Pub Date : 2022-12-01DOI: 10.1177/10298649221102526
G. Breakwell, R. Jaspal
Musicians, both professional and amateur creators of music, faced economic, social, and psychological hardship during the pandemic. In this article, we use identity process theory from social psychology to interpret the potential impact of the COVID-19 pandemic on identity processes among musicians, including the significance of identity resilience and identity threat to their experience, and the strategies that may be employed in response to possible threats to identity. First, we provide a brief overview of empirical research into identity and well-being among musicians during the pandemic, which has shown the potential for identity threat and the multitude of coping strategies deployed by musicians during this period, most notably the move to virtual settings. We exemplify the theoretical observations made regarding identity processes and coping through three case studies focusing on quite different strategies musicians used to deal with identity threat during the 2020–2021 COVID-19 lockdowns. Awareness of the risks of identity threat and the variety of coping strategies that they can deploy against it could be valuable to musicians and others in the creative industries facing future societal upheavals. In crises, musicians can use music to create coping strategies both for themselves and to support others.
{"title":"Identity processes and musicians during the COVID-19 pandemic","authors":"G. Breakwell, R. Jaspal","doi":"10.1177/10298649221102526","DOIUrl":"https://doi.org/10.1177/10298649221102526","url":null,"abstract":"Musicians, both professional and amateur creators of music, faced economic, social, and psychological hardship during the pandemic. In this article, we use identity process theory from social psychology to interpret the potential impact of the COVID-19 pandemic on identity processes among musicians, including the significance of identity resilience and identity threat to their experience, and the strategies that may be employed in response to possible threats to identity. First, we provide a brief overview of empirical research into identity and well-being among musicians during the pandemic, which has shown the potential for identity threat and the multitude of coping strategies deployed by musicians during this period, most notably the move to virtual settings. We exemplify the theoretical observations made regarding identity processes and coping through three case studies focusing on quite different strategies musicians used to deal with identity threat during the 2020–2021 COVID-19 lockdowns. Awareness of the risks of identity threat and the variety of coping strategies that they can deploy against it could be valuable to musicians and others in the creative industries facing future societal upheavals. In crises, musicians can use music to create coping strategies both for themselves and to support others.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80631532","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 : 2022-12-01DOI: 10.1177/10298649221122173
Nicola Beech
This article sets out the case that there is a conflation of personal and situational liminality in the music industry. The response to this needs to include greater dynamism and development both of musical identities and innovations in the production and business of music. However, the confluence of liminalities produces vulnerabilities and precarities which militate against learning and innovation and lean toward stasis. I offer an alternative way forward, which adopts a different conceptualization of vulnerability and discusses how a situated learning approach can be used to develop socially enabled resilience.
{"title":"Always liminal, always learning: Why community learning is needed, and how to start","authors":"Nicola Beech","doi":"10.1177/10298649221122173","DOIUrl":"https://doi.org/10.1177/10298649221122173","url":null,"abstract":"This article sets out the case that there is a conflation of personal and situational liminality in the music industry. The response to this needs to include greater dynamism and development both of musical identities and innovations in the production and business of music. However, the confluence of liminalities produces vulnerabilities and precarities which militate against learning and innovation and lean toward stasis. I offer an alternative way forward, which adopts a different conceptualization of vulnerability and discusses how a situated learning approach can be used to develop socially enabled resilience.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89196839","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 : 2022-12-01DOI: 10.1177/10298649221108305
Raymond J MacDonald, Suvi Saarikallio
This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.
{"title":"Musical identities in action: Embodied, situated, and dynamic","authors":"Raymond J MacDonald, Suvi Saarikallio","doi":"10.1177/10298649221108305","DOIUrl":"https://doi.org/10.1177/10298649221108305","url":null,"abstract":"This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78537654","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 : 2022-11-28DOI: 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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 : 2022-09-01Epub Date: 2021-03-19DOI: 10.1177/1029864920988319
Andrea Schiavio, Pieter-Jan Maes, Dylan van der Schyff
In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.
{"title":"The dynamics of musical participation.","authors":"Andrea Schiavio, Pieter-Jan Maes, Dylan van der Schyff","doi":"10.1177/1029864920988319","DOIUrl":"https://doi.org/10.1177/1029864920988319","url":null,"abstract":"<p><p>In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of <i>dynamical systems theory</i> and <i>coordination dynamics</i>. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.</p>","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1029864920988319","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"33459998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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