Pub Date : 2023-11-07DOI: 10.1177/10298649231207706
Rachel M. Thompson, James T. Mantell
Singing is a typical human behavior but individuals vary in pitch accuracy. Poor singing performance can be explained by deficits in translating sensory information to a vocal motor plan or problems encoding or recalling pitch from long-term memory. We compared the sensorimotor translation and long-term memory hypotheses by assessing the influence of familiarity and musical key on singing performance. Thirty participants imitated excerpts of 20 familiar and unfamiliar pop songs presented in their original key or a transposed key. We analyzed pitch accuracy by measuring the difference in pitch between the first two notes of participants’ productions and the target stimuli. Participants sang familiar songs more accurately than unfamiliar songs and songs in their original keys less accurately than songs in transposed keys. The results, based on Bayesian hypothesis testing, provide some support for both memory hypotheses and partially confirm the findings of previous research on singing performance. Importantly, our work suggests that if individuals maintain pitch information in long-term memory, they do not draw on it when imitating songs.
{"title":"The influences of familiarity and key on pitch accuracy in singing","authors":"Rachel M. Thompson, James T. Mantell","doi":"10.1177/10298649231207706","DOIUrl":"https://doi.org/10.1177/10298649231207706","url":null,"abstract":"Singing is a typical human behavior but individuals vary in pitch accuracy. Poor singing performance can be explained by deficits in translating sensory information to a vocal motor plan or problems encoding or recalling pitch from long-term memory. We compared the sensorimotor translation and long-term memory hypotheses by assessing the influence of familiarity and musical key on singing performance. Thirty participants imitated excerpts of 20 familiar and unfamiliar pop songs presented in their original key or a transposed key. We analyzed pitch accuracy by measuring the difference in pitch between the first two notes of participants’ productions and the target stimuli. Participants sang familiar songs more accurately than unfamiliar songs and songs in their original keys less accurately than songs in transposed keys. The results, based on Bayesian hypothesis testing, provide some support for both memory hypotheses and partially confirm the findings of previous research on singing performance. Importantly, our work suggests that if individuals maintain pitch information in long-term memory, they do not draw on it when imitating songs.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135480395","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 : 2023-10-31DOI: 10.1177/10298649231205553
Anemone G W van Zijl, An De bisschop
Participatory music activities designed to fulfill both artistic and social aims have become widespread across the world. Such activities are often linked to the generation of social impact. In the present research, we explored musicians’ perspectives on the social impact of these activities. A total of 47 musicians with experience in leading participatory music activities in various settings in Belgium completed a survey; 21 took part in follow-up, in-depth interviews. We used a constructive grounded-theory approach to analyze the data. The findings of previous research, typically exploring participants’ perspectives, suggest that social impact should be understood as effects on participants that persist after the activity has taken place. Our findings suggest, by contrast, that musicians who lead participatory music activities conceptualize the social impact of their work as layered and dynamic: layered meaning that social impact can be situated on the level of the musicians’ intentions, the core aspects of their practice, and its effects on themselves as musicians, on participants, and on the wider society; dynamic meaning they see these layers as interacting with and influencing each other. These findings may contribute to a more nuanced understanding of the social impact of participatory music activities and have implications for practice, policy, and future research.
{"title":"Layers and dynamics of social impact: Musicians’ perspectives on participatory music activities","authors":"Anemone G W van Zijl, An De bisschop","doi":"10.1177/10298649231205553","DOIUrl":"https://doi.org/10.1177/10298649231205553","url":null,"abstract":"Participatory music activities designed to fulfill both artistic and social aims have become widespread across the world. Such activities are often linked to the generation of social impact. In the present research, we explored musicians’ perspectives on the social impact of these activities. A total of 47 musicians with experience in leading participatory music activities in various settings in Belgium completed a survey; 21 took part in follow-up, in-depth interviews. We used a constructive grounded-theory approach to analyze the data. The findings of previous research, typically exploring participants’ perspectives, suggest that social impact should be understood as effects on participants that persist after the activity has taken place. Our findings suggest, by contrast, that musicians who lead participatory music activities conceptualize the social impact of their work as layered and dynamic: layered meaning that social impact can be situated on the level of the musicians’ intentions, the core aspects of their practice, and its effects on themselves as musicians, on participants, and on the wider society; dynamic meaning they see these layers as interacting with and influencing each other. These findings may contribute to a more nuanced understanding of the social impact of participatory music activities and have implications for practice, policy, and future research.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135871821","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 : 2023-10-26DOI: 10.1177/10298649231199853
Tristan Loria, Ben Duinker, Timothy Roth, Aiyun Huang, Michael H Thaut
Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students’ enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants’ self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education.
{"title":"Please unmute your microphone: Comparing the effectiveness of remote versus in-person percussion training","authors":"Tristan Loria, Ben Duinker, Timothy Roth, Aiyun Huang, Michael H Thaut","doi":"10.1177/10298649231199853","DOIUrl":"https://doi.org/10.1177/10298649231199853","url":null,"abstract":"Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students’ enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants’ self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136381708","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 : 2023-10-15DOI: 10.1177/10298649231200549
Piotr Sorokowski, Jerzy Luty, Wojciech Malecki, Marta Kowal
Group dance to music is a ubiquitous activity performed all around the world. Considering that even our distant ancestors engaged in ritual dancing, joint dances seem to be deeply rooted in human nature. Thus many scholars have hypothesized that group dancing might serve important adaptive roles. Here, we tested this premise by exploring whether group dancing to music does indeed entail social benefits, which could explain the pervasive nature of group dancing. We conducted a non-laboratory experiment among members of the Yali, an indigenous people living in Highland Papua, an Indonesian province. In total, 180 Yali participated in the study (80 in the dance condition and 100 in the control condition), among whom 93 (52%) were women (age M = 30.36, SD = 10.36). The results showed that joint dancing led to greater prosociality, demonstrated by the sharing of a larger sum of money in the Dictator Game, and stronger social identity, shown by a higher level of in-group favoritism. So far as we know, our study is the first to provide ecologically valid and naturalistic evidence, from an experiment in which members of a traditional society participated, that supports the adaptive role of group dancing. We conclude by discussing the potential beneficial effects of group dance, including greater prosociality and a higher level of in-group favoritism.
{"title":"Group dance, social cohesion, and social identity in the Yali society from Papua","authors":"Piotr Sorokowski, Jerzy Luty, Wojciech Malecki, Marta Kowal","doi":"10.1177/10298649231200549","DOIUrl":"https://doi.org/10.1177/10298649231200549","url":null,"abstract":"Group dance to music is a ubiquitous activity performed all around the world. Considering that even our distant ancestors engaged in ritual dancing, joint dances seem to be deeply rooted in human nature. Thus many scholars have hypothesized that group dancing might serve important adaptive roles. Here, we tested this premise by exploring whether group dancing to music does indeed entail social benefits, which could explain the pervasive nature of group dancing. We conducted a non-laboratory experiment among members of the Yali, an indigenous people living in Highland Papua, an Indonesian province. In total, 180 Yali participated in the study (80 in the dance condition and 100 in the control condition), among whom 93 (52%) were women (age M = 30.36, SD = 10.36). The results showed that joint dancing led to greater prosociality, demonstrated by the sharing of a larger sum of money in the Dictator Game, and stronger social identity, shown by a higher level of in-group favoritism. So far as we know, our study is the first to provide ecologically valid and naturalistic evidence, from an experiment in which members of a traditional society participated, that supports the adaptive role of group dancing. We conclude by discussing the potential beneficial effects of group dance, including greater prosociality and a higher level of in-group favoritism.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135759646","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}
While the empirical study of the processes and mechanisms underlying joint musical performance has gained a lot of traction in the past few decades, surprisingly little attention has been paid to the study of musicians’ listening strategies in what remains a mainly audio-centric medium. Yet, understanding how musicians listen to each other is particularly crucial for more open-ended, improvised, or indeterminate musical practices, as it plays a crucial role in shaping how the performance will unfold. In this article, we report on an exploratory study that was designed to investigate the dynamics of musicians’ auditory attention in such settings, using Quatuor Bozzini’s performance of Éliane Radigue’s Occam Delta XV (2018) as a case study. Using a post hoc annotation procedure, we found striking differences between musicians’ overall auditory attention, with each musician’s listening orientation relating differently to the general narrative of Occam Delta XV. We also found that joint listening between musicians was more likely to emerge when coordination was more challenging, suggesting that attentional focus was used strategically by the performers as a way of enhancing coordination within the group. Taken together, our findings shed important light on musicians’ listening and interactional strategies in collective music-making.
{"title":"Tracking auditory attention in group performances: A case study on Éliane Radigue’s <i>Occam Delta XV</i>","authors":"Emanuelle Majeau-Bettez, Aliénor Golvet, Clément Canonne","doi":"10.1177/10298649231203641","DOIUrl":"https://doi.org/10.1177/10298649231203641","url":null,"abstract":"While the empirical study of the processes and mechanisms underlying joint musical performance has gained a lot of traction in the past few decades, surprisingly little attention has been paid to the study of musicians’ listening strategies in what remains a mainly audio-centric medium. Yet, understanding how musicians listen to each other is particularly crucial for more open-ended, improvised, or indeterminate musical practices, as it plays a crucial role in shaping how the performance will unfold. In this article, we report on an exploratory study that was designed to investigate the dynamics of musicians’ auditory attention in such settings, using Quatuor Bozzini’s performance of Éliane Radigue’s Occam Delta XV (2018) as a case study. Using a post hoc annotation procedure, we found striking differences between musicians’ overall auditory attention, with each musician’s listening orientation relating differently to the general narrative of Occam Delta XV. We also found that joint listening between musicians was more likely to emerge when coordination was more challenging, suggesting that attentional focus was used strategically by the performers as a way of enhancing coordination within the group. Taken together, our findings shed important light on musicians’ listening and interactional strategies in collective music-making.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136209903","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 : 2023-10-11DOI: 10.1177/10298649231202977
Samuel Barros, Helena Marinho, Anabela Pereira
Music performance anxiety (MPA) affects health, wellbeing, and performance quality. The characteristics of MPA are multifaceted and mainly caused by psychophysiological factors that generate a sense of loss of control. The aims of the present study were to understand MPA in the context of higher music education in Portugal through the individual and collective thoughts and perceptions reported by teachers and students; identify the strategies employed both by teachers during the teaching-learning process for students to cope with the effects of MPA and by the students themselves; and portray the extent of institutional support for students experiencing MPA. We carried out semistructured interviews with 24 students and 12 teachers from four higher education institutions in Portugal and analyzed the data thematically. We identified four overarching themes (perceptions of MPA, strategies, contextual factors, and institutional support) from which 10 subthemes emerged. In addition to confirming the presence of psychophysiological factors experienced before, during, and after performances, the findings suggest that MPA may decrease with years of experience and that teachers’ strategies to counter MPA are limited. Contextual factors, institutional culture, teaching methodology, and lack of institutional support all contribute to the high levels of MPA that continue to be found in higher education institutions. One implication of the study is that there is a clear need for MPA to be discussed in educational institutions with teachers, students, and psychologists.
{"title":"Music performance anxiety in Portuguese higher education: Contextual factors, perceptions, and strategies","authors":"Samuel Barros, Helena Marinho, Anabela Pereira","doi":"10.1177/10298649231202977","DOIUrl":"https://doi.org/10.1177/10298649231202977","url":null,"abstract":"Music performance anxiety (MPA) affects health, wellbeing, and performance quality. The characteristics of MPA are multifaceted and mainly caused by psychophysiological factors that generate a sense of loss of control. The aims of the present study were to understand MPA in the context of higher music education in Portugal through the individual and collective thoughts and perceptions reported by teachers and students; identify the strategies employed both by teachers during the teaching-learning process for students to cope with the effects of MPA and by the students themselves; and portray the extent of institutional support for students experiencing MPA. We carried out semistructured interviews with 24 students and 12 teachers from four higher education institutions in Portugal and analyzed the data thematically. We identified four overarching themes (perceptions of MPA, strategies, contextual factors, and institutional support) from which 10 subthemes emerged. In addition to confirming the presence of psychophysiological factors experienced before, during, and after performances, the findings suggest that MPA may decrease with years of experience and that teachers’ strategies to counter MPA are limited. Contextual factors, institutional culture, teaching methodology, and lack of institutional support all contribute to the high levels of MPA that continue to be found in higher education institutions. One implication of the study is that there is a clear need for MPA to be discussed in educational institutions with teachers, students, and psychologists.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136208785","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 : 2023-10-10DOI: 10.1177/10298649231203628
Amanda E. Krause, Madelyn Pardon, Mary Hoang, Richard Lucano
Today, most everyday music listening is an accompaniment to other activities; it is far less common that listening is someone’s primary activity, receiving most of their attention. In this article, we present a case study, Listen Up, run by Indigo Project, a mental health organization in Sydney, Australia, in which we explored relationships between participants’ responses to the experience and their demographics and styles of music engagement. A sample of 187 Australian residents (aged 20–64 years) who attended Listen Up completed a survey measuring music engagement; emotional responses to the experience; perceived outcomes of the session; pre- and post-measures of stress, mood, and anxiety; and free-text responses to questions concerning their experiences of listening mindfully and any thoughts or feelings that arose during the session. Participants experienced an increased mood and decreased levels of stress and arousal after taking part in Listen Up. Their focused-listening experiences were not simply characterized by enjoying the music; rather, the emotions evoked were varied and complex. We characterized their emotional responses as negative, positive, evocative and expressive, and sad; in addition, participants characterized their own experiences as a cathartic journey resolving into a positive, peaceful, and calm state. Reported outcomes of participating in Listen Up included experiences described as being emotionally challenging, therapeutic, and physically uncomfortable. An affective music engagement style was positively associated with evocative and expressive and sad emotional experiences, and therapeutic outcomes. As a focused-listening experience, Listen Up provides participants with the opportunity not only to attend to music but also to reflect on and process their personal thoughts and feelings. This research provides evidence for the emotional and mental health benefits of focused music listening, such that, focused listening reflects opportunities for strong experiences with music in today’s listening landscape.
{"title":"<i>Listen Up</i>: A case study examination of focused listening","authors":"Amanda E. Krause, Madelyn Pardon, Mary Hoang, Richard Lucano","doi":"10.1177/10298649231203628","DOIUrl":"https://doi.org/10.1177/10298649231203628","url":null,"abstract":"Today, most everyday music listening is an accompaniment to other activities; it is far less common that listening is someone’s primary activity, receiving most of their attention. In this article, we present a case study, Listen Up, run by Indigo Project, a mental health organization in Sydney, Australia, in which we explored relationships between participants’ responses to the experience and their demographics and styles of music engagement. A sample of 187 Australian residents (aged 20–64 years) who attended Listen Up completed a survey measuring music engagement; emotional responses to the experience; perceived outcomes of the session; pre- and post-measures of stress, mood, and anxiety; and free-text responses to questions concerning their experiences of listening mindfully and any thoughts or feelings that arose during the session. Participants experienced an increased mood and decreased levels of stress and arousal after taking part in Listen Up. Their focused-listening experiences were not simply characterized by enjoying the music; rather, the emotions evoked were varied and complex. We characterized their emotional responses as negative, positive, evocative and expressive, and sad; in addition, participants characterized their own experiences as a cathartic journey resolving into a positive, peaceful, and calm state. Reported outcomes of participating in Listen Up included experiences described as being emotionally challenging, therapeutic, and physically uncomfortable. An affective music engagement style was positively associated with evocative and expressive and sad emotional experiences, and therapeutic outcomes. As a focused-listening experience, Listen Up provides participants with the opportunity not only to attend to music but also to reflect on and process their personal thoughts and feelings. This research provides evidence for the emotional and mental health benefits of focused music listening, such that, focused listening reflects opportunities for strong experiences with music in today’s listening landscape.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136293590","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 : 2023-10-10DOI: 10.1177/10298649231202976
Alessia Baccarani, Renaud Brochard
It has recently been shown that relaxing and stimulating odors distort time perception by slowing down or speeding up the pacemaker of the internal clock. Since individuals tend to prefer musical tempo at the rate of the pacemaker, we examined whether relaxing and stimulating ambient odors could bias tempo preference in a study in which the musical stimuli were unfamiliar pleasant musical excerpts. Participants listened to pairs of excerpts played at slightly different tempi and had to indicate which one they preferred. We hypothesized that participants exposed to a relaxing odor (strawberry) would prefer the slower excerpts while participants exposed to a stimulating odor (lemon) would prefer the faster excerpts. As expected, the findings showed that participants in the control (no odor) condition preferred the slower of the fast-tempo pairs of excerpts and the faster of the slow-tempo pairs, indicating a preference bias for moderate tempo. Preferences in both odor conditions differed significantly from those in the control condition such that no such preference bias was observed. There was an interaction between tempo and odor such that participants showed no preference for the slower of the fast-tempo pairs of excerpts in the presence of a lemon odor, and no preference for the faster of the slow-tempo pairs in the presence of a strawberry odor. To our knowledge, this is the first time it has been shown that odors can alter the rate of the pacemaker without participants being conscious of the presence of an olfactory stimulus in the environment.
{"title":"Relaxing and stimulating ambient odors influence preferences for musical tempo","authors":"Alessia Baccarani, Renaud Brochard","doi":"10.1177/10298649231202976","DOIUrl":"https://doi.org/10.1177/10298649231202976","url":null,"abstract":"It has recently been shown that relaxing and stimulating odors distort time perception by slowing down or speeding up the pacemaker of the internal clock. Since individuals tend to prefer musical tempo at the rate of the pacemaker, we examined whether relaxing and stimulating ambient odors could bias tempo preference in a study in which the musical stimuli were unfamiliar pleasant musical excerpts. Participants listened to pairs of excerpts played at slightly different tempi and had to indicate which one they preferred. We hypothesized that participants exposed to a relaxing odor (strawberry) would prefer the slower excerpts while participants exposed to a stimulating odor (lemon) would prefer the faster excerpts. As expected, the findings showed that participants in the control (no odor) condition preferred the slower of the fast-tempo pairs of excerpts and the faster of the slow-tempo pairs, indicating a preference bias for moderate tempo. Preferences in both odor conditions differed significantly from those in the control condition such that no such preference bias was observed. There was an interaction between tempo and odor such that participants showed no preference for the slower of the fast-tempo pairs of excerpts in the presence of a lemon odor, and no preference for the faster of the slow-tempo pairs in the presence of a strawberry odor. To our knowledge, this is the first time it has been shown that odors can alter the rate of the pacemaker without participants being conscious of the presence of an olfactory stimulus in the environment.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136294479","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 : 2023-09-11DOI: 10.1177/10298649231198002
Melissa Forbes, Jason Goopy, Amanda E Krause
Professional musicians with strong identities in music may also have a high degree of music in their identities. Accordingly, a rigid identification with work may be problematic for musicians, particularly when forces beyond their control change their work circumstances. In this study, we conducted semi-structured interviews with 10 singing teachers, representing a subset of professional musicians, and used interpretative phenomenological analysis (IPA) to explore the ways in which they enacted music in their identities. The framework of musical identities in action was used to interpret the findings, revealing the dynamic, embodied, and situated complexity of music in participants’ identities. Music had existential salience in the accounts of nine participants. Its salience resulted from the dynamic and situated presence of music across the lifespan, the literal embodiment of the singing voice, and the metaphorical embodiment of the presence of music in participants’ experiences. While a strong sense of music in people’s identities can promote lifelong engagement with music, if the emphasis on music is existential, the identity of a professional musician may be at risk when they are faced with an external threat to their livelihood. This is important knowledge for music educators and professional musicians’ career thinking.
{"title":"The experiential salience of music in identity for singing teachers","authors":"Melissa Forbes, Jason Goopy, Amanda E Krause","doi":"10.1177/10298649231198002","DOIUrl":"https://doi.org/10.1177/10298649231198002","url":null,"abstract":"Professional musicians with strong identities in music may also have a high degree of music in their identities. Accordingly, a rigid identification with work may be problematic for musicians, particularly when forces beyond their control change their work circumstances. In this study, we conducted semi-structured interviews with 10 singing teachers, representing a subset of professional musicians, and used interpretative phenomenological analysis (IPA) to explore the ways in which they enacted music in their identities. The framework of musical identities in action was used to interpret the findings, revealing the dynamic, embodied, and situated complexity of music in participants’ identities. Music had existential salience in the accounts of nine participants. Its salience resulted from the dynamic and situated presence of music across the lifespan, the literal embodiment of the singing voice, and the metaphorical embodiment of the presence of music in participants’ experiences. While a strong sense of music in people’s identities can promote lifelong engagement with music, if the emphasis on music is existential, the identity of a professional musician may be at risk when they are faced with an external threat to their livelihood. This is important knowledge for music educators and professional musicians’ career thinking.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135980582","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 : 2023-09-07DOI: 10.1177/10298649231197388
Ian Cross
The idea that science either can or does provide definitive ways of understanding music arose in the middle of the past century and almost immediately stimulated severe criticism, much of it from a perspective that came to elevate culture to the status to which science had been assumed to presume. It can be suggested that by the turn of the millennium the terms of this debate had begun to fragment. The idea of a positivistic science as the incremental accrual of a body of facts increasingly approximating to monadic truth was replaced by ideas of the sciences as multiple epistemologies that are mutually irreducible but somehow commensurable, as a set of related processes that result in highly instrumental yet still provisional bodies of knowledge. Simultaneously, the idea of culture as a stable and clearly identifiable set of features and practices was undermined by the realization of the political nature of the term and its applications—by a growing understanding of processes of cultural fluidity, hybridity, value, and identity formation—while the concept of the musical work was contested, as was the very idea of music as a discrete domain of thought and behavior. We have thus been left with a field of uncertainties that is too often used as an interdisciplinary battleground rather than as a meeting place to examine and negotiate the ideas and ontological commitments of our own and others’ disciplines. These uncertainties sometimes appear in plain sight but more often constitute implicit elements of disciplinary practice. We need to ensure that we negotiate encounters between disciplinary practices and commitments with our uncertainties in plain sight to develop mutual understanding across the broad worlds of humanistic and scientific research.
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