ORCID Profile
0000-0003-2723-3579
Current Organisation
University of Leeds
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Publisher: Public Library of Science (PLoS)
Date: 12-06-2019
Publisher: Frontiers Media SA
Date: 17-07-2018
Publisher: SAGE Publications
Date: 09-2006
DOI: 10.1177/102986490601000202
Abstract: Little is known about the prevalence or nature of the everyday experience of imagining music in the “mind's ear”. An obstacle has been the reliance on indirect, retrospective reporting. Musical imagery research to date has been limited to the experimenter-centred environment of laboratory studies. This paper considers the use of Experience-S ling Methods (ESM) to explore musical imagery as it occurs in everyday life. A pilot study applied ESM to determine when musical imagery might occur and how it is experienced. Eleven music students were cued to fill out an experience-s ling form (ESF) at random times throughout a seven-day period. Likert scale items probed the strength of imagery for different musical dimensions, while more general questions explored respondents' current activities, interaction with others and mood. Participants reported hearing externally sounded music for 47% of these episodes and imagining music for 35%. A high rate of return and the depth of information provided by respondents suggest that ESM techniques are an effective way of exploring musical imagery in ecologically valid conditions. It is argued that this method could be used to explore mental imagery for music in a wider population. Refined s ling techniques may offer a way to test specific hypotheses concerning characteristics of everyday imagery for music. Exploring auditory imagery in naturalistic as well as laboratory settings may lead to a clearer understanding of the influence of context on our mental imagery of music.
Publisher: Informa UK Limited
Date: 06-2007
Publisher: Public Library of Science (PLoS)
Date: 20-04-2011
Publisher: MIT Press - Journals
Date: 03-2009
Publisher: Oxford University Press
Date: 04-11-2021
DOI: 10.1093/OSO/9780198860761.003.0036
Abstract: Looking back at the erse chapters of the “Together in music” volume, three main themes are identified that reoccur. These relate to the relevance of embodied in-the-moment interaction between musicians for the creative processes to develop, the rich multi-dimensionality of the group music-making experience at a micro-, meso-, and macro-level, and the close relationships between social and musical coordination. These themes highlight the need to advance research by investigating ensemble performance and creativity at multiple analytical levels, e.g. taking microtiming, social coordination, and identity into account, and by explicitly considering developments and emergence over time. Furthermore, these themes promote the advancement of methods and techniques to investigate ensemble music-making processes, several of which are identified and illustrated in the book, including pattern detection in behavioral interaction, visualization of relationships between musicians, and innovations in the measurement and analysis of entrainment behavior in timing and intonation.
Publisher: University of California Press
Date: 09-2016
Abstract: We investigate the roles of the acoustic parameters intensity and spectral flatness in the modeling of continuously measured perceptions of affect in nine erse musical extracts. The extract sources range from Australian Aboriginal and Balinese music, to classical music from Mozart to minimalism and Xenakis and include jazz, ambient, drum n' bass and performance text. We particularly assess whether modeling perceptions of the valence expressed by the music, generally modeled less well than the affective dimension of arousal, can be enhanced by inclusion of perceptions of change in the sound, human agency, musical segmentation, and random effects across participants, as model components. We confirm each of these expectations, and provide indications that perceived change in the music may eventually be subsumed adequately under its components such as acoustic features and agency. We find that participants vary substantially in the predictors useful for modeling their responses (judged by the random effects components of mixed effects cross-sectional time series analyses). But we also find that pieces do too, while yet sharing sufficient features that a single common model of the responses to all nine pieces has competitive precision.
Publisher: Springer Science and Business Media LLC
Date: 07-2010
DOI: 10.3758/MC.38.5.641
Publisher: Springer Science and Business Media LLC
Date: 08-05-2014
DOI: 10.1007/S10339-014-0618-0
Abstract: Previous studies have demonstrated that synchronising movements with other people can influence affiliative behaviour towards them. While research has focused on synchronisation with visually observed movement, synchronisation with a partner who is heard may have similar effects. We replicate findings showing that synchronisation can influence ratings of likeability of a partner, but demonstrate that this is possible with virtual interaction, involving a video of a partner. Participants performed instructed synchrony in time to sounds instead of the observable actions of another person. Results show significantly higher ratings of likeability of a partner after moving at the same time as sounds attributed to that partner, compared with moving in between sounds. Objectively quantified synchrony also correlated with ratings of likeability. Belief that sounds were made by another person was manipulated in Experiment 2, and results demonstrate that when sounds are attributed to a computer, ratings of likeability are not affected by moving in or out of time. These findings demonstrate that interaction with sound can be experienced as social interaction in the absence of genuine interpersonal contact, which may help explain why people enjoy engaging with recorded music.
Publisher: SAGE Publications
Date: 2019
Abstract: Spectral pitch similarity (SPS) is a measure of the similarity between spectra of any pair of sounds. It has proved powerful in predicting perceived stability and fit of notes and chords in various tonal and microtonal instrumental contexts, that is, with discrete tones whose spectra are harmonic or close to harmonic. Here we assess the possible contribution of SPS to listeners’ continuous perceptions of change in music with fewer discrete events and with noisy or profoundly inharmonic sounds, such as electroacoustic music. Previous studies have shown that time series of perception of change in a range of music can be reasonably represented by time series models, whose predictors comprise autoregression together with series representing acoustic intensity and, usually, the timbral parameter spectral flatness. Here, we study possible roles for SPS in such models of continuous perceptions of change in a range of both instrumental (note-based) and sound-based music (generally containing more noise and fewer discrete events). In the first analysis, perceived change in three pieces of electroacoustic and one of piano music is modeled, to assess the possible contribution of (de-noised) SPS in cooperation with acoustic intensity and spectral flatness series. In the second analysis, a broad range of nine pieces is studied in relation to the wider range of distinctive spectral predictors useful in previous perceptual work, together with intensity and SPS. The second analysis uses cross-sectional (mixed-effects) time series analysis to take advantage of all the in idual response series in the dataset, and to assess the possible generality of a predictive role for SPS. SPS proves to be a useful feature, making a predictive contribution distinct from other spectral parameters. Because SPS is a psychoacoustic “bottom up” feature, it may have wide applicability across both the familiar and the unfamiliar in the music to which we are exposed.
Publisher: Informa UK Limited
Date: 17-07-2016
Publisher: American Psychological Association (APA)
Date: 03-2015
DOI: 10.1037/PMU0000090
Publisher: University of California Press
Date: 09-2006
Abstract: We propose a continued evaluation of Darwin’s suggestion that musical functioning is sexually selected, because of recent evidence on sexual dimorphism and its relation to potentially musical activities. We also propose specifically that music may enhance social trust, and hence social coalition, and anticipate some empirical assessments of this idea. The extended altriciality of the human species and the sexual differentiation of empathic responses may link these two propositions.
Publisher: University of California Press
Date: 09-2014
Abstract: Musicians anticipate and monitor the expressive effects of their actions during performance. Previous research suggests that the ability to imagine desired outcomes can partially compensate when auditory feedback is absent, permitting continued performance even though information about whether these outcomes are realized is unavailable. Research also suggests that musical imagery ability improves with increasing musical expertise. This study tested the hypothesis that expert musicians’ superior imagery abilities enable reduced reliance on auditory feedback, relative to novice musicians, during the performance of loudness changes (i.e., dynamics). Musicians reproduced the dynamic changes of sounded scales using a loudness slider as the availability of imagery and auditory feedback was manipulated. Contrary to expectations, only novices showed impairment in performing dynamics during imagery disruption and auditory feedback deprivation. Experts showed limited dependence on both sources of information, suggesting greater flexibility in how musical information is mentally represented, compared to novices, and an improved ability to adapt planning strategies.
Publisher: Hogrefe Publishing Group
Date: 10-2013
DOI: 10.1027/1618-3169/A000173
Abstract: Synchronization has recently received attention as a form of interpersonal interaction that may affect the affiliative relationships of those engaged in it. While there is evidence to suggest that synchronized movements lead to increased affiliative behavior ( Hove & Risen, 2009 Valdesolo & DeSteno, 2011 Wiltermuth & Heath, 2009 ), the influence of other interpersonal cues has yet to be fully controlled. The current study controls for these features by using computer algorithms to replace human partners. By removing genuine interpersonal interaction, it also tests whether sounds alone can influence affiliative relationships, when it appears that another human agent has triggered those sounds. Results suggest that subjective experience of synchrony had a positive effect on a measure of trust, but task success was a similarly good predictor. An objective measure of synchrony was only related to trust in conditions where participants were instructed to move at the same time as stimuli.
Publisher: MIT Press - Journals
Date: 03-2011
DOI: 10.1162/COMJ_A_00042
Publisher: MIT Press - Journals
Date: 12-2006
Abstract: Listening to the Mind Listening (LML) explored whether sonifications can be more than just “noise” in terms of perceived information and musical experience. The project generated an unprecedented body of 27 multichannel sonifications of the same dataset by 38 composers. The design of each sonification was explicitly documented, and there are 88 analytical reviews of the works. The public concert presenting 10 of these sonifications at the Sydney Opera House Studio drew a capacity audience. This paper presents an analysis of the reviews, the designs and the correspondences between timelines of these works.
Publisher: American Psychological Association (APA)
Date: 03-2016
DOI: 10.1037/PMU0000131
Publisher: Cambridge University Press (CUP)
Date: 11-2006
Publisher: Public Library of Science (PLoS)
Date: 18-08-2015
Publisher: Oxford University Press
Date: 12-08-2019
DOI: 10.1093/OXFORDHB/9780190460242.013.1
Abstract: Freya Bailes deals with the topic of musical imagery, and she uses embodied cognition as a framework to argue that musical imagery is a multimodal experience. Existing empirical studies of musical imagery are reviewed and Bailes points to future directions for the study of musical imagery as an embodied-cognition phenomenon. Arguing that musical imagery can never be fully disembodied, Bailes moves beyond the idea of auditory imagery as merely a simulation of auditory experience by “the mind’s ear.” Instead, she outlines how imagining sounds involves kinesthetic imagery and she concludes that sound and music are always connected to sensory motor processing.
Publisher: Wiley
Date: 03-2006
Publisher: Cambridge University Press (CUP)
Date: 06-07-2010
Publisher: Springer Science and Business Media LLC
Date: 22-08-2013
DOI: 10.1007/S00426-013-0513-9
Abstract: There is a large body of evidence relating to the ways that people tap in time with sounds, and perform error correction in order to do this. However, off-beat tapping is less well investigated than on-beat tapping. The current study involves coordinating with a stimulus sequence with underlying isochrony and systematic deviations from this isochrony that increase or decrease in magnitude to look at people's capacity to error-correct when performing off-beat synchronisation with a set of sounds. Participants were instructed to 'tap between the tones' but 'try to maintain regularity'. While analysis using typical methods suggested a form of error correction was occurring, a series of more complex analyses demonstrated that participants' performance during each trial can be classified according to one of four different strategies: maintaining a regular pulse, error correction, phase resetting, and negative error correction. While maintaining a regular pulse was the preferred strategy in conditions with increasingly isochronous stimuli, the majority of trials are best explained by other strategies, suggesting that participants were generally influenced by variability in the stimuli.
Publisher: SAGE Publications
Date: 09-2009
DOI: 10.1177/1029864909013002151
Abstract: Darwin proposed that music and dance may be part of courtship display leading to reproduction, and hence preservation of genes. Sexual selection could act on either or both music and dance, but we argue it may act most powerfully on their synergistic rhythmic co-performance. We suggest that motoric and temporal capacities evolved for, and adapted to, essential biological functions were exapted to working drills and to dance, and in combination with auditory capacities, to music. We propose that the recently observed correlation between bodily symmetry and perceived dancing quality in Jamaican dance is in part a reflection of the rhythmic abilities of the dancers: their capacity to produce and to synchronise with an isochronic pulse, and their simultaneous capacity to elaborate polyrhythms of movement in relation to that pulse. We elaborate empirical tests of these ideas. Since an exaptation can become a secondary adaptation, music/dance may have become an adaptation that favours reproductive success through sexual selection via display, as has been argued to apply to the studied Jamaican dancers and their community. The combination of dance with music may lify such phenotypic success.
Publisher: Informa UK Limited
Date: 02-09-2014
Publisher: Wiley
Date: 11-06-2014
DOI: 10.1002/ACP.3044
Publisher: Informa UK Limited
Date: 02-09-2014
Publisher: SAGE Publications
Date: 16-08-2007
Abstract: `Musical imagery' is the experience of imagining music in the `mind's ear'. A study was conducted to explore the prevalence and nature of musical imagery for music students in everyday life, using experience-s ling methods (ESM). As a group, music students reported that imagining music was a very frequent form of musical experience. Participants reported in idual variation in their imagery experience but also common differences between the strength of imagery for different musical dimensions. For instance, melody and lyrics were rated as being more vivid components of the image than timbre and expression. Another clear pattern was the influence of hearing music on musical imagination, one indicator being that 58 percent of s led episodes described having heard or performed the music recently as a possible reason for currently imagining it.
Publisher: Informa UK Limited
Date: 27-03-2018
DOI: 10.1080/14015439.2018.1452977
Abstract: This paper presents a novel method combining electrolaryngography and acoustic analysis to detect the onset and offset of phonation as well as the beginning and ending of notes within a sung
Publisher: American Psychological Association (APA)
Date: 06-2015
DOI: 10.1037/PMU0000087
Publisher: SAGE Publications
Date: 04-09-2013
Abstract: During musical improvisation, performers’ skin conductance (SC, a measure of psychological arousal) may respond to movement and to events whose timing is beyond control. SC has not been studied in these difficult conditions. Our purpose was to establish a procedure and analysis that would permit the meaningful use of continuous SC measures while pianists play. Consequently, two case studies of SC during piano performances develop an effective method. SC was measured at the left ankle and movement was monitored nearby. Two musicians performed manipulations of movement (flexing legs, hand motion), and performance content (playing scales versus improvisation) and type (actual, silent and imagined). Time series analysis modeled SC in relation to supplied improvisational referents. We could interpret SC during performance, provided that we accounted for the impact of movement. We detected genuine SC changes around moments of transition between musical segments these could reflect the mental effort of planning and generating music. In a subsequent validation study, we demonstrated the applicability of our method for SC analysis to performances by nine professional piano improvisers.
Publisher: American Psychological Association (APA)
Date: 06-2019
DOI: 10.1037/PMU0000243
Publisher: Oxford University Press
Date: 04-11-2021
DOI: 10.1093/OSO/9780198860761.001.0001
Abstract: Together in music develops insight into the musical ensemble as an intense form of teamwork, as finely coordinated joint action, and as an emotionally and socially rewarding experience that enables positive outcomes for wellbeing and development. By investigating processes related to group music-making at meso-, micro-, and macro-level, it offers a platform for synthesis across disciplinary and methodological approaches, and the definition of a new level of understanding that is holistic and considers interrelationships between levels of analysis. The book combines review chapters that summarize the state of the art with case studies that present research outcomes. While most chapters focus on Western classical or contemporary music, the themes that run through the book have broad relevance, which include the role of embodiment and emergence, relationships between the social and the musical, multi-dimensionality of experiences, and technologies to investigate and support collaboration and interaction in ensembles.
Publisher: Elsevier BV
Date: 2020
DOI: 10.1016/J.JVOICE.2018.06.011
Abstract: Research suggests that synchronization between musicians during ensemble performances can be affected by the rhythmic or tonal complexity of the piece being performed and by group roles such as leader-follower relationships. Since previous studies have mostly been conducted within single performance sessions, developmental aspects of interpersonal synchronization in ensembles remain underinvestigated. This longitudinal study followed a newly formed singing ensemble from initial rehearsals to the performance stage in order to investigate the evolution of synchronization between advanced singing students during a university term of study in relation to the musical content of the piece and leader-follower relationships. An advanced postgraduate singing quintet was recorded using head-worn microphones and laryngograph electrodes to allow fundamental frequency evaluation of the in idual voices. The quintet, formed to complete a 1-year Master's programme in ensemble singing, rehearsed two pieces composed for the study, during five rehearsals over 3 months. Singers practised the same pieces in a randomized order across rehearsals and performed three repetitions of the same pieces before and after each rehearsal, resulting in six recordings per piece/rehearsal. Audio and laryngograph data of the repeated performances were collected, and synchronization was measured by extracting note times from the fundamental frequency values. The asynchronies of the two pieces before and after rehearsals were calculated and compared both within rehearsals (pre and post) and between rehearsals (rehearsals 1-5). Results demonstrate an increase in the precision of synchronization over the course of study, depending on the piece being rehearsed, and a more variable synchronization for the more rhythmically complex piece. Results also show changes in the distribution of the tendency to precede all co-performers across rehearsals, which became equally distributed among the musicians during the last rehearsal. The results reported here could have important implications for the tailoring of rehearsal strategies that could improve interpersonal synchronization between musicians during ensemble performances.
Publisher: Oxford University Press
Date: 22-04-2011
Publisher: Cambridge University Press (CUP)
Date: 08-01-2013
Publisher: University of California Press
Date: 12-2012
Abstract: Musicians anticipate the effects of their actions during performance. Online musical imagery, or the consciously accessible anticipation of desired effects, may enable expressive performance when auditory feedback is disrupted and help guide performance when it is present. This study tested the hypotheses that imagery 1) can occur concurrently with normal performance, 2) is strongest when auditory feedback is absent but motor feedback is present, and 3) improves with increasing musical expertise. Auditory and motor feedback conditions were manipulated as pianists performed melodies expressively from notation. Dynamic and articulation markings were introduced into the score during performance and pianists indicated verbally whether the markings matched their expressive intentions while continuing to play their own interpretation. Expression was similar under auditory-motor (i.e., normal feedback) and motor-only (i.e., no auditory feedback) performance conditions, and verbal task performance suggested that imagery was stronger when auditory feedback was absent. Verbal task performance also improved with increasing expertise, suggesting a strengthening of online imagery.
Publisher: SAGE Publications
Date: 2009
DOI: 10.1068/P6063
Abstract: We carried out two experiments to test the relationship between real-time perception of structural change in stylistically unusual musical sounds, and perception of its affect (arousal and valence). Computer music was used because of its unfamiliarity and our capacity to control it in ecologically appropriate ways. In experiment 1, thirteen participants unselected for musical training participated in tasks to detect segmentation and changes in affect. Changes in affect occurred upon detection of segmentation but not all algorithmically distinct segments conveyed distinct affect. Short segments followed by long segments led to greater changes in arousal and valence at the point of segmentation than vice versa. In experiment 2, intra-segment sound transitions were introduced. Sixteen musicians performed the same affect task as in experiment 1, and a novel change in sound task. Participants were slow to respond to a continuous transition, but quick to respond to instantaneous transitions. Contrary to literature on the perception of affect in more familiar music, the musician participants in experiment 2 differed more in their ratings of arousal than of valence, in spite of a strong correlation of arousal with the composition of the stimuli. These findings are discussed in relation to the positive valence attributed to the more familiar sounds in both experiments.
Publisher: Oxford University Press
Date: 04-11-2021
DOI: 10.1093/OSO/9780198860761.003.0017
Abstract: Timing and synchronization represent fundamental elements of ensemble playing. Empirical research has demonstrated remarkably tight synchronization in ensembles, including instrumental and classical singing formations. Nevertheless, asynchronies between co-performers during ensemble playing are inevitable and, to some extent, desirable: musicians deliberately co-vary their timing and synchronization to attain mastery in expressive ensemble performance. By reviewing published studies on ensemble synchrony, the contextual factors that may impact synchronization are presented. Considerations of ensemble timing are then broadened to better recognize variations by musical tradition. Ultimately, the chapter reflects on the relationships between intrapersonal and interpersonal synchrony in ensemble, from the lowest levels of the temporal hierarchy, including neural activity, to the higher levels comprising breathing and cardiac activities, and musicians’ body gestures. This overview provides a conceptual framework to explore aspects of context as well as the physiology and the psychology of collective music-making, suggesting a fruitful avenue for further investigations.
Publisher: Cambridge University Press (CUP)
Date: 04-2007
DOI: 10.1017/S1355771807001616
Abstract: We discuss John Locke's ideas in his essay of 1690 on sound and its cognition and relation to bodily motion. The ideas have interesting implications for the construction of organised sound. We argue that our ecological and statistical experience of sounds in our natural (and man-made) environment is in several respects critical for our choices as soundsmiths and our impressions as listeners. Sonic repetition, both sensory and imag(in)ed, contributes to that environment. Input sounds may be ‘coupled’ to output sounds and in some cases the physical processes generating sound and the cognitive processes of receiving them are joined. As music technologists we may think of the computer, our sonic vehicle, as a joined bodily sonic-prosthesis. ‘Simple’ sonic ideas may associate with each other through shared biological bases, and become tools for creation of ‘complex’ ideas, as Locke cogitates. Furthermore, we now have new routes towards such complex sounds, including our computer prostheses.
Publisher: University of California Press
Date: 04-2012
Abstract: this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners' real-time perceptions of their structure and affective content. Thirty-two participants varying in musical expertise (nonmusicians, classical musicians, expert computer musicians) continuously rated the affect (arousal and valence) and structure (change in sound) they perceived in four compositions of approximately three minutes duration. Time series analyses tested the hypotheses that sound intensity influences listener perceptions of structure and arousal, and spectral flatness influences perceptions of structure and valence. Results suggest that intensity strongly influences perceived change in sound, and to a lesser extent listener perceptions of arousal. Spectral flatness measures were only weakly related to listener perceptions, and valence was not strongly shaped by either acoustic measure. Differences in response by composition and musical expertise suggest that, particularly with respect to the perception of valence, in idual experience (familiarity and liking), and meaningful sound associations mediate perception.
Publisher: Oxford University Press
Date: 02-06-2014
DOI: 10.1093/OXFORDHB/9780195370935.013.007
Abstract: This chapter discusses the conceptual frameworks in which current empirical studies of cognition in musical improvisation are being undertaken. It takes as its starting point the significant theoretical and empirical contributions of the late Jeff Pressing, musician and researcher, several of which were directed toward opening up this area of investigation. It is on the theoretical bases of models such as his that experimentally accessible hypotheses about improvisation can be constructed. The chapter particularly addresses the issue of transitions and segmentation in improvisation. Comparative and cross-cultural studies of the cognition of improvisation are then briefly reviewed. Finally, the potential of cognitive studies not only to elucidate improvisational processes, but also to contribute to them, is described.
Publisher: University of California Press
Date: 06-2011
Abstract: songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well-known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty-five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.
Publisher: Public Library of Science (PLoS)
Date: 27-02-2013
Publisher: SAGE Publications
Date: 09-2009
DOI: 10.1177/102986490901300205
Abstract: The report provides a brief account of an experiment whose control conditions produced interestingly counter-intuitive results. The method adapted priming techniques to explore whether imagining well-known melodies would facilitate perceptual discrimination of congruent compared to incongruent melodic continuations in a syllable identification task. This was shown to be the case, but in a subsequent control experiment, imagining an irrelevant lure melody also showed a priming effect. The persistent priming effect apparently related the target sequence to the aurally presented, nonadjacent opening notes, and not to the intervening mental image. A number of statistical analyses of the pitch relationships in match and mismatch targets were performed and a further experiment is reported in which participants explicitly selected between match and mismatch versions of the stimuli for fit within the prime context. It seems that the pitch proximity of the first target note to the final note of the sounded prime may be responsible for the priming effect. An outline of further research to explain the phenomenon is suggested, including experiments to test the strength of melodic priming governed by pitch proximity, by systematically varying the length of the period between prime and target.
Publisher: Elsevier BV
Date: 06-2014
DOI: 10.1016/J.ACTPSY.2014.03.007
Abstract: The aim of this work was to investigate perceived loudness change in response to melodies that increase (up-r ) or decrease (down-r ) in acoustic intensity, and the interaction with other musical factors such as melodic contour, tempo, and tonality (tonal/atonal). A within-subjects design manipulated direction of linear intensity change (up-r , down-r ), melodic contour (ascending, descending), tempo, and tonality, using single r trials and paired r trials, where single up-r s and down-r s were assembled to create continuous up-r /down-r or down-r /up-r pairs. Twenty-nine (Exp 1) and thirty-six (Exp 2) participants rated loudness continuously in response to trials with monophonic 13-note piano melodies lasting either 6.4s or 12s. Linear correlation coefficients >.89 between loudness and time show that time-series loudness responses to dynamic up-r and down-r melodies are essentially linear across all melodies. Therefore, 'indirect' loudness change derived from the difference in loudness at the beginning and end points of the continuous response was calculated. Down-r s were perceived to change significantly more in loudness than up-r s in both tonalities and at a relatively slow tempo. Loudness change was also greater for down-r s presented with a congruent descending melodic contour, relative to an incongruent pairing (down-r and ascending melodic contour). No differential effect of intensity r /melodic contour congruency was observed for up-r s. In paired r trials assessing the possible impact of r context, loudness change in response to up-r s was significantly greater when preceded by down-r s, than when not preceded by another r . R context did not affect down-r perception. The contribution to the fields of music perception and psychoacoustics are discussed in the context of real-time perception of music, principles of music composition, and performance of musical dynamics.
Publisher: Springer Science and Business Media LLC
Date: 18-09-2013
DOI: 10.1038/SREP02690
Publisher: Frontiers Media SA
Date: 2012
Publisher: American Psychological Association (APA)
Date: 03-2014
DOI: 10.1037/PMU0000034
Publisher: American Psychological Association (APA)
Date: 03-2015
DOI: 10.1037/PMU0000078
Publisher: Oxford University Press
Date: 22-04-2011
Publisher: Cambridge University Press (CUP)
Date: 03-06-2009
Publisher: SAGE Publications
Date: 10-01-2022
DOI: 10.1177/10298649211046979
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 in iduals 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.
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
Start Date: 2012
End Date: 2014
Funder: Australian Research Council
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