Music & Science最新文献

{"title":"Towards a Vocal Constraints Model of Melodic Expectancy: Evidence from Two Listening Experiments","authors":"Paolo Ammirante, F. Russo","doi":"10.1177/20592043231179410","DOIUrl":"https://doi.org/10.1177/20592043231179410","url":null,"abstract":"Where does a listener's anticipation of the next note in an unfamiliar melody come from? One view is that expectancies reflect innate grouping biases; another is that expectancies reflect statistical learning through previous musical exposure. Listening experiments support both views but in limited contexts, e.g., using only instrumental renditions of melodies. Here we report replications of two previous experiments, but with additional manipulations of timbre (instrumental vs. sung renditions) and register (modal vs. upper). Following a proposal that melodic expectancy is vocally constrained, we predicted that sung renditions would encourage an expectation that the next tone will be a “singable” one, operationalized here as one having an absolute pitch height that falls within the modal register. Listeners heard melodic fragments and gave goodness-of-fit ratings on the final tone (Experiment 1) or rated how certain they were about what the next note would be (Experiment 2). Ratings in the instrumental conditions were consistent with the original findings, but differed significantly from ratings in the sung conditions, which were more consistent with the vocal constraints model. We discuss how a vocal constraints model could be extended to include expectations about duration and tonality.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"1 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":"116260489","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":"Involuntary, Limited, and Contiguously Repeating Musical Imagery (InLaCReMI): Reconciling Theory and Data on the Musical Material Acquired by Earworms","authors":"Emery Schubert","doi":"10.1177/20592043231165661","DOIUrl":"https://doi.org/10.1177/20592043231165661","url":null,"abstract":"“Earworms” have been proposed as a particular type of involuntary musical imagery (INMI) where musical material is repeated in the mind. The structure of the repetition is investigated by proposing a spreading activation model (SAM), where mental experience consists of priming and activation of nodes that represent objects, events, and relationships, including music. Music consists of chaining together nodes representing small music segments within hierarchical structures. Listening to music at a point in time activates the music's represented segment, which then primes the node representing the segment that follows. Repeating musical segments are coded recursively, with an additional layer of “context” nodes tracking global, structural location. From this basis, two hypotheses were proposed: H1 “Contiguous repetition at encoding” and H2 “Low environmental focus.” H1 predicts that when an INMI episode is a contiguously repeating segment, it must be based on music that contains contiguous repetition: it will be perceived as a subset of INMI – involuntary, limited, and contiguously repeating musical imagery (InLaCReMI). H1 challenges current views about preferred segments for looping, such as the “hook” of a tune. H2 predicts that InLaCReMI occurs when an individual is not focused on the immediate environment. In such a state there is less social imperative to activate high attentional-demand contextual information and so adherence to contextual integrity in thought is relaxed, leading to looping of recurrently activated nodes that were encoded with contiguous repetition. Additional predictions were made using SAM, demonstrating the potential for SAM to provide a unifying understanding of INMI. InLaCReMI is proposed as a frequently occurring species of INMI and confirmation of this phenomenon through more structured empirical investigation will provide novel insights into mental operation, and the nature of INMI.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"41 4 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":"125751129","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":"Practice, Performance, and Anxiety: A Pilot Study on Student Perception of Parental Involvement and Formal Music Lessons","authors":"C. Ryan, Hélène Boucher, G. Ryan","doi":"10.1177/20592043221145000","DOIUrl":"https://doi.org/10.1177/20592043221145000","url":null,"abstract":"Parents play a variety of important roles in their children's musical development. However, whether they impact upon children's music performance education and experience has only begun to be considered. The current study sought to examine whether student perception of parent involvement in music and performance education is related to their experience of music performance anxiety. Sixty-two piano students aged 11 to 17 completed a questionnaire regarding their piano studies, their parents’ involvement in them, and their parents’ prior music education. They also completed measures of performance anxiety and self-esteem. Results indicated that parents’ prior music education was significantly associated with performance anxiety in their children. Participant age, self-esteem, and practice time were also significant variables. Measures of parent involvement in music studies and parent response to weak performances were not found to be significantly related to performance anxiety scores. Implications of these findings and directions for furthering this line of research are discussed.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"11 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":"126359969","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 15th International Conference of Students of Systematic Musicology (SysMus22)","authors":"Ceren Ayyildiz, Iza Ray Korsmit, Rúben Carvalho, Andres von Schnehen","doi":"10.1177/20592043231170472","DOIUrl":"https://doi.org/10.1177/20592043231170472","url":null,"abstract":"The International Conferences of Students of Systematic Musicology (SysMus) are a series of interdisciplinary student-run conferences with the aim of promoting intellectual exchange between early-career researchers in various fields of systematic musicology. In 2022, the 15th conference was hosted by the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent, Belgium, and was held in a hybrid format, allowing researchers to be present and participate in the events in person and online. SysMus22 comprised 43 posters, 23 presentations, 6 workshops, a panel discussion, musical demonstrations, and 3 musical performances. Topics were as diverse as music cognition, psychology, health and well-being, music theory and performance, technology, and philosophy, among others. Adding to the richness and diversity of topics were keynote lectures given by Psyche Loui (MIND Laboratory, Northeastern University), Mendel Kaelen (Wavepaths), and Rebecca Schaefer (Music, Brain, Health & Technology Laboratory, Leiden University). The whole conference was marked by a friendly, warm, and stimulating atmosphere, encouraging the exchange of ideas between all participants and particularly among researchers at the beginning of their academic careers in systematic musicology. This report provides an overview of SysMus22, the topics it covered, and the format it employed, with a critical discussion of the benefits and challenges posed by the hybrid format.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"17 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":"128050401","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 and Boredom: A First Insight Into an Unexplored Relationship","authors":"J. Merrill, Tristan Niedecken","doi":"10.1177/20592043231181215","DOIUrl":"https://doi.org/10.1177/20592043231181215","url":null,"abstract":"While the positive effects of music listening have received much attention, insights into the negative effects are rare, such as the experience of boredom. In two consecutive online surveys using qualitative (N  =  266) and quantitative methods (N  =  719), participants were asked to retrospectively report their experience of boredom while listening to music. The experience of boredom depends on a combination of factors, such as musical features or styles combined with a certain situation, or the dislike of that music. Boredom is also accompanied by feelings of high and low arousal such as annoyance, anger, fatigue, and listlessness. Notably, boredom in the context of music does not only refer to an emotional state but is also used as a disparaging judgment of music. The associated musical features of “boring” music, such as repetition and monotony, go along with a perceived simplicity and uniformity in specific musical styles (e.g., German schlager, pop, EDM, or rap). Overall, the prevalence of boredom during music listening was low in the current sample, where 77% never or rarely experience boredom, but 46% report experiencing it moderately to very severely when it occurs. Participants with higher musical perceptual abilities report experiencing boredom more frequently and intensely, while a higher active engagement with music and higher agreeableness seem to prevent one from “musical” boredom. The results align with typical aspects of general boredom and contribute to the understanding of the variety of factors that compose an averse form of an aesthetic experience with music.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"234 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":"132328277","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":"Limited Emotional Value Added by Immersive 3D Audio: A Reanalysis","authors":"Kilian Sander, Yves Wycisk, R. Kopiez","doi":"10.1177/20592043231194751","DOIUrl":"https://doi.org/10.1177/20592043231194751","url":null,"abstract":"Music in three-dimensional (3D) audio formats is becoming increasingly important in many areas of the entertainment industry. However, little research has been done on the effects of various playback formats on the emotional listening experience. A study by Hahn made an important contribution to this topic. Based on a repeated measures design and using the Geneva Emotional Music Scale (GEMS), he conducted a listening experiment comparing music experiences resulting from presentations in stereo, 5.1 surround sound, and Auro-3D 9.1 (a 3D audio format containing a 5.1 surround sound layer and four height channels) reproduced by loudspeakers. Data were made available for a reanalysis. The main aims of this study were (1) analyzing listening differences between formats as measured by the original GEMS factors, (2) calculating effect sizes for a better estimation of sample sizes for future studies, and (3) making the data set available to the public. For the reanalysis, the ratings of participants were aggregated (mean values for the nine GEMS factors per audio format). There were significant differences between the formats as shown by a nonparametric MANOVA ( N = 52) with the GEMS factors as dependent variables and the three audio formats as a repeated measures factor. For the GEMS factor Transcendence, an ANOVA ( N = 52) revealed a large omnibus effect (ηp2 = .206) for the three formats. Pairwise contrasts showed a significant increase (small to medium effect size) in emotional experiences for the Transcendence factor from stereo to surround sound (Cohen's dZ = 0.31), surround sound to 3D audio (Cohen's dZ = 0.45), and stereo to 3D audio (Cohen's dZ = 0.64).","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"32 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":"134259232","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 “The social potential of music for addiction recovery”","authors":"","doi":"10.1177/20592043231189250","DOIUrl":"https://doi.org/10.1177/20592043231189250","url":null,"abstract":"","PeriodicalId":436334,"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":"115426343","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":"Therapeutic Potential of Music-Based Interventions on the Stress Response and Neuroinflammatory Biomarkers in COVID-19: A Review","authors":"Jared Saifman, Aaron Colverson, Amanda Prem, Joseph Chomiak, Sylvain Doré","doi":"10.1177/20592043221135808","DOIUrl":"https://doi.org/10.1177/20592043221135808","url":null,"abstract":"COVID-19 continues to strain healthcare systems around the globe. Research has shown a relationship between COVID-19 and an inflammatory response, including neuropathological outcomes. Additionally, studies have shown positive effects of engagement with music on inflammatory responses; music may have potential, as a method, to reduce inflammation triggered by COVID-19. This review compiles exhaustive research from multiple disciplines to account for this possibility. The authors utilized a meta-narrative approach to complete this review. The search was conducted using PubMed, Embase, OneSearch, Primo, Google Scholar, Clinicaltrials.gov, and the bibliographies of relevant articles. In total, 84 articles were included for full-text review, discussion, and analysis. Articles pertaining to music and acoustics encompassed a date range from 1964–2020. Articles referencing COVID-19 spanned the years 2019–2021. This work focused on associations between engagement with music, stress response, blood-brain barrier integrity, inflammation, COVID-19, and neuropathology in preclinical and clinical models. Detailed analysis revealed that engagement with music has the potential to reduce the harmful effects of COVID-19, particularly in the inflammation and blood clotting pathways associated with a range of pathophysiological and neuropathological issues. Further work is warranted to standardize and validate existing methods associating positive effects of engagement with music on the negative effects of COVID-19.","PeriodicalId":436334,"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":"116825441","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 Contrast Principle, Typicality, and Cultural Longevity in 19th-Century Symphony Slow Movements: A Corpus Analysis","authors":"Geoffrey McDonald, Clemens Wöllner","doi":"10.1177/20592043231182275","DOIUrl":"https://doi.org/10.1177/20592043231182275","url":null,"abstract":"The notion of contrast is integral to both aesthetic and psychological accounts of attention and interest. It therefore represents a useful heuristic for understanding contrasting slow movements in Western art music. Based on the observation from music theory that within-movement tonal contrast (mode and key) increased during the 19th century, we assumed that a corpus of symphonic slow movements ( n = 246) composed between 1800 and 1913 would exhibit increasing between-movement tonal contrast when compared to a sample of symphonies composed between 1757 and 1795 ( n = 141). Synchronic analysis confirmed that slow movements contrast with their key-defining first movements. Diachronic analysis confirmed that within-symphony tonal contrast increases after 1800. Each of five style parameters observed for era comparison (changes in use of mode, key, meter, form, and structure) conformed to musicologically distinct yet plausible historical boundaries. Cluster analysis of the post-1800 corpus generated three clusters, with mode (non-)match between slow movement and symphony, printed tempo marking, and key relationship (measured by tonal distance) as the three strongest predictors. Since discussions of style naturally raise questions of influence, we also examined the relationship between prototypicality and composer prominence. To that end, analysis of clusters suggests the possibility of multiple, distinct “Beethovenian prototypes.” Finally, we found that, with the exceptions of Beethoven and Brahms, the most statistically typical pieces lack enduring impact, from today's perspective. Conformity to general stylistic norms thus seems to predict against the cultural longevity of a 19th-century symphony.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"58 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":"115604089","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":"Factors and Clusters of Musical Self-Concept Discovered in a Cross-Cultural Sample of Swiss, Chinese, and Taiwanese Students","authors":"Suse Petersen, Marc-Antoine Camp, Annatina Kull","doi":"10.1177/20592043231191029","DOIUrl":"https://doi.org/10.1177/20592043231191029","url":null,"abstract":"Cultural and societal settings in which an individual is raised, and the role of music and musical training during an individual’s upbringing, shape the relation to music and the conception of the self with regard to music in the present and in the future. Accordingly, differing cultural and musical biographical backgrounds are reflected in differences of musical self-concepts. The aim was to assess distinct musical self-concept types of Chinese, Taiwanese, and Swiss university music students with an adapted version of the Musical Self-Concept Inquiry (MUSCI), and to analyze these types in terms of the manifestation of different dimensions of the musical self-concept as well as sociodemographic and further personal characteristics. 805 university music students took part in the study. The sample included 293 Swiss, 356 Chinese, and 156 Taiwanese students. An adapted version of the Musical Self-Concept Inquiry was administered, and the data subjected to a principal component and a confirmatory factor analysis to determine the factors of the musical self-concept. A cluster analysis was carried out to identify self-concept clusters. H-, U-, Chi2, and two-sample Kolmogorov–Smirnov Z-tests were carried out to assess cluster differences in the factor manifestations, as well as sociodemographic and further personal aspects. The Musical Self-Concept Inquiry-SwisSino could be confirmed with regard to three factors (ability, mood management, dance), while other factors could not be retained. Three significantly distinct clusters were identified, which differed regarding the factor manifestation and the students’ origin, gender, course of study, main instrument, practice hours, and parental educational background and musical activity. However, due to only a few dimensions of the musical self-concept being verified, the broadness of the concept was restricted. Advances in quantitative comparative music studies will thus require further work on conceptional issues as well as the clarification of cultural notions and adequate translations.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"28 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":"130147766","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}