Pub Date : 2022-01-27DOI: 10.1177/10298649211062724
Francesca Talamini, Julia Vigl, E. Doerr, M. Grassi, B. Carretti
Mental imagery plays an important role in various contexts of life, involving cognitive resources such as memory, learning, spatial representation, and reasoning. The vividness of mental images depends on different factors, including personal expertise in a certain field. For instance, musicians have been found to possess better auditory imagery abilities than non-musicians for both musical and non-musical sounds. Only a few studies have tried to find out if this advantage is selective for auditory stimuli, however, with contradictory results so far (i.e., some studies supporting an advantage for mental imagery in general and some supporting an advantage for auditory mental imagery in particular). This study therefore investigated auditory and visual mental imagery in individuals with and without formal musical training. Thirty-six formally trained musicians, 33 self-taught musicians, and 33 non-musicians completed two questionnaires assessing the vividness of their auditory and visual mental imagery. They also completed measures of aptitude for music and general cognitive abilities. Both groups of musicians reported greater vividness of auditory (non-musical) imagery, but not visual imagery, than non-musicians. Thus musical experience, regardless of the type of training undergone by musicians, is linked to superior self-reported auditory mental imagery for everyday sounds, but not mental imagery in general.
{"title":"Auditory and visual mental imagery in musicians and non-musicians","authors":"Francesca Talamini, Julia Vigl, E. Doerr, M. Grassi, B. Carretti","doi":"10.1177/10298649211062724","DOIUrl":"https://doi.org/10.1177/10298649211062724","url":null,"abstract":"Mental imagery plays an important role in various contexts of life, involving cognitive resources such as memory, learning, spatial representation, and reasoning. The vividness of mental images depends on different factors, including personal expertise in a certain field. For instance, musicians have been found to possess better auditory imagery abilities than non-musicians for both musical and non-musical sounds. Only a few studies have tried to find out if this advantage is selective for auditory stimuli, however, with contradictory results so far (i.e., some studies supporting an advantage for mental imagery in general and some supporting an advantage for auditory mental imagery in particular). This study therefore investigated auditory and visual mental imagery in individuals with and without formal musical training. Thirty-six formally trained musicians, 33 self-taught musicians, and 33 non-musicians completed two questionnaires assessing the vividness of their auditory and visual mental imagery. They also completed measures of aptitude for music and general cognitive abilities. Both groups of musicians reported greater vividness of auditory (non-musical) imagery, but not visual imagery, than non-musicians. Thus musical experience, regardless of the type of training undergone by musicians, is linked to superior self-reported auditory mental imagery for everyday sounds, but not mental imagery in general.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"16 1","pages":"428 - 441"},"PeriodicalIF":2.4,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81666076","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 : 2022-01-17DOI: 10.1177/10298649211034906
Cédric Viaccoz, Daniel Harasim, Fabian C. Moss, M. Rohrmeier
Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.
{"title":"Wavescapes: A visual hierarchical analysis of tonality using the discrete Fourier transform","authors":"Cédric Viaccoz, Daniel Harasim, Fabian C. Moss, M. Rohrmeier","doi":"10.1177/10298649211034906","DOIUrl":"https://doi.org/10.1177/10298649211034906","url":null,"abstract":"Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"85 1","pages":"390 - 427"},"PeriodicalIF":2.4,"publicationDate":"2022-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81099786","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 : 2022-01-10DOI: 10.1177/10298649211046979
C. Harney, Judith Johnson, F. Bailes, J. Havelka
Anxiety is the most commonly diagnosed mental health disorder in the EU and 18% of the US population experiences an anxiety disorder at any one time. However, only 20% of individuals experiencing anxiety receive a formally administered intervention, highlighting a need for evidence-based interventions that can be self-administered. Music listening can be flexibly self-administered and may be useful for anxiety reduction, but further evidence is needed. The current paper addressed this by conducting the first systematic review and meta-analysis of controlled studies testing music listening interventions for naturally occurring state anxiety. A protocol was registered on PROSPERO ID: CRD42018104308. Searches were carried out of the Cochrane Library, Ovid MEDLINE, PsycINFO, Embase, Web of Science and CINAHL databases, yielding 6208 records. After screening for eligibility, 24 controlled studies were included in the review and 21 were included in the meta-analysis. Results of the meta-analyses showed that music listening had an overall significant large effect on alleviating anxiety (d = −0.77 [95% CI = −1.26, −0.28], k = 21). It was concluded that music listening is effective for reducing anxiety in a range of groups. Further research should focus on clinical groups with diagnosed mental health problems.
焦虑是欧盟最常见的精神健康障碍，18%的美国人在任何时候都经历过焦虑症。然而，只有20%的焦虑症患者接受了正式的管理干预，这凸显了对可自我管理的循证干预的需求。听音乐可以灵活地自我管理，可能有助于减少焦虑，但还需要进一步的证据。当前的论文通过对测试音乐听力干预自然发生状态焦虑的对照研究进行首次系统回顾和荟萃分析来解决这一问题。日志含义在PROSPERO上注册协议ID: CRD42018104308。检索Cochrane Library、Ovid MEDLINE、PsycINFO、Embase、Web of Science和CINAHL数据库，得到6208条记录。筛选合格后，24项对照研究纳入综述，21项纳入meta分析。meta分析结果显示，听音乐对缓解焦虑有显著的总体效果(d = - 0.77 [95% CI = - 1.26， - 0.28]， k = 21)。研究得出的结论是，在一些群体中，听音乐对减少焦虑是有效的。进一步的研究应该集中在诊断出心理健康问题的临床群体上。
{"title":"Is music listening an effective intervention for reducing anxiety? A systematic review and meta-analysis of controlled studies","authors":"C. Harney, Judith Johnson, F. Bailes, J. Havelka","doi":"10.1177/10298649211046979","DOIUrl":"https://doi.org/10.1177/10298649211046979","url":null,"abstract":"Anxiety is the most commonly diagnosed mental health disorder in the EU and 18% of the US population experiences an anxiety disorder at any one time. However, only 20% of individuals experiencing anxiety receive a formally administered intervention, highlighting a need for evidence-based interventions that can be self-administered. Music listening can be flexibly self-administered and may be useful for anxiety reduction, but further evidence is needed. The current paper addressed this by conducting the first systematic review and meta-analysis of controlled studies testing music listening interventions for naturally occurring state anxiety. A protocol was registered on PROSPERO ID: CRD42018104308. Searches were carried out of the Cochrane Library, Ovid MEDLINE, PsycINFO, Embase, Web of Science and CINAHL databases, yielding 6208 records. After screening for eligibility, 24 controlled studies were included in the review and 21 were included in the meta-analysis. Results of the meta-analyses showed that music listening had an overall significant large effect on alleviating anxiety (d = −0.77 [95% CI = −1.26, −0.28], k = 21). It was concluded that music listening is effective for reducing anxiety in a range of groups. Further research should focus on clinical groups with diagnosed mental health problems.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"100 1","pages":"278 - 298"},"PeriodicalIF":2.4,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79302163","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 : 2021-12-30DOI: 10.1177/10298649211062934
R. Parncutt, Lazar Radovanović
Since Lippius and Rameau, chords have roots that are often voiced in the bass, doubled, and used as labels. Psychological experiments and analyses of databases of Western classical music have not produced clear evidence for the psychological reality of chord roots. We analyzed a symbolic database of 100 arrangements of jazz standards (musical instrument digital interface [MIDI] files from midkar.com and thejazzpage.de). Selection criteria were representativeness and quality.The original songs had been composed in the 1930s and 1950s, and each file had a beat track. Files were converted to chord progressions by identifying tone onsets near beat locations (±10% of beat duration). Chords were classified as triads (major, minor, diminished, suspended) or seventh chords (major–minor, minor, major, half-diminished, diminished, and suspended) plus extra tones. Roots that were theoretically less ambiguous were more often in the bass or (to a lesser extent) doubled. The root of the minor triad was ambiguous, as predicted (conventional root or third). Of the sevenths, the major–minor had the clearest root. The diminished triad was often part of a major–minor seventh chord; the half-diminished seventh, of a dominant ninth. Added notes (“tensions”) tended to minimize dissonance (roughness or inharmonicity). In arrangements of songs from the 1950s, diminished triads and sevenths were less common, and suspended triads more common, relative to the 1930s. Results confirm the psychological reality of chord roots and their specific ambiguities. Results are consistent with Terhardt’s virtual pitch theory and the idea that musical chords emerge gradually from cultural and historic processes. The approach can enrich music theory (including pitch-class set analysis) and jazz pedagogy.
{"title":"The missing fundamentals of harmonic theory: Chord roots and their ambiguity in arrangements of jazz standards","authors":"R. Parncutt, Lazar Radovanović","doi":"10.1177/10298649211062934","DOIUrl":"https://doi.org/10.1177/10298649211062934","url":null,"abstract":"Since Lippius and Rameau, chords have roots that are often voiced in the bass, doubled, and used as labels. Psychological experiments and analyses of databases of Western classical music have not produced clear evidence for the psychological reality of chord roots. We analyzed a symbolic database of 100 arrangements of jazz standards (musical instrument digital interface [MIDI] files from midkar.com and thejazzpage.de). Selection criteria were representativeness and quality.The original songs had been composed in the 1930s and 1950s, and each file had a beat track. Files were converted to chord progressions by identifying tone onsets near beat locations (±10% of beat duration). Chords were classified as triads (major, minor, diminished, suspended) or seventh chords (major–minor, minor, major, half-diminished, diminished, and suspended) plus extra tones. Roots that were theoretically less ambiguous were more often in the bass or (to a lesser extent) doubled. The root of the minor triad was ambiguous, as predicted (conventional root or third). Of the sevenths, the major–minor had the clearest root. The diminished triad was often part of a major–minor seventh chord; the half-diminished seventh, of a dominant ninth. Added notes (“tensions”) tended to minimize dissonance (roughness or inharmonicity). In arrangements of songs from the 1950s, diminished triads and sevenths were less common, and suspended triads more common, relative to the 1930s. Results confirm the psychological reality of chord roots and their specific ambiguities. Results are consistent with Terhardt’s virtual pitch theory and the idea that musical chords emerge gradually from cultural and historic processes. The approach can enrich music theory (including pitch-class set analysis) and jazz pedagogy.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"35 1","pages":"366 - 389"},"PeriodicalIF":2.4,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89332917","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 : 2021-12-21DOI: 10.1177/10298649211055832
I. Papageorgi, Natassa Economidou Stavrou
The literature suggests that there is often no alignment between student preferences and what and how it is taught in the music classroom. A total of 749 Cypriot secondary school students, aged 12 to 14 years, responded to a survey addressing enjoyment of music, motivation for school music lessons, and perceptions of the music classroom environment. The survey included a questionnaire with six subscales: Involvement, Affiliation, Teacher Support, Task Orientation, Order and Organization, and Rule Clarity. High ratings for Affiliation, Teacher Support, and Rule Clarity suggest that, overall, students’ perceptions of the classroom environment were positive. They were not uniform, but varied on the basis of student characteristics. Girls rated Rule Clarity higher than boys. Younger students tended to rate Task Orientation, Order and Organization, and Rule Clarity higher than older students. Higher-achieving students tended to rate Affiliation and Teacher Support higher. Older boys rated Involvement lower than younger boys, whereas older girls rated Involvement higher than younger girls. It can be inferred that boys experienced a gradual increase in perceived Affiliation as their achievement improved, although the pattern was less consistent for girls. Girls tended to report higher motivation for school music lessons than boys. Motivation was enhanced by classroom environments in which students experienced higher levels of enjoyment of music, engagement, and support from teachers. The findings show that the music classroom environment should be characterized by student engagement, clarity of rules, good organization, clear goals, teacher support, and affiliation between classmates.
{"title":"Student perceptions of the classroom environment, student characteristics, and motivation for music lessons at secondary school","authors":"I. Papageorgi, Natassa Economidou Stavrou","doi":"10.1177/10298649211055832","DOIUrl":"https://doi.org/10.1177/10298649211055832","url":null,"abstract":"The literature suggests that there is often no alignment between student preferences and what and how it is taught in the music classroom. A total of 749 Cypriot secondary school students, aged 12 to 14 years, responded to a survey addressing enjoyment of music, motivation for school music lessons, and perceptions of the music classroom environment. The survey included a questionnaire with six subscales: Involvement, Affiliation, Teacher Support, Task Orientation, Order and Organization, and Rule Clarity. High ratings for Affiliation, Teacher Support, and Rule Clarity suggest that, overall, students’ perceptions of the classroom environment were positive. They were not uniform, but varied on the basis of student characteristics. Girls rated Rule Clarity higher than boys. Younger students tended to rate Task Orientation, Order and Organization, and Rule Clarity higher than older students. Higher-achieving students tended to rate Affiliation and Teacher Support higher. Older boys rated Involvement lower than younger boys, whereas older girls rated Involvement higher than younger girls. It can be inferred that boys experienced a gradual increase in perceived Affiliation as their achievement improved, although the pattern was less consistent for girls. Girls tended to report higher motivation for school music lessons than boys. Motivation was enhanced by classroom environments in which students experienced higher levels of enjoyment of music, engagement, and support from teachers. The findings show that the music classroom environment should be characterized by student engagement, clarity of rules, good organization, clear goals, teacher support, and affiliation between classmates.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"41 1","pages":"348 - 365"},"PeriodicalIF":2.4,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80810011","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 : 2021-12-16DOI: 10.1177/10298649211047884
Mauro B. Fiuza, M. L. Sevillano, Filipa M. B. Lã
Menopause is a certainty in a female singer’s life; depletion of estrogens may lead to physical, mental, and vocal symptoms. To investigate the extent to which these symptoms affect singers, a systematic literature review was carried out using eight interdisciplinary bibliographic databases. Combinations of the following key words were used: menopause, climacterium, singing, singers, and choir. From 18 studies, including three doctoral dissertations and a master’s thesis, only 10 met the inclusion criteria. The heterogeneity of study designs and methods of data collection and analysis precluded the carrying out of a meta-analysis. Instead, descriptors of symptoms affecting the voice, and vocal characteristics associated with menopause (menopause descriptors) were categorized, and their frequency of occurrence determined, according to six types of primary dataset: (1) self-reported symptoms, (2) acoustic characteristics, (3) observations of the larynx, (4) perceptual evaluations, (5) analysis of electrolaryngographic waveform characteristics, and (6) analysis of hormone concentrations. The descriptors that occurred most frequently in the literature concerned aspects of voice production, whereas those concerning vocal health, and vocal practice and performance, were less common. Of the three subsystems that comprise the vocal instrument, the vibrating vocal folds seem to be more affected than breathing and resonance. Changes in vocal range, timbre, endurance, and vocal fold mobility occur during menopause, affecting singers’ voice quality. Some singers reported that their ability to perform was compromised, mainly due to memory lapses and lack of confidence. Maintaining regular singing and practicing semi-occluded vocal tract exercises throughout the menopausal transition seem to help singers to overcome the negative impacts of menopause on vocal performance.
{"title":"Singing at menopause: A systematic review with pedagogical implications","authors":"Mauro B. Fiuza, M. L. Sevillano, Filipa M. B. Lã","doi":"10.1177/10298649211047884","DOIUrl":"https://doi.org/10.1177/10298649211047884","url":null,"abstract":"Menopause is a certainty in a female singer’s life; depletion of estrogens may lead to physical, mental, and vocal symptoms. To investigate the extent to which these symptoms affect singers, a systematic literature review was carried out using eight interdisciplinary bibliographic databases. Combinations of the following key words were used: menopause, climacterium, singing, singers, and choir. From 18 studies, including three doctoral dissertations and a master’s thesis, only 10 met the inclusion criteria. The heterogeneity of study designs and methods of data collection and analysis precluded the carrying out of a meta-analysis. Instead, descriptors of symptoms affecting the voice, and vocal characteristics associated with menopause (menopause descriptors) were categorized, and their frequency of occurrence determined, according to six types of primary dataset: (1) self-reported symptoms, (2) acoustic characteristics, (3) observations of the larynx, (4) perceptual evaluations, (5) analysis of electrolaryngographic waveform characteristics, and (6) analysis of hormone concentrations. The descriptors that occurred most frequently in the literature concerned aspects of voice production, whereas those concerning vocal health, and vocal practice and performance, were less common. Of the three subsystems that comprise the vocal instrument, the vibrating vocal folds seem to be more affected than breathing and resonance. Changes in vocal range, timbre, endurance, and vocal fold mobility occur during menopause, affecting singers’ voice quality. Some singers reported that their ability to perform was compromised, mainly due to memory lapses and lack of confidence. Maintaining regular singing and practicing semi-occluded vocal tract exercises throughout the menopausal transition seem to help singers to overcome the negative impacts of menopause on vocal performance.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"187 1","pages":"193 - 217"},"PeriodicalIF":2.4,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78523976","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 : 2021-12-15DOI: 10.1177/10298649211062730
Melissa Forbes, Kate Cantrell
Creativity in the form of musical improvisation has received growing attention from researchers informed by the literature on embodiment. To date, this research has focused on the embodied experiences of improvising instrumentalists rather than those of improvising singers. This article investigates the experience of embodiment during improvisation through a systematic analysis of the metaphorical language used by an artist-level jazz singer in her reflections on practice. Extensive interview data with the participant were analyzed to identify and reconstruct metaphorical expressions into conceptual metaphors. In this process, the metaphor of IMPROVISATION IS AN ADVENTURE was identified as the overarching conceptual structure that the participant used to make sense of her experiences of improvisation. This metaphor and its mappings illuminate the cognitively embodied dimension of vocal jazz improvisation. These findings will be of interest to jazz singers and vocal jazz educators who are encouraged to explore more fully the role of the body–mind’s interactions with its environment in order to establish expertise in improvisational ways of knowing. This research illuminates the multidimensional nature of an expert singer’s experiences of improvisation and is presented as a provocation for future research to include singers as participants when investigating musical improvisation and cognitive embodiment.
{"title":"Choose your own adventure: Vocal jazz improvisation, conceptual metaphor, and cognitive embodiment","authors":"Melissa Forbes, Kate Cantrell","doi":"10.1177/10298649211062730","DOIUrl":"https://doi.org/10.1177/10298649211062730","url":null,"abstract":"Creativity in the form of musical improvisation has received growing attention from researchers informed by the literature on embodiment. To date, this research has focused on the embodied experiences of improvising instrumentalists rather than those of improvising singers. This article investigates the experience of embodiment during improvisation through a systematic analysis of the metaphorical language used by an artist-level jazz singer in her reflections on practice. Extensive interview data with the participant were analyzed to identify and reconstruct metaphorical expressions into conceptual metaphors. In this process, the metaphor of IMPROVISATION IS AN ADVENTURE was identified as the overarching conceptual structure that the participant used to make sense of her experiences of improvisation. This metaphor and its mappings illuminate the cognitively embodied dimension of vocal jazz improvisation. These findings will be of interest to jazz singers and vocal jazz educators who are encouraged to explore more fully the role of the body–mind’s interactions with its environment in order to establish expertise in improvisational ways of knowing. This research illuminates the multidimensional nature of an expert singer’s experiences of improvisation and is presented as a provocation for future research to include singers as participants when investigating musical improvisation and cognitive embodiment.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"8 1","pages":"332 - 347"},"PeriodicalIF":2.4,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77896269","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 : 2021-12-15DOI: 10.1177/10298649211060028
Nieves Fuentes-Sánchez, M. C. Pastor, T. Eerola, Raúl Pastor
Although music is one of the most important sources of pleasure for many people, there are considerable individual differences in music reward sensitivity. Behavioral and neurobiological characterizations of music reward variability have been topics of increasing scientific interest over the last two decades. However, it is not clear how differences in music reward sensitivity might influence the perception of emotions represented by music and, specifically, how music reward sensitivity could influence subjective music evaluation when the affective valence of music is considered. In the present study, we investigated the relationship between music reward sensitivity and the perception of emotions in music, taking into account the emotional category of stimuli (pleasant, neutral, or unpleasant music clips). Music reward and emotion perception were also explored as a function of gender, musicianship, and music discrimination skills. We used the Barcelona Music Reward Questionnaire and the previously validated Film Music Stimulus Set (FMSS); participants rated FMSS excerpts for affective dimensions (valence, energy, and tension arousal) and discrete emotions (happiness, anger, fear, tenderness, and sadness). Our results showed that music reward was the main factor influencing FMSS evaluation, particularly for excerpts associated with positive affect. Gender had an important influence on evaluations linked to the negative pole of emotions, and music discrimination skills seemed to be associated with cognitive aspects of music analysis, rather than with the emotional architecture of pleasant music excerpts. Our findings highlight the need to consider music reward sensitivity and gender in studies of music and emotion, and open the possibility of using the FMSS in studies exploring the neurobiological and psychosocial bases of music emotion.
{"title":"Individual differences in music reward sensitivity influence the perception of emotions represented by music","authors":"Nieves Fuentes-Sánchez, M. C. Pastor, T. Eerola, Raúl Pastor","doi":"10.1177/10298649211060028","DOIUrl":"https://doi.org/10.1177/10298649211060028","url":null,"abstract":"Although music is one of the most important sources of pleasure for many people, there are considerable individual differences in music reward sensitivity. Behavioral and neurobiological characterizations of music reward variability have been topics of increasing scientific interest over the last two decades. However, it is not clear how differences in music reward sensitivity might influence the perception of emotions represented by music and, specifically, how music reward sensitivity could influence subjective music evaluation when the affective valence of music is considered. In the present study, we investigated the relationship between music reward sensitivity and the perception of emotions in music, taking into account the emotional category of stimuli (pleasant, neutral, or unpleasant music clips). Music reward and emotion perception were also explored as a function of gender, musicianship, and music discrimination skills. We used the Barcelona Music Reward Questionnaire and the previously validated Film Music Stimulus Set (FMSS); participants rated FMSS excerpts for affective dimensions (valence, energy, and tension arousal) and discrete emotions (happiness, anger, fear, tenderness, and sadness). Our results showed that music reward was the main factor influencing FMSS evaluation, particularly for excerpts associated with positive affect. Gender had an important influence on evaluations linked to the negative pole of emotions, and music discrimination skills seemed to be associated with cognitive aspects of music analysis, rather than with the emotional architecture of pleasant music excerpts. Our findings highlight the need to consider music reward sensitivity and gender in studies of music and emotion, and open the possibility of using the FMSS in studies exploring the neurobiological and psychosocial bases of music emotion.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"18 1","pages":"313 - 331"},"PeriodicalIF":2.4,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81889129","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 : 2021-12-13DOI: 10.1177/10298649211021458
Salvador Oriola-Requena, Diego Calderón-Garrido, José Gustems
Adolescents who are members of youth music groups learn music and develop other skills such as group work and conflict resolution. These skills and feelings may represent socioemotional factors underlying increased life satisfaction, leadership capacity, and academic motivation, together with the acquisition of emotional skills. The aim of the research was to determine the degree of life satisfaction reported by a sample of 660 Spanish adolescents who were members of a youth band or choir. It also aimed to examine correlations between life satisfaction, leadership capacity, academic motivation, and emotional development. Potential differences between these variables attributable to participants’ age, gender, type of youth music group, and musical instrument played were explored using a cross-sectional survey comprising four standardized questionnaires. The results show that the participants were highly satisfied with their lives. There were strong positive correlations between the variables studied but also some significant differences between the two groups (choirs and bands), and between players of different instrument families. These results are in line with those other studies, confirming the positive influence of group music making on adolescents’ social and emotional growth.
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Pub Date : 2021-11-25DOI: 10.1177/10298649211055973
{"title":"The Editor-in-Chief of Musicae Scientiae would like to thank all reviewers of manuscripts submitted in 2020 and 2021 who are not already members of the editorial board:","authors":"","doi":"10.1177/10298649211055973","DOIUrl":"https://doi.org/10.1177/10298649211055973","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"35 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2021-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73860913","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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