Music Perception最新文献_第8页

Across-Channel Auditory Gap Detection 跨通道听觉间隙检测

IF 2.3 2区心理学

Music Perception Pub Date : 2020-09-09 DOI: 10.1525/mp.2020.38.1.66

A. J. Weaver, Matthew Hoch, Lindsey Soles Quinn, J. Blumsack

引用次数: 0

Experience of Groove Questionnaire Groove问卷的经验

IF 2.3 2区心理学

Music Perception Pub Date : 2020-09-01 DOI: 10.1525/mp.2020.38.1.46

Olivier Senn, T. Bechtold, Dawn Rose, Guilherme Câmara, Nina Düvel, R. Jerjen, Lorenz Kilchenmann, Florian Hoesl, A. Baldassarre, Elena Alessandri

{"title":"Experience of Groove Questionnaire","authors":"Olivier Senn, T. Bechtold, Dawn Rose, Guilherme Câmara, Nina Düvel, R. Jerjen, Lorenz Kilchenmann, Florian Hoesl, A. Baldassarre, Elena Alessandri","doi":"10.1525/mp.2020.38.1.46","DOIUrl":"https://doi.org/10.1525/mp.2020.38.1.46","url":null,"abstract":"Music often triggers a pleasurable urge in listeners to move their bodies in response to the rhythm. In music psychology, this experience is commonly referred to as groove. This study presents the Experience of Groove Questionnaire, a newly developed self-report questionnaire that enables respondents to subjectively assess how strongly they feel an urge to move and pleasure while listening to music. The development of the questionnaire was carried out in several stages: candidate questionnaire items were generated on the basis of the groove literature, and their suitability was judged by fifteen groove and rhythm research experts. Two listening experiments were carried out in order to reduce the number of items, to validate the instrument, and to estimate its reliability. The final questionnaire consists of two scales with three items each that reliably measure respondents’ urge to move (Cronbach’s α = .92) and their experience of pleasure (α = .97) while listening to music. The two scales are highly correlated (r = .80), which indicates a strong association between motor and emotional responses to music. The scales of the Experience of Groove Questionnaire can independently be applied in groove research and in a variety of other research contexts in which listeners’ subjective experience of music-induced movement and enjoyment need to be addressed: for example the study of the interaction between music and motivation in sports and research on therapeutic applications of music in people with neurological movement disorders.","PeriodicalId":47786,"journal":{"name":"Music Perception","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/mp.2020.38.1.46","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45847261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 10

Classical Rondos and Sonatas as Stylistic Categories 作为风格范畴的古典回旋曲和奏鸣曲

IF 2.3 2区心理学

Music Perception Pub Date : 2020-06-10 DOI: 10.1525/mp.2020.37.5.373

Jonathan de Souza, Adam Roy, Andrew Goldman

{"title":"Classical Rondos and Sonatas as Stylistic Categories","authors":"Jonathan de Souza, Adam Roy, Andrew Goldman","doi":"10.1525/mp.2020.37.5.373","DOIUrl":"https://doi.org/10.1525/mp.2020.37.5.373","url":null,"abstract":"Sonata and rondo movements are often defined in terms of large-scale form, yet in the classical era, rondos were also identified according to their lively, cheerful character. We hypothesized that sonatas and rondos could be categorized based on stylistic features, and that rondos would involve more acoustic cues for happiness (e.g., higher average pitch height and higher average attack rate). In a corpus analysis, we examined paired movement openings from 180 instrumental works, composed between 1770 and 1799. Rondos had significantly higher pitch height and attack rate, as predicted, and there were also significant differences related to dynamics, meter, and cadences. We then conducted an experiment involving participants with at least 5 years of formal music training or less than 6 months of formal music training. Participants listened to 120 15-second audio clips, taken from the beginnings of movements in our corpus. After a training phase, they attempted to categorize the excerpts (2AFC task). D-prime scores were significantly higher than chance levels for both groups, and in post-experiment questionnaires, participants without music training reported that rondos sounded happier than sonatas. Overall, these results suggest that classical formal types have distinct stylistic and affective conventions.","PeriodicalId":47786,"journal":{"name":"Music Perception","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2020-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/mp.2020.37.5.373","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45786864","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Comparing Methods for Analyzing Music-Evoked Autobiographical Memories 音乐诱发的自传体记忆分析方法比较

IF 2.3 2区心理学

Music Perception Pub Date : 2020-06-01 DOI: 10.1525/mp.2020.37.5.392

Amy M. Belfi, Elena Bai, Ava Stroud

{"title":"Comparing Methods for Analyzing Music-Evoked Autobiographical Memories","authors":"Amy M. Belfi, Elena Bai, Ava Stroud","doi":"10.1525/mp.2020.37.5.392","DOIUrl":"https://doi.org/10.1525/mp.2020.37.5.392","url":null,"abstract":"The study of music-evoked autobiographical memories (MEAMs) has grown substantially in recent years. Prior work has used various methods to compare MEAMs to memories evoked by other cues (e.g., images, words). Here, we sought to identify which methods could distinguish between MEAMs and picture-evoked memories. Participants (N = 18) listened to popular music and viewed pictures of famous persons, and described any autobiographical memories evoked by the stimuli. Memories were scored using the Autobiographical Interview (AI; Levine, Svoboda, Hay, Winocur, & Moscovitch, 2002), Linguistic Inquiry and Word Count (LIWC; Pennebaker et al., 2015), and Evaluative Lexicon (EL; Rocklage & Fazio, 2018). We trained three logistic regression models (one for each scoring method) to differentiate between memories evoked by music and faces. Models trained on LIWC and AI data exhibited significantly above chance accuracy when classifying whether a memory was evoked by a face or a song. The EL, which focuses on the affective nature of a text, failed to predict whether memories were evoked by music or faces. This demonstrates that various memory scoring techniques provide complementary information about cued autobiographical memories, and suggests that MEAMs differ from memories evoked by pictures in some aspects (e.g., perceptual and episodic content) but not others (e.g., emotional content).","PeriodicalId":47786,"journal":{"name":"Music Perception","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1525/mp.2020.37.5.392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48721281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 10

Learning Music From Each Other: Synchronization, Turn-taking, or Imitation? 相互学习音乐：同步、轮流还是模仿？

IF 2.3 2区心理学

Music Perception Pub Date : 2020-06-01 DOI: 10.1525/mp.2020.37.5.403

A. Schiavio, Jan Stupacher, R. Parncutt, R. Timmers

引用次数: 11

The Selectivity of Musical Advantage 音乐优势的选择性

IF 2.3 2区心理学

Music Perception Pub Date : 2020-06-01 DOI: 10.1525/mp.2020.37.5.423

William Choi

引用次数: 11

Musicianship Enhances Perception But Not Feeling of Emotion From Others’ Social Interaction Through Speech Prosody 音乐通过言语韵律增强他人社交中的情感感知而非情感感受

IF 2.3 2区心理学

Music Perception Pub Date : 2020-03-11 DOI: 10.1525/MP.2020.37.4.323

Eliot Farmer, Crescent Jicol, K. Petrini

{"title":"Musicianship Enhances Perception But Not Feeling of Emotion From Others’ Social Interaction Through Speech Prosody","authors":"Eliot Farmer, Crescent Jicol, K. Petrini","doi":"10.1525/MP.2020.37.4.323","DOIUrl":"https://doi.org/10.1525/MP.2020.37.4.323","url":null,"abstract":"Music expertise has been shown to enhance emotion recognition from speech prosody. Yet, it is currently unclear whether music training enhances the recognition of emotions through other communicative modalities such as vision and whether it enhances the feeling of such emotions. Musicians and nonmusicians were presented with visual, auditory, and audiovisual clips consisting of the biological motion and speech prosody of two agents interacting. Participants judged as quickly as possible whether the expressed emotion was happiness or anger, and subsequently indicated whether they also felt the emotion they had perceived. Measures of accuracy and reaction time were collected from the emotion recognition judgements, while yes/no responses were collected as indication of felt emotions. Musicians were more accurate than nonmusicians at recognizing emotion in the auditory-only condition, but not in the visual-only or audiovisual conditions. Although music training enhanced recognition of emotion through sound, it did not affect the felt emotion. These findings indicate that emotional processing in music and language may use overlapping but also divergent resources, or that some aspects of emotional processing are less responsive to music training than others. Hence music training may be an effective rehabilitative device for interpreting others’ emotion through speech.","PeriodicalId":47786,"journal":{"name":"Music Perception","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47084844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Response to Invited Commentaries on The Territory Between Speech and Song 对《演讲与歌曲之间的地域》特邀评论的回应

IF 2.3 2区心理学

Music Perception Pub Date : 2020-03-11 DOI: 10.1525/MP.2020.37.4.366

Fred Cummins

引用次数: 0

Sensorimotor synchronisation with higher metrical levels in music shortens perceived time. 音乐中具有较高韵律水平的感觉运动同步缩短了感知时间。

IF 2.3 2区心理学

Music Perception Pub Date : 2020-03-11 DOI: 10.1525/MP.2020.37.4.263

David Hammerschmidt, Clemens Wöllner

{"title":"Sensorimotor synchronisation with higher metrical levels in music shortens perceived time.","authors":"David Hammerschmidt, Clemens Wöllner","doi":"10.1525/MP.2020.37.4.263","DOIUrl":"https://doi.org/10.1525/MP.2020.37.4.263","url":null,"abstract":"The aim of the present study was to investigate if the perception of time is affected by actively attending to different metrical levels in musical rhythmic patterns. In an experiment with a repeated-measures design, musicians and non-musicians were presented with musical rhythmic patterns played at three different tempi. They synchronised with multiple metrical levels (half notes, quarter notes, eighth notes) of these patterns using a finger-tapping paradigm and listened without tapping. After each trial, stimulus duration was judged using a verbal estimation paradigm. Results show that the metrical level participants synchronised with influenced perceived time: actively attending to a higher metrical level (half notes, longer inter-tap intervals) led to the shortest time estimations, hence time was experienced as passing more quickly. Listening without tapping led to the longest time estimations. The faster the tempo of the patterns, the longer the time estimation. While there were no differences between musicians and non-musicians, those participants who tapped more consistently and accurately (as analysed by circular statistics) estimated durations to be shorter. Thus, attending to different metrical levels in music, by deliberately directing attention and motor activity, affects time perception.","PeriodicalId":47786,"journal":{"name":"Music Perception","volume":null,"pages":null},"PeriodicalIF":2.3,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46105163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 19

Joint Speech and Its Relation to Joint Action 共同言语及其与共同行为的关系

IF 2.3 2区心理学

Music Perception Pub Date : 2020-03-11 DOI: 10.1525/MP.2020.37.4.359

F. Russo

引用次数: 1