Pub Date : 2026-02-08DOI: 10.1177/03057356251410563
Akiho Suzuki, Anna Wolf, Jane Ginsborg
To practise effectively, musicians must engage in self-regulated learning (SRL) through a cyclical process of planning, execution, and reflection. The purpose of this study was to develop and validate a new questionnaire that measures SRL in the context of music practice. We generated an item pool by adapting items from existing scales and revising them based on feedback from an expert panel. This pool was administered to 290 musicians, randomly split into Subsamples A and B. Exploratory structural equation modelling (ESEM) was carried out on Subsample A to create the final Self-Regulated Learning in Music Practice Self-Report Scale (SRL-MP-SRS), which consisted of 27 items distributed across five subscales. ESEM of the final model on Subsample B demonstrated a good fit. Internal consistency was acceptable for both the global scale and each of the subscales. The SRL-MP-SRS scores correlated positively with self-efficacy and deliberate practice, while professional musicians scored higher on the SRL-MP-SRS than students. The SRL-MP-SRS provides a valid and reliable way to measure musicians’ self-regulated practice that can be utilised with large samples, although further studies are needed to investigate its validity and limitations further.
{"title":"Development and Validation of the Self-Regulated Learning in Music Practice Self-Report Scale (SRL-MP-SRS)","authors":"Akiho Suzuki, Anna Wolf, Jane Ginsborg","doi":"10.1177/03057356251410563","DOIUrl":"https://doi.org/10.1177/03057356251410563","url":null,"abstract":"To practise effectively, musicians must engage in self-regulated learning (SRL) through a cyclical process of planning, execution, and reflection. The purpose of this study was to develop and validate a new questionnaire that measures SRL in the context of music practice. We generated an item pool by adapting items from existing scales and revising them based on feedback from an expert panel. This pool was administered to 290 musicians, randomly split into Subsamples A and B. Exploratory structural equation modelling (ESEM) was carried out on Subsample A to create the final Self-Regulated Learning in Music Practice Self-Report Scale (SRL-MP-SRS), which consisted of 27 items distributed across five subscales. ESEM of the final model on Subsample B demonstrated a good fit. Internal consistency was acceptable for both the global scale and each of the subscales. The SRL-MP-SRS scores correlated positively with self-efficacy and deliberate practice, while professional musicians scored higher on the SRL-MP-SRS than students. The SRL-MP-SRS provides a valid and reliable way to measure musicians’ self-regulated practice that can be utilised with large samples, although further studies are needed to investigate its validity and limitations further.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"12 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146138598","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 : 2026-02-04DOI: 10.1177/03057356251406890
Dora Utermohl de Queiroz, Clarissa Foletto, Luís Pedro
This article describes the results of an exploratory action research project that sought to implement an intervention proposal entitled Promoting Self-regulated Musical Learning in Online Lessons (PSRL). This PSRL was developed in accordance with self-regulated learning theory and the corresponding premise that self-regulation can be activated directly through teacher instructions and indirectly by enriching the learning environment with pedagogical tools that facilitate student self-regulation. The PSRL contained two components: (1) a diagnostic approach, which aimed to understand just which self-regulation processes students deployed during practice, and (2) a training approach, which included teacher instructions and tools for self-regulation. In addition, this study explored an online learning environment tailored to activate and enhance self-regulated learning skills. Two cello students from a music education BA programme in Brazil participated in the project. The PSRL was implemented throughout 4 weeks in eight cycles of action. The findings indicate that a questioning approach and the indirect support of the online environment were associated with increased metacognitive reflection in the two students. Although the results cannot be generalized due to the small sample size, the study provides insights into teaching strategies that may support the development of students’ self-regulated musical practice habits in online lessons.
{"title":"Building reflective practice: Implementing a self-regulated musical learning intervention proposal in online cello lessons","authors":"Dora Utermohl de Queiroz, Clarissa Foletto, Luís Pedro","doi":"10.1177/03057356251406890","DOIUrl":"https://doi.org/10.1177/03057356251406890","url":null,"abstract":"This article describes the results of an exploratory action research project that sought to implement an intervention proposal entitled <jats:italic toggle=\"yes\">Promoting Self-regulated Musical Learning in Online Lessons</jats:italic> (PSRL). This PSRL was developed in accordance with self-regulated learning theory and the corresponding premise that self-regulation can be activated directly through teacher instructions and indirectly by enriching the learning environment with pedagogical tools that facilitate student self-regulation. The PSRL contained two components: (1) a diagnostic approach, which aimed to understand just which self-regulation processes students deployed during practice, and (2) a training approach, which included teacher instructions and tools for self-regulation. In addition, this study explored an online learning environment tailored to activate and enhance self-regulated learning skills. Two cello students from a music education BA programme in Brazil participated in the project. The PSRL was implemented throughout 4 weeks in eight cycles of action. The findings indicate that a questioning approach and the indirect support of the online environment were associated with increased metacognitive reflection in the two students. Although the results cannot be generalized due to the small sample size, the study provides insights into teaching strategies that may support the development of students’ self-regulated musical practice habits in online lessons.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"24 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146115671","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 : 2026-02-04DOI: 10.1177/03057356251405832
Emily Gernandt, Julia Merrill
This study investigates the complex dynamics underlying musical taste by examining five dimensions of musical taste through psychological, sociological, and music-analytical perspectives. By focusing on specific musical styles, the study aims to identify key factors that shape style-specific preferences. Data were collected from N = 844 participants through an online survey. Participants selected one of 17 musical styles they were most passionate about and completed five scales assessing factors influencing musical taste development, functions and situations of music listening, musical value judgments, and perceived musical dislikes. The data were analyzed using factor analyses to identify underlying dimensions, followed by a random forest classification to explore the importance of these factors for musical preferences across styles. The results highlight the role of social influences in shaping musical taste, particularly among punk, metal, and rock fans, while these factors were less relevant for classical and jazz enthusiasts. Identity expression and the relevance of lyrics were also pivotal for punk, metal, and rock fans, whereas pop and rap listeners frequently cited perceptions of mainstream appeal as a reason for rejection. This study underscores the multifaceted and style-specific nature of musical taste, advocating for an integrative approach by bridging psychological, sociological, and music-analytical perspectives.
{"title":"Dimensions of musical taste: A style-specific approach","authors":"Emily Gernandt, Julia Merrill","doi":"10.1177/03057356251405832","DOIUrl":"https://doi.org/10.1177/03057356251405832","url":null,"abstract":"This study investigates the complex dynamics underlying musical taste by examining five dimensions of musical taste through psychological, sociological, and music-analytical perspectives. By focusing on specific musical styles, the study aims to identify key factors that shape style-specific preferences. Data were collected from <jats:italic toggle=\"yes\">N</jats:italic> = 844 participants through an online survey. Participants selected one of 17 musical styles they were most passionate about and completed five scales assessing factors influencing musical taste development, functions and situations of music listening, musical value judgments, and perceived musical dislikes. The data were analyzed using factor analyses to identify underlying dimensions, followed by a random forest classification to explore the importance of these factors for musical preferences across styles. The results highlight the role of social influences in shaping musical taste, particularly among punk, metal, and rock fans, while these factors were less relevant for classical and jazz enthusiasts. Identity expression and the relevance of lyrics were also pivotal for punk, metal, and rock fans, whereas pop and rap listeners frequently cited perceptions of mainstream appeal as a reason for rejection. This study underscores the multifaceted and style-specific nature of musical taste, advocating for an integrative approach by bridging psychological, sociological, and music-analytical perspectives.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"280 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146115673","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 : 2026-02-04DOI: 10.1177/03057356251406889
Kaja Korošec, Lars-Olov Lundqvist, Rosie Perkins, Anna Détári, Walter Osika, Eva Bojner Horwitz
Research about autistic people’s subjective experiences with music and its impact on their well-being is limited, despite its common presence in public spaces and support services. To provide an empirical framework and tools for future research, we examined the relevance of the participatory music engagement for mental well-being model for autistic adults. The model outlines four pathways through which music supports well-being: managing and expressing emotion, providing respite, facilitating self-development, and facilitating connections. Based on the model, we developed a new questionnaire, the Participatory Music Engagement for Mental Well-being (PaMEW), and collected responses from 63 autistic adults. We found that most respondents believed the items were relevant to their experiences of the relationship between music and well-being, that the factorial structure of their responses aligned with the model, and that their comments reflected the four pathways; however, they also highlighted nuances not addressed by the model. The study underscores the need for nuanced tools that reflect the unique ways autistic individuals use music to support their well-being, suggesting future revisions of PaMEW in collaboration with the autistic community to enhance its relevance and clarity.
{"title":"Development of the Participatory Music Engagement for Mental Well-being (PaMEW) questionnaire: A pilot study with autistic adults","authors":"Kaja Korošec, Lars-Olov Lundqvist, Rosie Perkins, Anna Détári, Walter Osika, Eva Bojner Horwitz","doi":"10.1177/03057356251406889","DOIUrl":"https://doi.org/10.1177/03057356251406889","url":null,"abstract":"Research about autistic people’s subjective experiences with music and its impact on their well-being is limited, despite its common presence in public spaces and support services. To provide an empirical framework and tools for future research, we examined the relevance of the participatory music engagement for mental well-being model for autistic adults. The model outlines four pathways through which music supports well-being: managing and expressing emotion, providing respite, facilitating self-development, and facilitating connections. Based on the model, we developed a new questionnaire, the Participatory Music Engagement for Mental Well-being (PaMEW), and collected responses from 63 autistic adults. We found that most respondents believed the items were relevant to their experiences of the relationship between music and well-being, that the factorial structure of their responses aligned with the model, and that their comments reflected the four pathways; however, they also highlighted nuances not addressed by the model. The study underscores the need for nuanced tools that reflect the unique ways autistic individuals use music to support their well-being, suggesting future revisions of PaMEW in collaboration with the autistic community to enhance its relevance and clarity.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"398 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146115672","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 : 2026-01-29DOI: 10.1177/03057356251405848
Yuko Arthurs, Imre Lahdelma, Tuomas Eerola
Does dissonance enhance the pleasantness of the following consonance due to the ensuing contrast? The contrast between the affective characteristics of successive stimuli is considered an important factor for the perceived pleasantness of the final stimulus, known as the contrast effect. We tested the contrast effect of dissonance and consonance by employing short chord sequences ending with a manipulated penultimate chord, resolving to the final tonic as stimuli. The dissonance level of the penultimate chord was manipulated by varying both its acoustic roughness and cultural familiarity, and 49 participants rated the pleasantness of the final chord. We hypothesized that the final chord would be more pleasant when the penultimate chord was more dissonant. However, the results showed the opposite: greater dissonance in the penultimate chord led to lower pleasantness ratings for the following final chord. It could be that greater dissonance in the penultimate chord makes it less tonally related to the final chord and that its dissonance may have violated listeners’ tonal expectations. Rather than demonstrating the contrast effect, this result demonstrates dissonance’s strong association with unpleasantness and its influence on the pleasantness of the following consonance.
{"title":"The influence of consonance–dissonance contrasts on perceived pleasantness of concluding tonic chords in short chord sequences","authors":"Yuko Arthurs, Imre Lahdelma, Tuomas Eerola","doi":"10.1177/03057356251405848","DOIUrl":"https://doi.org/10.1177/03057356251405848","url":null,"abstract":"Does dissonance enhance the pleasantness of the following consonance due to the ensuing contrast? The contrast between the affective characteristics of successive stimuli is considered an important factor for the perceived pleasantness of the final stimulus, known as the contrast effect. We tested the contrast effect of dissonance and consonance by employing short chord sequences ending with a manipulated penultimate chord, resolving to the final tonic as stimuli. The dissonance level of the penultimate chord was manipulated by varying both its acoustic roughness and cultural familiarity, and 49 participants rated the pleasantness of the final chord. We hypothesized that the final chord would be more pleasant when the penultimate chord was more dissonant. However, the results showed the opposite: greater dissonance in the penultimate chord led to lower pleasantness ratings for the following final chord. It could be that greater dissonance in the penultimate chord makes it less tonally related to the final chord and that its dissonance may have violated listeners’ tonal expectations. Rather than demonstrating the contrast effect, this result demonstrates dissonance’s strong association with unpleasantness and its influence on the pleasantness of the following consonance.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"78 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146089848","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 : 2026-01-02DOI: 10.1177/03057356251395001
Youn Kim
This study examines how pianists interact with various fingering suggestions when making their fingering decisions. In semi-structured online interviews, 20 classically trained pianists responded to unfingered scores, fingered scores, and video recordings of four scale passages from Beethoven’s piano works while considering physical constraints, interpretive judgments, and embodied habits in deciding their fingerings. Rather than automatically accepting suggestions, the participants critically evaluated them, and the responses ranged from disagreement to the realization of alternatives. This study highlights scores and recordings as historically mediating agents connecting various influences on pianists’ decision-making. While negotiable, standard fingering tends to strongly influence choices as collective embodied knowledge. Pianists act as both executors and reflective observers, selecting and attuning to external and embodied influences. This study conceptualizes this dynamic network of relationships in solo piano playing as resonance—selective engagement through which pianists negotiate between personal preferences and external influences.
{"title":"Resonance in piano fingering: Interplay of action and observation in playing scale passages from Beethoven’s piano works","authors":"Youn Kim","doi":"10.1177/03057356251395001","DOIUrl":"https://doi.org/10.1177/03057356251395001","url":null,"abstract":"This study examines how pianists interact with various fingering suggestions when making their fingering decisions. In semi-structured online interviews, 20 classically trained pianists responded to unfingered scores, fingered scores, and video recordings of four scale passages from Beethoven’s piano works while considering physical constraints, interpretive judgments, and embodied habits in deciding their fingerings. Rather than automatically accepting suggestions, the participants critically evaluated them, and the responses ranged from disagreement to the realization of alternatives. This study highlights scores and recordings as historically mediating agents connecting various influences on pianists’ decision-making. While negotiable, standard fingering tends to strongly influence choices as collective embodied knowledge. Pianists act as both executors and reflective observers, selecting and attuning to external and embodied influences. This study conceptualizes this dynamic network of relationships in solo piano playing as resonance—selective engagement through which pianists negotiate between personal preferences and external influences.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"176 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2026-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145893686","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 : 2025-12-31DOI: 10.1177/03057356251403081
Aimée Gaudette-Leblanc, Jonathan Bolduc, Sébastien Boucher, Julie Raymond, Andrea Creech, George M Tarabulsy
This study investigated the implications of participating in a Music Early Learning Program (MELP) for parental sensitivity and socioemotional functioning in children aged 2–5 years. Thirty-eight families were randomly assigned to either the MELP or the control group. Data were collected through a semi-structured home-observation protocol administered in the participants’ homes prior to and after the intervention. Parental sensitivity was assessed through independent, blind assessments using the short version of the Maternal Behavior Q-Sort. Parents completed the Behavioral Assessment Scoring System to assess their child’s socioemotional functioning. Consistent with previous studies, we found that participation in a MELP resulted in positive changes in parental sensitivity. Parents in the intervention group obtained improved sensitivity scores compared with participants in the control group, whose scores remained essentially unchanged. No significant differences were found between groups in child socioemotional functioning. These findings suggest that exposure to MELPs may benefit parent–child interactions. Implementing a MELP in a community setting may provide a positive context to help parents interact more predictably and coherently with their children.
{"title":"The implications of participating in a Music Early Learning Program for parental sensitivity and socioemotional functioning in children aged 2–5 years: A randomized control trial","authors":"Aimée Gaudette-Leblanc, Jonathan Bolduc, Sébastien Boucher, Julie Raymond, Andrea Creech, George M Tarabulsy","doi":"10.1177/03057356251403081","DOIUrl":"https://doi.org/10.1177/03057356251403081","url":null,"abstract":"This study investigated the implications of participating in a Music Early Learning Program (MELP) for parental sensitivity and socioemotional functioning in children aged 2–5 years. Thirty-eight families were randomly assigned to either the MELP or the control group. Data were collected through a semi-structured home-observation protocol administered in the participants’ homes prior to and after the intervention. Parental sensitivity was assessed through independent, blind assessments using the short version of the Maternal Behavior Q-Sort. Parents completed the Behavioral Assessment Scoring System to assess their child’s socioemotional functioning. Consistent with previous studies, we found that participation in a MELP resulted in positive changes in parental sensitivity. Parents in the intervention group obtained improved sensitivity scores compared with participants in the control group, whose scores remained essentially unchanged. No significant differences were found between groups in child socioemotional functioning. These findings suggest that exposure to MELPs may benefit parent–child interactions. Implementing a MELP in a community setting may provide a positive context to help parents interact more predictably and coherently with their children.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"129 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145893687","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 : 2025-12-30DOI: 10.1177/03057356251399802
Barry L Baker, Youkyung Bae
Paracusis musicalis (PM) is a condition in which individuals with absolute pitch (AP) experience a decline in their AP abilities with age. Although PM has been known to the scientific community for decades, its literary presence is sparse. The aim of the present study is to conduct the first appraisal of the corpus of PM literature, draw preliminary conclusions, and identify areas for future contributions. A structured review across nine electronic databases yielded seven publications meeting eligibility criteria. Common PM features identified across studies included a gradual disruption of pitch stability with aging, greater pitch accuracy for central octaves, and better performance with piano timbres. Variability was observed in the direction of pitch distortions (sharp, flat, or mixed). Onset was typically reported between the fourth to fifth decades of life. The reviewed publications include cross-sectional observational studies, retrospective single-case reports, longitudinal case series, and theoretical accounts, collectively emphasizing the need for more systematic, large-scale empirical research. This article highlights conceptual and methodological gaps and proposes avenues for advancing understanding of PM and its broader implications for auditory aging.
{"title":"Paracusis musicalis: Insights on age-related absolute pitch decline","authors":"Barry L Baker, Youkyung Bae","doi":"10.1177/03057356251399802","DOIUrl":"https://doi.org/10.1177/03057356251399802","url":null,"abstract":"Paracusis musicalis (PM) is a condition in which individuals with absolute pitch (AP) experience a decline in their AP abilities with age. Although PM has been known to the scientific community for decades, its literary presence is sparse. The aim of the present study is to conduct the first appraisal of the corpus of PM literature, draw preliminary conclusions, and identify areas for future contributions. A structured review across nine electronic databases yielded seven publications meeting eligibility criteria. Common PM features identified across studies included a gradual disruption of pitch stability with aging, greater pitch accuracy for central octaves, and better performance with piano timbres. Variability was observed in the direction of pitch distortions (sharp, flat, or mixed). Onset was typically reported between the fourth to fifth decades of life. The reviewed publications include cross-sectional observational studies, retrospective single-case reports, longitudinal case series, and theoretical accounts, collectively emphasizing the need for more systematic, large-scale empirical research. This article highlights conceptual and methodological gaps and proposes avenues for advancing understanding of PM and its broader implications for auditory aging.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"86 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145893706","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 : 2025-12-30DOI: 10.1177/03057356251401906
Joel J Katz, Melody Wiseheart
Distributed learning is a powerful tool for optimizing retention of verbal materials. We examined the effect of distributing learning on long-term memory for a melody and found strong evidence of better recall in the spaced conditions. In the current study, music students were taught a four-phrase melody in learning sessions that were massed, spaced at 2 days, or spaced at 1 week. Three weeks later, they were tested for recall. Performances were evaluated for note omissions, number of incorrect notes and intervals, and number of correct notes and intervals. Results indicated strong evidence for a spacing effect for melody learning between the massed and spaced conditions at a retention interval of 3 weeks, and no evidence of difference between the two spaced conditions. Unlike most spacing studies, memory did not improve with longer spacing between learning episodes. These results suggest that memory for a melody may rely primarily on structural constraints within the material itself. Once these constraints are understood and associated with the cue, the performance unspools. Results have implications for best practices in melodic learning and for the role of constraining cues in the retrieval of structured non-verbal material.
{"title":"Spaced learning and melodic memory","authors":"Joel J Katz, Melody Wiseheart","doi":"10.1177/03057356251401906","DOIUrl":"https://doi.org/10.1177/03057356251401906","url":null,"abstract":"Distributed learning is a powerful tool for optimizing retention of verbal materials. We examined the effect of distributing learning on long-term memory for a melody and found strong evidence of better recall in the spaced conditions. In the current study, music students were taught a four-phrase melody in learning sessions that were massed, spaced at 2 days, or spaced at 1 week. Three weeks later, they were tested for recall. Performances were evaluated for note omissions, number of incorrect notes and intervals, and number of correct notes and intervals. Results indicated strong evidence for a spacing effect for melody learning between the massed and spaced conditions at a retention interval of 3 weeks, and no evidence of difference between the two spaced conditions. Unlike most spacing studies, memory did not improve with longer spacing between learning episodes. These results suggest that memory for a melody may rely primarily on structural constraints within the material itself. Once these constraints are understood and associated with the cue, the performance unspools. Results have implications for best practices in melodic learning and for the role of constraining cues in the retrieval of structured non-verbal material.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"13 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145893705","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 : 2025-12-18DOI: 10.1177/03057356251394982
Konstantinos Giannos, Emilios Cambouropoulos
Harmonic expectations are actively connected with the syntactic and asymmetric organisation of Western tonal harmony. Their violation has been associated with concepts such as tension, surprise, completeness, or harmonic relatedness and coherence, among others. The aim of this study is to examine whether the violation of expected chord directionality is related to perceived consonance/dissonance (C/D) of entire short chord sequences, focusing on the impact of horizontal manipulations, whilst maintaining identical the vertical content (average C/D of the chords comprising a short sequence). We conducted two experiments, with chord progressions presented in an original and retrograde arrangement. Their harmonic content ranged from strictly diatonic and tonal to highly chromatic or 12-tone. Participants reported the perceived consonance/dissonance of each sequence. Findings suggest that chord directionality indeed affects C/D evaluation in tonal sequences as opposed to atonal sequences. In addition, chord directionality appears to play hardly any role when a clear tonal hierarchy is missing, that is, in the absence of a perfect cadence that unambiguously points to a specific tonal centre of equilibrium and closure. Cadences (related to closure effects) are privileged compared with other harmonic progressions as an influencing factor to consonance perception. Voice leading appears to have some influence in such evaluations.
{"title":"Sequential consonance/dissonance: Effects of chord directionality, cadences, and voice leading","authors":"Konstantinos Giannos, Emilios Cambouropoulos","doi":"10.1177/03057356251394982","DOIUrl":"https://doi.org/10.1177/03057356251394982","url":null,"abstract":"Harmonic expectations are actively connected with the syntactic and asymmetric organisation of Western tonal harmony. Their violation has been associated with concepts such as tension, surprise, completeness, or harmonic relatedness and coherence, among others. The aim of this study is to examine whether the violation of expected chord directionality is related to perceived consonance/dissonance (C/D) of entire short chord sequences, focusing on the impact of horizontal manipulations, whilst maintaining identical the vertical content (average C/D of the chords comprising a short sequence). We conducted two experiments, with chord progressions presented in an original and retrograde arrangement. Their harmonic content ranged from strictly diatonic and tonal to highly chromatic or 12-tone. Participants reported the perceived consonance/dissonance of each sequence. Findings suggest that chord directionality indeed affects C/D evaluation in tonal sequences as opposed to atonal sequences. In addition, chord directionality appears to play hardly any role when a clear tonal hierarchy is missing, that is, in the absence of a perfect cadence that unambiguously points to a specific tonal centre of equilibrium and closure. Cadences (related to closure effects) are privileged compared with other harmonic progressions as an influencing factor to consonance perception. Voice leading appears to have some influence in such evaluations.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"77 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145770613","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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