Music Science最新文献

{"title":"Cross-cultural Perception of Musical Similarity Within and Between India and Japan","authors":"Hideo Daikoku, Taiki Shimozono, Shinya Fujii, Shantala Hegde, Patrick E. Savage","doi":"10.1177/20592043231207998","DOIUrl":"https://doi.org/10.1177/20592043231207998","url":null,"abstract":"Cross-cultural perception of musical similarity is important for understanding musical diversity and universality. In this study we analyzed cross-cultural music similarity ratings on a global song sample from 110 participants (62 previously published from Japan, 48 newly collected from musicians and non-musicians from north and south India). Our pre-registered hypothesis that average Indian and Japanese ratings would be correlated was strongly supported ( r = .80, p < .001). Exploratory analyses showed that ratings from experts in Hindustani music from the north and Carnatic music from the south showed the lowest correlations ( r = .25). These analyses suggest that the correlations we found are likely due more to shared musical exposure than to innate universals of music perception.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135316673","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Corrigendum to “Probing Focus of Attention: Multiple Case-Study Analysis of Pianists’ Pedaling Under Different Foci Conditions in Performance of Bartók’s Romanian Folk Dance Sz. 56, No. 2”","authors":"","doi":"10.1177/20592043231189228","DOIUrl":"https://doi.org/10.1177/20592043231189228","url":null,"abstract":"","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135783451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“MusicLab Copenhagen”: The Gains and Challenges of Radically Interdisciplinary Concert Research","authors":"Anne Danielsen, Thea Sørli Paulsrud, Niels Chr. Hansen","doi":"10.1177/20592043231194747","DOIUrl":"https://doi.org/10.1177/20592043231194747","url":null,"abstract":"The pioneering “research concerts” of recent decades represent prime examples of interdisciplinary music research. MusicLab Copenhagen, a collaboration between RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion at the University of Oslo and the Danish String Quartet was no exception in this regard. This paper aims to document and critically evaluate key components of the project by framing it as a radically interdisciplinary research collaboration. We review the multidimensional differences and similarities between the research traditions involved and report on semi-structured interviews with five key project members. This, in turn, forms the basis for a critical discussion of organizational aspects, aims, values, and overt and covert hierarchies resulting from the meeting of divergent scientific disciplines. Ultimately, we review the practical, epistemological, and theoretical gains and challenges involved in conducting organizationally complex research at the vanguard of interdisciplinarity—both in general terms and within music research in particular. A set of recommendations is provided for conducting successful research concerts, emphasizing, among other things, the importance of providing realistic and artistically satisfying concert experiences while still collecting valid, reliable, and sufficient data; of matching expectations about what can and cannot be achieved and concluded from the collected data; of prioritizing organizational competence and infrastructure, striking a balance between top-down control and bottom-up initiatives; and of recognizing and respecting each other's expertise across the involved research disciplines.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135496083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music Moves Me in More Ways Than One: An Online Survey Investigating the Everyday Use of Music among People with Parkinson's","authors":"Dawn C. Rose, Ellen Poliakoff, William R. Young, Michelle Phillips","doi":"10.1177/20592043231197792","DOIUrl":"https://doi.org/10.1177/20592043231197792","url":null,"abstract":"Background Music has been used in interventions designed for people with Parkinson's (PwP) either to engage mechanisms involved in phenomena such as sensorimotor synchronization or as an integral part of the activity (e.g., dance). However, little research has been conducted concerning what music PwP use in everyday life and how and why this might differ based on situation/context. Methods We used an online survey to investigate what music PwP listen to, for which perceived reasons, and in which situations. In addition to demographic and Parkinson's-specific questions, we included standardized measures of quality of life, music and dance sophistication and bespoke items to explore music use. Results The sample ( N = 217, age range 20–88 years, Mean = 65.2, SD = 8.45) included 109 females (50%); 64% of participants reported a mild impact of Parkinson's on Activities of Daily Living. The top three uses of music were Aesthetic Appreciation (98%), Relaxation (92%), and Motivation (90%). The least popular category was using music for walking (36%). The duration of attentive listening was significantly higher for those who reported using music for managing their feelings than those who did not ( p < .01). Better quality of life was associated with higher participatory dance experience ( p < .001). Conclusion PwP listen to a wide range of music genres, most notably for enjoyment but also as a personalized “charge” and “re-charge” resource. Understanding the everyday use of music among PwP might facilitate the development of playlists and interventions to improve daily life for PwP.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135839706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vividness and Use of Imagery Related to Music and Movement in People with Parkinson's: A Mixed-methods Survey Study","authors":"Ellen Poliakoff, Judith Bek, Michelle Phillips, William R. Young, Dawn C. Rose","doi":"10.1177/20592043231197919","DOIUrl":"https://doi.org/10.1177/20592043231197919","url":null,"abstract":"Parkinson's disease affects multiple aspects of movement, impacting significantly on everyday tasks. Music is used in interventions for people with Parkinson's, either to pace movements, or as an integral element of activities such as dance. This study explored self-reported vividness of two forms of imagery – motor imagery evoked by music and auditory (including musical) imagery – in people with Parkinson's, and whether and how they use these types of imagery in everyday life. Participants ( N = 199) completed: (i) vividness ratings of visual and kinesthetic music-evoked motor imagery, (ii) vividness ratings of auditory imagery, and (iii) ratings and open questions about their everyday use of these types of imagery. While most participants reported experiencing music-evoked motor imagery (with more vivid visual than kinesthetic motor imagery), <20% reported actively using music to support motor imagery in daily activities. In contrast, participants reported a broad range of contexts and uses for musical imagery (imagined music), from supporting movement (e.g., walking or exercise) to emotion regulation, and concentration. Correlational analyses associated vividness of music-evoked motor imagery with an urge to dance and musical training, while the use of musical imagery was associated with singing ability. A minority of participants reported not experiencing either motor or musical imagery, suggesting that interventions based on imagery may not be suitable for all. Nonetheless, even participants with more severe motor symptoms reported experiencing and using both types of imagery, indicating promise for their strategic use at different stages of Parkinson's. Therefore, musical and motor imagery have the potential to support rehabilitation strategies for Parkinson's, either separately or in combination.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136202196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visual Mental Imagery Evoked in Indian Classical Music: A Listener-Oriented Study","authors":"Junmoni Borgohain, Rashmi Ranjan Behera, Priyadarshi Patnaik, Damodar Suar","doi":"10.1177/20592043231206255","DOIUrl":"https://doi.org/10.1177/20592043231206255","url":null,"abstract":"Music and visual mental imagery (VMI) are closely associated. The visual depiction of musical instruments and musical settings is central to music iconography and music-mediated visual culture. Music-evoked VMI, mediated by emotions, is another established field of study. Hindustani classical music (HCM) has a medieval musical pictorial tradition based on dhyanaslokas (meditative verses), which visually represent the ragas (musical modes) based on the evocation of their rasas or aesthetic emotion. This, incidentally, comes close to the contemporary understanding of music-evoked VMI. However, VMI evoked in response to music has received very little attention in studies on HCM, both for contemporary listeners and historically. In this context, we investigated whether HCM evoked VMI and whether its content was related to emotions, such as “calm” and “sad”, that dominate HCM. Additionally, the themes of the VMI in response to calm and sad clips were compared with corresponding VMI in Western music. Finally, medieval dhyanaslokas were analyzed for associated visual imagery (VI) that was compared with VMI generated in these contexts. Findings revealed that HCM evokes VMI, which is well differentiated for calm and sad clips. When the VMI for HCM was compared with Western VMI, though common themes emerged, cultural differences were identified. While VI in dhyanaslokas had similarities to VMI in response to HCM, marked differences also existed.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"164 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135159788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Stimulus Set of 40 Popular Music Drum Patterns with Perceived Complexity Measures","authors":"Olivier Senn, Florian Hoesl, Rafael Jerjen, Toni Amadeus Bechtold, Lorenz Kilchenmann, Dawn Rose, Elena Alessandri","doi":"10.1177/20592043231202576","DOIUrl":"https://doi.org/10.1177/20592043231202576","url":null,"abstract":"This study presents an audio stimulus set of 40 drum patterns from Western popular music with empirical measurements of perceived complexity. The audio stimuli are meticulous reconstructions of drum patterns found in commercial recordings; they are based on careful transcriptions (carried out by professional musicians), drum stroke loudness information, and highly precise onset timing measurements. The 40 stimuli are a subset selected from a previously published larger corpus of reconstructed Western popular music drum patterns (Lucerne Groove Research Library). The patterns were selected according to two criteria: a) they only feature the bass drum, snare drum, and one or more cymbals, and b) they plausibly cover the complexity range of the corpus. Perceived stimulus complexity was measured in a listening experiment using a pairwise comparison design with 220 participants (4,400 trials). In each trial, participants were presented with two stimuli, and they stated which of the two sounded more complex to them. The comparison data then served to calculate complexity estimates using the Bradley–Terry probability model. The complexity estimates have an intuitive interpretation: they allow calculation of the probability that one pattern is considered more complex than another pattern in a pairwise comparison. To our knowledge, this is the first set of naturalistic music stimuli with meaningful perceived complexity estimates. The drum pattern stimuli and complexity measurements can be used for listening experiments in music psychology. The stimuli will further allow measures and models of drum pattern complexity to be assessed.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136003317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Genesis of a Tune in the Mind: An Interview Study About Novel Involuntary Musical Imagery Repetition","authors":"Georgia A. Floridou, Iris Mencke, Francesco Caprini, Daniel Müllensiefen","doi":"10.1177/20592043231202331","DOIUrl":"https://doi.org/10.1177/20592043231202331","url":null,"abstract":"Musical creativity, as a cognitive process, is inherently associated with musical imagery. Several composers have claimed to have composed music based on creative ideas that emerged involuntarily in their minds in the form of musical imagery. Research on musical imagery has been growing steadily, yet studies exploring its link to creativity have been scarce. Furthermore, although reports in the musical imagery literature reveal the existence of novel involuntary musical imagery repetition (IMIR, i.e., music that comes to the mind spontaneously and repeatedly), research to date has focused on familiar IMIR. In a semistructured interview with six composers, we investigated the internal and external experience of the novel IMIR. Based on grounded theory analysis, two descriptive models emerged: the first model indicated that the intramusical features of novel IMIR were described in terms of musical, technical, and linguistic dimensions. The repetition within novel IMIR was related to functional outcomes associated with experience, and there was a sense of familiarity when experiencing novel IMIR. The occurrence of novel IMIR was more likely when individuals reported being in specific mental and physical states. Finally, the emotional valence associated with the novel IMIR was classified as mainly positive. The second model indicated a variety of methods to aid the translation of internal novel IMIR into external musical composition and a range of factors that influence the success of that translation. The findings are discussed in the context of existing literature on creativity, musical imagery, and spontaneous cognition.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136207775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perspectives on Musical Care Throughout the Life Course: Introducing the Musical Care International Network","authors":"Neta Spiro, Katie Rose M. Sanfilippo, Bonnie B. McConnell, Georgia Pike-Rowney, Filippo Bonini Baraldi, Bernd Brabec, Kathleen Van Buren, Dave Camlin, Tânya Marques Cardoso, Burçin Uçaner Çifdalöz, Ian Cross, Ben Dumbauld, Mark Ettenberger, Kjetil Falkenberg, Sunelle Fouché, Emma Frid, Jane Gosine, april l. graham-jackson, Jessica A. Grahn, Klisala Harrison, Beatriz Ilari, Sally Mollison, Steven J. Morrison, Gabriela Pérez-Acosta, Rosie Perkins, Jessica Pitt, Tal-Chen Rabinowitch, Juan-Pablo Robledo, Efrat Roginsky, Caitlin Shaughnessy, Naomi Sunderland, Alison Talmage, Giorgos Tsiris, Krista de Wit","doi":"10.1177/20592043231200553","DOIUrl":"https://doi.org/10.1177/20592043231200553","url":null,"abstract":"In this paper we report on the inaugural meetings of the Musical Care International Network held online in 2022. The term “musical care” is defined by Spiro and Sanfilippo (2022) as “the role of music—music listening as well as music-making—in supporting any aspect of people's developmental or health needs” (pp. 2–3). Musical care takes varied forms in different cultural contexts and involves people from different disciplines and areas of expertise. Therefore, the Musical Care International Network takes an interdisciplinary and international approach and aims to better reflect the disciplinary, geographic, and cultural diversity relevant to musical care. Forty-two delegates participated in 5 inaugural meetings over 2 days, representing 24 countries and numerous disciplines and areas of practice. Based on the meetings, the aims of this paper are to (1) better understand the diverse practices, applications, contexts, and impacts of musical care around the globe and (2) introduce the Musical Care International Network. Transcriptions of the recordings, alongside notes taken by the hosts, were used to summarise the conversations. The discussions developed ideas in three areas: (a) musical care as context-dependent and social, (b) musical care's position within the broader research and practice context, and (c) debates about the impact of and evidence for musical care. We can conclude that musical care refers to context-dependent and social phenomena. The term musical care was seen as useful in talking across boundaries while not minimizing individual disciplinary and professional expertise. The use of the term was seen to help balance the importance and place of multiple disciplines, with a role to play in the development of a collective identity. This collective identity was seen as important in advocacy and in helping to shape policy. The paper closes with proposed future directions for the network and its emerging mission statement.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135101986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Interfaces of Dialogue: A Mixed Methods Approach to Investigating Intersubjectivity in Dyadic Improvisations","authors":"Monika Smetana, Laura Bishop, Irene Stepniczka","doi":"10.1177/20592043231203807","DOIUrl":"https://doi.org/10.1177/20592043231203807","url":null,"abstract":"Music therapy provides a complex and dynamic environment and as such offers space for the emergence of nonverbal dialogue. We aimed to capture the relational, musical, and physiological aspects of intersubjectivity emerging during dyadic piano improvisations between music therapists and adult participants in a non-clinical feasibility study. Various data from 17 partner improvisations with adult participants and music therapists were collected, including audio, video, and MIDI recordings, physiological (ECG and EDA) measures, questionnaires, and semi-structured debriefing interviews. Parts of these data sets served for a mixed methods analysis to show (1) how instances of intersubjectivity were experienced by therapists and participants (drawing on interview data), (2) how their shared experiences were supported by coordination and contrast at the level of musical features (drawing on musical data), (3) how physiological arousal was compared between an initial resting baseline and the improvisation, and (4) how patterns in the event related electrodermal activity data related to qualities of intersubjectivity and musical interaction in an example of two case studies. In conclusion, intersubjectivity was characterized by overlapping experiences of relational qualities and complex patterns of musical interaction, including contrasting elements of convergence (in pitch contour) and divergence (key velocity and timing). Further, the case studies showed how differently-interpreted experiences can emerge from a homogenous musical structure, and how stronger intersubjectivity may be associated with more active experiential phenomena such as disruption or reciprocity (versus relaxation or security). Additionally, our findings highlight the complexity of musical interaction as an enactive process. Bringing together multi- and interdisciplinary perspectives enhanced a shared understanding of how subjective experiences that arise during dyadic improvisations relate to measures of musical coordination and physiological arousal. The complex mixed methods design proves to be feasible and, as a consequence, can be transferred to clinical settings in the future.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135159990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}