Music Science最新文献

{"title":"Background Music and Cognitive Task Performance: A Systematic Review of Task, Music, and Population Impact","authors":"Y. Cheah, H. K. Wong, M. Spitzer, E. Coutinho","doi":"10.1177/20592043221134392","DOIUrl":"https://doi.org/10.1177/20592043221134392","url":null,"abstract":"Research on the effect of background music (BgM) on cognitive task performance is marked by inconsistent methods and inconclusive findings. In order to provide clarity to this area, we performed a systematic review on the impact of BgM on performances in a variety of tasks whilst considering the contributions of various task, music, and population characteristics. Following the PRISMA and SWiM protocols, we identified 95 articles (154 experiments) that comprise cognitive tasks across six different cognitive domains—memory; language; thinking, reasoning, and problem-solving; inhibition; attention and processing speed. Extracted data were synthesized using vote counting based (solely) on the direction of effects and analyzed using a sign test analysis. Overall, our results demonstrate a general detrimental effect of BgM on memory and language-related tasks, and a tendency for BgM with lyrics to be more detrimental than instrumental BgM. Only one positive effect (of instrumental BgM) was found; and in most cases, we did not find any effect of BgM on task performance. We also identified a general detrimental impact of BgM towards difficult (but not easy) tasks; and towards introverts (but not extraverts). Taken together, our results show that task, music, and population-specific analyses are all necessary when studying the effects of BgM on cognitive task performance. They also call attention to the necessity to control for task difficulty as well as individual differences (especially level of extraversion) in empirical studies. Finally, our results also demonstrate that many areas remain understudied and therefore a lot more work still needs to be done to gain a comprehensive understanding of how BgM impacts cognitive task performance.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47570226","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":"Eye Closure Interacts with Music to Influence Vividness and Content of Directed Imagery","authors":"S. Herff, Sophie McConnell, Julie L. Ji, J. Prince","doi":"10.1177/20592043221142711","DOIUrl":"https://doi.org/10.1177/20592043221142711","url":null,"abstract":"Goal-directed, intentional mental imagery generation supports a range of daily self-regulatory activities, such as planning, decision-making, and recreational escapism. Many clinical interventions for mood and anxiety disorders also use imagery and their effectiveness can be affected by an individual's ability to manipulate vividness and content of mental imagery. Prior literature points towards music as a promising candidate to influence imagination in such settings, but basic questions remain regarding how music affects mental imagery and how it interacts with basic, well-established parameters, such as facilitatory effects of eye closure. One hundred participants listened to music and a silent control whilst performing a guided mental imagery task. Specifically, participants saw a short video of a figure journeying towards a landmark and imagined a continuation of the journey with either closed or open eyes. After each trial, participants reported vividness and content of their imagined journeys. Bayesian Mixed Effects Models obtained strong evidence of greater vividness, duration, as well as distance travelled in music conditions compared to silent conditions. Additionally, interactive effects of music and eye closure were found for both vividness and the emotional valence of imagined content, where music effects were disproportionately amplified by eye closure. Findings further support music's potential to manipulate the perceptual, spatial-temporal, as well as emotional sentiment of deliberately generated mental imagery.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43470989","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":"Measuring Audiation or Tonal Memory? Evaluation of the Discriminant Validity of Edwin E. Gordon's “Advanced Measures of Music Audiation”","authors":"F. Platz, R. Kopiez, A. Lehmann, Anna Wolf","doi":"10.1177/20592043221105270","DOIUrl":"https://doi.org/10.1177/20592043221105270","url":null,"abstract":"Edwin E. Gordon developed the Advanced Measures of Music Audiation (AMMA) test to quantify the extent of an adult's stabilized audiation as a fundamental indicator of musical ability. Although intended to measure audiation exclusively, AMMA is based on a test design similar to the tonal memory subtest of the much older Measures of Musical Talents (SMMT) test developed by Carl Seashore (1919). However, previous studies have shown mixed results regarding AMMA's construct validity. It therefore remains unclear whether AMMA is suitable for measuring audiation exclusively, as intended by Gordon, or whether it additionally measures tonal memory. Accordingly, we tested this hypothesis in two steps. First, responses of 364 participants were used to identify – in terms of the Rasch model – those items of AMMA that could form a “revised” scale showing measurement invariance; second, we used a Bayesian post hoc correlation analysis (N = 83) to measure the construct (discriminant) validity of the revised version of AMMA compared to an equal number of items in the tonal memory subtest of SMMT. Results from both studies revealed that (a) only five out of 30 items of AMMA showed a model fit that was adequate to form a scale which meets the psychometric requirements of invariant measurement, although with a low internal consistency and an increased probability for ceiling effects, and that (b) both measurements showed a strong correlation (Mdnτ = 0.56, 95% CI [0.42, 0.70], BF+0 = 2.67·1012). We can thus conclude that there is no practical evidence to assume that both test procedures (AMMA and SMMT) are independent.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45274101","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":"Book Review: Review of Performing Music Research: Methods in Music Education, Psychology, and Performance Science by Williamon, A., Ginsborg, J., Perkins, R., & Waddell, G.","authors":"Laura Bishop","doi":"10.1177/20592043221125318","DOIUrl":"https://doi.org/10.1177/20592043221125318","url":null,"abstract":"Music is a cultural universal that fascinates us with its ability to relax and energize, provoke complex emotions, and connect people. Accordingly, music research brings together researchers from many domains, who strive to address questions as varied as: Why do people like music? How did human musicality develop? Why does some music make us want to move? How does musical virtuosity develop? Answering such questions demands an interdisciplinary approach. Today’s music research community includes performers, educators, philosophers, musicologists, sociologists, therapists, psychologists, neuroscientists, medical professionals, computer scientists, physicists, and engineers, among others. Many researchers have mixed backgrounds in two or more of these disciplines; many also work in interdisciplinary teams where diverse areas of expertise are represented. Since the introduction of the first audio recording devices in the late 19th century, technological advances have been rapidly changing how we experience music as well as the methods that we can use for studying it. Current-day researchers have a wide variety of tools available to them for studying performed music as well as music performance and perception processes. Many of these tools allow for a merging of artistic and scientific priorities in research approaches. Particularly notable developments include online platforms that enable data capture from large numbers of people remotely (Høffding et al., in preparation; Louven et al., 2022), wearable and portable technologies for capture of body motion and physiological data that allow performers and/or listeners to immerse themselves in ecologicallyvalid musical settings (Bishop et al., 2021a; Høffding et al., in preparation; Jakubowski et al., 2017); and computational modelling techniques that enable studies of large digital corpora (Cancino-Chacón et al., 2018; Chen et al., 2018; Schedl, 2017). In a recent discussion of future directions in music research, Huron (2021) emphasized the value of integrating methods to address questions comprehensively (that is, adopting an integrated bio-psycho-socio-cultural approach). As forthcoming members of interdisciplinary research teams, students who are poised to enter the world of music research should be familiar with the broad range of methodological approaches that are used in the field. They should be outfitted with the skills necessary to choose methods that are appropriate to address their research questions, critically evaluate research that is uses methods that are different from their own, and communicate with researchers from different backgrounds. They should also be prepared to engage in conversations about the shortcomings of the field and push the research community in new directions. The book, Performing music research: Methods in music education, psychology, and performance science, by Aaron Williamon, Jane Ginsborg, Rosie Perkins, and George Waddell, aims to provide a grounding in resear","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41552217","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":"Cross-Modal Associations Between Harmonic Dissonance and Visual Roughness","authors":"K. Giannos, G. Athanasopoulos, E. Cambouropoulos","doi":"10.1177/20592043211055484","DOIUrl":"https://doi.org/10.1177/20592043211055484","url":null,"abstract":"Visual associations with auditory stimuli have been the subject of numerous studies. Colour, shape, size, and several other parameters have been linked to musical elements like timbre and pitch. In this article, we aim to examine the relationship between harmonisations with varying degrees of dissonance and visual roughness. Based on past research in which high sensory dissonance was associated with angular shapes, we argued that nontonal and highly dissonant harmonisations will be associated with angular and rough images, while more consonant stimuli will be associated with the images of low visual roughness. A fixed melody was harmonised in 7 different styles, including highly tonal, nontonal, and random variations. Through a listening task, musically trained participants rated the stimuli in terms of enjoyment, familiarity, and matched them to images of variable roughness. The overall consonance of the stimuli was calculated using two distinct models (Harrison & Pearce, 2020; Wang et al., 2013) and a variant of the aggregate dyadic consonance index ( Huron, 1994). Our results demonstrate that dissonance, as calculated by all models, was highly correlated with visual roughness, and enjoyment and familiarity followed expected patterns compared to tonal and nontonal stimuli. In addition to sensory dissonance, however, it appears that other factors, such as the typicality of chord progressions and the sense of tonality may also influence this cross-modal interaction.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49507059","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":"Evaluation of an E-Learning Tool for Augmented Acoustics in Music Education","authors":"Neva Klanjscek, Lisa David, M. Frank","doi":"10.1177/20592043211037511","DOIUrl":"https://doi.org/10.1177/20592043211037511","url":null,"abstract":"Augmented Practice Room is an e-learning tool, developed by the project team, that allows music students to practice in different acoustical environments while remaining physically in their classroom or at home. Music teachers and students from violin, ‘cello, piano, clarinet, guitar, and pop-singing classes have collaborated in testing it for a semester and giving the authors continuous feedback. In this exploratory phase, we used methods such as group discussion and semi-structured diary, with the purpose to gather as many different perspectives and reactions from participants as possible. The analysis of the collected data showed that the tool was in general positively perceived and considered useful. In particular, results merged into a four-dimensional model that describes the impact of the tool on practice: musical expressiveness, level of attention or arousal, instrument-specific technical issues, and emotional state.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43242718","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":"Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music","authors":"R. Wanke, Vincenzo Santarcangelo","doi":"10.1177/2059204321997658","DOIUrl":"https://doi.org/10.1177/2059204321997658","url":null,"abstract":"This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are often associated, during listening, with visual and tactile sensorial qualities and with abstract geometries. They are perceived fundamentally as the results of acoustic-physical forces and energies and are organized according to Gestalt and kinesthetic principles. This kind of music calls for a specific listening attitude, which we define as the vertical stance, and seems particularly apt to respond to mechanisms of the working memory where echoic, short- and long-term memories assume a central role. In this vertical stance, memory is involved in the mental construction (segregation, storage, and prediction) of the Gestalt configurations of this music within a perceptual domain that crucially has no spatial connection to the external world. In tying in neurophysiological and psychological research with musicological theories, we discuss the perceptual approach to these music practices in the light of the philosophical concept of the ‘No-Space world’ as conceived by the philosopher Peter Strawson. We propose that – under certain conditions – memory may be the realm of the purely spectro-temporal features of music. The sound configurations of this music in particular are part of an internal-external perceptual framework, being decoded in the conceptual space of perception and able to elicit high-order recollections typical of an embodied engagement with the external world.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2059204321997658","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42522773","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":"Emotional Reactions to Music in Dementia Patients and Healthy Controls: Differential Responding Depends on the Mechanism","authors":"G. Barradas, P. Juslin, S. B. i Badia","doi":"10.1177/20592043211010152","DOIUrl":"https://doi.org/10.1177/20592043211010152","url":null,"abstract":"Music is frequently regarded as a unique way to connect with dementia patients. Yet little is known about how persons with dementia respond emotionally to music. Are their responses different from those of healthy listeners? If so, why? The present study makes a first attempt to tackle these issues in a Portuguese context, with a focus on psychological mechanisms. In Experiment 1, featuring 20 young and healthy adults, we found that musical excerpts which have previously been shown to activate specific emotion induction mechanisms (brain stem reflex, contagion, episodic memory, musical expectancy) in Sweden were valid and yielded predicted emotions also in Portugal, as indexed by self-reported feelings, psychophysiology, and post hoc mechanism indices. In Experiment 2, we used the same stimuli to compare the responses of 20 elderly listeners diagnosed with Alzheimer’s disease (AD) with those of 20 healthy listeners. We controlled for cognitive functioning (Mini-Mental State Examination) and depression (Geriatric Depression Scale). Our predictions about how mechanisms would be differentially affected by decline in brain regions associated with AD received support in that AD patients reported significantly lower levels of (a) sadness in the contagion condition, (b) happiness and nostalgia in the episodic memory condition, and (c) anxiety in the musical expectancy condition. By contrast, no significant difference in reported surprise was found in the brain stem reflex condition. Implications for musical interventions aimed at dementia are discussed, highlighting the key role that basic research may play in developing applications.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20592043211010152","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43894346","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 Model of Psychological Mechanisms of Inclusive Music-Making: Empowerment of Marginalized Young People","authors":"M. Levstek, R. Banerjee","doi":"10.1177/20592043211059752","DOIUrl":"https://doi.org/10.1177/20592043211059752","url":null,"abstract":"Adopting a mixed-methods research design, this study explored the psychological experiences of marginalized young people participating in inclusive music projects, with attention to inter- and intra-personal outcomes and underlying mechanisms. We worked with four different music projects, aimed at young people from lower socio-economic backgrounds or those with special educational needs and/or disabilities. With a total sample of 134 young people, parents, and creative practitioners, we used quantitative analyses of retrospective surveys to assess staff members’ perceptions of changes evident in individual young people (n1(total) = 99, n1(female) = 39, n1(male) = 59, n1(non-binary) = 1, mean age = 15.59). We performed thematic analysis on eleven semi-structured focus group discussions conducted with the young people (n2  =  26), their parents (n3  =  14), and staff members (n3  =  21), and 82 session reports completed by the staff members after each session. Growth over time in both intra-personal and inter-personal dimensions of functioning was observed, with qualitative data illuminating possible environmental and psychological mechanisms via two overarching themes of “Self-Development” and “Social Acknowledgement”. These results are collated in the model of youth empowerment, and its relevance to marginalized groups of young people is highlighted through promotion of active agency and empowerment. The model is interpreted in the light of several psychological theories of well-being, particularly self-determination theory and access-awareness-agency model, and implications for future work are discussed.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44763279","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":"Discrepancies and Disagreements in Classical Chamber Musicians’ Characterisations of a Performance","authors":"N. Spiro, M. F. Schober","doi":"10.1177/20592043211011091","DOIUrl":"https://doi.org/10.1177/20592043211011091","url":null,"abstract":"To what extent do classical chamber musicians converge in their characterisations of what just happened in their live duo performance, and to what extent do audience members agree with the performers’ characterisations? In this study a cello-piano duo performed Schumann’s Phantasiestücke, Op. 73, no. 1 as part of their conservatory studio class in which members critique performances in development. Immediately after, the listeners and players individually characterised what had most struck them about the performance, first writing comments from memory and then marking scores while listening to a recording on their personal devices. They all then rated (on a 5-point scale) their agreement with comments by two other class members. Findings demonstrate that classical chamber performers can characterise the performance quite differently than their partner does and that they can disagree with a number of their partner’s characterisations, corroborating previous findings in case studies of jazz performance. Performers’ characterisations can overlap less in which moments strike them as worthy of comment and in their content than their listeners’ characterisations do, and they can agree with a non-partner’s characterisations more than with their partner’s characterisations. At the same time, the data show that listeners who have played the piece before—though not necessarily those who play the same kind of instrument (strings vs. piano)—can be more likely to endorse comments by others who have also played the piece before, even if the comments they make don’t overlap with each other more in timing, content or theme.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20592043211011091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46673900","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}