ORCID Profile
0000-0002-9748-4480
Current Organisations
The University of Edinburgh
,
Seagate Technology
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Publisher: SAGE Publications
Date: 14-11-2014
Abstract: Listeners take for granted their capacity to distinguish between musical instruments, and their ability to discriminate between performers playing the same instrument by their sound alone. Sound perception is usually considered a purely auditory process, but there is significant debate on how auditory and visual information are integrated during listening. Two experiments examined how listeners perceive in idual performers. Saxophonists ( n = 5) performed three jazz standards for an audio and video recording. Experiment 1 investigated listeners’ ability to identify in idual saxophonists by ear. Listeners heard one saxophonist, and were later asked to identify him from a line-up of saxophonists. Only 52% of listeners could correctly identify their target. Experiment 2 explored the integration of cross-modal sensory experiences (audio and visual) in saxophonist identification. Participants either watched a silent video clip of a saxophonist playing and matched it to an audio clip of the same performer, or heard an audio clip of a saxophonist and matched it to a silent video clip. Listener/viewers reliably identified their target saxophonists, and results suggest that listeners combine cross-modal perceptions to identify in idual performers, and can use the information about a performer in one modality and match it to the same performer in another modality.
Publisher: Oxford University Press (OUP)
Date: 18-01-2017
DOI: 10.1093/JMT/THW018
Abstract: Neurological trauma is associated with significant damage to people's pre-injury self-concept. Therapeutic songwriting has been linked with changes in self-concept and improved psychological well-being. This study analyzed the lyrics of songs composed by inpatients with neurological injuries who participated in a targeted songwriting program. The aim of this study was to understand which of the subdomains of the self-concept were the most frequently expressed in songs. An independent, deductive content analysis of 36 songs composed by 12 adults with spinal cord injury or brain injury (11 males, mean age 41 years +/- 13) were undertaken by authors 1 and 2. Deductive analysis indicated that when writing about the past self, people created songs that reflected a strong focus on family and descriptions of their personality. In contrast, there is a clear preoccupation with the physical self, on the personal self, and a tendency for spiritual and moral reflections to emerge during the active phase of rehabilitation (song about the present self). Statistical analyses confirmed a significant self-concept subdomain by song interaction, F(10, 110) = 5.98, p < .001, ηp2 = .35), which was primarily due to an increased focus on physical self-concept and a reduced focus on family self-concept in the present song, more than in either past or future songs. The analysis process confirmed that songwriting is a vehicle that allows for exploration of self-concept in in iduals with neurological impairments. Songwriting may serve as a therapeutic tool to target the most prevalent areas of self-concept challenges for clients undergoing inpatient neurological rehabilitation programs.
Publisher: Informa UK Limited
Date: 13-03-2016
Publisher: SAGE Publications
Date: 07-07-2016
Abstract: Visual information plays a critical role in the assessment of music performance. Audiovisual integration is well recognised in person perception, and people readily match talking faces to speaking voices. This effect exists in identifying music performers, but its strength is untested. This study investigated the importance of visual or audio priming in identifying a music performer from a line-up. Half the participants saw a target saxophonist (no sound) and then heard a line-up (no visuals) of saxophonists playing (2 to 5 saxophonists). In contrast, half the participants heard a target saxophonist (no visuals) and then saw the line-up (no sound). Participants identified the target saxophonist in visual and audio line-ups at a rate above chance, although identification accuracy decreased as the line-up number increased. Those who saw the targets identified a significantly greater number of performers from the audio line-up than those who heard the targets and identified them from a visual line-up. As the task complexity and number of distractors increased, responses remained consistent and visual priming was robust and reliable in performer identification.
Publisher: SAGE Publications
Date: 22-10-2012
Abstract: Verbalizing sound quality of in idual music performers presents a challenge to musicians and pedagogues in describing a complex aural phenomenon. Verbal overshadowing (VO) is well documented in psychological literature and can occur when we use words to describe sensory experiences (such as seeing, tasting or hearing). The verbal description impairs later recall of the sensory experience and in iduals are less able to identify the original from a line-up of similar stimuli. This study investigated the impact of verbal description on listeners’ recognition accuracy and confidence of classical singing voices. It also assessed the scope and limitations of the terms used to describe singers’ sound. Five soprano singers performed an excerpt of Caro mio ben twice for a recording. Listeners (n = 50) heard a single singer performing the first take of Caro mio ben, which they either described in words, or just remembered. Listeners were later asked to identify the voice from a homogenous line-up of the five singers. Providing a verbal description reduced listeners’ identification accuracy of target voice, but did not reduce listeners’ confidence in their decisions. There was a reliable verbal overshadowing effect and results suggest that verbalization of singing voices is problematic and limits listeners’ ability to remember a singer’s unique sound quality.
Publisher: Wiley
Date: 08-05-2020
Publisher: Informa UK Limited
Date: 03-2011
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
No related grants have been discovered for Raymond MacDonald.