| 1. |
- Eriksson, Helene, et al.
(författare)
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Similar but different : interviewing monozygotic twins discordant for musical practice
- 2016
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Ingår i: Musicae scientiae. - : Sage Publications. - 1029-8649 .- 2045-4147. ; 21:3, s. 250-266
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Tidskriftsartikel (refereegranskat)abstract
- Musical engagement is influenced by both environmental and genetic factors. Here, we explored nongeneticinfluences on musical engagement by performing semi-structured interviews of 10 Swedishmonozygotic twin pairs that were highly discordant for piano practicing. The interviews were organizedinto five sections – (i) perceived reasons for the discordance; (ii) childhood differences in specific musicrelated variables; (iii) strong memories of music; (iv) the perceived meaning of music in life and forhealth; and (v) language interests – and analyzed using response categorization. The playing twins froman early age found music more interesting and enjoyable than their co-twins and also gave richer andmore elaborate descriptions of the meaning of music in life, in several cases emphasizing that music wasimportant for their personal identity. In line with this, an analysis of previously collected web questionnairedata showed that the playing twins had a significantly higher openness to experience and pronenessto experience flow during musical activities. In contrast, the twins reported essentially no within-pairdifferences in the musical engagement of their peers, parental support, music teacher, ensemble playing,public performances, and their interest and aptitude for languages. The interviews gave no indication thatthe differences in musical engagement were caused by systematic environmental influences that wereconsistent across twin pairs. Rather, the respondents presented a wide range of different explanations fortheir discordance in musical activity, suggesting that the remaining influences on musical engagement,when genetics and family environment are controlled for, may be highly individual and idiosyncratic.
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| 2. |
- Juslin, Patrik N, 1969-, et al.
(författare)
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Emotional reactions to music in a nationally representative sample of Swedish adults : Prevalence and causal influences
- 2011
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Ingår i: Musicae scientiae. - : SAGE Publications. - 1029-8649 .- 2045-4147. ; 15:2, s. 174-207
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Tidskriftsartikel (refereegranskat)abstract
- Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A self-administered mail questionnaire was sent to a random and nationally representative sample of 1,500 Swedish citizens between the ages of 18 and 65, and 762 participants (51%) responded to the questionnaire. Thirty-two items explored both musical emotions in general (semantic estimates) and the most recent emotion episode featuring music for each participant (episodic estimates). The results revealed several variables (e.g., personality, age, gender, listener activity) that were correlated with particular emotions. A multiple discriminant analysis indicated that three of the most common emotion categories in a set of musical episodes (i.e., happiness, sadness, nostalgia) could be predicted with a mean accuracy of 70% correct based on data obtained from the questionnaire. The results may inform theorizing about musical emotions and guide the selection of causal variables for manipulation in future experiments.
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| 3. |
- Juslin, Patrik N, et al.
(författare)
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Toward a computational model of expression in music performance: The GERM model
- 2002
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Ingår i: Musicae scientiae. - 1029-8649 .- 2045-4147. ; Special Issue 2001-2002, s. 63-122
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Tidskriftsartikel (refereegranskat)abstract
- This article presents a computational model of expression in music performance: The GERM model. The purpose of the GERM model is to (a) describe the principal sources of variability in music performance, (b) emphasize the need to integrate different aspects of performance in a common model, and (c) provide some preliminaries (germ = a basis from which a thing may develop) for a computational model that simulates the different aspects. Drawing on previous research on performance, we propose that that performance expression derives from four main sources of variability: (1) Generative Rules, which function to convey the generative structure in a musical manner (e.g., Clarke, 1988; Sundberg, 1988); (2) Emotional Expression, which is governed by the performer’s expressive intention (e.g., Juslin, 1997a); (3) Random Variations, which reflect internal timekeeper variance and motor delay variance (e.g., Gilden, 2001; Wing & Kristofferson, 1973); and (4) Movement Principles, which prescribe that certain features of the performance are shaped in accordance with biological motion (e.g., Shove & Repp, 1995). A preliminary version of the GERM model was implemented by means of computer synthesis. Synthesized performances were evaluated by musically trained participants in a listening test. The results from the test support a decomposition of expression in terms of the GERM model. Implications for future research on music performance are discussed.
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| 4. |
- Lindström, Erik
(författare)
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Impact of melodic organization on perceived structure and emotional expression in music
- 2006
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Ingår i: Musicae scientiae. - 1029-8649 .- 2045-4147. ; 10:1, s. 85-117
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Tidskriftsartikel (refereegranskat)abstract
- The traditional view of tonality has been criticized for being static in neglecting the impact of other musical features such as melody, rhythm and loudness on tonality. The purpose of this paper was to investigate a dynamic view of melodic organization which may have implications for listeners' perception of both structure and emotional expression. It was hypothesized that unstable/tense notes in the melody promote perception of instability and anger, stable/relaxed notes promote perception of stability and tenderness, notes important for major mode promote perception of happiness whereas notes important for minor mode promote perception of sadness. If these notes are emphasized and activated by means of accent structure they will affect listeners' judgements in rating scales. In order to achieve variation in accent structures, 72 computer-generated versions of the well-known tune Frère Jacques were produced by systematic manipulations of tonal progression, rhythm, melodic contour, and melodic direction. Melodies were assessed by listeners on scales "stable - unstable", "simple - complex", "relaxed - tense", "happy - sad", "tender - angry", and "expressionless - expressive". ANOVA and inspection of maximum contrasts in ratings showed evidence for the dynamic impact (stress) of accent structures on certain notes, according to the predictions. Further evidence was found in stepwise multiple regression analyses, where predictor variables called "Non Triad" and "Triad", representing accents on tense (non triadic) and relaxed (triadic) notes, significantly entered the models usually next after mode, harmony and rhythm.
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| 5. |
- Loimusalo, Nina Johanna
(författare)
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Expert Pianists’ Practice Perspectives: A Production and Listening Study
- 2020
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Ingår i: Musicae scientiae. - : SAGE Publications. - 1029-8649 .- 2045-4147.
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Tidskriftsartikel (refereegranskat)abstract
- The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.
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| 6. |
- Längler, M, et al.
(författare)
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Quality of network support for the deliberate practice of popular musicians
- 2022
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Ingår i: Musicae Scientiae. - : SAGE Publications. - 1029-8649 .- 2045-4147. ; 26:1, s. 185-207
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Tidskriftsartikel (refereegranskat)abstract
- To become an expert in music, an individual goes through different phases of deliberately practising domain-specific activities with the support of actors within his or her network. These network actors are often referred to in the research literature as “persons in the shadow,” because they are for the most part unnoticeable to an audience. Systematic research on popular music does not touch upon who these persons in the shadow are and how they support deliberate practice. Therefore, the aim of this study was to examine which network actors have supported popular musicians to deliberately practice their craft during childhood, the period of apprenticeship, and throughout their careers, along with the type of support that was provided. A mixed-method egocentric network analysis, combined with quantitative and qualitative analyses of data from interviews with five experts and five intermediate-level popular musicians, has shown that band members and instrumental teachers were perceived as being most supportive of musicians’ deliberate practice during childhood and period of apprenticeship. However, during the musicians’ careers, band members were perceived as being most supportive. Experts differed from intermediate-level musicians as follows: (a) experts had contact with a larger pool of band members and instrumental teachers during their careers; (b) their networks, especially of band members in different formations and instrumental teachers, changed constantly and frequently throughout their careers; (c) they were regularly confronted with unfamiliar musical content, which expanded their musical knowledge. In this article we suggest that future research should investigate how change in networks influences deliberate practice and the acquisition of expertise.
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| 7. |
- Prochnow, Annette, et al.
(författare)
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Does a 'musical' mother tongue influence cry melodies? : A comparative study of Swedish and German newborns
- 2019
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Ingår i: Musicae scientiae. - : SAGE Publications. - 1029-8649 .- 2045-4147. ; 23:2, s. 143-156
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Tidskriftsartikel (refereegranskat)abstract
- The foetal environment is filled with a variety of noises. Among the manifold sounds of the maternal respiratory, gastrointestinal and cardiovascular systems, the intonation properties of the maternal language are well perceived by the foetus, whose hearing system is already functioning during the last trimester of gestation. These intonation (melodic) features, reflecting native-language prosody, have been found to shape vocal learning. Having had ample opportunity to become familiar with their mother's language in the womb, newborns have been found to exhibit salient pitch-based elements in their own cry melodies. An interesting issue is whether an intrauterine exposure to a maternal pitch accent language, such as Swedish, in which emphatic syllables are pronounced typically on a higher pitch relative to other syllables will affect newborns' cry melody (fundamental frequency contour). The present study aimed to answer this question by quantitatively analysing and comparing the melody structure in 52 Swedish compared with 79 German newborns. In accordance with previous approaches, cry melody structure was analysed by calculating a melody complexity index (MCI) expressing the share of cries exhibiting two or more (well-defined) arc-like substructures uttered during the recording sessions. A low MCI reflects a dominance of cries with a 'simple', i.e. single-arc melody. A significantly higher MCI was found in the Swedish infant group, which further corroborates the assumption that the well-known foetal sensitivity for musical (melodic) stimuli seems to shape infants' cry melody.
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| 8. |
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| 9. |
- Volgsten, Ulrik, 1965-
(författare)
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The roots of music : emotional expression, dialogue and affect attunement in the psychogenesis of music
- 2012
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Ingår i: Musicae scientiae. - : Sage Publications. - 1029-8649 .- 2045-4147. ; 16:2, s. 200-216
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Tidskriftsartikel (refereegranskat)abstract
- In this paper I sketch the outlines for a comprehensive theory of the psychogenesis of music. That is, a theory of how human beings may come to hear certain sounds and combinations of sounds as music. It is a theory that takes its empirical starting point in previous and well-known research findings on fundamental human interaction and communication. As such it incorporates at its core a developmental-psychological theory about the human being’s development of a sense of self in relation to others, from infancy on, and is further supported by findings from research on infants’ behavior and reactions to music. It is argued that human interaction and communication is at the outset musical — or protomusical — and that which makes interaction and communication work is the emotive, or affective power of sound (“communicative musicality” is another term that has been used for mainly the same phenomena). Although the empirical foundations are familiar, the comprehensive picture offered by the theory is new. The theory is structured according to a main thesis that states that music is a way of “making special” human self-development, our “sense of self”. However, for this affective-communicative theory to explain not only our reactions to protomusical sound, but also music at large (music understood in a broad universal sense), it must be extended to answer certain questions about human cognition. Therefore I start by referring to research in cognitive-psychology that explains cognition in part as a capacity to categorize phenomena according their level of detail or generality.
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| 10. |
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| 11. |
- Gabrielsson, Alf, et al.
(författare)
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Strong experiences related to music: A descriptive system
- 2003
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Ingår i: Musicae Scientiae. - 1029-8649. ; 7, s. 157-217
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Tidskriftsartikel (refereegranskat)abstract
- Strong Experiences related to Music (SEM) were investigated by means of some 900 persons’ free description of their strongest experience of music ever. Most of them also completed a questionnaire containing statements about SEM. Content analysis of the fr
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| 12. |
- Juslin, Patrik N, et al.
(författare)
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Current trends in the study of music and emotion: Overture
- 2002
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Ingår i: MUSICAE SCIENTIAE. - 1029-8649. ; Special Issue 2001-2002, s. 3-21
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Tidskriftsartikel (refereegranskat)abstract
- The study of musical emotion is currently witnessing a renaissance. However, the literature on music and emotion still presents a confusing picture. The conceptual terrain is still being mapped, and considerable refinement is still needed in how we study music and emotion. With all the research currently devoted to this subject, it is all the more important that we have a good grasp of the current state of the art, so that we do not invent the wheel twice. With this aim in mind, the present authors organized a symposium at the Sixth International Conference on Music Perception and Cognition in Keele, UK, August, 2000. The intention was to bring together several researchers who have made theoretical and empirical contributions to the field in order to display “Current trends in the study of music and emotion”. This special issue presents extended and revised papers from that symposium, including a number of additional contributions. In this paper, we provide an introduction. We discuss the historical background, highlight the primary issues as they relate to the contents of the others contributions, and finally consider the gap that exists between art and science.
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| 13. |
- Juslin, Patrik N, et al.
(författare)
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Improving emotional communication in music performance through cognitive feedback
- 2000
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Ingår i: MUSICAE SCIENTIAE. - 1029-8649. ; 4:2, s. 151-183
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Tidskriftsartikel (refereegranskat)abstract
- This study investigates whether cognitive feedback (CFB) can improve the expressive skills of music performers. CFB involves providing performers with information about how their use of cues in the performance compares to an optimal model for emotional communication based on listeners’ judgments. Eight guitar players were asked to perform short pieces of music so as to communicate different emotions to listeners. Their performances were judged by fifty listeners. Multiple regression was used to model the cue utilization of both performers and listeners, and the two systems were related by means of the Lens Model Equation (Tucker, 1964). Then, the performers were given CFB and were asked to change their cue utilization on the basis of this feedback. The results indicated that (a) CFB yielded a fifty percent increase in communication accuracy after a single feedback session, (b) the performers reacted positively to the CFB, and (c) the performers showed limited insight with regard to their cue utilization prior to the CFB.
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| 14. |
- Juslin, Patrik N
(författare)
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Perceived emotional expression in synthesized performances of a short melody: Capturing the listener's judgment policy.
- 1997
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Ingår i: MUSICAE SCIENTIAE. - 1029-8649. ; 1:2, s. 225-256
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Tidskriftsartikel (refereegranskat)abstract
- Recent studies of music performance have shown that systematic variations in tempo, sound level, articulation, and timbre may be used by the performer to communicate representations of specific emotions to listeners. However, although performance analyses show that performers use certain cues to communicate emotions, they cannot explain how listeners use these cues to decode the expression. The purpose of this study was thus to examine listeners' cue utilization. This was done in two listening experiments using synthesized performances of a short melody. In the first experiment, an attempt was made to recreate representative cue profiles of five emotonal expressions: happiness, sadness, anger, fear, and tenderness. The cues manipulated included tempo, sound level, spectrum, articulation, attack, vibrato, and timing. Listeners made forced-choice judgments regarding the intended emotional expression. The results showed that (a) listeners were successful in decoding the intended emotional expression of the synthesized performances, (b) decoding accuracy was as high for synthesized performances as for live performances, and (c) reversal of the sequences reduced decoding accuracy to a larger extent for live performances than for synthesized performances, suggesting that live performances were relatively more dependent on prosodic contours. In the second experiment, five cues - tempo, sound level, spectrum, articulation, and attack - were systematically varied in a factorial design. Listeners were instructed to describe the emotional expression of each cue combination by ratings on adjective scales. An attempt to describe the listener's judgment policy was made using multiple regression. The results showed that (a) listeners used all of the available cues in their judgments, (b) none of the cues had more than a probabilistic (i.e., uncertain) relation to the listeners' judgments, (c) the predictive strength of each cue varied a lot depending on the emotion judged, and (d) the hypotheses based on our earlier studies of emotional expression in music performance (e.g., Gabrielsson & Juslin, 1996, Juslin, 1997) were supported.
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