Musicae Scientiae最新文献

{"title":"Mechanisms of absolute pitch: I. Acoustical beating","authors":"J. Baggaley, Alan Thurlow","doi":"10.1177/10298649221085205","DOIUrl":"https://doi.org/10.1177/10298649221085205","url":null,"abstract":"Musicologists and philosophers have commonly attributed distinctive qualities to individual musical pitches, and absolute pitch (AP) possessors recognize and recall notes and keys with immediacy and accuracy, leaving little doubt that they are aware of such characteristics. Bachem proposed that these distinct tonal qualities underlie the rapid and accurate judgments that he identified as genuine AP, and he defined the qualities as tone chroma (TC). The TCs of notes and keys, and of notes separated by a musical octave (pitch class) are frequently expressed in visual terms, and studies of synaesthesia, the association of intersensory stimuli, provide clues to the systematic variation of TC qualities. The historical literature relating to note and key characteristics is commonly overlooked in the study of AP, however, and the article seeks to address this problem. Long-standing conclusions are reviewed, leading to the hypothesis that TC sensitivity can derive from an awareness of variations in the acoustical beats that occur in the tuning of instruments to equal temperament and which are perceived with particular clarity in organ tuning. This acoustical hypothesis is supported by modern neuroscientific findings and was predicted by theoretical observations in the literature as long ago as three centuries. In a follow-up article, Thurlow and Baggaley discuss the role of synaesthesia-type judgments in musical skills not previously regarded as absolute: for example, a perfect touch capacity observed in keyboard players.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81000577","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}

{"title":"Perception of violin performance expression through expressive musical terms","authors":"Aviel Sulem, E. Bodner, N. Amir","doi":"10.1177/10298649211051018","DOIUrl":"https://doi.org/10.1177/10298649211051018","url":null,"abstract":"Expressive musical terms (EMTs) are often used in classical Western music as verbal instructions to performers to convey particular forms of expression. Recently, Sulem et al. (2019) analyzed the perception of EMTs by professional string players without reference to heard musical performances, defining four representative categories of EMTs located in the four quadrants of the two-dimensional model of affect whose parameters are valence and arousal. The present study focuses on listeners’ perceptions of musical expression in short excerpts from the violin repertoire, played according to the four representative categories and in a Neutral (i.e., non-expressive) manner. In Experiment 1, listeners’ perceptions of the performances were examined in terms of these five categories. In Experiment 2, listeners concentrated on the playing and sound characteristics of the performances, and paired-comparison analysis was used to estimate the perceived similarities between the performances in terms of their expression. The findings of the two experiments show that performances can be mapped in a three-dimensional perceptual space in which the valence and arousal dimensions are supplemented by a third dimension that can be associated with degree of expressiveness. This demonstrates the relevance of valence and arousal as fundamental parameters for characterizing the musical expression conveyed by the EMTs, as perceived by listeners, and introduces the concept of degree of expressiveness, reflecting the contrast between Neutral and expressive performances.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87794087","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}

{"title":"Lifetime musical training and cognitive performance in a memory clinic population: A cross-sectional study.","authors":"Daisy Fancourt, Katharina Geschke, Andreas Fellgiebel, Alexandra Wuttke-Linnemann","doi":"10.1177/1029864920918636","DOIUrl":"10.1177/1029864920918636","url":null,"abstract":"<p><strong>Background: </strong>Music training has been found to be beneficial for young and healthy participants but the associations between musical training and the cognitive functioning of elderly participants have not been reported consistently. We examined whether lifetime musical training is associated with neuropsychological performance in a memory clinic population of older patients.</p><p><strong>Methods: </strong>A total of 478 patients (54.2% female, mean age 73.70 ± 6.22, mean Mini Mental State Examination score 25 ± 3) were included in the cross-sectional analyses. All patients were referred to the memory clinic due to cognitive impairments. During the course of diagnosis, all patients underwent neuropsychological tests using the CERAD neuropsychological assessment battery. Patients provided information on whether they ever learned to play an instrument for at least five years in their life.</p><p><strong>Results: </strong>Neuropsychological test results differed based on musical training (<i>p</i> = .042). Overall, there were no differences in any domains of cognitive functioning, other than that patients with musical training performed worse on word list memory (<i>p</i> = .008). However, this relationship varied based on the extent of cognitive impairments. Patients who were cognitively unimpaired (Mini Mental State Examination score 27-30) and had musical training showed better word list learning, whereas patients with cognitive impairments (Mini Mental State Examination score < 27) and musical training performed worse in word list learning (<i>p</i> = .042) and word list recall (<i>p</i> = .045).</p><p><strong>Discussion: </strong>Overall, there was little evidence of associations between specific neuropsychological test results and musical training. Only in cognitively unimpaired patients was there evidence that musical training had beneficial associations. In patients with cognitive impairment, there were suggestions of negative associations with verbal memory. Future research should longitudinally investigate the beneficial effects of musical training in people with and without cognitive impairments.</p>","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8847981/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"39647997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Book Review: Stefan Östersjö. Listening to the other","authors":"Jonathan De Souza","doi":"10.1177/1029864920983965","DOIUrl":"https://doi.org/10.1177/1029864920983965","url":null,"abstract":"In a way, the new book by Stefan Östersjö is not just a book. And in a way, it is not just by Stefan Östersjö. First, it isn’t just a book because the publication includes both the printed text and illustrations, and also several short video recordings and films that present some of Östersjö’s activities as a specialist in contemporary music, playing classical guitar and other plucked string instruments. These audiovisual materials are available online. But they should not be understood as merely supplemental examples supporting the main text. Unlike the examples of a typical companion website, these video recordings can stand on their own. It might even be possible to imagine the films as the principal contribution, with the text as an extended program note or artist’s statement. Either way, Östersjö suggests that they are equal parts of the publication (pp. 11, 165), and they enact a kind of cross-media dialogue. Second, the book isn’t just by Östersjö because all of these projects are essentially collaborative. He has co-created the music and films with composers, fellow performers, technicians, and directors. These artistic colleagues are often research colleagues too, and Östersjö has co-authored texts with several of them. Here another dialogue emerges between musical practice and theoretical reflection as Östersjö puts his performance projects into conversation with broader perspectives from musicology, cognitive science, and philosophy. This publication, then, invites us to listen to sounds and words by Östersjö and his collaborators—even to listen to them listening together. Listening to the Other examines listening in musical creation and performance. Yet Östersjö is also concerned with listening as a mode of thought (what he calls “thinking-in-listening”) and with the ethics and politics of listening. Can we truly listen to each other? How is listening facilitated by bodies, technologies, and culture? How is listening constrained? When does it fail? How might listening affect thoughts, attitudes, and relations? And how might listening transform a listener? The book pursues these questions through three central chapters, devoted to Östersjö’s performance-research projects. They are framed by more theoretical chapters, yet it is possible to start with these case studies. Chapter 3 examines performer–composer collaboration, and it also considers musical instruments as a kind of Other. More specifically, it discusses the development of Strandlines, a piece for classical guitar and electronics by the American composer Richard Karpen. As Östersjö explains, “Strandlines is a composition that has no notation but is also conceived not to be improvised” (p. 56). Instead, the composer and performer co-create a set of musical materials and a plan for their development in the piece. Here the composer resembles a record producer or artistic director, and composition resembles the practice of filmmakers, such as Mike Leigh, who develop scripts collab","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85512920","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}

{"title":"Mechanisms of absolute pitch: II. Pitch shift and perfect touch","authors":"Alan Thurlow, J. Baggaley","doi":"10.1177/10298649211072505","DOIUrl":"https://doi.org/10.1177/10298649211072505","url":null,"abstract":"The previous article in this series reviewed the historical and modern academic literature concerning the distinctive characteristics of individual musical notes and keys. It stressed Bachem’s definition of tone chroma (TC) as the quality that allows notes/keys to be identified instantly and accurately by musicians possessing the type of absolute pitch (AP) that Bachem described as genuine. TC qualities were shown to vary in the same systematic manner as the second-order acoustical beats predicted to accumulate during the tuning of instruments to equal temperament. This article offers further evidence for the connection between TC and acoustical sensitivity, as indicated by an examination of paracusis musicalis (PM), the shifting of the pitch sense with age to a level sharper or flatter than its original level. It is also noted that AP judgments have been shown to be based on kinaesthetic and tactile sensations, which perform the same cueing functions as auditory TC, and that types of AP judgment may, therefore, exist not typically identified as absolute: for example, an absolute or perfect touch capacity observed in keyboard players. Evidence of this capacity supports the theory of instrument-specific AP.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83581614","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}

{"title":"Auditory and visual mental imagery in musicians and non-musicians","authors":"Francesca Talamini, Julia Vigl, E. Doerr, M. Grassi, B. Carretti","doi":"10.1177/10298649211062724","DOIUrl":"https://doi.org/10.1177/10298649211062724","url":null,"abstract":"Mental imagery plays an important role in various contexts of life, involving cognitive resources such as memory, learning, spatial representation, and reasoning. The vividness of mental images depends on different factors, including personal expertise in a certain field. For instance, musicians have been found to possess better auditory imagery abilities than non-musicians for both musical and non-musical sounds. Only a few studies have tried to find out if this advantage is selective for auditory stimuli, however, with contradictory results so far (i.e., some studies supporting an advantage for mental imagery in general and some supporting an advantage for auditory mental imagery in particular). This study therefore investigated auditory and visual mental imagery in individuals with and without formal musical training. Thirty-six formally trained musicians, 33 self-taught musicians, and 33 non-musicians completed two questionnaires assessing the vividness of their auditory and visual mental imagery. They also completed measures of aptitude for music and general cognitive abilities. Both groups of musicians reported greater vividness of auditory (non-musical) imagery, but not visual imagery, than non-musicians. Thus musical experience, regardless of the type of training undergone by musicians, is linked to superior self-reported auditory mental imagery for everyday sounds, but not mental imagery in general.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81666076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Wavescapes: A visual hierarchical analysis of tonality using the discrete Fourier transform","authors":"Cédric Viaccoz, Daniel Harasim, Fabian C. Moss, M. Rohrmeier","doi":"10.1177/10298649211034906","DOIUrl":"https://doi.org/10.1177/10298649211034906","url":null,"abstract":"Many structural aspects of music, such as tonality, can be expressed using hierarchical representations. In music analysis, so-called keyscapes can be used to map a key estimate (e.g., C major, F minor) to each subsection of a piece of music, thus providing an intuitive visual representation of its tonality, in particular of the hierarchical organization of local and global keys. However, that approach is limited in that the mapping relies on assumptions that are specific to common-practice tonality, such as the existence of 24 major and minor keys. This limitation can be circumvented by applying the discrete Fourier transform (DFT) to the tonal space. The DFT does not rely on style-specific theoretical assumptions but only presupposes an encoding of the music as pitch classes in 12-tone equal temperament. We introduce wavescapes, a novel visualization method for tonal hierarchies that combines the visual representation of keyscapes with music analysis based on the DFT. Since wavescapes produce visual analyses deterministically, a number of potential subjective biases are removed. By concentrating on one or more Fourier coefficients, the role of the analyst is thus focused on the interpretation and contextualization of the results. We illustrate the usefulness of this method for computational music theory by analyzing eight compositions from different historical epochs and composers (Josquin, Bach, Liszt, Chopin, Scriabin, Webern, Coltrane, Ligeti) in terms of the phase and magnitude of several Fourier coefficients. We also provide a Python library that allows such visualizations to be easily generated for any piece of music for which a symbolic score or audio recording is available.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81099786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Is music listening an effective intervention for reducing anxiety? A systematic review and meta-analysis of controlled studies","authors":"C. Harney, Judith Johnson, F. Bailes, J. Havelka","doi":"10.1177/10298649211046979","DOIUrl":"https://doi.org/10.1177/10298649211046979","url":null,"abstract":"Anxiety is the most commonly diagnosed mental health disorder in the EU and 18% of the US population experiences an anxiety disorder at any one time. However, only 20% of individuals experiencing anxiety receive a formally administered intervention, highlighting a need for evidence-based interventions that can be self-administered. Music listening can be flexibly self-administered and may be useful for anxiety reduction, but further evidence is needed. The current paper addressed this by conducting the first systematic review and meta-analysis of controlled studies testing music listening interventions for naturally occurring state anxiety. A protocol was registered on PROSPERO ID: CRD42018104308. Searches were carried out of the Cochrane Library, Ovid MEDLINE, PsycINFO, Embase, Web of Science and CINAHL databases, yielding 6208 records. After screening for eligibility, 24 controlled studies were included in the review and 21 were included in the meta-analysis. Results of the meta-analyses showed that music listening had an overall significant large effect on alleviating anxiety (d = −0.77 [95% CI = −1.26, −0.28], k = 21). It was concluded that music listening is effective for reducing anxiety in a range of groups. Further research should focus on clinical groups with diagnosed mental health problems.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79302163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The missing fundamentals of harmonic theory: Chord roots and their ambiguity in arrangements of jazz standards","authors":"R. Parncutt, Lazar Radovanović","doi":"10.1177/10298649211062934","DOIUrl":"https://doi.org/10.1177/10298649211062934","url":null,"abstract":"Since Lippius and Rameau, chords have roots that are often voiced in the bass, doubled, and used as labels. Psychological experiments and analyses of databases of Western classical music have not produced clear evidence for the psychological reality of chord roots. We analyzed a symbolic database of 100 arrangements of jazz standards (musical instrument digital interface [MIDI] files from midkar.com and thejazzpage.de). Selection criteria were representativeness and quality.The original songs had been composed in the 1930s and 1950s, and each file had a beat track. Files were converted to chord progressions by identifying tone onsets near beat locations (±10% of beat duration). Chords were classified as triads (major, minor, diminished, suspended) or seventh chords (major–minor, minor, major, half-diminished, diminished, and suspended) plus extra tones. Roots that were theoretically less ambiguous were more often in the bass or (to a lesser extent) doubled. The root of the minor triad was ambiguous, as predicted (conventional root or third). Of the sevenths, the major–minor had the clearest root. The diminished triad was often part of a major–minor seventh chord; the half-diminished seventh, of a dominant ninth. Added notes (“tensions”) tended to minimize dissonance (roughness or inharmonicity). In arrangements of songs from the 1950s, diminished triads and sevenths were less common, and suspended triads more common, relative to the 1930s. Results confirm the psychological reality of chord roots and their specific ambiguities. Results are consistent with Terhardt’s virtual pitch theory and the idea that musical chords emerge gradually from cultural and historic processes. The approach can enrich music theory (including pitch-class set analysis) and jazz pedagogy.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89332917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Student perceptions of the classroom environment, student characteristics, and motivation for music lessons at secondary school","authors":"I. Papageorgi, Natassa Economidou Stavrou","doi":"10.1177/10298649211055832","DOIUrl":"https://doi.org/10.1177/10298649211055832","url":null,"abstract":"The literature suggests that there is often no alignment between student preferences and what and how it is taught in the music classroom. A total of 749 Cypriot secondary school students, aged 12 to 14 years, responded to a survey addressing enjoyment of music, motivation for school music lessons, and perceptions of the music classroom environment. The survey included a questionnaire with six subscales: Involvement, Affiliation, Teacher Support, Task Orientation, Order and Organization, and Rule Clarity. High ratings for Affiliation, Teacher Support, and Rule Clarity suggest that, overall, students’ perceptions of the classroom environment were positive. They were not uniform, but varied on the basis of student characteristics. Girls rated Rule Clarity higher than boys. Younger students tended to rate Task Orientation, Order and Organization, and Rule Clarity higher than older students. Higher-achieving students tended to rate Affiliation and Teacher Support higher. Older boys rated Involvement lower than younger boys, whereas older girls rated Involvement higher than younger girls. It can be inferred that boys experienced a gradual increase in perceived Affiliation as their achievement improved, although the pattern was less consistent for girls. Girls tended to report higher motivation for school music lessons than boys. Motivation was enhanced by classroom environments in which students experienced higher levels of enjoyment of music, engagement, and support from teachers. The findings show that the music classroom environment should be characterized by student engagement, clarity of rules, good organization, clear goals, teacher support, and affiliation between classmates.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2021-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80810011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}