusing on clinical outcomes can be integrated. We present the online environment as its own social milieu in which creativity and connection can be explored in new ways.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139848972","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 : 2024-02-09DOI: 10.1177/10298649241227615
Hannah Quigley, Raymond MacDonald
This study investigates the experiences of people involved in a virtual intervention involving community music and music therapy for individuals with autism. The intervention blends conventional music therapy and community music approaches. During the COVID-19 pandemic, many community music and music therapy projects shifted to an online format and there is a resultant need to understand more about how virtual music interventions may be of benefit for individuals with autism. We report on the design, implementation, and outcomes of one such intervention. Over an 8-week period, community musicians and music therapists ( music facilitators) based in Scotland and America delivered 16 music sessions, which were recorded using the Zoom software. During the sessions the participants wrote, performed, and recorded two songs. Semi-structured interviews were conducted with two of the participants, using video elicitation techniques, and six of the facilitators. Data were analyzed thematically. The intervention was found to (1) enable participants to explore their personal narratives, (2) promote self-perceptions of achievement, and (3) provide evidence of mastery, creativity, and self-expression. An international collaboration made possible by technology enabled facilitators to work remotely and participants to make use of new opportunities for engagement. This article demonstrates how community music practices focusing on participation and music therapy approaches focusing on clinical outcomes can be integrated. We present the online environment as its own social milieu in which creativity and connection can be explored in new ways.
{"title":"A qualitative investigation of a virtual community music and music therapy intervention: A Scottish–American collaboration","authors":"Hannah Quigley, Raymond MacDonald","doi":"10.1177/10298649241227615","DOIUrl":"https://doi.org/10.1177/10298649241227615","url":null,"abstract":"This study investigates the experiences of people involved in a virtual intervention involving community music and music therapy for individuals with autism. The intervention blends conventional music therapy and community music approaches. During the COVID-19 pandemic, many community music and music therapy projects shifted to an online format and there is a resultant need to understand more about how virtual music interventions may be of benefit for individuals with autism. We report on the design, implementation, and outcomes of one such intervention. Over an 8-week period, community musicians and music therapists ( music facilitators) based in Scotland and America delivered 16 music sessions, which were recorded using the Zoom software. During the sessions the participants wrote, performed, and recorded two songs. Semi-structured interviews were conducted with two of the participants, using video elicitation techniques, and six of the facilitators. Data were analyzed thematically. The intervention was found to (1) enable participants to explore their personal narratives, (2) promote self-perceptions of achievement, and (3) provide evidence of mastery, creativity, and self-expression. An international collaboration made possible by technology enabled facilitators to work remotely and participants to make use of new opportunities for engagement. This article demonstrates how community music practices focusing on participation and music therapy approaches focusing on clinical outcomes can be integrated. We present the online environment as its own social milieu in which creativity and connection can be explored in new ways.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139789266","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 : 2024-02-08DOI: 10.1177/10298649231224786
Anna Hiemstra, Makiko Sadakata
In the speech-to-song illusion, certain spoken sentences start sounding like song when repeated several times. This perceptual transformation does not occur for all stimuli, suggesting that acoustic properties of the stimulus may contribute to the illusion. We investigated the contribution of the acoustic properties of vowels to this phenomenon by analyzing the acoustic vowel-space area bounded by formant frequencies of /i/, /æ/, and / ɔ/ in a dataset of transforming ( illusion) and non-transforming ( non-illusion) stimuli. In general, larger vowel-space areas are associated with more acoustic distinctions between vowel categories. We found that the overall vowel space was larger in non-illusion than illusion stimuli. A possible reason for this difference may be that listeners learn to associate large vowel spaces with speech and small vowel spaces with song through exposure to differences between formant frequencies in spoken and sung vowels. We propose that the shifted vowel spaces in which non-illusion sentences may be associated with speech perception thereby activate speech processing circuitry that inhibits the illusion of their transformation into song.
{"title":"Sentences used in the speech-to-song illusion: Comparisons of acoustic vowel space","authors":"Anna Hiemstra, Makiko Sadakata","doi":"10.1177/10298649231224786","DOIUrl":"https://doi.org/10.1177/10298649231224786","url":null,"abstract":"In the speech-to-song illusion, certain spoken sentences start sounding like song when repeated several times. This perceptual transformation does not occur for all stimuli, suggesting that acoustic properties of the stimulus may contribute to the illusion. We investigated the contribution of the acoustic properties of vowels to this phenomenon by analyzing the acoustic vowel-space area bounded by formant frequencies of /i/, /æ/, and / ɔ/ in a dataset of transforming ( illusion) and non-transforming ( non-illusion) stimuli. In general, larger vowel-space areas are associated with more acoustic distinctions between vowel categories. We found that the overall vowel space was larger in non-illusion than illusion stimuli. A possible reason for this difference may be that listeners learn to associate large vowel spaces with speech and small vowel spaces with song through exposure to differences between formant frequencies in spoken and sung vowels. We propose that the shifted vowel spaces in which non-illusion sentences may be associated with speech perception thereby activate speech processing circuitry that inhibits the illusion of their transformation into song.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139851572","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 : 2024-02-08DOI: 10.1177/10298649231224786
Anna Hiemstra, Makiko Sadakata
In the speech-to-song illusion, certain spoken sentences start sounding like song when repeated several times. This perceptual transformation does not occur for all stimuli, suggesting that acoustic properties of the stimulus may contribute to the illusion. We investigated the contribution of the acoustic properties of vowels to this phenomenon by analyzing the acoustic vowel-space area bounded by formant frequencies of /i/, /æ/, and / ɔ/ in a dataset of transforming ( illusion) and non-transforming ( non-illusion) stimuli. In general, larger vowel-space areas are associated with more acoustic distinctions between vowel categories. We found that the overall vowel space was larger in non-illusion than illusion stimuli. A possible reason for this difference may be that listeners learn to associate large vowel spaces with speech and small vowel spaces with song through exposure to differences between formant frequencies in spoken and sung vowels. We propose that the shifted vowel spaces in which non-illusion sentences may be associated with speech perception thereby activate speech processing circuitry that inhibits the illusion of their transformation into song.
{"title":"Sentences used in the speech-to-song illusion: Comparisons of acoustic vowel space","authors":"Anna Hiemstra, Makiko Sadakata","doi":"10.1177/10298649231224786","DOIUrl":"https://doi.org/10.1177/10298649231224786","url":null,"abstract":"In the speech-to-song illusion, certain spoken sentences start sounding like song when repeated several times. This perceptual transformation does not occur for all stimuli, suggesting that acoustic properties of the stimulus may contribute to the illusion. We investigated the contribution of the acoustic properties of vowels to this phenomenon by analyzing the acoustic vowel-space area bounded by formant frequencies of /i/, /æ/, and / ɔ/ in a dataset of transforming ( illusion) and non-transforming ( non-illusion) stimuli. In general, larger vowel-space areas are associated with more acoustic distinctions between vowel categories. We found that the overall vowel space was larger in non-illusion than illusion stimuli. A possible reason for this difference may be that listeners learn to associate large vowel spaces with speech and small vowel spaces with song through exposure to differences between formant frequencies in spoken and sung vowels. We propose that the shifted vowel spaces in which non-illusion sentences may be associated with speech perception thereby activate speech processing circuitry that inhibits the illusion of their transformation into song.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139791699","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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