| 1. |
- Cabak Rédei, Anna
(författare)
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Review of Language, Music, and the Brain : A Mysterious Relationship.
- 2014
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Ingår i: Psychomusicology: Music, Mind, and Brain. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 24:3, s. 255-263
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Reviews the book, Language, Music, and the Brain: A Mysterious Relationship by Michael A. Arbib (2013). For the researcher, or for anyone interested in research using a multidisciplinary approach to the problem of the interrelations between language, music, and the brain, this anthology is at the same time a rich “Handbook of...” and “A Companion to....” As such the book ought to be a priceless resource on any reading list for master and graduate courses in a wide range of disciplines as, for instance, psycholinguistics, linguistics, psychomusicology, musicology, cognitive and evolutionary psychology, cognitive science, neuroscience, and cognitive semiotics. The book contains 21 chapters, divided into five parts (including the introduction) covering different aspects and proficiencies of the interrelations and evolution of language and music on the one hand, and the brain on the other. The disposition of the book is pedagogic, and the chapters and the themes of the book are well connected through the careful editing. Some chapters might be a bit more challenging than others, depending on previous knowledge but there is doubtlessly something for all interested readers in the book—parts of it, or the whole of it. The chapters are well integrated into a whole, and the overarching structure of the thematic organization into five parts further helps the reader to find her or his way through the pages.
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| 2. |
- Huovinen, Erkki, et al.
(författare)
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Eye movements in sight singing: A study with experts.
- 2021
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 31:3-4, s. 134-148
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Tidskriftsartikel (refereegranskat)abstract
- In comparison with instrumental sight reading of musical notation, sight singing is typically characterized by the presence of lyrics. The purpose of this study was to explore how skilled sight singers divide their visual attention between written music and lyrics and how their eye-movement behavior is influenced by musical stimulus complexity. Fourteen competent musicians performed 10 newly composed songs in a restricted temporal condition (60 bpm). Eye movements and vocal performances were recorded and complemented with posttask complexity ratings and interviews. In the interviews, the singers emphasized the priority of focusing on the melody instead of the lyrics. Accordingly, eye-movement analyses indicated not only more total fixation time on music than lyrics but also longer fixation durations, longer durations of visits (i.e., sequences of fixations), and a larger number of fixations per visit on music than on lyrics. The singers also more typically arrived at a bar by glancing first at the music instead of lyrics. Generalized linear mixed-model analyses showed that the number of notes and accidentals in a bar influenced the fixation time and that pupil dilation was increased by a larger number of accidentals. Measurements of eye–voice span, that is, the temporal distance between fixating and singing a note, were best predicted by phrase structure and the note density of previous melodic material. According to the interviews, the best sight singers’ approaches were characterized by a flexibility of moving between different sight-singing strategies. The study offers a comprehensive overview regarding the bottom-up and top-down aspects affecting sight-singing performance.
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| 3. |
- Johansson, Barbro
(författare)
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Music, Age, Performance, and Excellence: A Neuroscientific Approach
- 2002
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987. ; 18:1-2, s. 46-58
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Tidskriftsartikel (refereegranskat)abstract
- Playing a musical instrument demands extensive procedural, motor, and cognitive abilities, and early musical learning results in plastic reorganization of the developing brain. Even the adult brain has a considerable plasticity, and neuronal cortical connections can be remodeled by experience during one's lifetime. Current neuroimaging methods have demonstrated complex and widespread activation in many brain areas while one performs, listens, or mentally images music. The patterns of activation can vary with training, previous exposure, personal preference, emotional involvement, and many other factors. Expertise reduces age differences in performance, and the degree of skill maintenance
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| 4. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Prevalence of emotions, mechanisms, and motives in music listening: A comparison of individualist and collectivist cultures
- 2016
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Ingår i: Psychomusicology. - Washington : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 26, s. 293-326
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Tidskriftsartikel (refereegranskat)abstract
- Several studies have explored emotional reactions to music from a psychological perspective. However, little is still known about whether such responses are invariant across cultures. The aim of the present study was thus to investigate the prevalence of (a) emotional reactions, (b) psychological mechanisms, and (c) motives during music listening in a cross-cultural sample. 668 participants from six countries completed a web survey featuring 22 items that measured musical emotions in general (semantic estimates), the most recent emotion episode involving music (episodic estimates) and individual trait variables (the Satisfaction with Life Scale, Big Five, Rumination & Reflection). Three of the countries investigated (Australia, Sweden, USA) were categorized as ‘individualist’ (valuing personal independence and achievement), and the remaining three (Brazil, Kenya, Portugal) were categorized as ‘collectivist’ (giving priority to in-group goals above individual needs or desires). Comparisons suggested that the patterns of prevalence were relatively similar for the two culture categories. Yet there were some notable differences. Thus, for example, nostalgia-longing, spirituality-transcendence, and happiness-elation, and the mechanism episodic memory, were more frequent in ‘collectivist’ cultures. In contrast, sadness-melancholy and the mechanism musical expectancy were more prevalent in ‘individualist’ cultures. Trait variables explained little variance in the estimates of prevalence. Implications for future research on music and emotion are discussed.
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| 5. |
- Lefford, Nyssim
(författare)
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Review of Musical creativities in practice
- 2013
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 23:1, s. 52-53
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Recension (populärvet., debatt m.m.)abstract
- Reviews the book, Musical Creativities in Practice by Pamela Burnard (see record 2012-17776-000). In this book, Burnard challenges the relevance of the “great composer” archetype as a model for contemporary musical practices with a set of carefully composed examples. She covers musicians at various stages of their professional careers, achieving various amounts of commercial success, and using different technologies and outlets to reach listeners. She investigates bands, singer–songwriters, DJ culture, and new media. These practices reveal musical creativities that rarely belong to one genre or culture. They strive for originality and reject entrenched notions of authorship. Her analyses yield a framework through which creativities may be viewed through a sociological context and a set of prescriptive measures for introducing current musical practices into traditional music curricula.
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| 6. |
- Loimusalo, Nina
(författare)
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Memorizing silently to perform tonal and nontonal notated music : A mixed-methods study with pianists
- 2018
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 28:4, s. 222-239
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Tidskriftsartikel (refereegranskat)abstract
- Musicians use silent music reading for memorizing, and this includes different types of mental imagery and analytical functions. The aim of this mixed-methods study was to address the effects of musical expertise, general level cognitive traits, and situational strategies on pianists’ performances after silent memorizing of notated music. We also compared pianists’ silent memorizing strategies between tonal and nontonal music. Thirty pianists performed short musical excerpts from memory after silently reading the notation for 1 minute. Following this, they described their memorizing strategies in an interview, and completed tests of cognitive style, aural skills, working memory, and music-processing style. The performances were assessed in terms of “recall rate” separately for both hands (accuracy of memorization) and “overall impression” (pianistic fluency and style). In tonal music, pianists’ aural imagery focused on imagining the melody, whereas in nontonal music, aural imagery typically focused on rhythmic aspects. In tonal music, conceptual strategies were related to traditional music analysis, whereas in nontonal music they were more piecemeal and atomistic in nature. According to linear mixed-effect models, right-hand recall rate was associated with higher aural skills, but left-hand recall rate was related to verbal cognitive style and analytical music-processing style, that is, more frequent use of music analysis in regular practice. Better performances in terms of overall impression were related to higher aural skills. Music education develops skills and strategies that are effective for memorizing, and beyond one’s working memory capacity. However, cognitive styles may also play a role in musicians’ silent memorizing.
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| 7. |
- Sundberg, Johan, et al.
(författare)
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Recognizing emotions in the singing voice
- 2017
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 27:4, s. 244-255
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Tidskriftsartikel (refereegranskat)abstract
- Although the human ability to recognize emotions in vocal speech utterances with reasonable accuracy has been well documented in numerous studies, little research has been reported on emotion recognition from emotional expression in the singing voice. This paper is the first to examine this issue by asking internationally known professional opera singers to portray 9 major emotions by singing sequences of nonsense syllables on the standard musical scale. We then asked more than 500 hundred listener/judges from different cultures with a wide range of musical preferences and degree of musical knowledge to recognize the intended emotions from the voice recordings. The data show that listeners are indeed able to recognize emotions expressed in singing with better-than-chance accuracy. In addition, we find some evidence that there seem to be only minor effects of culture or language on the ability to recognize the emotional interpretations. Some emotions are more easily recognized than others are. Overall, recognition ability from the singing voice compares well to accuracy rates in studies using speaking. Judges clearly use the differential acoustic patterns of sound generated by the singers in their performance to infer the emotion expressed, as demonstrated by comparing the recognition rates for different emotions to results of statistical classification based on acoustic parameters. We also attempt to explore the nature of the inference process by examining, using path models, the major acoustic variables involved and the inference from subjectively perceived configurations of voice quality.
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| 8. |
- Gabrielsson, Alf, 1936-
(författare)
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My marriage with music psychology
- 2009
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Ingår i: Psychomusicology: music, mind & brain. - 0275-3987. ; 20:1 & 2, s. 64-73
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Tidskriftsartikel (refereegranskat)
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| 9. |
- Gabrielsson, Alf
(författare)
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Old people's remembrance of strong experiences related to music
- 2002
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Ingår i: Psychomusicology. - 0275-3987. ; 18, s. 103-122
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Tidskriftsartikel (refereegranskat)abstract
- Old people’s remembrance of their strong experiences related to music (SEM) was investigated within an extensive research project aimed at developing a descriptive system for such experiences. Participants were asked to describe the strongest experience o
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| 10. |
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