Pub Date : 2022-11-28DOI: 10.1177/10298649221129749
R. Timmers
{"title":"Book Review: Aaron Williamon, Jane Ginsborg, Rosie Perkins, and George Waddell. Performing music research: Methods in music education, psychology, and performance science","authors":"R. Timmers","doi":"10.1177/10298649221129749","DOIUrl":"https://doi.org/10.1177/10298649221129749","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"115 1","pages":"510 - 513"},"PeriodicalIF":2.4,"publicationDate":"2022-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86203968","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 : 2022-11-05DOI: 10.1177/10298649221122245
G. Cecchetti, S. Herff, Christoph Finkensiep, Daniel Harasim, M. Rohrmeier
Functional harmony is an integral part of many repertoires in the Western musical practices, including both diatonic and extended tonality. In the latter context, music-theoretical accounts suggest that the three octatonic equivalence classes (OECs) consisting of pitch-classes related by stacked minor-third intervals may be associated with tonic (T), dominant (D), and subdominant (S) functions. Whether this theoretical description of music is also relevant to the perception of music has not yet been tested empirically. In this study, 100 participants familiar with Western repertoires were presented with jazz chord progressions containing chord substitutions. When each stimulus had been played, participants predicted how many more chords they would have expected to hear before the progression could reach a plausible conclusion. We computed the similarity of responses for pairs of stimuli containing different harmonic substitutions and modeled such similarity values based on different measures of harmonic relatedness between substitutions. Data show that the OEC membership of substitutions strongly predicts the similarity of participants’ completion ratings. Bayesian mixed-effects modeling of similarity values further showed a categorical distinction between D and S as functional categories, on one hand, and T, on the other hand. The data also appear to reflect the prevalent influence of rock and pop repertoires on the participants, encouraging further research into the influence of stylistic diversity and musical expertise. Overall, results contribute to the characterization of listeners’ implicit knowledge of the principles of harmonic structure in extended tonality and support the relevance of OECs not only as descriptors of extended-tonal compositional practices but also parsimonious predictors of perceived functionality.
{"title":"Hearing functional harmony in jazz: A perceptual study of music-theoretical accounts of extended tonality","authors":"G. Cecchetti, S. Herff, Christoph Finkensiep, Daniel Harasim, M. Rohrmeier","doi":"10.1177/10298649221122245","DOIUrl":"https://doi.org/10.1177/10298649221122245","url":null,"abstract":"Functional harmony is an integral part of many repertoires in the Western musical practices, including both diatonic and extended tonality. In the latter context, music-theoretical accounts suggest that the three octatonic equivalence classes (OECs) consisting of pitch-classes related by stacked minor-third intervals may be associated with tonic (T), dominant (D), and subdominant (S) functions. Whether this theoretical description of music is also relevant to the perception of music has not yet been tested empirically. In this study, 100 participants familiar with Western repertoires were presented with jazz chord progressions containing chord substitutions. When each stimulus had been played, participants predicted how many more chords they would have expected to hear before the progression could reach a plausible conclusion. We computed the similarity of responses for pairs of stimuli containing different harmonic substitutions and modeled such similarity values based on different measures of harmonic relatedness between substitutions. Data show that the OEC membership of substitutions strongly predicts the similarity of participants’ completion ratings. Bayesian mixed-effects modeling of similarity values further showed a categorical distinction between D and S as functional categories, on one hand, and T, on the other hand. The data also appear to reflect the prevalent influence of rock and pop repertoires on the participants, encouraging further research into the influence of stylistic diversity and musical expertise. Overall, results contribute to the characterization of listeners’ implicit knowledge of the principles of harmonic structure in extended tonality and support the relevance of OECs not only as descriptors of extended-tonal compositional practices but also parsimonious predictors of perceived functionality.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"16 1","pages":"672 - 697"},"PeriodicalIF":2.4,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87071809","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 : 2022-11-04DOI: 10.1177/10298649221126904
Erika Y Hae, Bianca DM Hatin
Music has a cross-modal influence on the emotional appraisal of pictures, probably due to a misattribution of emotion from music to the visually perceived images. Moreover, dichotic listening studies have demonstrated a left-ear (right-hemisphere) advantage for processing emotional and/or musical stimuli. The present study investigated the role of laterality in cross-modal affect misattribution: that is, whether visual judgments of emotion would be affected differently depending on which ear was presented with music via the dichotic listening task. Participants rated the emotionality of happy, sad, and neutral faces while listening to happy or sad music in one ear and white noise in the other. Baseline ratings without music were used as a comparison to see whether and how emotionality judgments shifted in the music conditions. As predicted, the results showed that happy music played to the left ear had a stronger cross-modal influence on ratings of sad faces than the same music played to the right ear. Furthermore, sad music affected the ratings of all faces regardless of whether it was played to the left or right ear. These results do not fully align with any given lateralized model of emotion processing, suggesting that other factors such as negativity bias may play a role.
{"title":"The effect of dichotic music presentation on ratings of emotional facial expressions","authors":"Erika Y Hae, Bianca DM Hatin","doi":"10.1177/10298649221126904","DOIUrl":"https://doi.org/10.1177/10298649221126904","url":null,"abstract":"Music has a cross-modal influence on the emotional appraisal of pictures, probably due to a misattribution of emotion from music to the visually perceived images. Moreover, dichotic listening studies have demonstrated a left-ear (right-hemisphere) advantage for processing emotional and/or musical stimuli. The present study investigated the role of laterality in cross-modal affect misattribution: that is, whether visual judgments of emotion would be affected differently depending on which ear was presented with music via the dichotic listening task. Participants rated the emotionality of happy, sad, and neutral faces while listening to happy or sad music in one ear and white noise in the other. Baseline ratings without music were used as a comparison to see whether and how emotionality judgments shifted in the music conditions. As predicted, the results showed that happy music played to the left ear had a stronger cross-modal influence on ratings of sad faces than the same music played to the right ear. Furthermore, sad music affected the ratings of all faces regardless of whether it was played to the left or right ear. These results do not fully align with any given lateralized model of emotion processing, suggesting that other factors such as negativity bias may play a role.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"16 1","pages":"741 - 756"},"PeriodicalIF":2.4,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77068637","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 : 2022-11-03DOI: 10.1177/10298649221124862
S. Dahl, Antonio Stella, Thomas Bjørner
The link between musical structure and evoked visual mental imagery (VMI), that is, seeing in the absence of a corresponding sensory stimulus, has yet to be thoroughly investigated. We explored this link by manipulating the characteristics of four pieces of music for synthesizer, guitars, and percussion (songs). Two original songs were selected on the basis of a pilot study, and two were new, specially composed to combine the musical and acoustical characteristics of the originals. A total of 135 participants were randomly assigned to one of the four groups who listened to one song each; 73% of participants reported experiencing VMI. There were similarities between participants’ descriptions of the mental imagery evoked by each song and clear differences between them. A combination of coding and content analysis produced 10 categories: Nature, Places and settings, Objects, Time, Movements and events, Color(s), Humans, Affects, Literal sound, and Film. Regardless of whether or not they had reported experiencing VMI, participants then carried out a card-sorting task in which they selected the terms they thought best described a scene or setting appropriate to the music they had heard and rated emotional dimensions. The results confirmed those of the content analysis. Taken together, participants’ ratings, descriptions of VMI, and selection of terms in the card-sorting task confirmed that new songs combining the characteristics of original songs evoke the elements of VMI associated with the latter. The findings are important for the understanding of the musical and acoustical characteristics that may influence our experiences of music, including VMI.
{"title":"Tell me what you see: An exploratory investigation of visual mental imagery evoked by music","authors":"S. Dahl, Antonio Stella, Thomas Bjørner","doi":"10.1177/10298649221124862","DOIUrl":"https://doi.org/10.1177/10298649221124862","url":null,"abstract":"The link between musical structure and evoked visual mental imagery (VMI), that is, seeing in the absence of a corresponding sensory stimulus, has yet to be thoroughly investigated. We explored this link by manipulating the characteristics of four pieces of music for synthesizer, guitars, and percussion (songs). Two original songs were selected on the basis of a pilot study, and two were new, specially composed to combine the musical and acoustical characteristics of the originals. A total of 135 participants were randomly assigned to one of the four groups who listened to one song each; 73% of participants reported experiencing VMI. There were similarities between participants’ descriptions of the mental imagery evoked by each song and clear differences between them. A combination of coding and content analysis produced 10 categories: Nature, Places and settings, Objects, Time, Movements and events, Color(s), Humans, Affects, Literal sound, and Film. Regardless of whether or not they had reported experiencing VMI, participants then carried out a card-sorting task in which they selected the terms they thought best described a scene or setting appropriate to the music they had heard and rated emotional dimensions. The results confirmed those of the content analysis. Taken together, participants’ ratings, descriptions of VMI, and selection of terms in the card-sorting task confirmed that new songs combining the characteristics of original songs evoke the elements of VMI associated with the latter. The findings are important for the understanding of the musical and acoustical characteristics that may influence our experiences of music, including VMI.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"717 - 740"},"PeriodicalIF":2.4,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77067450","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 : 2022-09-20DOI: 10.1177/10298649221122155
A. Almeida, Weicong Li, Emery Schubert, John Smith, J. Wolfe
Music can convey emotions. Even in the performance of written rather than improvised music, the performer can modify the way they play particular elements of the music to convey specific emotions. Considerable research attention has been paid to the ways in which performers convey a small set of so-called basic emotions. In the current work, we investigated how musicians think they can convey a larger set of emotions in their performances by modifying musical elements and varying playing parameters. We presented 12 clarinetists trained in Western classical music with 55 pairs of expressive goals (EGs) derived from a list of 11 (e.g., to make the music sound happy, sad, or expressive), and asked them to provide similarity judgments for each pair representing how well they thought they would be able to distinguish between them when performing four excerpts of music, and how they would do it. The similarity judgments produced dissimilarity scores that were grouped using cluster analysis to form six independent, coherent clusters of EGs. Four clusters consisted of, or included, EGs representing four basic emotions: happy/humorous; sad; angry/mad/ugly; and fearful. The other two clusters consisted of the EGs expressive/overly expressive/beautiful and deadpan. We therefore suggest that this set of six clusters could be used in future research on emotional and musical expression in music. Participants reported that to achieve specific EGs, they would vary the way they played a wider range of musical elements than in previous studies, albeit including many of the same elements. Among the playing parameters they reported, reed-bite force was mentioned most often, with consistent associations between more force and ugly or angry, and between less force and fearful and expressive EGs.
{"title":"Expressive goals for performing musicians: The case of clarinetists","authors":"A. Almeida, Weicong Li, Emery Schubert, John Smith, J. Wolfe","doi":"10.1177/10298649221122155","DOIUrl":"https://doi.org/10.1177/10298649221122155","url":null,"abstract":"Music can convey emotions. Even in the performance of written rather than improvised music, the performer can modify the way they play particular elements of the music to convey specific emotions. Considerable research attention has been paid to the ways in which performers convey a small set of so-called basic emotions. In the current work, we investigated how musicians think they can convey a larger set of emotions in their performances by modifying musical elements and varying playing parameters. We presented 12 clarinetists trained in Western classical music with 55 pairs of expressive goals (EGs) derived from a list of 11 (e.g., to make the music sound happy, sad, or expressive), and asked them to provide similarity judgments for each pair representing how well they thought they would be able to distinguish between them when performing four excerpts of music, and how they would do it. The similarity judgments produced dissimilarity scores that were grouped using cluster analysis to form six independent, coherent clusters of EGs. Four clusters consisted of, or included, EGs representing four basic emotions: happy/humorous; sad; angry/mad/ugly; and fearful. The other two clusters consisted of the EGs expressive/overly expressive/beautiful and deadpan. We therefore suggest that this set of six clusters could be used in future research on emotional and musical expression in music. Participants reported that to achieve specific EGs, they would vary the way they played a wider range of musical elements than in previous studies, albeit including many of the same elements. Among the playing parameters they reported, reed-bite force was mentioned most often, with consistent associations between more force and ugly or angry, and between less force and fearful and expressive EGs.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"75 1","pages":"655 - 671"},"PeriodicalIF":2.4,"publicationDate":"2022-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83378914","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 : 2022-09-13DOI: 10.1177/10298649221122870
Ariadne Loutrari, Kathryn Ansell, C. Philip Beaman, Cunmei Jiang, Fang Liu
Congenital amusia is a neurogenetic disorder affecting various aspects of music and speech processing. Although perception and auditory imagery in the general population may share mechanisms, it is not known whether previously documented perceptual impairments in amusia are coupled with difficulties in imaging auditory objects. We employed the Bucknell Auditory Imagery Scale (BAIS) to assess participants’ self-perceived voluntary imagery and a short earworm questionnaire to gauge their subjective experience of involuntary musical imagery. A total of 32 participants with amusia and 34 matched controls, recruited based on their performance on the Montreal Battery of Evaluation of Amusia (MBEA), filled out the questionnaires in their own time. The earworm scores of amusic participants were not statistically significantly different from those of controls. By contrast, their scores on vividness and control of auditory imagery were significantly lower relative to controls. Overall, results suggest that the presence of amusia may not have an adverse effect on generating involuntary musical imagery—at the level of self-report—but still significantly reduces the individual’s self-rated voluntary imagery of musical, vocal, and environmental sounds. We discuss the findings in the light of previous research on explicit musical judgments and implicit engagement with music, while also touching on some statistical power considerations.
{"title":"Auditory imagery in congenital amusia","authors":"Ariadne Loutrari, Kathryn Ansell, C. Philip Beaman, Cunmei Jiang, Fang Liu","doi":"10.1177/10298649221122870","DOIUrl":"https://doi.org/10.1177/10298649221122870","url":null,"abstract":"Congenital amusia is a neurogenetic disorder affecting various aspects of music and speech processing. Although perception and auditory imagery in the general population may share mechanisms, it is not known whether previously documented perceptual impairments in amusia are coupled with difficulties in imaging auditory objects. We employed the Bucknell Auditory Imagery Scale (BAIS) to assess participants’ self-perceived voluntary imagery and a short earworm questionnaire to gauge their subjective experience of involuntary musical imagery. A total of 32 participants with amusia and 34 matched controls, recruited based on their performance on the Montreal Battery of Evaluation of Amusia (MBEA), filled out the questionnaires in their own time. The earworm scores of amusic participants were not statistically significantly different from those of controls. By contrast, their scores on vividness and control of auditory imagery were significantly lower relative to controls. Overall, results suggest that the presence of amusia may not have an adverse effect on generating involuntary musical imagery—at the level of self-report—but still significantly reduces the individual’s self-rated voluntary imagery of musical, vocal, and environmental sounds. We discuss the findings in the light of previous research on explicit musical judgments and implicit engagement with music, while also touching on some statistical power considerations.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"68 1","pages":"698 - 716"},"PeriodicalIF":2.4,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87412601","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 : 2022-08-15DOI: 10.1177/10298649221116024
S. Knight, N. Spiro
This article focuses on behavioral markers—changes in communicative behaviors that reliably indicate the presence and severity of mental health conditions. We explore the potential of behavioral markers to provide new insights and approaches to diagnosis, assessment, and monitoring, with a particular focus on music therapy for depression. We propose a framework for understanding these markers that encompasses three broad functional categories fulfilled by communicative behaviors: semantic, pragmatic, and phatic. The disordered interactions observed in those with depression reflect changes in many types of communicative behavior, but much research has focused on pragmatic behaviors. However, changes in phatic behaviors also seem likely to be important, given their crucial role in facilitating interpersonal relationships. Given the strong phatic element of music-making, music represents a fertile context in which to explore these behaviors. We argue here that the uniquely multimodal and profoundly interactive environment of music therapy in particular allows for the identification of changes in pragmatic and phatic communicative behaviors that reliably indicate depression presence/severity. By identifying these behavioral markers, we open the door to new ways of assessing depression, and improving diagnosis and monitoring. Furthermore, this markers-based approach has broad implications, being applicable beyond depression and beyond music therapy.
{"title":"Tracing change during music therapy for depression: Toward a markers-based understanding of communicative behaviors","authors":"S. Knight, N. Spiro","doi":"10.1177/10298649221116024","DOIUrl":"https://doi.org/10.1177/10298649221116024","url":null,"abstract":"This article focuses on behavioral markers—changes in communicative behaviors that reliably indicate the presence and severity of mental health conditions. We explore the potential of behavioral markers to provide new insights and approaches to diagnosis, assessment, and monitoring, with a particular focus on music therapy for depression. We propose a framework for understanding these markers that encompasses three broad functional categories fulfilled by communicative behaviors: semantic, pragmatic, and phatic. The disordered interactions observed in those with depression reflect changes in many types of communicative behavior, but much research has focused on pragmatic behaviors. However, changes in phatic behaviors also seem likely to be important, given their crucial role in facilitating interpersonal relationships. Given the strong phatic element of music-making, music represents a fertile context in which to explore these behaviors. We argue here that the uniquely multimodal and profoundly interactive environment of music therapy in particular allows for the identification of changes in pragmatic and phatic communicative behaviors that reliably indicate depression presence/severity. By identifying these behavioral markers, we open the door to new ways of assessing depression, and improving diagnosis and monitoring. Furthermore, this markers-based approach has broad implications, being applicable beyond depression and beyond music therapy.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"637 - 654"},"PeriodicalIF":2.4,"publicationDate":"2022-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89317821","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 : 2022-08-04DOI: 10.1177/10298649221114568
J. Walduck
thinking about knowledge and research methods and uncertainties about “getting it right.” That is not to say that the book lacks reflective scrutiny. By contrast, in discussing advantages and disadvantages of approaches, and highlighting important developments such as the replication crisis and open access publication, it provides a fruitful basis for these discussions to be promoted in the teaching contexts where this book is used. In conclusion, I am convinced that this book will support the teaching of empirical research techniques at conservatoires and in music programs across the world, and as such will help to further this flourishing area of research from its foundations upward.
{"title":"Book Review: Raymond A. R. MacDonald and Graeme B. Wilson. The art of becoming: How group improvisation works","authors":"J. Walduck","doi":"10.1177/10298649221114568","DOIUrl":"https://doi.org/10.1177/10298649221114568","url":null,"abstract":"thinking about knowledge and research methods and uncertainties about “getting it right.” That is not to say that the book lacks reflective scrutiny. By contrast, in discussing advantages and disadvantages of approaches, and highlighting important developments such as the replication crisis and open access publication, it provides a fruitful basis for these discussions to be promoted in the teaching contexts where this book is used. In conclusion, I am convinced that this book will support the teaching of empirical research techniques at conservatoires and in music programs across the world, and as such will help to further this flourishing area of research from its foundations upward.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"24 4","pages":"513 - 517"},"PeriodicalIF":2.4,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72476941","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 : 2022-07-26DOI: 10.1177/10298649221103210
Juliane Deil, Nina Markert, Philip Normand, Philipp Kammen, M. Küssner, Liila Taruffi
During a live concert, the mind can wander to unrelated thoughts such as personal concerns or past memories or to vivid images that are inspired by the music. This is an omnipresent phenomenon commonly referred to as mind-wandering. Psychological research on mind-wandering has explored its main characteristics, such as frequency, phenomenology, and impact on mood, both in the laboratory and in daily life contexts. This study aimed to harness the ecological setting of a live music concert to examine the occurrence and content of mind-wandering, as well as visual mental imagery as a mode through which mind-wandering occurs, and its relationship with the concertgoers’ moods before and after the music event. A self-report questionnaire (n = 43) was used to collect data at two concerts of ambient music given as part of the CTM Festival. Findings suggest that mind-wandering occurs extensively in a concert environment. While mind-wandering episodes feature negative themes and moods—in the form of dark content of the visual mental imagery associated with the program’s musical tone—the concert environment still contributes to participants feeling more inspired afterward. Overall, this study points to the potential of live music contexts to stimulate a beneficial style of mind-wandering (i.e., one that leads to a positive impact on mood and imagery), and its findings are in line with those of previous research showing that live concerts lead to increased well-being of concertgoers. Implications for well-being and a call for more systematic research on this subject are discussed.
{"title":"Mind-wandering during contemporary live music: An exploratory study","authors":"Juliane Deil, Nina Markert, Philip Normand, Philipp Kammen, M. Küssner, Liila Taruffi","doi":"10.1177/10298649221103210","DOIUrl":"https://doi.org/10.1177/10298649221103210","url":null,"abstract":"During a live concert, the mind can wander to unrelated thoughts such as personal concerns or past memories or to vivid images that are inspired by the music. This is an omnipresent phenomenon commonly referred to as mind-wandering. Psychological research on mind-wandering has explored its main characteristics, such as frequency, phenomenology, and impact on mood, both in the laboratory and in daily life contexts. This study aimed to harness the ecological setting of a live music concert to examine the occurrence and content of mind-wandering, as well as visual mental imagery as a mode through which mind-wandering occurs, and its relationship with the concertgoers’ moods before and after the music event. A self-report questionnaire (n = 43) was used to collect data at two concerts of ambient music given as part of the CTM Festival. Findings suggest that mind-wandering occurs extensively in a concert environment. While mind-wandering episodes feature negative themes and moods—in the form of dark content of the visual mental imagery associated with the program’s musical tone—the concert environment still contributes to participants feeling more inspired afterward. Overall, this study points to the potential of live music contexts to stimulate a beneficial style of mind-wandering (i.e., one that leads to a positive impact on mood and imagery), and its findings are in line with those of previous research showing that live concerts lead to increased well-being of concertgoers. Implications for well-being and a call for more systematic research on this subject are discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"60 1","pages":"616 - 636"},"PeriodicalIF":2.4,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83517996","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 : 2022-07-26DOI: 10.1177/10298649221110089
Makiko Sadakata, Yasumasa Yamaguchi, Chie Ohsawa, Masaki Matsubara, Hiroko Terasawa, Andres von Schnehen, Daniel Müllensiefen, K. Sekiyama
This study presents a Japanese translation of the Goldsmiths Musical Sophistication Index (Gold-MSI). The index consists of 38 self-report questions and provides a general sophistication score as well as subscale scores for Active Engagement, Perceptual Abilities, Musical Training, Singing Abilities, and Emotions. The validation of the translation with 689 native Japanese speakers indicated excellent internal consistency and test–retest reliability. Confirmatory factor analysis revealed that the bifactor model structure formulated by the original study of Gold-MSI is maintained reasonably in our data. The strengths of the Gold-MSI self-report inventory are (1) it offers a multifaceted view of musical sophistication, (2) a subset of five subscales can be used to measure different aspects of musical sophistication independently, and (3) the ease of administration as it is a self-report questionnaire. In view of the fact that this inventory and its translations increasingly contribute to research on musical expertise, skills, and abilities, having a Japanese translation may enhance future research in these areas even further.
{"title":"The Japanese translation of the Gold-MSI: Adaptation and validation of the self-report questionnaire of musical sophistication","authors":"Makiko Sadakata, Yasumasa Yamaguchi, Chie Ohsawa, Masaki Matsubara, Hiroko Terasawa, Andres von Schnehen, Daniel Müllensiefen, K. Sekiyama","doi":"10.1177/10298649221110089","DOIUrl":"https://doi.org/10.1177/10298649221110089","url":null,"abstract":"This study presents a Japanese translation of the Goldsmiths Musical Sophistication Index (Gold-MSI). The index consists of 38 self-report questions and provides a general sophistication score as well as subscale scores for Active Engagement, Perceptual Abilities, Musical Training, Singing Abilities, and Emotions. The validation of the translation with 689 native Japanese speakers indicated excellent internal consistency and test–retest reliability. Confirmatory factor analysis revealed that the bifactor model structure formulated by the original study of Gold-MSI is maintained reasonably in our data. The strengths of the Gold-MSI self-report inventory are (1) it offers a multifaceted view of musical sophistication, (2) a subset of five subscales can be used to measure different aspects of musical sophistication independently, and (3) the ease of administration as it is a self-report questionnaire. In view of the fact that this inventory and its translations increasingly contribute to research on musical expertise, skills, and abilities, having a Japanese translation may enhance future research in these areas even further.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"40 1","pages":"798 - 810"},"PeriodicalIF":2.4,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80307352","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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