Professional Documents
Culture Documents
Conferencia de Musica Percepcion y Cognicion
Conferencia de Musica Percepcion y Cognicion
Uploaded by
santiago Buitrago garciaCopyright
Available Formats
Share this document
Did you find this document useful?
Is this content inappropriate?
Report this DocumentCopyright:
Available Formats
Conferencia de Musica Percepcion y Cognicion
Conferencia de Musica Percepcion y Cognicion
Uploaded by
santiago Buitrago garciaCopyright:
Available Formats
12th
International Conference for
Music Perception and Cognition
8th Conference of the European Society
for the Cognitive Sciences of Music
ICMPC -‐ ESCOM 2012
Joint Conference
Proceedings
Book of Abstracts
CD-‐ROM Proceedings
Edited by
E. Cambouropoulos, C. Tsougras,
P. Mavromatis, K. Pastiadis
School of Music Studies
Aristotle University of Thessaloniki
Thessaloniki/Greece, 23-‐28 July 2012
Proceedings of the ICMPC-‐ESCOM 2012 Joint Conference:
12th Biennial International Conference for Music Perception and Cognition
8th Triennial Conference of the European Society for the Cognitive Sciences of Music
Edited by:
Emilios Cambouropoulos, Costas Tsougras, Panayotis Mavromatis, Konstantinos Pastiadis
Book of Abstracts: Costas Tsougras
CD-‐ROM Proceedings: Kostantinos Pastiadis
Cover design: Emilios Cambouropoulos
Printed by COPYCITY, Thessaloniki, www.copycity.gr
Published by the School of Music Studies, Aristotle University of Thessaloniki
http://www.mus.auth.gr
12th ICMPC -‐ 8th ESCOM Joint Conference webpage: http://icmpc-‐escom2012.web.auth.gr
ICMPC webpage: http://www.icmpc.org
ESCOM webpage: http://www.escom.org
The Proceedings are also available online at the conference's website:
http://icmpc-‐escom2012.web.auth.gr
ISBN: 978-960-99845-1-5
Copyright 2012 by E. Cambouropoulos, C. Tsougras, P. Mavromatis, K. Pastiadis
2
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
Welcoming Address by ESCOM president
Dear
delegates,
On
behalf
of
the
European
Society
for
the
Cognitive
Sciences
of
Music,
I
would
like
to
extend
a
warm
welcome
to
all
of
you.
I
am
very
happy
to
see
such
an
impressive
number
of
delegates
from
all
over
the
world.
I
know
that
some
of
you
have
had
a
very
long
journey,
but
I
am
sure
you
will
not
regret
the
effort.
I
have
no
doubts
that
this
will
be
an
inspiring
and
fruitful
conference.
As
you
might
suspect,
the
road
to
this
conference
was
not
always
smooth.
In
2009,
when
we
decided
Greece
would
be
the
next
venue
for
the
joint
ESCOM/ICMPC
conference,
not
even
the
Delphi
oracle
would
have
been
able
to
predict
the
current
economic
crisis
in
Europe.
Of
course,
we
did
briefly
consider
moving
the
conference
to
another
country,
but
due
to
the
general
tense
economic
situation
in
most
European
countries,
this
was
not
a
realistic
option.
Eventually,
the
unexpected
difficulties
led
to
a
very
productive
and
personally
enriching
inner-‐European
cooperation
between
ESCOM,
DGM,
and
the
ICMPC
organizers.
First
of
all,
I
want
to
thank
the
local
team,
Emilios
Cambouropoulos,
Costas
Tsougras,
and
SYMVOLI,
for
persistently
pursuing
their
vision
of
an
international
conference
in
this
impressive
setting.
Secondly,
I
would
like
to
express
my
sincere
gratitude
to
the
executive
council
of
the
German
Society
for
Music
Psychology
(DGM),
in
particular
to
its
president
Andreas
Lehmann
and
its
treasurer
Michael
Oehler
for
their
cooperation
with
ESCOM
and
ICMPC
in
settling
financial
matters.
I
hope
that
all
of
the
delegates
will
leave
the
ESCOM-‐ICMPC
2012
conference
and
Thessaloniki
fresh
and
brimming
with
new
ideas,
new
friends,
good
experiences,
life-‐enhancing
impressions
and
optimism
regarding
the
scientific
and
scholarly
potential
of
the
cognitive
sciences
of
music.
Reinhard
Kopiez,
Professor
of
Music
Psychology,
Hanover
University
of
Music,
Drama
and
Media,
Germany
ESCOM
President
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 3
Welcoming
Address
by
the
Conference
co-‐Chairs
Dear
delegates,
We
would
like
to
welcome
all
participants
here
in
Thessaloniki
for
the
joint
meeting
of
the
12th
International
Conference
on
Music
Perception
and
Cognition
(ICMPC)
and
the
8th
Triennial
Conference
of
the
European
Society
for
the
Cognitive
Sciences
of
Music
(ESCOM).
The
conference
is
organized
by
the
School
of
Music
Studies
at
the
Aristotle
University
of
Thessaloniki,
and
the
European
Society
for
the
Cognitive
Sciences
of
Music.
This
year’s
joint
conference
is
the
fourth
joint
international
meeting
of
ICMPC
and
ESCOM
following
the
meetings
in
Liege,
Belgium
(1994),
Keele,
England
(2000),
and
Bologna,
Italy
(2006).
Three
years
ago,
at
the
urging
of
Irène
Deliège,
we
decided
to
go
ahead
and
make
a
petition
for
holding
this
international
event
in
Thessaloniki.
At
that
time,
we
could
not
imagine
the
financial
turmoil
this
country
would
enter
just
a
short
time
down
the
line.
We
are
grateful
to
ESCOM,
and
above
all
to
Reinhard
Kopiez
and
Irène
Deliège,
for
their
steady
support
and
encouragement
throughout
this
long
preparatory
period.
Many
thanks
are
due
to
Andreas
Lehmann
and
Michael
Oehler
(German
Society
for
Music
Psychology
-‐
DGM)
for
assisting
us
in
securing
a
credible
financial
environment
for
the
conference.
We
would
also
like
to
express
our
gratitude
to
the
members
of
the
international
ICMPC-‐ESCOM
2012
Conference
Advisory
Board
for
trusting
us,
despite
the
negative
international
publicity
surrounding
the
country.
The
conference
brings
together
leading
researchers
from
different
areas
of
music
cognition
and
perception.
A
large
number
of
papers,
from
a
broad
range
of
disciplines
-‐
such
as
psychology,
psychophysics,
philosophy,
neuroscience,
artificial
intelligence,
psychoacoustics,
linguistics,
music
theory,
anthropology,
cognitive
science,
education
-‐
report
empirical
and
theoretical
research
that
contributes
to
a
better
understanding
of
how
music
is
perceived,
represented
and
generated.
Out
of
570
submissions,
154
papers
were
selected
for
spoken
presentation
and
258
for
poster
presentation.
Additionally,
five
keynote
addresses
will
be
presented
in
plenary
sessions
by
five
internationally
distinguished
colleagues.
The
two
SEMPRE-‐ICMPC12
Young
Researcher
Award
winners
for
this
year
will
also
present
their
work
in
plenary
sessions
on
Wednesday
and
Friday
morning.
4
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
This
year
we
have
attempted
to
give
poster
presentations
a
more
prominent
position
in
the
conference
programme.
Posters
are
organised
thematically
into
speed
poster
sessions
where
authors
have
the
opportunity
to
present
briefly
the
core
points
of
their
work
orally
to
participants;
these
speed
sessions
will
be
followed
by
more
relaxed
presentations
and
discussions
in
front
of
the
posters
in
the
friendly
environment
of
the
main
venue
hall.
The
speed
poster
presentations
are
held
mostly
in
the
morning
giving
time
for
discussion
later
on
in
the
day.
We
are
hoping
that
this
compound
mode
of
presentation
(oral
plus
poster
presentation)
will
contribute
to
a
better
communication
between
poster
presenters
and
conference
participants.
We
are
open
to
further
suggestions
and
ideas,
as
well
as
feedback
on
how
well
this
whole
process
works.
We
also
tried
to
provide
an
interesting
and
diverse
social
programme.
Apart
from
the
welcome
reception
and
banquet,
a
variety
of
half-‐day
excursions
are
offered
on
Thursday
afternoon,
plus
other
activities
in
the
city
such
as
walking
tours.
We
would
like
to
draw
your
attention
to
the
special
concert
on
Wednesday
evening
that
features
contemporary
works
by
Greek
composers
performed
by
leading
local
performers.
The
concert
will
include
works
from
the
beginning
of
the
th
20
century
to
the
present;
also,
a
traditional
vocal
female
ensemble
will
participate
in
the
concert
complementing
contemporary
works
inspired
by
Greek
folk
music.
On
the
last
day
of
the
conference,
Saturday
afternoon,
a
special
post-‐conference
two-‐hour
session,
co-‐chaired
by
John
Sloboda
and
Mayumi
Adachi,
will
be
looking
at
the
wider
social
and
political
context
of
our
research
and
practice.
This
event
will
focus
on
the
current
global
economic
situation
as
it
is
currently
being
felt
most
strongly
in
Greece,
and
its
impact
on
scholarship
and
intellectual
exchange.
All
are
welcome
for
a
lively
and
thought-‐provoking
discussion.
We
hope
that
the
richness
of
research
topics,
the
high
quality
of
presentations,
the
smooth
flow
of
the
programme,
the
friendly
and
comfortable
enviroment
of
Porto
Palace,
the
relaxed
coffee
and
lunch
breaks,
along
with
the
conference
excursions,
musical
concerts
and
other
social
events,
will
make
this
conference
a
most
rewarding
experience.
We
hope
that
everyone
will
leave
with
fresh
ideas
and
motivation
for
future
research,
and
new
collaborations
that
will
give
rise
to
inspiring
new
ideas
and
lasting
friendships.
Closing
this
openning
comment,
we
would
like
to
thank
all
our
co-‐organisers
in
the
organising
committee,
our
colleagues
in
the
Music
Department
and
our
collaborators
at
Symvoli
for
their
support.
We
want
to
thank
especially
Panos
Mavromatis,
Kostas
Pastiadis
and
Andreas
Katsiavalos,
for
their
invaluable
practical
help
in
various
stages
of
this
organisation.
Finally,
a
warm
thanks
to
all
of
you
for
coming
to
Thessaloniki
and
for
your
support
and
solidarity
in
the
midst
of
this
difficult
period
of
our
country.
We
are
confident
that
this
conference
will
be
a
most
rewarding
and
memorable
experience
for
all.
Emilios
Cambouropoulos
and
Costas
Tsougras,
ICMPC-‐ESCOM
2012
co-‐chairs
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 5
ICMPC12-‐ESCOM8
Organizing
Committee
Chair:
Emilios
Cambouropoulos,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Co-‐Chair:
Costas
Tsougras,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Reviewing
Co-‐ordinator:
Panayotis
Mavromatis,
New
York
University,
USA
Technical
Co-‐ordinator:
Konstantinos
Pastiadis,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Georgios
Papadelis,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki
Danae
Stefanou,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki
Christina
Anagnostopoulou,
Department
of
Music
Studies,
University
of
Athens
Eleni
Lapidaki,
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki
Technical assistant, webmaster: Andreas Katsiavalos
Conference Administration: SYMVOLI Conference and Cultural Management, www.symvoli.gr
Conference Venue: Porto Palace Hotel and Conference Center, www.portopalace.gr
ICMPC-‐ESCOM 2012 Conference Advisory Board
Mayumi Adachi, Hokkaido University, Japan
Anna Rita Addessi, University of Bologna, Italy
Steven Demorest, University of Washington, USA
Andrea Halpern, Bucknell University, USA
Reinhard Kopiez, University of Hannover, Germany
Jukka Louhivuori, University of Juväskylä, Finland
Yoshitaka Nakajima, Kyushu University, Japan
Jaan Ross, Estonian Academy of Music and Theatre & University of Tartu, Estonia
Programme Committee
Eckart Altenmüller, Hanover University of Music, Drama and Media, Germany
Nicola Dibben, University of Sheffield, U.K.
Robert O. Gjerdingen, Northwestern University, U.S.
Carol L. Krumhansl, Cornell University, U.S.
Stephen McAdams, McGill University, Canada
Richard Parncutt, Karl-‐Franzens-‐Universität Graz, Austria
Catherine (Kate) Stevens, University of Western Sydney, Australia
Petri Toiviainen, University of Jyväskylä, Finland
6
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
Scientific
Advisory
Board
Mayumi
Adachi,
Hokkaido
University,
Japan
Anna
Rita
Addessi,
University
of
Bologna,
Italy
Rita
Aiello,
New
York
University,
United
States
Eckart
Altenmüller,
University
of
Music
Drama
and
Media,
Hannover,
Germany
Rytis
Ambrazevičius,
Kaunas
University
of
Technology,
Lithuania
Christina
Anagnostopoulou,
University
of
Athens,
Greece
Richard
Ashley,
Northwestern
University,
United
States
Roberto
Bresin,
KTH
Royal
Institute
of
Technology,
Sweden
Warren
Brodsky,
Ben-‐Gurion
University
of
the
Negev,
Israel
Annabel
Cohen,
University
of
Prince
Edward
Island,
Canada
Eugenia
Costa-‐Giomi,
University
of
Texas,
Austin,
United
States
Sarah
Creel,
University
of
California,
San
Diego,
United
States
Ian
Cross,
University
of
Cambridge,
United
Kingdom
Lola
Cuddy,
Queen's
University,
Canada
Lori
Custodero,
Columbia
University,
United
States
Irène
Deliège,
ESCOM,
Belgium
Steven
M.
Demorest,
University
of
Washington,
United
States
Nicola
Dibben,
University
of
Sheffield,
United
Kingdom
Walter
Jay
Dowling,
University
of
Texas,
Dallas,
United
States
Tuomas
Eerola,
University
of
Jyväskylä,
Finland
Zohar
Eitan,
Tel
Aviv
University,
Israel
Dorottya
Fabian,
University
of
New
South
Wales,
Australia
Morwaread
Farbood,
New
York
University,
United
States
Robert
Gjerdingen,
Northwestern
University,
United
States
Rolf
Inge
Godøy,
University
of
Oslo,
Norway
Werner
Goebl,
University
of
Music
and
Performing
Arts,
Vienna,
Austria
Andrea
Halpern,
Bucknell
University,
United
States
Stephen
Handel,
University
of
Tennessee,
United
States
Erin
Hannon,
University
of
Nevada,
Las
Vegas,
United
States
Yuzuru
Hiraga,
University
of
Tsukuba,
Japan
Henkjan
Honing,
University
of
Amsterdam,
Netherlands
Erkki
Huovinen,
University
of
Minnesota,
School
of
Music,
United
States
Roger
Kendall,
University
of
California,
Los
Angeles,
United
States
Reinhard
Kopiez,
Hanover
University
of
Music,
Drama
and
Media,
Germany
Stefan
Koelsch,
Freie
Universität
Berlin,
Germany
Nina
Kraus,
Northwestern
University,
United
States
Alexandra
Lamont,
Keele
University,
United
Kingdom
Eleni
Lapidaki,
Aristotle
University
of
Thessaloniki,
Greece
Edward
Large,
Florida
Atlantic
University,
United
States
Andreas
Lehmann,
Hochschule
für
Musik,
Würzburg,
Germany
Marc
Leman,
University
of
Ghent,
Belgium
Scott
Lipscomb,
University
of
Minnesota,
United
States
Steven
Livingstone,
Ryerson
University,
Canada
Jukka
Louhivuori,
University
of
Jyväskylä,
Finland
Psyche
Loui,
Beth
Israel
Deaconess
Medical
Center
and
Harvard
Medical
School,
United
States
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 7
Geoff
Luck,
University
of
Jyväskylä,
Finland
Raymond
MacDonald,
Glasgow
Caledonian
University,
United
Kingdom
Elizabeth
Margulis,
University
of
Arkansas,
United
States
Elizabeth
Marvin,
Eastman
School
of
Music,
University
of
Rochester,
United
States
Stephen
McAdams,
McGill
University,
Canada
Josh
McDermott,
New
York
University,
United
States
David
Meredith,
Aalborg
University,
Denmark
Yoshitaka
Nakajima,
Kyushu
University,
Japan
Takayuki
Nakata,
Future
University,
Hakodate,
Japan
Marta
Olivetti
Belardinelli,
Sapienza
University
of
Rome,
Italy
Georgios
Papadelis,
Aristotle
University
of
Thessaloniki,
Greece
Richard
Parncutt,
University
of
Graz,
Austria
Bruce
Pennycook,
University
of
Texas,
Austin,
United
States
Peter
Pfordresher,
University
at
Buffalo
State
University
of
New
York,
United
States
Ian
Quinn,
Yale
University,
United
States
James
Renwick,
University
of
Sydney,
Australia
Bruno
Repp,
Haskins
Laboratories,
United
States
Martina
Rieger,
UMIT
-‐
University
for
Health
Sciences,
Medical
Informatics
and
Technology,
Austria
Jaan
Ross,
Estonian
Academy
of
Music
and
Theatre,
Estonia
Frank
Russo,
Ryerson
University,
Canada
E.
Glenn
Schellenberg,
University
of
Toronto,
Canada
Emery
Schubert,
University
of
New
South
Wales,
Australia
Uwe
Seifert,
University
of
Cologne,
Germany
John
Sloboda,
Guildhall
School
of
Music
&
Drama,
United
Kingdom
Kate
Stevens,
University
of
Western
Sydney,
Australia
David
Temperley,
Eastman
School
of
Music,
University
of
Rochester,
United
States
William
Forde
Thompson,
Macquarie
University,
Australia
Barbara
Tillmann,
Lyon
Neuroscience
Research
Center,
France
Petri
Toiviainen,
University
of
Jyväskylä,
Finland
Laurel
Trainor,
McMaster
University/McMaster
Institute
for
Music
and
the
Mind,
Canada
Minoru
Tsuzaki,
Kyoto
City
University
of
Arts,
Japan
Maris
Valk-‐Falk,
Estonian
Academy
of
Music
and
Theatre,
Estonia
Oliver
Vitouch,
University
of
Klagenfurt,
Austria
Geraint
Wiggins,
Queen
Mary,
University
of
London,
United
Kingdom
Suk
Won
Yi,
Seoul
National
University,
Republic
Of
Korea
8
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SEMPRE
AWARDS
The
Society
for
Education,
Music
and
Psychology
Research
(SEMPRE)
<http://www.sempre.org.uk/>
kindly
offers
a
number
of
awards
to
researchers
attending
this
year’s
ICMPC
conference.
SEMPRE
&
ICMPC12
Young
Researcher
Award
The
SEMPRE
&
ICMPC12
Young
Researcher
Award
(YRA)
is
awarded
to
young
researchers
that
submit
a
high
quality
research
paper
and
demonstrate
the
potential
to
be
a
leading
researcher
in
the
field
of
Music
Perception
and
Cognition.
This
year’s
Young
Researcher
Award
selection
committee,
consisting
of
Graham
Welch
(chair
of
SEMPRE),
Reinhard
Kopiez
(president
of
ESCOM),
and
Kate
Stevens
(member
of
the
ICMPC-‐
ESCOM12
Scientific
Advisory
board),
examined
carefully
all
shortlisted
applications,
and
decided
this
year's
YRA
prize
to
be
shared
by
the
following
two
researchers:
Birgitta
Burger:
Emotions
move
us:
Basic
emotions
in
music
influence
people's
movement
to
music
Chia-‐Jung
Tsay:
The
Impact
of
Visual
Cues
on
the
Judgment
and
Perceptions
of
Music
Performance
The
selection
process
consisted
of
the
following
steps:
Initially,
eleven
submissions
were
shortlisted
based
on
the
review
ratings
of
the
submitted
abstract.
Then,
the
authors
of
these
eleven
abstracts
submitted
full
papers,
which
were
additionally
reviewed
by
at
least
two
reviewers
from
the
Scientific
Advisory
board.
Finally,
the
YRA
selection
committee
examined
carefully
these
eleven
submissions
in
terms
of
their
overall
quality
and
originality
(taking
into
account
the
additional
reviews),
and,
in
terms
of
meeting
all
the
criteria
described
on
the
conference
webpage,
delivered
their
final
decision.
Apart
from
receiving
a
money
prize
(1000$
each),
the
two
YRA
winners
will
present
their
work
in
special
plenary
sessions
on
Wednesday
and
Friday
morning.
The
YRA
selection
committee,
SEMPRE,
the
conference
organising
committee
and
all
participants,
would
like
to
congratulate
whole-‐heartedly
the
two
winners
for
their
success.
SEMPRE
Attendance
Bursaries
The
Attendance
Bursaries
are
awarded
by
SEMPRE
to
assist
financially
ICMPC
participants
on
the
basis
of
merit
and
need.
This
year,
a
total
of
10000
US
dollars
(from
100$
to
750$)
has
been
awarded
to
the
following
participants:
Amos
David
Boasson,
Blanka
Bogunović,
Daniel
Cameron,
Elisa
Carrus,
Song
Hui
Chon,
Emily
B.J.
Coffey,
Cara
Featherstone,
Georgia-‐Aristi
Floridou,
Benjamin
Gold,
Andrew
Goldman,
Meghan
Goodchild,
Shantala
Hegde,
Sibylle
C.
Herholz,
Christos
Ioannou,
Jenny
Judge,
Sarah
Knight,
Amanda
Krause,
Carlotta
Lega,
Samuel
A.
Mehr,
Alisun
Pawley,
Crystal
Peebles,
Rachna
Raman,
Sundeep
Teki,
Michael
Wammes,
Dustin
Wang,
Michael
W.
Weiss
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 9
Presentation
Guidelines
Spoken
Papers
Spoken
papers
are
allotted
20
minutes
plus
8
minutes
for
questions
and
2
minutes
break
for
changing
rooms.
You
must
stop
talking
when
your
time
is
up.
The
timetable
will
be
strictly
adhered
to
so
that
people
can
easily
change
rooms
and
plan
meetings
during
breaks.
All
papers
are
presented
in
English.
All
powerpoint
presentations
must
be
brought
to
the
Central
Technical
Helpdesk
in
the
main
foyer
at
least
three
hours
prior
to
the
scheduled
opening
time
of
the
session.
At
the
helpdesk,
the
authors
should
be
able
to
preview
their
presentation.
The
computers
in
the
presentation
halls
are
laptops
with
Microsoft
Windows
7
or
XP
SP3
installed.
Presentations
should
be
prepared
for
MS
Office
PowerPoint
or
in
Acrobat
pdf
format.
The
powerpoint
presentations
(ppt
or
pptx
file)
and
all
audio/visual
files
must
be
in
the
same
folder
(without
sub-‐folders)
named
after
the
presenter's
surname.
If
it
is
absolutely
necessary,
e.g.
if
you
want
to
use
a
program
that
runs
only
on
your
computer,
bring
your
own
laptop
and
check
well
in
advance
that
your
and
our
equipment
work
together
in
harmony.
In
case
of
use
of
Apple
Macintosh
computers,
participants
should
provide
any
necessary
adapters
for
video
(VGA)
output
to
the
in-‐situ
audiovisual
equipment.
Meet
your
chair
and
technical
assistant
10-‐15
minutes
before
the
start
of
your
session.
If
you
have
a
handout,
give
it
to
an
assistant
along
with
any
instructions
on
what
to
do.
If
something
goes
wrong
with
the
equipment
during
your
talk,
ask
the
technician
to
fix
it.
Meanwhile,
continue
your
talk,
even
if
you
have
to
improvise
without
slides.
Your
20-‐minute
period
will
not
be
extended
on
account
of
a
technical
problem.
Poster
Presentations
Hanging
up
and
presenting
posters.
Authors
are
responsible
for
setting
up
and
removing
their
posters.
If
your
poster
is
presented
at
a
Speed
Poster
Session
on
Tuesday,
then
you
should
hang
it
up
on
Monday
afternoon
before
5:30pm
and
the
poster
will
remain
till
Tuesday
evening.
If
your
poster
is
presented
on
Wednesday
or
Friday,
then
it
should
be
hung
up
on
the
morning
of
that
same
day
before
9am
and
removed
the
following
day.
A
timetable
of
papers
on
each
poster
panel
will
indicate
which
posters
should
be
hung
up
on
that
particular
panel.
Posters
will
be
organised
thematically,
so
look
for
your
poster
panel
in
the
appropriate
thematic
region.
We
will
provide
the
means
for
you
to
hang
your
poster.
At
least
one
author
of
a
poster
must
be
available
to
present
it
during
the
special
poster
presentation
sessions
and,
also,
during
coffee
breaks
and
lunch
breaks
on
the
two
days
that
the
poster
will
be
hanged.
Speed
poster
presentations.
Apart
from
the
poster,
a
5-‐minute
slot
is
allocated
for
the
spoken
presentation
of
each
poster.
The
goal
of
this
brief
presentation
is
not
to
present
the
full
paper,
but
rather
to
give
a
glimpse
into
the
participants'
research
that
will
attract
delegates
for
a
more
detailed
presentation
and
discussion
around
the
actual
poster.
Authors
should
not
try
to
fit
as
much
as
possible
into
the
five
minutes,
but
preferably
to
give
a
few
interesting/exciting
points
that
will
urge
delegates
to
discuss
the
issues
raised
further
during
the
poster
presentation
sessions,
and
the
lunch/coffee
breaks.
The
same
requirements
for
spoken
talks
apply
for
the
speed
poster
presentations
(read
carefully
the
quidelines
above),
with
the
following
exception:
each
speed
poster
presentation
is
allotted
exactly
5
minutes
without
extra
time
for
discussion
-‐
presenters
should
ensure
that
their
presentation
is
less
than
5
minutes
to
allow
half-‐a-‐minute
or
so
for
the
preparation
of
the
next
presentation.
The
timetable
will
be
strictly
adhered
to.
We
suggest
powerpoint
presentations
should
consist
of
no
more
that
4-‐5
slides.
All
powerpoint
presentations
must
be
brought
to
the
Central
Technical
Helpdesk
in
the
main
foyer
at
least
three
hours
prior
to
the
scheduled
opening
time
of
the
session.
Use
of
individual
laptops
is
not
allowed
in
speed
poster
sessions.
10
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
' ' '-‐
OVERVIEW
CONFERENCE
PROGRAMΜΕ
'
!
!
' MONDAY' TUESDAY' WEDNESDAY' THURSDAY' FRIDAY' SATURDAY'
23'JULY' 24'JULY' 25'JULY' 26'JULY' 27'JULY' 28'JULY'
9:00%
REGISTRATION'
9:30!
keynote!4! keynote!5!
9:30%
symposium!2,! symposium!5,!
10.00!
keynote!3! paper!sessions! paper!sessions!
10:00% Young!Resear% Young!Resear%
20%23! 37%40!
10:30! cher!Award!1! cher!Award!2!
10:30%
coffee!break! coffee!break! coffee!break!
11:00!
11:00% speed!poster! speed!poster! speed!poster!
coffee!break! coffee!break!
11:30! sessions!1%5! sessions!16%20! sessions!31%35!
11:30% speed!poster! speed!poster! speed!poster!
12:00! sessions!6%10! sessions!21%25! sessions!36%40!
12:00% paper!sessions!
poster! symposium!3,! poster!
12:30! poster! 41%45!
paper!sessions!!
12:30% presentation! presentation! presentation!
24%27!
13:00!
!
13:00%
13%30!
13:30%
LUNCH! LUNCH! ! LUNCH! LUNCH!
14%00!
14:00%
14:30!
14:30%
symposium!4,!
15:00! paper!sessions!! paper!sessions!
paper!sessions!
15:00% 1%5! 10%14! Special!
23%36!
15:30! Post%
15:30% speed!poster! speed!poster! speed!poster! Conference!
16:00! sessions!11%15! sessions!26%30! sessions!41%44! Session!
16:00% poster! poster! poster!
16:30! presentation! presentation! presentation!
16:30%
coffee!break! coffee!break! coffee!break!
17:00!
17:00%
17:30! TOURS'&'
REGISTRATION' symposium!1,!
17:30% paper!sessions! EXCURSIONS'
paper!sessions!!
18:00! 15%19! paper!sessions!
6%9!
18:00% 36%40!
welcome!
18:30!
18:30%
ESCOM! ICMPC! !
19:00!
keynote!1! General! Business!
19:00%
Assembly! Meeting!
19:30!
19:30%
!
20:00!
keynote!2! !
20:00%
!
20:30!
20:30% WELCOME!
CONCERT! BANQUET!
22:00! RECEPTION!
!
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 11
Monday
23
July
Keynote
1:
Grand
Pietra
Hall,
18:30-‐19:30
Irène
Deliège:
The
cue-‐abstraction
model:
its
premises,
its
evolution,
its
prospects
Irène
Deliège
obtained
her
qualifications
at
the
Royal
Conservatory
of
Brussels.
After
a
twenty-‐year
career
as
a
music
teacher,
she
retrained
in
psychology
at
the
University
of
Brussels
and
obtained
her
PhD
in
1991
from
the
University
of
Liège.
A
founding
member
of
the
European
Society
for
the
Cognitive
Sciences
of
Music
(ESCOM),
she
acted
since
its
inception
in
1991
till
recently
as
Permanent
Secretary
and
Editor
of
its
journal,
Musicae
Scientiae
that
she
launched
in
1997.
Her
main
research
interests
include
the
organisation
of
a
mental
representation
of
the
musical
work,
cue
abstraction
and
imprint
formation,
categorisation
and
similarity
perception
during
listening.
She
is
the
author
of
several
articles
and
has
co-‐edited
several
books
dedicated
to
music
cognition
and
perception,
among
which
La
Musique
et
les
Sciences
Cognitives
(Mardaga,
1986),
Naissance
et
Développement
du
Sens
Musical
(Presses
Universitaires
de
France,
1995),
Musical
Beginnings
(Oxford
University
Press,
1996),
Perception
and
Cognition
of
Music
(Psychology
Press,
1997),
Musique
contemporaine
:
Perspectives
théoriques
et
philosophiques
(Mardaga,
2001),
Musical
Creativity
(Psychology
Press,
2006),
Musique
et
Évolution
(Mardaga,
2010),
Music
and
the
Mind:
Essays
in
honour
to
John
Sloboda
(Oxford
University
Press,
2011),
Contemporary
Music:
Theoretical
and
philosophical
Perspectives
(Ashgate,
2011).
Born
of
a
reflection
resulting
from
an
approach
by
Lerdahl
and
Jackendoff’s
grouping
preference
rules
(see
GTTM,
1983),
the
cue-‐abstraction
model
is
proposed.
This
model
is
anchored
on
the
formulation
of
the
general
perceptual
principle
of
sameness
and
difference.
The
description
and
discussion
of
the
cue-‐abstraction
model
will
revolve
around
three
main
axes.
A
first
axis
of
reflection
concerns
the
psychological
constants
on
which
our
perceptual
activities
are
based
whatever
the
perceptual
field
addressed.
The
theoretical
premises
of
the
cue-‐abstraction
model
in
the
perception
of
a
musical
piece
are
based
on
arguments
put
forward
in
general
psychology
as
well
as
in
psycholinguistics.
Similarly,
the
hypothesis
of
imprint
formation
as
a
result
of
the
repetition
of
abstracted
figures,
found
its
theoretical
foundations
in
the
work
on
categorisation
processes
from
Rosch’s
team
and
in
research
about
prototype
effects
in
visual
and
linguistic
material
by
Posner,
Keele,
Bransford
and
Franks.
A
second
axis
considers
the
influence
of
culture,
education,
music
tuition
and
social
environment
on
the
perception
of
a
musical
piece.
All
my
investigations
from
1985
to
date
have
been
conducted
by
comparing
the
performance
of
musicians
and
non-‐musicians.
Some
findings
have
established
that
:
•
the
cue
abstraction
process
is
relatively
tuition-‐independent;
•
tuition
intervenes,
however,
in
the
formation
of
imprints
and
categorization
processes
in
which
case
the
role
of
memory
is
more
effective
-‐
influence
of
implicit
learning
and
memory
require
further
investigation;
12
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
MON
•
the
impact
of
heads
of
thematic
elements
is
more
pronounced
in
abstracted
cued
elements:
so-‐called
priming
procedures
can
shed
light
for
a
better
understanding
of
the
mechanisms
involved.
A
third
axis
concerns
the
definition
of
notions
underlying
the
psychological
mechanisms
involved
in
music
perception.
Cue,
musical
idea,
variation,
imprint,
theme,
motif,
pertinence,
salience,
accent,
similarity,
difference,
and
so
on,
are
all
terms
borrowed
from
the
common
vocabulary
and
used
intuitively
by
musicians
and
musicologists
in
their
work
on
music
analysis,
theory,
history,
philosophy
and
aesthetics
of
music.
Would
it
be
possible
to
go
beyong
this
intuitive
use?
Do
we
have
tools
to
make
progress
towards
more
relevant
definitions
that
can
satisfy
scientists’
quest
for
more
precision?
Keynote
2:
Grand
Pietra
Hall,
19:30-‐20:30
John
Rink:
The
(F)utility
of
Performance
Analysis
John
Rink
studied
at
Princeton
University,
King’s
College
London,
the
Guildhall
School
of
Music
&
Drama,
and
the
University
of
Cambridge.
His
work
as
Professor
of
Musical
Performance
Studies
at
Cambridge,
as
Fellow
at
St
John’s
College,
and
as
Director
of
the
AHRC
Research
Centre
for
Musical
Performance
as
Creative
Practice
(CMPCP)
draws
upon
his
broad
musical
and
musicological
experience.
He
specialises
in
performance
studies,
theory
and
analysis,
and
nineteenth-‐century
studies.
He
has
published
six
books
with
Cambridge
University
Press,
including
The
Practice
of
Performance
(1995),
Musical
Performance
(2002),
and
Annotated
Catalogue
of
Chopin’s
First
Editions
(with
Christophe
Grabowski;
2010).
In
addition
to
directing
CMPCP,
John
Rink
is
one
of
four
Series
Editors
of
The
Complete
Chopin
–
A
New
Critical
Edition,
and
he
directs
two
other
research
projects:
Chopin’s
First
Editions
Online
(funded
by
the
Arts
and
Humanities
Research
Council)
and
Online
Chopin
Variorum
Edition
(funded
by
the
Andrew
W.
Mellon
Foundation).
Considerable
scepticism
has
been
expressed
in
recent
scholarship
about
the
mapping
from
structure
to
performance
that
was
once
considered
ideal
in
the
musicological
literature.
Clearly
the
interpretive
practice
of
performers
of
Western
art
music
involves
a
good
deal
more
than
translating
notated
symbols,
theoretical
constructs
and
analytical
findings
into
sound,
just
as
listening
is
not
simply
a
matter
of
the
‘structural
hearing’
valorized
by
certain
authors.
That
does
not
mean
that
musical
structure
as
conventionally
understood
is
irrelevant
to
performers
or
listeners
–
only
that
the
relationship
is
more
complex
and
less
exclusive
than
some
have
assumed.
One
problem
has
to
do
with
a
reductivist
tendency
to
regard
musical
structure
as
a
single,
seemingly
static
entity
rather
than
as
a
range
of
potential,
inferred
relationships
between
the
various
parameters
active
within
a
work.
Not
only
is
it
more
accurate
to
refer
to
music’s
structures,
but
the
origin
and
dynamic
nature
of
those
structures
must
also
be
acknowledged.
In
that
respect
performers
have
a
seminal
role
to
play,
creating
rather
than
just
responding
to
musical
structure
in
each
performance.
This
goes
well
beyond
the
surface-‐level
expressive
microstructure
upon
which
much
of
the
literature
has
focused
to
date.
This
paper
will
survey
a
range
of
different
analytical
approaches
to
musical
performance,
including
those
developed
by
CHARM
(www.charm.kcl.ac.uk)
and
CMPCP
(www.cmpcp.ac.uk).
It
will
be
argued
that
no
single
analysis
can
ever
be
exhaustive
and
that
analytical
‘truth’
is
both
partial
and
contingent.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 13
Tuesday
24
July
Keynote
3:
Grand
Pietra
Hall,
09:30-‐10:30
Gerhard
Widmer:
Computational
Music
Perception:
On
the
Importance
of
Music
Cognition
Research
for
Building
Musically
Competent
Systems
Gerhard
Widmer
is
full
professor
and
head
of
the
Department
of
Computational
Perception
at
the
Johannes
Kepler
University
Linz,
and
head
of
the
Intelligent
Music
Processing
and
Machine
Learning
Group
at
the
Austrian
Research
Institute
for
Artificial
Intelligence
(OFAI),
Vienna.
He
holds
degrees
in
computer
science
from
the
University
of
Technology
Vienna
and
the
University
of
Wisconsin/Madison,
USA.
His
research
interests
are
in
computational
models
of
musical
skills
(notably:
expressive
music
performance),
and
in
the
application
of
AI
and
machine
learning
methods
to
real-‐world
musical
problems.
He
has
been
awarded
several
research
prizes,
including
the
highest
scientific
award
in
the
country
of
Austria,
the
"Wittgenstein
Prize"
(2009).
In
2006,
he
was
elected
a
Fellow
of
the
European
Coordinating
Committee
for
Artificial
Intelligence
(ECCAI),
for
his
contributions
to
European
AI
Research.
Driven
by
a
strong
demand
from
the
digital
music
world,
engineering-‐oriented
fields
like
Music
Information
Retrieval
(MIR)
and
Sound
and
Music
Computing
(SMC)
have
made
great
technical
progress
in
the
past
decade.
Today,
computer
systems
are
being
developed
that
successfully
perform
complex
tasks
such
as
music
detection,
classification,
recognition,
and
tracking,
some
of
these
with
substantial
commercial
impact.
An
analysis
of
the
underlying
methods
shows
that
these
systems
generally
solve
such
tasks
in
ways
that
seem
very
different
from
how
humans
approach
them,
which
one
might
take
to
imply
that
we
do
not
need
music
cognition
research
to
build
musically
competent
systems.
In
this
presentation,
we
will
take
a
closer
look
at
some
of
these
systems
and
will
discover
that
they
are
successful
because,
in
effect,
the
problems
they
solve
are
rather
easy,
in
certain
respects.
We
will
then
focus
on
a
more
demanding
musical
task
and
a
corresponding
research
field
that
(I
claim)
has
not
made
as
much
progress
in
the
past
decade
as
one
might
have
hoped:
computational
modelling
of
expressive
music
performance.
By
looking
at
recent
work
on
models
of
expressive
timing,
we
will
identify
some
central
questions
related
to
music
perception
that
are
still
(again:
my
claim)
fundamentally
unsolved,
and
whose
solution
would
greatly
help
in
the
development
of
truly
'musical'
systems.
14
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 1: Grand Pietra Hall, 11:00-‐11:40
Musical expectation – tension
Changing expectations: does retrospection influence our perceptions of
melodic fit?
Freya Bailes, Roger T. Dean
MARCS Auditory Labs, University of Western Sydney
Statistical models can predict listeners’ melodic expectations and probable musical events are
more readily processed than less probable events. However, there has been little consideration of
how such expectations might change through time, as remembering becomes necessary. Huron’s
ITPRA theory proposes successive stages forming musical expectation, the last of which,
appraisal, might shift a listener’s representations and expectations. The temporal trajectory of
expectations and the role of remembering and appraisal, are not well understood. The aim of this
experiment was to identify conditions in which expectation and retrospective appraisal
contribute in melodic processing. It was hypothesized that melodic expectations based on the
most recently heard musical sequence would initially influence ratings in a probe tone task, with
a shift to a retrospective analysis of the whole sequence through time. Four male and 12 female
‘non-‐musicians’ studying undergraduate psychology participated for course credit. An adaptation
of Krumhansl’s probe tone method was used, in which an isochronous melody was presented,
consisting of a sequence of five chords in one key followed by a sequence of three monophonic
notes forming an arpeggio in another key a semitone away. Following this, a probe tone was
presented immediately, 1.8s, 6s, or 19.2s later. Participants hearing the stimuli over headphones
rapidly rated the goodness of fit of the probe to the preceding context, using a 7-‐point scale. The
tonal relationship of the probe to both parts of the melodic sequence was manipulated. Probe
tone ratings changed significantly with time. Response variability decreased as the time to probe
presentation increased, yet ratings at every time point were significantly different from the scale
mid-‐point of ‘4’, arguing against increasingly ‘noisy’ data, or a memory loss, even 19.2s after
presentation of the melodic sequence. Suggestive evidence for a role of appraisal was the
development with delay time of statistical correlation between distributions of perceived fit and
predictions based on literature data on tonal pitch preference, or on the IDyoM model of
statistical probability. So, with no further musical input, listeners can continue to transform
recent musical information and so change their expectations beyond simply forgetting.
Closure and Expectation: Listener Segmentation of Mozart Minuets
Crystal A. Peebles
School of Music, Northern Arizona University, United States
This study investigates the theoretical claim that the perception of closure stems from the
ability to predict the completion of a schematic unit, resulting in a transient increase in
prediction error for the subsequent event. In this study, participants were asked to predict
the moment of completion of mid-‐level formal units while listening to three complete minuet
movements by Mozart (K. 156, K. 168, and K. 173). Following this prediction task,
participants then rated the degree of finality of ending gestures from these same movements.
Generally, endings punctuated by strong cadential arrival were best predicted and received
higher ratings, suggesting that learned harmonic and melodic ending gestures contribute to
the segmentation of musical experience. These results were accentuated for participants
with formal musical training, further supporting this conclusion.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 15
Tracking
levels
of
closure
in
melodies
Andrew
R.
Brown,*
Toby
Gifford,*
Robert
Davidson#
*Queensland
Conservatorium,
Griffith
University,
Australia
#Dept.
Music,
University
of
Queensland,
Australia
We
computationally
implemented
the
conditions
of
closure
posited
in
Narmour’s
Implication-‐
Realisation
(I-‐R)
theory,
and
evaluated
how
well
these
formally
defined
notions
of
melodic
closure
align
with
points
of
structural
closure
–
phrase
ends
and
score
ends
–
in
the
Essen
folksong
corpus.
We
found
three
of
the
conditions,
those
relating
to
durational,
metric
and
tonal
resolution,
were
positively
correlated
with
points
of
structural
closure,
and
that
a
combined
closure
measure
calculated
from
a
weighted
combination
of
these
individual
measures
had
a
strong
relationship
with
structural
closure.
We
suggest
this
provides
evidence
supporting
the
I-‐R
theory’s
claim
that
points
of
positive
congruence
in
these
measures
can
give
rise
to
a
sense
of
repose
or
completion,
or
closure
in
the
sense
of
Gestalt
psychology.
We
provide
further
detail
regarding
the
strength
and
independence
of
the
individual
conditions
in
this
regard.
We
conclude
that
these
computationally
tractable
measures
may
be
of
benefit
in
automated
segmentation
tasks.
Musical
tension
as
a
response
to
musical
form
Gerhard
Lock,*
Kerri
Kotta
#
*
Estonian
Academy
of
Music
and
Theatre,
Department
of
Musicology
Tallinn
University,
Institute
of
Fine
Arts,
Department
of
Music,
Tallinn/Estonia
#
Estonian
Academy
of
Music
and
Theatre,
Department
of
Musicology
Musical
tension
is
a
complex
phenomenon
and
its
comprehensive
description
should
generally
include
a
variety
of
different
approaches.
In
this
study,
our
goal
is
to
describe
the
musical
tension
as
a
response
of
a
listener
to
formal
patterns
by
combining
perception
tests
with
musical
analysis.
To
the
authors
of
this
article,
musical
form
is
essentially
a
hierarchical
phenomenon.
The
main
idea
behind
this
study
is
that
the
perception
of
musical
tension
can
be
seen
as
being
dependant
on
the
hierarchical
aspects
of
form.
We
hypothesize
that
the
intensity
of
the
perceived
musical
tension
is
proportional
to
the
structural
(or
hierarchical)
significance
of
the
corresponding
musical
event.
For
ease
of
comparison
of
the
tension
curves
obtained
from
listening
tests
and
score-‐based
structural
analysis,
we
will
present
three
new
methods:
1)
Analysis
of
salient
features
of
music:
based
on
the
discrimination
of
the
relative
importance
of
different
types
of
compound
musical
events
(i.e.
impulse
and
culmination,
see
Lock
2010)
based
on
the
musical
score
and
cognitive
analysis.
2)
Analysis
of
musical
“energy”:
form
is
treated
as
a
succession
of
short
areas
in
which
the
energy
of
music
(i.e.
a
relative
degree
of
the
activity
of
its
carriers,
i.e.
rhythm,
dynamics,
texture,
timbre,
and
register)
can
be
described
by
simple
terms,
i.e.
increase,
decrease,
and
sustain
(see
Kotta
2011).
3)
Reduction
and
averaging
of
tension
curves:
the
method
allows
taking
apart
different
“levels”
of
curves
obtained
from
listening
tests
with
continuous
data
capture
(via
slider
controllers).
Through
further
research,
we
will
find
optimal
mappings
between
and
compare
the
outputs
of
the
three
analytical
methods
presented
here
with
a
traditional
formal
analysis
of
the
works
of
post-‐tonal
music.
16
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Expectations in Culturally Unfamiliar Music: Influences of Perceptual Filter
and Timbral Characteristics
Catherine Stevens,* Barbara Tillmann,#* Peter Dunbar-‐Hall,§ Julien Tardieu,✝ Catherine Best*
*MARCS Institute, University of Western Sydney, Australia; #Lyon Neuroscience Research Center,
CNRS-‐UMR
5292,
INSERM
U1028,
Université
de
Lyon,
France;
§Conservatorium
of
Music,
The
University
of
Sydney,
Australia;
✝Université
de
Toulouse
UTM,
France
With
exposure
to
a
musical
environment,
listeners
become
sensitive
to
the
regularities
of
that
environment.
These
acquired
perceptual
filters
likely
come
into
play
when
novel
scales
and
tunings
are
encountered.
i)
What
occurs
with
unfamiliar
timbre
and
tuning?
ii)
Are
novice
listeners
sensitive
to
both
in-‐
and
out-‐of-‐scale
changes?
iii)
Does
unfamiliar
timbre
make
a
difference
to
judgments
of
completeness?
iv)
When
changes
are
made,
is
perceived
coherence
affected
and
how
much
change
disrupts
judged
cohesion
of
unfamiliar
music?
An
experiment
investigated
the
effect
of
unfamiliar
timbre
and
tuning
on
judgments
of
melody
completeness
and
cohesion
using
Balinese
gamelan.
It
was
hypothesized
that,
when
making
judgments
of
musical
completeness,
novice
listeners
are
sensitive
to
in-‐
and
out-‐of-‐scale
changes
and
this
is
moderated
by
an
unfamiliar
timbre
such
as
“sister”
or
beating
tones.
Thirty
listeners
with
minimal
experience
with
gamelan
rated
coherence
and
completeness
of
gamelan
melodies.
For
the
out-‐of-‐scale
endings,
the
gong
tone
was
replaced
by
a
tone
outside
the
scale
of
the
melody;
for
in-‐scale
endings,
the
gong
tone
was
replaced
by
a
tone
belonging
to
the
scale
of
the
melody.
For
completion
ratings,
the
out
of
scale
endings
were
judged
less
complete
than
the
original
gong
and
in-‐scale
endings.
For
the
novel
“sister”
melodies,
in-‐scale
endings
were
judged
as
less
complete
than
the
original
gong
endings.
For
coherence,
melodies
using
the
original
scale
tones
were
judged
as
more
coherent
than
melodies
containing
partial
or
total
replacements.
The
results
provide
evidence
of
perceptual
filters
influencing
judgments
of
novel
tunings.
ERP
Responses
to
Cross-‐cultural
Melodic
Expectancy
Violations
Steven
M.
Demorest,*
Lee
Osterhout#
*Laboratory
for
music
Cognition,
Culture
&
Learning,
School
of
Music,
University
of
Washington,
USA
#Cognitive
Neuroscience
of
Language
Lab,
Department
of
Psychology,
University
of
Washington,
USA
The
purpose
of
this
study
was
to
use
ERP
to
test
cultural
awareness
of
out-‐of-‐scale
notes
in
Western
and
North
Indian
music.
We
measured
late
positive
ERP
responses
to
out
of
scale
notes
in
both
listening
conditions
as
well
as
a
rating
of
the
congruousness
of
the
melody.
US-‐
born
participants
listened
to
synthesized
presentations
of
30
excerpts
each
of
European
folk
songs
and
North
Indian
ragas.
All
melodies
were
heard
in
their
original
form
and
in
deviation
form.
There
was
a
significant
main
effect
for
culture
and
condition
with
deviation
melodies
rated
as
less
congruous
than
the
original
versions,
and
Indian
music
less
congruous
than
Western.
A
significant
condition
by
culture
interaction
indicated
that
listeners
were
less
sensitive
to
deviations
in
the
culturally
unfamiliar
melody
context.
There
was
a
significant
and
widely
distributed
P600
response
to
out-‐of-‐scale
notes
in
the
Western
condition
and
a
much
smaller
but
still
significant
P600
effect
in
the
Indian
condition.
Congruousness
ratings
suggest
that
listeners
are
less
sensitive
to
melodic
expectancy
violations
in
the
music
of
unfamiliar
cultures
compared
to
their
own
culture.
ERP
data
were
more
mixed
with
subjects
exhibiting
a
late
positive
component
in
response
to
deviations
in
both
cultural
conditions,
but
less
robust
in
the
unfamiliar
culture.
The
results
provide
support
for
the
idea
that
listeners
can
internalize
tonal
structures
in
culturally
unfamiliar
music,
but
there
are
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 17
possible
confounds
between
these
two
musical
systems.
We
discuss
the
implications
of
these
findings
for
theories
on
cultural
versus
universal
factors
in
music
cognition.
A
pilot
investigation
on
electrical
brain
responses
related
to
melodic
uncertainty
and
expectation
Job
P.
Lindsen*,
Marcus
T.
Pearce#,
Geraint
Wiggins#,
Joydeep
Bhattacharya*
*Department
of
Psychology,
Goldsmiths,
University
of
London,
UK
#Centre
for
Digital
Music,
Queen
Mary,
University
of
London,
UK
Forming
an
expectation
of
how
music
unfolds
in
time
is
inherent
to
listening
to
music.
However,
not
all
melodic
contexts
allow
for
the
generation
of
strong
expectations
about
how
those
melodies
will
continue,
i.e.
melodic
contexts
differ
in
the
uncertainty
they
create
about
the
melodic
continuation.
In
music
there
are
roughly
three
possibilities:
A
melody
sets
up
a
strong
expectation
that
is
confirmed
by
the
expected
note,
or
a
strong
expectation
that
is
violated
by
an
unexpected
note,
or
no
strong
expectation
in
which
case
the
following
note
is
likely
to
be
unexpected.
The
aim
was
to
identify
distinct
brain
responses
reflecting
uncertainty
of
melodic
continuation,
and
unexpectedness
of
musical
notes.
We
used
our
statistical
learning
model
to
estimate,
note-‐by-‐note,
the
uncertainty
of
expectation,
and
the
unexpectedness
of
that
note.
EEG
data
was
recorded
while
participants
(musicians,
n=20)
listened
to
monophonic
and
isochronous,
but
ecologically
valid,
melodies.
Unexpected
of
notes
was
negatively
associated
with
a
frontal
EEG
amplitude
around
120
ms
after
note
onset,
followed
by
a
positive
frontocentral
relationship
between
200-‐300ms.
Uncertainty
was
also
associated
with
an
early
negative
relationship
with
frontal
EEG
amplitude,
followed
by
a
recurrent
posterior
negative
relationship
~470
and
~580ms
after
note
onset.
These
findings
provide
first
evidence
of
neural
responses
associated
with
the
generation
of
melodic
expectations,
and
altogether
support
our
claim
that
statistical
learning
produces
information-‐theoretic
descriptions
of
music
that
are
associated
with
distinct
patterns
of
neural
activity.
Neural
and
behavioural
correlates
of
musical
expectation
in
congenital
amusia
Diana
Omigie,
Marcus
Pearce,
Lauren
Stewart
Goldsmiths,
University
of
London,
UK
Music
listening
involves
using
previously
internalized
regularities
to
process
incoming
musical
structures.
Congenital
amusia,
a
disorder
believed
to
affect
4%
of
the
population,
is
typically
associated
with
insensitivity
to
unexpected
musical
events.
However
recent
evidence
suggests
that
despite
showing
striking
impairment
on
tasks
of
musical
perception
requiring
explicit
judgement,
these
individuals
may
possess
intact
implicit
knowledge
of
musical
regularities.
The
present
study
uses
two
analogous
paradigms
to
measure
the
formation
of
melodic
expectations
at
an
implicit
and
explicit
level
respectively.
We
test
the
hypothesis
that
those
with
amusia
are
able
to
demonstrate
intact
melodic
expectations
when
probed
implicitly,
but
are
impaired
when
explicit
judgements
are
required.
Further,
we
use
EEG
to
compare
the
neural
correlates
of
melodic
expectation
in
amusics
versus
controls.
A
computational
model
of
melodic
expectation
was
used
to
identify
probe
notes
varying
in
expectedness
in
real
melodies.
In
an
implicit
task,
amusic
and
control
participants
made
speeded,
forced-‐choice
discriminations
concerning
the
timbre
of
a
cued
target
note
in
the
context
of
a
melody
while
in
an
explicit
task,
they
used
a
1-‐7
rating
scale
to
indicate
the
degree
to
which
the
pitch
of
the
cued
target
note
was
expected
or
unexpected.
In
an
EEG
study,
electrophysiological
recordings
were
taken
while
participants
listened
to
the
same
melodies,
with
the
task
of
detecting
occasional
timbral
deviants
introduced
to
keep
participants’
attention
levels
constant.
As
predicted,
amusic
participants
were
significantly
worse
than
controls
at
explicitly
differentiating
between
high
and
low
probability
notes.
However
both
groups
showed
faster
responses
to
high
probability
than
low
probability
18
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
notes
in
the
implicit
task
indicating
that
they
found
these
notes
more
expected.
Further,
ERP
analysis
revealed
that
while
an
early
negative
response,
which
was
highly
sensitive
to
note
probability,
was
more
salient
in
controls
than
amusics,
both
groups
showed
a
delayed
P2
to
low
relative
to
high
probability
notes
suggestive
of
increased
processing
time
required
for
these
events.
The
current
results,
showing
spared,
albeit
incomplete,
processing
of
melodic
structure
adds
to
previous
evidence
of
implicit
pitch
processing
in
amusic
individuals.
The
finding
of
an
attenuated
early
negative
response
in
amusia
is
in
line
with
studies
showing
a
close
relationship
between
the
amplitude
of
such
a
response
and
explicit
awareness
of
musical
deviants.
Finally,
the
current
study
provides
support
that
the
notion
that
early
pre-‐attentive
mechanisms
play
an
important
role
in
generating
conscious
awareness
of
improbable
events
in
the
auditory
environment.
Speed
Poster
Session
2:
Crystal
Hall,
11:00-‐11:40
Audio
&
audio-‐visual
perspectives
Optic
and
Acoustic
Symmetry
Perception
Vaitsa
Giannouli
Department
of
Psychology,
Aristotle
University
of
Thessaloniki,
Greece
The
aim
of
this
paper
is
to
investigate
the
perception
of
optic
and
tonal
acoustic
symmetry.
Twenty-‐eight
volunteers
(14
musicians
and
14
non-‐musicians)
aged
18-‐67
participated
in
the
study.
The
participants
were
examined
individually
and
the
tests
were
administered
in
varying
order
to
the
various
participants.
Half
of
the
participants
were
informed
at
the
beginning
of
the
examination
for
the
possible
kinds
of
symmetry.
Also,
half
of
the
participants
were
presented
before
the
acoustic
stimuli,
with
a
similar
kind
of
symmetry
for
the
optic
stimuli.
The
examination
material
were:
the
mirror
reversal
letter
task
from
PALPA,
the
paper
folding
task
from
ETS,
the
spatial
ability
test
from
ETS,
Benton’s
judgment
of
line
orientation
test,
digit
span
(forward
and
backward)
and
a
newly
constructed
test,
that
includes
a
series
of
symmetrical
and
asymmetrical,
big
and
small,
optic
and
acoustic
stimuli.
Except
for
the
registration
of
participants’
response
time
(RT)
and
the
correctness
of
their
responses,
measurements
were
also
taken
with
the
use
of
Likert
scales
for
the
metacognitive
feeling
of
difficulty
and
the
metacognitive
feeling
of
confidence
and
measurements
of
the
aesthetic
judgments
for
each
and
every
one
of
the
optic
and
acoustic
stimuli.
The
majority
of
the
participants
(young
-‐
middle-‐aged,
women
-‐
men,
individuals
with
music
education
and
without
music
education)
did
not
show
statistically
significant
differences
in
their
scores
in
the
visuospatial
tests
and
the
memory
tests,
while
at
the
same
time
they
had
a
homogeneously
high
performance
(with
almost
zero
deviation)
for
all
the
optic
symmetrical
and
asymmetrical
stimuli.
For
all
the
acoustic
stimuli,
a
statistically
significant
difference
was
found
for
the
participants
with
music
education,
not
only
for
the
cognitive
processing
of
symmetry,
but
also
for
the
metacognitive.
The
proposed
(on
the
basis
of
the
literature)
preference
(correctness
of
responses
and
reaction
time)
for
the
mirror
symmetrical
around
a
vertical
axis
optic
stimuli
was
not
confirmed
and
neither
there
was
any
confirmation
for
the
preference
for
repetitive
acoustic
stimuli.
What
was
found
were
more
positive
aesthetic
judgments
for
the
symmetrical
formations
versus
the
asymmetrical
ones
for
both
senses.
Finally,
no
cross-‐modal
interaction
of
priming
was
found,
nor
influence
of
prior
explanation
of
the
kinds
of
symmetry.
These
preliminary
data
provide
support
for
the
independence
of
the
underlying
mechanism
of
optic
and
acoustic
perception
of
symmetry,
with
the
second
one
probably
being
a
non-‐automatic
and
possibly
learned
process.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 19
Asymmetry
of
audio-‐visual
interaction
in
multimedia
works
Teuro
Yamasaki
Osaka
Shoin
Women's
University
A
lot
of
studies
investigated
the
interaction
between
musical
materials
and
visual
materials
in
multimedia
works,
and
some
studies
suggested
that
there
was
an
asymmetry
on
direction
of
the
interaction.
That
is,
the
size
of
musical
effect
on
the
impression
of
visual
materials
was
more
than
that
of
visual
effect
on
the
impression
of
musical
materials.
This
might
show
that
musical
impression
and
visual
impression
are
formed
through
different
emotional
processes.
In
these
studies,
however,
the
intensity
of
impression
of
both
materials
was
not
controlled.
Therefore,
this
asymmetry
might
be
caused
not
by
the
modality
of
materials
but
by
the
intensity
of
impression
of
materials.
This
study
investigates
whether
this
asymmetry
is
found
even
on
the
condition
where
the
intensity
of
materials
is
controlled.
In
preliminary
experiment,
fifteen
music
excerpts
and
fifteen
paintings
are
evaluated
on
their
valence
and
arousal,
and
five
music
excerpts
and
five
paintings
are
chosen
as
stimuli
for
main
experiment.
Those
stimuli
are
musical
excerpts
or
paintings
with
positive
valence
and
high
arousal
(+/+),
with
positive
valence
and
low
arousal
(+/-‐),
with
negative
valence
and
high
arousal
(-‐/+),
with
negative
valence
and
low
arousal
(-‐/-‐),
or
with
neutral
valence
and
medium
arousal
(0/0).
To
add
to
it,
musical
excerpts
and
paintings
with
same
descriptor,
for
example
a
musical
excerpt
with
+/+
and
a
painting
with
+/+,
are
chosen
as
having
same
degree
of
valence
and
arousal.
In
main
experiment,
musical
excerpts
and
paintings
are
combined
and
presented.
Participants
are
asked
to
evaluate
their
musical
impression
or
visual
impression
of
combined
stimuli.
Comparing
the
results
of
the
main
experiment
with
results
of
the
preliminary
experiment,
the
effect
of
musical
excerpts
on
paintings
and
the
effect
of
paintings
on
musical
excerpts
are
analyzed
respectively.
These
results
will
be
discussed,
along
with
confirming
the
existence
of
asymmetry
of
the
size
of
musical
effect
and
visual
effect
and,
if
such
an
asymmetry
exists,
exploring
the
reason
of
the
asymmetry.
Congruency
between
music
and
motion
pictures
in
the
context
of
video
games:
Effects
of
emotional
features
in
music
Shinya
Kanamori,
Ryo
Yoneda,
Masashi
Yamada
Graduate
School
of
Engineering,
Kanazawa
Institute
of
Technology,
Japan
In
the
present
study,
two
experiments
are
conducted.
In
the
first
experiment,
it
is
revealed
that
the
impression
of
game
music
is
spanned
by
“pleasantness”
and
“excitation”
axes,
using
one
hundred
pieces
of
game
music.
In
the
second
experiment,
it
is
shown
that
the
congruency
of
moving
picture
and
musical
tune
does
not
decrease
and
the
whole
impression
is
not
change
significantly,
even
if
a
tune
is
replaced
by
a
tune
which
possesses
similar
impression.
These
results
suggests
that
an
archive,
where
various
tunes
are
plotted
on
the
impression
plane
spanned
by
the
“pleasantness”
and
“excitation”
axes,
is
useful
to
communicate
in
the
group
of
game
creators
and
engineers,
for
designating
a
piece
of
music
for
a
scene
in
a
video
game.
Complex
Aural
and
Visual
Stimuli:
Discerning
Meaning
in
Musical
Experiences
Dale
Misenhelter
University
of
Arkansas,
USA
This
meta-‐analysis
explores
findings
from
preference
and
response
studies.
Several
of
the
studies
utilized
both
traditional
major
musical
works,
including
the
Bach
Passacaglia,
Beethoven
Seventh
Symphony,
Stravinsky
Rite
of
Spring,
as
well
as
select
contemporary
popular
compositions.
Variables
considered
in
the
studies
included
the
experience
level
of
20
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
participants (often characterized as musicians and non-‐musicians), musical elements
(tension and release, textural and dynamic considerations, consonance and dissonance, etc),
and visual elements as changes in affect (dramatic and temporal events, dance, direction,
speed of travel, tension and repose, artistic considerations, etc.). A primary research
question is regarding focus of attention -‐ the ability of listeners to distinguish between
perceived musical elements or other stimuli while concurrently attending and responding -‐ a
process loosely termed "multi-‐tasking." While there is considerable research on listeners’
ability to discriminate and/or prioritize among elements in audio only environments,
research in audio-‐visual stimuli discerning among multiple elements seems to be
comparatively minimal. Within aural models, it would seem that less experienced listeners
attend to individual components or concepts of a musical selection, while experienced
listeners are able to process more complex information. With an aural-‐visual model, data
suggest negative responses to “negative” visual stimuli (despite the consistency with the
musical content), which raises issues of unclear definitions regarding what constitutes
aesthetic response, as well as the possibility of participants simply responding to a demand
characteristic -‐ e.g., as they may have assumed was expected.
Interaction of Audiovisual Cues in the Perception of Audio Trajectories
Georgios Marentakis,* Stephen McAdams#
* IEM, Universität für Musik und Darstellende Kunst Graz, Austria
# CIRMMT, Department of Music, McGill University, Quebec, Canada
We
present
a
study
that
investigates
how
the
presence
of
visual
cues
affects
the
perception
of
musical
spatial
sound
trajectories
and
the
way
listeners
perceive
a
musical
performance.
Based
on
the
results
of
a
first
experiment,
where
it
was
found
that
congruent
visual
feedback
from
the
movement
of
the
hands
of
a
performer
controlling
the
location
of
sound
in
space,
assists
listeners
in
identifying
spatial
sound
trajectory
shapes,
we
ask
whether
this
was
due
to
the
integration
of
the
visual
cues
with
the
auditory
ones
or
because
participants
simply
attended
to
the
visual
cues
and
ignored
the
auditory
ones.
Participants
watched
a
video
of
the
performance
gestures
while
listening
to
the
spatial
sound
trajectories
and
identification
performance
was
measured
in
conditions
that
manipulate
presentation
modality,
the
sensory
focus
of
attention,
attentional
process
(selective
or
divided)
and
the
congruency
of
audiovisual
cues.
Although
we
found
that
congruent
visual
stimulation
improves
identification
performance
even
when
listeners
attended
selectively
to
the
auditory
stimulus,
we
also
found
that
under
divided
attention
conditions,
a
tendency
to
focus
on
vision
exists,
which
explains
the
results
of
the
first
experiment
in
which
the
sensory
focus
of
attention
was
not
controlled.
In
such
cases,
auditory
movement
information
is
overwritten.
It
is
therefore
important
that
listeners
maintain
an
auditory
focus
of
attention
when
gesture
control
of
spatialization
is
employed
on
stage,
as
a
vision
oriented
strategy
will
bias
auditory
movement
perception
in
cases
of
incongruent
stimulation
and
limit
the
resources
available
towards
the
interpretation
of
musical
material.
Cross-‐modal
Effects
of
Musical
Tempo
Variation
and
on
Musical
Tempo
in
Audiovisual
Media
Friedemann
Lenz
Departement
of
Musicology
and
Music
Education,
University
of
Bremen,
Germany
Music
is
an
acoustical
phenomenon,
which
is
part
of
a
complex
multisensory
setting.
A
kind
of
research,
which
focuses
on
this
special
issue
is
the
research
on
background
music
and
music
in
different
kinds
of
audiovisual
media.
Research
of
audiovisual
interaction
shows,
that
visual
spatial
motion
can
induce
percepts
of
auditory
movements
and
that
visual
illusion
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 21
can
be
induced
by
sound.
Studies
on
background
music
indicate,
that
the
musical
tempo
can
be
a
factor
in
cross-‐modal
interactions.
In
the
present
study,
three
different
effects
of
musical
tempo
variation
in
audiovisual
media
will
be
discussed.
First
it
is
assumed
and
tested
that
musical
tempo
variation
can
influence
the
perception
of
the
velocity
of
the
visual
objects
in
an
audiovisual
medium
and
vice
versa.
The
second
assumption
refers
to
the
thesis
that
the
perception
of
time
in
movies
depends
partially
on
the
variation
of
musical
tempo.
The
third
question
deals
with
the
influence
of
the
musical
tempo
on
the
sensation
of
emotions
felt
by
recipients
while
watching
an
audiovisual
medium.
Several
computer-‐aided
tests
with
audiovisual
stimuli
were
conducted.
The
stimuli
consisted
of
videos
of
a
conveyor
belt
with
moving
boxes
and
a
musical
soundtrack
with
a
simple
melody.
Several
pretests
on
the
three
hypotheses
were
conducted.
There
are
hints
that
musical
tempo
can
change
perception
of
visual
velocity
perception,
but
not
vice
versa.
When
Music
Drives
Vision:
Influences
of
Film
Music
on
Viewers’
Eye
Movements
Karin
Auer,*
Oliver
Vitouch,*
Sabrina
Koreimann,*
Gerald
Pesjak,#
Gerhard
Leitner,#
Martin
Hitz#
*Dept.
of
Psychology,
University
of
Klagenfurt,
Austria
#Interactive
Systems
Group,
University
of
Klagenfurt,
Austria
Various
studies
have
shown
the
co-‐determining
strength
that
film
music
has
on
the
viewers’
perception.
We
here
try
to
show
that
the
cognitive
processes
of
watching
a
film,
observed
through
viewers’
scanpaths
and
eye-‐movement
parameters
such
as
number
and
duration
of
fixations,
are
different
when
the
accompanying
film
music
is
changed.
If
this
holds,
film
music
does
not
just
add
to
a
holistic
impression,
but
the
visual
input
itself
is
actually
different
depending
on
features
of
the
soundtrack.
Two
film
clips,
10
seconds
each,
were
presented
with
three
different
musical
conditions
(horror
music,
documentary
music,
no
music)
in
a
between-‐subjects
design.
Clip
2
additionally
contained
a
cue
mark
(red
X
in
the
bottom
left
corner,
shown
for
1
s).
Participants’
scanpaths
were
recorded
using
a
ASL
H6
head-‐mounted
eye-‐tracking
system
based
on
corneal
reflection
of
infrared
light.
The
resulting
scanpaths
of
N
=
30
participants
showed
distinct
patterns
dependent
on
the
music
condition.
Specific
trajectory
categories
were
found
for
both
film
clips
(five
for
clip
1,
nine
for
clip
2).
Systematic
differences
(p
<
.05)
could
be
shown
in
most
of
these
categories
and
variables.
The
additional
cue
mark
was
consciously
perceived
significantly
more
often
in
both
music
conditions
than
in
the
silent
condition.
Our
results
suggest
that
the
slogan
“What
you
see
is
what
you
hear”
can
be
true
on
a
very
fundamental,
first-‐layer
level:
Visual
input
varies
with
different
scores,
resulting
in
viewers
not
seeing
the
same
film
anymore
in
a
straight
sense.
Emotional
Impact
of
Musical/Visual
Synchrony
Variation
in
Film
Andrew
Rogers
University
of
Huddersfield,
United
Kingdom
The
emotional
impact
of
synchronous
musical
and
visual
prominences
within
the
cinematic
experience
awaits
thorough
empirical
evaluation.
Film
composition
is
defined
here
as
a
genre
of
stereotypes,
whose
methodologies
are
not
feasibly
subject
to
significant
redevelopment.
As
consequence,
the
research
focuses
on
improving
components
of
the
audience
recognisable
functions
of
film
music.
Subjects
graded
cinematic
clips
with
musical
elements
that
varied
in
their
synchronous
interaction
with
visual
prominences.
A
positive
response
to
more
frequent
synchronisation
between
music
and
film
was
concluded.
Perceptual
expectancy,
attention
and
multisensory
integration
are
principal
in
analysis
of
the
findings.
22
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 3: Dock Six Hall, 11:00-‐11:40
Composition & improvisation
An information-‐theoretic model of musical creativity
Geraint A. Wiggins
Centre for Digital Music, Queen Mary, University of London
I propose a hypothetical computational model of spontaneous musical creativity; that is, not
deliberate musical problem solving, (e.g. rearranging a score for a smaller orchestra), but the
production of original musical ideas without reasoning. The theory is informed by
evolutionary thinking, in terms of the development of its mechanisms, and of the social
evolution of music. Hitherto, no computational model of musical creativity has made a
distinction between spontaneous creativity and deliberate application of explicit design
principles. Further, there was no computational model of musical creativity which subsisted
in an explicit, coherent relationship with models of other mental processing. This
hypothetical model suggests a mechanism which may underlie general implicit reasoning,
including the production of language. That mechanism arises from simple statistical
principles, which have been shown to apply in perceptual models of music, and therefore
may reasonably supposed to be available in the mind/brain, and consists in the moderation
of input to the Global Workspace via the interaction of information-‐theoretic quantities. The
proposed high-‐level model, instantiated with appropriate sub-‐component models of learning
and production, explains the origins of musical creativity and their connection with
speech/language, narrative, and other time based creative forms. It also supplies a model of
the mediation of information as it becomes available to consciousness. Therefore it may have
implications outside music cognition, for general ideation.
Algorithmic Composition of Popular Music
Anders Elowsson, Anders Friberg
Speech, Music and Hearing, KTH Royal Institute of Technology, Sweden
�
Human composers have used formal rules for centuries to compose music, and an
algorithmic composer – composing without the aid of human intervention – can be seen as
an extension of this technique. An algorithmic composer of popular music (a computer
program) has been created with the aim to get a better understanding of how the
composition process can be formalized and at the same time to get a better understanding of
popular music in general. With the aid of statistical findings a theoretical framework for
relevant methods are presented. The concept of Global Joint Accent Structure is introduced,
as a way of understanding how melody and rhythm interact to help the listener form
expectations about future events. Methods of the program are presented with references to
supporting statistical findings. The algorithmic composer creates a rhythmic foundation
(drums), a chord progression, a phrase structure and at last the melody. The main focus has
been the composition of the melody. The melodic generation is based on ten different
musical aspects which are described. The resulting output was evaluated in a formal
listening test where 14 computer compositions were compared with 21 human
compositions. Results indicate a slightly lower score for the computer compositions but the
differences were statistically insignificant.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 23
Comprehensive
and
Complex
Modeling
of
Structural
Understanding,
Studied
on
an
Experimental
Improvisation
Olivier
Lartillot,*
Mondher
Ayari#
*Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
Finland
#IRCAM-‐CNRS
/
University
of
Strasbourg,
France
Music
perception
and
cognition
are
ruled
by
complex
interdependencies
between
bottom-‐up
and
top-‐down
processes
at
various
cognitive
levels,
which
have
not
been
fully
understood
and
described
yet.
Cognitive
and
computational
descriptions
of
particular
facets
of
music
listening
remain
insufficient
if
they
are
not
integrated
in
a
comprehensive
modeling.
In
the
long
term,
we
aim
at
proposing
a
comprehensive
and
complex
cognitive
modeling
of
the
emergence
of
structures
in
music
listening
and
to
test
its
potential
by
running
a
computational
implementation
on
elaborate
music.
The
study
presented
in
this
paper
is
part
of
a
broader
project,
whose
general
aim
is
to
collect
an
experimentally
controlled
jazz
improvisation
with
the
view
to
study
jazz
listeners’
understanding
of
that
piece.
An
eminent
jazz
guitarist,
Teemu
Viinikainen,
was
invited
to
play
an
original
improvisation
while
following
a
few
general
heuristics
that
we
defined
beforehand,
concerning
the
use
of
pauses,
repetitions,
accentuations
and
of
various
ways
of
evolving
the
modal
discourse.
During
a
subsequent
interview,
while
listening
progressively
to
the
recording,
the
musician
gave
a
detailed
a
posteriori
analysis
that
was
recorded
as
well,
talking
and
playing
examples
on
his
guitar.
A
systematic
analysis
was
performed
exhaustively
on
the
piece,
starting
from
a
manual
transcription
of
the
piece,
followed
by
motivic,
harmonic,
rhythmical
and
structural
analyses.
Our
previous
cognitive
complex
modeling
of
structural
analysis
of
music
has
been
extended
further
and
implemented
in
the
Matlab
programming
environment.
This
extended
model
starts
from
the
audio
recordings,
and
performs
altogether
transcription
and
higher-‐level
analyses,
with
bottom-‐up
and
top-‐down
interactions
between
low-‐
level
and
high-‐level
processes.
The
study
challenges
the
traditional
dichotomy
between
transcription
and
structural
analysis
and
suggests
instead
a
multi-‐layer
structuring
of
events
of
various
scales
(notes,
gestures,
motifs,
chords,
phrases,
etc.),
where
higher-‐level
structures
contextually
guide
the
progressive
discovery
of
lower-‐level
elements.
The
model
will
be
further
validated
and
enriched
through
a
comparison
with
the
musician’s
analysis
and
with
jazz
listeners’
annotation
of
the
piece
collected
experimentally.
Vocal
improvisations
of
Estonian
children
Marju
Raju,
Jaan
Ross
Department
of
Musicology,
Estonian
Academy
of
Music
and
Theatre,
Estonia
Even
a
child´s
passive
encounter
with
the
Western
tonal
music
is
capable
of
building
certain
expectations
as
to
the
set
of
tonal
and
temporal
“composition”
rules
that
define
which
musical
patterns
are
acceptable
for
the
idiom.
This
presentation
is
aimed
at
studying
different
strategies
children
use
to
approach
the
task
of
vocal
improvisation.
For
the
data
collection,
Test
Battery
from
Advancing
Interdisciplinary
Research
in
Singing
(AIRS)
project
was
applied
to
Estonian
children
(N
=
26,
17
girls
and
9
boys,
age
4
to
12).
In
this
presentation,
results
of
two
component
tasks
(to
finish
a
melody
and
to
compose
a
song
after
a
picture)
of
the
Test
Battery
are
presented.
For
analysis,
successful
cases
from
both
components
were
combined
to
one
dataset
with
total
32
vocal
improvisations
which
were
then
grouped
into
four
types
according
to
two
main
features:
(1)
how
well
did
they
fit
the
Western
tonal
musical
canon
and
(2)
whether
the
implied
composition
rules
were
applied
explicitly
or
implicitly.
Distribution
of
improvisational
songs
between
these
4
types
seemed
to
be
more
influenced
by
a
child’s
previous
encounter
with
music
rather
than
her/his
age.
In
both
tasks,
majority
of
children
seem
to
be
strongly
influenced
by
the
Western
musical
canon
as
their
improvisations
sound
“classical”
like
we
expect
from
children´s
songs.
In
addition
to
analyzing
vocal
material,
the
process
of
performance
must
also
be
considered
as
children
use
different
strategies
to
reach
the
goal.
24
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
The
Ideational
Flow:
Evaluating
a
New
Method
for
Jazz
Improvisation
Analysis
Klaus
Frieler,*
Kai
Lothwesen#,
Martin
Schütz*
*Institute
of
Musicology,
University
of
Hamburg,
Germany
#University
of
Music
and
Performings
Arts,
Germany
In
two
recent
studies
(Lothwesen
&
Frieler,
2011;
Schütz,
2011),
a
new
approach
to
the
analysis
of
jazz
improvisation
was
proposed
based
on
the
concept
of
“ideational
flow”.
Jazz
piano
solos
were
segmented
into
gapless
sequences
of
musical
ideas,
settling
thus
on
a
mid-‐
level
of
analysis
as
opposed
to
more
traditional
approaches
in
which
jazz
improvisations
are
either
analysed
manually
with
classical
methods
or
statistically
on
a
single-‐note
level
(see
Pfleiderer
&
Frieler,
2010
for
an
overview).
Our
approach
is
inspired
by
Grounded
Theory
(Glaser
&
Strauss,
1967)
and
by
methods
of
qualitative
content-‐analysis
(Mayring,
2000).
It
supposes
a
seamless
chain
of
underlying
musical
ideas
which
are
shaped
into
a
musical
surface
during
improvisation.
Indeed,
several
musical
ideas
could
be
identified,
which
turned
out
to
be
quite
diverse
categories,
ranging
from
thematic/motivic
variations
and
various
kinds
of
melodic
runs
to
purely
rhythmical
parts
and
even
“emptiness”.
In
this
study,
we
aim
at
further
validation
of
the
method
by
cross-‐evaluating
a
set
of
selected
analyses
of
jazz
piano
improvisations
drawn
from
the
previous
studies,
thereby
objectifying
this
method
with
the
overall
goal
of
standardisation.
Improvisation
in
Jazz:
“Stream
of
Ideas”-‐Analysis
of
Jazz
Piano-‐Improvisations
Martin
Schütz
Institute
of
Musicology,
University
of
Hamburg,
Germany
The
“stream
of
ideas”-‐analysis
embodies
a
new
way
to
analyze
jazz
improvisations.
The
core
of
the
“stream
of
ideas”-‐analysis,
which
was
developed
within
an
empirical
research,
is
to
translate
an
improvisation
on
a
mid-‐level
to
a
sequence
of
melodic
phrases/patterns
(=”ideas”).
On
the
basis
of
methods
of
qualitative
content
research
and
grounded
theory
an
expendable
and
differentiable
dynamic
system
of
categories
was
created
to
represent
every
kind
of
melodic
phrases,
which
occurred
within
the
30
examined
improvisations.
The
underlying
improvisations
were
the
result
of
an
experiment
with
five
jazz
pianists,
who
were
asked
to
improvise
in
several
sessions
on
the
same
collection
of
different
jazz
tunes.
Afterwards
each
improvisation
was
categorized
according
to
the
“stream
of
ideas”-‐analysis
and
presented
as
a
sequence
of
used
“ideas”.
After
analyzing
the
30
improvisations,
the
system
of
categories
consisted
of
nine
main
categories
(=”basis-‐ideas”),
which
covered
every
appearing
melodic
phrase.
The
nine
“basis-‐ideas”
are
defined
with
regard
to
either
aspects
of
melodic
contour
or
intra-‐musical
aspects
(variation
of
the
theme,
creating
motifs
etc.).
Furthermore
the
“stream
of
ideas”-‐analysis
makes
it
possible
to
compare
improvisations
objectively
between
different
musicians
or
tunes
by
using
statistical
methods
(e.g.
by
dealing
with
frequency
distributions).
It
could
be
shown
that
each
of
the
five
participating
pianists
used
a
quite
similar
combination
of
preferred
“basis
ideas”
(individual
vocabulary)
to
create
his
different
improvisations
(takes)
on
the
same
underlying
tune.
In
addition,
a
connection
between
the
different
tunes
and
the
amount
of
certain
“ideas”
was
recognized.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 25
Observing
and
Measuring
the
Flow
Emotional
State
in
Children
Interacting
with
the
MIROR
Platform
Anna
Rita
Addessi,1
Laura
Ferrari,2
Felice
Carugati3
1,2
Dept.
of
Music
and
Performing
Arts,
University
of
Bologna,
Italy
3
Dept.
of
Psychology,
University
of
Bologna,
Italy
This
paper
introduces
a
study
aiming
to
measure
the
Flow
state
(Csikszentmihalyi
1996)
of
children
playing
with
the
MIROR-‐
Improvisation
prototype,
an
Interactive
Reflexive
Musical
System
(IRMS)
implemented
in
the
framework
of
the
EU-‐ICT
Project
MIROR-‐Music
Interaction
Relaying
On
Reflexion.
The
IRMS
have
been
defined
as
Flow
machine,
thanks
to
their
ability
to
imitate
the
style
of
the
human
playing
a
keyboard
(Pachet
2006).
The
Flow
grid
was
created
with
the
software
Observer
(Noldus©).
The
basic
idea
of
this
grid
is
that
the
observer
did
not
register
the
flow
state
but
rather
the
“variables”
and
the
“intensity”
of
each
variable.
The
presence
of
Flow
state
is
instead
measured
by
means
an
automatic
process
of
the
Observer
based
on
several
constraints:
according
to
Csikszentmihalyi,
when
the
level
of
all
variables
is
higher,
the
presence
of
Flow
is
indicated.
24
children
(4
and
8
years
old)
carried
out
3
sessions
playing
a
keyboard
in
3
consecutive
days.
In
every
session,
all
children
played
the
keyboard
with
and
without
the
MIROR-‐Impro,
alone
and
with
a
friend.
One
group
of
children
played
the
system
with
set-‐up
Same
and
another
group
with
set-‐up
Very
different
(with
set-‐up
Same
the
system's
reply
is
more
similar
to
the
child's
input).
The
video
collected
were
analysed
with
the
Flow
grid.
The
results
show
that
the
Flow
state
is
higher
when
the
children
play
with
MIROR-‐Impro,
with
set-‐up
Same
and
with
8
years
old
children.
The
difference
between
sessions
is
not
significant.
These
results
would
support
the
hypothesis
that
the
IRMS
and
the
reflexive
interaction
can
generate
an
experience
of
well-‐being
and
creativity.
The
Flow
grid
worked
in
effective
way
and
it
was
possible
to
indicate
some
aspects
of
the
system
to
be
improved.
Some
limitations
have
been
discussed
for
further
adjustments
of
the
grid.
A
Computational
Method
for
the
Analysis
of
Musical
Improvisations
by
Young
Children
and
Psychiatric
Patients
with
No
Musical
Background
Christina
Anagnostopoulou,
Antonis
Alexakis,
Angeliki
Triantafyllaki
Department
of
Music
Studies,
University
of
Athens,
Greece
Improvisation
is
a
common
form
of
musical
practice
and
yet
remains
the
least
studied
or
understood
from
a
music
analysis
point
of
view.
When
populations
with
no
musical
background
engage
in
musical
improvisation
(such
as
young
children
or
patients
in
therapy
settings)
the
analysis
of
the
musical
aspects
becomes
more
challenging:
The
possible
lack
of
common
learned
musical
schemata
and
related
technical
skills
requires
the
introduction
of
methods
of
analysis
which
can
deal
with
these
peculiarities.
In
this
paper
we
propose
a
computational
method
for
analysing
such
types
of
improvisations
and
apply
it
to
the
analysis
of
a
small
number
of
case
studies.
The
analytical
method
is
a
type
of
semiotic
analysis,
where
repetition,
variation
and
transformation
are
brought
forward.
Musical
parameters
have
to
be
defined,
and
a
computational
tool
is
built
to
reveal
interesting
patterns
that
repeat
within
the
various
musical
parameters.
The
method
is
applied
to
the
improvisations
of
six
eight-‐year
old
children
and
two
psychiatric
patients
with
psychotic
syndromes.
For
their
improvisations
they
use
the
machine-‐learning
based
system
MIROR-‐IMPRO,
developed
within
the
FP7
European
Project
MIROR,
which
can
respond
interactively,
by
using
and
rephrasing
the
user's
own
material.
The
results
point
towards
the
usefulness
of
more
abstract
types
of
representations
and
bring
forward
several
general
common
features
across
these
types
of
improvisations,
which
can
be
related
to
gestures.
26
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 4: Timber I Hall, 11:00-‐11:40
Emotion & communication
How intense experiences with music influence people’s way of life
Thomas Schäfer, Mario Smukalla, Sarah-‐Ann Oelker
Department of Psychology, Chemnitz University of Technology, Germany
Music can change our lives. As true as this notion may seem, we have little sure knowledge
about what it actually means. Strong emotional experiences or peak experiences with music
have proven to be of high significance for the people who have them. The authors
investigated the long-‐term effects of such experiences on people’s way of life, using narrative
interviews and a grounded theory approach to develop a process model that describes the
nature of intense musical experiences (IMEs) and their long-‐term effects. The most
important results are that (1) IMEs are characterized by altered states of consciousness,
which leads to the experience of harmony and self-‐realization; (2) IMEs leave people with a
strong motivation to attain the same harmony in their daily lives; (3) people develop several
resources during an IME, which they can use afterward to adhere to their plans; (4) IMEs
cause long-‐term changes to occur in people’s personal values, their perception of the
meaning of life, social relationships, engagement and activities, and consciousness and
development. The authors discuss the results as they relate to spirituality and altered states
of consciousness and draw 10 conclusions from the process model that form a starting point
for quantitative research about the phenomenon. Results suggest that music can indeed
change our lives—by making it a bit more fulfilling, spiritual, and harmonious.
Anxiety, flow and motivation: students’ strong and intense experiences of
performing music
Alexandra Lamont
Centre for Psychological Research, Keele University, United Kingdom
Many music students and professionals experience a number of health-‐related problems
connected to performing, but performing music also has the potential to engender high
levels of wellbeing. Memories of early performing experiences may be important in
determining continued involvement in music, However, in a volunteer sample of Swedish
adults, Gabrielsson (2011) found participants chose listening music episodes more
frequently than performing music. This presentation explores recollections of experiences of
performing music, and interprets these in relation to theories of happiness and wellbeing.
27 university students (median age 20) gave free written reports of their strongest, most
intense experiences related to music performing. Accounts were content analysed using
Gabrielsson’s Strong Experiences of Music Descriptive System. Results were also analysed
thematically for the three components of happiness (hedonism, engagement and meaning)
using an idiographic approach. Most memories were of performances to an audience, with
the majority reflecting positive experiences of familiar music not chosen by the participants.
Accounts either tended to emphasise flow and meaning achieved through personal identity,
or pleasure and meaning achieved through group identity, and did not always explicitly
mention a hedonic state. Four profiles emphasising different combinations of pleasure,
engagement and meaning are identified. The importance of the eudaimonic route to
happiness and wellbeing is encouraging in showing that valuable and rewarding experiences
have the potential to sustain long-‐term motivation to engage with practical music-‐making.
Music performance seems to be a qualitatively different experience to music listening in that
it can embody both negative and positive emotions.
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 27
A Model of Perceived Musical Affect Accurately Predicts Self-‐Report Ratings
Joshua Albrecht
School of Music, Ohio State University, USA
A new method of collecting self-‐report assessments of the perceived affective content of
short musical passages is described in Albrecht & Huron (2010). This study used a procedure
termed the progressive exposure method in which a large passage is divided into discrete
five-‐second excerpts. These excerpts are then presented in random order, and participants
evaluate the perceived affective content of these short passages. In that study, 110
participants used the progressive exposure method to analyze the second movement from
Beethoven’s Pathétique sonata. The results from this study provide a mosaic portrait of
eleven affective dimensions across the movement. In this study, a model of perceived
affective content is built by measuring sixteen different musical features of each excerpt and
using these measurements as predictors of participant ratings. This model is used to make
predictions of participant evaluations of the same eleven affective dimensions for fifteen
excerpts from different Beethoven piano sonatas. To anticipate the results, the predictions
for each of the fifteen excerpts along each of the eleven affective dimensions are significantly
correlated with participant ratings.
Exploring the role of the performer’s emotional engagement with music
during a solo performance
Catherine Foxcroft,* Clorinda Panebianco-‐Warrens#
*Department of Music and Musicology, Rhodes University, South Africa
#Department of Music., Pretoria University, South Africa
Research
shows
that
performers’
emotional
engagement
with
the
music
they
are
performing
may
play
a
crucial
role
in
the
preparation
of
an
expressive
performance.
Yet
optimal
performance
requires
a
relaxed
concentration
which
is
incompatible
with
experiencing
certain
emotions.
To
what
extent
then
do
performers
engage
emotionally
with
the
music
they
are
performing
during
an
emotionally
expressive
performance?
This
research
aimed
to
explore
the
extent
to
which
pianists
emotionally
engage
with
the
music
they
are
performing
during
a
solo
recital.
The
IPA
research
method
focused
on
the
performers’
perspectives
of
their
experienced
emotional
engagement
while
performing.10
concert
pianists
(5
students
and
5
professionals)
were
individually
interviewed
directly
after
a
solo
recital
lasting
approximately
60
minutes.
The
interview
questions
posed
questions
relating
to
the
pianists’
experience
of
their
specific
performances.
The
data
was
collated
at
the
2010
National
UNISA
piano
competition
(student
pianists),
and
from
recitals
performed
in
SA
concert
halls
in
2011/12
(professional
pianists).
Preliminary
results
suggest
that
pianists
experience
varying
degrees
of
both
musical
and
non-‐musical
emotions
during
their
performances.
The
pianists
agreed
that
engagement
with
musical
emotions
may
enhance
the
performance’s
expression.
However
uncontrolled
musical
and
non-‐musical
emotions
impede
the
ability
to
critically
listen
to
their
performances,
leading
to
technical,
musical
or
memory
error.
Error
prevents
the
performer
from
achieving
the
ideal
mental
state
necessary
for
an
expressive
performance.
Preliminary
conclusions
suggest
that
while
controlled
emotional
engagement
is
a
desirable
aspect
of
some
performances,
uncontrolled
emotional
engagement
disrupts
the
focused
concentration
performers
require
for
spontaneous,
creative
and
expressive
performances.
28
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Coding Emotions with Sounds
Nadja Schinkel-‐Bielefeld, Frederik Nagel
Fraunhofer Institute for Integrated Circuits IIS, Germany
International Audio Laboratories Erlangen, Germany
Emotions play a fundamental role in human communication. Particularly music and films are
capable of eliciting emotions which unfold and vary over time. However, in order to
communicate emotions with sounds, a) subjects should consistently and reliably associate
the sound with a certain emotion, independent of what happened before and b) sounds
should be perceived similarly by different subjects. We presented subjects with a series of
sounds from the International Affective Digitized Sounds database which changed every 5
seconds. Listeners rated the elicited valence and arousal using the real time measurement
software EMuJoy. After an initial training they rated the same sound sequence twice the first
day and once on the following day. We also played the sounds of this sequence in reverse
order to investigate context dependence and possible series effects. We found high intra-‐
rater correlations of 0.79 (IQR: 0.13) for valence and 0.77 (IQR: 0.10) for arousal. We found
no significant effect of the order, in which the sounds were presented. Inter-‐rater
correlations were still at about 0.60 (IQR: 0.23) for valence and 0.52 (IQR: 0.27) for arousal.
No series effects have been found. Elicited emotions were generally more consistent for
extreme values of valence and arousal. Thus at least these sounds could be used to reliably
communicate emotions. However, there may be other stimuli which require less
interpretation and thus are more suitable for fast and reliable communication of emotions.
The Effect of Musical Valence on Pseudoneglect in a Likert-‐type Rating Task
Jane H. Barrow,*1 Lindsay Wenger,* Janet E. Bourne,# Carryl L. Baldwin*
*Department of Psychology, George Mason University, USA
#Bienen School of Music, Northwestern University, USA
Music is widely used in everyday life, and has been shown to affect a wide range of behaviors
from basic decision tasks to driving performance. Another aspect of everyday life is spatial
attention, which is used in most tasks regardless of whether it is simple or complex.
Pseudoneglect is a phenomenon where neurologically normal individuals demonstrate a reliable
bias towards the left visual hemifield. Theories of spatial attention suggest that because the right
hemisphere of the brain is more involved in visuo-‐spatial processing, it has greater activation
which leads to the biasing of the left visual hemifield. It is also theorized that there is hemispheric
asymmetry in the brain for different emotional valences, such that the left hemisphere is more
activated during happy emotions and the right hemisphere more activated by sad emotions.
Music can also be highly emotional, which was utilized for the purpose of evoking emotions in the
participants of this study. The current study sought to determine if manipulating emotional
valence through music would increase, reverse, or ameliorate pseudoneglect in neurologically
normal individuals. One hundred fourteen participants performed a rating task using a visual
analog scale on works of art in silence or while listening to music with a sad or happy valence. The
musical stimuli were selections from various orchestral works by Haydn, Albinoni, Fauré, Bruch,
Mendelssohn, and Prokofiev. The valence of the music was confirmed using independent raters.
Participants rated both portrait art that contained a human face and abstract/scene art that did
not contain a human subject. Additionally, the anchors of the rating scale were reversed half-‐way
through to determine if the pseudoneglect effect occurred regardless. The results demonstrated a
replication of earlier work on pseudoneglect in line bisection tasks when the ratings were
performed in silence, but demonstrated a reversal of the effect when happy music was present.
No significant effect was found when sad music was present, though the trend followed the same
direction as the happy condition. The results are framed within theory regarding hemispheric
specialization of emotions and spatial attention in the brain, and how the findings might be of
interest to researchers using Likert-‐type scales for testing purposes.
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 29
Emotion perception in music is mediated by socio-‐emotional competence
Suvi Saarikallio, Jonna Vuoskoski, Geoff Luck
Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music,
University of Jyväskylä, Finland
This study investigated how adolescents’ general socio-‐emotional competence, in terms of
empathy and problem behavior, would relate to a) biases in emotion perception, b) ability to
recognize emotion in music, and c) biases in emotions felt as a response to music. Sixty-‐one
14-‐15-‐year-‐old adolescents (26% males) filled in self-‐report scales for empathy (IRI), and
adolescent conduct problems (SDQ). For measuring emotion perception, they rated 50 music
excerpts regarding 8 emotions (happiness, sadness, anger, fear, tenderness, hope, longing,
and potency), and for measuring emotion recognition, they were asked to identify emotions
from 15 music excerpts representing five emotions (happiness, sadness, anger, fear,
tenderness). In addition, they rated their personally felt emotions regarding the excerpts.
Empathy was related to increased, and problem behavior to decreased, perception of
emotion in music. Empathy was also related to higher, and problem behavior to lower,
recognition rates of emotion (tenderness) in music. Furthermore, the results showed that the
affect-‐related sub-‐components of socio-‐emotional competence correlated with perception
biases, while the cognition-‐related aspects correlated with emotion recognition. As regards
felt emotion, problem behavior correlated with lower ratings of felt emotion in music. The
results show that general socio-‐emotional competence indeed is related to adolescents’
perception of emotions in music, and broaden our knowledge on musical behavior as a part
of adolescents’ socio-‐emotional development.
The Effect of Repeated Listening on Pleasure and Boredom Response to a
Cadenza
Yuko Morimoto, Renee Timmers
Music Dept., The University of Sheffield, UK
This study investigates how familiarity with a piece of music influences a listener’s aesthetic
response in terms of pleasure and boredom. Repeated listening to a piece of music increases
the listener’s familiarity with it, and often also their appreciation for it. However,
appreciation begins to decrease beyond a certain number of listens, a trend that can be
represented by an inverted-‐U line. We devised a listening experiment to test the effect of
repeated listening, contextual listening, different performances, and musical structure on
listeners’ pleasure and boredom responses. Forty-‐eight participants were divided into six
groups (two patterns, and three listening patterns), and were asked to listen to an extract
and cadenza from the first movement of Mozart’s Piano Concerto No 20 in D minor. They
responded by pressing buttons on a computer keyboard whenever they felt pleasure and/or
boredom. They also rated on a 7-‐point intensity scale the pleasantness, interestingness,
boringness, annoyingness, and likeability of the musical stimulus after each listening. The
button-‐pressing data revealed that participants generally felt more pleasure than boredom.
There was a negative correlation between pleasure and boredom responses. Responses were
influenced both by the musical structure, and by the manner in which the cadenza was
performed. Pleasantness ratings from those that listened to the cadenza, the exposition
twice, and the cadenza, displayed an increase followed by a decrease in conformity with the
inverted-‐U line. Boredom ratings, conversely, displayed a decrease followed by an increase.
Contextual listening was found to have no effect on participants’ responses.
30
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 5: Timber II Hall, 11:00-‐11:40
Attention & memory
Effect of a reference vs. working memory task on verbal retrospective
estimation of elapsed duration during music listening
Michelle Phillips
Centre for Music and Science, University of Cambridge, UK
Psychological time may be warped and shaped by musical engagement and variation,
including factors such as the music’s volume, tempo, and modality. Two studies will be
presented here, exploring both reference and working memory. Participants listened to a 37-‐
second extract of a bespoke piano composition (100bpm), and retrospectively verbally
estimated elapsed duration of the listening period. In study 1 (N = 50, 12 male, average age:
30.0), the average estimate for participants who listened only (‘no task’) was 52.00 seconds.
Participants in condition 2 (‘reference memory task’), who were instructed to write a list of
jungle animals whilst listening, gave a not-‐significantly different average estimate of 55.88
seconds. However, in study 2 (N = 28, 12 male, average age: 25.5) the average estimate for
participants who listened only (‘no task’) of 63.36 seconds was significantly longer (p < 0.02)
than in the ‘working memory task’ group (instructed to rehearse a list of jungle animals
whilst listening) which yielded an average estimate of 38.57 seconds. These findings suggest
that retrospective estimates of elapsed duration during music listening are not significantly
shortened when a reference memory task is included, but are significantly reduced when
working memory is occupied during the listening period. Diverting attention from the
listening had a greater impact when attention was focused on rehearsal in working memory,
than on retrieval from reference memory. This study provides evidence that differing
processes may underlie these systems, and that one diverts attention from music to a greater
extent than the other.
Working Memory and Cognitive Control in Aging: Results of Three Musical
Interventions
Jennifer A. Bugos
School of Music, University of South Florida, United States
One common barrier to successful aging is decreased performance in cognitive abilities such
as executive function and working memory tasks due to age-‐related cognitive decline
(Salthouse, 1994; Meja et al., 1998; Wecker et al., 2005). A key challenge is to identify
cognitive interventions that may mitigate or reduce potential age-‐related cognitive decline.
This research examines the effects of different types of musical training namely: gross motor
training (group percussion ensemble, GPE) and fine motor training (group piano instruction,
GPI) compared to non-‐motor musical training (music listening instruction, MLI) on working
memory and cognitive control in older adults (ages 60-‐86). One hundred ninety non-‐
musicians, ages 60-‐86, were recruited and matched by age, education, and intelligence to two
training interventions. Two programs were administered concurrently, in each of three 16-‐
week sessions: (GPI and MLI), (GPE and MLI), and (GPE and GPI). A series of standardized
cognitive assessments were administered pre and post training. Results of a Repeated
Measures ANOVA show significantly reduced perseveration errors on the ACT for the GPE
group compared to GPI and MLI, F(2,121)=3.6, p<.05. The GPI group exhibited a similar
pattern of reduced perseveration errors. Results of a Repeated Measures ANOVA on the
Musical Stroop Task indicate significantly reduced errors by the MLI group compared to GPI
and GPE, F(2,109)=3.1, p<.05. Musical training may benefit general cognitive abilities. Data
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 31
suggest that instrumental training enhances working memory performance while music
listening instruction may contribute to cognitive control.
Interfering Effects of Musical and Non-‐Musical Stimuli in a Short-‐term Memory
Task
Jack D. Birchfield, James C. Bartlett, W. Jay Dowling
Behavioral and Brain Sciences, University of Texas at Dallas, USA
In a previous study, we found that performance in a short-‐term verbal memory task was
reduced by presentation of familiar instrumental songs during the retention interval. One
possible interpretation is that the musical nature of these songs (e.g. their tonality, coherent
rhythmic patterns) is a source of interference. An alternative view is that retention is
disrupted by auditory sequences with elements that vary over time. To test the musicality
versus changing-‐state hypothesis, participants were asked to retain spoken 9-‐digit
sequences while hearing white noise (the control condition) or one of four types of auditory
distractor: Familiar instrumental music, instrumental versions of familiar vocal songs (IFVS),
random diatonic note sequences between C3 and C5, or random chromatic sequences
between C3-‐C5. Recall of the digits was significantly lower after hearing the familiar
instrumental distractors than after either the diatonic or chromatic distractors. Recall
performance in the IFVS condition was not reliably different from any of the other
conditions, but was numerically lower than the equally familiar instrumental music and
numerically higher than the diatonic and chromatic distractors. Average notes-‐per-‐sequence
was greater for the instrumental songs than for the IFVS, while the diatonic and chromatic
distractors were isochronal (equal onset and duration with no rhythmic information). Thus,
we conclude that the greater interference associated with instrumental music may result
from the greater rhythmic complexity of the instrumental selections rather than from
familiarity or other musical qualities.
Musical Accents and Memory for Words
Thomas Ting, William Forde Thompson
Department of Psychology, Macquarie University, Australia
In this study, we examined the effect of background music on reading, focusing on memory
for words that are read concurrently with musical accents. Can musical accents enhance
memory for words in the same way that visual accents (underscoring, highlighting) draw
attention to words and hence, increase memory for them? Forty undergraduate psychology
students were presented sentences one word at a time on a computer screen. Each word was
accompanied by a piano tone such that the sequence of tones outlined a brief melody with
one note being musically accented. Melodic accents had increased intensity, duration and
pitch height. There were three music conditions. In the first two, musical accents were either
congruent (aligned) or incongruent (not aligned) with a target word. In the third condition
there was no accompanying music. The target words were either visually emphasized
(bolded) during the exposure phase or not. Contrary to predictions, recall was better when a
musical accent was incongruent with a target word compared to when the accent was
congruent or when there was no music at all. There was no significant effect of bolding target
words in the exposure phase. The results suggest that background music enhances coding of
words during reading, but only for words that do not coincide with strong musical accents. A
cost-‐benefit trade-‐off model is suggested, where prominent musical accents may compete for
attention, eliminating potential benefits of positive changes in arousal and mood priming
effects of accents during an implicit memory task.
32 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012
TUE
Mood-‐Based Processing of Unfamiliar Tunes Increases Recognition Accuracy
in ‘Remember’ Responses
Esra Mungan,* Zehra F. Peynircioğlu#, Andrea R. Halpern§
*Psychology, Bogazici University, Turkey; #Psychology, American University, USA; §Psychology,
Bucknell University, USA
We investigated the effects of orienting task (OT) on “remember” (R) and “know” (K)
responses in melody recognition of unfamiliar tunes. In Experiment 1, nonmusicians made
mood judgments, continued melodies (=conceptual OTs), counted number of long notes, and
traced pitch contours (=perceptual OTs) of unfamiliar tunes. As expected from earlier
research (Mungan, Peynircioğlu, & Halpern, 2011) with familiar tunes, conceptual processing
was more effective than perceptual processing in R type recognition accuracy, which once
again was due mostly to the mood-‐based processing task. In Experiment 2, we investigated
whether a distinctive versus relational processing difference underlies this OT effect.
Nonmusicians judged a set of familiar tunes in terms of how distinctive they were
(distinctive-‐conceptual), to which music category they belonged (relational-‐conceptual), or
their loudness (neutral-‐perceptual). Findings revealed only that conceptual processing was
more effective than perceptual processing on R-‐type recognition sensitivity. We discuss
possible reasons why the distinctiveness factor was not effective, even though it is has been
shown with many types of verbal and nonverbal material.
Effects of Manipulating Attention during Listening on Undergraduate Music
Majors’ Error Detection in Homophonic and Polyphonic Excerpts: A Pilot Study
Amanda L. Schlegel
School of Music., University of Southern Mississippi, United States
The purpose of this pilot study was to investigate the potential effects of wholistic versus
selective listening strategies on music majors’ detection of pitch and rhythm errors in three-‐
voice homophonic and polyphonic excerpts. During the familiarization phase, upper-‐level
undergraduate instrumental music majors participants (N = 14) first heard a correct full (all
voices at once) performance, followed by each individual voice, and one final opportunity to
listen to the full excerpt again. Participants then heard a flawed performance containing
pitch and rhythm errors with their task being to detect the errors. Participants in the
wholistc listening group were instructed to attend/listen to all voices while listening, while
selective group participants were instructed to attend/listen to individual voices while
listening. Participants heard the flawed performance twice. Results indicated no significant
main effects due to texture, error type (pitch or rhythm), error location (top, middle, or
bottom voice), or treatment group. A significant three-‐way interaction among texture, error
type, and error location illustrate the influence of musical context in the detection of pitch
and rhythm errors. Though the small sample size (N = 14) and lack of significance as a result
of the treatment illustrate the need for additional and adjusted investigations, efforts to
illuminate texture’s influence on listening/attending are of value to all musicians.
Attention and Music
Vaitsa Giannouli
Department of Psychology, Aristotle University of Thessaloniki, Greece
Many studies have found that cognitive test performance can be influenced by background
music. The aim of the present study is to investigate whether background music can
influence attention. Twenty-‐four neurologically and acoustically healthy volunteers (12 non-‐
musicians and 12 musicians, 15 men and 14 women, Mean age=26,20, SD=5,64) participated
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 33
in the study. All of the participants had university education (minimum 16years).The
examination materials were Ruff 2 & 7 Selective Attention Test (2 & 7 Test), Symbol Digit
Modalities Test (SDMT), Digit Span Forward and Trail Making Test Part A (TMT).
Metacognitive feelings (feeling of difficulty-‐FOD and feeling of confidence-‐FOC) were also
measured after the completion of each test with the use of Likert scales. Volunteers
participated in all three condition of the experiment and were grouped according to the
acoustic background that they experienced during the neuropscyhological examination
(Mozart’s Allegro con spirito from the Sonata for two pianos K.448, favorite music excerpt
and no exposure to any acoustic stimuli during their examination). Results indicated a
statistically significant difference in favor of the favorite music condition and statistically
more positive metacognitive judgments (less difficulty, more confidence) for this condition.
Listening to Mozart’s music did not enhance performance on attention tasks. No music
education influence was found and also no gender differences were found. The finding of a
better attention performance could be interpreted as the result of a general positive
influence-‐effect that preferred music listening has on general cognitive abilities.
Learning and memorisation amongst advanced piano students: a
questionnaire survey
Kirsteen Davidson-‐Kelly, Nikki Moran, Katie Overy
IMHSD, Reid School of Music, ECA, University of Edinburgh, UK
Professional musicians are often advised to use mental rehearsal techniques, including
musical imagery, but to date there is little evidence regarding the extent to which these
techniques are actually used, or indeed their relative efficacy. We conducted an online
questionnaire with piano students at six UK conservatoires, designed to examine their
conceptions and experiences of the process of learning and memorisation, and to identify
which strategies were most commonly recommended and implemented. Results from 37
respondents showed that statements about conceptions of learning and memorisation did
not always fit with self-‐reports of actual practice, and that although widely recommended,
mental techniques were less likely to be implemented than physical rehearsal techniques.
These findings suggest that while students may know about certain approaches and
strategies they may not know how to implement them. Future research should investigate
the relative efficacy of specific mental learning techniques involving deliberate uses of
musical imagery and examine ways of teaching these techniques effectively.
Speed Poster Session 6: Grand Pietra Hall, 11:40-‐12:10
Music, words, language
“What We’ve Got Here is [No?] Failure to Communicate”: How Listeners
Reconcile Music and Lyrics Mismatch in Interpretation
Janet Bourne, Richard Ashley
Northwestern University
While songs (defined as music with lyrics) have been studied extensively in music theory, little
empirical research addresses how music and lyrics together influence the interpretation of a
song’s narrative. Previous experiments on song focus on how lyrics and music elicit emotion; yet
do not address the song’s narrative. Cook (1998) proposed three models of multimedia, including
“contest” (or “mismatch”), when two simultaneous media contradict each other. Previous
research (e.g. McNeill, 2005) indicates that mismatched verbal and nonverbal communication
implies “meta-‐communication,” or other instances of non-‐literal language (deception, irony,
34
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
sarcasm,
joking,
and
so
on).
In
like
manner,
when
music
and
lyrics
mismatch,
a
listener
might
interpret
the
music-‐lyrics
mismatch
as
a
kind
of
“meta-‐communication.”
We
propose
the
following
hypotheses:
(1)
in
song,
music
does
not
simply
elicit
emotion
but
also
plays
a
part
in
a
listener’s
narrative
interpretation;
a
listener
uses
both.
(2)
If
music
and
lyrics
mismatch,
listeners
will
reconcile
the
contradictory
sources
to
create
a
coherent
story.
(3)
When
the
music
and
lyrics
conflict
in
a
song
sung
by
a
character,
a
listener
may
infer
the
character
in
the
song
as
being
ironic,
lying,
sarcastic
or
being
humorous.
Participants
listened
to
song
clips
from
Broadway
musicals
and
provided
responses
to
a
variety
of
questions:
free
response,
Likert
scale
ratings,
forced
choice
and
adjective
listening.
The
study
used
a
2x2
between-‐subjects
design
where
the
factors
are
the
affect
of
the
music
and
the
affect
of
the
lyrics:
1)
Positive
Music/Positive
Lyrics,
2)
Positive
Music/Negative
Lyrics,
3)
Negative
Music/Negative
Lyrics,
4)
Negative
Music/Positive
Lyrics.
This
research
provides
further
insight
into
how
a
composer
is
able
to
successfully
communicate
a
meaning
or
message
to
a
listener
through
song.
Commercially,
advertising
companies
may
find
the
results
informative
because
then
they
would
know
how
best
to
reach
their
target
audience
by
knowing
how
different
sources
of
media
are
understood
by
the
public.
These
results
would
be
of
interest
to
other
non-‐music
researchers
who
study
how
people
reconcile
conflicting
simultaneous
sources
of
information.
Studying
the
Intervenience
of
Lyrics
Prosody
in
Songs
Melodies
Jose
Fornari
NICS,
University
of
Campinas
(UNICAMP),
Brazil
Songs
are
made
of
two
intrinsically
connected
parts:
poetry
(in
the
form
of
songs
lyrics)
and
music.
The
proper
fitting
between
these
parts
seems
to
be
made
by
acoustic
features
that
encompass
the
relationship
between
them,
representing
two
fields
of
sonic
communication:
musical
and
verbal
communication.
While
lyrics
convey
semantic
meaning,
music
enhances
its
emotional
intention,
filling
informational
gaps
and
enhancing
its
signification
that
otherwise
would
make
the
poetic
meaning
of
lyrics
incomplete
of
even
misleading.
This
work
presents
an
introductory
research
about
the
influence
of
lyrics
on
their
accompanying
melodies.
The
experiment
here
presented
analyzes
three
famous
popular
songs.
Computational
predictions,
given
as
time
series
of
eight
acoustic
descriptors,
were
retrieved
from
pairs
of
audio
files;
one
solely
with
the
speech
of
the
lyrics,
and
another
solely
with
its
corresponding
melody.
In
order
to
avoid
data
tainting
from
human
emotional
interpretation,
the
audio
files
with
the
speech
were
generated
by
a
text-‐to-‐speech
voice
synthesizer.
For
the
same
reason,
melodies
are
generated
by
MIDI
files.
These
pairs
were
analyzed
by
computational
models
of
higher-‐level
acoustic
descriptors
that
output
time
series
representing
the
development
of
a
particular
acoustic
aspect
on
time.
The
correlation
of
each
acoustic
feature
for
each
pair
of
audio
file
are
here
presented,
in
the
form
of
the
correlation
coefficient.
R
The
experimental
results
are
here
presented,
explained
and
discussed,
in
order
to
introduce
a
study
on
the
acoustic
features
that
better
describe
the
intervenience
of
lyrics
prosody
in
song
melodies.
Comparing
Models
of
Melodic
Contour
in
Music
and
Speech
Alex
Billig,
Daniel
Müllensiefen
Department
of
Psychology,
Goldsmiths,
University
of
London,
United
Kingdom
Contour
is
an
important
perceptual
and
mnemonic
feature
of
both
music
and
speech.
Four
formal
models
of
contour,
differing
in
the
degree
to
which
they
compress
melodic
information,
were
compared
empirically
to
assess
how
closely
they
correspond
to
the
mental
processes
involved
in
perception
and
memory
of
pitch
sequences.
Participants
listened
to
a
series
of
short
monophonic
melodies
and
low-‐pass
filtered
English
sentences.
They
were
asked
to
identify
which
of
four
images
best
represented
the
auditory
stimulus.
All
images
in
a
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 35
trial
were
produced
using
the
same
contour
model,
but
only
one
was
derived
from
the
melody
or
sentence
heard.
Models
facilitating
the
highest
proportion
of
correct
matches
were
considered
to
summarise
the
pitch
information
in
a
cognitively
optimal
way.
Matching
was
at
above
chance
level
for
all
models,
with
increased
visual
detail
generally
leading
to
better
performance.
A
linear
regression
model
with
musical
training,
stimulus
type,
their
interaction
and
contour
model
as
predictors
accounted
for
44%
of
variance
in
accuracy
scores
(p
<
.001).
Accuracy
was
significantly
higher
for
melodies
than
for
speech,
and
increased
with
musical
training
for
melodies
only.
This
novel
cross-‐modal
paradigm
revealed
that
listeners
can
successfully
match
images
derived
from
music
theoretical
models
of
contour
not
only
to
melodies
but
also
spoken
sentences.
Our
results
support
the
important
role
of
contour
in
perception
and
memory
in
both
music
and
speech,
but
suggest
limits
to
the
extent
that
musical
training
can
bring
about
changes
to
the
mental
representation
of
pitch
patterns.
The
effect
of
melodic
expectation
on
language
processing
at
different
levels
of
task
difficulty
and
working
memory
load
Elisa
Carrus,*
Marcus
T.
Pearce,#
Joydeep
Bhattacharya*
*Department
of
Psychology,
Goldsmiths,
University
of
London,
UK;
#Center
for
Digital
Music,
School
of
Electronic
Engineering
&
Computer
Science,
Queen
Mary’s,
University
of
London,
UK
Behavioural
studies
have
shown
that
language
expectancy
effects
are
reduced
when
language
is
presented
with
unexpected
compared
to
expected
musical
chords
(e.g.
Hoch
et
al,
2011).
This
study
aimed
at
investigating
the
behavioural
impact
of
melodic
expectation
on
processing
of
language.
A
computational
model
was
used
to
create
melodies
(Pearce,
2005),
allowing
to
distinguish
between
high-‐probability
(expected)
and
low-‐probability
(unexpected)
notes.
We
used
a
cross-‐modal
paradigm
in
three
behavioural
studies
where
sentences
and
melodies
were
presented
in
synch
and
both
consisted
of
five
elements.
In
the
first
experiment,
the
task
consisted
in
an
acceptability
judgment,
whereas
in
the
second
experiment
the
task
involved
detecting
the
type
of
language
condition
presented.
The
third
experiment
included
a
working
memory
component
which
involved
keeping
digits
in
memory
while
they
were
doing
the
language
task.
When
participants
were
asked
to
judge
the
acceptability
of
sentences,
melodically
unexpected
notes
facilitated
processing
of
unexpected
but
not
expected
sentences.
Participants
were
faster
in
responding
to
incorrect
sentences
when
these
were
paired
with
unexpected
rather
than
expected
notes.
When
participants
were
asked
to
detect
the
type
of
language
violation,
the
language
expectancy
effect
(faster
processing
for
correct
than
for
incorrect
sentences)
was
reduced
when
sentences
were
presented
on
unexpected
notes,
compared
to
expected
notes.
Finally,
when
working
memory
load
increased,
the
language
expectancy
effect
was
suppressed.
It
could
be
speculated
that
a
congruency
effect
is
generating
the
facilitation
effect,
and
that
the
presence
of
increased
cognitive
load
enhances
processing
of
distracting
(music)
stimuli,
thus
preventing
a
behavioural
interaction.
Towards
a
Musical
Gesture
in
the
Perspective
of
Music
as
a
Dynamical
System
Beatriz
Raposo
de
Medeiros
Department
of
Linguistics,
University
of
São
Paulo,
Brazil
Assuming
a
perspective
of
music
as
a
dynamical
system
in
the
domain
of
cognition
implies
adopting
the
notion
that
the
cognitive
structures
(nervous
system,
body
and
environment)
are
integrated.
In
other
words,
in
each
behavior
that
involves
acting
and
knowing
–
e.g.,
a
football
player
kicking
a
corner
ball–
cognitive
structures
act
as
an
entire
system.
The
dynamical
view
provides
the
necessary
tools
and
the
language
required
to
deal
with
time,
36
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
movement
and
change
over
time.
We
present
a
locus
of
convergence
among
studies
with
different
views
on
music
as
a
dynamical
system,
whereafter
we
propose
a
musical
gesture
based
on
the
same
dynamical
principles
which
in
the
domain
of
Linguistics
led
to
a
phonological
unit
called
articulatory
gesture.
The
singing
voice
is
presented
as
a
plausible
musical
gesture
as
it
produces
tones
and
durations
combined
in
order
to
provide
the
musical
information.
This
information
can
be
understood
as
specific
tones
in
a
given
scale
system
and
rhythmic
structure
and
is
part
of
the
musical
unit
proposed
here.
The
articulatory
movements
of
the
singing
voice
produced
by
the
larynx
characterize
this
unit
as
a
unit
of
action.
Thus
we
suggest
a
larynx
modeling
for
music
production
in
an
initial
attempt
to
view
the
singing
voice
as
a
basic
realization
of
music,
organized
and
coordinated
as
a
musical
gesture.
Perceiving
Differences
in
Linguistic
and
Non-‐Linguistic
Pitch:
A
Pilot
Study
With
German
Congenital
Amusics
Silke
Hamann,*
Mats
Exter,#
Jasmin
Pfeifer,#
Marion
Krause-‐Burmester#
*Amsterdam
Centre
for
Language
and
Communication,
University
of
Amsterdam,
The
Netherlands
#Institute
for
Language
and
Information,
University
of
Düsseldorf,
Germany
This
study
investigates
the
perception
of
pitch
differences
by
seven
German
congenital
amusics
in
speech
and
two
types
of
non-‐speech
material
(sinusoidal
waves
and
pulse
trains).
Congenital
amusia
is
defined
by
a
deficit
in
musical
pitch
perception,
and
recent
studies
indicate
that
at
least
a
subgroup
of
congenital
amusics
also
show
deficits
in
linguistic
pitch
perception.
While
previous
studies
employed
pitch
differences
that
occur
in
naturally
spoken
pairs
of
statement
vs.
echo
question
to
test
the
influence
of
amusia
on
linguistic
pitch
perception,
the
present
study
parametrically
varied
the
pitch
differences
in
steps
of
one
semitone
(from
one
to
seven
semitones).
We
further
tested
the
influence
of
the
direction
of
the
pitch
change,
the
length
of
the
stimuli
and
the
continuity
of
the
pitch
curve.
Our
results
show
that
amusics
have
difficulties
detecting
pitch
changes
both
in
non-‐linguistic
stimuli
and
in
speech.
Furthermore,
we
found
that
amusics
and
controls
performed
better
when
the
stimuli
where
discontinuous
and
the
pitch
was
raised
(instead
of
lowered).
With
respect
to
non-‐speech
material,
all
participants
performed
better
for
pulse
trains.
The
length
of
the
stimuli
did
not
influence
the
performance
of
the
participants.
Speed
Poster
Session
7:
Crystal
Hall,
11:40-‐12:10
Ethnomusicology
&
cross-‐cultural
studies
Prosodic
Stress,
Interval
Size
and
Phrase
Position:
A
Cross-‐Cultural
Contrast
Daniel
Shanahan,
David
Huron
Ohio
State
University
Two
studies
were
carried
out
in
order
to
test
the
existence
of
“late
phrase
compression”
in
music
where
the
interval
size
tends
to
decline
toward
the
end
of
a
phrase.
A
sample
of
phrases
from
notated
Germanic
folksongs
shows
the
predicted
decline
in
interval
size.
However,
a
sample
of
phrases
from
Chinese
folksongs
shows
a
reverse
relationship.
In
short,
late
phrase
interval
compression
is
not
evident
cross-‐culturally.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 37
Variations
in
emotional
experience
during
phases
of
elaboration
of
North
Indian
Raga
performance
Shantala
Hegde,*
Jean-‐Julien
Aucouturier,#
Bhargavi
Ramanujam*,
Emmanuel
Bigand#
*Cognitive
Psychology
Unit,
Center
for
Cognition
and
Human
Excellence,
Department
of
Clinical
Psychology,
National
Institute
of
Mental
Health
And
Neuro
Sciences
(NIMHANS),
Bangalore,
India;
#LEAD-‐CNRS,
Université
de
Bourgogne,
Pôle
AAFE,
Dijon
cedex,
France
In
Indian
classical
music
(ICM)
‘ragas’
are
the
base
for
melodic
improvisation.
Ragas
are
closely
associated
with
specific
emotional
themes,
termed
as
‘rasas’.
Artists
improvise
and
elaborate
on
a
raga
over
different
successive
phases
with
variation
in
the
melodic
elaboration,
tempo
and
rhythm
to
evoke
the
rasa
of
the
raga.
There
has
been
little
study
so
far
on
how
the
emotional
experience
varies
along
with
different
phases
of
raga
elaboration.
This
study
examined
the
variation
in
emotional
experience
associated
with
specific
ragas
during
the
different
phases
of
raga
presentation
in
the
North-‐Indian-‐Classical-‐Music
tradition
(NICM),
and
correlate
with
acoustic
parameters.
Fifty
musically-‐untrained
Indian
participants
listened
to
one-‐minute
long
excerpts
from
ten
ragas.
All
excerpts
were
from
Bansuri
(bamboo
flute)
performance
by
an
accomplished
musician.
For
each
raga,
three
excerpts
from
different
phases
of
elaboration,
viz.,
Alaap
(P1),
Jor-‐Jhala
(P2)
and
Bandish-‐
Madhyalaya
(P3)
were
included.
Participants
were
asked
to
choose
the
predominant
emotion
experienced
from
a
set
of
eight
categories.
Here
we
only
report
on
differences
observed
comparing
P1
and
P2
of
the
ragas.
PCA
analysis
of
the
complete
dataset
of
the
30
excerpts
was
carried
out.
Rhythmic
properties
of
each
extract
using
MIR
Toolbox's
algorithms.
Valence
and
arousal
variations
within
a
raga
typically
exceed
variations
between
different
ragas.
The
transition
from
P1
to
P2
was
associated
with
a
significant
increase
in
pulse
clarity.
Indian
performers
have
the
possibility
to
strongly
vary
the
expressivity
associated
with
a
specific
raga
by
their
performances,
but
with
some
specific
constraints
depending
upon
the
ragas.
Analyzing
Modulation
in
Scales
(Rāgams)
in
South
Indian
Classical
(Carnātic)
Music:
A
Behavioral
Study
Rachna
Raman,
W.
Jay
Dowling
Dept.
of
Behavioral
&
Brain
Sciences,
The
University
of
Texas
at
Dallas,
USA
The
study
was
aimed
at
(1)
identifying
cues
that
help
listeners
perceive
tonality
changes,
(2)
investigating
if
cues
learnt
from
one
culture
help
toward
understanding
music
across
cultures,
and
(3)
understanding
if
musical
training
is
advantageous
for
cross-‐cultural
perception.
Carnātic
music
has
two
kinds
of
tonality
shifts:
the
popular
rāgamālikā
(shifts
of
rāgam,
retaining
tonal
center;
e.g.,
C
to
C
minor),
and
the
controversial
grahabēdham
(shifts
of
rāgam
and
tonal
center;
e.g.,
C
to
A
minor).
Stimuli
were
45
rāgamālikā
and
46
grahabēdham
shifts
in
songs.
South
Indian
and
American
teachers
and
students
divided
by
age
(older
or
younger
than
60
yr)
served
in
either
the
rāgamālikā
or
grahabēdham
condition.
Participants
indicated
the
point
at
which
a
modulation
occurred,
measured
in
terms
of
accuracy
and
latency.
Indians
were
more
accurate
and
faster
in
rāgamālikā
whereas
westerners
performed
better
with
grahabēdham.
Cues
could
explain
performance
differences
between
nationalities:
Indians
performed
better
in
rāgamālikā
presumably
because
of
their
familiarity
with
it;
westerners
performed
better
with
grahabēdham
because
they
were
probably
able
to
apply
cues
to
a
type
of
modulation
culturally
familiar
to
them.
Indians
and
westerners
had
similar
hit
rates
in
grahabēdham.
Increased
caution
toward
the
less
familiar
grahabēdham
for
Indians
could
explain
their
slower
response
time
compared
to
rāgamālikā.
Musical
training
was
advantageous
to
teachers
overall:
they
had
more
hits
and
38
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
fewer
errors
than
students.
This
could
be
attributed
to
enhanced
representation
for
systems
of
pitches
and
modalities.
Embodiment
of
Metrical
Structure:
Motor
Patterns
Associated
with
Taiwanese
Music
Li-‐Ching
Wang,*
Chen-‐Gia
Tsai#
*Centre
for
Music
and
Science,
University
of
Cambridge,
UK
#Graduate
Institute
of
Musicology,
National
Taiwan
University,
Taiwan
Sensory
feedback,
whether
auditory,
visual,
tactile,
proprioceptive
and
vestibular,
enables
music
performers
to
perceive
metrical
structures
of
music
better
due
to
the
multiple
sources
of
information.
Cognitively,
humans
tend
to
synchronize
their
body
movements
with
beats
they
are
listening
to.
Ontogenically,
the
ability
to
feel
music
through
body
movements
develops
at
an
early
age.
Physiologically,
different
mechanisms
behind
the
feedback
caused
by
body
movements
may
result
in
different
types
of
embodied
expression
of
meter.
Embodiment
of
metrical
hierarchy
can
also
be
observed
in
the
variety
of
beat-‐counting
processes
from
different
musical
cultures,
such
as
the
art
of
conducting
in
Western
classical
music.
In
some
Taiwanese
music
genres,
musicians
count
beats
with
specific
motor
patterns.
The
present
study
used
an
accelerometer
to
examine
the
beat-‐counting
movements
in
diverse
music
traditions:
Taiwanese
aboriginal
music,
nanguan
music,
and
beiguan
music,
in
comparison
with
the
conducting
movement
in
Western
classical
music.
We
hypothesize
that
different
feedbacks
induced
by
beat-‐counting
movements
reflect
the
hierarchy
of
beats
in
a
measure.
Our
results
suggest
that
the
tactile
feedback
is
in
a
higher
hierarchy
than
proprioception,
in
which
the
zero-‐acceleration
timing
indicates
the
beat
in
some
music
traditions.
If
no
tactile
feedback
occurs,
the
hand
movement
with
downward
velocity
is
on
a
higher
hierarchical
level
than
that
with
upward
velocity.
Literarily
Dependent
Chinese
Music:
A
Cross-‐Culture
Research
of
Chinese
and
Western
Musical
Score
Based
on
Automatically
Interpretation
Rongfeng
Li,*
Yelei
Ding*,
Wenxin
Li*,
Minghui
Bi
#
*
Key
Laboratory
of
Machine
Perception
(Ministry
of
Education),
Peking
University
#
School
of
Arts,
Peking
University
The
evolvement
of
Western
and
Chinese
musical
score
is
quite
different.
Firstly,
Chinese
musical
score
depends
greatly
on
literary
while
with
a
common
view,
Western
music
is
comparatively
independent
on
literary.
Specially,
in
Chinese
musical
score,
the
melody
is
evolve
from
the
tones
of
Chinese
poetry.
The
other
difference
is
in
rhythmic
rule.
Compare
to
the
strictly
regulated
Western
music,
gongchepu
uses
a
flexible
rhythmic
rule,
which
only
denotes
ban
(downbeat)
and
yan
(upbeat),
and
the
duration
of
each
note
is
improvised
by
musicians.
However,
to
perform
the
correct
music,
the
improvisation,
of
which
the
experience
is
only
passed
by
oral
tradition,
have
fixed
patterns.
In
this
paper,
we
proposed
an
automatically
interpretation
model
by
recognizing
those
patterns
based
on
Hidden
Markov
Model.
Our
automatic
interpretation
method
successfully
achieves
90.392%
precision
and
83.2%
OOV
precision
on
database
of
published
manually
interpretation
of
Gongchepu.
The
result
shows
that
the
up
and
down
tune
and
the
position
of
the
lyrics
are
the
key
feature
that
affect
the
rhythmic
improvisation
of
Chinese
music,
which
also
support
that
the
Chinese
musical
score
is
literarily
dependent.
Also,
the
automatically
interpretation
have
a
great
impact
on
protecting
the
ancient
Chinese
traditional
culture,
for
experts
who
are
able
to
read
gongchepu
is
decreasing
and
the
way
of
singing
the
Chinese
traditional
poetry
will
likely
fade
in
the
following
generation.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 39
Speed
Poster
Session
8:
Dock
Six
Hall,
11:40-‐12:10
Temporality
&
rhythm
I
Conceptual
spaces
of
metre
and
rhythm
Jamie
Forth,*
Geraint
Wiggins#
*Department
of
Computing,
Goldsmiths,
University
of
London,
UK
#School
of
Electronic
Engineering
and
Computer
Science,
Queen
Mary,
University
of
London,
UK
We
introduce
a
formalisation
of
metrical-‐rhythmic
concepts
within
Gärdenfors'
theory
of
conceptual
space.
The
conceptual
spaces
framework
is
a
cognitive
theory
of
representation
in
which
concepts
are
represented
geometrically
within
perceptually
grounded
and
variably
weighted
quality
dimensions.
Distance
corresponds
to
conceptual
dissimilarity.
Informed
by
London's
psychological
theory
of
metre
as
a
process
of
entrainment,
two
conceptual
space
models
are
developed,
each
designed
to
encapsulate
salient
aspects
of
the
experience
of
metrically
organised
rhythmic
structure.
As
a
basis
for
defining
each
conceptual
space,
we
first
develop
a
symbolic
formalisation
of
London's
theory
in
terms
of
metrical
trees,
taking
into
account
isochronous
and
non-‐isochronous
structures.
The
first
conceptual
space
represents
metrical
concepts
as
hierarchical
structures
of
periodic
components.
The
second
extends
this
representation
to
include
the
internal
sequential
structure
of
periodic
cycles.
The
geometry
is
defined
in
terms
of
the
symbolic
formulation,
and
the
mappings
between
the
levels
of
representation
associate
metrical
tree
structures
with
points
in
geometrical
space.
Expressively
varied
metres
are
naturally
represented
in
the
space
as
regions
surrounding
prototypical
metrical
points.
The
developed
models
are
evaluated
within
a
genre
classification
task
involving
stratified
10x10-‐fold
cross-‐validation
over
a
labelled
dataset
of
rhythmically
distinctive
musical
genres
using
k-‐nearest-‐neighbour
clustering.
The
models
achieve
classification
accuracies
of
77%
and
80%
respectively,
with
respect
to
a
tempo-‐only
base-‐line
of
48%.
Modeling
the
implicit
learning
of
metrical
and
non-‐metrical
rhythms
Benjamin
G.
Schultz1,2,
Geraint
A.
Wiggins3,
&
Marcus
Pearce3
1MARCS
Institute,
University
of
Western
Sydney
2Lyon
Neuroscience
Research
Center,
Team
Auditory
Cognition
and
Psychoacoustics,
CNRS,
UMR 5292, INSERM U1028, Université Lyon 1
3 Centre for Digital Music, Queen Mary, University of London
The
information
dynamics
of
music
(IDyOM;
Pearce
&
Wiggins,
2006)
model,
originally
applied
to
melodic
expectation,
indicates
learning
via
entropy
(reflecting
uncertainty)
and
information
content
(reflecting
unexpectedness).
Schultz,
Stevens,
Keller,
and
Tillmann
found
implicit
learning
(IL)
of
metrical
and
non-‐metrical
rhythms
using
the
serial
reaction-‐time
task
(SRT).
In
the
SRT,
learning
is
characterized
by
RT
decreases
over
blocks
containing
a
repeating
rhythm,
RT
increases
when
novel
rhythms
are
introduced,
and
RT
recovery
when
the
original
rhythm
is
reintroduced.
Metrical
rhythms
contained
events
that
occurred
on
the
beat
and
downbeat.
Non-‐
metrical
rhythms
contained
events
that
deviated
from
the
beat
and
downbeat.
In
the
metrical
condition,
larger
RT
increases
occurred
for
the
introduction
of
novel
weakly
metrical
rhythms
compared
to
novel
strongly
metrical
rhythms.
No
differences
were
evident
between
the
introductions
of
novel
non-‐metrical
rhythms.
We
used
the
IDyOM
model
to
test
the
hypothesis
that
IL
of
metrical
and
non-‐metrical
rhythms
is
related
to
developing
expectations
(i.e.
RT
data)
based
on
the
probabilistic
structure
of
temporal
sequences.
We
hypothesized
that
previous
exposure
to
the
corpus
results
in
larger
positive
correlations
for
metrical
rhythms
than
non-‐
metrical
rhythms.
Correlational
analyses
between
RT
data
and
the
IDyOM
model
were
performed.
The
IDyOM
model
correlated
with
RT.
Entropy
demonstrated
moderate
positive
correlations
for
40
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
the
LTM+
and
BOTH+
models.
Information
content
demonstrated
moderate
to
strong
positive
correlations
for
the
LTM,
BOTH,
LTM+,
and
BOTH+
models.
As
hypothesized,
models
exposed
to
the
corpus
demonstrated
larger
correlations
for
metrical
rhythms
compared
to
non-‐metrical
rhythms.
Results
suggest
that
the
IDyOM
model
is
sensitive
to
probabilistic
aspects
of
temporal
learning,
and
previous
exposure
to
metrical
rhythms.
The
probabilistic
structure
of
temporal
sequences
predicts
the
development
of
temporal
expectations
as
reflected
in
RT.
Results
indicate
that
the
usefulness
of
the
IDyOM
model
extends
beyond
predicting
melodic
expectancies
to
predicting
the
development
of
temporal
expectancies.
Asymmetric
beat/tactus:
Investigating
the
performance
of
beat-‐tracking
systems
on
traditional
asymmetric
rhythms
Thanos
Fouloulis,*
Emilios
Cambouropoulos,*
Aggelos
Pikrakis#
*
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
#Department
of
Computer
Science,
University
of
Pireaus,
Greece
Theories
of
western
metrical
structure
commonly
hypothesize
an
isochronous
beat
level
(tactus)
upon
which
the
concept
of
metre
is
built.
This
assumption
is
challenged
by
this
study.
It
is
proposed
that
time
at
the
tactus
level
may
be
measured
by
isochronous
or
asymmetric
temporal
‘scales’
depending
on
the
musical
data
(just
like
asymmetric
pitch
scales
are
adequate
for
organising
tonal
pitch
space).
This
study
examines
the
performance
of
beat
tracking
systems
on
music
that
features
asymmetric
rhythms
(e.g.
5/8,
7/8)
and
proposes
potential
improvement
of
theoretical
and
practical
aspects
relating
to
beat
perception
that
can
allow
the
construction
of
more
general
idiom-‐independent
beat
trackers.
The
tactus
of
asymmetric/complex
musical
rhythms
is
non-‐isochronous;
for
instance,
a
7/8
song
is
often
counted/taped/danced
at
a
level
3+2+2
(not
at
a
lower
or
higher
level).
Two
state-‐of-‐the-‐art
beat-‐tracking
systems
(Dixon
2007;
Davies
&
Plumley
2007)
and
a
beat/tempo
induction
system
(Pikrakis
et
al,
2004)
are
tested
on
a
number
of
traditional
Greek
(dance)
songs
that
feature
asymmetric
rhythms.
The
beat
output
of
the
algorithms
is
measured
against
the
corresponding
beat
structures
indicated
by
expert
musicians
(we
also
use
knowledge
regarding
corresponding
dance
movements),
and
the
algorithms
are
compared
to
each
other.
As
expected,
the
beat-‐trackers
cannot
cope
well
with
asymmetric
rhythms.
The
metre/tempo
induction
system
performs
better
in
processing
asymmetric
rhythms;
it
does
not
always
find
the
correct
beat
level
but
this
level
exists
implicitly
in
the
model
(in
between
sub-‐
and
super-‐beat
levels).
Meet
ADAM
–
a
model
for
investigating
the
effects
of
adaptation
and
anticipatory
mechanisms
on
sensorimotor
synchronization
Marieke
van
der
Steen,*
Peter
E.
Keller
*#
*Music
Cognition
and
Action
Group,
Max
Planck
Institute
for
Human
Cognitive
and
Brain
Sciences, Germany; #MARCS Institute, University of Western Sydney, Australia
The temporal coordination of self-‐generated motor rhythms with perceived external
rhythms is an important component of musical activities. Such sensorimotor synchronization
(SMS) involves temporal adaptation and anticipation. Adaptation mechanisms enable
humans to modify the timing of their actions online when synchronizing with external event
sequences. Reactive temporal error correction processes influence the timing of upcoming
movements and therefore facilitate the maintenance of synchrony. Anticipatory processes
concern predictions about the unfolding external event sequence with which the action is to
be coordinated. These mechanisms facilitate efficient and precise motor control and are
related to online action simulation and internal models. We introduce ADAM —an
ADaptation and Anticipation Model— to investigate the role of adaptation and anticipatory
mechanisms, and their interactions, on SMS. Adam combines an established formal model of
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 41
adaptation with an anticipation process inspired by the notion of internal models. ADAM is
created in Simulink, a MATLAB-‐based simulation environment. ADAM can be implemented in
a real-‐time set up, creating a virtual synchronization partner. ADAM produces an auditory
pacing signal, and can parametrically adjust the timing of this signal based on information
about the human participant's timing (via MIDI). The set up enables us not only to run
simulations but also to conduct experiments during which participants directly interact with
the model. In doing so, we investigate the effect of the different processes and their
interactions on SMS in order to gain knowledge about how SMS-‐based tasks might be
exploited in a motor rehabilitation for different patient groups.
Electrophysiological Substrates of Auditory Temporal Assimilation Between
Two Neighboring Time Intervals
Takako Mitsudo*, Yoshitaka Nakajima†, Gerard B. Remijn†, Hiroshige Takeichi‡, Yoshinobu
Goto§, Shozo Tobimatsu#
*Faculty of Information Science and Electrical Engineering, Kyushu University, Japan; †Faculty
of
Design,
Kyushu
University,
Japan;
‡RIKEN
Nishina
Center,
Saitama,
Japan;
§Faculty
of
Rehabilitation,
International
University
of
Health
and
Welfare,
Japan;
#Faculty
of
Medical
Sciences,
Kyushu
University,
Japan
Brain
activities
related
to
temporal
assimilation,
a
perceptual
phenomenon
in
which
two
neighboring
time
intervals
are
perceived
as
equal
even
when
their
physical
difference
is
substantially
larger
than
the
difference
limen,
were
observed.
The
neighboring
time
intervals
(T1
and
T2
in
this
order)
were
marked
by
three
successive
1000-‐Hz
pure-‐tone
bursts
of
20
ms.
Event-‐related
potentials
(ERPs)
were
recorded
from
19
scalp
locations
while
the
participants
listened
to
the
temporal
patterns.
Thirteen
participants
just
listened
to
the
patterns
in
the
first
session,
and
judged
the
equality/inequality
of
the
neighboring
intervals
in
the
next
session.
The
participant
made
his/her
judgments
on
perceived
equality/inequality
by
pressing
one
of
two
buttons.
First,
T1
was
varied
from
80
to
320
ms
in
steps
of
40
ms,
and
T2
was
fixed
at
200
ms.
About
one
year
later,
the
same
participants
took
part
in
another
experiment
in
which
the
procedures
remained
the
same
except
that
the
temporal
patterns
were
reversed
in
time.
Behavioral
data
showed
typical
temporal
assimilation;
equality
appeared
in
an
asymmetrical
categorical
range
T1-‐T2
=
-‐80
to
50
ms.
Electrophysiological
data
showed
a
contingent
negative
variation
(CNV)
during
T2
in
the
frontal
area,
which
might
reflect
the
process
of
memorizing
the
length
of
T1.
A
slow
negative
component
(SNCt)
after
the
presentation
of
T1
and
T2
appeared
in
the
right-‐frontal
area,
and
continued
up
to
about
400
ms
after
the
end
of
T2;
this
component
was
larger
when
perceptual
inequality
took
place.
(Supported
by
JSPS)
Speed
Poster
Session
9:
Timber
I
Hall,
11:40-‐12:10
Emotional
responses
&
affective
experiences
I
Emotion
in
Music:
Affective
Responses
to
Motion
in
Tonal
Space
Marina
Korsakova-‐Kreyn,
*
Walter
Jay
Dowling
#
*
School
of
Music
and
the
Arts,
NJ,
USA
#
The
University
of
Texas
at
Dallas,
USA
Tonal
modulation
is
the
reorientation
of
a
scale
on
a
different
tonal
center
in
the
same
musical
composition.
Modulation
is
one
of
the
main
structural
and
expressive
aspects
of
music
in
the
European
musical
tradition.
Although
it
is
known
a
priori
that
different
degrees
of
modulation
produce
characteristic
emotional
effects,
these
effects
have
not
yet
been
42
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
thoroughly explored. We conducted two experiments to investigate affective responses to
tonal modulation by using semantic differential scales related to valence, synesthesia,
potency, and tension. Experiment 1 examined affective responses to modulation to all 12
major and minor keys using 48 brief harmonic progressions. The results indicated that
affective response depends on degree of modulation and on the use of the major and minor
modes. Experiment 2 examined responses to modulations to the subdominant, the dominant,
and the descending major third using a set of 24 controlled harmonic progressions and a
balanced set of 24 excerpts from piano compositions belonging to the First Viennese School
and the Romantics; all stimuli were in the major mode to maintain the ecological validity of
modulation to the dominant. In addition, Experiment 2 investigated the affective influence of
melodic direction in soprano and bass melodic lines. The results agreed with the theoretical
model of pitch proximity based on the circle of fifths and demonstrated the influence of
melodic direction and musical style on emotional response to reorientation in tonal space.
Examining the affective influence of motion along different tonal distances can help deepen
our understanding of aesthetic emotion.
Voice Multiplicity Influences the Perception of Musical Emotions
Yuri Broze* & Brandon Paul#
*School of Music, Ohio State University, USA
#Department of Speech and Hearing Science, Ohio State University, USA
A
polyphonic
musical
texture
can
be
described
in
terms
of
its
voice
multiplicity―the
number
of
simultaneous
musical
voices
present.
We
conjectured
that
listeners
might
make
use
of
voice
multiplicity
information
when
inferring
the
expression
of
musical
emotions.
In
particular,
we
hypothesized
that
ratings
of
musical
loneliness
would
be
highest
for
monophonic
music,
and
decrease
as
more
voices
are
added
to
the
texture.
Moreover,
voice
multiplicity
should
only
influence
emotion
perception
to
the
extent
that
it
can
be
accurately
perceived.
In
an
experimental
study,
listeners
were
asked
to
rate
brief
(5s)
musical
excerpts
for
expression
of
happiness,
sadness,
loneliness,
and
pride.
We
controlled
for
style,
motivic
content,
timbre,
and
loudness
by
excerpting
harpsichord
recordings
of
fugue
expositions
from
Bach’s
Well-‐Tempered
Clavier.
Higher
loneliness
and
sadness
ratings
were
associated
with
fewer
musical
voices;
loneliness
showed
a
stronger
effect
than
sadness.
The
effect
of
voice
multiplicity
was
consistent
with
the
pattern
predicted
by
limitations
in
stream
segregation.
Unexpectedly,
listeners
were
much
more
likely
to
make
strong
emotion
ratings
for
monophonic
textures
than
for
any
other
multiplicity
level,
and
multiplicity
effects
seemed
to
be
greater
for
loneliness
and
pride
ratings
than
for
sadness
and
happiness
ratings.
Preliminary
results
from
a
second
study
using
an
expanded
between-‐groups
design
are
consistent
with
the
idea
that
positively-‐valenced
emotions
are
more
easily
perceived
when
more
musical
voices
are
present,
whereas
negatively-‐valenced
emotions
are
perceived
more
strongly
when
fewer
voices
are
present.
Multisensory
Perception
of
Six
Basic
Emotions
in
Music
Ken-‐ichi
Tabei,*
Akihiro
Tanaka#
*Department
of
Dementia
Prevention
and
Therapeutics,
Graduate
School
of
Medicine,
Mie
University,
Japan;
#Department
of
Psychology,
Tokyo
Woman's
Christian
University,
Japan
The
interaction
between
auditory
and
visual
information
is
known
to
influence
emotion
judgments
by
using
audiovisual
speech
stimuli
(i.e.,
face–voice
combination).
In
contrast,
little
is
known
about
how
emotion
perception
changes
when
the
musician’s
facial
and
bodily
movements
can
be
seen
as
well
as
heard.
In
the
present
study,
we
applied
a
paradigm
often
used
in
face–voice
emotion
perception
to
music
performance
to
examine
the
interaction
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 43
between
musical
sound
and
facial
and
bodily
movements
in
perceiving
emotion
from
music
performance.
Results
showed
that
the
performances
in
the
Audio
(A),
Visual
(V),
and
Audio-‐
Visual
(AV)
conditions
were
dependent
on
the
combination
of
instruments
and
emotions:
angry
expression
by
cellists
and
sad
expression
by
violinist
were
perceived
better
in
the
V
condition,
while
disgust
expression
by
pianist
were
perceived
better
in
the
AV
condition.
While
previous
studies
have
shown
that
visual
information
from
facial
expression
facilitates
the
emotion
perception
from
emotional
prosody
in
speech,
that
of
musician’s
facial
and
bodily
movements
did
not
necessarily
enhance
the
emotion
perception
from
musical
sound.
This
pattern
suggests
that
multisensory
perception
of
emotion
from
music
performance
may
be
different
from
that
from
audiovisual
speech.
New
perspective
of
peak
emotional
response
to
music:
The
psychophysiology
of
tears
Kazuma
Mori,*#
Makoto
Iwanaga*
*Graduate
School
of
Integrated
Arts
and
Sciences,
Hiroshima
University,
Japan
#
Research
Fellow
of
the
Japan
Society
for
Promotion
of
Science
Music
sometimes
induces
peak
emotion.
Previous
studies
examined
musical
chills
(feeling
of
goose
bumps
and
shivers
down
the
spine)
as
peak
emotional
response
to
music.
Our
previous
study,
however,
revealed
that
musical
tears
(feeling
of
weeping
and
lump
in
the
throat)
seemed
to
be
another
peak
emotional
response
to
music.
The
present
study
examined
how
psychophysiology
states
induced
by
musical
tears.
Thirty
four
students
listened
to
self-‐selected
tear
music
and
other-‐selected
neutral
music.
During
music
listening,
the
participants
pushed
mouse
button
when
they
felt
sense
of
tears.
They
also
moved
mouse
right
and
left
to
continuous
real
time
recordings
of
subjective
emotional
valences
(pleasure-‐
displeasure).
Simultaneously,
the
participants
was
recorded
autonomic
nervous
activity
such
as
heart
rate,
respiratory
rate
and
skin
conductance
response.
We
compared
time
series
subjective
emotion
and
physiology
responses
accompanied
with
sense
of
tears
between
when
listening
self-‐selected
tear
music
and
when
listening
other-‐selected
neutral
music.
The
results
showed
that
the
participants
exhibited
monotone
increasing
of
subjective
pleasure
before
and
after
fifteen
second
of
tears
onset.
They
also
exhibited
respiratory
rate
decreases
that
rapidly
subsided
after
tears
onset.
Decreasing
respiratory
rate
meant
that,
after
tears
onset,
the
participants
experienced
activating
parasympathetic
nervous
system.
These
results
showed
that
musical
tears
induce
slowly
peak
pleasurable
with
physiologically
calming
state.
On
the
other
hand,
previous
studies
confirmed
that
musical
chills
induce
fast
peak
pleasurable
and
physiologically
arousing
state.
We
conducted
that
musical
tears
give
different
peak
pleasurable
state
from
musical
chills.
Musical
Emotions:
Perceived
Emotion
and
Felt
Emotion
in
Relation
to
Musical
Structures
Ai
Kawakami,1,2
Kiyoshi
Furukawa,1
Kazuo
Okanoya2,3,4
1
Graduate
School
of
Fine
Arts,
Tokyo
University
of
the
Arts,
JAPAN
2
Emotional
Information
Joint
Research
Laboratory,
RIKEN
BSI,
JAPAN
3
JST,
ERATO,
OKANOYA
Emotional
Information
Project,
JAPAN
4
Graduate
School
of
Arts
and
Sciences,
The
University
of
Tokyo,
JAPAN
Musical
emotions
are
an
integration
of
two
kinds
of
emotions:
perceived
emotion
and
felt
emotion.
In
this
study,
we
hypothesized
that
perceived
emotion
would
not
necessarily
correspond
to
felt
emotion,
particularly
in
response
to
low
consonant
music
such
as
music
in
a
minor
key.
In
addition,
we
investigated
the
effect
of
musical
experiences
toward
the
two
kinds
of
emotions.
In
total,
24
participants
listened
to
21
newly
composed
musical
stimuli
44
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
and
rated
the
intensities
of
perceived
and
felt
emotions
using
a
two-‐dimensional
evaluation:
arousal
(active/passive)
and
valence
(pleasant/unpleasant).
The
results
showed
that
the
perceived
emotion
did
not
always
coincide
with
the
felt
emotion.
Notably,
participants
who
had
substantial
musical
experience
rated
the
felt
emotion
as
less
unpleasant
or
more
pleasant
than
the
perceived
emotion
in
response
to
minor-‐key,
dissonant
and
high
note
density
music.
This
finding
may
lead
to
a
better
understanding
of
why
people
sometimes
like
or
“enjoy”
sad
music.
Emotional
features
of
musical
pieces
for
a
series
of
survival-‐horror
games
Ryo
Yoneda,
Kohta
Matsumoto,
Shinya
Kanamori,
Masashi
Yamada
Graduate
School
of
Engineering,
Kanazawa
Institute
of
Technology
In
recent
years,
the
hardware
and
software
of
video
games
has
substantially
developed.
This
led
to
rapid
increase
of
the
cost
and
time
for
creating
high-‐quality
contents
for
a
video
game.
Therefore,
once
a
game
title
sales
successfully,
producers
tend
to
make
that
title
into
a
series,
because
the
content
can
easily
recover
the
cost
of
development.
However,
it
is
rare
for
the
original
creators
of
a
series
to
stay
with
it
all
the
way
through
its
life
span,
because
game
creators
tend
to
switch
companies
frequently.
In
the
present
study,
emotional
features
of
musical
pieces
composed
for
Capcom’s
survival–horror
title
“Resident
Evil,”
in
which
seven
titles
were
released
in
the
last
16
years,
were
rated
using
24
semantic
differential
scales.
The
results
showed
that
the
emotional
features
of
the
musical
pieces
were
constructed
by
“pleasantness”
and
“excitation”
axes.
On
the
two
dimensional
emotional
plane,
musical
pieces
were
plotted
for
each
title.
The
results
of
the
distribution
of
the
musical
pieces
were
consistent
for
five
titles.
This
implies
that
the
musicians
and
sound
engineers
retained
the
original
emotional
features
of
musical
peaces
through
at
least
five
of
the
titles.
Speed Poster Session 10: Timber II Hall, 11:40-‐12:10
Musical experience & preference
Background Music As A Risk Factor For Distraction Among Young Drivers: An
IVDR Study
Warren Brodsky,* Zack Slor#
*Music Science Lab, Department of the Arts, Ben-‐Gurion University of the Negev, Beer-‐Sheva
Israel΄
#Israel
Center
For
Emotional
Fitness,
Zahala
Tel
Aviv
Israel
Statistical
data
on
road
safety
indicates
that
drivers
between
ages
16-‐24
account
for
a
high
level
of
accidents
and
fatalities;
in
Israel
25%
severe
accidents
and
5%
fatalities
occur
during
the
first
two
years
of
driving,
and
young
novice
drivers
are
10-‐times
more
likely
to
be
in
an
accident
during
their
first
500
miles.
Ironically,
the
most
common
violations
for
this
group
are
speeding
(37%)
and
lane
weaving
(20%)
–
both
of
which
correlate
with
in-‐cabin
music
behavior
(Brodsky,
2002).
Young
drivers
regularly
listen
to
fast-‐tempo
highly
energetic
aggressive
music
played
at
elevated
volumes.
This
State
of
Israel
National
Road
Safety
Authority
study
investigates
music
as
a
risk
factor
among
young
novice
drivers.
The
study
employed
two
Learners
Vehicles
installed
with
in-‐vehicle
data
recorders
(IVDR).
Eighty-‐five
young
novice
drivers
drove
six
trips:
twice
with
preferred
music
brought
from
home,
twice
with
In-‐car
alternative
music
(Brodsky
&
Kizner,
2012),
and
twice
with
no-‐music.
For
each
trip
27
events
were
logged;
a
range
of
vehicle
variables
that
were
mechanical,
behavioral,
or
predetermined
HMI
interactions.
The
findings
indicate
that
both
frequency
and
severity
of
driving
violations
were
higher
for
trips
with
driver-‐preferred
music
than
trips
when
either
no
music
or
In-‐car
alternative
music.
We
recognize
that
in-‐car
listening
will
forever
be
part
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 45
of
vehicular
performance,
and
therefore
future
research
should
explore
the
effects
of
music
on
driving
performance.
Developing
and
testing
functional
music
backgrounds
towards
increased
driver
safety
is
an
important
contribution
of
Music
Science
in
the
war
against
traffic
accidents
and
fatalities.
Conceptualizing
the
subjective
experience
of
listening
to
music
in
everyday
life
Ruth
Herbert
Music
Dept.,
Open
University,
UK
Empirical
studies
of
everyday
listening
often
frame
the
way
individuals
experience
music
primarily
in
terms
of
emotion
and
mood.
Yet
emotions
-‐
at
least
as
represented
by
categorical,
dimensional
and
domain-‐specific
models
of
emotion
-‐
do
not
account
for
the
entirety
of
subjective
experience.
The
term
'musical
affect'
may
equally
relate
to
aesthetic,
spiritual,
and
'flow'
experiences,
in
addition
to
a
range
of
altered
states
of
consciousness
(Juslin
&
Sloboda,
2010),
including
the
construct
of
trance.
Alternative
ways
of
conceptualizing
and
mapping
experience
suggest
new
understandings
of
the
subjective,
frequently
multimodal,
experience
of
music
in
daily
life.
This
poster
explores
categorizations
of
aspects
of
conscious
experience,
such
as
checklists
of
basic
dimensions
of
characteristics
of
transformations
of
consciousness
(e.g.
Pekala's
Phenomenology
of
Consciousness
Inventory
(PCI),
or
Gabrielsson
and
Lindström
Wik's
descriptive
system
for
strong
experiences
with
music
(SEM-‐DSM),
together
with
the
potential
impact
of
specific
kinds
of
consciousness
upon
experience
(e.g.
the
notion
of
present
centred
(core
or
primary),
and
autobiographical
(extended/higher
order)
forms
of
consciousness
(Damasio,
1999,
Edelman,
1989).Three
recent
empirical
studies
(Herbert,
2011)
which
used
unstructured
diaries
and
semi-‐structured
interviews
to
explore
the
psychological
processes
of
everyday
involving
experiences
with
music
in
a
range
of
'real-‐world'
UK
scenarios
are
referenced.
Free
phenomenological
report
is
highlighted
as
a
valuable,
if
partial
means
of
charting
subjective
experience.
Importantly,
it
constitutes
a
method
that
provides
insight
into
the
totality
of
experience,
so
enabling
researchers
to
move
beyond
the
confines
of
emotion.
The
impact
of
structure
discovery
on
adults’
preferences
for
music
and
dance
Jennifer
K.
Mendoza,
Naomi
R.
Aguiar,
Dare
Baldwin
Department
of
Psychology,
University
of
Oregon,
USA
In
our
society,
music
features
prominently
from
Beethoven
to
Lady
Gaga
concerts,
and
from
singing
on
Broadway
to
singing
in
the
shower.
Why
is
music
such
a
pervasive
part
of
our
world?
Why
do
we
derive
such
pleasure
from
our
musical
experiences?
Our
research
investigates
these
questions,
exploring
how
adults’
musical
processing
affects
musical
preferences.
Specifically,
we
seek
to
determine
whether
adults’
structure
discovery
impacts
their
subjective
liking
of
music.
Similarities
in
structural
organization
make
music
and
dynamic
action
domains
ripe
for
comparison.
Given
the
intimate
connection
between
dance
and
music,
our
research
also
examines
whether
structure
discovery
relates
to
subjective
liking
in
the
field
of
dance.
We
created
music
and
dance
stimuli
with
matching
structure.
Each
undergraduate
participant
either
views
the
dance
stimuli
or
listens
to
the
music
stimuli
at
her
own
pace
using
the
dwell-‐time
methodology
(Hard,
Recchia,
and
Tversky,
2011).
If
adults
‘dwell’
longer
at
points
where
one
phrase
ends
and
the
next
begins
in
the
stimuli,
we
can
infer
that
they
discovered
the
structure
in
both
domains.
Participants
will
rate
their
subjective
liking
of
the
dance
or
the
music.
We
predict
that
adults
who
discover
the
structure
will
report
higher
ratings
of
subjective
liking.
Our
research
also
explores
the
effects
of
stimulus
complexity
and
domain
expertise
on
the
relationship
between
structure
discovery
46
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
and
subjective
liking
for
both
music
and
dance.
If
our
research
yields
the
predicted
results,
then
we
will
have
initial
confirmation
that
structure
discovery
impacts
adults’
subjective
liking
of
both
music
and
dance.
Values,
Functions
of
Music,
and
Musical
Preferences
Hasan
Gürkan
Tekman,*
Diana
Boer,#
Ronald
Fischer*
*Psychology
Department,
Yaşar
University,Turkey
#School
of
Humanities
and
Social
Sciences.,
Jacob
University
Bremen,
Germany
*School
of
Psychology,
Victoria
University
of
Wellington,
New
Zealand
One
function
of
music
that
is
recognized
cross-‐culturally
is
helping
shape
identity
and
values.
Moreover,
values
may
determine
which
functions
of
music
people
use
and
which
musical
styles
are
suited
to
serve
different
functions.
This
study
had
three
main
aims.
First,
we
examined
the
structure
of
musical
style
preferences
of
a
Turkish
sample.
Second,
we
examined
the
relations
between
value
orientations,
functions
of
music
and
musical
preferences.
Third,
we
searched
for
mediating
effects
of
functions
of
music
that
explain
the
link
between
values
and
musical
preferences.
Two
hundred
and
forty
six
students
of
Uludag
University
in
Bursa,
Turkey
filled
a
questionnaire
in
which
they
were
questioned
about
the
importance
of
10
functions
of
music
listening,
their
preferences
for
16
musical
styles
and
their
endorsement
of
self-‐enhancement,
self-‐transcendence,
openness
to
change,
and
conservation
values.
Musical
preferences
could
be
summarized
by
five
underlying
dimensions
that
mainly
conformed
to
those
obtained
in
other
countries
and
in
earlier
research
in
Turkey.
While
self-‐enhancement
values
were
associated
with
preference
for
contemporary
styles,
self-‐transcendence
values
were
associated
with
preferences
for
sophisticated
styles.
Sophisticated
and
intense
styles
were
associated
positively
with
openness-‐to-‐change
and
negatively
with
conservation.
Endorsement
of
openness-‐to-‐change
values
was
associated
with
intrapersonal
and
affective
and
socio-‐cultural
and
contemplative
functions
of
music,
whereas
endorsement
of
conservation
values
was
negatively
associated
with
these
functions.
Shaping
values,
expressing
cultural
identity,
and
dancing
functions
of
music
had
significant
mediating
roles
in
the
relation
between
values
and
musical
preferences.
Paper
Session
1:
Grand
Pietra
Hall,
14:30-‐15:30
Music
&
language
development
Categorization
in
music
and
language:
Timbral
variability
interferes
with
infant
categorization
of
melodies
Eugenia
Costa-‐Giomi
Center
for
Music
Learning,
University
of
Texas-‐Austin,
USA
Although
timbre
plays
different
roles
in
the
organization
of
musical
and
linguistic
information,
research
has
consistently
shown
its
salience
as
a
perceptual
feature
in
both
music
and
language.
Infants
recognize
phonemes
and
words
despite
variations
in
talker’s
voice
early
in
life
and
have
difficulty
in
recognizing
short
melodies
when
played
by
different
instruments
until
they
are
13-‐month-‐old.
It
seems
that
during
the
first
year
of
life,
timbral
variability
interferes
with
the
categorization
of
melodies
but
not
words.
Because
the
categorization
of
words
and
melodies
is
critical
for
the
understanding
of
language
and
western
music
respectively,
it
is
surprising
that
the
former
seems
to
develop
earlier
than
the
latter.
But
studies
on
infant
categorization
of
linguistic
stimuli
have
been
based
on
the
recognition
of
single
words
or
phonemes
lasting
less
than
a
second,
whereas
those
on
infant
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 47
categorization
of
music
stimuli
have
used
sequences
of
tones
lasting
almost
6
seconds.
We
conducted
a
series
of
experiments
to
directly
compare
the
formation
of
categories
in
music
and
language
under
timbral
variability
using
melodies
and
phrases
of
the
same
length,
speed,
and
rhythmic
features
and
found
that
11-‐month
olds
categorized
the
language
but
not
the
music
stimuli.
The
findings
suggest
that
the
categorization
of
certain
structural
elements
emerges
earlier
in
language
than
in
music
and
indicate
a
predisposition
for
the
formation
of
timbral
categories
in
auditory
stimuli
in
general,
even
in
case
in
which
such
categories
are
not
structurally
important.
Music,
Language,
and
Domain-‐specificity:
Effects
of
Specific
Experience
on
Melodic
Pattern-‐Learning
Erin
Hannon,
Christina
Vanden
Bosch
der
Nederlanden
Psychology
Dept.,
University
of
Nevada,
Las
Vegas,
USA
Despite
their
surface
similarities,
music
and
language
conform
to
distinct,
domain-‐specific
rules
and
regularities.
Experienced
listeners
presumably
possess
music-‐specific
expectations
about
which
acoustic
features
will
be
most
relevant
in
a
musical
context,
but
relatively
little
is
known
about
how
and
when
this
knowledge
emerges
over
the
course
of
development.
Given
that
melodic
structure
is
of
central
importance
in
music
but
of
secondary
importance
in
language,
we
report
a
set
of
experiments
exploring
the
extent
to
which
listeners
with
different
life-‐long
listening
experiences
attend
to
or
ignore
melodic
information
in
the
context
of
language
or
music.
In
all
experiments
we
present
listeners
with
a
sequence
of
sung
syllable
triplets
whose
syllables
and/or
pitches
conform
to
an
ABA
or
ABB
pattern.
We
use
subsequent
similarity
ratings
of
novel
sequences
to
determine
which
rule-‐like
pattern
listeners
inferred
during
the
exposure
phase.
Some
test
items
violate
the
established
syllable
whereas
others
violate
only
the
melodic
rule.
We
compare
performance
on
this
task
among
English-‐speaking
non-‐musicians
and
musicians
and
among
native
speakers
of
a
tonal
language
(Chinese,
Thai).
We
find
a
strong
bias
among
non-‐musicians
to
give
high
similarity
ratings
to
test
stimuli
that
conform
to
the
syllable
pattern,
regardless
of
the
syllable
pattern.
This
bias
is
attenuated
or
reversed
(i.e.
the
melodic
pattern
is
favored)
for
listeners
with
music
training
or
experience
speaking
a
tonal
language.
Implications
for
the
development
of
music-‐specific
knowledge
and
capacities
will
be
discussed.
Paper Session 2: Crystal Hall, 14:30-‐15:30
Musical tension
The influence of structural features on perceived musical tension
Moritz Lehne, Martin Rohrmeier, Donald Gollmann, Stefan Koelsch
Cluster Languages of Emotion, Freie Universität Berlin, Germany
In Western tonal music, a dynamic flow of tension and resolution is usually perceived. This
musical tension is related to various structural features of the music (e.g., dynamics, agogics,
melodic contour or harmony), however, the relative contribution of different features to the
experience of musical tension remains unclear.To explore how different features contribute
to the tension experience of the listener, we acquired continuous ratings of musical tension
for original and modified versions of two classical piano pieces. Modifications included
versions without dynamics, without agogics and versions in which harmony, melody and
outer voices were played in isolation. The influence of these features on subjectively
experienced tension was investigated by comparing average tension ratings of the different
versions using correlation analysis. In addition, we investigated the relation of perceived
48 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012
TUE
tension
and
loudness
of
the
music
by
comparing
tension
ratings
to
predictions
of
a
loudness
model.
Despite
a
general
tendency
towards
flatter
tension
profiles,
tension
ratings
for
versions
without
dynamics
as
well
as
versions
without
agogics
correlated
highly
with
ratings
for
the
original
versions
for
both
pieces.
Correlations
between
tension
ratings
of
the
original
versions
and
ratings
of
harmony
and
melody
versions
as
well
as
predictions
of
the
loudness
model
differed
between
pieces.
Our
findings
indicate
that
discarding
expressive
features
generally
preserves
the
overall
tension-‐resolution
patterns
of
the
music.
The
relative
contribution
of
single
features
like
loudness,
harmony
and
melody
to
musical
tension
appears
to
depend
on
idiosyncrasies
of
the
individual
piece.
The
semantics
of
musical
tension
Jens
Hjortkjær
Department
of
Arts
and
Cultural
Studies,
University
of
Copenhagen,
Denmark
The
association
between
music
and
tension
is
a
strong
and
long-‐standing
one
and
yet
the
psychological
basis
of
this
phenomenon
remains
poorly
understood.
Formal
accounts
of
musical
grammar
argue
that
patterns
of
tension
and
release
are
central
to
the
structural
organization
of
music,
at
least
within
the
tonal
idiom,
but
it
is
not
clear
why
structural
relations
should
be
experienced
in
terms
of
tension
in
the
first
place.
Here,
I
will
discuss
a
semantic
view,
suggesting
that
musical
tension
relies
on
cognitive
embodied
force
schemata,
as
initially
discussed
by
Leonard
Talmy
within
cognitive
semantics.
In
music,
tension
ratings
studies
tend
to
relate
musical
tension
to
continuous
measures
of
perceived
or
felt
arousal,
but
here
I
will
discuss
how
it
may
also
relate
to
the
ways
in
which
listeners
understand
musical
events
as
discrete
states
with
opposing
force
tendencies.
In
a
behavioral
tension
rating
study,
listeners
rated
tension
continuously
in
musical
stimuli
with
rapid
amplitude
contrasts
that
could
represent
one
of
two
force
dynamic
schemas:
events
either
releasing
or
causing
a
force
tendency.
One
group
of
participants
were
primed
verbally
beforehand
by
presenting
an
analog
of
the
release-‐type
schema
in
the
experimental
instructions.
It
was
found
that
primed
subjects
rated
tension
with
a
distinctly
opposite
pattern
relative
to
the
unprimed
group.
The
results
support
the
view
that
musical
tension
relates
to
the
ways
in
which
listeners
understand
dynamic
relations
between
musical
events
rather
than
being
a
simple
continuous
measure
of
arousal.
Paper Session 3: Dock Six Hall, 14:30-‐15:30
Motion & Gesture I
The Coupling of Gesture and Sound: Vocalizing to Match Flicks, Punches, Floats
and Glides of Conducting Gestures
Aysu Erdemir,1 Emelyne Bingham,2 Sara Beck,1 John Rieser1
1Psychology and Human Development in Peabody College, Vanderbilt University, USA
2Blair School of Music, Vanderbilt University, USA
The
study
was
designed
to
explore
whether
there
was
a
systematic
relationship
between
various
hand
gestures
performed
by
an
expert
conductor,
and
accompanying
vocal
sounds
produced
by
adults
with
or
without
any
kind
of
musical
background.
We
explored
whether
people
automatically
and
systematically
vary
their
utterances
in
a
way
to
match
the
movement
characteristics
of
certain
gestures.
For
this
reason,
we
picked
gestures
that
are
not
contained
in
conducting
manuals,
but
nevertheless
seem
familiar/natural
in
an
everyday
life
context.
Participants
watched
videos
of
a
conductor
performing
four
different
hand
gestures
called
“flicks,
punches,
floats
and
glides”,
which
varied
in
terms
of
their
use
of
space
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 49
(direct/indirect),
weight
(strong/light)
and
time
(sudden/sustained).
Participants
were
asked
to
produce
the
syllable
/dah/
repeatedly
in
a
way
that
feels
natural
to
the
four
gestures
they
observed
visually.
Audio-‐recordings
of
the
vocal
responses
were
scored
by
three
independent
judges,
whose
task
was
to
judge
which
type
of
gesture
gave
rise
to
each
of
the
vocal
productions.
Results
showed
that
categorization
accuracies
were
94%,
96%,
80%
and
82%
for
flicks,
punches,
floats
and
glides
respectively.
Additional
psychoacoustic
analysis
on
the
sound
data
revealed
significant
associations
of
the
motion
characteristics
of
the
gestures
such
as
their
use
of
space,
weight
&
time
to
overall
pitch,
loudness
&
duration
levels
of
the
utterances,
respectively.
The
data
collected
imply
a
definable
cross-‐modal
relationship
between
gesture
and
sound,
where
the
visual
effects
from
the
kinematics
of
movement
patterns
are
automatically
translated
into
predictable
auditory
responses.
Seeing
Sound
Moving:
Congruence
of
Pitch
and
Loudness
with
Human
Movement
and
Visual
Shape
Dafna
Kohn,1
Zohar
Eitan2
1Levinsky
College
of
Education,
Israel,
2School
of
Music,
Tel
Aviv
University,
Israel
We
investigate
listeners’
evaluations
of
correspondence
between
pitch
or
loudness
contours
and
human
motion
(Exp1)
or
visual
shape
(Exp2).
In
Exp1
32
adult
nonmusicians
watched
16
audiovisual
stimuli
(a
videotaped
dancer),
which
systematically
combined
bidirectional
changes
in
pitch
or
loudness
with
bidirectional
vertical
or
horizontal
(opening
and
closing)
human
motion.
Participants
ranked
how
well
the
music
and
movement
in
each
audiovisual
stimulus
matched.
Significant
correspondences
were
found
between
loudness
change
and
both
vertical
and
horizontal
motion,
while
pitch
changes
corresponded
with
vertical
motion
only.
Perceived
correspondences
were
significantly
stronger
for
loudness,
as
compared
to
pitch,
and
for
vertical,
as
compared
to
horizontal
movement.
Congruence
effects
were
also
significantly
higher
for
convex
(inverted-‐U)
as
compared
to
concave
(U-‐shaped)
change
contours,
both
musical
(e.g.,
pitch
rise-‐fall
as
compared
to
fall-‐rise)
and
motional
(e.g.,
opening-‐closing
vs.
closing-‐opening).
In
Exp2
the
same
participants
were
presented
with
the
same
music
stimuli
and
with
4
static
visual
shapes,
and
selected
the
shape
that
best
matched
each
stimulus.
Most
participants
chose
the
“correct”
shape
for
each
musical
stimulus.
Results
indicate
that
adult
non-‐musicians
strongly
associate
particular
bodily
movements
and
visual
shapes
with
particular
changes
in
musical
parameters.
Importantly,
correspondences
were
affected
not
only
by
the
local
directions
of
motion
(e.g.,
rise,
fall),
but
by
overall
contours
(in
both
music
and
motion),
such
that
mappings
involving
convex
contours
were
stronger
than
mappings
involving
concave
contours.
This
suggests
that
cross-‐modal
mappings
may
be
affected
by
higher-‐level
patterning,
and
specifically
that
convex
(inverted-‐U)
patterns
may
facilitate
such
mappings.
Paper Session 4: Timber I Hall, 14:30-‐15:30
Voice & performance
The Ideal Jazz Voice Sound: A Qualitative Interview Study
Ella Prem,1 Richard Parncutt, 2 Annette Giesriegl,3 Hubert Johannes Stigler4
1, 2 Centre for Systematic Musicology, University of Graz, Austria, 3 Department of Jazz,
University
of
Music
and
Dramatic
Arts
Graz,
Austria,
4
Centre
for
Information
Modelling,
University
of
Graz,
Austria
The
vocabulary
of
words
and
phrases
used
by
jazz
singers
to
describe
jazz
voice
sound
is
the
subject
of
this
research.
In
contrast
to
the
ideal
classical
voice
sound,
which
is
linked
to
the
need
to
project
over
loud
accompaniments
(e.g.
formant
tuning),
the
ideal
jazz
voice
sound
50
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
takes advantage of microphones enabling greater expressive variation. Implicit concepts of
ideal voice sounds influence teaching in conservatories and music academies but have been
the subject of little empirical investigation. We are interviewing 20 Austrian jazz singers. All
are or used to be students of jazz singing. In open interviews, each participant brings 10
examples of jazz singing and described that singer’s voice sound. The qualitative data are
represented in an XML database. XSLT stylesheets are used to create tag clouds, where the
size of a word reflects its number of occurrences. The vocabulary is split up in a small core of
commonly used terms such as: deep, spoken and diverse (25 descriptors used by more then
60% of the participants) and a large periphery of intuitive associations reflecting
individuality of the perception, description and the jazz voice sound itself (260 descriptors
are used by less then 10% of the participants). We explored the ideal jazz voice sound
without asking for it directly. Participants additionally showed remarkable motivation to
listen to different sounds to cultivate their individuality as jazz singers, raising questions
about the tension between uniformity and individuality in jazz pedagogics.
Inaccurate singing as a dynamic phenomenon: Interval matching a live vocal
model improves accuracy levels of inaccurate singers
Rona Israel-‐Kolatt, Roni Granot
The Hebrew University, Israel
One of the most powerful and enjoyable gifts given to man is the ability to communicate with
others in song. But for some the gift remains unwrapped. One aspect of such “Non-‐singing”
which has received much attention in the last years is "out of tune" (OOT) singing. Previous
studies have found that accuracy of singing or level of OOT is not a static factor. Recent
research suggests that the degree of acoustical\physical match of the stimuli source (in
terms of vocal range and timbre), to those of a participant, has a significant influence on
accuracy levels. This in turn suggests some involvement of a mirror system which could be
enhanced when the target tones are produced by a live visible human source. In the current
experiment we asked a group of participants, who varied in their ability to sing accurately, to
vocally match target intervals produced in five different manners: A live voice of a
professional soprano, two versions of her recorded voice, one defined as optimal vocal
production and the other defined as poor, "forced" vocal production, a piano played "live" in
front of the participants, and a recorded piano. Preliminary findings suggest a significant
improvement in accuracy when participants matched intervals produced vocally in
comparison to intervals produced by a piano. Furthermore, the improvement was
significantly heightened in the live voice condition.
Paper Session 5: Timber II Hall, 14:30-‐15:30
Neurocognitive approaches
Neurocognitive profile of musicians
Mari Tervaniemi
Cognitive Brain Research Unit, Institute of Behavioural Sciences, University of Helsinki, Finland
Department of Psychology, University of Jyväskylä, Finland
Centre of Interdisciplinary Music Research, Department of Music, University of Jyväskylä,
Finland
In the neurosciences of music, musicians have traditionally been treated as a unified group.
However, obviously, their musical preferences differentiate them, for instance, in terms of
their major instrument they play and music genre they are mostly engaged with as well as
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 51
their
practicing
style.
Here
our
intention
was
to
reveal
the
neurocognitive
functions
underlying
the
diversity
of
the
expertise
profiles
of
musicians.
To
this
end,
groups
of
adult
musicians
(jazz,
rock,
classical,
folk)
and
a
group
of
non-‐musicians
participated
in
brain
recordings
(event-‐related
potentials
in
mismatch
negativity
(MMN)
paradigm
which
probes
the
brain’s
automatic
reaction
to
any
change
in
sound
environment).
The
auditory
stimulation
consisted
of
a
short
melody
which
includes
“mistakes”
in
pitch,
rhythm,
timbre,
key,
and
melody.
During
stimulation,
the
participants
were
instructed
to
watch
a
silent
video.
Our
interest
was
in
comparing
the
MMN
response
evoked
by
the
“mistakes”
to
the
genre
the
musicians
are
most
actively
involved
in.
We
found
that
all
melodic
“mistakes”
elicited
MMN
response
in
all
adult
groups
of
participants.
The
strength
of
MMN
and
a
subsequent
P3a
response
reflects
the
importance
of
various
sound
features
in
the
music
genre
they
specialized
to:
pitch
(classical
musicians),
rhythm
(classical
and
jazz
musicians),
key
(classical
and
jazz
musicians),
and
melody
(jazz
and
rock
musicians).
In
conclusion,
MMN
and
P3a
brain
responses
are
sensitively
modulated
by
the
genre
of
musicians
are
actively
engaged
with.
This
implies
that
not
only
musical
expertise
as
such
but
the
type
of
musical
expertise
can
further
modulate
auditory
neurocognition.
Absolute
Pitch
and
Synesthesia:
Two
Sides
of
the
Same
Coin?
Shared
and
Distinct
Neural
Substrates
of
Music
Listening
Psyche
Loui,
Anna
Zamm,
Gottfried
Schlaug
Department
of
Neurology,
Beth
Israel
Deaconess
Medical
Center
and
Harvard
Medical
School,
USA
People
with
Absolute
Pitch
can
categorize
musical
pitches
without
a
reference,
whereas
people
with
tone-‐color
synesthesia
can
see
colors
when
hearing
music.
Both
of
these
special
populations
perceive
music
in
an
above-‐normal
manner.
In
this
study
we
asked
whether
AP
possessors
and
tone-‐color
synesthetes
might
recruit
specialized
neural
mechanisms
during
music
listening.
Furthermore,
we
tested
the
degree
to
which
neural
substrates
recruited
for
music
listening
may
be
shared
between
these
special
populations.
AP
possessors,
tone-‐color
synesthetes,
and
matched
controls
rated
the
perceived
arousal
levels
of
musical
excerpts
in
a
sparse-‐sampled
fMRI
study.
Both
APs
and
synesthetes
showed
enhanced
superior
temporal
gyrus
(STG,
secondary
auditory
cortex)
activation
relative
to
controls
during
music
listening,
with
left-‐lateralized
enhancement
in
the
APs
and
right-‐lateralized
enhancement
in
the
synesthetes.
When
listening
to
highly
arousing
excerpts,
AP
possessors
showed
additional
activation
in
the
left
STG
whereas
synesthetes
showed
enhanced
activity
in
the
bilateral
lingual
gyrus
and
inferior
temporal
gyrus
(late
visual
areas).
Results
support
both
shared
and
distinct
neural
enhancements
in
AP
and
synesthesia:
common
enhancements
in
early
cortical
mechanisms
of
perceptual
analysis,
followed
by
relative
specialization
in
later
association
and
categorization
processes
that
support
the
unique
behaviors
of
these
special
populations
during
music
listening.
52
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 11: Grand Pietra Hall, 15:30-‐16:00
Language perspectives
Perceiving meaningful discourse structure in music and language
Jiaxi Liu
Faculty of Music, Cambridge University, United Kingdom
Despite common belief that music lacks truth-‐conditional meaning, recent evidence of
similar neural processing of the syntactic and semantic aspects of the music and language
suggests that they have much in common (Steinbeis and Koelsch 2007). However, this
similarity seems to break down at different structural levels. Music studies have proposed
that listeners attend to local but not global structure (Tillman and Bigand 2004, Deliège et. al.
1997); linguistic data have yet to distinguish the level of meaningful structure perception.
Thus, this study aims to make parallel findings for both domains, additionally comparing
musicians to nonmusicians. Original musical and textual compositions were analysed for tree
structure by the Generative Theory of Tonal Music (Lerdahl and Jackendoff 1983) and the
Rhetorical Structure Theory (Carlson et. al. 2001), respectively. The branches at each tree
depth were cut and randomized as audio-‐visual music clips and visual text slides in iMovie
projects. Collegiate native English speakers – 50 musicians and 50 nonmusicians – were
asked to recreate what they considered the original work in a puzzle task. The resulting
ordered strings were analysed using edit distance, revealing that successful recreation was
overall independent of subject and stimulus type. Musicians performed better than
nonmusicians for music only at intermediate tree depths (p=0.03). Cluster analyses
suggested that musicians attended to structural (global) cues in their recreation process
while nonmusicians relied on surface (local) cues. These novel findings provide empirical
support for differing affinities for differing compositional features in music and language as
perceived by musicians versus nonmusicians.
Domain-‐generality of pitch processing: the perception of melodic contours and
pitch accent timing in speech
Tuuli H. Morrill,*# J. Devin McAuley,* Laura C. Dilley#*, David Z. Hambrick*
*Dept. of Psychology, Michigan State University, USA
#Dept. of Communicative Sciences and Disorder, Michigan State University, USA
It
is
unclear
to
what
extent
individuals
with
pitch
processing
deficits
in
music
also
show
speech
processing
deficits.
In
speech,
pitch
and
timing
information
(i.e.,
prosody)
frequently
convey
meaning;
listeners
must
perceive
the
timing
of
pitch
changes
(e.g.,
a
peak
on
the
second
syllable
of
digést
(verb)
vs.
dígest
(noun),
on
the
first
syllable).
We
investigate
the
relationship
between
MBEA
performance
and
pitch
peak
timing
perception
in
speech,
controlling
for
individual
differences
in
cognitive
ability.
Participants
(n
=
179)
completed
a
Cognitive
Ability
Battery,
the
Montreal
Battery
of
Evaluation
of
Amusia
(MBEA),
and
a
prosody
test.
Participants
learned
versions
of
a
nonsense
word
with
a
pitch
peak
on
the
first
or
second
syllable
(versions
A
and
B),
then
completed
an
AXB
discrimination
task
including
versions
(X)
with
pitch
peaks
at
intermediate
temporal
positions.
Structural
equation
modeling
involved
two
steps:
(1)
Establishing
a
measurement
model:
predictor
constructs
included
latent
variables
representing
fluid
intelligence
and
working
memory
capacity
(Gf/WMC),
crystallized
intelligence
(Gc),
and
music
perception
(MBEA)
and
(2)
Tests
for
effects
of
Gf,
Gc,
and
MBEA
on
a
latent
variable
representing
prosody
test
performance
(Prosody);
only
MBEA
was
a
significant
predictor
of
Prosody
(β
=
.55).
MBEA
accounted
for
35.7%
of
variance
in
Prosody;
Gf
and
Gc
added
<
1%.
Results
indicate
music
perception
is
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 53
highly
predictive
of
speech
prosody
perception;
effects
do
not
appear
to
be
mediated
by
cognitive
abilities.
This
suggests
pitch
peak
timing
perception
may
be
controlled
by
a
domain-‐general
processing
mechanism.
Expertise
vs.
inter-‐individual
differences:
New
evidence
on
the
perception
of
syntax
and
rhythm
in
language
and
music
Eleanor
Harding,
Daniela
Sammler,
Sonja
Kotz
Max
Planck
Society
for
Human
Cognitive
and
Brain
Sciences,
Leipzig
Language
and
music
perception
overlap
in
the
realms
of
syntax
(Koelsch,
Gunter,
Wittfoth,
&
Sammler,
2005)
and
rhythm
(Vuust,
Roepstorff,
Wallentin,
Mouridsen,
&
Ostergaard,
2006;
Schmidt-‐Kassow
&
Kotz,
2008).
Considering
that
native-‐speaker
language
proficiency
is
subject
to
inter-‐individual
variability
(Pakulak
and
Neville,
2010)
and
that
musical
aptitude
is
not
strictly
limited
to
musical
experts
(Bigand
&
Poulin-‐Charronat,
2006;
Koelsch,
Gunter,
&
Friederici,
2000),
this
ongoing
study
collects
individual
working
memory
and
rhythm
performance
data
among
musicians
and
non-‐musicians
and
correlates
natural
aptitude
with
language-‐
and
music-‐
syntax
perception
as
a
function
of
rhythm.
In
discrete
sessions,
participants
were
asked
to
detect
syntactic
differences
in
sentences
and
melodies,
making
an
uninformed
choice
as
to
whether
paired
items
were
'same'
or
'different.'
The
sentence-‐
and
melody
discriminate
pairs
were
either
spoken/played
in
a
regular
or
irregular
rhythm.
When
comparing
musicians
to
non-‐musicians,
musicians
have
a
globally
improved
performance
in
the
melody
discrimination,
however
working
memory
capacity
and
rhythm
aptitude
correlate
with
task
performance
across
all
participants.
Results
indicate
that
variance
in
the
data
may
be
linked
to
individual
'affinity'
for
regular-‐rhythm
entrainment,
irrespective
of
musical
expertise.
Music
and
the
Phonological
Loop
Lindsey
M.
Thompson1,
Marjorie
J.
Yankeelov2
1Music,
Mind
and
Brain,
Goldsmiths,
University
of
London,
United
Kingdom
2Dept.
of
Music,
Belmont
University,
United
States
Research
on
the
phonological
loop
and
music
processing
remains
inconclusive.
Some
researchers
claim
that
the
Baddeley
and
Hitch
Working
Memory
model
requires
another
module
for
music
processing
while
others
suggest
that
music
is
processed
in
a
similar
way
to
verbal
sounds
in
the
phonological
loop.
The
present
study
tested
musical
and
verbal
memory
in
musicians
and
non-‐musicians
using
an
irrelevant
sound-‐style
working
memory
paradigm.
It
was
hypothesized
that
musicians
(MUS
–at
least
seven
years
musical
training)
would
perform
more
accurately
than
non-‐musicians
(NONMUS)
on
musical
but
not
verbal
memory.
Verbal
memory
for
both
groups
was
expected
to
be
disrupted
by
verbal
irrelevant
sound
only.
In
the
music
domain,
a
music
expertise
x
interference
type
interaction
was
predicted:
MUS
were
expected
to
experience
no
impairment
under
verbal
irrelevant
sound
whereas
NONMUS
would
be
impaired
by
verbal
and
musical
sounds.
A
standard
forced
choice
recognition
(S/D)
task
was
used
to
assess
memory
performance
under
conditions
of
verbal,
musical
and
static
irrelevant
sound,
across
two
experiments.
On
each
trial
the
irrelevant
sound
was
played
in
a
retention
interval
between
the
to-‐be
remembered
standard
and
comparison
stimuli.
Thirty-‐one
musically
proficient
and
31
musically
non-‐proficient
Belmont
University
students
participated
across
two
experiments
with
similar
interference
structures.
Results
of
two-‐way
balanced
ANOVAs
yielded
significant
differences
between
musical
participants
and
non-‐musical
participants,
as
well
as
significant
differences
between
interference
types
for
musical
stimuli,
implying
a
potential
revision
of
the
phonological
loop
model
to
include
a
temporary
storage
subcomponent
devoted
to
music
processing.
54
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Speed Poster Session 12: Crystal Hall, 15:30-‐16:00
Melodic similarity
Implicit and explicit judgements on the melodic similarity of cases of
plagiarism and the role of computational models
Anna Wolf,* Daniel Müllensiefen#
*Hanover Music Lab, Hanover University of Music, Drama and Media, Germany
#Department of Psychology, Goldsmiths College, University of London, United Kingdom
Computational similarity measures have proven to be invaluable in the classification,
retrieval and comparison of melodies (e.g. Eerola & Bregman, 2007). A commercially very
relevant application is their use in cases of musical plagiarism (Müllensiefen & Pendzich,
2009; Cason & Müllensiefen, 2012). However, apart from a few notable exceptions (e.g.
Müllensiefen & Frieler, 2004) there is surprisingly little psychological evidence to validate
the cognitive adequacy of the proposed algorithms. In an implicit memory paradigm
participants (n = 36) were exposed to 20 melodies performing cover tasks. In a subsequent
test phase participants listened to 30 melodies (15 similar to melodies from initial phase, 10
neutral, 5 identical) to identify which ones they had heard before. For this task we used
melodies from court cases from the US and the Commonwealth. Participants’ judgments
agreed fairly well with the courts’ decision (AUC of .70). Many of the computational
measures of similarity correlate highly with the participants’ data, such as a Tversky (1977)
feature-‐based measure (r=.59) and a duration-‐weighted Edit Distance (r=.51). The court
decisions are best classified by an Earth Mover’s Distance measure (AUC of .84; Typke,
Wiering & Veltkamp, 2007) and the Tversky measure (AUC of .69). Participants are able to
distinguish between those melodies classified or rejected as plagiarism to a good degree.
However, it has to be noted that, aside from melodic similarity, factors such as knowledge of
either song, lyrics or the title can also significantly influence the court’s decision.
Towards Modelling Variation in Music as Foundation for Similarity
Anja Volk,# W. Bas de Haas, # Peter van Kranenburg*
#ICS, Utrecht University, Netherlands; *Meertens Institute, Amsterdam, Netherlands
This paper investigates the concept of variation in music from the perspective of music
similarity. Music similarity is a central concept in Music Information Retrieval (MIR),
however there exists no comprehensive approach to music similarity yet. As a consequence,
MIR faces the challenge on how to relate musical features to the experience of similarity by
listeners. Musicologists and studies in music cognition have argued that variation in music
leads to the experience of similarity. In this paper we review the concept of variation from
three different research strands: MIR, Musicology, and Cognitive Science. We show that all of
these disciplines have contributed insights to the study of variation that are important for
modelling variation as a foundation for similarity. We introduce research steps that need to
be taken to model variation as a base for music similarity estimation within a computational
approach.
Melodic Similarity: A Re-‐examination of the MIREX2005 Data
Alan Marsden
Lancaster Institute for the Contemporary Arts, Lancaster University, UK
Despite a considerable body of research, there is no clarity about the basic properties of
melodic similarity, such as whether or not it constitutes a metric space, or whether it is a
more complex phenomenon. An experiment conducted by Typke et al., used as a basis for the
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 55
MIREX2005 melodic-‐similarity modelling contest, represents a particularly rich source of
data. In the experiment, for each of eleven queries (melodies taken from RISM A/II), about
25 experts ranked some of about 50 candidates for similarity with the query. A ‘Monte Carlo’
approach has been taken in re-‐examining this data, simulating data in the same form on the
basis of simple assumptions about the nature of melodic similarity. Statistical properties of
the actual data were compared with the same properties for 10,000 sets of simulated data,
allowing estimation of the significance of differences found. In terms of overall measures
such as the ranking profile for each candidate, quite good simulations (i.e., sets of simulated
data in which the original falls within the second and third quartiles in the measured
property) arose from stochastic ranking based only on the mean and variance of the actual
ranking for each candidate and on the likelihood of the candidate being selected for ranking.
However, the simulations did show evidence, in a substantial minority of cases, of an effect
for some candidates to be ranked higher or lower dependent on the presence of another
candidate, and of the influence of similarity between candidates.
On Identifying Folk Song Melodies Employing Recurring Motifs
Peter van Kranenburg,* Anja Volk,# Frans Wiering,#
*Meertens Institute, Amsterdam, Netherlands; #ICS, Utrecht University, Netherlands
The
recurrence
of
characteristic
motifs
plays
an
important
role
in
the
identification
of
a
folk
song
melody
as
member
of
a
tune
family.
Based
on
a
unique
data
set
with
expert
annotations
of
motif
occurrences
in
a
collection
of
Dutch
folk
song
melodies,
we
define
15
abstract
motif
classes.
Taking
a
computational
approach,
we
evaluate
to
what
extent
these
15
motif
classes
contribute
to
automatic
identification
of
folk
songs.
We
define
various
similarity
measures
for
melodies
represented
as
sequences
of
motif
occurrences.
In
a
retrieval
experiment,
alignment
measures
appear
the
most
successful.
The
results
are
additionally
improved
by
taking
into
account
the
phrase
position
of
motif
occurrences.
These
insights
motivate
future
research
to
improve
automatic
motif
detection
and
retrieval
performance,
and
to
determine
similarity
between
melodies
on
the
basis
of
motifs.
A
Melodic
Similarity
Measure
Based
on
Human
Similarity
Judgments
Naresh
N.
Vempala,
Frank
A.
Russo
Department
of
Psychology,
Ryerson
University,
Canada
Music
software
applications
often
require
similarity-‐finding
methods.
One
instance
involves
performing
content-‐based
searches,
where
music
similar
to
what
is
heard
by
the
listener
is
retrieved
from
a
database
using
audio
or
symbolic
input.
Another
instance
involves
music
generation
tools
where
compositional
suggestions
are
provided
by
the
application
based
on
user-‐provided
musical
choices
(e.g.
genre,
rhythm
and
so
on)
or
samples.
The
application
would
then
generate
new
samples
of
music
with
varying
degrees
of
musical
similarity.
Although
several
similarity
algorithms
such
as
edit
distance
methods
and
hidden
Markov
models
already
exist,
they
are
not
fully
informed
by
human
judgments.
Furthermore,
only
a
few
studies
have
compared
human
similarity
judgments
with
algorithmic
judgments.
In
this
study,
we
describe
an
empirically
derived
measure,
from
participant
judgments
based
on
multiple
linear
regression,
for
determining
similarity
between
two
melodies
with
a
one-‐note
change.
Eight
standard
melodies
of
equal
duration
(eight
notes)
were
systematically
varied
with
respect
to
pitch
distance,
pitch
direction,
tonal
stability,
rhythmic
salience,
and
melodic
contour.
Twelve
comparison
melodies
with
one-‐note
changes
were
created
for
each
standard.
These
comparison
melodies
were
presented
to
participants
in
transposed
and
non-‐
transposed
conditions.
For
the
non-‐transposed
condition,
predictors
of
similarity
were
pitch
distance,
direction
and
melodic
contour.
For
the
transposed
condition,
predictors
were
tonal
56
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
stability
and
melodic
contour.
In
a
follow-‐up
experiment,
we
show
that
our
empirically
derived
measure
of
melodic
similarity
yielded
superior
performance
to
the
Mongeau
and
Sankoff
similarity
algorithm.
We
intend
to
extend
this
measure
to
comparison
melodies
with
multiple
note
changes.
Speed
Poster
Session
13:
Dock
Six
Hall,
15:30-‐16:00
Motion
&
timing
Using
Body
Movement
to
Enhance
Timekeeping
Fiona
Manning,
Michael
Schutz
McMaster
Institute
for
Music
and
the
Mind,
McMaster
University,
Canada
We
previously
demonstrated
that
tapping
along
while
listening
to
a
tone
sequence
can
offer
objective
improvements
in
a
listeners’
ability
to
detect
deviations
in
that
sequence’s
timing.
Previously,
participants
were
asked
to
judge
whether
the
final
probe
tone
after
a
short
silence
was
consistent
with
the
previous
rhythm.
Each
trial
contained
three
segments:
(1)
the
tempo-‐establishment
segment
(i.e.,
isochronous
beats
to
establish
tempo);
(2)
the
timekeeping
segment
(i.e.,
one
measure
of
silence)
and
the
probe
segment
(i.e.,
the
beat
on
which
the
probe
tone
sounded).
Our
results
indicated
that
when
the
probe
tone
occurred
later
than
expected,
participants
performed
significantly
better
when
moving
compared
to
listening
only.
In
a
follow
up
study,
this
effect
was
eliminated
when
participants
moved
for
all
except
the
timekeeping
segment
(2)
during
the
“movement
condition”,
demonstrating
the
importance
of
moving
during
this
segment.
The
present
experiment
was
needed
to
assess
whether
our
previous
results
were
due
to
(a)
movement
itself,
or
(b)
participants
simply
calculating
the
difference
in
timing
between
the
probe
tone
and
the
produced
tap.
In
this
experiment
the
movement
condition
contained
tapping
in
segments
1
(tempo-‐
establishment)
and
2
(timekeeping),
but
not
3
(probe).
Participants
performed
significantly
better
on
the
task
when
moving
than
when
listening
without
moving.
However,
here
the
effect
of
movement
was
less
marked
than
the
effect
in
the
first
experiment,
when
participants
tapped
during
all
three
segments.
This
experiment
builds
on
our
previous
work
by
confirming
that
moving
to
the
beat
actually
improves
timekeeping
abilities
in
this
paradigm.
Effect
of
stimulus
isochrony
on
movement
kinematics
in
a
child
drummer
prodigy
Jakub
Sowinski,
Nicolas
Farrugia,
Magdalena
Berkowska,
Simone
Dalla
Bella
Dept.
of
Psychology,
WSFiZ
in
Warsaw,
Poland
Most
people,
musicians
and
non-‐musicians
alike
(Sowiński
&
Dalla
Bella,
in
preparation),
can
easily
synchronize
their
movement
to
a
temporally
predictable
stimulus
(i.e.,
via
sensorimotor
coupling),
such
as
a
metronome
or
musical
beat.
The
effects
of
sensorimotor
coupling
on
movement
timing
(e.g.,
as
shown
with
the
finger
tapping
paradigm)
are
well-‐known.
In
contrast,
little
is
known
about
the
effects
of
sensorimotor
coupling
on
movement
kinematics
during
music
performance.
Here
this
problem
is
examined
in
the
case
of
IF,
a
7-‐year-‐old
child
drummer
prodigy.
IF
revealed
outstandingly
precocious
musical
abilities
as
soon
as
at
the
age
of
3
and
is
exceptionally
accurate
and
precise
in
synchronizing
to
auditory
stimuli
(Dalla
Bella
et
al.,
in
preparation;
Sowiński
et
al.,
2009).
In
addition,
IF’s
timing
during
performance
is
particularly
affected
when
producing
a
rhythmic
pattern
in
correspondence
of
a
non-‐isochronous
metronome
(Sowiński
et
al.,
2011).
In
this
study
we
examined
whether
this
effect
extends
to
movement
kinematics,
using
motion
capture.
IF
and
children
from
music
schools
with
1-‐to-‐2.5
years
of
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 57
percussion
training
(i.e.,
“Control”
group)
imitated
on
a
percussion
pad
a
short
6-‐note
isochronous
metrical
pattern
(Strong-‐weak-‐weak-‐Strong-‐weak-‐weak)
at
the
rhythm
provided
by
a
metronome
under
four
conditions:
1)
with
an
isochronous
metronome,
2)
with
an
isochronous
metronome
but
making
a
break
in
between
repetitions,
3)
with
a
non-‐isochronous,
still
predictable,
metronome,
and
4)
with
a
non-‐isochronous
and
non-‐predictable
metronome.
Data
were
analyzed
with
Functional
Data
Analyses
techniques
(Ramsay
&
Silverman,
2002).
The
results
showed
that
manipulating
the
metronome
isochrony
affected
IF’s
movement
kinematics
more
that
in
Controls.
For
IF,
stimulus
isochrony
(in
conditions
(1)
and
(2))
led
to
higher
maximum
amplitude
of
the
top
of
stick,
an
effect
particularly
visible
in
the
vicinity
of
the
strong
beats.
.In
addition,
Functional
ANOVAs
allowed
to
uncover
the
portions
of
the
trajectories
where
differences
between
conditions
are
statistically
significant.
These
analyses
showed
that
for
most
of
the
strokes
produced
in
condition
(2),
movement
amplitude,
velocity
and
acceleration
were
all
higher
than
in
conditions
(3)
and
(4).
These
findings
are
in
keeping
with
the
effect
of
stimulus
isochrony
on
performance
timing
previously
observed
in
IF.
We
suggest
that
synchronizing
with
a
non-‐isochronous
sequence
may
have
deleterious
effects
(visible
both
in
timing
and
movement
kinematics)
in
individuals
with
exceptional
sensorimotor
coupling
skills.
The
influence
of
Spontaneous
Synchronisation
and
Motivational
Music
on
Walking
Speed
Leon
van
Noorden,*
Marek
Franěk
#
*
UNESCOG,
Université
Libre
de
Bruxelles,
Belgium;
*IPEM,
Ghent
University,
Belgium
#
University
of
Hradec
Králové,
Czech
Republic
In
each
of
three
experiments
120
walks
were
made
on
a
2
km
long
circuit
through
various
environments.
In
the
first
two
experiments
60
students
walked
twice,
once
without
and
once
with
music
or
with
different
tempo
ranges
of
music.
The
walkers
had
an
mp3player
with
good
headphones
and
a
small
camera
fixed
to
their
belt.
In
the
environment
markers
were
drawn.
In
the
first
experiment
only
1
out
of
60
walkers
synchronised
spontaneously
to
the
music.
In
the
second
experiment
music
was
offered
with
a
tempo
closer
to
the
walking
tempo
of
each
subject.
3
music
tracks
were
prepared
differing
8%
in
tempo.
Now
5
out
of
35
walkers
synchronised.
The
third
experiment
was
not
aimed
at
synchronisation.
Music
was
collected
from
the
students:
either
motivating
for
movement
or
nice
music
but
that
did
not
urge
to
move.
These
pieces
were
rated
with
the
Brunel
Music
Rating
Inventory-‐2.
Half
of
the
120
students
received
the
motivating
music
and
half
the
non-‐motivating
music.
The
motivating
music
resulted
in
faster
walks:
1.67
m/s
vs
1.47
m/s.
In
order
to
stimulate
the
movements
of
walkers
they
need
not
to
be
synchronised
to
the
beat.
It
is
in
line
with
our
earlier
experiments
in
which
walkers
were
explicitly
asked
to
synchronise.
Some
walkers
did
not
synchronise
but
still
walked
faster
to
fast
music.
Music
Moves
Us:
Beat-‐Related
Musical
Features
Influence
Regularity
of
Music-‐
Induced
Movement
Birgitta
Burger,
Marc
R.
Thompson,
Geoff
Luck,
Suvi
Saarikallio,
Petri
Toiviainen
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
Department
of
Music,
University
of
Jyväskylä,
Finland
Listening
to
music
makes
us
move
in
various
ways.
Several
factors
can
affect
the
characteristics
of
these
movements,
including
individual
factors,
musical
features,
or
perceived
emotional
content
of
music.
Music
is
based
on
regular
and
repetitive
temporal
patterns
that
give
rise
to
a
percept
of
pulse.
From
these
basic
metrical
structures
more
complex
temporal
structures
emerge,
such
as
rhythm.
It
has
been
suggested
that
certain
rhythmic
features
can
induce
movement
in
humans.
Rhythmic
structures
vary
in
their
degree
of
complexity
and
regularity,
and
one
could
expect
that
this
variation
influences
58
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
movement
patterns
–
for
instance,
when
moving
to
rhythmically
more
complex
music,
the
movements
may
also
be
more
irregular.
To
investigating
this
relationship,
sixty
participants
were
presented
with
30
musical
stimuli
representing
different
genres
of
popular
music.
All
stimuli
were
30
seconds
long,
non-‐vocal,
and
differed
in
their
rhythmic
complexity.
Optical
motion
capture
was
used
to
record
participants’
movements.
Two
movement
features
were
extracted
from
the
data:
Spatial
Regularity
and
Temporal
Regularity.
Additionally,
12
beat-‐
related
musical
features
were
extracted
from
the
music
stimuli.
A
subsequent
correlational
analysis
revealed
that
beat-‐related
musical
features
influenced
the
regularity
of
music-‐
induced
movement.
In
particular,
a
clear
pulse
and
high
percussiveness
resulted
in
small
spatial
variation
of
participants’
movements,
whereas
an
unclear
pulse
and
low
percussiveness
led
to
greater
spatial
variation
of
their
movements.
Additionally,
temporal
regularity
was
positively
correlated
to
flux
in
the
low
frequencies
(e.g.,
kick
drum,
bass
guitar)
and
pulse
clarity,
suggesting
that
strong
rhythmic
components
and
a
clear
pulse
encourage
temporal
regularity.
Speed
Poster
Session
14:
Timber
I
Hall,
15:30-‐16:00
Performance
studies
I
Methods
for
exploring
interview
data
in
a
study
of
musical
shaping
Helen
M.
Prior
Music
Department,
King’s
College,
London,
UK
The
notion
of
shaping
music
in
performance
is
pervasive
in
musical
practice
and
is
used
in
relation
to
several
different
ideas,
from
musical
structure
to
musical
expression;
and
in
relation
to
specific
musical
features
such
as
phrasing
and
dynamics.
Its
versatile
and
multi-‐
faceted
nature
prompted
an
interview
study,
which
investigated
musicians’
use
of
the
concept
of
musical
shaping
in
a
practical
context.
Semi-‐structured
interviews
were
conducted
with
five
professional
violinists
and
five
professional
harpsichordists.
These
interviews
incorporated
musical
tasks
that
involved
participants
playing
a
short
excerpt
of
music
provided
by
the
researcher,
as
well
as
their
own
examples,
to
demonstrate
their
normal
playing,
playing
while
thinking
about
musical
shaping,
and
sometimes,
playing
without
musical
shaping.
These
musical
demonstrations
were
then
discussed
with
participants
to
elicit
descriptions
of
their
shaping
intentions.
This
poster
will
illustrate
the
multiple
ways
in
which
the
interview
data
were
examined,
and
explore
the
technical
and
methodological
implications
of
these
approaches.
First,
an
Interpretative
Phenomenological
Analysis
of
the
musicians’
interview
data
revealed
a
wide
range
of
themes.
Secondly,
Sonic
Visualiser
was
used
to
analyse
their
musical
demonstrations,
which
allowed
the
examination
of
the
relationships
between
the
musicians’
shaping
intentions,
their
actions,
and
the
resulting
sound.
Thirdly,
the
data
were
explored
in
relation
to
participants’
use
of
metaphors,
which
were
expressed
verbally,
gesturally,
and
through
musical
demonstrations.
The
exploratory
nature
of
the
research
area
has
exposed
the
value
of
the
adoption
of
multiple
approaches
as
the
relationships
between
musical
shaping
and
other
research
areas
have
become
apparent.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 59
The
effects
of
music
playing
on
cognitive
task
performance
Sabrina
M.
Chang,*
Todd
C.
Handy#
*Interdisciplinary
Studies
Graduate
Program,
University
of
British
Columbia,
Canada
#Department
of
Psychology,
University
of
British
Columbia,
Canada
Many
music
cognition
studies
have
demonstrated
the
cognitive
benefits
of
both
long-‐
and
short-‐term
musical
training.
Whereas
most
of
these
studies
deal
with
the
short-‐term
benefits
for
the
music
listener
or
the
longer
term
benefits
for
the
novice
or
accomplished
musician,
our
study
examines
the
short-‐term
effects
of
music
playing
for
the
advanced
performer.
For
our
pretest-‐posttest
design,
we
recruited
46
advanced
classically/score-‐
based
trained
pianists.
The
participants
completed
a
creative
exercise
(alternative
uses
task)
or
detail-‐oriented
exercise
(proofreading
task);
they
then
performed
a
piano
piece
for
ten
minutes.
The
performances
were
followed
by
completion
of
a
second
cognitive
task
(whichever
task
they
were
not
given
in
the
pretest
condition).
No
significant
pretest-‐
posttest
differences
in
creativity
were
reported.
However,
we
found
that
participants
performed
significantly
worse
in
the
posttest
detail-‐oriented
task.
Our
results
suggest
that
performance
in
a
proofreading
task
involving
the
visual
detection
of
errors
may
be
hindered
immediately
following
a
short
period
of
music
playing
when
the
piece
is
already
familiar
to
the
performer.
One
of
the
reasons
may
be
that
once
a
piece
is
learned
to
a
certain
degree,
the
performance
is
no
longer
entirely
score-‐based.
At
this
stage,
score
reading
involves
recognition
and
not
the
full
cognitive
process
of
reading
something
unfamiliar—there
is
no
longer
a
need
to
continuously
check
the
musical
page
for
errors.
Hence,
the
participants
in
this
study
were
not
primed
for
visual
accuracy.
It
is
also
possible
that
the
neural
underpinnings
for
error
monitoring
are
minimally
activated
during
higher-‐level
motor
performance.
Accuracy
of
reaching
a
target
key
by
trained
pianists
Chie
Ohsawa,*
Takeshi
Hirano,*
Satoshi
Obata,
*
Taro
Ito,#
Hiroshi
Kinoshita*
*Graduate
School
of
Medicine,
Osaka
University,
Japan
#School
of
Health
and
Sports
Sciences,
Mukogawa
Women’s
University,
Japan
One
fundamental
element
of
successful
piano
playing
is
moving
the
fingertip
to
hit
a
key
for
aimed
tone
production.
We
hypothesized
that
pianists
with
years
of
training
would
possess
relatively
accurate
spatial
memory
of
a
keyboard,
and
thus
able
to
target
any
key
position
without
viewing
a
keyboard.
This
hypothesis
was
tested
in
10
highly
trained
pianists,
who
seated
on
a
chair
was
faced
a
table
on
which
either
only
a
flat
sheet
of
C4
key
copy,
or
a
real
scale
copy
of
a
whole
piano
keyboard
was
present.
The
participant
moved
their
left
or
right
index
finger
on
the
target
key
(A1,
F2,
or
E3
for
the
left
hand,
A4,
G5
or
E6
for
the
right
hand)
after
touching
the
reference
key.
Kinematics
of
the
fingertip
were
recorded
by
3D
motion
capture
system
sampling
at
60
Hz.
Data
were
collected
10
times
for
each
key.
Constant,
absolute,
and
variable
errors
of
the
finger
center
relative
to
the
center
of
the
target
key
were
computed.
Contrary
to
our
hypothesis,
errors
in
the
no-‐keyboard
condition
were
considerably
large.
The
mean
constant
errors
for
A1,
F2,
E3,
A4,
G5,
and
E6
were
63.5,
58.6,
27.4,
6.2,
12.9,
and
29.1
mm,
respectively.
Corresponding
values
for
the
keyboard
condition
was
all
less
2
mm.
The
right-‐left
hand
difference
in
errors
suggests
the
presence
of
a
laterality
bias
in
spatial
memory.
The
larger
positive
constant
errors
for
more
remote
keys
indicate
that
the
spatial
memory
could
be
constructed
of
expanded
keyboard
representation.
60
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Evaluation
parameters
for
proficiency
estimation
of
piano
based
on
tendency
of
moderate
performance
Asami
Nonogaki,1
Norio
Emura,2
Masanobu
Miura,3
Seiko
Akinaga,4
Masuzo
Yanagida5
1Graduate
School
of
Science
and
Technology,
Ryukoku
University,
Japan;
2College
of
Informatics
and
Human
Communication,
Kanazawa
Institute
of
Technology,
Japan;
3Faculty
of
Science
and
Technology,
Ryukoku
University,
Japan;
4Department
of
Education,
Shukugawa
Gakuin
College,
Japan;
5Faculty
of
Science
and
Engineering,
Doshisha
University,
Japan
This
paper
describes
an
automatic
estimation
for
piano
performance
in
terms
of
the
proficiency
for
an
etude
“Czerny”.
Our
previous
study
proposed
a
method
of
proficiency
estimation
for
a
scale
performance
within
one
octave
by
the
MIDI-‐piano,
in
which
a
set
of
parameters
were
obtained
and
then
applied
to
the
automatic
estimation.
However,
it
is
not
sufficient
to
simply
employ
them
to
other
musical
excerpts,
since
the
piano
performance
usually
has
several
complex
aspects
such
as
artistic
expression
or
so.
Here
we
introduce
another
set
of
parameters
for
the
automatic
estimation
for
other
musical
task
“Czerny”.
Even
though
the
content
of
the
task
is
thought
as
simple
because
of
the
simple
equal
intervals,
players
might
produce
deviation
of
loudness,
tempo,
and/or
onset
from
equal
timing.
We
then
newly
introduce
several
parameters
concerning
tempo,
duration,
velocity,
onset
time,
normalized
tempo,
normalized
duration,
normalized
velocity,
normalized
onset,
slope
tempo,
slope
duration,
slope
velocity,
and
slope
onset,
where
the
normalized
parameters
mean
the
average
of
all
performances,
named
here
as
moderate
performance.
By
using
the
Principle
Component
Analysis
for
all
the
obtained
parameters,
we
then
obtained
principle
components
for
them.
A
simple
determination
method
(k-‐NN)
is
employed
to
calculate
the
proficiency
score
of
them.
Results
shows
that
correlation
coefficient
of
proposed
method
are
0.798,
0.849,
0.793
and
0.516,
for
task
A
of
75
(bpm)
and
150
(bpm),
and
task
B
of
75
(bpm)
and
150
(bpm),
respectively,
showing
the
effectiveness
of
proposed
method.
The
Sung
Performance
Battery
(SPB)
Magdalena
Berkowska,
Simone
Dalla
Bella
Dept.
of
Psychology,
WSFiZ
in
Warsaw,
Poland
Singing
is
as
natural
as
speaking
for
humans.
In
spite
of
the
general
belief
that
individuals
without
vocal
training
are
inept
at
singing,
there
is
increasing
evidence
that
the
layman
can
carry
a
tune.
This
is
observed
when
occasional
singers
are
asked
to
sing
a
well-‐known
melody
from
memory
and
when
they
are
asked
to
imitate
single
pitches,
intervals
and
short
novel
melodies.
Different
tasks
are
typically
used
in
various
experiments,
making
the
comparison
of
the
results
across
studies
arduous.
So
far
there
is
not
a
standard
set
of
tasks
used
to
assess
singing
proficiency
in
the
general
population.
To
fill
this
gap
we
propose
here
a
new
tool
for
assessing
singing
proficiency
(the
Sung
Performance
Battery,
SPB).
The
SPB
starts
from
the
assessment
of
participants’
vocal
range
followed
by
five
tasks:
1)
single-‐pitch
matching,
2)
interval-‐matching,
3)
novel-‐melody
matching,
4)
singing
from
memory
of
familiar
melodies
(with
lyrics
and
on
a
syllable),
and
5)
singing
from
memory
of
familiar
melodies
(again,
with
lyrics
and
on
a
syllable)
at
a
slow
tempo,
as
indicated
by
a
metronome.
Data
analysis
is
realized
with
acoustical
methods
providing
objective
measures
of
pitch
accuracy
and
precision
(i.e.,
in
terms
of
absolute
and
relative
pitch)
as
well
as
of
time
accuracy.
To
illustrate
the
SPB
we
report
the
results
obtained
with
a
group
of
50
occasional
singers.
The
results
indicate
that
the
battery
is
useful
for
characterizing
proficient
singing
and
for
detecting
cases
of
inaccurate
and/or
imprecise
singing.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 61
Speed
Poster
Session
15:
Timber
II
Hall,
15:30-‐16:00
Neuroscience
&
emotion
Effect
of
sound-‐induced
affective
states
on
brain
activity
during
implicit
processing
of
emotional
faces
T.Quarto1,2,3,
G.Blasi3,
L.Fazio3,
P.Taurisano3,
B.Bogert1,2,
B.Gold1,2,
A.Bertolino3,
E.Brattico1,2
1
Cognitive
Brain
Research
Unit,
Institute
of
Behavioral
Science,
University
of
Helsinki,
Finland
2
Center
of
Excellence
in
Interdisciplinary
Music
Research,
University
of
Jyväskylä,
Finland
3
Dipartimento
di
Neuroscienze
ed
Organi
di
Senso,
Università
degli
studi
di
Bari
“Aldo
Moro”
Social
interaction
involves
perception
and
interpretation
of
facial
expressions.
Our
ability
to
recognize
the
emotions
contained
in
facial
expressions
is
influenced
by
our
current
affective
state.
In
a
behavioural
study
we
demonstrated
that
music
impacts
temporary
affective
state,
and
that
this
modified
affective
state
in
turn
alters
the
implicit
processing
of
facial
emotions.
Up
to
date,
no
study
has
revealed
the
neural
substrates
of
these
cross-‐modal
effects
of
music
on
visual
emotions
and
affective
state.
We
here
investigate
how
affective
state
induced
by
noise
or
music
stimulation
modulates
the
brain
responses
at
a
precognitive,
automatic
stage
of
emotional
face
processing.
20
healthy
subjects
underwent
functional
magnetic
resonance
imaging
(fMRI)
at
3
Tesla
while
performing
an
implicit
emotion-‐processing
task.
In
this
task,
subjects
were
asked
to
identify
the
gender
of
angry
and
happy
facial
expressions
while
listening
to
a
relaxing
music
sequence
or
else
while
listening
to
amplitude-‐modulated
noise.
Random-‐effect
models
on
fMRI
data
(all
p<0.001)
revealed
a
main
effect
of
sound
stimulation
in
bilateral
prefrontal
cortex
(BA47)
and
a
main
effect
of
facial
expression
in
left
supplementary
motor
area
and
left
fusiform
gyrus.
An
interaction
between
sound
stimulation
and
facial
expression
was
present
in
right
insula.
Inspection
of
brain
signal
demonstrated
that
subjects
had
greater
activity
in
the
right
insula
during
processing
of
happy
faces
with
music
background
compared
with
the
other
experimental
conditions.
Our
results
indicate
that
music
and
noise
can
alter
current
affective
states,
which,
in
turn,
modulate
brain
activity
during
implicit
processing
of
facial
emotions.
Musical
emotion
and
facial
expression:
mode
of
interaction
as
measured
by
an
ERP
Keiko
Kamiyama*,
Dilshat
Abla#,
Koichi
Iwanaga†,
and
Kazuo
Okanoya*‡
*
Department
of
Life
Sciences,
Graduate
School
of
Arts
and
Sciences,
The
University
of
Tokyo,
Japan;
#Noninvasive
BMI
Unit,
BSI-‐TOYOTA
Collaboration
Center,
RIKEN
Brain
Science
Institute,
Japan;
†Department
of
Design,
Graduate
School
of
Engineering,
Chiba
University,
Japan;
‡Japan
Science
Technology
Agency,
ERATO,
Okanoya
Emotional
Information
Project,
Japan
Music
has
been
believed
to
express
emotion
through
various
elements
in
music
itself,
while
it
has
been
increasingly
reported
that
the
musical
expression
interacted
with
extra-‐musical
factors.
In
order
to
reveal
how
these
two
emotional
processes
are
processed
in
the
brain,
we
recorded
the
electroencephalogram
(EEG)
of
the
amateur
musicians
and
non-‐musicians.
We
presented
several
pairs
of
musical
excerpts
and
images
of
facial
expressions,
each
of
which
represented
“happy”
or
“sad”
expressions.
Half
of
the
pairs
were
semantically
congruent
(congruent
condition),
where
the
emotional
meaning
of
facial
expression
and
music
were
the
same,
and
the
remaining
pairs
were
semantically
incongruent
(incongruent
condition).
During
the
EEG
recording,
participants
listened
to
the
musical
excerpt
for
500ms,
immediately
after
the
presentation
of
the
facial
image
for
500
ms.
We
found
that
music
stimuli
elicited
a
larger
negative
component
in
the
250
–
450
ms
range
(N400)
under
the
62
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
incongruent
condition
than
under
the
congruent
condition,
notably
in
musicians.
Also,
in
musicians
the
N400
effect
appeared
regardless
of
the
emotional
type
of
music,
while
in
non-‐
musicians
the
effect
was
observed
only
when
the
happy
music
excerpts
were
presented
as
target
stimuli.
These
results
indicated
that
the
sadness
of
music
was
not
automatically
extracted
in
no-‐musicians,
although
they
could
judge
the
congruency
of
stimulus
pairs
in
the
behavioral
test.
Also
it
was
suggested
that
facial
emotional
cognition
had
some
common
processes
with
musical
emotional
cognition
and
that
the
emotional
meanings
of
music
were
integrated
with
other
semantic
inputs
such
as
facial
expressions.
Experiential
effects
of
musical
pleasure
on
dopaminergic
learning
Benjamin
Gold,a,b
Michael
Frank,c
Elvira
Brattico,a,b
aCognitive
Brain
Research
Unit,
Institute
of
Behavioural
Studies,
University
of
Helsinki,
Finland
bFinnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
University
of
Jyväskylä,
Finland;
cDepartment
of
Cognitive,
Linguistic,
and
Psychological
Sciences,
Brown
Institute
for
Brain
Science,
Brown
University,
U.S.A.
Neuroimaging
has
linked
music
listening
with
dopaminergic
areas
implicated
in
emotion
and
reward.
Subjects
with
more
striatal
dopamine
transmission
generally
learn
better
from
rewards,
while
those
with
less
usually
learn
better
from
punishments.
In
this
study
we
explored
the
implications
of
musical
pleasure
through
its
ability
to
enhance
dopamine
release
by
measuring
its
effect
on
reward-‐based
learning
in
a
dopamine-‐dependent
probabilistic
selection
learning
task.
Forty-‐five
subjects
(twenty-‐two
musicians)
selected
pleasurable
and
neutral
music
from
an
experimenter-‐created
database,
and
were
then
pseudo-‐randomly
divided
into
four
groups
-‐-‐
balanced
for
musical
experience
-‐-‐
according
to
which
music
they
would
hear
during
the
Training
and
Test
phases.
In
Training,
participants
chose
between
stimuli
of
different
reward
probabilities
and
received
feedback;
the
Test
consisted
of
recombined
stimuli
without
feedback.
All
participants
exceeded
a
learning
criterion,
but
non-‐musicians
performed
better
when
listening
to
pleasurable
music
whereas
musicians
performed
better
when
listening
to
neutral
music.
Going
into
the
Test,
participants
across
groups
and
musical
backgrounds
had
learned
the
task
to
similar
levels.
In
the
Test,
musicians
switching
from
neutral
music
to
pleasurable
music
performed
better
than
other
subjects,
while
non-‐musicians
in
the
same
group
responded
the
slowest.
Overall,
musical
pleasure
had
a
greater
effect
on
Training,
enhancing
dopaminergic
learning
in
non-‐musicians
but
distracting
musicians
perhaps
due
to
non-‐optimal
striatal
dopamine
transmission.
These
effects
were
complicated
when
participants
switched
musical
conditions;
pleasurable
music
during
Training
distracted
musicians
but
helped
non-‐musicians,
and
at
Test
it
benefited
musicians
not
affected
by
it
in
Training
while
non-‐musicians
were
less
able
to
successfully
switch
musical
conditions.
Melodies
without
Words:
Validity
of
Happy/Sad
Musical
Excerpts
for
Use
in
ERP
Studies
Viviane
Cristina
da
Rocha,
Paulo
Sérgio
Boggio
Social
and
Cognitive
Neuroscience
Laboratory,
Mackenzie
University,
Brazil
The
aim
of
this
study
was
to
validate
the
excerpts
composed
so
that
they
could
be
used
in
a
posterior
ERP
study.
We
also
wished
to
better
understand
the
characteristics
in
which,
given
only
a
melody,
subjects
would
rely
on
to
judge
whether
it
was
a
happy
or
sad
piece
of
music.
A
professional
musician
composed
80
melodies,
40
intentionally
representative
of
sadness
and
40
representative
of
happiness.
Some
parameters
were
used
to
construct
the
excerpts,
such
as
tempo,
mode,
duration
of
notes,
and
tessitura.
They
were
recorded
by
a
professional
female
singer.
The
stimuli
were
randomly
presented
to
19
subjects
(10
female;
mean
age
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 63
22,6
years)
using
E-‐Prime.
Subjects
were
asked
to
rate
each
excerpt
in
a
scale
of
1
to
7,
1
being
sad,
4
being
neutral
and
7,
happy.
All
of
the
subjects
were
non
musicians.
The
answers
were
analyzed
considering
the
mean
score
of
each
excerpt.
The
30
excerpts
with
means
close
to
neutral
(3,
4
or
5)
were
discarded.
The
remaining
50
stimuli
were
analyzed
as
to
its
musical
features.
After
the
analysis,
we
concluded
that
subjects
tended
to
guide
their
evaluation
by
tempo
(e.g.,
happy
excerpts
composed
in
not
such
a
fast
tempo
were
discarded),
tessitura
and
direction
of
melody
(e.g.,
happy
excerpts
with
a
downward
melody
were
discarded),
and
duration
of
the
notes
(e.g.,
excerpts
with
staccato
were
the
highest
rated).
It’s
possible
that,
given
the
fact
that
the
subjects
were
non
musicians,
they
didn’t
rely
on
mode
as
much
as
musicians
would.
Symposium 1: Grand Pietra Hall, 17:00-‐18:30
Replication and ‘truth’ in music psychology
Convener: Timo Fischinger, Discussants: Henkjan Honing, Diana Deutsch
Over the last years, the reliability and validity of findings in (general) psychology have been
seriously questioned. Often used arguments are, among others, the (now) well-‐known
publication bias, the ritual of statistical significance testing, the so-‐called 'decline effect', and,
last but not least, the lack of replication studies. Especially the last point is a serious issue in
music psychology, because most studies never get replicated, probably due to the rather
small size of the field. Consequently, meta-‐analyses are also scarce. This raises the serious
question, which findings in music psychology a really trustful and resilient -‐ besides the
merely trivial ones. In our view, there is a strong need to think and discuss these issues.
Therefore, this symposium is thought as an initial contribution to a methodological
discussion about future needs in empirical music research. In the first presentation on "The
role of replication studies and meta-‐analyses in the search of verified knowledge", Reinhard
Kopiez will talk about the important functions of replication studies in general, referring to a
selected number of replication studies to illuminate the potential power of replications.
Michael Oehler et al. will then present their replication study on "Aspects of handedness in
Deutsch's octave illusion – a replication study". This paper gives new insights into the study
of the octave illusion as well as it shows, how replications can be innovative using
supplementary experimental paradigms. The third presentation on "Absolute memory for
music: Comparative replication studies of the ‘Levitin Effect’ in six European laboratories"
will be about a larger replication project across six different labs in Germany and the UK.
Here, a widely cited but never replicated study in music psychology was repeated.
The role of replication studies and meta-‐analyses in the search of verified
knowledge
Reinhard Kopiez
Hanover University of Music, Drama, and Media, Hanover Music Lab, Germany
In the natural sciences the replication of important findings plays a central role in the
creation of verified knowledge. However, in the discipline of psychology there is only one
attempt for a systematic reproduction of published studies (see the website of the
Reproducibility project, http://openscienceframework.org/project/shvrbV8uSkHewsfD4/
wiki and the “Project Progress and Results Spreadsheet”). In music psychology, this self-‐
evident tradition of replication studies plays only a minor role. I will argue that replication
studies have two important functions: (a) as a “best practice” mechanism of academic self-‐
control which is necessary to prevent the publication of premature results; (b) as a reliable
64
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
way
for
the
production
and
integration
of
verified
knowledge
which
is
important
for
the
advancement
of
every
scientific
discipline.
Comparisons
of
selected
replications
with
original
studies
will
demonstrate
that
the
design
of
replications
is
a
creative
research
strategy.
Replication
studies
discussed
will
come
from
topics
such
as
“music
cognition”,
“open
earedness”,
or
“neuroscience
of
music”.
In
a
last
step
I
will
show
the
high
power
of
meta-‐
analysis
in
the
production
of
verified
knowledge.
This
important
method
for
the
uncovering
of
reliable
effects
by
means
of
data
aggregation
from
single
studies
should
be
extended
in
the
field
of
empirical
music
research.
One
consequence
of
the
replication
approach
will
be
the
future
need
for
an
online
repository
of
already
conducted
replication
studies.
This
idea
will
be
discussed
in
the
symposium.
Aspects
of
handedness
in
Deutsch's
octave
illusion
-‐
a
replication
study
Michael
Oehler,
Christoph
Reuter,
Harald
Shandara,
Michael
Kecht
Macromedia
University
for
Media
and
Communication,
University
of
Vienna,
Musicological
Institute,
University
of
Vienna,
Cognitive
Sciences
An
extended
replication
study
of
the
octave
illusion
(Deutsch
1974,
1983)
is
presented.
Since
the
first
description
of
the
octave
illusion
in
1974
several
studies
showed
that
the
perception
of
the
two-‐tone
pattern
depends
on
subjects'
handedness.
Most
of
the
right-‐handed
subjects
reported
to
hear
the
high
tone
of
the
octave
at
the
right
ear.
Left-‐handed
subjects
either
perceive
the
high
tone
on
the
left
ear
or
tend
to
perceive
more
complex
tone
patterns
(39%).
In
all
related
studies
the
handedness
categorization
was
done
by
means
of
a
questionnaire,
e.g.
the
handedness
inventory
of
Varney
and
Benton
(1975).
Several
current
studies
(e.g.
Kopiez,
Galley,
Lehmann
2010)
however
show
that
objective
non-‐right-‐handed
persons
cannot
be
identified
by
handedness
inventories.
In
concordance
with
Annett's
"right
shift
theory"
(2002)
performance
measurements
as
speed
tapping
seem
to
be
a
much
more
reliable
handedness
predictor.
It
is
supposed
that
more
distinct
perception
patterns
for
the
right-‐
and
non-‐right-‐handed
subjects
can
be
obtained,
when
performance
measures
are
used
for
handedness
classification.
Especially
the
group
size
of
right-‐handers
in
the
original
study
that
perceive
complex
tone
patterns
(17%)
is
likely
to
be
much
smaller.
In
the
replication
study
Varney
and
Benton's
handedness
inventory
as
well
as
a
speed
tapping
task
were
used
to
classify
left-‐
and
right-‐handed
subjects.
All
131
subjects
(M=28.88,
SD=10.21)
were
naive
concerning
the
octave
illusion.
The
subjects'
perception
of
the
original
two-‐tone
pattern
was
measured
in
a
forced-‐choice
task
according
to
the
categories
used
by
Deutsch
(octave,
single,
complex).
The
results
of
Deutsch's
study
could
be
replicated
when
using
the
same
handedness
inventory.
The
performance
measurement
task
however
led
to
a
significantly
clearer
distinction
between
the
left-‐
and
right-‐handed
subjects
(w=.42,
p=.0001
in
contrast
to
w=.20,
p=.19
in
the
replication
and
w=.28,
p<.05
in
the
original
study)
and
more
structured
perception
patterns
could
be
observed
within
the
left-‐handed
group.
The
group
size
of
the
right-‐handed
subjects
that
perceive
complex
patterns
is
significantly
smaller
(w=.36,
p=.0001)
when
using
performance
measures
(5%)
instead
of
the
questionnaire
(replication:
15%,
original
study:
17%).
All
in
all
the
results
of
Deutsch
could
be
replicated.
Misclassification
of
handedness
could
be
reduced
and
the
observed
perception
patterns
were
more
distinct,
when
speed
tapping
was
used
for
measuring
handedness.
Therefore
performance
measurements
might
be
a
useful
method
in
future
studies
that
deal
with
aspects
of
the
octave
illusion
and
handedness.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 65
Absolute
memory
for
music:
Comparative
replication
studies
of
the
“Levitin
effect”
in
six
European
laboratories
Kathrin
Bettina
Schlemmer1,
Timo
Fischinger2,
Klaus
Frieler3,
Daniel
Müllensiefen4,
Kai
Stefan
Lothwesen5,
Kelly
Jakubowski6
1Katholische
Universität
Eichstätt-‐Ingolstadt,
Germany,
2Universität
Kassel,
Germany,
3Universität
Hamburg,
Germany,
4,6Goldsmiths,
University
of
London,
UK,
5Hochschule
für
Musik
und Darstellende Kunst Frankfurt am Main, Germany
When analysing human long term memory for musical pitch, relational memory is commonly
distinguished from absolute memory. The ability of most musicians and non-‐musicians to
recognize tunes even when presented in a different key suggests the existence of relational
music memory. However, findings by Levitin (1994) point towards the additional existence
of absolute music memory. In his sample, the m ajority of non absolute pitch possessors could
produce pitch at an absolute level when the task was to recall a very familiar pop song
recording. Up to now, no replication of this study has been published. The aim of this paper is
to present the results of a replication project across six different European labs. All labs used
the same methodology, carefully replicating the experimental conditions of Levitin’s study.
In each lab, between 40 and 60 participants (primarily university students with different
majors, musicians and non-‐musicians) were tested. Participants recalled a pop song that they
had listened to very often, and produced a phrase of this song. The produced songs were
recorded, analysed regarding pitch, and compared with the published original version.
Preliminary results suggest that participants show a tendency to sing in the original key, but
a little flat. The distribution of the data is significantly not uniform, but more spread out than
Levitin’s data. The distributions differ significantly between the three labs analysed so far.
Our replication study supports basically the hypothesis that there is a strong absolute
component for pitch memory of very well-‐known tunes. However, a decline effect of results
could be observed as well as other effects to be discussed.
Paper Session 6: Crystal Hall, 17:00-‐18:30
Analysing historical styles
On the emergence of the major-‐minor system: Cluster analysis suggests the
late 16th century collapse of the Dorian and Aeolian modes
Joshua Albrecht, David Huron
School of Music, Ohio State University, USA
Stable scale-‐degree distributions have been observed for an idealized version of the major
and minor scales. However, these scales developed out of an earlier system of modes. This
paper describes a corpus study conducted on works spanning the period in which the major
and minor modes were established as the dominant modes. The study involves 455 musical
works by 259 composers sampled across the years 1400 to 1750. Beginning with the period
1700-‐1750, a series of statistical studies are carried out on the distribution of scale tones,
progressively moving backward in time. The method utilizes a modified version of the
Krumhansl-‐Schmuckler method of key determination – generalized to handle an arbitrary
number of modal classifications. The results from cluster analyses on this data are consistent
with the view that the modern minor mode emerged from the amalgamation of earlier
Dorian and Aeolian modes, with the collapse being completed around the late sixteenth
century.
66
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
Estimating historical changes in consonance by counting prepared and
unprepared dissonances in musical scores
Richard Parncutt,1 Fabio Kaiser2 and Craig Sapp3
1,2 Centre for Systematic Musicology, University of Graz, Austria
3 CCARH, Stanford University, USA
As
musical
styles
changed
in
Western
history,
so
did
concepts
of
consonance
and
dissonance
(C/D;
Parncutt
&
Hair,
2011;
Tenney,
1988).
Sonorities
considered
dissonant
gradually
became
more
consonant,
consistent
with
the
idea
that
familiarity
is
a
psychological
component
of
C/D
(cf.
Cazden,
1945),
other
components
being
smoothness
(Helmholtz,
1963)
and
harmonicity
(Stumpf,
1883;
Terhardt,
1976).
In
Western
music
(theory),
dissonances
require
preparation
and
resolution.
We
investigate
historical
changes
in
C/D
by
comparing
the
prevalence
of
prepared
and
unprepared
dissonances
in
polyphonic
sacred
music
by
searching
for
vertical
pc-‐sets
with
the
Humdrum
Toolkit
(Huron,
2002).
For
“onset
counts”,
onsets
of
all
tones
(and
no
others)
were
simultaneous
(unprepared
dissonances);
for
“sonor
counts”,
one
or
more
tones
were
sounded
early
or
held
(prepared
dissonance).
In
Perotin’s
Viderunt
omnes
and
Sederunt
(13th
Century),
sonor
>
onset
for
most
intervals
and
especially
triads,
suggesting
dissonance,
but
for
the
perfect
fifth/fourth,
onset
≈
sonor.
For
dyads
and
major/minor
triads
in
Machaut’s
Messe
de
nostre
Dame
(14th),
onset
≈
sonor
suggesting
a
historical
increase
in
perceived
consonance.
In
works
by
Lassus
and
Palestrina
(16th),
onset
>
sonor
for
third/sixth
dyads
and
major/minor
triads,
suggesting
a
further
increase
in
consonance;
but
sonor
>
onset
for
fourth/fifth
dyads,
consistent
with
Huron’s
(1991)
finding
that
J.
S.
Bach
encouraged
smoothness
but
avoided
fusion
so
voices
would
remain
individually
audible.
Major
and
Minor:
An
Empirical
Study
of
the
Transition
between
Classicism
and
Romanticism
Katelyn
Horn,
David
Huron
Music,
The
Ohio
State
University,
USA
An
empirical
study
is
reported
tracing
the
changing
use
of
the
major
and
minor
modes
between
the
so-‐called
“Classical”
and
“Romantic”
periods.
Specifically
cluster
analysis
was
carried
out
on
a
random
sample
of
Western
art
music
works
spanning
the
period
1750-‐1900.
The
analysis
examined
modality,
dynamics,
tempo,
and
articulation.
The
resulting
clusters
are
consistent
with
several
affective
or
expressive
categories,
deemed
joyful,
regal,
tender/lyrical,
light/effervescent,
serious,
passionate,
sneaky,
and
sad/relaxed.
Changes
across
time
are
consistent
with
common
musical
intuitions
regarding
the
shift
from
Classical
to
Romantic
musical
languages.
Paper
Session
7:
Dock
Six
Hall,
17:00-‐18:30
Technology-‐enhanced
learning
&
improvisation
Young
children’s
improvisations
on
a
keyboard:
How
might
reflexive
technologies
support
the
processes
of
learning
to
improvise?
Susan
Young,
Victoria
Rowe
Graduate
School
of
Education,
University
of
Exeter,
UK
In
this
presentation
we
will
propose
that
young
children
draw
on
a
number
of
generative
sources
or
modes
when
improvising
spontaneously
on
an
electronic
keyboard.
These
sources
are
driven
by,
for
example,
expressive
bodily
gestures,
by
an
interest
in
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 67
morphology
of
the
keyboard,
a
motivation
to
imitate
known
and
meaningful
musical
experiences
or
an
interest
in
making
interactive
play
with
a
play-‐partner
(whether
human
or
technological).
The
international,
EU-‐funded
MIROR
project
is
exploring
the
potential
of
reflexive
technologies
to
support
children’s
learning
processes
in
music.
The
contribution
of
the
Exeter
University
team
to
the
project
has
been
to
carry
out
some
studies
with
4-‐
and
8-‐
year-‐olds
in
educational
settings
and
to
analyse
the
children’s
musical
play
to
attempt
to
understand
how
they
use
and
engage
with
the
MIROR
software’s
capacity
to
reply.
Whilst
most
of
the
children
interacted
with
the
system
at
a
basic
level
of
turn-‐taking,
some
responded
at
what
appeared
to
be
a
higher
level,
listening
intently
to
the
responses
and
including
some
elements
from
them
in
a
more
extended
musical
conversation.
The
analysis
raised
many
further
questions
about
children’s
musical
processing
skills
and
how
interactive
technology
might
support
these.
The
study
also
raises
wider,
more
fundamental
questions
concerned
with
the
directions
for
ICT
in
educational
practice
with
young
children
and
these
too
will
be
shared
in
this
presentation.
An
exploratory
study
of
young
children’s
technology-‐enabled
improvisations
Angeliki
Triantafyllaki,
Christina
Anagnostopoulou,
Antonis
Alexakis
Dept.
of
Music
Studies,
National
and
Kapodistrian
University
of
Athens,
Greece
Improvisation
is
now
recognised
as
a
central
component
of
musical
creativity.
Although
a
relatively
young
area
of
study,
its
educational
value
has
been
discussed
both
musically
and
socially;
young
children’s
musical
improvisations
more
specifically,
have
been
explored
through
a
variety
of
methods
and
from
diverse
paradigmatic
viewpoints:
cognitive,
developmental,
educational,
sociological
and
others.
The
aim
of
this
ongoing
exploratory
study
is
to
enrich
our
understanding
of
the
variety
of
ways
young
children
experience
musical
improvisation,
as
this
is
enabled
through
the
MIROR
platform
–
an
innovative
adaptive
system
for
children's
music
improvisation
and
composition,
based
on
the
reflexive
interaction
paradigm.
In
this
paper
we
draw
on
data
from
an
exploratory
study
conducted
in
November
2011
with
eight
year-‐old
children,
which
aimed
to
explore
the
ways
children
engage
with
the
MIROR
Improvisation
prototype.
Three
types
of
data
are
brought
together
for
the
analysis:
thematic
analysis
of
children’s
talk,
descriptive
analysis
of
children’s
turn-‐
taking
behaviour
and
computational
music
analysis.
The
research
findings
indicate
connections
between
particular
children’s
(a)
turn-‐taking
behavior
and
their
embodied
(gestural)
understandings
of
how
they
played
with
the
machine
and
(b)
type
of
musical
output
and
the
density
of
their
turn-‐taking
behavior,
which
seem
to
indicate
that
the
MIROR
technology
may
in
some
children
encourage
particular
ways
of
engagement,
both
musically
and
kinesthetically.
Pedagogical
issues
arising
from
the
integration
of
such
technology-‐
enabled
improvisation
in
the
primary
school
classroom
are
discussed.
From
Eco
to
the
Mirror
Neurons:
Founding
a
Systematic
Perspective
of
the
Reflexive
Interaction
Paradigm
Anna
Rita
Addessi
Dept.
of
Music
and
Performing
Arts.,
University
of
Bologna,
Italy
The
MIROR
Project
(EC
project,
FP7-‐ICT)
deals
with
the
development
of
an
innovative
adaptive
system
for
children'
music
improvisation,
composition
and
body
performance,
based
on
the
reflexive
interaction
paradigm.
This
paradigm
is
based
on
the
idea
of
letting
users
manipulate
virtual
copies
of
themselves,
through
specifically
designed
machine-‐
learning
software
referred
to
as
interactive
reflexive
musical
systems
(IRMS).
In
this
paper,
the
theoretical
framework
of
the
reflexive
interaction
paradigm
is
discussed
from
a
systematic
musicological
perspective.
Implications
are
introduced,
aiming
to
support
the
68
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
hypothesis
that
the
reflexive
interaction
enhances
teaching/learning
processes
and
musical
creativity
in
children.
Paper Session 8: Timber I Hall, 17:00-‐18:30
Measuring emotional response
The Role of Orchestral Gestures in Continuous Ratings of Emotional Intensity
Meghan Goodchild, Jonathan Wild, Stephen McAdams
Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT)
Schulich School of Music, McGill University, Canada
Despite its increasing importance in compositions in the nineteenth and twentieth centuries,
timbre has not been theorized in research to the same extent as other musical parameters.
Typically, orchestration manuals provide prescriptions and prohibitions of instrumental
combinations and short excerpts to be emulated. Empirical studies suggest that emotional
responses may be induced by changes in orchestration, such as a sudden shift in texture and the
alternation of the orchestra and a soloist. Some orchestration treatises allude to these expressive
gestures, but a conceptual framework is still lacking. Our first aim is to model one aspect of the
dynamics of the listening experience by investigating the musical features in orchestral music that
elicit emotional responses. Additionally, we aim to contribute to the development of a theory of
orchestration gestures through music-‐theoretical analyses and principles from timbre perception.
Musical excerpts were chosen to fit within four categories defined by the researchers based on
instrumentation changes: gradual or sudden addition, or gradual or sudden reduction of
instruments. Forty-‐five participants (22 musicians and 23 nonmusicians) listened to the excerpts
and continuously moved a slider to indicate the intensity of their emotional responses. They also
completed questionnaires outlining their specific subjective experiences (chills, tears, and other
reactions) after each excerpt. Musical features of the acoustic signal were coded as time series
and used as predictors of the behavioural ratings in a linear regression model using the ordinary
least squares approach (Schubert 2004). The texture parameter was expanded to include the
contributions of each instrument family. The results suggest that there are significant differences
between the participants’ continuous response profiles for the four gesture categories. Musicians
and nonmusicians exhibit similar emotional intensity curves for the gradual gestures (additive
and reductive); however, musicians tend to anticipate the sudden changes, whereas non-‐
musicians are more delayed in their responses. For both gradual and sudden reductive excerpts,
participants demonstrate a sustained lingering effect of high emotional intensity despite the
reduction of instrumental forces, loudness, and other parameters. Through discussion of new
visualizations created from musical feature overlays and the results of the regression study, we
will highlight relationships between perceptual and musical/acoustical dimensions, quantify
elements of the temporality of these experiences, and relate these to the retrospective judgments.
To our knowledge, this is the first study that specifically investigates the role of timbral changes
on listeners’ emotional responses in interaction with other musical parameters.
Empathy contributes to the intensity of music-‐induced emotions
Jonna K. Vuoskoski, Tuomas Eerola
Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä,
Finland
Emotional contagion has been suggested as one of the mechanisms through which music can
induce emotions in listeners (Juslin & Västfjäll, 2008). Although links have been established
between trait empathy and emotional contagion in general (e.g., Doherty, 1997), it remains
to be investigated whether trait empathy also contributes to emotion contagion through
music. The aim of the study was to investigate whether trait empathy contributes to the
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 69
intensity of felt emotions induced by music. The possible contribution of empathy was
investigated by analysing the results of two separate experiments. In Experiment 1, 131
participants listened to 16 film music excerpts and evaluated the intensity of their emotional
responses. In experiment 2, 60 participants were randomly assigned to either a neutral
music group or a sad music group. The induced emotions were assessed using two indirect
measures of emotional states; a word recall task, and a facial expression judgment task. In
Experiment 1, trait empathy correlated with the self-‐rated intensity of emotions experienced
in response to tender and sad excerpts. In Experiment 2, trait empathy was reliably
associated with induced sadness – as measured by the facial expression judgment task -‐ in
the sad music group. The results suggest that trait empathy may indeed enhance the
induction of emotion through music – at least in the case of certain emotions. The self-‐report
and indirect measures indicated that highly empathic people may be more susceptible to
music-‐induced sadness and tenderness, possibly reflecting their tendency to feel compassion
and concern for others.
Music Preferences in the Early Years: Infants' Emotional Responses to Various
Auditory Stimulations
Dennis Ping-‐Cheng Wang
Faculty of Education, University of Macau, Macau, China
The study aims at investigating if infants can differentiate various types of music and
respond differently in terms of emotional and physical behaviours. The study discovers that
the infants showed the different emotional and bodily responses to the various auditory
stimulations, such as, thriller, suspense, and pleasantness. In this research, there were 20
four-‐ to twelve-‐month-‐old infants participated in this study. The whole experiment lasted six
month period of time and physical check and psychological check were given twice during
the period. After cross comparing the two tests of the physical and psychological checks, the
researcher discovered that there were around 68% of the infants expressed similar reactions
which included the increasing heart rates, blood pressure, prolong regular drinking habits,
and showing disturbed when they heard thriller music. Moreover, there were about 80% of
the infants expressed visible contrasts of emotional and facial expression, such as frowning
eyebrows, showing disturbed, and crying when they heard thriller and pleasant music. On
contrast, the infants tended to behavior calmly, such as stable heart rating and longer lengths
of eye contacts with their parents and asleep falling when they heard pleasant and comic
music. The similar results were reflected on the tests throughout the whole experimental
period.
Paper Session 9: Timber II Hall, 17:00-‐18:30
Coordination & synchronization
Relations Between Temporal Error Correction Processes and the Quality of
Interpersonal Coordination
Peter E. Keller,1,2 Nadine Pecenka,1 Merle Fairhurst,1 Bruno H. Repp3
1Music Cognition & Action Group, Max Planck Institute for Human Cognitive & Brain Sciences,
Leipzig,
Germany
2MARCS
Institute,
University
of
Western
Sydney,
Australia
3Haskins
Laboratories,
New
Haven,
Connecticut
Interpersonal
coordination
in
joint
rhythmic
activities,
such
as
ensemble
music
making,
can
be
temporally
precise
yet
variable
between
individuals.
This
may
be
due
to
individual
70
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
TUE
differences in the operation of temporal error correction mechanisms, such as ‘phase
correction’, that enable internal timekeepers in co-‐performers to remain entrained despite
tempo fluctuations. The current study investigated the relationship between phase
correction and interpersonal sensorimotor synchronization. Phase correction was assessed
in 40 participants by estimating the proportion of asynchronies that each individual
corrected for when synchronizing finger taps (on a percussion pad) with adaptively timed
auditory sequences. Participants were subsequently paired to form 10 ‘high correcting’
dyads and 10 ‘low correcting’ dyads. Each dyad performed a synchronization-‐continuation
task that required both individuals to tap together in time with a 2 Hz auditory metronome
(for 20 sec) and then to continue tapping together when the metronome ceased (for 20 sec).
Each individual’s taps produced a distinctive percussion sound. The variability of
interpersonal asynchronies was greater for low than high correcting dyads only when the
metronome paced the interaction. The lag-‐1 autocorrelation of interpersonal asynchronies
was likewise only relatively high in low correcting dyads during paced tapping. Low
correcting dyads may be able to stabilize their performance during self-‐paced continuation
tapping by increasing the gain of phase correction or by engaging in period correction (i.e.,
tempo adjustment). These findings imply compensatory mutual adaptive timing strategies
that are most likely effortful and may have costs in attentionally demanding contexts such as
musical ensemble performance.
Knowing too much or too little: The effects of familiarity of a co-‐performer’s
part on interpersonal coordination in piano duos
Marie Uhlig,1 Tim Schroeder, 1 Peter Keller 1,2
1Research group Music Cognition and Action, Max-‐Planck Institute for Human Cognitive and
Brain Sciences, Leipzig, Germany
2MARCS Auditory Laboratories, University of Western Sydney, Sydney, Australia
Performing
ensemble
musicians
may
be
more
or
less
familiar
with
each
others’
parts.
Such
familiarity
may
affect
the
ability
to
predict,
and
therefore
to
synchronize
with,
co-‐
performers’
actions.
Specifically,
the
operation
of
internal
models
that
guide
processes
related
to
action
simulation
and
anticipatory
musical
imagery
may
be
affected
by
knowledge
of
(1)
the
musical
structure
of
a
co-‐performer’s
part
(e.g.,
in
terms
of
its
rhythm
and
phrase
structure)
and/or
(2)
the
co-‐performer’s
idiosyncratic
playing
style
(e.g.,
expressive
micro-‐
timing
variations).
To
test
the
effects
of
familiarity
each
pianist
plays
two
duets
with
two
different
partners.
In
one
duet
both
parts
are
known
to
both
players,
while
in
the
other
piece
only
one’s
own
part
is
known.
The
pieces
are
played
and
recorded
six
times
without
joint
rehearsal
or
visual
contact
in
order
to
analyze
the
effects
of
increasing
familiarity.
Interpersonal
coordination
was
quantified
by
measuring
asynchronies
between
pianists’
keystroke
timing
and
the
correlation
of
their
body
sway
movements.
The
findings
suggest
that
familiarity
with
a
co-‐performer’s
part,
but
not
their
playing
style,
may
engender
predictions
about
micro-‐timing
variations
that
are
based
instead
upon
one’s
own
playing
style,
leading
to
a
mismatch
between
predictions
and
actual
events
at
short
timescales.
Predictions
at
longer
timescales—that
is,
those
related
to
musical
measures
and
phrases,
and
reflected
in
body
sway
movements—are,
however,
facilitated
by
familiarity
with
the
structure
of
a
co-‐performer’s
part.
Results
point
to
a
dissociation
between
interpersonal
coordination
at
the
level
of
keystrokes
and
body
sway.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 71
Effect
of
Visual
Cues
in
Synchronization
of
rhythmic
patterns
Sisi
Sun,
Trishul
Mallikarjuna,
Gil
Weinberg
Center
for
Music
Technology,
Georgia
Institute
of
Technology,
Atlanta,
GA,
U.S.A.
We
conducted
a
rhythmic
pattern
learning
and
synchronization
experiment.
During
the
experiment,
each
of
20
experiment
subjects
was
learning
7
patterns
in
different
level
of
difficulty
from
a
drummer
robot.
They
played
all
the
patterns
twice
in
2
different
visual
conditions:
being
able
to
see,
and
not
being
able
to
see
the
robot’s
movement.
10
of
the
subjects
could
see
the
robot
the
first
time
they
played
the
7
patterns,
and
they
then
played
the
patterns
the
second
time
without
seeing
the
robot.
The
other
10
played
in
the
opposite
order
of
visual
conditions.
We
applied
Dynamic
Time
Warping
algorithm
on
the
onset
time
values
to
find
the
best
matches
between
the
subjects'
and
robot's
hits.
Then
we
used
4-‐way
Analysis
of
Variance
with
the
factors:
existence
of
visual
cues,
order
of
visual
conditions,
subjects,
and
onset
times,
to
analyze
their
influence
on
the
time
difference
between
matching
onsets.
The
average
of
onset
time
differences
was
treated
as
a
measure
of
synchronization.
The
data
showed
that,
in
case
of
more
difficult
patterns,
the
average
onset
time
difference
had
higher
variance
when
there
were
no
visual
cues
compared
to
when
there
were
visual
cues,
while
in
case
of
easier
patterns,
the
variance
was
not
significant.
Thus
we
infer
that
visual
cues
can
influence
synchronization
in
a
task
that
requires
learning
of
more
difficult
rhythmic
patterns.
We
also
inferred
that
subjects
showeda
tendency
to
learn
new
patterns
faster
with
visual
cues,
though
more
experimentation
is
needed
to
establish
statistical
significance
of
the
effect.
What's
more,
people
tend
to
play
in
lag
with
visual
cues
in
the
learning
period,
but
then
play
better
after
learning.
72
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Wednesday 25 July
Keynote 4: Grand Pietra Hall, 9:00-‐10:00
Barbara Tillman: Music perception and memory in nonmusicians and
amusics: To be (or not to be) musical?
After a PhD in cognitive psychology (1999, Dijon) and postdoctoral
research in cognitive neuroscience (Dartmouth College), Barbara
Tillmann started a CNRS research position in Lyon in 2001. Her
research is in the domain of auditory cognition and uses behavioural,
neurophysiological and computational methods. More specifically,
she is investigating how the brain acquires knowledge about complex
sound structures, such as music and language, and how this
knowledge shapes perception. Since 2007, she is leader of the team
"Auditory Cognition and Psychoacoustics", which has now integrated
the Lyon Neuroscience Research Center. The team's research aims to
understand cognitive and neural mechanisms that underlie how humans perceive, learn,
memorize and use complex sound structures (e.g., to expect and anticipate future events).
Numerous research has provided evidence that nonmusicians have acquired sophisticated
knowledge about the musical system of their culture, even though part of it remains on an
implicit level. This musical knowledge allows nonmusicians to process musical structures,
develop expectations for future incoming tones or chords, influences memory etc. The tonal
enculturation process is one example of the cognitive capacity of implicit learning, that is the
capacity to acquire knowledge about complex structures and regularities by mere exposure
and without intention to learn. In contrast to nonmusiciansʼ musical expertise stands the
phenomenon of congenital amusia, which has attracted increasing research interest as it
provides further insights in cognitive and neural correlates of music and speech processing.
Individuals with congenital amusia are impaired in music perception and production,
without auditory, cognitive or social deficits. A first hypothesis focused on a pitch
discrimination deficit, which would affect music perception in particular. Further data have
shown that short-‐term memory for pitch can be impaired in congenital amusia even without
impaired pitch discrimination. Recent research using indirect investigation methods reveals
some musical knowledge at an implicit level in congenital amusia, thus providing further
evidence for the power of implicit cognition.
Young Researcher Award 1: Grand Pietra Hall, 10:00-‐10:30
The Impact of Visual Cues on the Judgment and Perceptions of Music
Performance
Chia-‐Jung Tsay
Harvard University, Cambridge, United States
There exists a wide consensus that sound is central to judgment about music performance.
Although people often make evaluations on the basis of visual cues, these are often
discounted as peripheral to the meaning of music. Yet, people can lack insight into their own
capacities and preferences, or are unwilling to report their beliefs. This suggests that there
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 73
may be gaps between what we say we use to evaluate performance, and what we actually
use. People may be unlikely to recognize or admit that visual displays can affect their
judgment about music performance, a domain that is defined by sound. Six sets of
experiments demonstrated that visual information is what people actually rely on when
making rapid judgments about performance. These findings were extended in experiments
elaborating on 1) the generalizability and persistence of effects throughout domains and
levels of analyses, and 2) potential mechanisms such as attention to specific types of visual
cues. Additional experiments further examine the underlying visual and affective
contributions to judgments of performance, the role of expertise in such decision making,
and the implications for organizational performance and policy.
Speed Poster Session 16: Grand Pietra Hall, 11:00-‐11:40
Tonality – Harmony
Testing Schenkerian theory: An experiment on the perception of key distances
Jason Yust
School of Music, Boston University, USA
The lack of attention given to Schenkerian theory by empirical research in music is striking
when compared to its status in music theory as a standard account of tonality. In this paper I
advocate a different way of thinking of Schenkerian theory that can lead to empirically
testable claims, and report on an experiment that shows how hypotheses derived from
Schenker’s theories explain features of listener’s perception of key relationships. To be
relevant to empirical research, Schenker’s theory must be treated as a collection of
interrelated but independent theoretical claims rather than a comprehensive analytical
method. These discrete theoretical claims can then lead to hypotheses that we can test
through empirical methods. This makes it possible for Schenkerian theory improve our
scientific understanding of how listeners understand tonal music. At the same time, it opens
the possibility of challenging the usefulness of certain aspects of the theory. This paper
exemplifies the empirical project with an experiment on the perception of key distance. The
results show that two features of Schenkerian theory predict how listeners rate stimuli in
terms of key distance. The first is the Schenkerian principle of “composing out” a harmony,
and the second is the theory of “voice-‐leading prolongations.” In a regression analysis, both
of these principles significantly improve upon a model of distance ratings based on change of
scalar collection alone.
How Fast Can Music and Speech Be Perceived? Key Identification in Time-‐
Compressed Music with Periodic Insertions of Silence
Morwaread M. Farbood,* Oded Ghitza,# Jess Rowland, ‡ Gary Marcus, § David Poeppel §†
* Dept. of Music and Performing Arts Professions, New York University, USA; # Dept. of
Biomedical
Engineering,
Boston
University,
USA;
‡
Dept.
of
Psychology,
New
York
University,
USA;
§
Dept.
of
Art
Practice,
University
of
California,
Berkeley,
USA;
†
Center
for
Neural
Science,
New
York
University,
USA
This
study
examines
the
timescales
at
which
the
brain
processes
structural
information
in
music
and
compares
them
to
timescales
implicated
in
previous
work
on
speech.
Using
an
experimental
paradigm
similar
to
the
one
employed
by
Ghitza
and
Greenberg
(2009)
for
speech,
listeners
were
asked
to
judge
the
key
of
short
melodic
sequences
that
were
presented
at
a
very
fast
tempo
with
varying
“packaging
rates,”
defined
by
the
durations
of
silence
gaps
inserted
periodically
in
the
audio.
This
resulted
in
a
U-‐shaped
key
identification
74
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
error
rate
curve,
similar
in
shape
to
the
one
implicated
for
speech
by
Ghitza
and
Greenberg.
However,
the
range
of
preferred
packaging
rates
was
lower
for
music
(packaging
rate
of
1.5-‐
5
Hz)
than
for
speech
(6-‐17
Hz).
We
hypothesize
that
that
music
and
speech
processing
rely
on
comparable
oscillatory
mechanisms
that
are
calibrated
in
different
ways
based
on
the
specific
temporal
structure
of
their
input.
The
Role
of
Phrase
Location
in
Key
Identification
by
Pitch
Class
Distribution
Leigh
van
Handel,
Michael
Callahan
College
of
Music,
Michigan
State
University,
USA
This
study
extends
prior
research
by
investigating
how
pitch
distribution
differs
at
beginnings,
middles,
and
ends
of
phrases,
and
by
determining
whether
these
differences
impact
key-‐finding.
In
the
corpus
of
Haydn
and
Mozart
string
quartets
used
in
Temperley
and
Marvin
(2008),
many
phrases
modulate
to
either
the
dominant
or
the
relative
major;
this
results
in
an
overrepresentation
of
raised
scale
degree
4,
as
the
leading
tone
to
the
dominant,
and
of
lowered
scale
degree
7,
as
the
dominant
of
III.
The
overrepresentation
of
these
two
scale
degrees
in
the
overall
distribution
may
have
contributed
to
the
difficulties
that
Temperley
and
Marvin’s
subjects
had
with
key
finding.
This
study
corrects
the
problem
of
overrepresentation
by
limiting
the
corpus
to
non-‐modulating
phrases.
A
behavioral
study
indicates
that
subjects
have
better
success
with
the
distributional
view
of
key
finding
with
this
modified
distribution
of
pitches.
In
addition,
melodies
were
constructed
using
independent
pitch
distributions
for
the
beginnings,
middles,
and
ends
of
phrases.
Preliminary
results
show
that
subjects
improve
at
identifying
the
key
of
a
melody
when
the
pitch
distributions
within
its
beginning,
middle,
and
end
follow
those
of
the
three
sections
o f
the
original
phrases.
Harmony
Perception
by
Periodicity
and
Granularity
Detection
Frieder
Stolzenburg
Automation
and
Computer
Sciences
Department,
Harz
University
of
Applied
Sciences,
Germany
Music
perception
and
composition
seem
to
be
influenced
not
only
by
convention
or
culture,
but
also
by
the
psychophysics
of
tone
perception.
Early
models
express
musical
intervals
by
simple
fractions.
This
helps
to
understand
that
human
subjects
rate
harmonies,
e.g.
major
and
minor
triads,
differently
with
respect
to
their
sonority.
Newer
explanations,
based
upon
the
notion
of
consonance
or
dissonance,
correlate
better
to
empirical
results
on
harmony
perception,
but
still
do
not
explain
the
perceived
sonority
of
common
triads
well.
By
applying
results
from
neuroscience
and
psychophysics
on
periodicity
detection
in
the
brain
consistently,
we
obtain
a
more
precise
theory
of
musical
harmony
perception:
The
perceived
sonority
of
a
chord
decreases
with
the
ratio
of
the
period
length
of
the
chord
(its
virtual
pitch)
relative
to
the
period
length
of
its
lowest
tone
component
̶
called
harmonicity.
In
addition,
the
number
of
extrema
in
one
period
of
its
lowest
tone
component
̶
called
granularity
̶
appears
to
be
relevant.
The
combination
of
both
values
in
one
measure,
counting
the
maximal
number
of
times
that
the
whole
periodic
structure
can
be
decomposed
in
time
intervals
of
equal
length,
gives
us
a
powerful
approach
to
the
analysis
of
musical
harmony
perception.
The
analysis
presented
here
demonstrates,
that
it
does
not
matter
much
whether
tones
are
presented
consecutively
as
in
scales
or
simultaneously
as
in
chords
or
chord
progressions.
The
presented
approach
yields
meaningful
results
for
dyads
and
common
triads
and
classical
diatonic
scales,
showing
highest
correlation
with
empirical
results
(r
>
0.9).
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 75
Affordant
Harmony
in
Popular
Music:
Do
Physical
Attributes
of
the
Guitar
Influence
Chord
Sequences?
Gary
Yim
Music
Theory,
The
Ohio
State
University,
USA
It
is
proposed
that
two
different
harmonic
systems
govern
popular
music
chord
sequences:
affordant
harmony
and
functional
harmony.
Affordant
chord
transitions
favor
chords
and
chord
transitions
that
minimize
technical
difficulty
when
performed
on
the
guitar,
while
functional
chord
transitions
favor
those
based
on
traditional
harmonic
functions.
A
corpus
analysis
compares
these
systems
by
encoding
each
song
in
two
ways.
Songs
are
encoded
with
their
absolute
chord
names
(such
as
“Cm”),
characterizing
the
chord's
physical
position
on
the
guitar
–
this
operationalizes
the
affordant
harmonic
system.
They
are
also
encoded
with
Roman
numerals,
characterizing
the
chord's
harmonic
function
–
this
operationalizes
the
functional
harmonic
system.
The
total
entropy
(a
measure
of
“unexpectedness”)
within
the
corpus
for
each
encoding
is
calculated.
Arguably,
the
encoding
with
the
lower
entropy
value
(that
is,
“less
unexpectedness”)
corresponds
with
the
harmonic
system
that
more
greatly
influences
the
chord
transitions.
It
was
hypothesized
that
affordant
factors
play
a
greater
role
than
functional
factors,
and
therefore
a
lower
entropy
value
for
the
letter-‐name
encoding
was
expected.
Instead,
a
lower
entropy
value
for
the
Roman
numeral
encoding
was
found.
Thus,
the
results
are
not
consistent
with
the
original
hypothesis.
However,
post-‐hoc
analyses
yielded
significant
results,
consistent
with
the
claim
that
affordant
factors
(that
is,
the
physical
movements
involved
in
playing
a
guitar)
do
play
some
role
in
popular
music
chord
sequences.
Nevertheless,
the
role
of
functional
harmony
cannot
be
downplayed.
Harmonic
Expectation
in
Twelve-‐Bar
Blues
Progressions
Bryn
Hughes
Ithaca
College,
USA
Harmonic
expectation
has
been
shown
to
reflect
syntactical
rules
for
chord-‐to-‐chord
connections
in
both
short
and
long
musical
contexts.
These
expectations
may
derive
from
the
activation
of
specific
musical
schemata,
providing
listeners
with
the
necessary
context
for
identifying
syntactical
errors.
Few
empirical
studies
have
addressed
the
connection
between
chord-‐to-‐chord
syntax
and
larger
schemata,
such
as
phrases
or
form.
The
twelve-‐bar
blues,
with
its
three
unique
phrases,
offers
an
opportunity
to
investigate
this
relationship.
This
research
investigates
whether
listeners
expect
chord
successions
presented
in
the
context
of
the
twelve-‐bar
blues
idiom
to
adhere
to
common-‐practice
syntax.
Additionally,
it
addresses
the
degree
to
which
harmony
affects
the
activation
of
phrase
schemata.
Participants
listened
to
16-‐second
synthesized
excerpts
representing
a
phrase
from
the
standard
twelve-‐bar
blues.
Each
phrase
included
a
single
variable
chord.
For
each
trial,
participants
provided
a
goodness
rating
on
a
six-‐point
scale
and
indicated
whether
they
thought
the
excerpt
came
from
the
beginning
(Phrase
1),
middle
(Phrase
2),
or
end
(Phrase
3)
of
a
twelve-‐bar
blues.
Ratings
were
interpreted
as
levels
of
expectancy
in
accordance
with
the
concept
of
misattribution.
Listeners
preferred
harmonic
successions
in
which
the
relationship
between
chord
roots
reflected
common
practice;
however,
two
instances
of
root
motion
idiosyncratic
to
blues
also
received
high
ratings.
The
variable
chord
significantly
affected
phrase
labelling.
The
magnitude
of
this
effect
was
dependent
upon
the
variable
chord’s
location
within
the
phrase
and
the
surrounding
chords.
Successions
for
which
a
consensus
phrase
label
emerged
received
significantly
higher
ratings
than
those
that
did
not
receive
a
clear-‐cut
phrase
label.
In
some
cases,
ratings
and
phrase
labels
combined
to
reveal
that
specific
chord
successions
can
invoke
different
expectations
depending
on
the
presently
active
phrase
schema.
Harmonic
expectation
in
blues
includes
a
wider
range
of
acceptable
root
motion.
Phrase
schemata
are
defined
both
by
their
harmonic
content
and
by
the
order
in
which
that
content
is
presented.
Single
chords
can
affect
the
strength
of
an
active
schema
and
can
suppress
the
activation
of
other
viable
schemata.
Listeners
have
stronger
expectations
for
phrases
that
can
be
clearly
identified
as
part
of
the
larger
musical
context.
76
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
A Directional Interval Class Representation of Chord Transitions
Emilios Cambouropoulos
School of Music Studies, Aristotle University of Thessaloniki, Greece
Chords are commonly represented, at a low level, as absolute pitches (or pitch classes) or, at
a higher level, as chords types within a given tonal/harmonic context (e.g. roman numeral
analysis). The former is too elementary, whereas, the latter, requires sophisticated harmonic
analysis. Is it possible to represent chord transitions at an intermediate level that is
transposition-‐invariant and idiom-‐independent (analogous to pitch intervals that represent
transitions between notes)? In this paper, a novel chord transition representation is
proposed. A harmonic transition between two chords can be represented by a Directed
Interval Class (DIC) vector. The proposed 12-‐dimensional vector encodes the number of
occurrence of all directional interval classes (from 0 to 6 including +/-‐ for direction) between
all the pairs of notes of two successive chords. Apart from octave equivalence and interval
inversion equivalence, this representation preserves directionality of intervals (up or down).
Interesting properties of this representation include: easy to compute, independent of root
finding, independent of key finding, incorporates voice leading qualities, preserves chord
transition asymmetry (e.g. different vector for I-‐V and V-‐I), transposition invariant,
independent of chord type, applicable to tonal/post-‐tonal/atonal music, and, in most
instances, chords can be uniquely derived from a vector. DIC vectors can be organised in
different categories depending on their content, and distance between vectors can be used to
calculate harmonic similarity between different music passages. Some preliminary examples
are presented. This proposal provides a simple and potentially powerful representation of
elementary harmonic relations that may have interesting applications in the domain of
harmonic representation and processing.
Wagner in the Round: Using Interval Cycles to Model Chromatic Harmony
Matthew Woolhouse
School of the Arts, Faculty of Humanities, McMaster University, Canada
A formal grouping model is used to model the experience of tonal attraction within
chromatic music, i.e. its dynamic “ebb and flow”. The model predicts the level of tonal
attraction between temporally adjacent chords. The functional ambiguity of nineteenth-‐
century chromatic harmony can be problematic: chromatic chords, unlike diatonic harmony,
often have ill-‐defined roots, and thus their proper functions are difficult to establish. An
important feature of the model, however, is that the key or tonal context of the music does
not need to be specified. The model is based on the idea of ‘interval cycle proximity’ (ICP), a
grouping mechanism hypothesized to contribute to the perception of tonal attraction. This
paper illustrates the model with an analysis of the opening of Wagner’s ‘Tristan und Isolde’,
and shows that the model can predict the opening sequence of ‘Tristan’ in terms of tonal
attraction without the chords needing to be functionally specified.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 77
Speed
Poster
Session
17:
Crystal
Hall,
11:00-‐11:40
Musical
Development
&
Education
I
Tales
of
Talent:
Rapid
Learning
of
Acoustic
Instrument
Recognition
Lisa
Aufegger,
Oliver
Vitouch
Dept.
of
Psychology,
University
of
Klagenfurt,
Austria
Also
in
the
21st
century,
the
role
of
innate
talents
in
music
remains
a
matter
of
fundamental
debate.
Within
the
framework
of
the
“rapid
learning
paradigm”,
the
aim
of
this
study
was
to
find
out
whether
it
is
possible
to
simply
and
quickly
teach
non-‐musicians
musical
skills
in
the
perceptual
realm,
specifically
the
recognition
of
instruments’
timbres.
Within
a
week,
34
subjects
had
three
feedback-‐driven
computer-‐based
training
sessions,
where
they
were
asked
to
discriminate
between
10
brass
and
woodwind
instruments.
In
the
pre-‐
and
a
post-‐
test,
subjects
had
to
recognize
the
main
instrument
from
an
orchestral
piece.
Results
shown
that
non-‐musicians
did
not
fully
reach
expert
level
(benchmarked
by
brass
or
woodwind
instrument
students)
after
this
short
period,
but
performed
well
at
par
with
semi-‐experts
(piano
students).
Our
findings
demonstrate
that
acoustic
instrument
recognition
is
well-‐
trainable
“for
(almost)
everybody”
using
the
simplest
of
means,
and
does
not
seem
to
depend
on
rare
individual
abilities.
Important
Experiences
and
Interactions
in
the
Occupational
Identity
Development
of
Music
Educators
Joshua
A.
Russell
The
Hartt
School,
The
University
of
Hartford,
USA
The
purposes
of
this
paper
were
to
describe
the
reported
professional
identity
of
in-‐service
music
educators
through
the
lens
of
symbolic
interactionism
and
to
identify
activities
and
interactions
that
music
educators
can
seek
out
in
order
to
inform
their
own
professional
identity.
Three
hundred
secondary
music
educators
from
southwestern
United
States
responded
to
the
Music
Educator
Career
Questionnaire,
which
was
developed
from
previous
research.
Participants
responded
to
a
series
of
ipsative
items
designed
to
elicit
information
regarding
their
occupational
identity
as
well
as
the
perceived
importance
of
different
activities
or
interactions.
Music
educators
saw
themselves
and
believe
others
saw
them
as
an
educator,
ensemble
leader,
a
creative
businessperson,
and
entertainer.
However,
their
musical
identities
separated
into
both
an
external
music
identity,
in
which
others
saw
them
as
a
performer,
artist,
performer,
or
scholar,
and
an
internal
identity,
in
which
they
saw
themselves
differently
in
the
same
roles.
The
impact
of
different
activities
and
interactions
on
the
various
identified
occupational
identities
will
be
discussed
a s
a
means
to
assist
music
educators
self
select
their
own
most
appropriate
occupational
identity
and
engage
in
activities
and
with
individuals
in
order
to
develop
their
chosen
identity.
As
teachers
move
from
preservice
to
in-‐service,
their
identities
may
transform
from
an
integrated
musician
identity
and
segregated
educator
identity
to
an
integrated
educator
identity
and
segregated
musician
identity
unless
they
intentionally
seek
out
interactions
and
activities
to
develop
a
continuously
integrated
occupational
identity.
Implications
are
discussed.
78
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Cognitive and emotional aspects of pupils’ attitudes towards piano teachers
and piano lessons
Malgorzata Chmurzynska
Department of Music Psychology, Chopin University of Music
Professional primary music schools in Poland aim at creating well-‐educated and competent
future performing musicians as well as their audience (comprising primarily those who will
not pursue further stages of musical education). However, the majority of pupils who
complete their music education discontinue to play instruments and lose interest in the
classical music. According to the experts the reason for this is their having been discouraged
by their music teachers and the way they were taught. The aim of the study was to examine
pupils’ attitudes towards their piano teachers and piano lessons. The emotional and
cognitive components of the attitudes have been taken into account. The respondents (40
pupils from the primary music schools) were asked to complete the Pupil’s Questionnaire,
designed to test the cognitive aspect of their attitudes (what they think of their teachers and
piano lessons) as well as the emotional aspect (what they feel during the piano lessons). In
the cognitive aspect the results revealed a general positive attitude of the pupils towards
their piano teachers, more positive than towards the piano playing itself. However, almost
20% of the subjects preferred to learn with a different teacher, and over 40% did not feel
increased motivation to practice after the lessons. Almost 25% reported they did not fulfill
their aspiration concerning piano playing. In the emotional aspect the results revealed a
significant percentage of subjects manifesting quite high level of anxiety during the lessons.
Certainly, this is neither a source of inspiration for the students, nor does it build up their
high self-‐esteem. The pupils much more frequently denied the negative emotions than
admitted the positive ones. On the basis of the comparison of both aspects of the attitudes
one can conclude that pupils’ image of their teachers (the cognitive aspect) is more positive
than their feelings during the lessons (the emotional aspect). The analysis of the pupils’
attitudes revealed many negative emotions and lack of strong positive experiences
connected to classical music, the latter undoubtedly necessary for shaping the intrinsic
motivation. It was hypothesized that this fact may be a source of a decrease in interest in this
kind of music.
Experienced Emotions through the Orff-‐Schulwerk Approach in Music
Education -‐ A Case Study Based on Flow Theory
João C.R. Cunha, Sara Carvalho
INET -‐ MD, University of Aveiro, Portugal
Orff-‐Schulwerk is one of the most holistic and creative approaches in Music Education, and
during Music classes, teachers are expected to regularly combine a wide range of sources,
including speech, music, creativity, movement and dance. In this paper we propose to
identify different experienced emotions boosted by Orff-‐Schulwerk’ activities in a Music
Education context. Students (N=50), aged between 10 and 12 years old, were audio and
video recorded, while attending their weekly Music Education class during one academic
year (9 months). In addition, in the end of each class, each student was asked to answer one
questionnaire, in order to understand their perspective on their lived emotions. All classes
were structured according to three main categories: “General”, “Music and Movement” and
“Music Laboratory”. The empirical process was based on Csikszentmihalyi’s Flow Theory
(1975, 1990, 1997, 2002), and the consequent adaptation of the FIMA (Flow Indicators in
Musical Activity) and AFIMA (Adapted Flow Indicators in Musical Activity), both developed by
Custodero (1998, 1999, 2002a, 2003, 2005). After analyzing the collected data using AFIMA
conclusions were drawn. As emotions and cognition are closely linked in music (Cook &
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 79
Dibben,
2010,
Krumhansl,
2002;
Sloboda,
1999,
2005;
Sloboda
&
Juslin,
2001;
Juslin
&
Sloboda,
2010),
data
enabled
us
to
put
in
evidence
several
correlations
regarding
the
Orff-‐
Schulwerk
approach
and
the
students
lived
emotions
during
Music
Education
classes.
AFIMA
enabled
us
to
establish
that
through
an
Orff-‐Schulwerk’s
approach
children
lived
many
positive
emotions,
which
demonstrated
to
be
significant
in
the
way
they
acquire
musical
knowledge.
Benefits
of
a
classroom-‐based
instrumental
training
program
on
working
memory
of
primary
school
children:
A
longitudinal
study
Ingo
Roden,*
Dietmar
Grube,*
Stephan
Bongard,#
Gunter
Kreutz*
*
Institute
for
Music,
School
of
Linguistics
and
Cultural
Studies,
Carl
von
Ossietzky
University
Oldenburg, Germany; #Department of Psychology, Goethe-‐University Frankfurt, Germany
Instrumental music tuition may have beneficial influences on cognitive processing. We
examined this assumption with regard to working memory in primary school children (N =
50; 7-‐8 years of age) within a longitudinal study design. Half of the children participated in a
special music program with weekly sessions of instrumental tuition, while the other half
received extended natural science training. Each child completed a computerized test battery
for three times over a period of 18 months. The battery includes seven subtests, which
address the central executive, the phonological loop and the visuospatial sketchpad
components of Baddeley’s working memory model. Socio-‐economic background and IQ were
assessed for each participant and used as covariates in subsequent analyses of variance
(ANOVAs). Significant Group by Time interactions were found for phonological loop and
central executive subtests indicating a superior developmental course in children with music
training compared to the control group. These results confirm and specify previous findings
concerning music tuition and cognitive performance. It is suggested that children receiving
music training benefit specifically in those aspects of cognitive functioning that are strongly
related to auditory information processing.
Assessing children’s voices using Hornbach and Taggart’s (2005) rubric
Andreas C. Lehmann, Johannes Hasselhorn
Hochschule für Musik Würzburg, Germany
Assessment of voice quality and performance is notoriously difficult, and even professional
singers may not always agree on the quality of a voice or performance. Although there is a
mild consensus about what constitutes a good professional voice, untrained voices pose a
serious challenge to raters and it is unclear what specific aspects of performance influence
overall (summative) impressions. In our study three expert judges rated recorded
performances of 55 eleven-‐year-‐old children on 19 five-‐point rating scales regarding specific
aspects (e.g., articulation, matching of given starting notes, rhythm), and they also gave a
comprehensively, summative evaluations using a five-‐point assessment rubric developed by
Hornbach and Taggart (2005; H&T rubric). Here we show that there is a highly reliable scale
(Cronbachs α = .94) of eight individual attributes (Piano starting tone: match – no match,
Type of performance: speechlike – singing, Melody execution: secure – insecure, Attitude:
secure – insecure, Voice-‐ear coordination: fitting – not fitting, Tessitura: small – age
appropriate, Text integration: fluent – stumbling, Interpretation regression analysis, two
variables, namely “Melody execution” and “Piano starting tone” entered the equation,
explaining a total of 92 percent (adjusted) of the variance on the H&T rubric. Thus, the H&T
rubric appears to be an effective assessment instrument when used by experts, because it
aggregates well more specific musico-‐acoustical aspects of children’s vocal performance.
80 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012
WED
Cognitive Strategies in Sight-‐singing
Ida Vujović,* Blanka Bogunović #
* Royal Conservatoire, The Hague,The Netherlands
# Faculty of Music, University of Arts, Belgrade, Serbia
This
paper
presents
a
part
of
a
wider
study
that
is
based
on
interdisciplinary
research
of
sight-‐singing
(music
education
and
psychology).
We
aimed:
1.
to
determine
the
kinds
and
levels
of
strategies
that
music
students
use
in
the
cognitive
processes
involved
during
sight-‐
singing;
2.
to
explore
strategies
of
problem
solving
when
difficulties
appear;
3.
to
investigate
the
self-‐evaluation
perspectives
of
students;
and
4.
to
relate
students’
learning
experience
to
the
strategies
used.
The
sample
consisted
of
89
music
students
from
higher
music
education
in
The
Hague
and
Belgrade.
They
filled
in
the
questionnaire
based
on
self-‐reports,
covering
general
data
about
their
music
education
background,
different
issues
of
sight-‐singing,
such
as
planning,
problem
solving,
monitoring
and
evaluation
of
outcomes,
and
three
melodic
examples
written
in
different
musical
styles.
Strategies
used
during
sight-‐singing
could
be
roughly
sorted
into
three
groups
that
differ
according
to
the
“key
accent”
given:
cognitive,
intuitive
and
no-‐strategy.
The
music
cognitive
strategies
involved
cover
three
levels
of
musical
organization
and
representation:
a)
relying
on
smaller
chunks
of
the
musical
piece,
referring
to
existing
knowledge
and
learning
experience
b)
leaning
on
a
slightly
“bigger
picture”
of
familiar
patterns;
and
c)
mental
representation
of
melodic/rhythmic/harmonic
structures.
When
faced
with
a
problem,
half
of
the
students
employ
analytic
approaches.
Comparisons
between
sub-‐samples
showed,
e.g.,
that
future
performing
musicians
more
often
use
“tone-‐to-‐tone”
thinking
and
“bottom-‐up”
strategies
in
approaching
musical
structure,
while
music
theory
students
have
better
insight
into
the
whole
and
have
“top-‐
down”
strategies.
Research
results
give
a
possibility
for
evaluation
of
learning
outcomes
and
improving
teaching
practices.
Influence
of
Music
Education
on
Expressive
Singing
of
Preschool
Children
Johanella
Tafuri
Conservatoire
of
Music,
Bologna,
Italy
Singing
is
one
of
the
most
diffused
musical
activities
in
nursery
schools.
Teachers
are
accustomed
to
accompanying
different
moments
of
the
day
with
songs
and
children
enjoy
having
fun
with
music.
When
do
children
start
to
sing
autonomously?
How
do
they
sing?Several
studies
have
explored
the
many
ways
used
by
children
to
sing
songs
they
know
and
to
play
with
them.
The
results
showed
different
kinds
of
repetition,
change
of
words
and
also
changes
in
the
expression
through
little
variations
in
speed,
loudness
and
other
musical
characteristics.
The
studies
that
explore
the
relationships
between
music
and
emotions
with
the
particular
aim
of
understanding
the
underlying
processes
of
an
expressive
performance,
pointed
out
that,
in
order
to
produce
it,
performers
need
to
manage
physical
sound
properties.
More
recently,
Tafuri
(2011)
analysed
a
corpus
of
songs
performed,
between
the
age
of
2
½
and
3,
by
the
children
of
the
inCanto
Project.
This
is
a
group
of
children
who
received
a
special
music
education
that
began
during
their
prenatal
life
(Tafuri
2009).
The
analysis
revealed
that
already
at
this
age
it
is
possible
to
observe
a
certain
ability
of
children
to
sing
in
an
expressive
way.
This
implies
a
certain
ability
in
managing
some
musical
structures,
in
particular
loudness
and
timing.
The
aims
of
the
present
research
are
firstly
to
verify
the
appearance
and
development
of
the
ability
to
sing
in
an
expressive
way
in
children
of
2
½-‐5
years
who
attend
daily
nursery
schools
where
teachers
regularly
sing
a
certain
number
of
songs
almost
daily;
secondly,
to
compare
these
results
with
those
shown
by
the
children
of
the
inCanto
Project
who
have
received
an
early
music
education.
A
corpus
of
songs
performed
by
the
children
of
several
different
schools,
and
recorded
by
the
teachers,
are
analysed
with
the
software
Sonic
Visualizer,
with
particular
attention
paid
to
the
children’s
use
of
agogics,
dynamics,
and
other
sound
qualities.
The
results
highlight
the
process
of
managing
physical
sound
properties
in
order
to
produce
an
expressive
performance.
Particular
problems
are
solved:
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 81
e.g.
that
of
distinguishing
expressive
from
other
different
motivations,
or
musical
from
verbal
intentions
in
the
analysis
of
sound
properties.
These
results
when
compared
with
those
obtained
by
children
who
received
an
early
music
education,
give
interesting
indications
on
the
role
of
an
early
musical
experience.
Speed Poster Session 18: Dock Six Hall, 11:00-‐11:40
Neuroscience studies
Neural Oscillatory Responses to Binaural Beats: Differences Between
Musicians and Non-‐musicians
Christos Ioannou,* Joydeep Bhattacharya #
* Institute of Music Physiology and Musicians’ Medicine, Hanover University of Music, Drama
and Media, Germany; # Department of Psychology, Goldsmiths, University of London, United
Kingdom
In the present study, multivariate Electroencephalography (EEG) signals were recorded from
thirty-‐two adult human participants while they listened to binaural beats (BBs) varying
systematically in frequency from 1 to 48 Hz. Participants were classified as musicians or
non-‐musicians, with sixteen in each group. Our results revealed that BB stimulation
modulated the strength of large-‐scale neuronal oscillations, and steady state responses
(SSRs) were larger in musicians than in non-‐musicians for BB stimulations in the gamma
frequency band with a more frontal distribution. Musicians also showed higher spectral
power in the delta and the gamma frequency bands at all BB stimulation frequencies.
However, musicians showed less alpha band power for BB stimulations in the gamma band.
Our results suggest that BBs at different frequencies (ranging from very low frequency delta
to high frequency gamma) elicit SSRs recorded from the scalp. Musicians exhibited higher
cortical excitations than non-‐musicians when stimulated by BB stimulation in the gamma
band, which was reflected by lower alpha, and higher gamma band EEG power. The current
study provides the first neurophysiological account of cortical responses to a range of BB
stimulation frequencies and suggests that musical training could modulate such responses.
MEG evidence for music training induced effects on multisensory plasticity
Evangelos Paraskevopoulos*, Anja Kuchenbuch*, Sibylle C. Herholz#, Christo Pantev*
*Institute for Biomagnetism and Biosignalanalysis, University of Münster, Münster, Germany
# Montreal Neurological Institute, McGill University, Montreal, Quebec, Canada
Multisensory
learning
and
the
resulting
neuronal
plastic
changes
have
recently
become
a
topic
of
renewed
interest
in
human
cognitive
neuroscience.
Playing
an
instrument
from
musical
notation
is
an
ideal
situation
to
study
multisensory
learning,
as
it
allows
investigating
the
integration
of
visual,
auditory
and
sensorimotor
information
processing.
The
present
study
aimed
at
answering
whether
multisensory
learning
alters
unisensory
structures,
interconnections
of
those
structures
or
specific
multisensory
areas
in
the
human
brain.
In
a
short-‐term
piano
training
procedure
musically
naive
subjects
were
trained
to
play
tone
sequences
from
visually
presented
patterns
in
a
music
notation-‐like
system
[Auditory-‐
Visual-‐Somatosensory
group
(AVS)],
while
a
control
group
received
audio-‐visual
training
only
that
involved
viewing
the
patterns
and
attentively
listening
to
the
recordings
of
the
AVS
training
sessions
[Auditory-‐Visual
group
(AV)].
Training-‐related
changes
in
the
corresponding
cortical
networks
were
assessed
by
pre-‐
and
post-‐training
magnetoencephalographic
(MEG)
recordings
of
an
auditory,
a
visual
and
an
integrated
audio-‐visual
mismatch
negativity
(MMN).
The
two
groups
(AVS
and
AV)
were
differently
affected
by
the
training
in
the
integrated
audio-‐visual
MMN
condition.
Specifically,
the
AVS
82
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
group showed a training-‐related increase in audio-‐visual processing in the right superior
temporal gyrus while the AV group did not reveal a training effect. The unisensory MMN
measurements were not affected by training. The results suggest that multisensory training
alters the function of specific multisensory structures, and not the unisensory ones along
with their interconnections, and thus provide experimental data as response to an important
question presented by cognitive models of multisensory training.
EEG-‐based discrimination of music appraisal judgments using ZAM time-‐
frequency distribution
Stelios Hadjidimitriou, Leontios Hadjileontiadis
Department of Electrical and Computer Engineering, Aristotle University of Thessaloniki,
Greece
This work focuses on the binary classification of listeners’ EEG responses that relate to music
liking or disliking judgments, by employing time-‐frequency-‐based feature extraction. Nine
participants were engaged in an experiment during which they listened to several musical
excerpts, while their EEG activity was recorded. Participants were prompted to rate their
liking for each excerpt after its listening. Subsequent feature extraction from the acquired
EEG signals was based on the Zhao-‐Atlas-‐Marks (ZAM) time-‐frequency distribution. For all
EEG frequency bands (1-‐49Hz), different types of feature vectors (FVs) were produced, in
order to take into consideration asymmetric brain activations that are linked to emotional
responses. The classification procedure was performed using support vector machines
(SVM) and k-‐nearest neighbors (k-‐NN). Highest classification accuracies (CAs) were achieved
using FVs from all channels from the beta (74.56 ± 1.02%) and gamma (71.96 ± 0.87%)
bands and k-‐NN. The fusion of FVs for the beta and gamma band yielded the best CA, i.e.,
76.52 ± 1.37%. FVs derived from channel pairs that relate to hemispheric asymmetry only,
led to lower CAs. Lower classification performance, achieved using the asymmetry-‐based
features, might imply that the discrimination of music appraisal judgments may not depend
solely on the valence of emotions induced by music. On the contrary, bilateral activity in beta
and gamma bands led to a more efficient discrimination. This evidence may suggest that
music appraisal has to be interpreted with respect to additional aspects of affective
experiences, like emotional arousal that reflects the degree of excitation.
Effects of Short-‐Term Experience on Music-‐Related ERAN
Richard Randall,1 Gustavo Sudre,2 Yang Xu,3 Anto Bagic4
1 School of Music and Center for the Neural Basis for Cognition, Carnegie Mellon University, USA
2 Center for the Neural Basis for Cognition, Carnegie Mellon University, USA
3 Machine Learning Department, Carnegie Mellon University, USA
4 Brain Mapping Center, University of Pittsburgh Medical Center, USA
This
study
investigates
how
short-‐term
experience
modulates
the
strength
of
the
early-‐right
anterior
negativity
(ERAN)
response
to
implied
harmonic-‐syntax
violations.
The
ERAN
is
a
negative-‐going
event-‐related
potential
(ERP)
that
peaks
between
150ms
and
250ms
after
stimulus
onset,
has
anterior
scalp
distribution,
right-‐hemispheric
weighting,
and
relies
on
schematic
representations
of
musical
regularities.
Previous
studies
have
shown
that
the
ERAN
can
be
modified
by
short-‐term
musical
experience.
However,
these
studies
rely
on
complex
harmonic
stimuli
and
experimental
paradigms
where
music
are
presented
simultaneously
with
visual
images
and
written
text.
In
an
effort
to
better
understand
how
habituation
may
effect
the
ERAN
in
musical
contexts,
we
asked
subjects
to
directly
attend
to
simple
melodies
that
are
either
syntactically
well-‐formed,
conforming
to
common-‐practice
tonality,
(M1)
or
end
with
an
out-‐of-‐key
pitch
(M2).
Even
with
simplified
stimuli,
our
results
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 83
reliably
replicate
earlier
findings
based
on
more
complex
stimuli
composed
of
literal
harmonies.
Both
musicians
and
non-‐musicians
listened
to
M1
and
M2
numerous
times
and
neural
responses
were
recorded
using
magnetoencephalography
(MEG).
Whereas
previous
studies
on
short-‐term
habituation
of
the
ERAN
only
look
at
changes
in
the
violation
condition,
we
comparatively
analyze
how
responses
to
both
M1
and
M2
change
over
time
and
how
the
relative
relationship
between
M1
and
M2
fluctuates.
This
effectively
controls
for
fatigue
and
allows
us
to
clearly
show
how
the
ERAN
changes
both
independent
of
and
in
conjunction
with
normal
responses.
Entrainment
of
Premotor
Cortex
Activity
by
Ambiguity
in
Musical
Metre
Daniel
Cameron,*
Job
Lindsen,#
Marcus
Pearce,+
Geraint
Wiggins,+
Keith
Potter,^
Joydeep
Bhattacharya#
*Brain
and
Mind
Institute,
University
of
Western
Ontario,
Canada;
#Dept.
of
Psychology,
Goldsmiths,
University
of
London,
UK;
^Dept.
of
Music,
Goldsmiths,
University
of
London,
UK;
+Centre
for
Digital
Music,
Queen
Mary,
University
of
London,
UK
Humans
tend
to
synchronize
movements,
attention,
and
temporal
expectations
with
the
metric
beat
of
auditory
sequences,
such
as
musical
rhythms.
Electroencephalographic
(EEG)
research
has
shown
that
the
metric
structure
of
rhythms
can
modulate
brain
activity
in
the
gamma
and
beta
frequency
bands
as
well
as
at
specific
frequencies
related
to
the
endogenously
generated
metric
beat
of
rhythms.
We
investigate
the
amplitude
and
inter-‐trial
phase
coherence
(ITC)
of
EEG
measured
from
20
musicians
while
listening
to
a
piece
of
rhythmic
music
that
contains
metrically
ambiguous
and
unambiguous
rhythms,
Steve
Reich’s
Clapping
Music.
ITC
is
the
consistency
of
frequency-‐specific
phase
over
repetitions
of
individual
rhythms
and
thus
reflects
the
degree
to
which
activity
is
locked
to
stimulus
rhythms.
For
ambiguous
rhythms,
amplitude
and
ITC
are
greater
at
the
frequencies
specific
to
the
metric
beat
of
rhythms
(1.33
Hz
and
1.77
Hz).
Source
analysis
suggests
that
differences
at
metre-‐specific
frequencies
may
originate
in
left
ventral
premotor
area
and
right
inferior
frontal
gyrus,
areas
that
have
been
linked
to
anticipatory
processing
of
temporal
sequences.
Effects
are
also
found
in
alpha
(8-‐12
Hz)
and
gamma
(24-‐60
Hz)
bands
and
these
are
consistent
with
past
EEG
research
showing
modulation
of
gamma
power
by
the
metric
structure
of
auditory
rhythms
and
modulation
of
alpha
activity
due
to
temporal
anticipation.
Our
study
extends
evidence
of
the
electrophysiological
processes
related
to
rhythm
and
metre
by
using
complex,
ecologically
valid
music,
and
showing
differences
in
amplitude
and
ITC
at
metre-‐specific
frequencies
in
motor
areas
of
the
brain.
Neuroscientific
Measure
of
Consonance
Adrian
Foltyn
Department
of
Composition,
Conducting
and
Theory
of
Music,
F.
Chopin
University
of
Music,
Poland
The
article
contains
a
proposition
of
new
simplified
model
of
neural
discrimination
of
sensory
consonance
/
dissonance
at
higher
stages
of
auditory
pathway.
The
model
regards
primarily
complex
harmonic
sounds
and
is
based
on
periodicity
/
pitch
and
its
representation
in
neural
discharges.
The
hypothesis
relies
on
a
process
involving
measuring
concentration
of
neural
excitation
in
inferior
colliculus
in
time
windows
equal
to
period
of
sum
of
the
incoming
signals.
The
measure
can
accommodate
pitch
deviations
via
a
further
mechanism
based
on
harmonic
entropy
and
can
be
applied
to
any
interval,
including
microtones
and
octave
enhancements.
For
simple
ratios
an
algebraic
calculation
method
is
available,
accounting
for
several
interval
relations
abstract
mathematical
consonance
measures
tended
to
struggle
with.
To
examine
plausibility
of
the
model,
a
psychoacoustic
experiment
was
carried
out,
using
paired
comparison
of
intervals.
One
of
the
resulting
84
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
dimensions can be clearly identified as consonance – dissonance axis. The proposed
modelled consonance values together with 4 other well-‐known models have been related to
experimental results. Logarithmic transformation of the postulated consonance measure
displays the highest correlation with the consonance dimension obtained in the experiment
out of all examined models (R2 ≈ 0.8). Higher degree of correlation versus roughness-‐based
models suggests plausibility of certain pitch-‐related mechanism underlying basic
consonance perception.
Effects of musical training and standard probabilities on encoding of complex
tone patterns
Anja Kuchenbuch*, Evangelos Paraskevopoulos*, Sibylle C. Herholz#, Christo Pantev*
*Institute for Biomagnetism and Biosignalanalysis, University of Münster, Münster, Germany.
#Montreal Neurological Institute, McGill University, Montreal, Quebec, Canada
The
human
auditory
cortex
automatically
encodes
acoustical
input
from
the
environment
and
differentiates
regular
sound
patterns
from
noise
in
order
to
identify
possibly
important,
irregular
events.
The
Mismatch
negativity
(MMN)
response
is
a
marker
for
the
detection
of
sounds
that
are
unexpected
based
on
the
encoded
regularities.
It
has
been
shown
to
be
elicited
by
violations
of
simple
acoustical
features
but
also
by
violations
of
more
complex
regularities
like
tone
patterns.
By
means
of
magnetoencephalography
(MEG)
we
investigated
the
responsiveness
of
MMNm
in
a
noisy
environment
by
varying
the
standard
probability
(70%,
50%
and
35%)
of
a
pattern
oddball
paradigm.
In
addition
we
studied
the
effects
of
long
term
music
training
in
the
encoding
of
the
patterns
by
comparing
the
responses
of
non-‐
musicians
and
musicians.
A
MMNm
could
still
be
observed
in
the
noisy
condition
(35%
standards)
in
response
to
violations
of
the
predominant
tone
pattern
for
both
groups.
The
amplitude
of
MMNm
of
the
right
hemisphere
was
influenced
by
the
standard
probability,
and
this
result
was
mediated
by
long
term
musical.
The
results
indicate
a
reduced
but
still
present
pattern
violation
detection
processing
within
a
noisy
environment
and
while
the
left
hemisphere
is
more
stable,
the
standard
probability
has
a
strong
impact
on
the
auditory
processing
of
the
right
hemisphere.
Furthermore,
non-‐musicians
benefit
more
from
a
good
signal
to
noise
ratio
while
musicians
auditory
processing
is
dominated
by
their
trained
left
hemisphere.
Neural
Correlates
of
Musical
Timbre
Perception
in
Williams
Syndrome
Miriam
D.
Lense,*#
Reyna
L.
Gordon,*
Alexandra
P.F.
Key,*
Elisabeth
M.
Dykens*#
*Vanderbilt
Kennedy
Center,
Vanderbilt
University,
USA
#Psychology
and
Human
Development,
Vanderbilt
University,
USA
Williams
syndrome
(WS)
is
a
rare,
neurodevelopmental
genetic
disorder.
Many
individuals
with
WS
exhibit
auditory
aversions
and
attractions
and
are
extremely
emotionally
affected
by
and
interested
in
music.
Given
their
auditory
sensitivities,
including
an
apparent
ability
to
discriminate
amongst
particular
classes
of
sounds
(e.g.,
vacuum
cleaners),
it
has
been
hypothesized
that
individuals
with
WS
may
show
superior
timbre
discrimination
abilities.
However,
in
contrast
to
this
anecdotal
evidence,
recent
research
reveals
that
individuals
with
WS
predominantly
process
the
fundamental
frequency
in
complex
tones
rather
than
the
spectral
information,
which
is
important
for
distinguishing
amongst
different
timbres.
The
present
study
aimed
to
clarify
timbre
perception
abilities
in
WS.
Participants
included
18
adults
with
WS
and
15
typically
developing
(TD)
controls.
Participants
performed
a
timbre
detection
task
while
EEG
was
recorded.
Participants
heard
sequences
of
500-‐ms
instrumental
tones
(trumpet:
42%
of
stimuli;
cello:
42%;
piano:
16%).
The
onset
and
decay
of
the
tones
was
replaced
with
a
10-‐ms
envelope.
Participants
were
asked
to
respond
to
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 85
piano
tones.
Event-‐related
potential
(ERP)
analyses
revealed
robust
P300
responses
to
the
target
piano
tones
in
the
WS
and
TD
groups.
Individuals
with
WS
also
demonstrated
differences
in
P300
amplitude
between
the
non-‐target
cello
and
trumpet
timbres.
In
the
WS
group
only,
there
was
early
and
sustained
increased
induced
alpha-‐band
(8-‐12
Hz)
activity
to
the
cello
vs.
trumpet
timbre.
Thus,
results
indicate
greater
attentional
and
sensory
processing
of
instrumental
timbres
in
WS
compared
with
TD
individuals.
Implications
will
be
discussed
for
auditory
sensitivities
and
musicality
in
WS.
Speed
Poster
Session
19:
Timber
I
Hall,
11:00-‐11:40
Singing
&
Voice
A
comparison
between
subjective
and
objective
methods
for
evaluating
the
vocal
accuracy
of
a
popular
song
Larrouy-‐Maestri,
P.
1,
Lévêque,
Y.2,
Giovanni,
A.2,
Schön,
D.3,
&
Morsomme,
D.1
1Logopédie
de
la
Voix,
Cognitive
Psychology,
University
of
Liège,
Belgium
2Laboratoire
Parole
et
Langage,
CNRS
and
Aix-‐Marseille
University,
France
3Institut
de
Neurosciences
Cognitives
de
la
Méditerranée,
CNRS
and
Aix-‐Marseille
University,
France
Vocal
accuracy
of
a
sung
performance
can
be
evaluated
by
two
methods:
acoustic
analyses
and
subjective
judgments.
For
one
decade,
acoustic
analyses
have
been
presented
as
a
more
reliable
solution
to
evaluate
vocal
accuracy,
avoiding
the
limitation
of
experts’
perceptive
system
and
their
variability.
This
paper
presents
for
the
first
time
a
direct
comparison
of
these
methods.
166
occasional
singers
were
asked
to
sing
the
popular
song
«
Happy
Birthday
».
Acoustic
analyses
were
performed
to
quantify
the
pitch
interval
deviation,
the
number
of
contour
errors
and
the
number
of
tonality
modulations
for
each
recording.
Additionally,
eighteen
experts
in
singing
voice
or
music
rated
the
global
pitch
accuracy
of
these
performances.
The
results
showed
a
high
inter-‐rater
concordance
within
the
judges.
In
addition,
a
high
correlation
occurred
between
acoustic
measurements
and
subjective
rating.
Their
rating
was
influenced
by
both
tonality
modulations
and
interval
deviations.
The
total
model
of
acoustic
analyses
explained
81%
of
the
variance
of
the
judges’
scores.
This
study
highlights
the
congruency
between
objective
and
subjective
measurements
of
vocal
accuracy
when
the
assessment
is
done
by
music
or
singing
voice
experts.
Our
results
confirm
the
relevance
of
the
“pitch
interval
deviation”
criterion
in
vocal
accuracy
assessment.
Furthermore,
the
“number
of
tonality
modulations”
is
a
salient
criterion
in
perceptive
rating
and
should
be
taken
into
account
in
studies
using
acoustic
analyses.
Pitch
Evaluations
in
Traditional
Solo
Singing:
Comparison
of
Methods
Rytis
Ambrazevičius,
Robertas
Budrys
Faculty
of
the
Humanities,
Kaunas
University
of
Technology,
Lithuania
Problems
of
pitch
evaluations
from
pitch
tracks
obtained
from
computer
aided
acoustical
analysis
are
considered;
case
of
monophonic
vocal
performance
is
examined.
The
importance
of
limited
jnd
on
the
adequate
desirable
precision
of
the
evaluation
is
noted.
Three
methods
of
pitch
evaluations
were
applied.
First,
pitches
of
one
Lithuanian
traditional
vocal
solo
performance
(six
melostrophes)
were
independently
evaluated
manually
from
Praat-‐aided
logf0
tracks
by
three
subjects.
From
these
data
on
individual
pitches,
evaluations
of
musical
scales
averaged
across
the
entire
performance
were
also
derived.
Second,
the
evaluations
of
musical
scales
were
repeated
based
on
logf0
histograms
compiled
from
Praat
readings.
Third,
software
NoteView
for
automated
pitch
extraction
and
integral
evaluation
86
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
was
applied.
NoteView
was
chosen
since
it
is
considered
one
of
the
best
programs
for
this
purpose.
Evaluations
of
individual
pitches
by
the
three
subjects
(1st
method)
differed
by
6.5
cents
(here
and
hereafter
averaged
values
are
presented).
However,
for
the
degrees
of
musical
scale,
the
difference
dropped
to
1.6–3.4
cents,
depending
on
the
range
of
sound
durations
(IOIs)
considered.
In
comparison,
the
other
two
methods
gave
considerably
inferior
results
(deviations
from
the
semi-‐manual
evaluations
of
the
musical
scale):
6.0–10.0
cents
for
histograms
(2nd
method)
and
3.9–7.9
cents
for
NoteView
(3rd
method).
The
semi-‐
manual
method
of
pitch
evaluation,
though
time-‐consuming,
is
still
more
acceptable
than
the
two
automated
methods
considered;
unless
precision
of
4.0–9.0
cents
or
worse
is
sufficient.
The
reasons
(need
for
subjective
decisions,
e.g.,
on
target
pitch,
etc.)
are
discussed.
Musicians'
Perception
of
Melodic
Intonation
in
Performances
with
and
without
Vibrato
John
M.
Geringer,*
Rebecca
B.
MacLeod,#
Clifford
K.
Madsen,*
Jessica
Napoles
^
*College
of
Music,
Florida
State
University,
USA
#School
of
Music,
University
of
North
Carolina
at
Greensboro,
USA
^School
of
Music,
University
of
Utah,
USA
We
compared
discrimination
of
mistuned
intervals
in
unaccompanied
melodies
performed
by
trumpet,
violin,
and
voice,
and
examined
whether
there
were
differences
between
the
three
timbres
in
melodies
performed
with
and
without
vibrato.
Participants
were
144
university
music
students.
Digital
recordings
of
a
professional
violinist,
vocalist,
and
trumpet
player
performing
the
first
four
measures
of
Twinkle,
Twinkle
Little
Star
were
edited
to
provide
the
designated
intonation
conditions.
Listeners
heard
18
examples:
the
three
unaccompanied
solo
performers
in
two
vibrato
conditions
(with
and
without
vibrato),
and
three
intonation
conditions
(melodic
intervals
were
in-‐tune,
sharp
25
cents,
or
flat
25
cents
relative
to
equal
temperament).
In
examples
with
mistuned
intervals,
scale
degrees
2,
5,
or
6
were
altered.
Listeners
rated
intonation
accuracy
on
a
7-‐point
scale.
All
three
stimuli
were
perceived
as
more
out-‐of-‐tune
when
there
was
no
vibrato
compared
to
vibrato.
Across
non-‐
vibrato
stimuli,
violin
was
judged
as
more
out-‐of-‐tune
than
voice
and
trumpet
across
all
three
tuning
conditions.
Melodies
performed
with
vibrato
were
judged
differently:
Violin
was
judged
as
least
in-‐tune
for
intervals
mistuned
in
the
flat
direction,
trumpet
was
heard
as
least
in-‐tune
for
intervals
mistuned
sharp,
and
voice
was
judged
least
in-‐tune
when
intervals
were
actually
in-‐tune
(relative
to
equal
temperament).
This
study
provides
support
for
the
idea
that
vibrato
helps
mask
intonation
inaccuracies.
Differences
in
perception
between
timbres
may
be
influenced
by
performance
tendencies
of
the
instruments
and
characteristics
of
the
vibrato
itself
such
as
modulation
width,
rate,
and
type.
The
timbre
of
the
voice
as
perceived
by
the
singer
him-‐/herself
Allan
Vurma
Estonian
Academy
of
Music
and
Theatre,
Estonia
This
research
is
aimed
at
specifying
with
the
help
of
perception
tests
how
the
vocalist
perceives
the
timber
of
his/her
own
voice
during
singing.
15
professional
singers
as
participants
sung
simple
vocal
exercises
at
different
pitch
ranges.
They
were
asked
to
fix
in
their
memory
the
timbre
of
their
voice
as
it
was
perceived
at
singing.
These
sung
excerpts
were
recorded,
and
as
a
next
step,
seven
timbral
modifications
were
created
from
each
recording.
The
modifications
corresponded
to
different
hypotheses
about
the
difference
in
the
voice’s
timbre
in
the
vocalist’s
own
perception
compared
to
the
timbre
of
that
voice
in
the
perception
of
other
persons
at
some
distance.
Then
the
modifications
were
played
to
the
participant
whose
voice
was
used
for
the
modifications
and
he/she
had
to
estimate
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 87
similarity
of
those
stimuli
to
the
perception
of
his/her
own
voice
that
had
been
encountered
during
singing.
Participants
rated
as
most
similar
those
stimuli
that
were
modified
by
the
filter
which
frequency
characteristic
resembled
the
shape
of
a
trapezoid
and
at
the
creation
of
which
were
taken
into
account
(1)
the
transfer
function
of
the
diffracting
air
conduction
component
form
the
mouth
of
the
singer
to
his
ear
channel,
(2)
the
transfer
function
of
the
bone
conduction
component,
and
(3)
the
influence
of
the
stapedius
reflex
on
the
sensitivity
of
his/her
hearing
system.The
frequency
characteristics
of
cochlear
microphonics
as
measured
on
cats
were
used
as
the
available
approximation
about
the
impact
of
stapedius
reflex
on
human
hearing.
Brain
rhythm
changes
during
singing
voice
perception
Yohana
Lévêque,*
Daniele
Schön#
*Laboratoire
Parole
et
Langage,
CNRS
&
Aix-‐Marseille
University,
France
#Institut
de
Neuroscience
des
Systèmes,
CNRS
&
Aix-‐Marseille
University,
France
A
set
of
studies
in
humans
have
brought
neuroimaging
evidence
of
motor
activations
during
speech
listening,
suggesting
that
humans
may
have
an
audio-‐visual
mirror
system
matching
articulatory
sounds
and
motor
representations.
The
goal
of
this
study
was
to
find
out
whether
such
a
motor
activity
may
be
induced
by
the
perception
of
a
natural
singing
voice,
in
contrast
with
a
computer-‐generated
melody,
and
to
determine
the
behavioral
consequences
of
this
possible
“motor
resonance”.
Twenty
participants
were
asked
to
listen
to
and
vocally
reproduce
synthetic
and
sung
melodies.
We
recorded
both
EEG
(electroencephalography)
and
vocal
productions.
An
acoustical
analysis
enabled
us
to
get
the
mean
vocal
pitch
accuracy
of
each
participant.
Then,
we
analyzed
the
evolution
of
beta-‐motor
(20Hz)
and
mu
(10Hz)
brain
rhythms
during
vocal
production
and
perception
periods,
two
rhythms
that
are
typically
suppressed
during
motor
activity.
Our
results
showed
that
mu
and
beta
were
suppressed
during
singing,
but
also
during
perception
of
sung
melodies,
indicating
an
early
sensorimotor
activity
during
listening
to
voice.
No
such
sensorimotor
activity
was
found
for
computer-‐generated
melodies.
This
motor
activity
during
sung
melody
perception
–
a
hallmark
of
the
mirror
system,
could
reflect
a
mental
simulation
of
the
heard
singing
action,
priming
the
motor
areas
for
subsequent
repetition.
Finally,
we
found
that
motor
resonance
was
inversely
proportional
to
participants’
vocal
accuracy.
This
result
suggests
that
poor
singers
rely
more
strongly
on
biomechanical
representations
linked
to
voice
production
than
good
singers
when
encoding
the
target-‐melody.
Effect
of
Augmented
Auditory
Feedback
on
Pitch
Production
Accuracy
in
Singing
Dustin
Wang,
Nan
Yan,
Manwa
L.
Ng
Division
of
Speech
and
Hearing
Sciences,
the
University
of
Hong
Kong,
Hong
Kong
The
effect
of
augmented
(accompanying)
auditory
feedback
on
pitch
production
accuracy
during
singing
is
controversial.
Yet,
the
lack
of
control
of
vocal
range
as
well
as
the
different
criteria
of
grouping
participants
into
poor
and
normal
pitch
singers
might
have
contributed
to
the
contradictory
findings
reported
in
the
literature.
In
the
present
study,
7
poor
pitch
singers
as
well
as
11
controls
who
had
no
formal
training
of
singing
were
recruited
to
perform
in
both
a
single-‐note
pitch-‐matching
task
and
a
song-‐singing
task.
All
participants
are
native
speakers
of
a
tonal
language.
Absolute
and
relative
pitch
accuracy
were
compared
between
speaker
groups
for
the
two
tasks.
Acoustic
analysis
was
carried
out
using
PRAAT
and
the
stimuli
were
generated
using
a
music
notation
software
(MUSESCORE)
to
better
control
the
tempo
of
presenting
the
stimuli
and
the
accompaniment.
The
objective
of
the
current
study
is
to
investigate
the
effect
of
augmented
auditory
feedback
on
pitch
accuracy
88
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
for
both
poor
and
good
pitch
singers
and
to
compare
the
effect
between
two
types
of
tasks.
Data
collection
is
still
in
progress,
however,
available
data
show
that
the
effect
of
augmented
feedback
is
positive
for
the
moderately
poor
pitch
singers
but
not
the
severely
poor
ones
in
the
pitch-‐matching
task,
but
its
influence
on
the
performance
in
the
song-‐singing
task
is
negative.
Vocal
tract
dimensional
characteristics
of
professional
male
singers
with
different
singing
voice
types
Nan
Yan,*
Manwa
L.
Ng
*,
Edith
K.
Chan
*,
Chengxia
Liao#
*Speech
Science
Laboratory,
Division
of
Speech
and
Hearing
Sciences,
University
of
Hong
Kong,
China; #Vocality Department, Xinghai Conservatory of Music, China
The present study examined the possible relationship between classification of professional
singing voices and their vocal tract parameters including vocal tract length and volume. A
total of 19 tenors, 10 baritones professional singers were participated in the study. Acoustic
reflection technology (ART) was used to measure vocal tract length and volume from all
participants and six vocal tract dimensions (oral length, pharyngeal length, total vocal tract
length, oral volume, pharyngeal volume, and total vocal tract volume) were measured. The
results show that no significant difference was found in all vocal tract dimensions between
tenors and baritones. Our results failed to demonstrate any vocal tract measure that was
specific to a particular classification. This appears to suggest that, in addition to vocal tract
length, other factors may also affect singer types and the characteristic voice timbre of a
professional singer.
Vocal Fold Vibratory Differences in Different Registers of Professional Male
Singers with Different Singing Voice Types
Nan Yan,* Manwa L. Ng *, Edith K. Chan *, Dongning Wang *, Chengxia Liao#
*Speech Science Laboratory, Division of Speech and Hearing Sciences, the University of Hong
Kong, China; #Vocality Department, Xinghai Conservatory of Music, China
Vocal register is an important concept of singing voices and have been related to vocal fold
vibratory characteristics. This study examined the relationship between different singing
voice types and the associated vocal fold vibratory characteristics. A total of 19 tenors, 10
baritones professional singers participated in the study. A total of 84 vowel sounds sung in
chest, head and falsetto registers at a constant loudness and most comfortable pitch level
were analyzed by using electroglottography (EGG). The open quotient (Oq) and fundamental
frequency (F0) parameters were extracted and the gradient Oq/log(F0) were determined.
Results showed that tenors had significantly higher Oq/log(F0) gradient than baritones in
chest and head registers, while no significant difference was found in falsetto register
between the baritones and tenors. Moreover, gradient Oq/log(F0) was significantly greater
in falsetto register when compared with chest and head registers produced by baritone
singers. The present results provide insights to the application of vocal fold vibratory
characteristics in voice classification for male singers.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 89
Speed
Poster
Session
20:
Timber
II
Hall,
11:00-‐11:40
Health
&
well-‐being
Sonic
Feedback
to
Movement
–
Learned
Auditory-‐Proprioceptive
Sensory
Integration
Regev
Tamar,*#^
Duff
Armin#,
Jorda
Sergi^
*ELSC
-‐
Admond
and
Lily
Safra
Center
for
Brain
Sciences,
and
ICNC
-‐
Interdisciplinary
Center
for
Neural
Computation,
The
Hebrew
University
of
Jerusalem,
Israel;
#SPECS
-‐
Synthetic
Perceptive
Emotive
and
Cognitive
Systems;
^MTG
-‐
Music
Technology
Group,
Universitat
Pompeu
Fabra,
Barcelona,
Spain
Multisensory
integration
recently
gained
attention
in
a
variety
of
disciplines,
from
cognitive
psychology
to
neuroscience.
We
present
an
experimental
study
of
auditory–proprioceptive
sensory
coupling
by
sonic
feedback
to
movement,
using
advances
interface
technology
for
the
experimental
design
and
measurement.
Our
objective
is
to
investigate
sound-‐body
perceptual
interaction
and
suggest
possible
application
for
physical
therapy.
Sound
is
synthesized
in
real-‐time
according
to
movement
parameters
captured
by
a
wireless
sensor
attached
to
the
arm.
Specifically,
the
angle
of
arm
elevation
is
dynamically
translated
to
auditory
pitch,
forming
a
new
perception-‐action
cycle.
Our
general
hypothesis
is
that
after
a
short
learning
period,
subjects
develop
‘auditory
proprioception’,
such
that
auditory
information
affects
proprioceptive
performance.
We
operationalize
our
hypothesis
using
a
motor
reaching
task,
in
which
subjects
lift
their
arm
towards
a
target
point.
Continuous
sonification
of
arm
elevation
angle
is
presented,
or
not
(control
condition),
during
movement
trajectory.
First,
we
show
that
after
a
short
learning
period
with
a
fixed
angle-‐to-‐pitch
mapping,
sonic
feedback
improves
accuracy
in
the
motor
task,
compared
to
no-‐feedback.
Second,
we
distort
the
learned
mapping
without
informing
participants.
Mean
hand
positions
are
significantly
affected
by
the
mapping
manipulation,
while
most
subjects
do
not
report
awareness
of
it.
In
conclusion,
we
show
that
sonic
feedback
of
auditory
pitch
can
be
integrated
efficiently
into
body
perception.
Distorting
the
learned
movement-‐to-‐sound
mapping
results
in
a
complex
auditory-‐somatic
competition.
We
propose
that
such
distortions
could
be
applied
to
amplify
the
range
of
movement
in
motor
neuro-‐rehabilitation.
Music
use
patterns
and
coping
strategies
as
predictors
of
student
anxiety
levels
Zhiwen
Gao,
Nikki
Rickard
Monash
University,
Australia
University
students
are
large
consumers
of
music
products,
and
are
also
under
high
anxiety
levels
due
to
a
range
of
stressors
(e.g.
examination
and
assignments).
Music
listening
is
often
claimed
to
be
a
useful
method
of
emotion
and
mood
regulation.
The
aim
of
this
study
was
to
explore
the
relationships
between
music
listening
habits,
music-‐related
coping
strategies
and
anxiety
levels
in
university
level
students.
The
potential
moderators
of
emotion
regulation
capacity
and
self-‐efficacy
were
also
explored,
and
general
coping
capacity
was
taken
into
account.
An
online
survey
obtained
information
from
193
participants
(49
males
and
144
females;
mean
age=21.25,
SD=5.65).
This
sample
was
found
to
be
quite
anxious,
with
half
the
sample
reporting
severe
anxiety
levels.
The
majority
(94.3%)
indicated
that
they
like
listening
to
music
when
stressed
or
anxious,
with
most
listening
to
it
via
a
portable
device
(78.2%)
and
in
the
background
(54.4%).
A
brief
period
of
music
listening
(less
than
30mins)
was
sufficient
for
the
majority
of
the
sample
(74.1%)
to
feel
less
stressed.
The
most
commonly
used
coping
strategies
involving
music
were
for
‘emotion/cognitive
self-‐
90
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
regulation’
and
‘active/strategic
self-‐regulation).
Finally,
when
coping
strategies
and
age
were
controlled,
music
coping
was
still
a
significant
predictor
of
anxiety
levels
in
this
sample.
However,
the
prediction
was
positive
indicating
that
students
experiencing
higher
anxiety
levels
also
used
music
more
to
cope
than
did
students
with
lower
anxiety
levels.
These
findings
suggest
that
students
who
are
unable
to
manage
their
anxiety
with
general
coping
strategies
may
find
some
outlet
via
music
listening.
Schizotypal
Influences
on
Musical
Imagery
Experience
Michael
Wammes,
Daniel
Müllensiefen,
Victoria
Williamson
Goldsmiths,
University
of
London,
UK
There
are
currently
few
research
studies
that
explore
the
nature
of
musical
imagery
in
the
minds
of
individuals
of
different
and
unique
mental
health
populations.
While
there
have
been
interview-‐based
studies
into
the
nature
of
musical
imagery
in
non-‐clinical
populations,
little
is
known
about
how
the
quality
of
the
musical
imagery
varies
across
individuals
within
clinical
populations.
The
goal
of
this
research
is
to
better
understand
how
individuals
suffering
from
schizotypal
illnesses
and
other
forms
of
psychosis
experience
musical
imagery,
and
to
compare
their
musical
imagery
to
the
experience
of
auditory
hallucinations.
This
study
utilizes
both
interviews
and
quantitative
measures
in
order
to
test
hypotheses
that
these
two
phenomena
are
experientially
similar
for
this
population.
In
the
first
study,
participants
were
asked
to
complete
a
questionnaire
to
assess
the
extent
to
which
they
experience
musical
imagery,
as
well
as
some
qualities
of
that
imagery
(The
Musical
Imagery
Questionnaire;
MIQ),
and
the
brief
version
of
the
Schizotypal
Personality
Questionnaire
(SPQ-‐B).
A
revised
version
of
the
MIQ
containing
new
items
designed
to
assess
musical
hallucinations
and
unconscious
phenomena
was
used.
In
the
second
study,
semi-‐structured
interviews
were
conducted
with
eight
of
the
participants
to
conceptualise
the
phenomenology
of
the
experiences
from
a
personal
perspective.
Results
showed
partial
support
for
the
hypothesis.
In
the
first
experiment,
correlations
revealed
that
individuals
who
scored
higher
on
the
SPQ-‐B
also
tended
to
find
their
musical
imagery
more
persistent
and
distracting,
more
worrisome,
and
more
frequent.
They
also
were
more
likely
to
score
high
on
the
hallucination
items,
and
the
extent
to
which
they
perceived
their
musical
imagery
to
be
out
of
their
conscious
control.
Participants
who
scored
high
on
the
SPQ
also
reported
that
their
musical
imagery
was
less
pleasant,
consistent
with
their
experiences
of
auditory
hallucinations.
Qualitative
data
gathered
from
the
interviews
supported
these
findings.
Data
from
both
experiments
partially
support
the
hypothesis
that
individuals
suffering
from
hallucinations
and
psychosis
experience
musical
imagery
in
a
similar
way
to
the
positive
symptoms
of
their
illness
(namely
auditory
hallucination),
and
were
often
incapable
of
distinguishing
between
the
two.
Music
aids
gait
rehabilitation
in
Parkinson’s
disease
Charles-‐Etienne
Benoit,
Nicolas
Farrugia,
Sonja
Kotz,
Simone
Dalla
Bella
Department
of
Cognitive
Psychology,
University
of
Finance
and
Management,
Warsaw,
Poland
The
presentation
of
temporally
regular
auditory
stimuli
as
a
cue
to
facilitate
movement
execution
is
a
widespread
tool
in
the
gait
rehabilitation
of
Parkinson's
Disease
(PD).
This
disorder
is
characterized
by
the
malfunctioning
of
basal
ganglia
–
cortical
brain
circuitry,
leading
to
a
failure
to
automatically
maintain
an
appropriate
amplitude
and
timing
of
sequential
movements.
Synchronizing
steps
with
a
temporally
predictable
stimulus
(i.e.,
a
metronome
presented
alone
or
embedded
in
a
musical
stimulus)
has
shown
to
improve
gait
kinematics
in
this
patient
population
(with
increased
walking
speed
and
reduced
variability).
The
effects
of
auditory
cueing
are
highly
beneficial
for
the
patients'
mobility
thereby
enhancing
their
quality
of
life.
Surprisingly,
in
spite
of
a
great
deal
of
clinical
evidence
on
the
benefits
of
auditory
cueing,
little
is
known
about
changes
in
brain
plasticity
underlying
this
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 91
form
of
training.
Here
we
summarize
clinical
and
brain
imaging
evidence
on
the
effects
of
auditory
cueing
on
gait
in
patients
with
PD.
Moreover,
we
propose
that
cueing
effects
are
likely
mediated
by
the
activation
of
a
general-‐purpose
neuronal
network
involved
in
the
synchronization
of
motor
movement
to
temporally
regular
external
stimuli
(i.e.,
auditory-‐
motor
coupling).
This
neural
mechanisms,
unaffected
in
PD,
should
facilitate
movement
execution.
Cerebellar
projections
stimulate
motor
areas
facilitating
gait
initiation
and
continuation
when
inducing
externally
generated
movement.
Extensive
stimulation
via
auditory
cueing
is
likely
to
foster
brain
plasticity
in
particularly
at
the
level
of
the
brain
circuitry
underpinning
sensorimotor
coupling
(increasing
connectivity
in
areas
devoted
to
sensorimotor
integration),
thus
supporting
improvements
positively
affecting
gait
kinematics
in
PD.
In
addition,
as
mechanisms
underlying
auditory-‐motor
coupling
are
likely
to
be
domain
general,
the
effects
of
auditory
cueing
may
extend
to
other
functions,
such
as
regulation
of
fine
motor
movements
or
speech.
Discrimination
of
slow
rhythms
mimics
beat
perception
impairments
observed
in
Parkinson’s
disease
Devin
McAuley,
Benjamin
Syzek,
Karli
Nave,
Benjamin
Mastay,
&
Jonathan
Walters
Department
of
Psychology,
Michigan
State
University,
USA
Research
has
demonstrated
that
rhythm
discrimination
shows
a
beat-‐based
advantage
(BBA)
whereby
simple
rhythms
with
a
beat
are
better
discriminated
than
complex
rhythms
without
a
beat.
Recently,
Grahn
&
Brett
(2009)
showed
that
individuals
with
Parkinson
Disease
(PD)
do
not
show
a
BBA.
The
present
investigated
rhythm
discrimination
using
simple
and
complex
rhythms
that
were
presented
at
either
the
original
tempo
investigated
by
Grahn
&
Brett
(2009)
or
at
a
slower
tempo.
We
expected
to
replicate
the
BBA
for
the
original
tempo
and
to
reduce
or
possibly
eliminate
the
BBA
at
the
slower
tempo.
Two
experiments
were
conducted.
On
each
trial,
participants
heard
two
successive
presentations
of
a
standard
rhythm
followed
by
a
third
presentation
of
the
same
rhythm
or
a
slightly
changed
rhythm.
Participants
judged
whether
the
third
rhythm
was
the
same
or
different
than
the
standard.
In
both
experiments,
participants
showed
a
reliable
BBA.
The
magnitude
of
the
BBA,
however,
was
larger
for
rhythms
marked
by
empty
intervals
(Experiment
1)
than
by
filled
intervals
(Experiment
2).
Slowing
down
the
rhythms
reduced
discrimination
performance.
This
reduction
was
greater
for
simple
rhythms
than
for
complex
rhythms,
thereby
eliminating
the
BBA.
Notably,
the
pattern
of
performance
for
the
slowed
rhythms
was
strikingly
similar
to
the
pattern
previously
observed
for
individuals
with
PD.
Random
delay
boosts
musical
fine
motor
recovery
after
stroke
van
Vugt
F.
T.*,
Kuhn
W.*,
Rollnik
J.
D.#,
Altenmüller
E.*
*Institute
of
Music
Physiology
and
Musicians'
Medicine,
University
of
Music,
Drama
and
Media,
Hannover, Germany; #BDH-‐Klinik, Hessisch Oldendorf, Germany
Motor impairments are among the most common and most disabling results of stroke
worldwide. Previous studies have revealed that learning to play the piano helps to improve
motor function of these patients. It has been hypothesised that the effectiveness of this
therapy relies on the fact that the patient's brain receives a time-‐locked auditory feedback (a
musical tone) with each movement (keystroke). To test this hypothesis, 15 patients in early
stroke rehabilitation with no previous musical background learned to play simple finger
exercises and familiar children's songs on the piano. The participants were assigned to one of
two groups: in the normal group, the keyboard emitted a tone immediately at keystroke, in
the delay group, the tone was delayed by a random time interval between 100 and 600ms. To
assess recovery, we performed standard clinical tests such as the nine-‐hole-‐pegboard test
92
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
and
index
finger
tapping
speed
and
regularity.
Surprisingly,
patients
in
the
delay
group
improved
strikingly
in
the
nine-‐hole-‐pegboard
test,
whereas
patients
in
the
normal
group
did
not.
In
finger
tapping
rate
and
regularity
both
groups
showed
similar
marked
improvements.
The
normal
group
showed
reduced
depression
whereas
the
delay
group
did
not.
We
conclude
that,
contrary
to
expectations,
music
therapy
on
a
randomly
delayed
keyboard
can
significantly
boost
motor
recovery
after
stroke.
We
hypothesise
that
the
patients
in
the
delayed
feedback
group
implicitly
learn
to
be
independent
of
the
auditory
feedback
and
therefore
outperform
those
in
the
normal
condition.
Proposal
for
Treatment
of
Focal
Dystonia
in
a
Guitar
Player:
A
Case
Study
Rita
de
Cássia
dos
Reis
Moura,*
Graziela
Bortz,#
Patrícia
Aguiar*
*Department
of
Neurology,
Federal
University
of
São
Paulo
(Unifesp),
Brazil
#Music
Department,
State
University
of
São
Paulo
(Unesp),
Brazil
Focal
dystonia
in
musicians
is
classified
as
a
task-‐specific
movement
disorder.
It
presents
itself
as
a
loss
of
voluntary
motor
control
in
extensively
trained
movements
while
musicians
play
the
instrument.
When
such
a
disorder
occurs
in
a
professional
life
of
a
musician,
it
frequently
leads
to
a
definite
interruption
of
his
or
her
career
after
several
frustrated
attempts
to
recover.
This
paper
presents
a
follow
up
of
an
individualized
treatment
and
the
evolution
of
focal
dystonia
in
a
diagnosed
guitarist
after
three
and
six
months
of
treatment.
Instrumental
practice
conditions
were
registered
before,
during
and
after
sessions
of
treatment.
During
the
first
phase,
three
techniques
were
applied:
a)
desensitization:
rest,
relaxation,
and
consciousness
of
muscular
tension;
b)
sensory
retraining:
specific,
repetitive,
goal-‐oriented
sensory
activities;
c)
acupuncture:
relaxation
and
balance
of
muscular
tension.
In
the
second
phase,
retraining
was
prioritized
through:
a)
motor
reprogramming/motor
control;
b)
ergonomic
adaptations:
modifications
of
movements
and
instrument;
c)
use
of
ortheses:
splints
and
gloves
for
restricting
unwanted
movements.
At
the
last
phase,
easy
technical
methods
were
used
in
order
to
exercise
arpeggios,
scales,
and,
lately,
chords
with
two
or
three
notes.
The
follow
up
of
the
last
six
months
shows
decrease
of
trembling
and
improvement
of
muscular
relaxation,
and
acquisition
of
good
postural
consciousness
during
guitar
practice.
A
better
perception
of
muscular
tension
was
observed.
It
was
possible
to
verify
direct
emotional
interferences
impairing
instrumental
practice.
The
treatment
proposed
here,
built
on
multiple
strategies,
carried
off
positive
and
varied
results
after
six
months
of
treatment.
The
Reflexion
of
Psychiatric
Semiology
on
Musical
Improvisation:
A
case
study
of
a
patient
diagnosed
with
Obsessive
Compulsive
Disorder
Xanthoula
Dakovanou,*
Christina
Anagnostopoulou,#
Angeliki
Triantafyllaki#
*Ecole
Doctorale
de
Recherches
en
Psychanalyse.,
University
Paris
VII,
France
#Department
of
Music
Studies,
University
of
Athens,
Greece
Several
studies
associate
musical
features
with
specific
aspects
of
a
patient's
emotional
states.
Less
work
is
carried
out
however
in
the
association
between
musical
discourse
and
structure,
and
the
patient’s
psychiatric
signs
and
symptoms.
This
study
aims
to
investigate
the
potential
reflection
of
psychiatric
semiology
and
symptomatology
of
a
patient
diagnosed
with
Obsessive
Compulsive
Disorder
(OCD)
onto
her
musical
improvisation.
We
describe
the
case
study
of
a
41-‐year
old
female
patient
diagnosed
with
OCD
and
also
presenting
other
related
psychotic
symptoms.
The
patient
had
three
interactive
music
sessions
with
the
MIROR
-‐
Impro
prototype
system,
a
machine
learning
based
system
which
interacts
with
the
user
on
improvisations,
responding
by
using
and
rephrasing
his/her
own
musical
material
and
thus
creating
a
musical
dialogue.
Data
collection
involved
two
clinical
interviews
with
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 93
the
patient,
access
to
her
medical
file,
recording
of
musical
sessions
in
order
to
analyse
the
musical
improvisations
and
video
recording
to
observe
the
patient's
related
behaviour.
We
compare
findings
from
the
music
analysis
of
the
improvisations,
the
corresponding
behaviour,
and
the
clinical
data
we
obtained
and
analysed,
using
an
analytical
music
therapy
reflection.
Our
results
show
that
aspects
of
the
patient's
pathology
can
be
associated
with
musical
attributes
and
structures
found
in
the
improvisations.
In
particular,
the
patient's
logorrhea
observed
in
the
interviews
is
translated
into
non-‐stop
playing,
impulsivity
becomes
intensive
playing,
the
fast
tempo
reflects
anxiety,
repeated
musical
clusters
reflect
fixation
on
ideas,
and
other
musical
features
are
related
to
aspects
of
the
patient's
mood.
Speed
Poster
Session
21:
Grand
Pietra
Hall,
11:40-‐12:10
Cognitive
modeling
&
representation
Evaluation
of
perceptual
music
features
Anders
Friberg,
Anton
Hedblad,
Marco
Fabiani
KTH
Royal
Institute
of
Technology,
Sweden
The
musical
building
blocks
(here
features)
as
perceived
while
listening
is
often
assumed
to
be
the
notes
and
the
well-‐known
abstractions
such
as
grouping,
meter
and
harmony.
However,
is
that
really
what
we
hear
when
we
briefly
listen
to
a
new
song
on
the
radio?
We
can
then
perceive
e.g.
the
genre
and
emotional
expression
just
from
the
first
few
seconds.
From
an
ecological
viewpoint
one
can
argue
that
features
like
distance,
direction,
speed,
energy
are
important
(see
other
abstract).
From
emotion
research
a
number
of
qualitative
features
relating
to
general
music
theory
aspects
has
been
identified.
These
are
e.g.
rhythmic
and
harmonic
complexity
measured
on
a
gradual
scale
ranging
from
simple
to
complex.
From
a
computational
viewpoint
a
large
number
of
features
ranging
from
low-‐level
spectral
properties
to
high-‐level
aspects
has
been
used
within
research
in
music
information
retrieval.
The
aim
of
the
current
study
is
to
look
at
music
perception
from
a
number
of
different
viewpoints,
identify
a
subset
of
relevant
features,
evaluate
these
features
in
listening
tests,
and
predict
them
from
available
computational
audio
features.
A
small
set
of
nine
features
was
selected.
They
were
Speed,
Rhythmic
clarity,
Rhythmic
complexity,
Articulation,
Dynamics,
Modality,
Overall
pitch,
Harmonic
complexity,
and
Brightness.
All
the
features
were
rated
on
Likert
scales
in
two
listening
experiments.
In
experiment
one
(N=20)
the
music
examples
consisted
of
100
polyphonic
ringtones
generated
from
MIDI
files.
In
this
experiment
they
also
rated
Energy
and
Valence.
In
experiment
two
(N=21)
the
music
examples
were
110
film
clips
previously
used
in
an
emotion
study
(Eerola
and
Vuoskoski,
2010),
thus,
with
available
data
regarding
emotional
ratings.
In
addition,
all
the
perceptual
features
were
modeled
with
audio
features
extracted
by
existing
software
such
as
the
MIRToolbox.
The
agreement
among
the
listeners
varied
depending
on
the
feature
as
expected.
While
Speed
had
a
large
agreement,
Harmonic
complexity
showed
a
rather
modest
agreement
indicating
a
more
difficult
task.
The
feature
inter-‐correlations
were
in
general
modest
indicating
an
independent
rating
of
all
the
features.
The
emotion
ratings
could
be
well
predicted
by
the
rated
features
using
linear
regression.
In
the
first
experiment
the
energy
rating
was
predicted
with
an
adj.
R2
=
0.93
and
the
valence
rating
with
an
adj.
R2
=
0.87.
Many
of
the
features
could
be
predicted
from
audio
features
rather
well
with
adj
R2
up
to
approx.
0.80.
The
results
were
surprisingly
consistent
and
indicate
that
rated
perceptual
features
can
indeed
be
used
as
an
alternative
to
traditional
features
in
music
information
retrieval
tasks
such
as
the
prediction
of
emotional
expression.
94
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Stability and Variation in Cadence Formulas in Oral and Semi-‐Oral Chant
Traditions -‐ a Computational Approach
Dániel Péter Biró1, Peter Van Kranenburg2, Steven Ness3, George Tzanetakis3, Anja Volk4
1University of Victoria, School of Music, 2Meertens Institute, Amsterdam, 3University of Victoria,
Department of Information and Computing Sciences, 4Utrecht University
This paper deals with current computational research into melodic stability and variation in
cadences as they occur in oral and semi-‐oral traditions. A main aspect of recent
computational investigations has been to explore the ways in which melodic contour defines
melodic identities (Ness et al., 2010; Van Kranenburg et al., 2011). Creating a new framework
for melodic transcription, we have quantized and compared cadences found in recorded
examples of Torah trope, strophic melodies from the Dutch folk song collection Onder de
groene linde and Qur’an recitation. Working within this new transcription framework, we
have developed computational methods to analyze similarity and variation in melodic
formulas in cadences as they occur in recorded examples of the before-‐mentioned oral and
semi-‐oral traditions. Investigating stability and variation using histogram–based scales,
melodic contours, and melodic outlines derived from recorded examples, we interpret our
findings with regard to structural processes of oral transmission in these chant types.
Through this research we hope to achieve a better sense of the relationship between melodic
gesture and melodic formulae within these chant practices and possibly a new
understanding of the relationship between improvisation and notation–based chant in and
amongst these divergent oral and semi-‐oral chant traditions.
Modeling Response Times in Tonal Priming Experiments
Tom Collins,* Barbara Tillmann,# Charles Delbé,# Frederick S. Barrett,* Petr Janata*
*Janata Lab, Center for Mind and Brain, University of California, Davis, USA
#Universite de Lyon, and Centre National de la Recherche Scientifique, France
In
tonal
priming
experiments,
participants
make
speeded
judgments
about
target
events
in
short
excerpts
of
music,
such
as
indicating
whether
a
final
target
tone
or
chord
is
mistuned.
By
manipulating
the
tonal
function
of
target
events,
it
is
possible
to
investigate
how
easily
targets
are
processed
and
integrated
into
the
tonal
context.
We
investigate
the
psychological
relevance
of
attributes
of
processed
audio
signals,
by
relating
those
attributes
to
response
times
for
over
three
hundred
tonal
priming
stimuli,
gathered
from
seven
reported
experiments.
To
address
whether
adding
a
long-‐term,
“cognitive,”
representation
of
tonal
hierarchy
improves
the
ability
to
model
response
times,
Leman’s
“sensory”
periodicity
pitch
(PP)
model
is
compared
with
a
“cognitive”
model
(projection
of
PP
output
to
a
tonal
space
(TS)
representing
learned
knowledge
about
tonal
hierarchies),
which
incorporates
pitch
probability
distributions
and
key
distance
relationships.
Results
revealed
that
variables
calculated
from
the
TS
model
contributed
more
to
explaining
variation
in
response
times
than
variables
from
PP,
suggesting
that
a
cognitive
model
of
tonal
hierarchy
leads
to
an
improvement
over
a
purely
sensory
model.
According
to
stepwise
selection,
however,
a
combination
of
sensory
and
cognitive
attributes
accounts
better
for
response
times
than
either
variable
category
in
isolation.
Despite
the
relative
success
of
the
TS
representation,
not
all
response
time
trends
were
simulated
adequately.
The
addition
of
attributes
based
on
transition
probabilities
may
lead
to
further
improvements.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 95
Optimising
short
tests
of
beat
perception
and
melodic
memory
Jason
Musil*,
Bruno
Gingras#,
Lauren
Stewart*,
Daniel
Müllensiefen*
*Department
of
Psychology,
Goldsmiths,
University
of
London,
United
Kingdom
#Department
of
Cognitive
Biology,
University
of
Vienna,
Austria
Traditional
tests
of
musical
ability
or
achievement
tend
to
assess
performance-‐related
aptitude
and
aural
skills,
often
related
to
achievements
and
objectives
defined
by
Western
art
music
teaching/training
curricula.
Their
use
may
cause
underestimation
of
individual
differences
in
musical
cognition
enhanced
by
musical
engagement
other
than
formal
musical
training.
We
aimed
to
create
and
optimise
two
short
tests
of
fundamental
musical
skills
to
assess
individual
differences
in
non-‐specialist
populations.
We
adapted
Iversen
and
Patel's
(2008)
measure
of
beat
perception
(BAT),
which
is
assumed
to
have
little
bias
towards
any
musical
style.
The
second
task
is
a
test
of
memory
for
unfamiliar
melodies,
which
is
only
partially
affected
by
formal
musical
training
and
can
therefore
measure
both
skill
level
arising
from
musical
training
and
musical
memory
not
affected
by
formal
musical
training.
162
participants
identified
whether
18
fifteen-‐
second
musical
clips
(representing
rock,
jazz
or
pop/orchestral
styles)
were
in
time
with
overlaid
beep
tracks
or
slightly
off.
Beeps
deviated
either
by
phase
or
tempo
and
extracts
had
duple
or
triple
meters.
For
the
melodic
memory
task,
participants
listened
to
melody
pairs,
judging
whether
or
not
the
second,
transposed,
version
was
melodically
identical
to
the
first.
Variants
differed
by
changes
in
interval
structure,
contour,
and/or
tonal
variations.
Test
data
were
modelled
using
an
Item
Response
Theory
approach
to
identify
item
subsets
with
desired
psychometric
properties.
BAT
performance
was
high
(proportion
correct
M=0.91,
SD=0.11).
Difficulty
increased
with
triple
meter
and
phase
shifts,
with
a
significant
interaction
(all
p<.001).
Response
data
were
fitted
to
a
one-‐parameter
Rasch
model
relating
item
difficulty
to
person
ability,
and
an
optimal
subset
of
items
was
identified.
Melodic
memory
performance
was
also
high
(proportion
correct
M=0.71,
SD=0.45),
with
differences
significantly
easier
to
detect
when
violating
tonality
(p<.001)
and
showing
no
main
effect
of
contour
(p=.115).
Performance
was
best
for
contour
plus
tonality
violations,
and
worst
for
contour
without
tonality
violation
(p<.001).
Rasch
modelling
again
identified
an
optimal
stimulus
subset.
The
influence
of
temporal
regularities
on
the
implicit
learning
of
pitch
structures
Tatiana
Selchenkova,*,#
Mari
Riess
Jones
*,
Barbara
Tillmann*,#
*CNRS,
UMR5292;
INSERM,
U1028;
Lyon
Neuroscience
Research
Center,
Auditory
Cognition
and
Psychoacoustics Team, Lyon, France; #University Lyon 1, Villeurbanne, France
Implicit learning (IL) is the acquisition of complex information without intention to learn.
The Dynamic Attending Theory proposed by Jones postulates internal oscillations that
synchronize with external regularities, helping to guide attention to events and to develop
expectations about future events. Our first study investigated how temporal expectations
influence the development of perceptual expectations in tone sequences created by an
artificial pitch grammar. In this behavioral study, two groups of participants were
respectively exposed to an artificial pitch grammar presented with either a regular or
irregular rhythm. Results showed that the artificial grammar was learned entirely when
presented regularly, but only partially when presented irregularly. These findings suggest
that regular rhythms help listeners develop perceptual expectations about future tones,
thereby facilitating their learning of an artificial pitch grammar. A second study, which
combines behavioral and electrophysiological methods, is currently under progress; it aims
to ascertain which type of temporal presentation, strongly metrical or isochronous, leads to
better IL of tone structures.
96
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
The
effect
of
musical
expertise
on
the
representation
of
space
Silvia
Cucchi*,
,
Carlotta
Lega*,
#,,
Zaira
Cattaneo#,
,
Tomaso
Vecchi*,
* Cognition Psychology Neuroscience Lab, University of Pavia, Italy
#Department of Psychology, University of Milano-‐Bicocca, Italy
Il Musicatorio, Torino, Italy
Brain Connectivity Center, IRCCS Mondino, Pavia, Italy
Spatial abilities play an important role in the way we comprehend and process musical
stimuli. It is thus not surprising that musical expertise affects the way musicians represent
peripersonal space, as for instance suggested by the existence of a SPARC effect (Spatial Pitch
Association Response codes; also referred as SMARC, Spatial Musical Association Response
Codes). Interestingly, previous studies demonstrated that musicians have a more accurate
performance in visual bisection tasks, and even show a small but consistent rightward bias
(whereas non musicians usually show a leftward bias, reflecting the so-‐called
“pseudoneglect”). Our study aims to investigate whether differences in the way space is
represented in musicians extend also to non visual modalities. To this purpose, we
compared a group of musicians and non musicians in a haptic bisection task, with rods to be
bisected presented either horizontally and radially. Results indicate that musicians show
indeed a different directional bias compared to non musicians in both the horizontal and
radial plane. Moreover, there is evidence that bisection performance can be affected by the
simultaneous presentation of cues that activate a spatial representation (for instance,
numbers of different magnitude). Accordingly, in our study we also investigated whether
pitch perception influences the representation of space. We found that musicians (but not
non musicians’) bisection performance is significantly affected by the simultaneous listening
of notes. Overall, our findings suggest that musical tones are spatially represented in
musicians, and that musical spatial representation can interfere with a spatial perception
task.
Speed Poster Session 22: Crystal Hall, 11:40-‐12:10
Musical development & education II
Sibling influences on musical development
Franziska Olbertz
University of Osnabrück, Germany
Psychological research shows increasing interest in early social experiences among siblings;
however very little is known about sibling relations’ effects on musical development. Thus
the aims of the study are to precisely describe typical sibling influences in the field of music
and to discover interacting environmental variables. 63 music students completed an open-‐
ended questionnaire about their memories of musical influences by siblings during
childhood and adolescence. 394 statements were classified in 30 content categories
generated by qualitative content analysis. Categories were assigned to four higher categories
of relation context. Basic quantitative analyses suggest that musical sibling influences
depend on period of life (childhood or adolescence), age difference and sex of respondents
and siblings (p<.04). Sibling influences in the field of music are multifaceted. Whereas some
respondents, for instance, started to play an instrument in order to become part of a music
making sibling group, others preferred their music style to differ from a sibling.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 97
The
Impact
of
Focused
Instruction
on
Kindergarteners’
Singing
Accuracy
Bryan
E.
Nichols,
Steven
M.
Demorest
Music
Education,
University
of
Washington,
USA
The
purpose
of
the
study
was
to
determine
the
effect
of
singing
skills
instruction
on
kindergarten
children’s
singing
accuracy.
Prior
to
instruction,
all
students
(age
5-‐6
yrs)
were
recorded
in
a
singing
accuracy
assessment
that
included
pitch
matching
and
song-‐singing
tasks.
Families
of
participating
students
completed
a
background
questionnaire
regarding
student
music
participation,
music
in
the
home,
and
the
expressed
importance
of
music
in
home
life.
The
treatment
group
(n=
41)
is
drawn
from
three
different
classes
receiving
20
minutes
per
day
of
group
music
instruction
with
particular
attention
to
the
development
of
the
singing
voice
in
terms
of
tone,
register
and
accuracy.
The
control
group
(n=38)
comes
from
three
different
classes
that
receive
no
singing
instruction
in
school.
Following
six
months
of
instruction,
post-‐test
measurements
were
administered
using
the
same
form
as
in
the
pre-‐test.
Pretest
results
indicate
no
significant
differences
between
the
experimental
and
control
classes
no
difference
in
scores
between
boys
and
girls.
For
the
three
pitch
matching
tasks,
students
scored
significantly
higher
on
the
interval
tasks
followed
by
pattern
tasks
followed
by
the
single-‐pitch
tasks.
For
the
posttest,
all
groups
showed
significant
improvement
on
the
pitch
matching
tasks
but
no
improvement
on
the
song-‐singing
task.
The
experimental
group
showed
greater
improvement,
but
the
difference
was
not
significant.
There
was
a
moderate
but
significant
correlation
(r=0.41)
between
total
pitch
matching
scores
and
song-‐singing
scores.
Results
will
be
discussed
in
terms
of
the
role
of
instruction
and
approaches
to
measurement
in
singing
accuracy
research.
Children’s
Spontaneous
Behaviors
as
Strategies
for
Meaningful
Engagement
Lori
Custodero,
Claudia
Cali
Teachers
College
Columbia
University
The
function
of
music
for
young
children
is
multi-‐faceted.
It
has
been
linked
to
communication
and
self-‐regulation
in
clinical
studies
of
musical
parenting
involving
infants.
Once
children
become
mobile
and
verbal,
research
tends
to
focus
on
musical
skill
exhibited
in
environments
structured
by
adults
for
children
such
as
the
classroom,
home,
or
playground.
Perceiving
children’s
musical
culture
as
different
from
that
of
adults,
we
seek
to
understand
children’s
spontaneous
music-‐making
in
everyday
life
as
exhibited
in
public
spaces,
specifically
in
the
subway
system
in
New
York
City.
The
current
study
is
based
on
similar
research
(Custodero,
2006)
which
found
a
pervasiveness
of
movement;
invented
vocal
material,
most
often
in
a
solitary
context;
and
a
complex
array
of
adult-‐child
interactions.
Specific
aims
were
to
document,
interpret,
and
analyze
a)
children’s
musical
behaviors:
broadly
interpreted
as
singing,
moving
themselves
rhythmically
or
expressively,
or
similarly
moving
objects
as
instruments;
b)
environmental,
circumstantial,
and
personal
characteristics
that
may
influence
these
behaviors;
and
c)
possible
developmental
functions
of
musical
behaviors
in
public
spaces.
Data
has
been
collected
on
3
trains
that
run
the
length
of
Manhattan,
on
3
specific
Sundays
over
a
period
of
1
month.
A
team
of
12
people
travelled
in
pairs,
2
pair
in
2
different
cars
on
each
line,
for
one
round
trip
per
day.
Each
team
member
filled
out
the
Spontaneous
Music
Observational
Protocol
for
each
musical
episode
observed,
and
reported
conditions
in
the
train
car
at
each
stop
before
which
no
music
making
was
observed.
Duration,
gender
and
estimated
age
of
child,
social
context,
sonic
and
social
environmental
triggers,
musical
material,
type/s
of
behavior,
possible
developmental
function,
and
more
detailed
description
have
been
recorded.
Interpretation
was
completed
within
24
hours
of
documentation.
Starting
with
paired
descriptions
and
interpretations
of
same
events,
all
team
members
reviewed
all
episodes
to
insure
consensus.
Specific
focus
on
the
categorization
of
musical
behaviors
and
their
functions
for
the
child
included
comparison
with
findings
of
the
pilot
study
concerning
the
role
of
movement,
of
singing
as
accompaniment,
differences
between
episodes
with
social
and
solitary
engagement.
The
study
of
children’s
music
making
in
an
everyday
context
provides
implications
for
resourcing
educative
environments,
and
brings
about
further
questions
about
the
relationship
of
listening
to
children
and
pedagogical
practice.
98
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Para-‐language
songs
as
alternative
musical
stimuli
for
devices
and
playthings
to
enhance
caregiver
interaction
with
babies
and
toddlers
Idit
Sulkin,
Warren
Brodsky
Music
Science
Lab,
Department
of
the
Arts,
Ben-‐Gurion
University
of
the
Negev,
Israel
The
study
explored
the
concurrent
validity
of
Para-‐language
versus
other
commercial
available
musical
stimuli
employed
by
parents
of
babies
and
toddlers.
Although
Musical
communications
and
interactions
are
important
to
child
development,
modern
day
technology
and
the
popularity
of
concepts
such
as
the
“Mozart
Effect”
have
caused
social
modifications
of
musical
engagement
for
parents
and
children,
meaning
in
many
cases
music-‐based
electronic
devices
are
used
to
replace
human
musical
interactions.
In
this
study
we
developed
an
alternative
musical
stimuli
based
on
pre-‐language
sounds
for
live
caregiver
interactions,
as
well
as
for
devices
and
playthings
that
can
engage
babies
and
toddlers
more
appropriately.
Para-‐language
songs
are
patterned
on
two
factors:
the
use
of
syllables
and
consonants
deemed
as
the
initial
utterances
of
children’s
first
verbal
expressions;
and
the
natural
universal
character
of
children’s
songs.
Three
studies
were
conducted.
In
Study
1,
parents
of
babies/toddlers
in
waiting
rooms
of
Child
Centers
completed
a
Parents
Preference
Questionnaire
(PPQ)
after
listening
to
different
genres
of
musical
stimuli
–
classical
themes,
popular
folk
tunes,
and
Para-‐language
songs;
In
Study
2,
parents
under
went
the
same
procedure
as
Study
1
but
within
their
own
home
setting;
In
Study
3,
mothers
completed
PPQ
subsequent
to
participation
in
group
encounter
that
encouraged
interactive
caregiver-‐baby
movement
sequences
as
accompaniment
to
background
music.
The
Para-‐language
songs
received
higher/similar
scores
as
did
the
more
commercially
available
stimuli
popular
among
parents,
media,
and
products.
Hence
it
can
be
concluded
that
parents
are
open
to
engage
devices
and
playthings,
which
employ
alternative
musical
genres.
Precursors
of
Dancing
and
Singing
to
Music
in
Three-‐
to
Four-‐Months-‐Old
Infants
Shinya
Fujii,1,
2,
3
Hama
Watanabe,2
Hiroki
Oohashi,2
Masaya
Hirashima,2
Daichi
Nozaki,
2
Gentaro
Taga2
1Department
of
Neurology,
Beth
Israel
Deaconess
Medical
Center
and
Harvard
Medical
School,
USA;
2Graduate
School
of
Education,
The
University
of
Tokyo,
Japan;
3Research
Fellow
of
Japan
Society
for
the
Promotion
of
Science,
Japan
Dancing
and
singing
involve
auditory-‐motor
coordination
and
have
been
essential
to
our
human
culture
since
ancient
times,
yet
its
developmental
manifestation
has
not
been
fully
explored.
We
aimed
to
examine
whether
three-‐
to
four-‐months-‐old
infants
are
able
to
synchronize
movements
of
their
limbs
to
musical
beat
and/or
produce
altered
vocalizations
in
response
to
music.
In
the
silent
condition,
there
was
no
auditory
stimulus,
whereas
in
the
music
condition,
one
of
two
pop
songs
was
played:
“Everybody”
by
Backstreet
Boys
and/or
“Go
Trippy”
by
WANICO
feat.
Jake
Smith.
Limb
movements
and
vocalizations
of
the
infants
in
the
spine
position
were
recorded
by
a
3D
motion
capture
system
and
the
microphone
of
a
digital
video
camera.
First,
we
found
a
striking
increase
in
the
amount
of
limb
movements
and
their
significant
phase
synchronization
to
the
musical
beat
in
one
individual.
As
a
group,
however,
there
was
no
significant
increase
in
the
amount
of
limb
movements
during
the
music
compared
to
the
silent
condition.
Second,
we
found
a
clear
increase
in
the
formant
variability
of
vocalizations
during
the
music
compared
to
the
silent
condition
in
the
group.
The
results
suggest
that
our
brains
are
already
primed
with
our
bodies
to
interact
with
music
at
these
months
of
age
via
limb
movements
and
vocalizations.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 99
Speed
Poster
Session
23:
Dock
Six
Hall,
11:40-‐12:10
Rhythm
&
synchronization
Tap-‐It:
An
iOS
App
for
Sensori-‐Motor
Synchronization
Experiments
Hyung-‐Suk
Kim,
Blair
Kaneshiro,
Jonathan
Berger
Center
for
Computer
Research
in
Music
and
Acoustics,
Stanford
University,
Stanford,
CA,
U.S.A.
This
paper
describes
Tap-‐It,
an
iOS
application
for
sensori-‐motor
synchronization
(SMS)
experiments.
Tap-‐It
plays
an
audio
file
while
simultaneously
collecting
time-‐locked
tapped
responses
to
the
audio.
The
main
features
of
Tap-‐It
compared
to
desktop-‐based
SMS
apparatuses
are
mobility,
high-‐precision
timing,
a
touchscreen
interface,
and
online
distribution.
Tap-‐It
records
both
the
time
stamp
of
the
tap
time
from
the
touchscreen,
as
well
as
the
sound
of
the
tapping,
recorded
from
the
microphone
of
the
device.
We
provide
an
overview
of
the
use
of
the
application,
from
setting
up
an
experiment
to
collecting
and
analyzing
the
output
data.
We
analyze
the
latencies
of
both
types
of
output
data
and
assess
the
errors
of
each.
We
also
discuss
implications
of
the
application
for
mobile
devices.
The
application
is
available
free
of
charge
through
the
Apple
App
Store,
and
the
source
code
is
also
readily
available.
Anti-‐phase
synchronisation:
Does
‘error
correction’
really
occur?
Jacques
Launay,
Roger
T.
Dean,
Freya
Bailes
MARCS
Institute,
University
of
Western
Sydney,
Australia
There
is
a
large
body
of
evidence
relating
to
the
ways
that
people
synchronise
with
sounds,
and
perform
error
correction
in
order
to
do
this.
However,
anti-‐phase
movement
is
less
well
investigated
than
in-‐phase.
While
it
has
previously
been
suggested
that
error
correction
while
moving
in
anti-‐phase
may
have
similar
mechanisms
to
moving
in-‐phase,
and
may
simply
be
a
case
of
shifting
the
response
by
a
regular
period,
there
is
some
evidence
that
suggests
there
could
be
more
substantial
differences
in
the
way
that
people
engage
in
antiphase
movement.
In
particular,
it
is
known
that
antiphase
synchronisation
tends
to
become
difficult,
and
break
down,
at
a
different
stimulus
interonset
interval
(IOI)
from
in-‐phase
synchronisation.
The
current
study
uses
an
anisochronic
stimulus
sequence
to
look
at
people’s
capacity
to
error
correct
when
performing
anti-‐phase
synchronisation
with
a
set
of
sounds.
Participants
were
instructed
to
‘tap
between
the
tones’
but
‘try
to
maintain
regularity’.
Although
these
potentially
contradictory
instructions
did
not
advise
participants
to
perform
any
error
correction
on
the
basis
of
deviation
in
the
stimuli,
results
initially
suggest
that
participants
did
perform
error
correction,
tapping
with
shortened
intervals
following
a
shorter
stimulus
interval,
and
lengthened
intervals
following
a
longer
stimulus
interval.
However,
using
cross-‐sectional
time
series
analysis
it
was
possible
to
look
at
tapping
data
over
a
number
of
participants
to
demonstrate
that
the
relationship
between
stimulus
and
response
was
not
such
a
simple
one,
and
that
the
‘error
correction’
response
would
be
better
explained
by
participants
trying
to
maintain
a
regular
asynchrony
with
the
stimulus.
Modelling
confirmed
that
this
strategy
could
better
explain
the
data
than
error
correction
performed
in
a
manner
more
similar
to
that
of
in-‐phase
tapping.
The
idea
that
antiphase
synchronisation
is
performed
by
attempting
to
maintain
a
regular
asynchrony
of
half
the
stimulus
IOI
is
in
keeping
with
findings
that
antiphase
synchronisation
becomes
difficult
at
around
double
the
stimulus
IOI
that
becomes
difficult
for
in-‐phase
synchronisation,
and
suggests
that
anti-‐phase
movement
might
not
share
the
same
error
correction
mechanisms
as
in-‐phase
movement.
This
may
have
more
general
implications
for
the
way
we
understand
temporal
cognition,
and
contributes
towards
debates
regarding
‘clock’
and
‘oscillator’
models
of
timing.
100
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
The Subjective Difficulty of Tapping to a Slow Beat
Rasmus Bååth,* Guy Madison,#
*Lund university Cognitive Science, Lund University, Sweden
#Department of Psychology., Umeå university, Sweden
The current study investigates the slower limit of rhythm perception and participants
subjective difficulty when tapping to a slow beat. Thirty participants were asked to tap to
metronome beats ranging in tempo from 600 ms to 3000 ms between each beat. After each
tapping trial the participants rated the difficulty of keeping the beat on a seven point scale
ranging from "very easy" to "very difficult". The participants generally used the whole rating
scale and as expected there was a strong significant correlation between the inter onset
interval (IOI) of the beats and rated difficulty (r=.89). The steepest increases in rated
difficulty was between IOIs 1200 to 1800 ms (M=1.6) and 1800 to 2400 ms (M=1.2) and
these were significantly larger than the increases between IOIs 600 to 1200 ms (M=.5) and
2400 to 3000 ms (M=0.9). This is in line with earlier reports on where tapping starts to feel
difficult and supports the hypothesis that there is a qualitative difference between tapping to
fast (IOI < 1200 ms) and slow (IOI > 2400) tempi. A mixed model analysis showed that
tempo, tapping error and percentage of reactive responses all affected the participants rating
of difficulty. Of these, tempo was by far the most influential factor, still participants were, to
some degree, sensitive to their own tapping errors which then influenced their subsequent
difficulty rating.
Musicians and Non-‐musicians Adapting to Tempo Differences in Cooperative
Tapping Tasks
Neta Spiro,* Tommi Himberg#
*Nordoff Robbins Music Therapy Centre, London, UK; #Finnish Centre of Excellence in
Interdisciplinary
Music
Research,
Department
of
Music,
University
of
Jyväskylä,
Finland
A
number
of
factors,
including
musical
training,
affect
our
entrainment
to
the
musical
pulse
and
to
each
other.
Personality
traits
seem
to
correlate
with
some
musical
behaviours
but
it
is
not
known
whether
this
extends
to
entrainment.
We
investigate
these
effects
in
tapping
tasks
where
people
entrain
or
resist
entrainment,
and
observe
the
patterns
of
interaction,
and
investigate
whether
these
patterns
or
the
tendency
to
entrain
depend
on
musical
training
or
personality
traits
of
the
participants.
74
musicians
and
non-‐musicians
were
finger-‐tapping
in
pairs
under
3
conditions;
solo,
duet
in
the
same
tempo,
and
duet
in
different
tempi.
Participants
completed
questionnaires
about
their
musical
experience,
the
Big
Five
Inventory
and
the
Interpersonal
Reactivity
Index.
In
duet
tasks,
entraining
with
the
partner
was
often
a
yes-‐no
question:
the
pair
either
locked
in
sync
or
stayed
apart.
Participants
did
not
entrain
in
all
same
tempo
trials,
but
often
did
so
even
in
trials
with
maximum
tempo
difference
(33
BPM).
In
general,
participants
kept
their
own
tempo
better
in
the
solo
trials
than
in
the
duet
trials.
Musicians
were
found
to
be
more
self-‐consistent
than
non-‐musicians.
No
clear
effects
of
personality
were
found,
even
though
in
the
second
half
of
the
study
participants
were
paired
together
based
on
their
personality
scores.
There
was
a
considerable
variability
in
performance
across
participants
and
even
for
the
same
pair
across
different
conditions.
This
novel
method
of
studying
interpersonal
interaction
revealed
a
variety
of
strategies
to
cope
with
the
"chaos".
It
is
hoped
that
further
analyses
of
these
strategies
and
their
links
with
psychological
background
factors
will
shed
more
light
on
social
and
communicative
aspects
of
music
performance.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 101
Difference
in
synchrony
judgment
accuracy
of
two
pulses
depending
on
musical
experiences
and
its
relation
to
the
cochlear
delays
Eriko
Aiba,*
Koji
Kazai,*
Toshie
Matsui,#
Minoru
Tsuzaki,+
Noriko
Nagata*
*Dept.
of
Human
System
Interaction,
Kwansei
Gakuin
University,
Japan;
#Dept.
of
Otorhinolaryngology
-‐
Head
and
neck
surgery,
Nara
Medical
University,
Japan;
+Faculty
of
Music,
Kyoto
City
University
of
Arts,
Japan
Synchrony
judgment
is
one
of
the
most
important
abilities
for
musicians
because
just
a
few
milliseconds
of
onset
asynchrony
can
result
in
a
significant
difference
in
musical
expression.
However,
even
if
all
of
the
components
physically
begin
exactly
simultaneously,
their
temporal
relation
might
not
be
preserved
at
the
cochlear
level.
The
purpose
of
this
study
is
to
investigate
whether
the
cochlear
delay
significantly
affects
the
synchrony
judgment
accuracy
and
whether
there
are
any
differences
in
its
effects
depending
on
musical
experiences.
A
psychoacoustical
experiment
was
performed
to
measure
the
synchrony
judgment
accuracy
for
professional
musicians
and
non-‐musicians.
Two
types
of
chirps
and
a
pulse
were
used
as
experimental
stimuli
to
control
an
amount
of
the
cochlear
delay.
The
compensated
delay
chirp
instantaneously
increased
its
frequency
to
cancel
out
the
cochlear
delay.
The
enhanced
delay
chirp
had
the
reversed
temporal
relation
of
the
compensatory
delay
chirp.
In
addition,
a
pulse
without
delay
was
used.
The
experimental
task
was
to
detect
a
synchronous
pair
in
the
2I2AFC
procedure.
As
a
result,
synchrony
judgment
accuracy
was
significantly
higher
in
case
of
professional
musicians
than
that
of
non-‐musicians.
For
professional
musicians,
there
are
significant
differences
among
all
three
types
of
sounds.
However,
for
non-‐musicians,
there
was
no
significant
difference
between
compensated
chirps
and
enhanced
chirps.
This
result
suggests
that
the
auditory
system
of
professional
musicians
is
more
sensitive
to
the
change
of
temporal
relation
on
frequency
components
such
as
cochlear
delay
than
that
of
non-‐musicians.
Speed
Poster
Session
24:
Timber
I
Hall,
11:40-‐12:10
Instruments
&
Motion
A
Motion
Analysis
Method
for
emotional
performance
on
the
snare
drums
Masanobu
Miura,*
Yuki
Mito#,
and
Hiroshi
Kawakami#
*
Dept.
of
Media
Informatics,
Ryukoku
University,
Japan;
#
Dept.
of
Music,
Nihon
University,
Japan
This
study
proposes
a
method
for
averaging
several
motions
in
order
to
analyze
and
synthesizing
motions
of
musical
performance.
The
averaged
motion
is
expected
to
be
useful
for
obtaining
the
feature
of
specified
motions
by
just
observing
visually.
Targeted
motion
here
is
the
snare
drum
performance
with
emotion.
This
method
is
named
"Motion-‐
Averaging-‐Method
(MAM)".
Motion
data
are
recorded
by
a
motion
capture
system
for
performances
by
trained
percussionists
expressing
each
of
five
basic
emotions
or
non-‐
emotion.
Recorded
motion
data
have
some
deviations
due
to
the
variability
of
position
and/or
angle
of
each
player
when
recording.
Thus,
the
proposed
method
adjusts
position
and
angle
of
the
player
in
each
recorded
motion.
Adjusts
motion
data
are
expanded
or
contracted
based
on
impact
time
of
drumstick
obtained
from
acoustic
waveform
of
recorded
performance,
and
then
an
averaged
motion
is
obtained
by
observing
several
motions
adjusted.
Quantitative
features
of
averaged
motion
are
extracted
from
stroke
motions
and
their
ratios
of
parameters
of
arm
motions
among
emotions,
as
well
as
collecting
up
features
of
motion
among
emotions.
A
subjective
experiment
was
conducted
to
evaluate
the
appropriateness
of
obtained
features.
Results
showed
the
existence
of
motion
related
to
a
102
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
2D-‐emotional
space.
The
results
show
that
several
motions
are
dependent
to
the
2D
emotional
space
and
emotional
performance
has
several
features
of
motion
not
related
to
musical
sound.
We
found
that
professional
percussionists
are
representing
emotion
on
the
motion
of
the
performance
dependent
to
the
2D
space
and
independent
to
its
acoustic
signal.
Embouchure-‐related
muscular
activity
and
accompanying
skin
movement
for
the
production
of
tone
on
the
French
horn
Takeshi
Hirano,*
Satoshi
Obata,*
Chie
Ohsawa,*
Kazutoshi
Kudo,#
Tatsuyuki
Ohtsuki,#
Hiroshi
Kinoshita*
*Graduate
School
of
Medicine,
Osaka
University,
Japan
#Graduate
School
of
Arts
and
Sciences,
The
University
of
Tokyo,
Japan
The
present
study
investigated
dynamics-‐
and
pitch-‐related
activity
of
selected
five
facial
muscles
(levator
labii
superioris,
zygomaticus
major,
depressor
anguli
oris,
depressor
labii
inferioris,
and
risorius
(RIS))
using
surface
electromyogram
(EMG),
and
accompanying
skin
movement
using
3D
motion
capture
system.
Ten
advanced
French
horn
players
produced
6-‐
sec
long
tones
at
3
levels
of
dynamics
(pp,
mf,
and
ff)
at
5
levels
of
pitch
(Bb1,
F3,
F4,
Bb4,
and
F5).
For
each
muscle,
mean
EMG
and
kinematics
(marker-‐to-‐marker
distance)
were
computed
for
the
pre-‐attack
phase
of
375
ms
prior
to
the
tone
onset,
and
for
the
sustained
phase
of
750
ms
starting
from
3
s
after
the
tone
onset.
EMG
data
were
normalized
by
the
data
obtained
from
production
of
the
sustained
F5
(near
maximum
high
pitch)
tone
at
ff
dynamics.
Multivariate
analysis
of
variance
on
all
EMG
data
revealed
that
activity
was
greater
at
stronger
dynamics
and
at
a
higher
pitch.
Dynamics
x
pitch
interaction
effect
was
non-‐significant.
Pitch
and
dynamics
did
not
influence
the
facial
skin
kinematics
except
for
shortening
of
markers
placed
on
RIS.
No
phase
effect
was
observed
for
both
EMG
and
kinematic
data.
The
findings
suggest
that
proper
pre-‐setting
as
well
as
continuously
maintaining
the
level
of
isometric
contraction
in
the
embouchure
muscles
is
an
essential
mechanism
for
the
control
of
lip
and
oral
cavity
wall
tension,
by
which
production
of
accurate
pitch
and
dynamics
is
accomplished.
Effect
of
short-‐term
piano
practice
on
fine
control
of
finger
movements
Ayumi
Nakamura*,
Tatsushi
Goda*,
Hiroyoshi
Miwa*,
Noriko
Nagata*,
Shinichi
Furuya#
*School
of
Science
and
Technology,
Kwansei
Gakuin
University,
Japan;
#Institute
for
Music
Physiology
and
Musicians’
Medicine,
Hannover
University
of
Music,
Drama,
and
Media,
Germany
A
number
of
cross-‐sectional
studies
that
compared
pianists
and
non-‐musicians
have
demonstrated
that
extensive
piano
training
elicits
structural
and
functional
changes
in
motor-‐
related
brain
regions,
which
enables
fine
control
of
finger
movements.
However,
the
causal
relationship
between
piano
practice
and
hand
motor
function
has
been
understood
poorly.
The
present
longitudinal
study
aimed
to
assess
effect
of
daily
piano
practice
in
terms
of
speed,
accuracy,
and
independence
of
finger
movements.
Six
adult
participants
with
no
history
of
piano
playing
were
asked
to
play
a
short
tone
sequence
consisting
of
twelve
strokes
with
the
left
hand
synchronized
with
a
metronome
(inter-‐keystroke
interval
=
500ms)
for
fifty
trials
per
day
over
four
successive
days.
MIDI
information
on
each
keypress
was
obtained
from
an
electric
piano.
Before
and
after
the
practice,
pretest
and
posttest
were
carried
out
to
assess
several
fundamental
hand
motor
functions.
Following
the
practice,
the
participants
exhibited
a
significant
decrease
in
temporal
variability
of
keystrokes,
indicating
improvement
of
movement
consistency.
When
they
were
asked
to
play
as
fast
and
accurately
as
possible,
the
maximum
rate
of
keystrokes
also
increased
after
the
practice,
indicating
enhancement
of
finger
movement
speed.
Concerning
the
untrained
right
hand,
both
accuracy
and
speed
also
improved
following
the
left-‐hand
practice,
which
suggests
a
transfer
effect
of
uni-‐manual
practice
on
the
contra-‐lateral
hand.
To
evaluate
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 103
independence
of
finger
movements,
each
finger
performed
the
fastest
tapping
task,
which
required
repetitive
keystrokes
by
one
finger
as
fast
as
possible
with
keeping
the
remaining
digits
depressing
the
adjacent
keys.
Results
showed
that
each
of
the
index,
middle,
ring,
and
little
fingers
showed
significant
improvement
in
maximum
movement
rate
following
the
practice,
indicating
enhancement
of
independent
control
of
movements
at
individual
finger.
To
further
assess
if
visual
feedback
regarding
temporal
accuracy
of
keystrokes
during
the
practice
affects
the
training
effect
on
the
hand
motor
functions,
we
asked
another
six
non-‐musicians
to
perform
the
same
task
with
information
on
the
variability
of
inter-‐keystroke
interval
being
provided
visually.
Training-‐
dependent
improvement
of
hand
motor
functions
turned
out
to
be
not
facilitated
even
with
accuracy
feedback.
Piano
practice
with
a
particular
tone
sequence
at
a
certain
tempo
had
significant
impacts
on
accuracy,
speed,
and
independent
control
of
finger
movements.
The
transfer
effect
on
both
untrained
hand
and
untrained
tone
sequence
implies
presence
of
shared
motor
primitive
in
piano
playing.
Expert-‐novice
difference
in
string
clamping
force
in
violin
playing
Hiroshi
Kinoshita,1
Satoshi
Obata1,
Takeshi
Hirano1,
Chie
Ohsawa1,
Taro
Ito2
1
Biomechanics
&
Motor
control
lab,
Graduate
School
of
Medicine,
Osaka
University,
Osaka,
Japan;
2
Department
of
Health
and
Sports
Science,
Mukogawa
Women’s
University,
Hyogo,
Japan
Difference
in
the
nature
of
force
for
clamping
the
strings
between
expert
(N
=
8)
and
novice
(N
=
8)
violin
players
was
investigated
using
a
violin
installed
with
a
3D
force-‐transducer,
and
produced
sound.
These
players
performed
repetitive
open
A-‐
and
D-‐tone
(force
measurement)
production
using
the
ring
finger
at
tempi
of
1,
2,
4,
and
8
Hz
at
mezzo-‐forte.
At
2-‐
and
8-‐Hz
tempi,
the
same
task
was
performed
by
the
other
fingers.
At
1
and
2
Hz,
the
profiles
were
characterized
by
an
initial
attack
force,
followed
by
a
leveled
force
during
the
finger
contact
period.
The
peak
attack
force
for
the
experts
exceeded
5
N,
which
was
significantly
larger
than
about
3.N
for
the
novices.
At
4
and
8
Hz,
only
attack
force
with
a
lower
peak
with
no
group
difference
was
observed
than
at
the
faster
tempi,
but
attack-‐to-‐
attack
variability
of
force
was
significantly
larger
for
the
novices
than
the
experts.
Both
the
experts
and
novices
had
a
lower
attack
force
by
the
ring
and
little
fingers
than
the
other
two
fingers,
but
the
finger
difference
was
much
less
for
the
experts.
The
findings
suggest
that
expert
violinists
use
a
strategy
of
trade-‐off
between
physiological
cost
of
string
clamping
force
and
production
of
high
quality
sound.
High
consistency
of
attack
force
action
is
also
an
important
Expert-‐novice
difference
in
string
clamping
force
when
performing
violin
vibrato
Satoshi
Obata,
Takeshi
Hirano,
Chie
Ohsawa,
and
Hiroshi
Kinoshita
Biomechanics
&
Motor
control
lab,
Graduate
School
of
Medicine,
Osaka
University,
Osaka,
Japan
The
violin
vibrato
is
considered
a
complex
playing
technique
for
novice
players.
Information
on
the
left-‐finger
force
during
vibrato
of
novices,
as
compared
with
that
of
experts,
may
help
in
unveiling
hidden
biomechanical
problems
of
their
technique.
The
aim
of
this
study
was
to
investigate
the
novice-‐expert
difference
in
the
nature
of
shaking
and
pressing
forces
during
sustained
vibrato
tone
production.
The
subjects
were
10
novice
and
10
expert
players.
A
violin
installed
with
a
3D
force
transducer
was
used
for
the
measurement
of
fingerboard
reaction
force
in
three
dimensions
while
performing
successive
A
(open)
and
D
(force
measurement)
vibrato
tone
production
repetitively.
The
target
rate
of
vibrato
performed
was
4.5
Hz,
and
the
target
level
of
loudness
was
between
75
and
77
dB
(mf).
The
index,
middle,
ring,
and
little
fingers
were
used
to
test
the
finger
effect
on
generated
force.
The
average,
amplitude
of
oscillation,
and
peak-‐to-‐peak
time
of
the
shaking
and
pressing
forces,
104
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
and
their
intra-‐subject
variability
were
computed
for
each
trial.
It
was
found
that
the
novices
had
significantly
smaller
average
pressing
force
and
amplitude
of
the
shaking
force
than
the
experts.
The
intra-‐subject
variability
of
shaking-‐force
amplitude
and
peak-‐to-‐peak
time
was
significantly
larger
for
the
novices.
These
were
similarly
common
across
all
four
fingers.
It
was
concluded
that
the
mechanism
of
string
clamping
force
during
the
vibrato
for
novices
were
different
from
experts.
The
findings
suggest
that
the
parallel
and
synergistic
production
of
sufficient
pressing
and
shaking
forces
is
one
element
of
successful
vibrato.
The
role
of
auditory
and
tactile
modalities
in
violin
quality
evaluation
Indiana
Wollman,*#
Claudia
Fritz,*
Stephen
McAdams
#
*Lutherie-‐Acoustique-‐Musique,
Institut
Jean
le
Rond
d'Alembert,
UMR
7190,
Université
Pierre
et
Marie
Curie-‐CNRS,
France;
#CIRMMT,
Schulich
School
of
Music,
McGill
University,
Canada
The
long-‐term
goal
of
this
study
is
to
investigate
the
differences
that
can
be
perceived
in
the
“feel”
of
violins
across
a
range
of
instruments.
Indeed,
many
violinists
consider
that
not
only
the
sound
but
also
the
“feel”
are
really
important,
and
it
is
not
clear
what
is
responsible
for
the
latter.
This
study
explores
the
role
of
auditory
and
tactile
modalities
involved
in
violin
playing
and
aims
to
construct
a
hierarchy
of
evaluation
criteria
that
are
perceptually
relevant
to
violinists.
Twenty
professional
violinists
participated
in
a
perceptual
experiment
employing
a
blind
violin
evaluation
task
under
different
conditions.
Participants
were
asked
to
evaluate
a
set
of
violins
either:
i)
by
holding
the
instruments,
without
producing
sound
ii)
under
normal
playing
conditions,
iii)
with
auditory
masking
or
iv)
with
vibrotactile
masking.
Under
each
playing
condition,
the
violinists
evaluated
the
violins
according
to
criteria
related
to
violin
playing
and
sound
characteristics
and
rated
and
ranked
the
overall
quality
of
the
violins.
Results
confirm
that
violin
preference
is
highly
individual.
Intra-‐subject
analyses
reveal
a
consistent
trend
in
violin
rankings
over
the
three
playing
conditions
though
more
similarities
are
observed
between
the
ratings
under
the
normal
playing
and
tactile
masking
conditions
than
for
the
auditory
masking
conditions.
The
lack
of
auditory
feedback
thus
has
greater
impact
on
violinists'
perceptual
evaluation.
However,
ratings
based
only
on
the
tactile
modality
preserve
overall
rating
trends
-‐
the
most
and
least
preferred
violins
are
in
particular
weakly
dependent
on
sensory
masking
-‐
suggesting
the
existence
of
"tactile-‐only"
cues.
Speed
Poster
Session
25:
Timber
II
Hall,
11:40-‐12:10
Musical
experience
and
communication
Songs,
words
and
music
videos:
Adolescent
girls'
responses
Nicara
Govindsamy,
Cynthia
J.
Patel
Discipline
of
Psychology,
University
of
KwaZulu-‐Natal,
South
Africa
Music
plays
a
significant
role
in
teenagers’
lives:
they
use
music
to
regulate
their
emotions
and
girls
have
more
emotional
responses
compared
to
boys.
Exposure
to
music
is
generally
in
audio
or
music
video
form.
Over
the
years
song
lyrics
have
become
more
explicit
in
reference
to
drugs,
sex
and
violence.
Fifty
eight
teenage
girls’
emotional
responses
to
three
genres
of
music
(RnB/Rap,
Rock,
Pop)
in
different
formats:
audio,
music
video
and
lyrics
were
measured.
The
Rap
song
had
sexual
connotations
and
objectified
women,
the
Rock
was
about
determination
and
inspiration
while
Pop
was
about
falling
in
love.
A
semantic
differential
scale
comprising
bipolar
adjectives
(describing
a
range
of
emotions)
was
used
to
measure
emotional
response.
Fifteen
(15)
word
pairs
were
selected
for
the
final
scale.
Respondents
were
required
to
choose
from
a
continuum
(between
each
word
pair)
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 105
extent
to
which
they
experienced
the
emotion
after
listening
to
the
song,
watching
the
video
and
reading
the
lyrics.
High
scores
indicated
negative
emotions.
Rap
lyrics
elicited
the
most
negative
response
followed
by
the
Rock
lyrics.
The
Pop
genre
had
the
lowest
scores.
The
sample
also
reacted
negatively
to
the
Rap
video.
Overall
their
responses
to
the
different
songs
were
about
the
same,
but
responses
to
the
video
content
and
lyrics
were
markedly
different
with
most
negative
responses
to
Rap.
Since
young
girls
tend
to
use
music
to
manage
their
emotions,
these
findings
are
a
cause
for
concern.
Further
research
needs
to
done
linking
types
of
music
and
ways
of
coping.
Specialist
adolescent
musicians’
role
models:
Whom
do
they
admire
and
why?
Antonia
Ivaldi
Department
of
Psychology,
Aberystwyth
University,
Wales,
UK
Previous
research
into
typical
adolescents’
musical
role
models
has
shown
that
young
people
are
more
likely
to
identify
a
celebrity
figure
as
their
role
model
due
to
their
image
and
perceived
fame,
than
because
of
their
perceived
musical
ability.
This
study
builds
on
this
previous
work
by
looking
at
the
role
models
of
young
talented
musicians
with
the
aim
of
exploring
who
they
admire
as
a
musician
and
the
reasons
why.
It
is
anticipated
that
the
adolescents
will
identify
more
elite
performers
and
teachers
(i.e.,
non-‐celebrities)
as
their
role
models.
107
young
musicians,
aged
13-‐19,
took
part
in
a
questionnaire
study,
and
were
drawn
from
two
specialist
musical
environments:
Junior
conservatoire
students
(n
=
59)
and
county
level
students
(n
=
48,
drawn
from
two
local
music
services).
The
adolescents
were
asked
questions
about
who
they
admired
as
a
musician
(i.e.,
someone
famous,
teacher)
and
the
reasons
why
(i.e.,
they
are
talented,
works
hard).
Adolescents
also
rated
how
much
they
wanted
to
become
like
their
role
model
(aspirations),
and
how
much
they
thought
they
could
become
like
their
role
model
(attainability).
Results
showed
that
both
famous
and
non-‐
famous
figures
were
identified,
with
more
elite
performers
and
teachers
being
chosen
compared
to
previous
research,
thus
indicating
a
specialist
knowledge
and
level
of
exposure
to
relevant
musical
figures.
Factor
analysis
generated
three
loadings
(image,
higher
achievement,
dedication)
for
the
reasons
for
admiring
the
role
models.
The
implications
for
the
adolescents
identifying
more
relevant
figures
for
their
attainability
and
aspiration
beliefs
are
discussed.
Typicality
and
its
influence
on
adolescents’
musical
appreciation
Caroline
Cohrdes,
Reinhard
Kopiez
University
of
music,
theater
and
media,
Hanover,
Germany
Adolescents
evaluate
music
with
regard
to
their
social
identity
(North
&
Hargreaves,
1999).
An
effective
strategy
to
achieve
social
identity
is
the
individual’s
identification
with
subgroups
(Hornsey
&
Jetten,
2004).
Unconventional
musical
substyles
provide
adolescents
opportunity
to
reach
a
level
of
“optimal
distinctiveness”
(Abrams,
2009).
A
musician’s
personality
and
lifestyle
is
communicated
by
images
(Borgstedt,
2008)
and
unconventional
images
further
adolescents’
positive
musical
judgements
(Cohrdes,
Lehmann
&
Kopiez,
2012).
Hence,
both
components
become
important
when
indicating
a
specific
value
of
typicality.
This
study
aims
to
determine
indicators
defining
typicality
on
a
continuous
scale
with
conventionality
and
unconventionality
as
bipolar
endings.
First,
items
from
the
perspective
of
adolescents
were
collected.
Subsequently,
N
=
232
adolescents
(M
=
15.51,
SD
=
1.132)
rated
different
stimuli
in
an
online
survey.
To
assess
essential
items
clarifying
the
two
dimensions
of
typicality
(music
and
image),
we
used
methods
of
Classical
Test
Theory
(CTT)
and
Item
Response
Theory
(IRT).
12
selective
items
concerning
the
typicality
of
music
and
6
concerning
the
musician’s
image
were
detected.
By
means
of
these
scales
it
is
possible
106
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
to
categorize
stimuli
and
predict
musical
judgments
of
adolescents
with
the
claim
of
optimal
distinctiveness.
As
a
main
result,
we
present
the
typicality
of
a
musician’s
image
standardized
in
terms
of
an
iconographic
scale.
Positive
Psychological
and
Interpersonal
Effects
by
Karaoke
Junko
Matsumoto,1
Shiori
Aoki,2
Manami
Watanabe3
1Nagano
College
of
Nursing,
Japan;
2Nagoya
University
Hospital,
Japan;
3Seirei
Mikatahara
General Hospital, Japan
This report presents the findings of investigations of college students’ participation in
karaoke, their subjective moods induced by singing karaoke, and the positive effects
associated with participating in karaoke, but not actively singing. In Study 1, 186 college
students completed a questionnaire about their participation in karaoke. Most respondents
indicated that they go to karaoke with several friends occasionally for amusement or as a
pastime and feel comfortably tired after. These findings suggest that singing karaoke has
positive psychological effects on mood. In Study 2, 185 college students completed a
questionnaire. Respondents were asked to answer the questions about their usual
participation in karaoke and their participation in karaoke when they did not actively sing.
When they participated in karaoke without actively singing, the aim was primarily to be
sociable with not only their friends, but also acquaintances or superiors. With regard to their
mood following karaoke, respondents reported feeling more depressed, anxious, and tired
and less refreshed when not actively singing as compared to when they actively sing. These
results suggest that when college students participate in karaoke without actively singing,
they experience negative psychological effects. However, there seem to be positive
interpersonal effects of maintaining social relations with others when not actively singing.
Consequently there would be beneficial effects from both active and passive participation in
karaoke.
Hips don't lie: Multi-‐dimensional ratings of opposite sex dancers’ perceived
attractiveness
Geoff Luck, Suvi Saarikallio, Marc Thompson, Birgitta Burger, Petri Toiviainen
Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music,
University of Jyväskylä, Finland
Previous work has shown that a number of factors can affect perceived attractiveness of
opposite-‐sex dancers. For women watching men, body symmetry, perceived strength, vigor,
skillfulness, and agility of movement, as well as greater variability and amplitude of the neck
and trunk, are positively related to perceived attractiveness. For men watching women, b ody
symmetry is also important, and femininity/masculinity of movement likely also plays a role
for both sexes. Our aim here was to directly compare characteristics of attractive opposite-‐
sex dancers under the same conditions. Sixty-‐two heterosexual adult participants (mean age
= 24.68 years, 34 females) were presented with 48 short (30 s) audio-‐visual point-‐light
animations of adults dancing to music. Stimuli were comprised of eight females and eight
males, each dancing to three songs representative of Techno, Pop, and Latin genres. For each
stimulus, participants rated perceived femininity/ masculinity as appropriate, sensuality,
sexiness, mood, and interestingness of the dancer. Seven kinematic and kinetic features –
downforce, hip wiggle, shoulder vs. hip angle, hip-‐knee phase, shoulder-‐hip ratio, hip-‐body
ratio, and body symmetry – were computationally extracted from the stimuli. Results
indicated that, for men watching women, hip-‐knee phase angle was positively related to
ratings of perceived interestingness and mood, and hip-‐body ratio was positively related to
ratings of perceived sensuality. For women watching men, downforce was positively related
to ratings of perceived sensuality. Our results partially support previous work, and highlight
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 107
some similarities and differences between male and female perceptions of attractiveness of
opposite-‐sex dancers.
Paper Session 10: Grand Pietra Hall, 14:30-‐15:30
Listener perspectives
How was it for you? Obtaining artist-‐directed feedback from audiences at live
musical events
John Sloboda, Melissa Dobson
Guildhall School of Music & Drama, UK
Musicians generally have rather limited means of obtaining direct and detailed feedback from
their live audiences. This is often limited to applause and “the feel of the room”. Although many
research studies collect more detailed evaluative responses from music listeners, this is often
done without reference to the specific concerns or interests of the musicians involved. It is rare
for the musicians themselves to be directly involved in the formulation of the research questions,
or the review of the data obtained. This research project aims to develop and pilot a means for
audiences to provide responses to questions which are of direct interest and importance to the
musicians involved in live performance events. Specifically we wish to evaluate whether such
processes enhance (a) audience engagement, and (b) professional and artistic development of the
musicians involved. The research team has worked with several artistic teams in a process which
involves (a) discovering artistically relevant questions which can be validly posed to audience
members, (b) collaboratively devising appropriate means of collecting this data (e.g.
questionnaire, post-‐performance discussion), (c) jointly reviewing the outcomes of the event, and
the audience data, (d) obtaining reflective feedback from those involved regarding the value of
being involved in the exercise. We will illustrate the process with specific data from one or more
live musical events which have taken place between July 2011 and May 2012. This includes the
world premiere of a composition whose inspiration was a traditional day of celebration in the
composer’s home town, characterised by distinctive rituals involving folk-‐music and dance. The
composer was interested to know if audience knowledge of the programmatic background to the
composition (provided by a programme note) was a significant factor in audience appreciation of
the work. In this case, unexpected emergent features of the research experience yielded
unanticipated benefits, with the composer perceiving heightened audience attention to the piece
being researched, and experiencing consequent affirmation. Involvement of musicians in the
design and implementation of research on audience response is a significant means of enhancing
mutual understanding between musicians and audiences and of making research more directly
relevant to practitioner concerns. Issues for discussion include the appropriate means of ensuring
sufficient research rigour without distorting the artistic process.
Everyday Listening Experiences
Amanda E. Krause,1 Adrian C. North2
1Applied Psychology, Heriot-‐Watt University, United Kingdom
2School of Psychology and Speech Pathology, Curtin University, Australia
Utilizing the Experience Sampling Method, this investigation aimed to update our
understanding of everyday listening in situ. Self-‐reports regarding where, when, and how
music was experienced, as well as ratings concerning affect before and after exposure to
music and the perceived effects of what was heard were gathered over one week.
Responding to two text messages sent at random times between 8:00 and 23:00 daily, 370
participants completed online responses concerning their experience with any music heard
within a two-‐hour period prior to receiving each text message. Results from the 177
participants who completed at least 12 of 14 entries demonstrated that music was heard on
108
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
46.31%
of
occasions
overall.
While
heard
throughout
the
day
and
more
often
in
private
than
public
spaces,
detailed
analyses
revealed
significant
patterns
based
on
time,
location,
device,
selection
method,
mood,
ratings
of
choice
and
attention,
and
the
perceived
effects
of
what
was
heard.
Most
importantly,
the
results
suggest
that
it
is
the
level
of
control
that
a
person
has
over
the
auditory
situation
which
greatly
interacts
with
the
other
variables
to
influence
how
he
or
she
will
hear
the
music
as
well
as
how
it
is
perceived.
In
contrast
to
North,
Hargreaves,
and
Hargreaves
(2004)
proposition
that
the
value
of
music
has
decreased
in
light
of
technological
advancement,
the
current
findings
imply
that
with
the
greater
control
technology
affords,
the
value
has
instead
increased,
when
we
consider
individuals
as
actively
consuming
(thereby
using)
music
rather
than
simply
as
passive
listeners.
Paper
Session
11:
Crystal
Hall,
14:30-‐15:30
Communication
&
musical
preference
in
childhood
Playsongs
and
lullabies:
features
of
emotional
communication
and
developing
mother-‐infant
attachment
Alison
Liew
Creighton,1
Michael
Atherton,2
Christine
Kitamura2
1College
of
Arts/MARCS
institute,
University
of
Western
Sydney,
Australia
2University
of
Western
Sydney,
Australia
This
paper
presents
findings
from
my
current
research
which
examines
the
features
of
mother-‐infant
singing
as
emotional
communication.
It
explores
(1)
the
mother’s
subjective
experience
of
the
live
use
of
playsongs
and
lullabies,
(2)
how
the
subjective
experience
relates
to
attachment-‐specific
mental
constructs,
(3)
the
quality
of
interaction
during
the
live
use
of
playsongs
and
lullabies
and
(4)
the
musical
and
behavioral
features
of
optimal
emotional
communication.
Effects
of
Structural
and
Personal
Variables
on
Children’s
Development
of
Music
Preference
Michael
Schurig,
Veronika
Busch,
and
Julika
Strauß
Department
of
Musicology
and
Music
Education,
University
of
Bremen,
Germany
Hargreaves’
(1982)
hypothesis
of
an
age-‐related
decline
in
children’s
preference
for
unfamiliar
music
genres
(“open-‐earedness”)
forms
the
theoretical
background
of
our
longitudinal
study
with
four
points
of
measurement
between
grade
one
and
four.
Primary
school
children
answered
a
sound
questionnaire
with
8
music
examples
on
a
5-‐point
iconic
preference
scale.
Structural
and
personal
data
was
collected
using
standardized
questionnaires,
and
complementary
interviews
were
conducted.
We
operationalized
open-‐
earedness
as
a
latent
construct
with
“classic”
and
“ethnic/avant-‐garde”
music
preference
(Louven,
2011)
as
distinguishable
factors
through
exploratory
factor
analyses.
The
aim
is
to
identify
predictor
variables
(e.g.
gender,
personality,
music
experience,
migration
background,
and
socio-‐economic
status)
using
structural
equation
modelling.
This
way
we
tried
to
assess
a
measurement
model
to
be
used
for
further
investigation
of
our
longitudinal
data.
So
far,
analyses
of
variance
support
the
expected
open-‐earedness
for
preference
ratings
of
t1
(n1=617),
but
gender
differences
already
show.
Analyses
of
t2
(n2=1142)
disclose
the
beginning
decline
of
open-‐earedness,
with
t3
(n3=1132)
supporting
the
trend
furthermore.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 109
Paper
Session
12:
Dock
Six
Hall,
14:30-‐15:30
Rhythm
analysis
&
perception
Perception
of
Rhythmic
Similarity
in
Reich’s
Clapping
Music:
Factors
and
Models
Daniel
Cameron,1
Keith
Potter,2
Geraint
Wiggins,3
Marcus
Pearce3
1Brain
and
Mind
Institute,
University
of
Western
Ontario,
Canada
2Dept.
of
Music,
Goldsmiths,
University
of
London,
UK
3Centre
for
Digital
Music,
Queen
Mary,
University
of
London,
UK
Rhythm
processing
is
a
critical
component
of
music
perception
and
cognition.
Investigating
the
influences
on
the
perception
of
similarity
is
a
useful
way
to
explore
processing
underlying
processing
of
perceptual
phenomena.
In
this
study,
we
investigate
the
perception
of
rhythmic
similarity
using
rhythmic
figures
from
Steve
Reich’s
Clapping
Music,
in
2
experiments.
Musicians
and
non-‐musicians
rated
the
similarity
of
rhythm-‐pairs
when
rhythms
were
heard
in
the
context
within
the
composition
or
in
isolation,
in
two
performance
versions
(MIDI
or
performance
recording),
and
in
different
orders
of
presentation.
These
factors
(musical
training,
expressive
performance,
musical
context,
and
order
of
presentation)
represent
influences
on
the
rhythmic
information
used
in
music
cognition.
Furthermore,
computational
models
representing
theoretically
distinct
perspectives
on
rhythmic
information
processing
are
compared
in
their
predictions
of
perceived
rhythmic
similarity.
Differences
in
perceived
similarity
reflect
differences
in
information
processing.
Similarity
ratings
were
analyzed
for
the
effects
and
interactions
of
factors.
Results
suggest
that
musical
training
provides
an
advantage
in
processing
rhythmic
information,
that
both
expressive
performance
and
Clapping
Music’s
compositional
process
of
rhythmic
transformation
provide
additional
information
used
by
listeners
to
distinguish
rhythms,
and
that
the
perceived
similarity
of
rhythms
depends
on
presentation
order.
These
results
are
interpreted
from,
and
consistent
with,
a
general
perspective
of
information
theoretic
processing.
The
predictions
of
all
models
correlate
with
participants’
ratings,
shedding
further
light
on
the
cognitive
mechanisms
involved
in
processing
and
comparing
rhythms.
The
Pairwise
Variability
Index
as
a
Tool
in
Musical
Rhythm
Analysis
Godfried
T.
Toussaint
Faculty
of
Science,
New
York
University
Abu
Dhabi,
United
Arab
Emirates
The
normalized
pairwise
variability
index
(nPVI)
is
a
measure
of
the
average
variation
(contrast)
of
durations
that
are
obtained
from
successive
pairs
of
events.
It
was
originally
conceived
for
measuring
the
rhythmic
differences
between
languages
on
the
basis
of
vowel
length.
More
recently,
it
has
also
been
employed
successfully
to
compare
rhythm
in
speech
and
music.
London,
J.
&
Jones,
K.
(2011)
have
suggested
that
the
nPVI
measure
could
become
a
useful
general
tool
for
musical
rhythm
analysis.
One
goal
of
this
study
is
to
determine
how
well
the
nPVI
models
various
dimensions
of
musical
rhythmic
complexity,
ranging
from
human
performance
and
perceptual
complexities
to
musical
notions
of
syncopation,
and
mathematical
measures
of
syncopation
and
rhythm
complexity.
A
second
goal
is
to
determine
whether
the
nPVI
measure
is
capable
of
discriminating
between
short,
symbolic,
musical
rhythms
across
meters,
genres,
and
cultures.
It
is
shown
that
the
nPVI
measure
suffers
from
severe
shortcomings,
in
the
context
of
short
symbolic
rhythmic
patterns
such
as
African
timelines.
Nevertheless,
comparisons
with
previous
experimental
results
reveal
that
for
some
data
the
nPVI
measure
correlates
mildly,
but
significantly,
with
performance
110
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
complexity. It is also able to discriminate between certain distinctive families of rhythms.
However, no significant differences were found between binary and ternary musical
rhythms, mirroring the findings by Patel, A. D. & Daniele, J. R. (2003) for language.
Paper Session 13: Timber I Hall, 14:30-‐15:30
Visual cues in performance
Audiovisual integration in music performer recognition: Do you need to see
me to hear me?
Helen Mitchell,1 Raymond MacDonald2
1Sydney Conservatorium of Music, University of Sydney, Australia
2Department of Psychology, Glasgow Caledonian University, UK
Listeners
take
for
granted
not
only
their
capacity
to
distinguish
between
musical
instruments,
but
also
their
ability
to
discriminate
between
performers
playing
the
same
instrument
by
their
sound
alone.
Sound
perception
is
usually
considered
a
purely
auditory
process
but
in
speaker
recognition,
auditory
and
visual
information
are
integrated,
as
each
modality
presents
the
same
information,
but
in
a
different
way.
Listeners
combine
these
cross-‐modal
perceptions
to
recognise
the
person
speaking
and
can
reliably
match
talking
faces
to
speaking
voices.
This
phenomenon
has
profound
implications
for
music
performer
recognition,
if
multimodal
information
is
combined
for
listeners
to
perceive
and
identify
an
individual
performer.
Saxophonists
(n=5)
performed
three
jazz
standards
for
an
audio
and
video
recording
and
we
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
were
able
to
use
the
information
about
a
performer
in
one
modality
and
match
it
to
the
same
performer
in
another
modality.
Participants
were
more
likely
to
recognise
performers
by
ear
after
they
had
watched
their
performance.
These
results
will
be
discussed
with
reference
to
musical
identities
and
sound
recognition
and
will
provide
insights
into
the
way
auditory
experts,
such
as
musicians,
identify
individual
musicians’
sound.
"The
types
of
ViPES":
A
typology
of
musicians’
stage
entrance
behavior
Friedrich
Platz,
Reinhard
Kopiez
Hanover
University
of
Music,
Drama
and
Media,
Germany
Music
performance
can
best
be
described
as
an
audio-‐visual
communicative
setting.
This
setting
is
based
on
the
mutual
exchange
of
music-‐related
meaningful
information
between
performer
and
audience.
From
the
perspective
of
musical
communication
approach,
there
is
a
congruency
between
musically
structure-‐related
features
and
non-‐verbal
forms
of
visual
communication.
Consequently
bodily
movements
have
often
been
reduced
to
a
supportive
function
in
musical
communication
processes.
In
contrast,
in
our
meta-‐analysis
of
ratings
of
audio-‐visual
music
presentations
we
suggest
that
the
audience’s
appreciation
is
strongly
influenced
by
visual
components,
which
can
be
independent
from
the
musical
structure.
As
a
consequence,
we
emphasize
the
approach
of
persuasion
instead
of
communication.
The
theoretical
framework
comes
from
dual-‐process
theories,
in
which
different
kinds
of
information
processing
depend
on
the
audience’s
attitude.
Therefore,
visual
components
in
music
performance
could
be
better
described
as
underlying
functions
of
musical
persuasion
affecting
audience’s
attitude.
From
this
perspective,
the
performer’s
stage
entrance
as
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 111
first
visible
action
for
the
audience
can
be
regarded
as
the
starting
point
of
musical
persuasion.
Our
aims
are
two-‐fold:
First
we
will
reveal
a
typology
of
performer's
persuasive
stage
entrance
behavior.
Second,
we
would
like
to
reveal
the
fundamental
components
underlying
the
audience’s
construction
of
performer
evaluations.
We
will
present
a
first
sketch
of
a
typology
of
musician’s
stage
entrance
behavior.
Furthermore,
we
will
offer
a
latent-‐structured
framework
of
the
audience’s
attitude
mechanism.
Based
on
our
performer
typology,
we
will
obtain
a
deeper
understanding
of
the
audience’s
reaction
and
attitudes
towards
varieties
of
stage
performances.
Paper Session 14: Timber II Hall, 14:30-‐15:30
Tonal Cognition
Analyzing Melodic Similarity Judgements in Flamenco a Cappella Singing
Emilia Gómez,1 Catherine Guastavino,2 Fransisco Gómez,3 Jordi Bonada1
1Music Technology Group, Universitat Pompeu Fabra, Spain
2School of Information Studies, McGill University, Canada
3Applied Mathematics Department, School of Computer Science, Polytechnic University of
Madrid,
Spain
This
work
has
three
main
goals:
first,
to
study
the
perception
of
melodic
similarity
in
flamenco
singing
with
both
experts
and
novices;
second,
to
contrast
judgments
for
synthetic
and
recorded
melodies;
third,
to
evaluate
musicological
distances
against
human
similarity
judgments
(Mora
et
al.
2010).
We
selected
the
melodic
exposition
from
12
recordings
of
the
most
representative
singers
in
a
particular
style,
martinete.
Twenty-‐seven
musicians
(including
three
flamenco
experts)
were
asked
to
listen
to
the
melodies
and
sort
them
into
categories
based
on
perceived
similarity.
In
one
session,
they
sorted
out
synthetic
melodies
derived
from
the
recordings;
in
the
other
session,
they
sorted
out
recorded
melodies.
They
described
their
strategies
in
an
open
questionnaire
after
each
session.
We
observed
significant
differences
between
the
criteria
used
by
non-‐expert
musicians
(pitch
range,
melodic
contour,
note
duration,
rests,
vibrato
and
ornamentations)
and
the
ones
used
by
flamenco
experts
(prototypical
structure
of
the
style,
ornamentations
and
reductions).
We
also
observed
significant
correlations
between
judgements
from
non-‐expert
musicians
and
flamenco
experts,
between
judgements
for
synthetic
and
recorded
melodies,
and
between
musicological
distances
and
human
judgements.
We
also
observed
that
the
agreement
amongst
non-‐experts
musicians
was
significantly
lower
than
amongst
flamenco
experts.
This
study
corroborates
that
humans
have
different
strategies
for
comparing
synthetic
and
real
melodies,
although
their
judgements
are
correlated.
Our
findings
suggest
that
computational
models
should
incorporate
features
other
than
energy
and
pitch
when
comparing
two
flamenco
performances.
Furthermore,
judgments
from
flamenco
experts
also
differed
from
novice
listeners
due
to
their
implicit
knowledge.
Finally,
novice
listeners
–even
with
a
strong
musical
training-‐
did
not
substantially
agree
on
their
ratings
of
these
unfamiliar
melodies.
Temporal
multi-‐scale
considerations
in
the
modeling
of
tonal
cognition
from
continuous
rating
experiments
Agustín
Martorell1,
Petri
Toiviainen2,
Emilia
Gómez1
1Music
Technology
Group,
Universitat
Pompeu
Fabra,
Spain
2Department
of
Music,
University
of
Jyväskylä,
Finland
Modeling
tonal
induction
dynamics
from
naturalistic
music
stimuli
usually
involves
slide-‐
windowing
the
stimuli
in
analysis
frames
or
leaky
memory
processing.
In
both
cases,
the
appropriate
selection
of
the
time-‐scale
or
decay
constant
is
critical,
although
rarely
discussed
112
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
in
a
systematic
way.
This
study
shows
the
qualitative
and
quantitative
impact
that
time-‐scale
has
in
the
evaluation
of
a
simple
tonal
induction
model,
when
the
concurrent
probe-‐tone
method
is
used
to
capture
continuous
ratings
of
perceived
relative
stability
of
pitch-‐classes.
Music
stimulus
is
slide-‐windowed
using
many
time-‐scales,
ranging
from
fractions
of
second
to
the
whole
musical
piece.
Each
frame
is
analysed
to
obtain
a
pitch-‐class
profile
and,
for
each
temporal
scale,
the
time
series
is
compared
with
the
empirical
annotations.
Two
commonly
used
frame-‐to-‐frame
metrics
are
tested:
a)
Correlation
between
the
12-‐D
vectors
from
ratings
and
model.
b)
Correlation
between
the
24
key
activation
strengths,
obtained
by
correlation
of
the
12-‐D
vectors
with
the
Krumhansl
and
Kessler's
key
profiles.
We
discuss
the
metric
artifacts
introduced
by
the
second
representation,
and
we
show
that
the
best
performing
time-‐scale,
minimizing
the
root
mean-‐square
of
the
frame-‐to-‐frame
distances
along
time,
is
far
longer
than
short-‐time
memory
conventions.
We
propose
a
temporal
multi-‐
scale
analysis
method
as
an
interactive
tool
for
exploring
the
effect
of
time-‐scale
and
different
multidimensional
representations
in
tonal
cognition
modeling.
Speed
Poster
Session
26:
Grand
Pietra
Hall,
15:30-‐16:00
Identity
&
personality
Individual
differences
in
inattentional
deafness
with
music:
An
exploratory
study
Sabrina
Koreimann,
Oliver
Vitouch
Dept.
of
Psychology,
University
of
Klagenfurt,
Austria
In
contrast
to
inattentional
blindness,
there
is
few
research
on
inattentional
deafness
(ID)
phenomena,
especially
in
the
musical
realm.
By
definition,
ID
in
music
describes
the
inability
to
consciously
perceive
an
unexpected
musical
stimulus,
due
to
the
subjects
attending
a
certain
facet
of
the
piece.
We
here
try
to
reveal
candidate
factors
for
explaining
individual
differences
in
ID
with
music.
To
examine
the
possible
roles
of
field
dependence
(visual
and
acoustic),
concentration
performance,
and
conscientiousness
on
ID,
participants
initially
listened
to
the
first
1’50”
of
Strauss’
Thus
Spake
Zarathustra.
Subjects
had
the
task
of
counting
the
number
of
tympani
beats.
An
accompanying
e-‐guitar
interlude
(20”)
served
as
the
unexpected
stimulus.
After
listening,
the
participants
were
asked
in
a
sequential
procedure
of
questions
if
they
had
noticed
the
e-‐guitar.
Visual
field
dependence
was
assessed
with
the
Embedded
Figures
Test
(EFT),
concentration
performance
with
an
established
concentration
test
(d2),
and
conscientiousness
with
the
NEO-‐FFI.
A
pilot
measure
of
acoustic
field
dependence
was
developed
using
the
first
1’
of
the
C
major
fugue
from
Bach’s
Well-‐
Tempered
Clavier.
The
participants’
task
was
to
identify
each
onset
of
the
fugue’s
theme
by
mouse-‐click.
While
results
show
no
interaction
between
ID
performance
and
acoustic
field
dependence,
a
significant
interaction
with
visual
field
dependence
was
demonstrated.
Participants
who
missed
the
e-‐guitar
tend
to
score
higher
on
concentration
(p
=
.104)
and
conscientiousness
(p
=
.052)
than
subjects
who
perceived
the
unexpected
stimulus.
Personality
of
Musicians:
Age,
Gender,
and
Instrumental
Group
Differences
Blanka
Bogunović
Faculty
of
Music,
University
of
Arts,
Serbia
The
idiosyncratic
complexity
of
cognitive
abilities,
motivation
and
personality
structure
gives
a
“personal
mark”
to
the
processes
of
perception,
cognition
and
emotional
arousal
which
take
place
during
different
musical
activities,
such
as
listening,
performing,
creating
and
learning
music.
The
intention
of
this
study
was
to
gain
new
knowledge
by
using
a
newer
theoretical
approach
and
an
instrument
for
personality
assessment.
Namely,
to
investigate
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 113
personality
structure
of
musicians
and
to
confirm
specific
personality
profiles
concerning
age,
gender
and
musical
direction
within
in
the
framework
of
the
Big-‐Five
personality
model
(NEO-‐P-‐R
Inventory).
The
sample
consisted
of
366
musicians
of
different
age
groups
-‐
secondary
music
school
pupils,
Faculty
of
Music
students
and
professionals.
Findings
(Oneway
ANOVA)
pointed
out
interesting
differences
in
all
age
groups
that
have
to
do
with
developmental
and/or
professional
phase,
as
well
as
with
experiences
in
dealing
with
music.
Namely,
adolescent
group
had
significantly
higher
scores
on
Neuroticism
and
Extraversion,
students
on
Openness
and
adult
musicians
on
Agreeableness
and
Conscientiousness.
On
the
level
of
facets,
age
group
attributes
are
confirmed,
e.g.
students
developed
Fantasy,
Aesthetics,
Feelings
and
Modesty,
and
professional
musicians
Values
and
Dutifulness.
It
could
be
concluded
that
the
interrelated
effect
of
developmental
phase’s
impact
on
the
one
hand
and
long-‐term
educational
and
professional
engagement
in
musical
activities,
on
the
other,
exists
and
is
reflected
in
the
personality
profiles
of
musicians.
This
means
that
a
specific
way
of
life
and
experiences
influence
the
forming
of
structural
layers
of
musicians’
individuality
and
that
it
certainly
has
an
imprint
on
certain
patterns
of
music
perception
and
cognition.
Personality
Conditions
of
Pianists’
Achievements
Malgorzata
Chmurzynska
Department
of
Music
Psychology,
Chopin
University
of
Music
The
researchers
indicate
that
personality
is
a
significant
factor
determining
the
achievements
both
of
the
students
during
their
music
education
process
and
the
professional
musicians
in
their
musical
career.
The
role
of
personality
is
considered
more
significant
in
the
later
stages
of
music
education
when
the
level
of
musical
ability
no
longer
differentiates
between
the
students
who
have
received
their
musical
instruction.
The
personality
traits
particularly
characteristic
of
musicians
include
the
tendency
to
introversion
(that
makes
them
practice
too
much
in
isolation),
emotional
instability,
sensitivity,
perseverance,
and
openness
(Kemp,
1996;
Manturzewska,
1974).
Among
music
students
who
receive
higher
marks
at
school
there
has
been
identified
a
higher
level
of
self-‐efficacy
(McPherson,
McCormick,
2006)
and
lower
level
of
neuroticism
(Manturzewska,
1974).
However,
we
are
still
seeking
an
answer
to
the
question:
which
of
the
personality
traits
are
conducive
to
a
high
level
of
musical
performance?
The
aim
of
the
present
study
was
to
examine
the
personality
differences
between
the
high
achievers
and
average
achievers
among
the
pianists.
The
variables
of
gender
and
nationality
were
taken
into
account.
The
subjects
were
participants
of
the
16th
International
Fryderyk
Chopin
Piano
Competition
in
Warsaw
as
well
as
other
piano
competitions
(high
achievers)
and
ordinary
piano
students
(average
achievers).
The
control
group
of
non-‐musicians
has
been
used
for
comparison,
including
the
normalization
samples
of
the
employed
tests.
The
respondents
completed
the
NEO
Five-‐
Factor
Inventory
(Costa
and
McCrae,
1992)
and
the
General
Self-‐Efficacy
Scale
(Schwarzer,
1998).
Moreover,
the
Formal
Characteristics
of
Behavior-‐Temperament
Inventory
(Zawadzki
and
Strelau,
1998))
was
used
to
measure
the
temperamental
traits
specified
by
the
Regulative
Theory
of
Temperament
(Strelau,
1996)
which
include
briskness,
perseverance,
sensory
sensitivity,
emotional
reactivity,
endurance,
and
activity.
The
results
are
in
the
process
of
being
analyzed.
So
far,
the
analyses
of
the
NEO-‐FFI
and
GSES
results
have
shown
that
the
most
distinctive
aspects
of
pianists’
personalities
are
high
level
of
Openness,
Conscience
(especially
among
females)
and
a
very
high
level
of
self-‐efficacy
in
comparison
to
the
control
group.
The
study
has
revealed
the
differences
between
the
pianists
and
non-‐musicians.
So
far
hardly
any
differences
has
been
found
between
the
high
achievers
and
average
achievers
among
pianists.
Possibly
the
analysis
of
the
temperamental
traits
will
bring
new
facts
about
associations
between
personality
and
high
musical
performance.
114
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Attitudes towards music piracy: The impact of positive anti-‐piracy messages
and contribution of personality
Steven C. Brown
Psychology and Allied Health Sciences, Glasgow Caledonian University, Scotland
Conventional anti-‐piracy strategies have been largely ineffective, with pirates adapting
successfully to legal and technological changes. The present research aims to address the
two principal areas of research – predictive factors and deterrents – in a novel way with
personality being considered as a potential predictive factor and positive anti-‐piracy
messages proposed as a potentially effective deterrent. 261 participants (45.6% male) with a
mean age of 26.3 participated in an online questionnaire, outlining their music consumption
preferences and completing the 60-‐item version of the Hexaco PI-‐R (Lee and Ashton, 2004)
before being allocated to one of four conditions: legal sales of music encourage future live
performances, legal sales of music allow fans greater access to exclusive content, legal sales
of music will incorporate charitable donations and a control. Participants’ attitudes towards
music piracy were then measured using an original construct (AMP-‐12). Condition had no
effect on piracy attitudes where personality was a significant predictor, with participants
scoring higher on the AMP-‐12 scoring lower on honesty-‐humility and conscientiousness and
higher on openness. Openness emerged as a key individual difference, with participants
scoring higher on this trait demonstrating a greater likelihood to favour vinyl, re-‐mastered
versions of albums and listening to live recordings. Crucially, preference for digital music
was a significant predictor of pro-‐piracy attitudes. Several demographic differences were
also observed which point towards a gender-‐segmented approach in appeasing individuals
engaging in music piracy as well as accommodating the increasing trend for digital music.
Implications for future anti-‐piracy strategies are discussed.
Speed Poster Session 27: Crystal Hall, 15:30-‐16:00
Music, language & learning
The Effect of Background Music on Second Language Learning
Hi Jee Kang,* Victoria J. Williamson *
Department of Psychology, Goldsmiths, University of London, UK
The present study aimed to determine the effect of background music on second language
learning. Two experiments were prepared to investigate the role of background music on
short-‐term and long-‐term memory for new language materials. Experiment 1 focused on
short-‐term memory: participants with no previous knowledge of Arabic listened to a set of
numbers in Arabic (1-‐10) with or without background music followed by two recognition
phases interpolated by 5-‐minute delay. The results showed that the Music group performed
better on both test phases when compared with the No Music group. Age showed a negative
relationship with the results. In Experiment 2, monolingual English speakers chose to learn
either Arabic (atonal language) or Mandarin Chinese (tonal language) as part of an
ecologically valid two week language learning trial that utilized commercially available
language learning CDs. Participants were randomly assigned to either a background Music
group or a No Music group. The post learning test session comprised understanding and
speaking tests in the new language, as well as tests of working memory, general intelligence
task, and musical sophistication. Participants who learned Chinese with Music performed
significantly better on both understanding and speaking tests compared to the Chinese No
Music group. No significance was found between the two Arabic groups. Overall, the
presence of music positively correlated with enjoyment and achievement levels in both
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 115
languages.
The
results
indicate
that
background
music
can
improve
memory
during
second
language
learning
tasks
and
also
bring
higher
enjoyment,
which
could
help
build
focus
and
promote
future
learning.
Does
Native
Language
Influence
the
Mother’s
Interpretation
of
an
Infant’s
Musical
and
Linguistic
Babblings?
Mayumi
Adachi,*
Simone
Falk#
*Dept.
of
Psychology,
Hokkaido
University,
Japan;
#Ludwig-‐Maximilians-‐Universität
München,
Germany
Adachi
and
Ando
(2010)
demonstrate
that
Japanese
mothers
can
interpret
a
Japanese
toddler’s
linguistically
ambiguous
vocalizations
as
either
talking
or
singing,
depending
on
the
context
sampled.
The
present
study
explored
whether
the
same
response
patterns
were
intact
among
mothers,
who
were
unfamiliar
with
Japanese
toddler’s
vocalizations.
Nineteen
German
mothers
listened
to
the
same
50
vocalizations
used
with
Japanese
mothers
in
the
earlier
study,
evaluating
whether
each
vocalization
sounded
as
talking
or
singing.
Results
indicated
that
German
mothers
interpreted
the
Japanese
toddler’s
vocalizations
taken
from
infant-‐directed
speech
contexts
more
as
though
it
were
talking
than
as
singing
and
those
taken
from
infant-‐directed
song
contexts
more
as
singing
than
as
talking.
As
a
group,
German
mothers
used
seven
vocal
cues
in
interpreting
the
vocalizations.
Focusing
on
the
individual
mother’s
use
of
vocal
cues,
however,
only
one
cue
among
the
seven
identified
as
a
group—
the
number
of
syllables
per
s—was
used
consistently
by
more
than
three
mothers:
The
lesser
number
of
syllables
per
s
(i.e.,
a
longer
syllable)
guided
German
mother’s
interpretation
toward
singing,
as
found
in
Japanese
mothers.
The
number
of
vocal
cues
used
consistently
by
three
or
more
mothers
was
greater
in
Japanese
(7
cues)
than
German
(2
cues)
samples.
Perhaps,
the
unfamiliarity
of
the
toddler’s
native
language
interfered
with
German
mother’s
consistent
use
of
vocal
cues.
Nonetheless,
the
equivalent
number
of
vocalizations
interpreted
as
talking
or
as
singing
by
German
and
Japanese
mothers
may
imply
something
unique
in
the
mother’s
interpretation
of
the
toddler’s
vocalization
beyond
native
language.
Teachers’
Opinions
of
Integrated
Musical
and
Language
Learning
Activities
Karen
M.
Ludke
Institute
for
Music
in
Human
and
Social
Development,
Edinburgh
College
of
Art,
University
of
Edinburgh,
United
Kingdom
There
is
increasing
interest
in
the
potential
of
music
to
support
language
learning
and
memory
(Wallace,
1994;
Schön
et
al.,
2008).
Listening,
perceiving,
imitating,
and
creating
are
basic
skills
in
both
language
and
music.
The
Comenius
Lifelong
Learning
Project
European
Music
Portfolio
–
A
Creative
Way
into
Languages
(EMP-‐L)
aims
to
support
children’s
learning
in
music
and
languages
through
a
flexible,
integrated
approach.
This
study
explored
Scottish
music
teachers’
opinions
of
the
music
and
language
activities
developed
by
the
international
EMP-‐L
team.
Special
consideration
was
given
to
the
Scottish
Curriculum
for
Excellence
(CfE),
wherein
music
learning
falls
into
the
“expressive
arts”
curriculum
area
and
modern
language
learning
into
the
“languages”
area.
This
qualitative
study
was
conducted
with
6
trainee
primary
music
teachers
and
2
experienced
teachers
who
were
trained
to
use
the
EMP-‐L
activities
to
support
musical
and
language
learning
outcomes.
Pre-‐
and
post-‐teaching
questionnaires
and
focus
groups
asked
teachers
to
comment
on
the
applicability
of
the
EMP-‐
L’s
core
activities
to
learning
and
progression.
Pre-‐
and
post-‐implementation
survey
data
was
analyzed
together
with
teachers’
comments
during
the
focus
group
sessions.
Overall,
teachers’
opinions
of
the
EMP-‐L
materials
were
positive
and
the
lessons
led
to
successful
CfE
116
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
experiences
and
outcomes.
However,
some
concerns
were
raised,
particularly
regarding
progression
and
whether
generalist
primary
teachers
could
use
the
activities
without
support
from
music
and/or
language
specialists.
The
teachers’
opinions
of
the
EMP-‐L
activities
have
the
potential
to
improve
the
materials
and
to
inform
holistic,
integrated
music
education
initiatives
in
Europe
and
elsewhere.
Introducing
ECOLE:
a
language
–
music
bridging
paradigm
to
study
the
role
of
Expectancy
and
COntext
in
social
LEarning
Laura
Verga,
Sonja
A.
Kotz
Dept.
Neuropsychology,
Max
Planck
Institute
for
Human
Cognitive
and
Brain
Sciences,
Germany
Does
music
enhance
memory
and
learning
of
verbal
material?
The
evidence
in
support
of
this
claim
is
inconsistent.
Results
from
patients
with
AD
or
MS
demonstrate
a
beneficial
effect
of
music
on
memory;
however,
studies
with
healthy
participants
fail
to
replicate
this
effect.
Yet,
many
studies
in
both
populations
did
not
consider
two
shared
features
of
music
and
language.
First,
the
building
up
of
a
context
creates
strong
expectancies
with
respect
of
what
is
coming
next.
Second,
both
music
and
language
are
in
essence
social
activities.
However,
there
is
paucity
of
research
on
the
impact
of
social
interaction
on
learning
and
music.
We
propose
a
novel
paradigm
to
study
the
effect
of
music
on
verbal
learning.
Our
approach
relies
on
the
two
properties
shared
by
music
and
language:
social
interaction
and
expectancies
derived
from
contextual
information.
Our
paradigm
consists
of
a
game-‐like
set-‐
up
mimicking
a
natural
learning
situation.
Two
people
(a
“teacher”
and
a
“student”)
cooperate
in
finding
the
matching
final
object
of
a
sentence
context
building
upon
the
combination
of
melodies
and
pictures.
Each
picture
aligns
to
a
musical
unit,
building
up
a
context
and
parallel
expectations
towards
a
picture
representing
an
object
and
its
name
in
a
language
unknown
to
the
players.
Matching
of
expectancies
could
attentionally
bind
resources
enhancing
predictions
towards
the
object.
Results
of
this
paradigm
should
have
major
implications
for
1)
our
understanding
of
the
impact
of
music
on
verbal
learning,
and
2)
applications
in
language
learning
and
relearning
in
clinical
populations.
Speed
Poster
Session
28:
Dock
Six
Hall,
15:30-‐16:00
Temporality
&
rhythm
II
Fade-‐out
in
popular
music
and
the
Pulse
Continuity
Illusion
Reinhard
Kopiez,
Friedrich
Platz,
Anna
Wolf
Hanover
University
of
Music,
Drama,
and
Media,
Hanover
Music
Lab,
Germany
In
popular
music,
“fading”
as
a
gradual
increase
or
decrease
in
the
level
of
an
audio
signal
is
a
commonly
used
technique
for
the
beginning
or
ending
of
a
recording.
In
popular
music,
the
primary
reason
for
this
type
of
ending
was
the
limited
recording
time
of
3
min.
for
a
45
rpm
record.
The
psychological
effect
of
the
fade-‐out
remains
speculative.
The
hitherto
intuitive
hypotheses
on
the
psychological
effect
of
fade-‐out,
such
as
the
“indefinite
closure”
(Huron,
2006)
or
“the
song
goes
on
forever”
(Whynot,
2011)
will
be
tested
by
experimental
means.
We
predict
a
prolonged
tap
along
behaviour
in
the
fade-‐out
condition
(directional
hypothesis:
μTap
along_fade-‐out
>
μTap
along_cold
end).
We
used
two
versions
of
a
recently
produced
but
unpublished
pop
song:
Version
one
exhibited
an
arranged
end
(cold
end)
and
version
two
a
fade-‐out
end.
A
two
groups,
between
subjects
design
(N
=
54,
music
undergraduates)
was
used
in
a
lab
setting.
The
Sentograph
(Mark
IV)
developed
by
Manfred
Clynes
served
as
an
interface
for
the
measurement
of
the
dependent
variable
“musical
entrainment”.
Subjects
received
the
instruction
to
“feel
the
groove
of
the
music
and
continue
until
you
do
not
feel
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 117
any
more
entrainment”.
A
clear
between
groups
difference
was
found:
compared
with
the
cold
end
group,
subjects
in
the
fade-‐out
group
continued
pulsation
about
3
s
longer
(t(52)
=
2.87,
p
=
.007,
Cohen's
d
=
0.90).
We
call
this
effect
the
“Pulse
Continuity
Illusion”
(PCI,
say
"Picky").
The
influence
of
imposed
meter
on
temporal
order
acuity
in
rhythmic
sequences
Brandon
Paul,*
Per
B.
Sederberg,#
Lawrence
L.
Feth*
*Department
of
Speech
and
Hearing
Science,
Ohio
State
University,
USA
#Department
of
Psychology,
Ohio
State
University,
USA
Imagined
meter
is
an
imposed
mental
hierarchy
of
phenomenally
strong
and
weak
beats
that
listeners
use
to
organize
ambiguous
sequences
of
sounds
and
generate
temporal
expectations.
Here,
we
examine
the
possibility
that
improved
auditory
perception
occurs
at
moments
when
events
are
most
strongly
anticipated
(i.e.,
strong
beats),
and
also
examine
the
effect
of
long-‐term
experience
using
a
sample
of
musicians
and
non-‐musicians.
While
grouping
sounds
in
binary
and
ternary
meter,
listeners
heard
equally-‐spaced
sequences
of
click
pulses
and
were
asked
to
identify
metric
positions
on
which
deviant
clicks
occurred.
The
electroencephalogram
was
recorded
from
all
participants.
Preliminary
behavioral
results
from
six
subjects
indicate
that
non-‐musicians
outperformed
musicians
during
this
task.
Binary
meter
was
found
to
yield
a
better
performance
overall,
consistent
with
previous
findings
that
ternary
meter
is
more
difficult
to
impose
on
ambiguous
rhythmic
sequences.
Finally,
beat-‐based
differences
arose
only
in
comparing
weak
beats
of
one
metric
condition
to
all
other
beats;
although
significant
differences
between
strong
and
weak
beats
were
not
found
overall,
current
results—consistent
with
our
prediction
of
enhanced
perception
on
strong
beats—warrant
further
investigation.
Preliminary
analysis
on
EEG
recordings
suggest
that
endogenously-‐maintained
meter
gives
rise
to
beat-‐based
differences
in
amplitude
of
ERP
waveforms,
but
vary
considerably
between
individuals
of
both
groups.
Findings
from
the
study
are
implicated
in
understanding
the
precise
neural
mechanisms
behind
perceiving
and
organizing
large
structures
found
in
speech
and
music,
as
well
as
extending
the
knowledge
of
cognitive
structuring
of
auditory
perception.
Pitch
and
time
salience
in
metrical
grouping
Jon
Prince
School
of
Psychology,
Murdoch
University,
Australia
I
report
two
experiments
on
the
contribution
of
pitch
and
temporal
cues
to
metrical
grouping.
Recent
work
on
this
question
has
revealed
a
dominance
of
pitch.
Extending
this
work,
a
dimensional
salience
hypothesis
predicts
that
the
presence
of
tonality
would
influence
the
relative
importance
of
pitch
and
time.
Experiment
1
establishes
baseline
values
of
accents
in
pitch
(pitch
leaps)
and
time
(duration
accent)
that
result
in
equally
strong
percepts
of
metrical
grouping.
Pitch
and
temporal
accents
are
recombined
in
Experiment
2
to
see
which
dimension
contributes
more
strongly
to
metrical
grouping
(and
how).
Both
experiments
test
values
in
tonal
and
atonal
contexts.
Both
dimensions
had
strong
influences
on
perceived
metric
grouping,
but
pitch
was
clearly
the
more
dominant.
Furthermore,
the
relative
strength
of
the
two
dimensions
varied
based
on
the
tonality
of
the
sequences.
Pitch
contributed
more
strongly
in
the
tonal
contexts
than
the
atonal,
whereas
Time
was
stronger
in
the
atonal
contexts
than
the
tonal.
These
findings
are
inconsistent
with
an
interpretation
that
stimulus
structure
enhances
the
ability
to
extract,
encode,
and
use
information
about
an
object.
Instead,
they
imply
that
structure
in
one
dimension
can
highlight
that
dimension
at
the
expense
of
another
(i.e.,
induce
dimensional
salience).
118
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
How is the Production of Rhythmic Timing Variations Influenced by the Use of
Mensural Symbols and Spatial Positioning in Musical Notation?
Lauren Hadley,* Michelle Phillips#
*Department of Psychology, Goldsmiths College, University of London, England
#Faculty of Music, University of Cambridge, England
The
vast
majority
of
Western
classical
music
performance
employs
the
musical
score
as
a
means
of
communicating
composer
intention
to
performers.
Within
this
score,
the
two
most
common
methods
of
notational
representation
of
rhythm
include
use
of
mensural
symbols
(e.g.
crotchets,
quavers),
and
use
of
spatial
layout
(proportional
spaces
after
symbols).
This
study
examined
the
effect
of
notational
layout
and
style
on
the
performer’s
realisation
of
notational
tempo
and
rhythm.
Participants
performed
one
rhythm
in
4
different
transcriptions
using
a
MIDI
drumpad,
order
being
counterbalanced
and
distracter
tasks
separating
each
trial.
3
transcriptions
employed
mensural
notation
with
different
spacings
(wide,
narrow,
or
equidistant),
and
1
transcription
employed
‘block
notation’
relying
purely
on
space
to
indicate
duration
(similar
to
a
piano-‐roll
and
common
in
avant-‐garde
notations).
Notational
style
(mensural
symbols
compared
to
block
notation)
was
found
to
significantly
affect
both
tempo
choice
and
performance
accuracy.
Block
notation
was
performed
at
a
slower
spontaneous
tempo
and
less
accurately
than
the
mensural
notations,
with
timings
of
different
note
lengths
converging
towards
the
mean.
Furthermore,
comparison
of
mensural
transcriptions
indicated
that
although
spatial
information
was
not
enough
to
elicit
rhythmic
performance
alone,
it
has
a
significant
impact
on
performance
of
the
mensural
score.
Eleven
of
fifty-‐one
notes
were
played
significantly
differently
between
the
three
mensural
notations,
differing
only
on
spatial
layout.
These
findings
suggest
that
rhythmic
timing
variations
depend
directly
on
the
way
in
which
notation
is
laid
out
on
the
page,
and
have
significant
implications
for
editors
and
composers
alike.
Speed
Poster
Session
29:
Timber
I
Hall,
15:30-‐16:00
Visualization
of
sound
Interplay
of
Tone
and
Color:
Absolute
Pitch
and
Synesthesia
Milena
Petrovic,*
Mihailo
Antovic#
*Solfeggio
and
Music
Education
Dept.,
Faculty
of
Music
University
of
Arts
Belgrade,
Serbia
#English
Dept.,
Faculty
of
Philosophy
Nis,
Serbia
Absolute
pitch
is
an
ability
to
recognize
and
properly
musically
name
a
given
pitch
(Levitin,
1994).
It
is
more
prevalent
among
speakers
of
tonal
languages,
in
which
meaning
may
depend
on
the
pitch
(Deutsch,
2009).
The
emergence
of
absolute
pitch
depends
on
cultural
experience
and
genetic
heredity
(Deutsch
2006),
exposure
to
early
music
education
and
the
tempered
system
(Braun,
2002),
while
today’s
rare
occurrence
of
this
phenomenon
might
also
be
a
consequence
of
transposition
(Abraham
1901,
Watt
1917).
Musicians
having
absolute
pitch
have
fewer
capacities
as
compared
with
musicians
with
relative
pitch:
incessant
naming
of
tones
prevents
them
from
fully
enjoying
music
(Miyazaki,
1992).
Absolute
pitch
may
be
integrated
with
other
senses
–
synesthesia
(Peacock,
1984).
The
sample
has
comprised
28
professional
musicians
with
absolute
pitch,
aged
15
to
47
of
both
sexes.
It
was
found
that
the
most
common
synesthetic
experience
among
professional
musicians
with
absolute
pitch
is
the
association
of
sound
and
color
–
the
so-‐called
chromesthesia
or
color
hearing
(Sacks,
2007).
The
paper
shows
whether
it
occurs
during
the
listening
of:
1)
an
isolated
tone
played
randomly
in
different
register,
2)
major
and
minor
chords
along
the
circle
of
fifths
in
the
basic
position
on
the
piano,
in
the
same
octave,
and
3)
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 119
Bach's
themes
of
24
preludes
from
the
“Well-‐Tempered
Clavier”.
The
study
strives
to
find
any
regularities
in
the
synesthetic
experience,
i.e.
in
the
connection
between
sounds
and
colors
in
professional
musicians
with
absolute
pitch.
The
Role
of
Pitch
and
Timbre
in
the
Synaesthetic
Experience
Konstantina
Orlandatou
Institute
of
Musicology,
University
of
Hamburg,
Germany
Synaesthesia
is
a
condition,
an
involuntary
process
which
occurs,
when
a
stimulus
not
only
stimulates
the
appropriate
sense,
but
also
stimulates
another
modality
at
the
same
time.
In
order
to
examine
if
pitch
and
timbre
influence
the
synaesthetic
visual
experience,
induced
by
sound,
an
experiment
with
sound-‐colour
synaesthetes
(N=22)
was
conducted.
It
was
found
that
a)
high
pitched
sounds
conclude
to
a
presence
of
hue,
b)
low
pitched
sounds
to
an
absence
of
hue,
c)
single
frequencies
cause
a
uni-‐colour
sensation
and
d)
multiple
high
pitched
frequencies
induce
a
multi-‐colour
sensation.
Variation
of
chromatic
colour,
which
is
present
in
the
sensation,
depends
on
the
timbre
of
the
sound.
These
findings
suggest
that
the
synaesthetic
mechanism
(in
case
of
sound-‐colour
synaesthesia)
maps
sound
to
visual
sensations
depending
on
the
mechanisms
underlying
temporal
and
spectral
auditory
processing.
Musical
Synesthesia:
the
role
of
absolute
pitch
in
different
types
of
pitch
tone
synesthesia
Lilach
Akiva-‐Kabiri,
Avishai
Henik
Department
of
Psychology,
and
the
Zlotowski
Center
for
Neuroscience
Ben-‐Gurion
University
of
the
Negev,
Beer-‐Sheva,
Israel
Synesthesia
is
a
condition
in
which
individuals
experience
two
commonly
independent
perceptions
as
joined
together.
In
tone
color
synesthesia
(TCS),
pitch
chroma
(e.g.,
Sol)
elicits
a
color
perception.
In
tone-‐space
(TSS)
synesthesia,
musical
tones
are
organized
explicitly
in
a
defined
spatial
array.
These
types
of
synesthesia
are
often
associated
with
absolute
pitch
(AP).
We
tested
the
importance
of
AP
in
TCS
and
TSS.
AP
and
non-‐AP
TCS
were
presented
with
a
visual
and
auditory
Stroop-‐like
tasks.
Participants
were
asked
to
name
a
colored
patch
on
a
screen
and
ignore
a
musical
tone.
When
the
musical
tone
was
auditory,
AP
possessors
presented
a
congruency
effect,
whereas
when
the
tone
was
presented
visually,
both
groups
presented
a
congruency
effect.
These
results
suggest
that
in
TCS,
additional
color
perception
is
impossible
to
suppress.
Moreover,
color
association
could
be
elicited
both
by
auditory
tones
or
musical
notes,
depending
upon
AP
ability.
In
the
second
part
of
this
work,
we
used
a
cue
detection
task
and
asked
TSS
without
AP
and
non
synesthetes
to
detect
a
visual
cue
while
ignoring
a
simultaneous
irrelevant
auditory
tone.
Synesthetes
only
presented
a
significant
validity
effect.
Hence,
they
were
unable
to
suppress
orienting
of
attention
to
the
auditory
tone
space
form.
The
present
results
demonstrate
the
automaticity
of
synesthetical
associations.
Furthermore,
data
suggest
that
AP
modulates
the
effects
of
TCS
but
not
of
TSS.
Results
are
interpreted
considering
the
underlying
characteristics
of
color
perception
-‐
which
is
essentially
categorical
in
nature
-‐
compared
with
the
more
ordinal
nature
of
space.
120
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
Getting
the
shapes
“right”
at
the
expense
of
creativity?
How
musicians’
and
non-‐musicians’
visualizations
of
sound
differ
Mats
B.
Küssner,*
Helen
M.
Prior,*
Nicolas
E.
Gold,#
Daniel
Leech-‐Wilkinson*
*Department
of
Music,
King’s
College
London,
United
Kingdom
#Department
of
Computer
Science,
University
College
London,
United
Kingdom
The
study
of
visualizations
of
sound
and
music
spans
areas
such
as
cross-‐modal
perception,
the
development
of
musical
understanding,
and
the
influence
of
musical
training
on
music
cognition.
This
study
aimed
to
reveal
commonalities
and
differences
between
musicians
and
non-‐musicians
in
the
representational
strategies
they
adopted
to
visualize
sound
and
music,
as
well
as
the
accuracy
with
which
they
adhered
to
their
self-‐reported
strategies.
To
that
end,
forty-‐one
musicians
and
thirty-‐two
non-‐musicians
were
asked
to
represent
visually,
by
means
of
an
electronic
graphics
tablet,
eighteen
sequences
of
pure
tones
varying
in
pitch,
loudness
and
tempo,
as
well
as
two
short
musical
excerpts.
Analytic
tools
consisted
of
a
mixture
of
qualitative
and
quantitative
methods,
the
latter
involving
correlations
between
drawing
and
sound
characteristics.
Results
showed
that
the
majority
of
musicians
and
non-‐
musicians
used
height
on
the
tablet
to
represent
pitch
(higher
on
tablet
referring
to
higher
pitches),
and
thickness
of
the
line
to
represent
loudness
(thicker
lines
for
louder
sounds).
Non-‐musicians
showed
both
a
greater
diversity
of
representational
strategies
and
a
tendency
to
neglect
pitch
information
if
unchanged
over
time.
Musicians
were
overall
more
accurate
than
non-‐musicians
in
representing
pitch
and
loudness
but
less
imaginative.
This
was
the
first
study
comparing
musicians’
and
non-‐musicians’
visualizations
of
pure
tones
in
a
free
drawing
paradigm.
It
was
shown
that
real-‐time
drawings
are
a
rich
source
of
data,
enabling
valuable
insights
into
cognitive
as
well
as
sensory-‐motor
processes
of
sound
and
music.
Speed
Poster
Session
30:
Timber
II
Hall,
15:30-‐16:00
Experiencing
new
music
New
music
for
the
Bionic
Ear:
An
assessment
of
the
enjoyment
of
six
new
works
composed
for
cochlear
implant
recipients
Hamish
Innes-‐Brown,*
Agnes
Au,#*
Catherine
Stevens,
χ
Emery
Schubert,
§
Jeremy
Marozeau*
*
The
Bionics
Institute,
Melbourne,
Australia;
#
Department
of
Audiology
and
Speech
Pathology,
The
University
of
Melbourne,
Australia;
χMARCS
Institute,
University
of
Western
Sydney,
Australia;
§School
of
English,
Media
and
Performing
Arts,
University
of
New
South
Wales,
Australia
The
enjoyment
of
music
is
still
difficult
for
many
cochlear
implant
users.
This
study
aimed
to
assess
cognitive,
engagement,
and
technical
responses
to
new
music
composed
specifically
for
CI
users.
From
407
concertgoers
who
completed
a
questionnaire,
responses
from
groups
of
normally-‐hearing
listeners
(NH,
n
=
44)
and
CI
users
(n
=
44),
matched
in
age
and
musical
ability,
were
compared
to
determine
whether
specially-‐commissioned
works
would
elicit
similar
responses
from
both
groups.
No
significant
group
differences
were
found
on
measures
of
interest,
enjoyment
and
musicality,
whereas
ratings
of
understanding
and
instrument
localization
and
recognition
were
significantly
lower
from
CI
users.
Overall,
ratings
of
the
music
were
typically
higher
for
percussion
pieces.
The
concert
successfully
elicited
similar
responses
from
both
groups
in
terms
of
interest,
enjoyment
and
musicality,
although
technical
aspects,
such
as
understanding,
localisation,
and
instrument
identification
continue
to
be
problematic
for
CI
users.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 121
How
fun
is
this?
A
pilot
questionnaire
study
to
investigate
visitors’
experience
of
an
interactive
sound
installation
PerMagnus
Lindborg
Nanyang
Technological
University
(Sgp)
/
KTH
Royal
Institute
of
Technology
(Swe)
We
present
a
pilot
questionnaire
study
to
investigate
visitors’
experience
of
an
interactive
and
immersive
sound
installation,
The
Canopy
(Lindborg,
Koh
&
Yong
2011),
exhibited
at
ICMC
in
Huddersfield.
The
artwork
consists
of
a
4.5m
windsurfing
mast
suspended
by
strings,
set
up
in
a
black-‐box
space
and
illuminated
in
a
dramatic
fashion.
The
visitor
can
manipulate
the
pole
with
several
degrees
of
control:
2
for
floor
position,
2
for
pole
direction,
and
one
each
for
twist,
grip
height
and
squeeze.
A
real-‐time
program
in
MaxMSP
(Cycling
74)
maps
control
data
to
sound
synthesis
and
3D
diffusion
over
8
loudspeakers.
The
concept
of
the
installation
was
to
“sail
in
a
sonic
storm
of
elementary
particles”.
35
people
responded
to
the
questionnaire
immediately
after
having
visited
the
installation.
The
questions
aimed
to
gauge
various
qualities
of
the
interactive
experience:
the
amount
of
time
spent,
the
relative
importance
of
visual,
sculptural
and
sonic
elements,
the
amount
of
fun,
and
the
perceived
quality
of
gestural
control
over
spatial
and
timbral
sound
features.
For
the
dependent
variable
‘fun
amount’,
6
graded
sentences
were
given
as
response
options.
Visitors
also
completed
forms
for
the
Ten-‐Item
Personality
Index
(TIPI;
Gosling
2003)
to
estimate
OCEAÑ
scores,
and
for
Ollen’s
Musical
Sophistication
Index
(OMSI;
Ollen
2005),
and
gave
free-‐form
feedback.
The
aim
of
the
questionnaire
was
to
investigate
if
people
with
different
musical
sophistication
and
personality
traits
would
value
different
aspects
of
the
experience
in
systematic
ways.
On
the
OMSI,
24
respondents
scored
high
(p>0.75)
and
7
low
(p<0.45).
Thus
divided,
they
were
treated
as
two
groups
in
the
analysis.
ANOVA
revealed
that
the
groups
had
similar
OCEAÑ
scores,
except
for
Agreeableness
where
the
high-‐OMSI
group
had
a
marginally
higher
mean.
A
stepwise
regression
of
‘fun’
on
all
the
other
variables
and
on
OMSI
group
interaction
with
OCEAÑ
revealed
that
people
who
felt
they
could
act
on
the
spatial
control
had
more
fun,
and
this
was
in
particular
the
case
for
less
musically
sophisticated
people
who
were
more
extrovert
or
less
agreeable.
With
‘time
spent’
as
dependent
variable,
a
similar
procedure
indicated
that
people
(particularly
the
more
conscientious)
who
felt
they
could
act
on
the
spatial
control
stayed
significantly
longer
in
the
installation.
While
these
results
would
indicate
that
spatial
control
is
primordial,
most
freeform
feedback
focussed
on
timbral
control.
We
are
currently
investigating
whether
correlations
are
moderated
by
personality
traits,
and
further
results
will
be
presented
at
the
conference.
The
experience
of
sustained
tone
music
Richard
Glover
Department
of
Music,
University
of
Huddersfield,
UK
This
study
will
discuss
a
cognitive
approach
to
the
experience
of
experimental
music
created
entirely
from
sustained
tones,
in
which
there
is
an
absence
of
typical
perceptual
cues
for
creating
sectional
boundaries
thereby
directing
the
listener’s
focus
towards
surface
phenomena
within
the
aural
environment.
Source
material
for
the
study
comprises
recent
compositions
by
American
composers
Phill
Niblock
and
Alvin
Lucier,
as
well
as
the
author.
The
approaches
to
harmonic
transformation
in
these
pieces
are
outlined,
alongside
a
detailed
description
of
the
activity
within
the
surface
layer
of
the
sound,
comprehensively
surveying
the
myriad
acoustic
and
psychoacoustic
phenomena
prevalent.
The
presentation
draws
upon
gestalt
grouping
mechanisms
to
describe
how
this
surface
activity
is
interpreted
by
the
cognitive
process.
The
notion
of
resulting
articulations
within
sections
is
explored,
and
consequently
what
this
means
in
terms
of
stability
and
instability
in
experience
for
the
122
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
listener,
including
considerations
of
temporality.
The
manner
in
which
this
process
feeds
into
the
compositional
procedure
for
these
composers
is
also
explored,
looking
specifically
at
pitch
structures
employed,
how
composed
indeterminacy
in
sustained
tone
composition
affects
the
cognition
process
and
why
these
composers
have
a
tendency
towards
writing
for
acoustic
instruments
rather
than
electronic
sources.
This
study
provides
further
strategies
into
how
we
might
analyse
sustained
tone
music,
directing
discussion
towards
the
sounding
experience
and
cognitive
comprehension
of
the
listener
rather
than
solely
from
the
score.
This
understanding
can
open
up
further
avenues
of
research
for
composers,
performers
and
interdisciplinary
theorists.
“Just
Riff
Off”:
What
determines
the
subjectively
perceived
quality
of
“hit
riffs”?
Barbara
Sobe,
Oliver
Vitouch
Dept.
of
Psychology,
University
of
Klagenfurt,
Austria
A
riff
is
“a
short,
repeated,
memorable
musical
phrase,
often
pitched
low
on
the
guitar,
which
focuses
much
of
the
energy
and
excitement
of
a
rock
song”
(Rooksby,
2002).
Burns
(1987)
describes
guitar
riffs
as
“common
contexts
for
melodic
hooks”,
being
essential
for
catching
the
listeners’
attention.
This
study
attempts
to
provide
some
empirical
and
analytical
building
blocks
for
answering
a
more
narrowly
defined
sub-‐question
of
the
hitherto
unresolved
“hit
science”
question:
What
makes
an
intersubjectively
great
guitar
riff?
Remotely
similar
to
Sloboda’s
(1991)
classification
of
climactic
moments
in
classical
music,
we
aim
to
distill
a
repertoire
of
structural
elements
that
successful
riffs
share.
In
order
to
have
our
findings
based
on
new
and
unfamiliar
music
material,
we
chose
a
production
&
evaluation
approach.
Ten
e-‐guitarists
from
unsigned
bands
were
asked
to
invent
new
riffs
in
individual
sessions.
The
resulting
55
riffs
were
assessed
by
80
non-‐expert
raters
and
14
professional
guitar
players
in
terms
of
subjective
liking.
In
a
combination
of
inductive
and
deductive
approaches,
common
features
of
those
riffs
that
scored
highest
and
lowest
were
explored
and
analyzed,
and
predictions
from
the
“killer
riff”
handbook
literature
were
tested
against
the
data.
Findings
show
revealing
differences
between
the
evaluations
of
experts
and
non-‐experts.
Within
each
rater
group,
well-‐evaluated
riffs
do
indeed
share
common
structural
elements,
partly
corresponding
with
advice
from
the
handbook
literature.
In
the
overlapping
subset
of
riffs
pleasing
both
groups,
particular
musical
effects
such
as
syncopation,
timing,
and
other
rhythm
effects
play
a
prominent
role.
Paper Session 15: Grand Pietra Hall, 17:00-‐18:30
Group creativity & improvisation
What Does One Know When One Knows How to Improvise?
Andrew Goldman
Centre for Music and Science, University of Cambridge, United Kingdom
Cognitive models of improvisation align with pedagogical methods in suggesting
improvisers’ need for both procedural and declarative knowledge. However, behavioral
experiments do not directly address this division due to the difficulty of operationalizing
improvisation. The present study seeks to experimentally demonstrate different types of
knowledge involved in producing musical improvisations and to contribute an experimental
paradigm. Ten jazz pianists improvised on a MIDI keyboard over backing tracks. They
produced one-‐handed monophonic improvisations under a 2x2x2 fully factorial design. The
conditions contrasted levels of motor familiarity by varying which hand (right vs. left) played
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 123
which
musical
function
(melody
vs.
bass
line)
in
which
key
(Bb
vs.
B).
MIDI
files
were
analyzed
using
MATLAB
to
determine
the
entropy,
the
proportion
of
diatonic
pitch
classes,
the
nPVI
of
a
quantized
version
of
the
data,
and
the
nPVI
of
a
version
left
unquantized.
Separate
ANOVAs
compared
these
values
across
conditions.
Significant
main
effects
were
found
between
keys
and
hands.
In
the
key
of
B,
pianists
produced
improvisations
with
lower
entropy
and
with
more
diatonic
pitches
than
in
Bb.
The
right
hand
had
lower
quantized
nPVI
values
than
the
left
hand.
Several
significant
interactions
were
also
found.
This
research
reframes
the
distinction
between
theoretically
proposed
types
of
musical
knowledge
used
in
improvisation.
In
unfamiliar
motor
contexts,
pianists
improvised
with
less
pitch
class
variability
and
more
diatonic
pitch
classes,
implying
that
in
the
absence
of
procedural
knowledge,
improvisers
rely
more
on
explicit
knowledge
of
tonality.
This
suggests
new
ways
to
consider
modes
of
improvising.
Distributed
creativity
in
Tongue
of
the
Invisible
Eric
Clarke1,
Mark
Doffman1,
Liza
Lim2
1Faculty
of
Music,
University
of
Oxford,
UK
2School
of
Music,
Humanities
and
Media,
University
of
Huddersfield,
UK
Theoretical
and
empirical
accounts
of
musical
creativity
have
been
dominated
by
individualistic
and
de-‐contextualised
accounts
of
rather
abstracted
‘creative
processes’.
More
recently
there
has
been
increasing
recognition
of
and
interest
in
the
distributed
and
situated
nature
of
musical
creativity
–
particularly
in
the
interface
between
composition,
improvisation
and
performance.
This
paper
reports
on
the
creation,
rehearsal
and
performance
of
a
60-‐minute
work
(Tongue
of
the
Invisible,
by
Liza
Lim)
that
incorporates
a
variety
of
composed
and
more
improvised
elements.
The
aim
of
the
project
is
to
investigate
and
understand
aspects
of
ownership
(both
in
an
affective
sense,
and
in
terms
of
creative
property),
creative
control,
and
social
and
psychological
components
in
distributed
musical
creativity.
A
large
body
of
qualitative
data
has
been
gathered,
including
discussions
with
the
composer
(Lim),
extensive
audio
and
video
recordings
of
the
rehearsal
processes
that
led
to
the
first
performances,
and
recorded
interviews
with
many
of
the
performers.
Using
ethnographic
methods
as
well
as
direct
input
from
the
composer
herself,
this
paper
will
present
analyses
of
the
distributed
creative
dynamics
exemplified
in
a
number
of
targeted
moments
in
the
work.
These
analyses
expose
the
complex
network
of
forces
that
characterize
the
creative
dynamics
of
the
piece
and
its
genesis,
involving
institutional,
social
psychological,
semiotic,
cognitive
and
embodied
components.
Taken
together
they
afford
a
rich
and
complex
picture
of
collaborative
creativity
in
the
interface
between
composition-‐
improvisation-‐performance,
contributing
to
the
significant
re-‐theorising
of
creativity
that
is
going
on
from
many
disciplinary
perspectives.
Cognition
and
Segmentation
in
Collective
Free
Improvisation:
An
Exploratory
Study
Clément
Canonne,1
Nicolas
B.
Garnier2
1Centre
Georges
Chevrier,
UMR
5605,
Université
de
Bourgogne,
France
2Laboratoire
de
Physique
de
l’ENS
de
Lyon,
CNRS
UMR
5672,
Université
de
Lyon,
France
Collective
Free
Improvisation
(CFI)
is
a
very
challenging
form
of
improvisation.
In
CFI,
improvisers
do
not
use
any
pre-‐existing
structure
(like
the
standard
in
straight-‐ahead
jazz),
but
try
anyway
to
produce
together
coherent
music.
This
can
be
seen
as
a
coordination
problem:
musicians'
production
must
converge
to
collective
sequences,
defined
as
time
frames
during
which
each
improviser
achieves
relative
stability
in
his
musical
output
while
judging
the
overall
result
satisfying.
In
this
paper,
we
report
on
an
exploratory
study
made
124
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
with
free
improvisers
in
December
2011
in
order
to
understand
the
cognition
of
musicians
placed
in
a
CFI
context,
in
particular
the
role
played
by
their
representations
of
the
improvisation
under
different
type
of
sequences
into
the
explanation
of
both
their
behaviors
and
the
coordination
success
or
failure.
Paper
Session
16:
Crystal
Hall,
17:00-‐18:30
Emotion
perception
Understanding
Music-‐Related
Emotion:
Lessons
from
Ethology
David
Huron
School
of
Music,
Ohio
State
University,
USA
A
number
of
musically-‐pertinent
lessons
are
drawn
from
research
on
animal
behavior
(ethology).
The
ethological
distinction
between
signals
and
cues
is
used
to
highlight
the
difference
between
felt
and
expressed
emotion.
Several
ethologically-‐inspired
studies
are
described
–
principally
studies
related
to
music
and
sadness.
An
ethologically-‐inspired
model
is
proposed
(the
Acoustic
Ethological
Model).
The
question
of
how
music
induces
emotion
in
a
listener
is
addressed,
and
it
is
proposed
that
signaling
represents
a
previously
unidentified
mechanism
for
inducing
affect.
An
integrated
theory
of
sadness/grief
is
offered,
where
sadness
is
characterized
as
a
personal/covert
affect,
and
grief
is
characterized
as
a
social/overt
affect.
Sadness
and
grief
tend
to
co-‐occur
because
they
provide
complementary
strategies
for
addressing
difficult
circumstances.
Emotion
perception
of
dyads
and
triads
in
congenital
amusia
Manuela
M.
Marin,1
William
F.
Thompson,2
Lauren
Stewart3
1Department
of
Basic
Psychological
Research
and
Research
Methods,
University
of
Vienna,
Austria; 2Department of Psychology, Macquarie University, Australia; 3Department of
Psychology, Goldsmiths, University of London, United Kingdom
Congenital amusia is a neurodevelopmental disorder characterized by deficits in pitch
processing. Emotional responses to music have rarely been studied in this clinical group. We
asked whether amusics differ from controls in pleasantness judgements of isolated dyads
and in happiness/sadness judgements of isolated major/minor chords. We also probed
whether the spectrum of sounds in a dyad or triad (sine-‐tone vs. complex-‐tone) affects
emotional sensitivity to consonance/dissonance and mode. Thirteen amusics and 13 controls
were matched on a range of variables. Dyads or triads were sine-‐tones or complex sounds
(piano timbre), 1.5 s length, and equated for loudness. Dyads comprised intervals from one
to 12 semitones. Major and minor triads were played in root position. Participants rated the
pleasantness of dyads and the happiness/sadness of triads on a 7-‐point scale. The profile of
pleasantness ratings for sine-‐tone dyads was less differentiated in amusics. Compared to
controls, amusics also assigned lower pleasantness ratings to consonant sine-‐tone and
complex-‐tone dyads. Amusics did not differ from controls for ratings of dissonant sine-‐tone
dyads, but assigned marginally significantly higher pleasantness ratings for dissonant
complex-‐tone dyads. Happiness/sadness judgements by controls differed for major and
minor triads, but amusics only differentiated between major and minor complex-‐tone
chords. Major sine-‐tone and complex triads were rated as less happy by amusics compared
to controls, but minor triads were rated similarly in both groups. Amusics differ from
controls in their perception of the pleasantness of dyads and in the perception of
happiness/sadness for major/minor triads. The implications of these data for models of
congenital amusia are discussed.
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 125
Rare pitch-‐classes are larger and stronger: implicit absolute pitch, exposure
effects, and qualia of harmonic intervals
Zohar Eitan,1 Moshe Shay Ben-‐Haim,2 Eran Chajut,3
1School of Music., Tel Aviv University, Israel; 2School of Psychology, Tel Aviv University, Israel
3Department of Psychology and Education., The Open University, Israel
It
is
widely
accepted
that
stimuli's
frequency
of
occurrence
affects perceptual
processes.
In
western
tonal
repertory,
some
pitch
classes
are
much
more
frequent
than
others.
Given
recent
studies
showing
that
long-‐term
memory
for
pitch
chroma
is
widespread,
we
hypothesized
that
common
and
rare
pitches
would
generate
different
expressive
experiences
in
listeners.
We
examined
this
hypothesis
with
regard
to
emotional
and
cross-‐
modal
meanings
of
harmonic
intervals,
which
were
comprised
of
common
or
rarer
pitch
combinations.
96
non-‐musicians
rated
two
harmonic
intervals
(sampled
guitar
sounds),
each
presented
in
6
pitch
transpositions,
on
10
bi-‐polar
expression
scales
(e.g.,
Weak-‐Strong,
Happy-‐Sad).
Ratings
were
significantly
associated
with
interval
type
(3rd
or
4th),
pitch
height,
and
occurrence
frequency.
In
accordance
with
previous
studies,
Participants
rated
higher
pitch
intervals
as
happier,
harder,
brighter,
smaller,
sweeter,
weaker,
and
more
relaxed
than
lower
ones
(p<0.005).
Most
importantly,
participants
rated
rare
pitch
combinations
in
both
intervals
as
larger
and
stronger
than
their
adjacent
common
counterparts
(p<0.05,
FDR
corrected).
Results
suggest
that
rates
of
exposure
to
absolute
pitches
in
music
affect
the
way
pitch
combinations
are
experienced.
Specifically,
frequency
of
occurrence
affected
“potency”
scales
(Osgood
et
al.,
1957),
associated
with
power
and
magnitude,
as
rarer
intervals
were
rated
higher
in
potency
(stronger,
larger).
This
novel
exposure
effect
suggests
that
implicit
absolute
pitch
abilities
are
not
only
widespread
among
non-‐musicians,
but
partake
significantly
in
the
perception
of
the
expressive
qualities
of
musical
sound.
Paper
Session
17:
Dock
Six
Hall,
17:00-‐18:30
Popular
music
&
music
in
the
media
Music
in
political
commercials:
A
study
of
its
use
as
affective
priming
Richard
Ashley
Program
in
Music
Theory
and
Cognition,
Northwestern
University,
USA
This
study
investigates
how
music
may
influence
viewers’
responses
to
political
advertisements,
looking
specifically
at
the
timecourse
of
affective
responses.
It
builds
on
prior
research
dealing
with
affective
and
perceptual
responses
to
brief
stimuli.
The
primary
hypothesis
is
that
a
listener’s
very
early
response
to
a
commercial’s
music
serves
as
an
affective
prime
for
processing
the
remainder
of
the
commercial.
This
project
involves
both
a
corpus
analysis
and
an
experiment.
The
corpus
used
is
the
database
of
political
advertisements
maintained
by
the
Washington
Post;
this
study
restricted
itself
to
television
and
radio
commercials
from
the
year
2008,
during
the
general
US
Presidential
campaigns
of
Barack
Obama
and
John
McCain.
The
experiment
collects
affective
valence
and
intensity
responses
to
excerpts
from
the
ads’
beginnings
in
three
conditions:
audio
only,
video
only,
and
audio
+
video.
Excerpts
are
of
variable
length
(±33
msec.
to
4200
msec.)
and
also
include
the
entire
commercial
(most
of
which
are
30
seconds
in
length).
In
results
to
date,
it
appears
that
music
provides
the
fastest
path
to
an
emotional
response
on
the
part
of
a
viewer.
Music
is
typically
employed
from
the
very
beginnings
of
advertisements;
affective
responses
to
audio
excerpts
of
100-‐250
msec.
are
frequently
stronger
than
those
found
in
the
corresponding
visual
excerpts,
depending
on
the
ad’s
contents.
Although
judgments
of
126
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
the
full
commercials
are
more
intense
and
more
stable
than
judgments
of
the
brief
excerpts,
the
affective
priming
seen
in
responses
to
the
music
is
borne
out
by
the
commercial
as
a
whole.
Do
Opposites
Attract?
Personality
and
Seduction
on
the
Dance
Floor
Geoff
Luck,
Suvi
Saarikallio,
Marc
Thompson,
Birgitta
Burger,
Petri
Toiviainen
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
Department
of
Music,
University
of
Jyväskylä,
Finland
Some
authors
propose
that
we
are
more
attracted
to
opposite-‐sex
individuals
with
personalities
similar
to
our
own.
Others
propose
that
we
prefer
individuals
with
different
personalities.
We
investigated
this
issue
by
examining
personality
and
attraction
on
the
dance
floor.
Specifically,
we
investigated
how
the
personality
of
both
observers
and
dancers
affected
the
former’s
attractiveness
ratings
of
the
latter.
Sixty-‐two
heterosexual
adult
participants
(mean
age
=
24.68
years,
34
females)
watched
48
short
(30
s)
audio-‐visual
point-‐light
animations
of
adults
dancing
to
music.
Stimuli
were
comprised
of
eight
females
and
eight
males,
each
dancing
to
three
songs
representing
Techno,
Pop,
and
Latin
genres.
For
each
stimulus,
participants
rated
the
perceived
skill
of
the
dancer,
and
the
likelihood
with
which
they
would
go
on
a
date
with
them.
Both
dancers’
and
observers’
personality
were
assessed
using
the
44-‐item
version
of
the
Big
Five
Inventory.
Correlational
analyses
revealed
that
women
rated
men
high
in
Openness
to
experience
as
better
dancers,
while
men
low
in
Openness
gave
higher
ratings
of
female
dancers.
Women
preferred
more
Conscientious
men,
but
men
preferred
less
Conscientious
women.
Women
preferred
less
Extraverted
men,
while
men
preferred
more
Extraverted
women,
especially
if
they
were
more
Extraverted
themselves.
Both
women
and
men
preferred
less
Agreeable
opposite-‐sex
dancers.
Finally,
both
women
and
men
preferred
more
Neurotic
opposite-‐sex
dancers.
This
study
offers
some
fascinating
insights
into
the
ways
in
which
personality
shapes
interpersonal
attraction
on
the
dance
floor,
and
partially
supports
the
idea
that
opposites
sometimes
do
attract.
Doubtful
effects
of
background
music
in
television
news
magazines
Reinhard
Kopiez,
Friedrich
Platz,
Anna
Wolf
Hanover
University
of
Music,
Drama,
and
Media,
Hanover
Music
Lab,
Germany
Experimental
data
on
the
effects
of
background
music
on
cognition,
affect
or
attitude
are
rare
and
ambiguous.
Additionally,
the
music
selection
in
these
studies
seems
to
be
arbitrary.
We
used
objectively
selected
background
music
and
the
Elaboration
Likelihood
Model
was
used
to
predict
negative
effects
of
music
on
the
central
route
of
processing
(recall)
but
positive
effects
on
the
peripheral
route
(liking)
of
the
ELM.
A
television
report
on
toxic
substances
in
energy
saving
lamps)
served
as
the
basic
stimulus
in
5
versions:
(a)
no
music,
and
(b)
4
additional
versions
with
high/low
valence/arousal
background
music.
A
five
group
between
subjects
design
(group
size
each
n
=
100,
age
range:
18-‐60
years,
random
selection
of
“consumers”)
was
used,
and
stimuli
were
rated
in
an
online
study.
As
the
dependent
variable,
pre-‐post
questionnaires
on
attitudes
toward
ESL
were
given.
Additionally,
subjects
filled
in
a
recall
test
with
10
items
(5
correct,
5
false)
each
for
auditive
and
visually
presented
information.
The
ANOVA
showed
no
differences
in
recognition
of
items
from
the
film
or
in
liking
between
conditions.
A
pre-‐post
shift
of
attitude
toward
a
critical
evaluation
of
ESL
could
be
observed,
regardless
of
the
condition.
No
significant
influence
of
background
on
recognition
could
be
observed.
Our
study
could
not
confirm
the
widespread
assumption
of
a
general
positive
or
negative
effect
of
background
music
on
attitude
or
recognition.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 127
Paper
Session
18:
Timber
I
Hall,
17:00-‐18:30
Phenomenology
&
hermeneutics
Mind
the
gap:
Towards
a
phenomenological
cognitive
science
of
music
Jenny
Judge
Centre
for
Music
and
Science,
University
of
Cambridge,
UK
Cognitive
Science
is
widely
regarded
as
the
best
effort
at
studying
the
mind
that
has
been
made
to
date,
paving
the
way
for
a
truly
rigorous
account
of
cognition,
using
the
methods
and
epistemic
commitments
of
natural
science.
However,
a
large
number
of
authors
have
expressed
a
worry
that
Cognitive
Science
fails
to
account
for
phenomenological
data
and
is
therefore
not
a
full
theory
of
cognition.
As
Joseph
Levine
(Levine
1983)
put
it,
Cognitive
Science
is
suffering
from
an
‘explanatory
gap’.
In
other
words,
regardless
of
what
paradigm
is
employed
to
explain
and
predict
behavioural
data,
Cognitive
Science
fails
to
account
fully
for
how
the
mental
is
subjectively
experienced.
This
issue
has
been
debated
primarily
in
the
philosophy
of
mind
literature.
However,
insofar
as
it
concerns
Cognitive
Science,
I
will
argue
that
music
cognition
researchers
should
pay
attention
to
this
debate.
I
will
outline
the
methodological
and
epistemological
concerns
highlighted
by
the
explanatory
gap
argument,
as
well
as
indicating
some
concrete
ways
in
which
music
cognition
researchers
m ay
attempt
to
move
beyond
the
explanatory
gap
(Gallagher
and
Brosted
Sorensen
2006).
I
will
address
the
issue
of
meaning
in
light
of
the
naturalistic
approaches
of
Cognitive
Science,
arguing
that
attention
to
the
explanatory
gap
literature
allows
us
to
frame
the
issue
of
how
musical
meaning
may
survive
in
a
naturalized
picture
of
music
cognition.
I
will
discuss
the
project
of
‘naturalizing
phenomenology’
(Petitot
1999;
Zahavi
2010),
arguing
for
its
in-‐principle
possibility
as
well
as
the
promise
it
holds
for
a
more
truly
phenomenological
and
holistic
approach
to
music
cognition.
Most
of
the
literature
on
the
interface
between
philosophy
of
mind
and
Cognitive
Science
to
date
has
focused
on
research
into
visuo-‐motor
perception;
comparatively
little
attention
has
been
paid
to
auditory
or
musical
perception.
I
will
address
the
issue
of
the
visuocentrism
of
philosophy
of
mind,
arguing
that
greater
attention
to
musical
cognition,
as
well
as
greater
contact
between
philosophy
of
mind
and
Cognitive
Science,
is
important
for
a
more
complete
understanding
of
perception
in
general.
A
Nonrepresentationalist
Argument
for
Music
Patrick
Hinds
Music
Dept.,
University
of
Surrey,
United
Kingdom
Music
is
a
universally
accessible
phenomenon
that
resists
understanding.
These
conditions
have
prompted
a
considerable
discourse
on
music’s
transcendental
properties,
tied
up
with
the
notion
of
an
exclusively
musical
meaning.
Following
a
literature
review,
I
reject
this
notion,
favouring
a
leaner
theory
that
takes
music’s
lack
of
objective
meaning
just
as
a
lack
of
objective
meaning.
I
argue
that
music
is
a
self-‐directed
practice,
contingent
on
a
perceiver’s
prerogative
to
block
the
perceived
objective
significance
of
an
object
and
engage
with
it
for
the
sake
of
engaging
itself.
This
subversion
of
meaning
is,
I
suggest,
a
mechanism
in
virtue
of
which
we
may
have
consciousness
of
sound
tout
court:
when
the
world
is
separated
from
the
aspect
of
self
that
is
affording
the
means
of
perception
and
the
latter
is
taken
as
a
subject
of
experience.
Such
an
argument
can
make
intelligible
the
concept
of
intrinsically
cognitive
operations-‐
those
that
do
not
refer
outwardly.
Emerging
research
in
music
psychology
gives
empirical
grounding
to
this
concept,
accounting
for
music
experience
with
psychological
structures
that
are
nonrepresentational
and
thus
lack
extrinsic
content.
The
upshot
is
that
music
can
exemplify
nonrepresentational
experience,
where
a
‘representation’
is
an
individuated
(mental)
object
with
semantic
properties.
There
may
be
no
specifiable
object
128
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
true
to
the
experience
because
music
is
partly
constituted
by
that
which
is
intrinsically
cognitive.
This
framework
could
thus
be
wielded
in
a
discussion
of
qualia,
potentially
elucidating
the
intuition
that
some
qualities
of
experience
are
irreducibly
mental
in
nature.
Topical
Interpretations
of
Production
Music
Erkki
Huovinen,1
Anna-‐Kaisa
Kaila2
1School
of
Music,
University
of
Minnesota,
USA
2University
of
Turku,
Finland
The
present
empirical
study
sought
to
chart
the
kinds
of
mood,
environment,
and
agency
associated
with
commercially
targeted
production
music.
An
experiment
with
production
music
representing
a
“motivational”
category
involved
questions
about
mood
variables,
free
associative
imagery,
and
questions
about
selected
semantic
properties
of
the
associative
images.
The
results
suggested
that
producers
demonstrate
considerable
success
in
engineering
mood
characters
generally
recognizable
for
listeners.
Moreover,
it
was
found
that
the
associative
imagery
elicited
by
production
music
may
show
even
more
concrete
commonalities
between
listeners
in
the
kinds
of
agency
and
environments
imagined.
Associationally
cohesive
clusters
of
musical
excerpts
were
then
interpreted
w ith
reference
to
musical
topos
theory.
Based
on
a
hierarchical
clustering
of
the
results,
tentative
topical
labels
Idyll
and
Dynamism
with
respective
associational
qualities
were
identified,
along
with
a
subdivision
of
the
latter
into
two
sub-‐topoi,
Brilliance
and
Nightlife.
Notably,
the
topical
clustering
did
not
simply
reproduce
distinctions
between
musical
genres,
suggesting
that
similar
semantic
associations
may
be
mapped
onto
different
musical
genres
even
within
one
and
the
same
musical
culture.
Overall,
the
study
confirms
the
ability
of
commercial
music
to
function
as
an
agent
of
rich
meaning
formation
independently
of
the
multimedia
contexts
it
is
typically
conjoined
with.
Paper
Session
19:
Timber
II
Hall,
17:00-‐18:30
Learning
and
Skills
assessment
I
The
"Open-‐Earedness"
After
Primary
School:
Results
of
a
New
Approach
Based
on
Voluntary
Listening
Durations
Christoph
Louven
Institut
für
Musikwissenschaft
und
Musikpädagogik.,
Universität
Osnabrück,
Germany
The
assumption
that
younger
children
are
more
‘open-‐eared’
than
older
children,
i.e.
that
they
are
more
open
towards
unconventional
styles
of
music
than
older
children,
has
been
the
subject
of
several
studies
in
the
last
10
years.
Most
of
these
studies
are
based
on
a
design
that
derives
open-‐earedness
just
from
preference
ratings
of
music
examples
with
different
styles.
This
leads
to
a
intermixture
of
the
concepts
of
preference
and
openness
that
we
assume
to
be
a
serious
problem.
Therefore,
we
created
a
new
approach
with
a
computer-‐
based
design
that
combines
preference
ratings
with
measuring
voluntary
listening
durations
and
derived
a
numerical
index
of
open-‐earedness.
Results
with
primary
school
children
showed
that
although
preferences
for
different
musical
styles
changed
considerably
during
primary
school
the
index
of
open-‐earedness
did
not.
Since
all
previous
studies
on
open-‐
earedness
only
dealt
with
primary
school
children
it
has
not
yet
been
established
what
happens
to
open-‐earedness
in
older
populations.
Therefore,
this
paper
will
present
the
results
of
two
follow-‐up
studies
with
Gymnasium
(high
school)
pupils
and
university
students,
partly
with
special
music
education
(pupils
of
a
Gymnasium
with
a
special
music
profile
or
university
music
students).
This
allows
for
the
observation
of
both
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 129
development
of
open-‐earedness
after
primary
school
and
the
influence
of
special
musical
training
on
this
process.
Music
lessons,
emotion
comprehension,
and
IQ
E.
Glenn
Schellenberg,
Monika
Mankarious
University
of
Toronto,
Canada
Music
training
in
childhood
is
known
to
be
associated
positively
with
many
aspects
of
cognitive
abilities.
For
example,
enhanced
performance
for
musically
trained
compared
to
untrained
participants
is
evident
on
tests
of
listening,
memory,
verbal
abilities,
visuospatial
abilities,
nonverbal
abilities,
and
IQ.
Music
training
is
also
predictive
of
better
grades
in
school.
It
is
unclear,
however,
whether
positive
associations
with
music
training
extend
to
measures
of
social
or
emotional
functioning.
In
fact,
the
available
literature
provides
little
evidence
of
such
associations.
The
goal
was
to
examine
whether
musically
trained
and
untrained
children
differ
in
emotion
understanding,
and
if
so,
whether
any
difference
between
groups
could
be
explained
as
a
by-‐product
of
higher
IQs
among
the
trained
children.
We
recruited
60
7-‐
and
8-‐year-‐olds.
The
30
musically
trained
children
had
at
least
one
year
of
private
music
lessons
(primarily
individual
lessons)
taken
outside
of
school.
The
30
untrained
children
had
no
music
training
taken
outside
of
school.
All
children
completed
standardized
tests
of
emotion
comprehension
and
IQ.
Both
tests
are
valid,
reliable,
designed
for
children,
and
widely
used
(i.e.,
translated
into
many
different
languages).
As
in
previous
research,
music
training
was
predictive
of
higher
IQs
even
when
demographic
variables
were
held
constant.
Musically
trained
children
also
performed
better
than
untrained
children
on
the
test
of
emotion
comprehension.
The
difference
in
emotion
comprehension
between
the
two
groups
of
children
disappeared,
however,
when
IQ
was
held
constant.
Nonmusical
associations
with
music
training
appear
to
be
limited
to
tests
of
cognitive
abilities
and
their
correlates.
The
quasi-‐experimental
design
of
the
present
study
precludes
inferences
of
causation,
but
the
findings
are
consistent
with
the
idea
that
high-‐IQ
children
are
more
likely
than
other
children
to
take
music
lessons
and
to
perform
well
on
many
tests,
including
tests
of
emotion
comprehension.
More
reliable
positive
associations
between
music
training
and
social
or
emotional
functioning
may
emerge
among
children
who
take
music
lessons
in
social
contexts,
such
as
choirs
or
bands.
Introducing
a
new
test
battery
and
self-‐report
inventory
for
measuring
musical
sophistication:
The
Goldsmiths
Musical
Sophistication
Index
Daniel
Müllensiefen,1
Bruno
Gingras,2
Jason
Musil,1
Lauren
Stewart1
1Department
of
Psychology,
Goldsmiths,
University
of
London,
United
Kingdom
2Department
of
Cognitive
Biology,
University
of
Vienna,
Austria
This
talk
presents
the
Goldsmiths
Musical
Sophistication
Index
(Gold-‐MSI)
as
a
research
tool
to
capture
different
levels
of
musical
sophistication
in
the
non-‐specialist
population
that
may
develop
through
sustained
and
in-‐depth
engagement
with
music
in
various
forms,
such
as
listening,
playing,
or
processing
music
in
other
cognitive
or
emotional
ways.
A
self-‐report
questionnaire
as
well
as
an
initial
set
of
four
different
tests
of
music
perception
and
production
abilities
have
been
designed
based
on
established
findings
from
music
cognition
research:
a)
sorting
very
short
music
clips
by
timbral
similarity,
b)
perceiving
and
c)
producing
a
beat
to
a
musical
excerpt
and
d)
detecting
schematic
and
veridical
changes
in
a
melodic
memory
task.
A
version
of
the
Gold-‐MSI
has
been
implemented
online
by
the
BBC
and
has
generated
datasets
from
more
than
140,000
participants.
Analysis
of
the
data
from
the
self-‐report
inventory
generated
a
statistical
model
with
a
clear
multi-‐dimensional
structure
for
musical
sophistication
delineating
e.g.
musical
training,
emotional
usage
of
130
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
WED
music, and perception and production abilities. Furthermore, these self-‐reported
multidimensional profiles of musical sophistication are related to performance on the four
perception and production tasks. The Gold-‐MSI, as a new tool to the research community,
measures the level of musical sophistication in the non-‐specialist population on several
distinct dimensions. The question inventory and the ability tests have been psychometrically
optimized and come with data norms from a western sample of more than 120,000
individuals. The Gold-‐MSI is fully documented and free to use for research purposes.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 131
Thursday
26
July
Symposium
2:
Grand
Pietra
Hall,
09:00-‐11:00
Involuntary
Musical
Imagery:
Exploring
‘earworms’
Convener: Victoria Williamson, Discussant: Andrea Halpern
This symposium brings together interdisciplinary perspectives from institutions across three
continents to discuss the phenomenon known as ’Involuntary Musical Imagery’ (INMI) or
‘earworms’. INMI describes the experience whereby a tune comes into the mind and repeats
without conscious control. INMI is a ubiquitous occurrence with over 90% of people
reporting it at least once a week (Liikkanen, 2011), yet it is one that has traditionally
received minimal attention from empirical research. In the last five years however, it has
emerged as a rapidly growing, multidisciplinary area of research (Williamson et al. 2011),
the nature of which calls for a robust definition of the topic and scholarly debate on future
paths for investigation. This symposium is the world’s first gathering of INMI scholars aimed
at establishing INMI as a legitimate topic for study in cognitive musicology, experimental
psychology and neuroscience. We aim to create an agenda for INMI studies and open up the
discussion by probing several research questions identified thus far. We take in multiple
perspectives, including musicologists studying the structural characteristics of ‘earworm’
tunes and psychologists studying the personal factors and situational antecedents that
contribute to an INMI experience and its phenomenology.
The symposium will tackle a number of important questions related to INMI including:
(1) Is INMI a functional part of everyday cognition? If we assume that music has an
evolutionary justification, what purpose would the recurrence of involuntary music serve?
(2) Does the emotional rating or psychophysiological arousal associated with music facilitate
its incidental learning and later occurrence as INMI?
(3) Can musical structures within INMI experiences be systematically described and
compared, leading to a formula for particularly ‘catchy’ tunes?
(4) What methods are optimal for studying INMI in the lab?
New Directions for Understanding Involuntary Musical Imagery
Lassi A. Liikkanen
Helsinki Institute for Information Technology, Aalto University, Finland
Department of Communications, Stanford University, CA, USA
This paper addresses the state of art in the studies of involuntary musical imagery (INMI), an
emerging topic in psychology. We define INMI as a private, conscious experience of reliving a
musical memory without a deliberate attempt. We review the empirical literature and draw
guidelines for future research on the matter. As example of a new research direction, we
provide a study of how INMI relates to social interactions in everyday life based on a corpus
of over one thousand open-‐ended survey questions. The data shows that INMI can evoke
overt behavior and have social consequences. Some people found it difficult to distinguish
their overt spontaneous musical behavior from covert experiences. In response to an INMI
inspired music act, many had experienced socially awkward situations or were consciously
trying to avoid public musical expression. In the other end, some people choose expression
and intentionally try to “pass on the earworm”, even if they expected reproach for doing so.
These results suggest that INMI is an instance of “involuntary music”, sometimes associated
with overt behaviors and social consequences. The next steps in the research on INMI should
132
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
be
targeted
to
understanding
the
psychology
underlying
this
phenomenon
more
deeply
and
socially.
Instead
of
characterizing
the
phenomenology
on
different
levels,
we
should
seek
the
causal
mechanisms
related
to
INMI,
possibly
on
neural
level
and
to
differentiate
the
different
components
of
INMI
from
each
other
and
related
psychological
and
psychopathological
phenomena.
Earworms
from
Three
Angles:
Situational
Antecedents,
Personality
Predisposition
and
a
Musical
Formula
Victoria
J.
Williamson,
Daniel
Müllensiefen
Department
of
Psychology,
Goldsmiths
University
of
London,
London,
UK
Involuntary,
spontaneous
cognitions
are
common,
everyday
experiences
that
occur
against
a
backdrop
of
deliberate
goal-‐directed
mentation
(Christoff,
Ream
&
Gabrieli,
2004).
One
such
phenomenon
may
hold
special
promise
for
empirical
investigation
of
this
often
elusive
experience.
Involuntary
musical
imagery
(INMI)
or
‘earworms’
are
vivid,
identifiable,
and
affect
91.7%
of
the
population
at
least
once
a
week
(Liikkanen,
2012).
Utilizing
an
online
survey
instrument
(http://earwormery.com/)
we
collected
several
thousand
reports
of
earworm
episodes,
in
collaboration
with
the
BBC.
Study
1
employed
a
qualitative
grounded
theory
analysis
to
explore
themes
relating
to
the
situational
antecedents
of
INMI
experiences
(Williamson
et
al.,
2012).
The
analysis
revealed
four
main
trigger
themes
for
INMI
experiences
and
categorized
the
role
of
different
music
media.
Study
2
used
structural
equation
modeling
(SEM)
to
relate
individual
differences
in
INMI
characteristics
and
isolated
an
influence
of
obsessive
compulsive
traits.
Study
3
comprised
a
computational
analysis
of
the
musical
structure
of
several
hundred
earworm
tunes
and
compared
them
to
matched
control
tunes.
A
statistical
classification
model
was
employed
to
predict
whether
a
tune
could
be
classified
as
an
earworm
based
on
its
melodic
features.
The
use
of
INMI
as
a
model
of
spontaneous
cognition
has
generated
findings
regarding
the
phenomenological
experience
as
well
as
the
role
of
different
behavioural
and
cognitive
contributing
factors.
This
body
of
work
demonstrates
the
feasibility
of
studying
spontaneous
cognitions
through
musical
imagery,
which
has
the
potential
to
enhance
our
understanding
of
the
intricate
relationships
between
cognitive
control,
involuntary
memory,
and
the
environment.
Arousal,
Valence
and
the
Involuntary
Musical
Image
Freya
Bailes
MARCS
Institute,
University
of
Western
Sydney
The
study
of
the
emotional
qualities
of
imagined
music
is
in
its
infancy.
This
paper
reports
results
from
a
follow-‐up
of
Bailes
(2006,
2007),
with
the
aim
of
exploring
the
relationship
between
involuntary
musical
imagery
(INMI)
and
emotion.
Forty-‐seven
respondents,
aged
18
to
53
years,
were
contacted
by
SMS
for
a
total
of
42
times
over
a
period
of
7
days.
At
each
contact
they
were
required
to
fill
in
a
form
describing
their
mood,
location
and
activity,
as
well
as
details
of
any
current
musical
experience,
imagined
or
heard.
A
multiple
logistic
regression
analysis
was
performed
with
current
musical
state
at
the
time
of
contact
as
the
dependent
variable
(hearing
music,
imagining
music,
both
hearing
and
imagining
music,
neither
hearing
nor
imagining
music)
and
ratings
of
mood
as
predictor
variables.
Preliminary
evidence
of
a
link
between
arousal
and
the
propensity
to
experience
INMI
was
found,
showing
that
self-‐ratings
as
‘drowsy’
or
‘neither
alert
nor
drowsy’
at
the
time
of
contact
were
negatively
associated
with
imagining
music.
In
other
words,
participants
who
did
not
feel
that
they
were
alert
were
unlikely
to
be
imagining
music.
Ratings
for
the
mood
pair
Happy/Sad,
which
best
exemplifies
valence,
were
not
significant
predictors
of
INMI.
Qualitative
analyses
of
responses
to
an
open
question
about
possible
reasons
for
imagining
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 133
music
are
expected
to
reveal
information
about
the
emotional
characteristics
of
the
music,
context,
and
respondent.
When
an
everyday-‐phenomenon
becomes
clinical:
The
case
of
long-‐term
‘earworms’
Jan
Hemming,1
Eckart
Altenmüller2
1Music
Institute,
University
of
Kassel,
Germany,
2Institute
for
Music
Physiology
and
Musician's
Medicine, University for Music, Drama and Media Hannover, Germany
Both Authors with a background in musicology respectively in neurology were individually
contacted by a number of subjects suffering from long-‐term 'earworms' in the past. Taking a
closer look at the subjects in question revealed partly clinical conditions (e.g. tinnitus,
hearing loss, depression, hallucinations). Systematic case studies were set up to investigate
the phenomena in detail. Current research on involuntary musical imagery has shown that
music lovers and musicians actually have more 'earworms' than people who don't bother
much about music. As such the frequency and intensity of 'earworms' might be an indication
of a general affinity to music, which is confirmed by all of the subjects described in the case-‐
studies, and the frequent report of depression adds to the picture of general increased
sensitivity in life. Also, sensory deprivation through hearing-‐loss seems to cause autonomous
activity of musical networks in the brain. Existing definitions of hallucinations (subjects
believe in the existence of a sound-‐source outside of themselves) as opposed to 'earworms'
or involuntary musical imagery (subjects are aware there is no external sound-‐source as it is
felt to be located inside the head) still need to be properly applied or clarified. With regard to
tinnitus, it seems its sometimes very clear physical causation (dental and cervical spine
disorders) have been overlooked in favor of neuroscientifc approaches. With regard to long-‐
term-‐'earworms', the application of anti-‐depressants seems promising since these have the
potential of eliminating memory traces. Their combination with psychotherapeutic
treatment can result in significant relief for the affected subject.
Paper Session 20: Crystal Hall, 09:00-‐11:00
Applications & everyday contexts
The influence of music on gambling: The role of arousal
Stephanie Bramley1, Nicola Dibben2 and Richard Rowe3
1 & 2Department of Music, The University of Sheffield, United Kingdom
3Department of Psychology, The University of Sheffield, United Kingdom
Drawing
on
research
which
has
investigated
music
tempo's
effect
on
behaviour
in
a
number
of
domains
we
consider
tempo
as
a
factor
which
can
influence
gambling
behaviour.
We
examine
research
which
has
investigated
music
tempo’s
influence
on
gambling
behaviour
and
consider
whether
arousal
is
a
psychological
mechanism
responsible
for
tempo’s
influence
on
gambling
behaviour.
This
abstract
provides
the
background
to
a
study
we
have
carried
out
investigating
the
influence
of
music
tempo
on
virtual
roulette
behaviour
which
tests
whether
subjective
and/or
physiological
arousal
are
responsible
for
music
tempo’s
effects
on
gambling
behaviour.
The
findings
of
our
study
will
be
discussed
in
our
conference
presentation.
To
conclude
we
consider
the
implications
of
determining
arousal
as
responsible
for
music
tempo’s
influence
on
gambling
behaviour
for
gamblers,
gambling
operators
and
current
gambling
practice.
134
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
The
influence
of
age
and
music
on
ergogenic
outcomes,
energy
and
affect
in
gym-‐based
exercise
sessions
Rachel
Hallett,
Alexandra
Lamont
School
of
Psychological
Research,
Keele
University,
UK
Music
is
frequently
used
to
accompany
group
and
individual
exercise
to
help
increase
motivation
and
enjoyment.
It
has
been
suggested
that
to
be
motivating,
exercise
music
should
reflect
the
age
of
exercisers,
but
there
is
little
empirical
support
for
this
in
gym
contexts.
This
study
explores
the
area
using
mixed
methods,
with
a
qualitative
study
used
to
inform
the
design
of
a
field-‐based
within-‐participant
quasi-‐experiment.
Sixteen
participants
were
interviewed
about
exercise
preferences,
motivations
and
media
use
during
exercise
and
the
data
explored
using
thematic
analysis.
Results
indicated
that
contemporary
music
was
widely
liked
by
a
‘worker’
group
of
exercisers
into
their
late
fifties,
while
a
smaller
‘socialiser’
group,
typically
retired,
were
ambivalent
towards
music.
Twenty-‐four
participants
undertook
a
treadmill
protocol
with
measurements
of
distance
covered,
self-‐
perceived
affect
and
energy
and
liking
for
each
of
the
three
music
conditions:
contemporary
pop
(80-‐100bpm),
contemporary
dance
(~130bpm)
and
1960s/1970s
pop
(~130bpm).
Data
was
analyzed
by
participant
age
with
an
over-‐45
and
under-‐45
group.
Although
1960s/1970s
music
led
to
slightly
superior
outcomes
for
the
older
group,
it
was
disliked
by
the
younger
group
and
produced
inferior
outcomes
to
the
other
styles;
there
was
a
significant
interaction
between
age
and
music
preference.
The
1960s/1970s
music
offers
only
a
modest
benefit
for
older
exercisers
and
appears
to
alienate
younger
exercisers.
Dance
music,
however,
appeals
to
a
broad
age
range
and
is
recommended
for
gym
use,
although
it
may
be
advisable
to
reduce
volume
when
attendance
by
retired
members
is
high.
A
Viable
Alternative
Music
Background
As
Mediated
Intervention
For
Increased
Drivers
Safety
Warren
Brodsky,1
Micha
Kizner2
1Music
Science
Lab,
Department
of
the
Arts,
Ben-‐Gurion
University
of
the
Negev,
Israel
2Music
Education
Division,
Ministry
of
Education,
State
of
Israel
In-‐car
music
listening
requires
drivers
to
process
sounds
and
words,
and
most
sing/tap
along.
While
it
may
difficult
to
assess
music
as
a
risk-‐factor
for
distraction,
previous
studies
have
reported:
momentary
peak
levels
in
loud-‐music
disrupt
vestibulo-‐ocular
control;
loud
music
causes
a
decrease
in
response
time;
arousing
music
impairs
driving
performance;
and
quick-‐paced
music
increases
cruising
speed
and
traffic
violations.
It
is
indeed
worrying
that
drivers
underestimate
the
effects
of
music,
or
perceive
decreased
vehicular
performance
due
to
in-‐car
listening.
In
the
current
study
we
produced
an
alternative
music
background
proposed
to
maintain
aural
stimuli
at
moderate
levels
of
cognitive
awareness
–
in
an
effort
to
decrease
music-‐generated
distraction.
After
a
group
of
everyday
listeners
confirmed
the
background
as
suitable
for
driving
in
a
car,
we
implemented
two
studies:
22
drivers
each
drove
4-‐trips
while
listening
to
driver-‐preferred
music
brought
from
home
(2-‐trips)
or
to
the
alternative
background
(2-‐trips);
31
drivers
each
drove
10-‐trips
while
listening
the
alternative
background.
In
Study1
we
found
criterion
related
validity,
and
the
alternative
background
preoccupied
less
attention.
In
Study2
we
found
habituation
effects,
as
well
as
increased
feelings
of
driver
safety
and
ever-‐increasing
levels
of
positive
mood.
Music
designed
for
driver
safety
is
an
important
contribution
in
the
war
against
traffic
accidents
and
human
fatality.
One
day,
such
applications
might
become
a
standard
form
of
mediated
intervention
–
especially
among
young
drivers
who
often
choose
music
that
is
highly
energetic
and
aggressive,
consisting
of
a
fast-‐tempo
accentuated
beat,
played
at
strong
intensity
levels
of
elevated
volumes.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 135
Evaluating
Crowdsourcing
through
Amazon
Mechanical
Turk
as
a
Technique
for
Conducting
Music
Perception
Experiments
Jieun
Oh,
Ge
Wang
Center
for
Computer
Research
in
Music
and
Acoustics,
Department
of
Music,
Stanford
University,
USA
Online
crowdsourcing
marketplaces,
such
as
the
Amazon
Mechanical
Turk,
provide
an
environment
for
cost-‐effective
crowdsourcing
on
a
massive
scale,
leveraging
human
intelligence,
expertise,
and
judgment.
While
the
Mechanical
Turk
is
typically
used
by
businesses
to
clean
data,
categorize
items,
and
moderate
content,
the
scientific
community,
too,
has
begun
experimenting
with
it
to
conduct
academic
research.
In
this
paper,
we
evaluate
crowdsourcing
as
a
technique
for
conducting
music
perception
experiments
by
first
describing
how
principles
of
experimental
design
can
be
implemented
on
the
Mechanical
Turk.
Then,
we
discuss
the
pros
and
cons
of
online
crowdsourcing
with
respect
to
subject
demography,
answer
quality,
recruitment
cost,
and
ethical
concerns.
Finally,
we
address
audio-‐specific
factors
relevant
to
researchers
in
the
field
of
music
perception
and
cognition.
The
goal
of
this
review
is
to
offer
practical
guidelines
for
designing
experiments
that
best
leverage
the
benefits
and
overcome
the
challenges
of
employing
crowdsourcing
as
a
research
methodology.
Paper
Session
21:
Dock
Six
Hall,
09:00-‐11:00
Learning
and
skills
assessment
II
Effects
of
a
class-‐room
based
music
program
on
verbal
memory
of
primary
school
children
within
a
longitudinal
design
Ingo
Roden,1
Stephan
Bongard,2
Gunter
Kreutz1
1Department
of
Music,
School
of
Linguistics
and
Cultural
Studies,
Carl
von
Ossietzky
University
Oldenburg Germany, 2Department of Psychology, Goethe University Frankfurt, Germany
Previous research showed beneficial influences of music training on verbal memory. We
examined this assumption using a longitudinal study design. The hypothesis that musical
tuition may improve verbal memory was tested in a total of 73 primary school children.
Children either participated in a class-‐room based music program with weekly sessions of
instrumental tuition (N=25, 14 female, 11 male, mean age 7.32 years) or received an
extended natural science training (N=25, 11 female, 14 male, mean age 7.68 years) at school.
A third group of children received no additional training (N=23, 11 female, 12 male, mean
age 8.22 years). Each child completed a verbal memory test for three times over a period of
18 month. Socio-‐economic background and basic cognitive functions were assessed for each
participant and used as covariates in subsequent analyses of variance (ANOVAs). Significant
Group by Time interactions were found in the measures of verbal learning, verbal immediate
and delayed recall. Children in the music group gained greater improvements in those
measures than children in the control groups. These findings are consistent with previous
research and suggest that children receiving music training may benefit from improvements
in verbal memory.
136
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Assessing young children’s musical enculturation: A novel method for testing
sensitivity to key membership, harmony, and musical metre
Kathleen M. Einarson, Kathleen A. Corrigall, Laurel J. Trainor
Department of Psychology, Neuroscience & Behaviour, McMaster University, Canada
We have developed a novel, video-‐based paradigm to test Western children's perception of
1) Western tonality (key membership and harmony), and 2) beat alignment in music with
simple or complex metric structure. In the tonal structure task, 4-‐ and 5-‐year-‐olds watched
two videos, each of a puppet playing a melody or chord sequence, and gave a prize to the
puppet that played the better song. One puppet played a standard sequence that ended
according to rules of Western harmony, and the other played a deviant version that was
either entirely atonal, or that ended out-‐of-‐key or on an unexpected harmony within the key.
For the beat alignment sensitivity test, 5-‐year-‐olds judged which of two puppets was a better
drummer, when one was in synchrony with the beat of a musical excerpt and one was either
out of phase or out of tempo with the beat. In the tonal structure task, 5-‐year-‐olds selected
the standard version significantly more often than chance for both melodies and chords
when the deviant violated key structure, but not when it violated the expected harmony. 4-‐
year-‐olds performed at chance in all conditions. In the metrical task, 5-‐year-‐olds selected the
synchronous drumming significantly more often for excerpts with simple metre than
excerpts with complex metre, and their performance was at chance levels for complex metre
excerpts in both the phase error and tempo error conditions. This paradigm shows great
promise for testing other aspects of musical development in young children.
Investigating the associations between musical abilities and precursors of
literacy in preschool children
Franziska Degé, Gudrun Schwarzer
Department of Developmental Psychology, Justus-‐Liebig-‐University Giessen, Germany
It was shown that specific music perception abilities are related to reading and phonological
awareness, an important precursor of literacy. Anvari and colleagues (2002) demonstrated
that only part of the association between music perception and reading was explained by
phonological awareness. Therefore, the relationship between other precursors of literacy
and musical abilities need further investigation. In addition, previous studies have not
investigated the relation between music production abilities and precursors of literacy. Thus,
the aim of our study was twofold. Firstly, we investigated the relation between four
precursors of literacy and musical abilities. Secondly, we included not only music perception
abilities but also music production abilities in our analyses. We tested 55 (28 girls)
preschoolers. We assessed precursors of literacy with a well established test battery which
comprises four subtests measuring phonological awareness, one subtest on working
memory, one on selective attention, and one on rapid automatized naming. Musical abilities
were tested with a music screening by Jungbluth and Hafen (2005) that contained
comparisons of melody, pitch, rhythm, metre, and tone length as well as the reproduction of
a given rhythm, metre, and song. As control variables intelligence and socioeconomic status
measured by parents’ education were assessed. Partial correlations that controlled for
gender, intelligence, and SES revealed a significant positive association between the
aggregated score of phonological awareness and music perception and production abilities.
Furthermore, significant positive associations were revealed between working memory and
the overall scores of music perception and production. We conclude that phonological
awareness and working memory, which are both precursors of literacy, are associated with
musical abilities. Furthermore, we demonstrated that both music perception and music
production abilities are related to phonological awareness and working memory.
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 137
The cognition of Grouping Structure in real-‐time listening of music. A GTTM-‐
based empirical research on 6 and 8-‐year-‐old children
Dimitra Koniari,1 Costas Tsougras2
1Department of Music Science and Art, University of Macedonia, Greece
2School of Music Studies, Aristotle University of Thessaloniki, Greece
The
aims
of
the
present
study
are:
a)
to
investigate
how
children
of
average
ages
6
and
8
segment
a
musical
piece
during
real-‐time
listening,
b)
to
compare
children’s
indicated
segment
boundaries
with
boundaries
obtained
by
the
segmentation
of
the
piece
by
adults
(musicians
and
nonmusicians),
and
c)
to
compare
the
adults’
and
children’s
segmentation
profiles
to
the
structural
boundaries
predicted
in
a
previous
study
by
a
full
analysis
of
the
piece
according
to
the
principles
of
GTTM.
70
children
participated
in
the
empirical
study,
of
average
age
6
and
8
(n
=35
individuals
for
each
Grade),
as
well
as
50
adults
(25
musicians
and
25
nonmusicians).
The
performed
boundaries
were
placed
into
two
categories,
depending
on
whether
or
not
they
were
predicted
by
the
analysis
of
the
piece
using
the
Generative
Theory
of
Tonal
Music
(GTTM).
Participants
indicated
a
maximum
of
38
segment
boundaries.
16
corresponded
to
the
boundaries
predicted
by
the
analysis
of
the
piece
with
the
use
of
GTTM,
and
22
were
not.
The
deviations
in
the
range
of
values
obtained
from
the
38
segment
boundaries
are
also
justified
by
the
theory's
principle
of
hierarchy,
by
the
GS
and
TSR
preference
rules,
and
by
the
idiomatic
features
of
the
selected
piece.
The
results
suggest
that
even
by
the
age
of
6,
children
can
perceive
the
grouping
structure
of
a
piece
in
accordance
to
the
general
laws
expressed
by
the
GTTM
and
by
the
age
of
8
year-‐old
children
are
almost
perfect
‘experienced
listeners’
of
their
musical
culture,
in
accordance
to
the
GTTM’s
principles.
Paper
Session
22:
Timber
I
Hall,
09:00-‐11:00
Neuroscience
Perspectives
Abductive
Reasoning,
Brain
Mechanisms
and
Creative
Cognition:
Three
Perspectives
Leading
to
the
Assumption
that
Perception
of
Music
Starts
from
the
Insight
of
Listeners
Sebastian
Schmidt,
Thomas
A.
Troge,
Denis
Lorrain
Institute
for
Musicology
and
Music
Informatics,
University
of
Music
Karlsruhe,
Germany
A
theory
of
listening
to
music
is
proposed.
It
is
suggested
that,
for
listeners,
the
process
of
prediction
is
the
starting
point
to
experiencing
music.
Indications
for
this
proposal
are
defined
and
discussed
within
perspectives
of
cognitive
science,
philosophy
and
experimental
psychology,
leading
to
a
more
structured
thesis
that
the
perception
of
music
starts
from
the
inside,
through
both,
a
pre-‐wired
and
an
experienced
extrapolation
into
the
future
(we
call
this
a-‐priori
listening).
In
a
second
step,
we
propose
that
a
general
a-‐priori
listening
is
involved
in
processes
of
creative
cognition,
or,
that
is
to
say,
that
creative
cognition
is
the
necessary
component
of
a-‐priori
listening.
Finally,
based
in
the
precondition
that
music
should
not
be
thoroughly
expected,
we
outline
a
perspective
of
listening
to
music
as
a
set
of
creative
processes,
which
constantly
interact.
138
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Interaction between melodic expectation and syntactical/semantic processes
on evoked and oscillatory neural responses
Elisa Carrus,1 Marcus Pearce,2 Joydeep Bhattacharya1
1Department of Psychology, Goldsmiths, University of London, UK
2Center for Digital Music, School of Electronic Engineering & Computer Science, Queen Mary’s,
University of London, UK
Electrophysiological studies have shown support for a neural overlap during structural
processing of music and language (Patel, 1998; Koelsch et al, 2005; Carrus et al, 2011).
Although previous studies have used harmonic stimuli, studying the effect of melodic
expectation is fundamental for an understanding of the extent to which music and language
share neural resources. This study aimed at investigating the neural interaction between
these two domains by using stimuli constructed with a computational model (Pearce, 2005).
Melodies ended with either a high-‐probability (expected) or a low-‐probability (unexpected)
note (Pearce, 2005). Sentences ended with one of the following types of words: a correct
word, a semantically incongruent word, a syntactically incorrect word, a word with a
combined syntactic-‐semantic violation. Music and language were presented in synch and
both consisted of five elements. Participants responded to the acceptability of sentences
while the EEG was recorded. The analysis of event-‐related potentials and oscillations showed
a neural interaction between music and language processing. This was reflected in a
decrease of the LAN (Left Anterior Negativity) when syntactically incorrect sentences were
presented with a low-‐probability note and in a decrease of low-‐frequency (1-‐7 Hz)
oscillatory power soon after the simultaneous presence of violations in music and language
but only for single syntactic and single semantic violations. This study provides the first
evidence to show neural interactions between melodic processing and language processing.
The results are interpreted in the context of the framework of shared neural resources
between music and language advanced by Patel (2003).
BAASTA: Battery for the Assessment of Auditory Sensorimotor and Timing
Abilities
Nicolas Farrugia, Charles-‐Etienne Benoit, Eleanor Harding, Sonja A. Kotz, Simone Dalla Bella
Department of Cognitive Psychology, WSFiZ in Warsaw, Poland
Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany
EUROMOV, M2H Laboratory, Université de Montpellier I, France
In this paper we describe the Battery for the Assessment of Auditory Sensorimotor and
Timing Abilities (BAASTA), a new tool developed for assessing systematically rhythm
perception and auditory-‐motor coupling. BAASTA includes perceptual tasks and
Sensorimotor Synchronization (SMS) tasks. In the perceptual tasks, auditory thresholds in a
duration discrimination task and anisochrony detection tasks (i.e., with an isochronous
sequence and with music) are measured via the Maximum Likelihood Procedure (MLP). In
addition, a customized version of the Beat Alignment Task (BAT) is performed to assess
participants’ ability to perform beat extraction with musical stimuli. Tapping tasks are used
to assess participants' SMS abilities, including hand tapping along with isochronous
sequences and music, and tapping to sequences presenting a tempo change. The battery is
validated in young expert musicians and age-‐matched non-‐musicians, as well as in aged
participants. In addition, the results from 3 cases of patients with Parkinson’s Disease are
presented. BAASTA is sensitive to differences linked to musical training ; moreover the
battery can serve to characterize differences among individuals (e.g., patients with
neurodegenerative disorders) in terms of sensorimotor and rhythm perception abilities.
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 139
EEG-‐based emotion perception during music listening
Konstantinos Trochidis,1 Emmanuel Bigand2
1Department of Music Research, McGill University, Canada
2Department of Cognitive Psychology, University of Burgundy, France
In
the
present
study
correlations
between
electroencephalographic
(EEG)
activity
and
emotional
responses
during
music
listening
were
investigated.
Carefully
selected
musical
excerpts
of
classical
music
tested
in
previous
studies
were
employed
as
stimuli.
During
the
experiments
EEG
activity
was
recorded
in
different
regions
without
a-‐priori
defining
regions
of
interest.
The
analysis
of
the
data
was
performed
in
both
alpha
and
theta
bands.
Consistent
with
existing
findings,
the
results
in
alpha
band
confirm
the
hemispheric
specialization
hypothesis
for
emotional
valence.
Positively
valenced
emotions
(happy
and
serene)
elicited
greater
relative
left
EEG
activity,
whereas
negatively
valenced
emotions
(angry
and
sad)
elicited
greater
relative
right
EEG
activity.
The
results
show
interesting
findings
related
to
the
affective
dimension
(arousal
and
valence)
by
electrodes
in
different
brain
regions
that
might
be
useful
in
extracting
effective
features
for
emotion
recognition
applications.
Moreover,
theta
asymmetries
observed
between
pleasant
and
unpleasant
musical
excerpts
support
the
hypothesis
that
theta
power
may
have
a
more
important
role
in
emotion
processing
than
previously
believed
and
should
be
more
carefully
considered
in
future
studies.
Paper
Session
23:
Timber
II
Hall,
09:00-‐11:00
Μotion
and
coordination
in
performance
Examining
finger-‐wrist
joint-‐angle
structure
in
piano
playing
with
motion-‐
capture
technology
Werner
Goebl,*
Caroline
Palmer#
*Institute
of
Music
Acoustics,
University
of
Music
and
Performing
Arts
Vienna,
Austria
#Department
of
Psychology,
McGill
University,
Canada
Piano
technique
is
acquired
over
decades
of
practice
and
piano
educators
disagree
about
the
nature
of
a
“good”
technique
and
the
way
to
achieve
it.
Particularly
when
performing
very
fast
passages,
movement
efficiency
seems
to
be
an
important
factor.
This
study
investigates
the
movement
structure
of
highly
skilled
pianists
performing
simple
passages
faster
and
faster
until
they
reach
their
individual
limits.
A
3D
motion-‐capture
system
tracked
small
reflective
markers
placed
on
all
finger
joints,
the
hand
and
the
forearm
of
twelve
highly
skilled
pianists
performing
a
simple
isochronous
melody
at
different
tempi.
The
pianists
started
with
a
medium
fast
tempo
(7
tones
per
second,
TPS,
timed
by
a
metronome
in
a
synchronization-‐continuation
paradigm)
that
was
increased
after
each
trial
until
the
pianists
decided
to
stop.
They
performed
on
a
digital
piano
recording
the
onset
timing
for
subsequent
analysis.
Joint
angle
trajectories
were
computed
from
the
three-‐dimensional
marker
position
for
all
adjacent
finger
phalanges
(DIP,
PIP),
and
the
hand
(MCP)
and
the
forearm
(wrist
angle
and
wrist
rotation).
We
compare
timing
measures
(CV
and
timing
error
of
IOI
patterns)
with
an
efficiency
measure
of
finger
and
wrist
kinematics
to
identify
motion
features
that
are
typical
for
successful
fast
performers.
The
rounded
finger
shape
was
stable
and
showed
slight
extension
in
“fast”
pianists,
but
showed
large
variability
in
“slow”
pianists.
This
study
delivers
detailed
insights
into
the
joint
angle
structure
of
skilled
pianists
performing
at
fast
tempi,
focusing
on
the
individual
differences
between
performers,
and
proposes
kinematic
markers
of
successful
performers.
140
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Measuring tongue and finger coordination in saxophone performance
Alex Hofmann,* Werner Goebl,* Michael Weilguni,# Alexander Mayer,* Walter Smetana#
*Institute of Music Acoustics, University of Music and Performing Arts Vienna, Austria
#Institute of Sensor and Actuator Systems, Vienna University of Technology, Austria
When
playing
wind
instruments
the
fingers
of
the
two
hands
have
to
be
coordinated
together
with
the
tongue.
In
this
study,
we
aim
to
investigate
the
interaction
between
finger
and
tongue
movements
in
portato
playing.
Saxophone
students
played
on
a
sensor-‐equipped
alto
saxophone.
Force
sensors
attached
to
3
saxophone
keys
measured
finger
forces
of
the
left
hand;
a
strain
gauge
glued
onto
a
synthetic
saxophone
reed
measured
the
reed
bending.
Participants
performed
a
24-‐tone
melody
in
three
tempo
conditions
timed
by
a
metronome
in
a
synchronization-‐continuation
paradigm.
Distinct
landmarks
were
identified
in
the
sensor
data:
A
tongue-‐reed
contact
(TRC)
occurred
when
the
reed
vibration
was
stopped
by
the
tongue,
a
tongue-‐reed
release
(TRR)
at
the
beginning
of
next
tone,
and
in
the
finger
force
data
a
key-‐bottom
contact
(KB)
at
the
end
of
the
key
motion.
The
tongue-‐reed
contact
duration
(from
TRC
to
TRR)
was
34.5
ms
on
average
(SD
=
5.84)
independently
of
tempo
condition.
Timing
accuracy
and
precision
was
determined
from
consecutive
TRRs.
We
contrasted
tones
that
required
only
tongue
impulses
for
onset
timing
to
those
that
required
also
finger
movements.
Timing
accuracy
was
better
for
combined
tongue-‐finger
actions
than
for
tongued
timing
only.
This
suggests
that
finger
movements
support
timing
accuracy
in
saxophone
playing.
Timing
and
synchronization
of
professional
musicians:
A
comparison
between
orchestral
brass
and
string
players
Jan
Stoklasa,
Christoph
Liebermann
&
Timo
Fischinger
Institute
of
Music,
University
of
Kassel,
Germany
Musicians
have
to
coordinate
complex
rhythmic
movements
when
playing
their
musical
instruments.
They
need
years
of
deliberate
practice
to
learn
how
to
adjust
their
timing
behavior
as
good
as
possible
to
the
acoustic
characteristics
of
their
own
instrument
as
well
as
to
the
spatial
position
in
the
orchestra
respectively.
Since
most
research
on
sensorimotor
synchronization
behavior
has
mainly
focused
on
the
analysis
of
finger
tapping
tasks,
we
conducted
an
experiment
using
a
novel
experimental
paradigm
to
investigate
the
timing
skills
of
professional
musicians
by
playing
their
own
musical
instruments.
The
aim
was
to
examine
whether
orchestral
brass
and
string
players
show
differences
in
synchronization
performance
under
varying
conditions.
21
professional
musicians
from
a
professional
orchestra
in
Germany
were
asked
to
participate
in
the
study.
In
the
first
experiment
subjects
had
to
synchronize
by
playing
their
own
instrument
(violin,
viola,
trumpet,
trombone)
with
a
simple
metronome
sequence
(in
each
case
the
stimulus
sound
was
the
same
as
the
instrument
sound)
in
varying
trials
with
different
interstimulus-‐onset
intervals.
In
a
second
experiment,
subjects
had
to
perform
the
classical
finger
tapping
synchronization
task
to
metronome
sequences
on
a
drum
pad
(same
IOI’s
as
in
the
first
experiment).
The
results
show
considerable
differences
in
synchronization
performance:
Subjects
show
a
very
low
synchronization
error
in
the
first
experiment,
when
they
have
to
synchronize
by
playing
their
own
instrument
(-‐2.06
ms;
SD
=
10.92)
compared
to
the
second
experiment
with
the
classical
tapping
task
(-‐12.60
ms;
SD
=
8.38).
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 141
Conveying
Syncopation
in
Music
Performance
Dirk
Moelants
IPEM-‐Dept.
of
Musicology,
Ghent
University,
Belgium
This
paper
investigates
if
and
how
musicians
can
convey
syncopation
without
the
presence
of
a
fixed
metric
framework.
In
a
first
experiment
20
professional
musicians
played
a
series
of
simple
melodies
in
both
a
metrically
regular
version
and
a
syncopated
version.
These
were
analyzed
using
a
series
of
audio
parameters.
This
analysis
shows
a
series
of
methods
used
by
musicians
to
convey
syncopation,
using
timing,
dynamics
as
well
as
articulation.
A
selection
of
the
melodies
was
then
presented
to
16
subjects
in
a
second
experiment,
both
audio-‐only
and
with
video,
asking
them
to
identify
them
as
syncopated
or
regular.
The
results
of
this
experiment
show
that,
although
some
expressive
cues
seem
to
help
the
recognition
of
syncopation,
it
remains
hard
to
communicate
this
‘unnatural’
rhythmic
structure
without
a
metric
framework.
Analysis
of
the
videos
shows
that
when
musicians
do
provide
such
a
framework
using
their
body,
it
influences
the
results
positively.
Paper
Session
24:
Grand
Pietra
Hall,
11:30-‐13:30
Performer
perspectives
An
ecological
approach
to
score-‐familiarity:
representing
a
performer’s
developing
relationship
with
her
score
Vanessa
Hawes
Department
of
Music
and
Performing
Arts,
Canterbury
Christ
Church
University,
UK
This
paper
aims
to
link
qualitative,
empirical
approaches
from
performance
analysis
with
analytical
and
musicological
issues.
An
ecological
approach
to
perception
frames
an
exploration
of
experiential
(performative)
and
structural
(analytical)
affordances.
A
singer’s
developing
relationship
with
songs
IV
and
V
from
Schoenberg’s
song
cycle,
Das
Buch
der
Hängenden
Gärten,
Op.15
(1908-‐9)
is
recorded
in
two
ways:
videoing
rehearsals
from
first
contact
with
score
to
performance;
and
reflective
comments
about
the
songs
and
her
learning
process
through
interview
and
marked
scores.
As
an
atonal
work,
the
cycle
provides
a
subject
for
the
study
of
the
singer’s
experience
independent
of
tonality
as
an
overwhelming
structural
affordance.
Detailed
analytical
studies
of
the
song
cycle
provide
a
rich
source-‐set
from
which
to
draw
in
discussing
structural
affordances.
Songs
IV
and
V
were
chosen
because
they
occur
at
a
moment
of
dramatic
importance,
as
the
narrator
realizes
the
extent
of
the
love
that
drives
the
cycle
(Song
IV)
and
surrenders
to
it
(Song
V).
Forte’s
1992
article
about
the
Opus
15
cycle
provides
the
analytical
focus,
an
article
that
identifies
linear
motivic
tetrachords
in
the
cycle,
revealing
them
in
the
fore-‐,
middle-‐
and
background
of
the
songs’
structure.
Analysis
of
the
videoed
rehearsals
provides
an
alternate
analytic
reading
of
the
songs
based
on
performative
affordances,
and
the
analysis
of
interview
data
furnishes
us
with
another.
These
two
alternate
readings
adjust
and
enhance
Forte’s
analysis,
a
direction
of
analytic/interpretive
influence
from
expression
to
structure,
and
the
result
is
related
back
to
issues
about
the
songs’
meaning.
142
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Predicting expressive timing and perceived tension in performances of an
unmeasured prelude using the IDyOM model
Bruno Gingras*#, Meghan Goodchild#, Roger Dean†, Marcus Pearce+, Geraint Wiggins+,
Stephen McAdams#
* Department of Cognitive Biology, University of Vienna, Vienna, Austria
# CIRMMT, Schulich School of Music, McGill University, Canada
† MARCS Auditory Laboratories, University of Western Sydney, Australia
+School of Electronic Engineering and Computer Science, Queen Mary, University of London, UK
Studies
comparing
the
influences
of
different
performances
of
a
piece
on
the
listeners’
aesthetic
responses
are
constrained
by
the
fact
that,
in
most
pieces,
the
metrical
and
formal
structure
provided
by
the
score
limits
the
performer’s
interpretative
freedom.
As
a
semi-‐
improvisatory
genre
which
does
not
specify
a
rigid
metrical
structure,
the
unmeasured
prelude
provides
an
ideal
repertoire
for
investigating
the
links
between
musical
structure,
expressive
strategies
in
performance,
and
listener’s
responses.
Twelve
professional
harpsichordists
recorded
two
interpretations
of
the
Prélude
non
mesuré
No.
7
by
Louis
Couperin
on
a
harpsichord
equipped
with
a
MIDI
console.
The
MIDI
data
was
analyzed
using
a
score-‐performance
matching
algorithm.
Subsequently,
20
nonmusicians,
20
musicians,
and
10
harpsichordists
listened
to
these
performances
and
rated
the
perceived
tension
in
a
continuous
manner
using
a
slider.
Melodic
expectation
was
assessed
using
a
probabilistic
model
(IDyOM)
whose
expectations
have
been
shown
to
match
closely
those
of
human
listeners
in
previous
research.
Time
series
analysis
techniques
were
used
to
investigate
predictive
relationships
between
melodic
expectations
and
the
performance
and
perceptual
parameters.
Results
show
that,
in
a
semi-‐improvisatory
genre
such
as
the
unmeasured
prelude,
predictability
of
expectation
based
on
melodic
structure
has
a
measurable
influence
on
local
tempo
variations.
Effects
of
Melodic
Structure
and
Meter
on
the
Sight-‐reading
Performances
of
Beginners
and
Advanced
Pianists
Mayumi
Adachi,*
Kazuma
Takiuchi,*
Haruka
Shoda*,#
*Dept.
of
Psychology,
Hokkaido
University,
Japan
#The
Japan
Society
for
the
Promotion
of
Science,
Japan
We
explored
how
the
melodic
structure
(that
can
determine
the
fingering)
and
the
meter
would
affect
visual
encoding
(i.e.,
fixation
measured
by
an
eye
tracking
device),
visuo-‐motor
coordination
(i.e.,
eye-‐hand
span),
and
the
execution
(i.e,
mistakes,
stuttering)
in
the
beginner’s
sight-‐reading
performances
in
comparison
to
the
advanced
pianist's.
Eighteen
students—9
beginners
and
9
advanced
pianists—sight-‐read
simple
melodic
scores,
consisting
of
the
step-‐wise,
the
skip-‐wise,
or
the
combined
structure
written
in
3/4,
4/4,
or
5/4.
Results
indicated
that
the
melodic
structure
affected
the
beginner’s
encoding
and
execution.
The
combined
structure
had
the
beginners
spend
more
time
in
saccade
(rather
than
in
fixation)
and
stutter
more
often
than
the
step-‐wise
or
the
skip-‐wise
structure.
The
meter,
on
the
other
hand,
affected
the
advanced
pianist’s
visuo-‐motor
coordination
and
execution.
The
complex
meter
(i.e.,
5/4)
resulted
in
the
advanced
pianist’s
shorter
eye-‐hand
span
than
a
simple
meter
(i.e.,
3/4,
4/4),
in
line
with
Chang
(1993),
and
more
rhythm
errors
than
4/4
meter.
The
beginner’s
sight-‐reading
was
less
efficient
than
the
advanced
pianists
in
visual
encoding,
in
visuo-‐motor
coordination,
and
in
execution.
Nonetheless,
the
beginners
could
read
0.52
notes
ahead
of
what
was
being
played
regardless
of
the
meter
or
the
melodic
structure
of
the
score.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 143
The
Sound
of
Emotion:
The
Effect
of
Performers’
Emotions
on
Auditory
Performance
Characteristics
Anemone
G.
W.
van
Zijl,
Petri
Toiviainen,
Geoff
Luck
Department
of
Music,
University
of
Jyväskylä,
Finland
Do
performers
who
feel
sad
sound
different
compared
to
those
who
express
sadness?
Despite
an
extensive
literature
on
the
perception
of
musical
emotions,
little
is
known
about
the
role
of
performers’
experienced
emotions
in
the
construction
of
an
emotionally
expressive
performance.
Here,
we
investigate
the
effect
of
performers’
experienced
emotions
on
the
auditory
characteristics
of
their
performances.
Seventy-‐two
audio
recordings
were
made
of
four
amateur
and
four
professional
violinists
playing
the
same
melodic
phrase
in
response
to
three
different
instructions.
Participants
were
first
asked
to
focus
on
the
technical
aspects
of
their
playing.
Second,
to
give
an
expressive
performance.
Third,
to
focus
on
their
experienced
emotions,
prior
to
which
they
were
subjected
to
a
sadness-‐inducing
mood
induction
task.
Performers
were
interviewed
about
their
thoughts
and
feelings
after
each
playing
condition.
Statistical
and
computational
analyses
of
audio
features
revealed
differences
between
the
performance
conditions.
The
Expressive
performances
revealed
the
highest
values
for
playing
tempo,
dynamics,
and
articulatory
features
such
as
the
attack
slope.
The
Emotional
performances,
in
contrast,
revealed
the
lowest
values
for
all
of
these
features.
In
addition,
clear
differences
were
found
between
the
performances
of
the
amateur
and
professional
performers.
The
present
study
provides
concrete
evidence
that
performers
who
feel
sad
do
sound
different
compared
to
those
who
express
sadness.
Paper
Session
25:
Crystal
Hall,
11:30-‐13:30
Music
in
the
classroom
Differences
in
Mental
Strategies
and
Practice
Behavior
of
Musically
Average
and
Highly
Gifted
Adolescents
in
Germany
Stella
Kaczmarek
Faculty
of
Music,
University
of
Paderborn,
Germany
Amount
of
research
on
instrumental
practice
and
demand
for
this
topic
has
increased
greatly
in
the
last
decade.
More
than
half
of
all
research
concerns
professional
musicians,
and
there
is
relatively
little
research
carried
out
with
children
or
adolescents.
Aim
of
this
paper
is
to
present
a
recent
study
on
musically
gifted
adolescents
in
Germany.
Research
participants
were
young
students
who
participated
in
a
special
study
program
at
the
music
conservatories
in
Germany
(Hannover,
Cologne
and
Detmold).
Participants
of
the
control
group
were
average
music
students
from
local
music
school
in
Paderborn.
Two
questionnaires
were
used
in
which
young
musicians
were
asked
to
reflect
on
their
practice
behavior,
practice
strategies,
and
strategies
of
mental
rehearsal.
Analysis
suggests
that
highly
gifted
adolescents
–
in
comparison
to
average
music
students
-‐
have
greater
knowledge
regarding
the
use
of
appropriate
planning
and
evaluation
strategies.
We
have
only
found
significant
differences
in
the
use
of
mental
strategies
between
those
two
groups
in
one
scale,
which
means
that
“experts”
do
not
always
stand
out
in
mental
rehearsal
than
average
music
students.
144
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Competencies and model-‐based items in music theory and aural training in
preparation for entrance exams
Anna Wolf, Friedrich Platz, Reinhard Kopiez
Hanover Music Lab, Hanover University of Music, Drama and Media, Germany
The study of music theory is part of any musicology and music education degree in Germany.
To enter such a study programme, every prospective student needs to pass an entrance exam
in aural training and music theory. Although these tests decide on the professional future of
young people, they lack a theoretical, model-‐based validation. A chord labelling task from an
entrance exam (n = 124) has been analyzed. It consists of 15 chords each in both versions of
the task. The items of the chord labelling task represent a too narrow range of difficulty (e.g.
-‐1.2 to +1.3 logits) and five items even needed to be removed due to differential item
functioning (Wolf, Platz & Kopiez, 2012). Subsequently, a questionnaire with music theory
items will be prepared by music theory experts and will consist of approximately twenty
items. These items will be filled in by students preparing for an entrance exam. The
upcoming analysis using Item response theory is going to provide data about each of the
items, which will result in its removal, revision or retention. In the latter case, item
charateristics such as its difficulty allow for a classification of the item into the competency
model. Ensuing these steps we will produce a competency model for music theory and aural
training. As this model will be based on empirical data of students training in music theory
and aural training, we can integrate both disciplines into music pedagogy and instrumental
training and enable the understanding of music as a generalizable process.
The influence of the visual representation of the notation system on the
experience of time among young music players
Tirtsa Yovel, Roni Y. Granot
Hebrew University of Jerusalem, Israel
Music notation embodies the metaphor of music as motion in time and space (Johnson &
Larson, 2003). Notes can be viewed as analogous to objects along the route defined by the
musical staff. As such, principles of motion may be used in the translation from the visual
information of the notation (length and density) into realized time, creating possible biases
related to our experience of motion in space. In the current study we measured the playing
tempo of 61 children (aged 6.9-‐14.4) who performed and verbally responded to a set of
musical examples presenting various manipulations on the length of the staff and the density
of the written notes. In order to determine their developmental stage the children were also
tested for weight conservation and time perception (Piaget, 1969). Results indicate a clear
influence of the manipulated variables on playing tempo when manipulations were applied
to the entire staff, but not when limited to a single measure. In general, short and/or dense
visual information led to faster tempi. This was obtained despite an explicit understanding of
the irrelevance of these variables to the temporal interpretation of the notation, and could
not be explained by participants' developmental stage, or ability to maintain a steady beat.
Moreover, even priming with a metronome did not abolish the effect. We discuss
implications for our understanding the metaphor of time-‐space and motion in music, and
implications for music pedagogy.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 145
When
students
are
learning
and
when
they
are
performing
in
instrumental
lesson
interactions:
A
conversational
analysis
approach
Antonia
Ivaldi
Department
of
Psychology,
Aberystwyth
University,
Wales,
UK
Within
the
growth
of
qualitative
research
in
music
psychology
there
has
been
an
attempt
to
explore
the
interactions
that
take
place
between
teachers
and
students
in
music
lessons.
This
research,
however,
has
yet
to
look
at
the
turn
by
turn
talk
that
takes
place
in
pedagogical
discourse,
in
addition
to
exploring
how
playing,
singing
and
demonstrating
are
woven
into
the
sequence
of
the
interaction.
The
study’s
aim
is
to
examine
how
students
indicate
to
the
teacher
when
they
are
learning
and
when
they
are
performing
within
the
lesson,
and
how
this
is
received,
taken
up,
and
orientated
to
by
the
teacher
as
a
performance
or
as
part
of
a
more
complex
pedagogical
process.
17
video
recordings
were
made
of
UK
conservatoire
music
lessons
which
lasted
between
50
minutes
and
two
hours.
Relevant
extracts
were
then
selected
and
transcribed
further
using
Jefferson
system
conventions.
Employing
conversation
analysis
(CA)
techniques
such
as
turn-‐taking,
repair,
overlap,
pauses
etc,
the
analysis
will
explore
how
the
teacher
orients
to
the
students’
playing
and
talk
as
being
either
performance
ready,
or
one
that
indicates
that
learning
is
still
taking
place.
CA
offers
a
unique
opportunity
for
teachers
and
students
to
demonstrate
more
fully
how
the
interaction
within
music
lessons
presents
a
complex
interplay
between
talk
and
the
playing
and
demonstration
of
instruments,
which
in
turn
results
in
the
student
and
teacher
continually
moving
between
learning
and
performance
within
the
lesson.
The
implications
for
instrumental
teachers
and
their
students
will
be
discussed.
Paper
Session
26:
Dock
Six
Hall,
11:30-‐13:30
Music
-‐
Identity
-‐
Community
Music
and
Identity:
The
Effect
of
Background
Music
on
Israeli
Palestinians'
Salience
of
Ethnic
Identity
Naomi
Ziv,*
Ahlam
Rahal
#
*Psychology
Dept.,
College
of
Management
–
Academic
Studies,
Israel
#Education
Dept.,
Max
Stern
Academic
College,
Israel
The
development
of
identity
is
an
important
aspect
of
adolescence.
Music
plays
an
important
part
in
constructing
identity
at
this
age.
Israeli
Palestinians
constitute
an
ethnic
minority,
whose
sense
of
identity
may
be
split
between
their
civic
identity,
as
Israeli
citizens,
and
ethnic
identity,
as
Palestinians.
The
aim
of
the
present
study
was
to
examine
the
effect
of
background
music
on
the
salience
of
ethnic
identity
in
Israeli
Palestinian
adolescents.
90
boys
and
152
girls
participated
in
the
study.
Participants
were
randomly
assigned
to
four
groups.
Three
groups
heard
either
national,
Arab
love
or
English
rock
songs,
and
were
asked
to
write
associations
to
them.
All
participants
completed
an
ethnic
identity
questionnaire.
Results
showed
higher
scores
on
ethnic
identity
with
all
types
of
music
compared
to
no
music.
A
significant
effect
of
music
type
was
found
for
affect
associated
to
music
type.
Gender
differences
were
found
in
the
effect
of
music
on
ethnic
identity,
and
in
the
relationship
between
associations
and
type
of
music.
146
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Identity
Dimensions
and
Age
as
Predictors
of
Adult
Music
Preferences
Richard
Leadbeater
Lancaster
Institute
for
the
Contemporary
Arts,
Lancaster
University,
England
Recent
empirical
research
in
music
psychology
has
established
that
personality
trait
profiling
may
provide
a
reliable
prediction
of
music
preferences.
However,
research
on
music
preferences
has
largely
focused
on
the
adolescent
age
group.
Whether
adults
similarly
use
music
as
a
tool
to
construct
and
reconstruct
identities
following
lifespan
experiences
is
largely
understudied.
This
paper
presents
the
results
of
an
on-‐line
survey
which
was
carried
out
at
Lancaster
University
to
expand
recent
empirical
research
on
music
preferences.
The
aim
of
the
study
was
to
explore
the
relationship
between
personality
traits,
age,
estimated
IQ
and
identity
dimensions
as
predictors
of
music
preferences.
A
large
sample
(n=768),
ages
ranging
from
17-‐66
(X=23.9;
SD=8.95)
completed
the
survey.
Music
preference
ratings
were
assessed
using
STOMP-‐R.
The
BFI
and
the
EIPQ
were
used
for
personality
trait
and
identity
status
measurement
respectively.
Results
largely
supported
recent
research
except
for
one
notable
exception;
there
was
almost
zero
correlation
between
Openness
and
the
Upbeat
and
Conventional
Dimension,
as
opposed
to
a
significant
negative
correlation.
Standard
multiple
regression
analysis
revealed
highly
significant
effects
of
the
Exploration
identity
dimension,
Age
and
Openness
to
predict
a
preference
for
Rhythmic
and
Complex
music.
Interestingly,
adjusted
R2
scores
would
suggest
that
these
variables
only
account
for
less
than
20%
of
variance
in
music
preferences.
Consequently,
further
research
on
music
preferences
may
adopt
a
more
socially
constructive
methodology
to
identify
how
music
preference
selection
reflects
the
evolving
salient
identities.
Why
not
knitting?
Amateur
music-‐making
across
the
lifespan
Alexandra
Lamont
Centre
for
Psychological
Research,
Keele
University,
United
Kingdom
Musical
identity
lies
at
the
core
of
understanding
people’s
motivations
and
patterns
of
engagement
with
music.
Much
research
has
explored
this
in
relation
to
professional
musicians
and
music
teachers,
but
less
attention
has
been
given
to
amateurs.
A
growing
body
of
work
shows
that
involvement
in
musical
activities,
particularly
in
later
life,
has
powerful
effects
on
health
and
wellbeing.
However,
less
is
known
about
how
involvement
can
be
supported
over
long
timeframes
spanning
many
years.
This
study
explores
retrospective
memories
of
music
making
and
aims
to
uncover
the
features
that
prevent
or
support
amateurs
in
developing
and
sustaining
(and
sometimes
resuscitating)
a
musical
identity.
Data
was
gathered
from
online
surveys
(530
participants)
and
follow-‐up
interviews
with
adult
amateur
musicians.
Participants
ranged
in
age
from
21
to
83
and
took
part
in
a
very
diverse
range
of
musical
activities.
Despite
being
actively
involved
in
music,
they
did
not
all
have
a
strong
musical
identity.
Different
patterns
of
motivation
can
be
discerned,
including
the
traditional
pattern
of
a
highly
motivated
child
leading
to
continuous
involvement
in
music,
but
also
adults
with
far
more
patchy
musical
careers.
While
all
participants
had
a
guiding
musical
passion
or
a
core
musical
identity,
this
sometimes
takes
time
to
find
full
expression,
depending
on
circumstances
and
pressures
of
everyday
life.
General
life
crises
and
transitions
(such
as
having
a
family,
relocation
or
retirement)
can
create
barriers
to
involvement
but
also
opportunities
to
re-‐engage.
Involvement
in
music
also
provides
a
way
of
managing
life
transitions
and
crises.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 147
Young
People's
Use
and
Subjective
Experience
of
Music
Outside
School
Ruth
Herbert
Music
Dept.,
Open
University,
UK
Few
studies
of
everyday
musical
engagement
have
focused
on
the
subjective
'feel'
(phenomenology)
of
unfolding,
lived
experience.
Additionally,
the
musical
experiences
of
children
and
young
adolescents
are
currently
under-‐represented
in
the
literature.
This
paper
constitutes
an
in-‐progress
report
of
the
preliminary
stage
of
a
mixed
method
three
year
empirical
enquiry,
designed
to
explore
psychological
characteristics
of
the
subjective
experience
of
young
people
hearing
music
in
everyday,
'real
world’
scenarios
in
the
UK.
The
aims
were
to
identify
varied
modes
of
listening,
to
pinpoint
whether
these
are
age-‐related,
to
explore
the
extent
to
which
young
people
use
music
as
a
form
of
escape
(dissociation)
from
self,
activity,
or
situation.
25
participants
(aged
10-‐18)
were
interviewed
and
subsequently
kept
diaries
of
their
music-‐listening
experiences
for
two
weeks.
Data
was
subjected
to
Interpretative
Phenomenological
Analysis
(IPA).
Key
themes
identified
include
the
use
of
music
to
create
a
sense
of
momentum,
energy
and
excitement
to
mundane
scenarios,
to
dissociate
or
'zone
out'
from
aspects
of
self
and/or
situation,
to
feel
relaxed,
to
feel
'connected’,
to
articulate
moods
and
emotions,
to
aid
daydreams/imaginative
fantasies
and
to
provide
a
framework
through
which
to
explore
emotions
vicariously,
using
music
as
a
template
for
modelling
future
emotional
experience.
Subjective
experience
was
frequently
characterised
by
a
fusion
of
modalities.
Symposium
3:
Timber
I
Hall,
11:30-‐13:30
Emotion
regulation
through
music:
understanding
the
mechanisms,
individual
differences,
and
situational
influences
Convener:
Suvi
Saarikallio,
Discussant:
Daniel
Västfjäll
Emotion
regulation
is
one
of
the
very
reasons
why
people
engage
with
music
in
everyday
life,
and
research
on
the
topic
has
been
growing
rapidly.
Recent
studies
have
identified
music-‐
related
affect-‐regulatory
strategies,
emotion
induction
mechanisms,
and
proposed
connections
to
personality,
emotionality,
and
musical
engagement.
However,
we
still
know
little
about
the
details
of
the
underlying
psychological
and
physiological
mechanisms,
individual
differences,
and
contextual
influences
on
this
regulatory
behaviour.
This
symposium
brings
together
an
international
group
of
researchers
approaching
the
topic
of
music
and
emotion
regulation
from
five
complementary
perspectives:
TanChyuan
Chin
provides
a
detailed
look
on
the
physiological
mechanisms
underlying
music-‐related
emotion
regulation,
and
presents
a
study
about
the
EEG
parameters
connected
to
emotion
regulation
through
music.
Annemieke
VanDenTol
focuses
on
the
psychological
mechanisms
and
processes
that
guide
mood
enhancement
after
listening
to
sad
music
when
feeling
sad.
Marie
Helsing
brings
in
the
topic
of
individual
differences
of
music-‐related
emotion
regulation
in
the
context
of
everyday
life,
and
presents
studies
that
investigated
the
effects
of
music
on
mood
improvement
and
stress
reduction
in
everyday
life
episodes.
William
Randall
further
elaborates
the
topic
of
contextual
influences
on
music-‐related
emotion
regulation
by
presenting
a
study
conducted
through
real
time
sampling
methodology
using
current
portable
technology.
Suvi
Saarikallio
discusses
the
perspective
of
individual
differences
over
the
course
of
lifespan
and
presents
a
study
that
demonstrates
age-‐related
differences
in
music-‐related
emotion
regulation
across
adolescence
and
adulthood.
In
conclusion
of
the
symposium,
Daniel
Västfjäll
brings
the
varying
viewpoints
together
as
discussant.
148
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
A self-‐regulatory perspective on choosing ‘sad’ music to enhance mood
Annemieke J. M. Van den Tol, Jane Edwards
Irish World Academy of Music and Dance, University of Limerick, Ireland
Many people choose to listen to self-‐identified ‘sad’ music when they experience negative life
circumstances. Music listening in such circumstances can serve a variety of important self-‐
regulatory goals (Saarikallio and Erkkilä, 2007; Van den Tol and Edwards, 2011). Listening
to sad music can help people to cope with a problem in the long term through offering
opportunities for reflection, learning, and reinterpreting the situation. In addition, after
listening to sad music, adults report that they feel better in a range of ways (Van den Tol and
Edwards. 2011). The aim of the current research is to get more insight in the psychological
processes that guide mood enhancement after listening to sad music when feeling sad. To
investigate the above aim a correlational study has been designed based on our previous
insights in sad music listening (Van den Tol and Edwards, 2011). A total of 220 participants
volunteered to rate statement in relation to their sad music listening experiences when
feeling sad. Several distinct strategies are identified that people employ for selecting specific
sad music, such as, the selection of sad music based on subjective high aesthetic value, or the
selection of music based on momentary identification/connection with the affective sound of
the music or lyrics of the song. These strategies are guided by several distinct self-‐regulatory
goals that self-‐identified sad music can serve during listening. In an explanatory model we
will give an overview of how different factors play a role in self-‐regulation and of how these
can result in mood enhancement and affective change. These novel findings provide core
insights into the dynamics and value of sad music in relation to coping with negative
psychological circumstances and mood enhancement.
Everyday music listening: The importance of individual and situational factors
for musical emotions and stress reduction
Marie Helsing
Department of Psychology, University of Gothenburg, Sweden
Music listening primarily evokes positive emotions in listeners. Research has shown that
positive emotions may be fundamental for improving both psychological and physical
aspects of well-‐being. Besides from the music itself it is essential to consider individual and
situational factors when studying emotional experiences to music. The main aim with the
three papers (Study I, II and III) in the doctoral thesis was to explore the effects of everyday
music listening on emotions, stress and health. The Day Reconstruction Method was used in
study I and II. In study III, an experiment group who listened to their self-‐chosen music on
mp3-‐players when arriving home from work every day for 30 minutes for two weeks’ time
was compared to a control group who relaxed without music and with a baseline week when
the experiment group relaxed without music. Results from study I and II showed that music
was related to more positive emotions, lower stress levels and higher health scores. Liking of
the music affected the level of stress. Results from study III showed that the experiment
group showed an increase in positive emotions and decrease in perceived stress and cortisol
levels over time. The results from this thesis indicate that everyday music listening is an easy
and effective way of improving well-‐being and health by its ability to evoke positive
emotions and thereby reduce stress. But not just any music will do since the responses to
music are influenced by individual and situational factors.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 149
Emotion
Regulation
Through
Personal
Music
Listening:
The
MuPsych
App
William
M.
Randall,
Nikki
S.
Rickard
School
of
Psychology
&
Psychiatry,
Monash
University,
Melbourne,
Australia
An
extensive
body
of
research
supports
music
listening
as
a
commonly
used
self-‐regulation
strategy,
including
the
series
of
studies
by
Saarikallio
on
adolescent
music
mood
regulation.
However,
empirical
evidence
supporting
emotion
regulation
through
music
use
has
been
limited.
The
current
study
aimed
to
provide
empirical
and
ecologically
valid
data
on
the
frequency
of
specific
music
regulation
strategies,
and
how
successful
they
are
in
regulating
emotion.
A
second
aim
of
the
current
study
was
to
determine
if
regulation
through
music
use
occurs
in
accordance
with
the
Process
Model
of
Emotion
Regulation.
To
achieve
these
aims,
a
new
event-‐sampling
methodology
was
developed;
a
mobile-‐device
application
named
MuPsych.
Participants
are
asked
to
download
MuPsych
to
their
own
portable
device,
and
use
it
as
their
personal
music
player
for
a
two-‐week
data
collection
period.
The
app
employs
Experience
Sampling
Methodology
to
collect
real-‐time
subjective
data
on
music
and
social
context
variables,
regulatory
strategies,
and
the
emotional
impact
of
music.
In
addition,
MuPsych
collects
data
through
psychometric
questionnaires
on
listener
variables
such
as
personality,
well-‐being
and
musical
experience.
Preliminary
results
suggest
that
the
frequency
and
efficacy
of
specific
music
regulation
strategies
are
influenced
by
music,
listener
and
social
context
variables.
The
app
will
remain
available
for
participants
to
download
for
a
period
of
18
months,
allowing
for
automatic
and
continuous
collection
of
data.
Results
to
be
presented
will
reveal
how
young
people
use
music
in
their
everyday
lives
to
self-‐regulate
emotions,
and
the
conditions
under
which
this
is
successful.
This
study
will
also
determine
how
emotion
regulation
through
music
use
relates
to
established
models
of
emotion
regulation.
Age
differences
in
music-‐related
emotion
regulation
Suvi
Saarikallio,*
Tuuli
Vattulainen,#
Mari
Tervaniemi#
*Department
of
Music,
University
of
Jyväskylä,
Finland
#Department
of
Psychology,
University
of
Jyväskylä,
Finland
Music
is
used
for
regulating
emotions
across
the
lifespan,
but
age-‐related
comparisons
of
this
behavior
have
not
been
conducted.
We
studied
how
people
at
different
ages
use
music
for
emotion
regulation,
and
particularly
focused
on
differences
in
the
regulatory
strategies
and
related
music
preferences.
Survey
data
was
collected
from
volunteering
passers-‐by
during
a
literature,
food,
and
science
exhibition
event.
Participants
(N=123,
age
range
13-‐71,
30
males)
were
divided
into
four
age
groups:
1)
teenagers:
13-‐18-‐year-‐olds,
2)
young
adults:
19-‐35-‐year-‐olds,
3)
adults
36-‐50-‐year-‐olds,
and
4)
old
adults:
51-‐year-‐olds
and
older.
Participants
rated
their
use
of
seven
music-‐related
mood-‐regulatory
strategies
(entertainment,
strong
sensation,
diversion,
mental
work,
discharge,
revival,
and
solace)
and
their
liking
of
musical
genres
(classical,
jazz,
pop,
Finnish
traditional
dance
music,
rock,
heavy,
rap,
soul).
Two
regulatory
strategies
differed
significantly
differ
between
the
groups:
Discharge,
release
of
negative
emotion,
was
more
used
by
teenagers
than
by
adults
and
old
adults.
Mental
work,
contemplation
of
emotional
experiences,
was
more
used
by
young
adults
and
old
adults
than
by
teenagers
and
adults.
Furthermore,
age
differences
were
observed
regarding
how
music
preferences
related
to
the
regulatory
strategies.
For
instance,
the
use
of
music
for
entertainment
was
related
to
preference
for
rap
in
teenagers,
but
to
preference
for
Finnish
traditional
dance
music
in
young
and
old
adults.
The
use
of
music
for
strong
sensations
was
related
to
preference
for
classical
and
heavy
in
young
adults
but
preference
for
jazz
in
old
adults.
The
results
broaden
our
understanding
of
the
age-‐related
development
and
individual
differences
in
music-‐related
emotional
self-‐regulation.
150
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
Paper Session 27: Timber II Hall, 11:30-‐13:30
Interpreting & predicting listener responses
From Vivaldi to Beatles and back: predicting brain responses to music in real
time
Vinoo Alluri1, Petri Toiviainen1, Torben Lund2, Mikkel Wallentin2, Peter Vuust2,3, Elvira
Brattico4
1Department of Music, Finnish Centre of Excellence in Interdisciplinary Music Research,
University of Jyväskylä, Finland, 2Aarhus University Hospital, Aarhus University, Denmark,
3Royal Academy of Music, Aarhus/Aalborg, Denmark, 4Cognitive Brain Research Unit,
Department of Psychology, University of Helsinki, Finland
We aimed at predicting brain activity in relation to acoustic features extracted from musical
pieces belonging to various genres and including lyrics via regression modeling. We assessed
the robustness of the hence created models across stimuli via cross-‐validation. Participants
were measured with functional magnetic resonance imaging (fMRI) while they listened to
two sets of musical pieces, one comprising instrumental music representing compositions
from various genres and the other a medley of pop songs with lyrics. Acoustic features were
extracted from both stimulus sets. Principal component regression models were trained
separately for each stimulus set by using the fMRI time-‐series as dependent, and acoustic
feature time-‐series as independent variables. Then, we performed cross-‐validations of the
models. To assess the generalizability of the models we further extended the cross-‐validation
procedure by using the data obtained in a previous experiment that used a modern tango by
Piazzolla as the stimulus. Despite differences between musical pieces with respect to genre
and lyrics, results indicate that auditory and associative areas indeed are recruited for the
processing of musical features independently of the content of the music. The right-‐
hemispheric dominance suggests that the presence of lyrics might confound the processing
of musical features in the left hemisphere. Models based on purely instrumental music
revealed that in addition to bilateral auditory areas, right-‐hemispheric somatomotor areas
were recruited for musical feature processing. In sum, our novel approach reveals neural
correlates of music feature processing during naturalistic listening across a large variety of
musical contexts.
I can read your mind: Inverse inference in musical neuroinformatics
Petri Toiviainen1, Vinoo Alluri1, Elvira Brattico1,2, Andreas H. Nielsen3,4, Anders Dohn3,5,
Mikkel Wallentin3,6, & Peter Vuust3,5
1Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä,
Finland, 2Cognitive Brain Research Unit, Department of Psychology, University of Helsinki,
Finland, 3Center of Functionally Integrative Neuroscience, Aarhus University Hospital,
Nørrebrogade, 8000 Aarhus C, Denmark, 4Department of Anthropology, Archaeology and
Linguistics, Aarhus University, Denmark, 5Royal Academy of Music, Aarhus/Aalborg, Denmark,
6Center for Semiotics, Aarhus University, Denmark
In
neuroinformatics,
inverse
inference
refers
to
prediction
of
stimulus
from
observed
neural
activation.
A
potential
benefit
of
this
approach
is
a
straightforward
model
evaluation
because
of
easier
performance
characterization.
We
attempted
to
predict
musical
feature
time
series
from
brain
activity
and
subsequently
to
recognize,
which
segments
of
music
participants
were
listening
to.
Moreover,
we
investigated
model
parameters
that
yield
optimal
prediction
performance.
Participants
(N
=
15)
were
measured
with
functional
magnetic
resonance
imaging
(fMRI)
while
they
were
listening
to
two
sets
of
musical
pieces.
Acoustic
features
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 151
were
computationally
extracted
from
the
stimuli.
The
fMRI
data
were
subjected
to
dimensionality
reduction
via
voxel
selection
and
spatial
subspace
projection.
For
each
stimulus
set
separately,
the
fMRI
projections
were
subjected
to
multiple
regression
against
the
musical
features.
Following
this,
temporal
segments
were
selected
from
the
fMRI
data,
and
a
classifier
comparing
predicted
and
actual
musical
features
was
used
to
associate
each
fMRI
data
segment
with
one
of
the
respective
musical
segments.
To
avoid
overfitting,
cross-‐
validation
was
utilized.
Different
voxel
selection
criteria
and
subspace
projection
dimensionalities
were
used.
Best
performance
was
obtained
by
including
about
10-‐15%
of
the
voxels
with
highest
correlation
between
participants,
and
by
projecting
the
fMRI
data
to
less
than
10
dimensions.
Overall,
timbral
and
rhythmic
features
were
more
accurately
predicted
than
tonal
ones.
The
excerpt
being
listened
to
could
be
predicted
from
brain
activation
well
above
chance
level.
Optimal
model
parameters
suggest
that
a
large
proportion
of
the
brain
is
involved
in
musical
feature
processing.
Implicit
Brain
Responses
During
Fulfillment
of
Melodic
Expectations
Job
P.
Lindsen*,
Marcus
T.
Pearce#,
Marisa
Doyne*,
Geraint
Wiggins#,
Joydeep
Bhattacharya*
*Department
of
Psychology,
Goldsmiths,
University
of
London,
UK
#Centre
for
Digital
Music,
Queen
Mary,
University
of
London,
UK
Listening
to
music
entails
forming
expectations
about
how
the
music
unfolds
in
time,
and
the
confirmation
and
violation
of
these
expectations
contribute
to
the
experience
of
emotion
and
aesthetic
effects
of
music.
Our
previous
study
on
melodic
expectations
found
that
unexpected
melodic
pitches
elicited
a
frontal
ERP
negativity.
However,
the
role
of
attention
was
not
explicitly
manipulated
in
the
previous
study.
In
the
current
experiment
we
manipulated
the
degree
to
which
participants
could
attend
to
the
music.
One
group
of
participants
just
listened
to
the
melodies,
a
second
group
had
to
additionally
detect
an
oddball
timbre,
and
a
third
group
memorized
a
nine-‐digit
sequence
while
listening.
We
used
our
statistical
learning
model
to
select
from
each
melody
a
high
and
low
probability
note
for
the
EEG
analyses.
Replicating
previous
results
we
found
an
early
(~120
ms)
frontal
ERP
negativity
for
unexpected
notes.
Initial
analyses
showed
that
this
early
ERP
effect
was
unaffected
by
our
attention
manipulations.
In
contrast,
analysis
of
the
time-‐frequency
representation
indicated
an
interaction
of
expectedness
and
attentional
load
in
theta
band
(5-‐7
Hz)
amplitude
during
a
later
time-‐window
(~300
ms).
The
expectedness
of
a
melodic
event
seems
to
be
extracted
relatively
quickly
and
automatically
extracted
irrespective
of
the
attentional
load,
suggesting
that
early
melodic
processing
is
largely
pre-‐attentive
or
implicit.
Later
stages
of
processing
seem
to
be
affected
by
attentional
load,
which
might
reflect
differences
in
updating
of
the
internal
model
used
to
generate
melodic
expectations.
"...and
I
Fe
el
Good!"
Ratings,
fMRI-‐recordings
and
motion-‐capture
measurements
of
body-‐movements
and
pleasure
in
response
to
groove
Maria
A.G.
Witek,*
Eric
F.
Clarke,*
Mikkel
Wallentin,#
Mads
Hans,#
Morten
L.
Kringelbach,^
Peter
Vuust#
*Music
Faculty,
Oxford
University,
United
Kingdom
^Dept. of Psychiatry, Oxford University, United Kingdom
#CFIN, Aarhus University, Denmark
What
is
it
about
music
that
makes
us
want
to
move?
And
why
does
it
feel
so
good?
Few
contexts
of
musical
enjoyment
make
the
pleasurable
effect
of
music
more
obvious
than
in
a
dance
club.
A
growing
body
of
research
demonstrates
that
music
activates
brain
areas
involved
in
the
regulation
of
biological
rewards,
such
as
food
and
sex.
However,
the
role
of
body-‐movement
in
pleasurable
responses
to
groove-‐based
music,
such
as
funk,
hip-‐hop
and
152
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
THU
electronic
dance
music,
has
been
ignored.
This
paper
reports
results
from
a
study
in
which
the
relationship
between
body-‐movement,
pleasure
and
groove
was
investigated.
In
an
online
rating
survey,
an
inverted
U-‐shaped
relationship
was
found
between
degree
of
syncopation
in
funk
drum-‐breaks
and
ratings
of
wanting
to
move
and
experience
of
pleasure.
This
inverted
U-‐curve
was
reflected
in
fMRI-‐recorded
patterns
of
activity
in
the
auditory
cortex
of
26
participants.
Furthermore,
there
was
a
negative
linear
relationship
between
degree
of
syncopation
and
activation
in
the
basal
ganglia.
After
scanning,
participants
were
asked
to
move
freely
to
the
drum
breaks
in
a
motion-‐capture
lab.
Early
explorations
of
the
data
suggest
similar
trends
with
regards
to
degree
of
syncopation
and
kinetic
force
of
movements.
This
triangulation
of
results
provides
unique
insights
into
the
rewarding
and
movement-‐eliciting
properties
of
music.
As
few
can
resist
the
urge
to
tap
their
feet,
bop
their
heads
or
get
up
and
dance
when
they
listen
to
groove-‐based
music,
such
insights
are
a
timely
addition
to
theories
of
music-‐induced
pleasure.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 153
Friday
27
July
Keynote
5:
Grand
Pietra
Hall,
09:00-‐10:00
David
Temperley:
Mode
and
emotion:
Experimental,
computational,
and
corpus
perspectives
David
Temperley
is
Associate
Professor
of
music
theory
at
Eastman
School
of
Music,
University
of
Rochester,
USA.
He
received
his
PhD
from
Columbia
University
(studying
with
Fred
Lerdahl),
did
a
post-‐
doctoral
fellowship
at
Ohio
State
University
(working
with
David
Huron),
and
has
been
at
Eastman
since
2000.
Temperley's
primary
research
area
has
been
computational
modeling
of
music
cognition;
he
has
explored
issues
such
as
meter
perception,
key
perception,
harmonic
analysis,
and
stream
segregation.
His
first
book,
The
Cognition
of
Basic
Musical
Structures
(MIT,
2001)
won
the
Society
for
Music
Theory's
Emerging
Scholar
Award;
his
second
book,
Music
and
Probability
(MIT,
2007)
explores
computational
music
cognition
from
a
probabilistic
perspective.
Other
research
has
focused
on
harmony
in
rock,
rhythm
in
traditional
African
music,
and
hypermeter
in
common-‐practice
music.
Temperley
has
also
worked
on
a
variety
of
linguistic
issues,
including
parsing,
syntactic
choice,
and
linguistic
rhythm.
My
starting
point
is
a
recent
experiment
in
which
participants
heard
melodies
in
different
diatonic
modes
(Lydian,
Ionian,
Mixolydian,
Dorian,
Aeolian,
and
Phrygian)
and
judged
their
happiness.
The
experiment
reveals
a
strong
and
robust
pattern:
Modes
become
"happier"
as
scale-‐degrees
are
raised
(i.e.
as
sharps
are
added),
with
the
exception
of
Lydian,
which
is
higher
in
pitch
than
Ionian
(major)
but
less
happy.
I
consider
various
explanations
for
this
pattern.
The
simplest
explanation
appeals
to
familiarity:
major
mode
is
the
happiest
because
it
is
the
most
familiar.
Several
considerations
argue
against
this
explanation,
including
new
corpus
evidence
from
popular
music.
However,
I
argue
that
familiarity
may
explain
the
low
happiness
of
modes
at
the
extremes,
namely
Phrygian
and
Lydian.
(Here
I
connect
with
recent
computational
work
on
key-‐finding.)
Regarding
the
gradual
increase
in
happiness
of
modes
from
Aeolian
through
Ionian,
I
consider
two
explanations:
one
posits
an
association
between
happiness
and
pitch
height;
the
other
involves
a
spatial
cognitive
model
of
scale-‐
degrees,
the
"line
of
fifths."
I
put
forth
several
arguments
in
favor
of
the
latter
explanation.
Young
Researcher
Award
2,
Grand
Pietra
Hall,
10:00-‐10:30
Emotions
Move
Us:
Basic
Emotions
in
Music
Influence
People’s
Movement
to
Music
Birgitta
Burger,
Suvi
Saarikallio,
Geoff
Luck,
Marc
R.
Thompson,
Petri
Toiviainen
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
Department
of
Music,
University
of
Jyväskylä,
Finland
Listening
to
music
makes
us
to
move
in
various
ways.
Several
factors
can
affect
the
characteristics
of
these
movements,
including
individual
factors
and
musical
features.
Additionally,
music-‐induced
movement
may
be
shaped
by
the
emotional
content
of
the
154
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
music.
Indeed,
the
reflection
and
embodiment
of
musical
emotions
through
movement
is
a
prevalent
assumption
within
the
embodied
music
cognition
framework.
This
study
investigates
how
music-‐induced,
quasi-‐spontaneous
movement
is
influenced
by
the
emotional
content
of
music.
We
recorded
the
movements
of
60
participants
(without
professional
dance
background)
to
popular
music
using
an
optical
motion
capture
system,
and
computationally
extracted
features
from
the
movement
data.
Additionally,
the
emotional
content
(happiness,
anger,
sadness,
and
tenderness)
of
the
stimuli
was
assessed
in
a
perceptual
experiment.
A
subsequent
correlational
analysis
revealed
that
different
movement
features
and
combinations
thereof
were
characteristic
of
each
emotion,
suggesting
that
body
movements
reflect
perceived
emotional
qualities
of
music.
Happy
music
was
characterized
by
body
rotation
and
complex
movement,
whereas
angry
music
was
found
to
be
related
to
non-‐fluid
movement
without
rotation.
Sad
music
was
embodied
by
simple
movements
and
tender
music
by
fluid
movements
of
low
acceleration
and
a
forward
bent
torso.
The
results
of
this
study
show
similarities
to
movements
of
professional
musicians
and
dancers,
to
emotion-‐specific
non-‐verbal
behavior
in
general,
and
can
be
linked
to
notions
of
embodied
music
cognition.
Speed
Poster
Session
31:
Grand
Pietra
Hall,
11:00-‐11:40
Cognitive
modeling
&
musical
structure
Long-‐term
representations
in
melody
cognition:
Influences
of
musical
expertise
and
tempo
Niklas
Büdenbender,
Gunter
Kreutz
Department
of
Music,
Carl
von
Ossietzky
University
Oldenburg,
Germany
We
often
only
need
a
few
tones
from
the
beginning
of
a
melody
to
anticipate
its
continuation.
The
less
known
a
melody
is,
however,
the
more
tones
are
required
to
decide
upon
its
familiarity.
Dalla
Bella
et
al.
(2003)
investigated
this
idea
in
an
experiment
where
participants
with
different
musical
backgrounds
were
asked
to
judge
melody
beginnings
regarding
their
point
of
identification
as
familiar
or
unfamiliar.
The
results
reveal
expected
influences
of
musical
expertise
but
also
show
similarities
in
the
cognitive
representation
of
melodic
material,
regardless
of
musical
expertise.
In
our
experiment
we
replicated
and
extended
this
paradigm
by
focusing
on
musical
tempo
as
another
potential
influence
on
the
recognition
process.
Participants
were
assigned
to
either
a
musicians
group
or
a
non-‐
musicians
group,
according
to
their
grade
of
musical
expertise,
and
were
asked
to
judge
acoustically
presented
melody
beginnings
regarding
the
point
of
their
identification
as
familiar
or
unfamiliar.
Results
support
the
findings
of
Dalla
Bella
with
a
highly
significant
difference
between
the
identification
points
for
familiar
and
unfamiliar
melodies
of
approximately
three
tones
more
for
the
latter,
and
a
significantly
faster
identification
of
approximately
one
tone
for
musicians
compared
to
non-‐musicians.
Deviations
from
the
original
tempo
show
a
trend
towards
a
delayed
identification
for
familiar
melodies,
regardless
of
the
direction
of
the
deviation,
and
a
significant
correlation
between
the
increase
of
tempo
and
the
number
of
tones
required
for
the
identification
of
unfamiliar
melodies.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 155
Why
Elephants
Are
Less
Surprised:
On
Context-‐free
Contexts,
Trees
without
Branches
and
Probabilistic
Models
of
Long-‐distance
Dependencies
Martin
Rohrmeier,*
Thore
Graepel#
*Cluster
Languages
of
Emotion,
Freie
Universität
Berlin,
Germany
#Microsoft
Research,
Cambridge,
United
Kingdom
Since
Schenker's
(1935)
and
Lerdahl
&
Jackendoff's
(1983)
theories,
tree-‐shaped,
nonlocal
dependency
structures
have
been
proposed
for
tonal
music.
Empirical
evidence
for
the
perception
or
acquisition
of
nonlocal
dependencies,
however,
is
still
debated.
Regarding
harmony,
accounts
based
on
local
transition
tables
(Piston,
1978;
Tymoczko,
2003)
or
recursive,
generative
context-‐free
structures
(eg.
Steedman,
1984,
1996;
Lerdahl,
2001;
Rohrmeier,
2011)
were
proposed.
This
work
explores
whether
long
contexts
have
an
effect
for
the
prediction
of
realistic
chord
sequences.
We
use
simple
probabilistic
Hidden
Markov
and
n-‐gram
models
to
motivate
harmonic
long-‐distance
dependencies
and
their
learning
statistically
using
a
corpus
of
Jazz
chord
progressions.
For
each
chord
of
each
test
sequence,
the
prediction
accuracy
based
on
any
contiguous
shorter
context
up
to
only
one
chord
was
compared
to
the
prediction
accuracy
for
that
chord
given
the
full
context
of
the
entire
piece
so
far.
Results
by
HMMs
in
contrast
to
n-‐gram
models
indicate
that
long-‐distance
dependencies
up
to
large
ranges
(10
or
more
chords
into
the
past)
have
a
statistically
measurable
impact
on
the
prediction
accuracy
of
most,
but
not
all
chords
in
the
test
pieces.
The
results
suggest
that
features
of
hierarchical,
nonlocal
harmonic
structure
are
found
in
the
data
and
can
be
detected
by
HMMs.
This
finding
provides
an
empirical
way
to
reveal
traces
of
syntactic
dependency
structures
consistent
with
theoretical
accounts
and
to
show
that
aspects
of
such
dependencies
can
be
acquired
by
mere
statistical
learning.
Derivation
of
Pitch
Constructs
from
the
Principles
of
Tone
Perception
Zvonimir
Nagy
Mary
Pappert
School
of
Music,
Duquesne
University,
Pittsburgh,
United
States
Recent
cross-‐cultural
studies
in
psychoacoustics,
cognitive
music
theory,
and
neuroscience
of
music
suggest
a
direct
correlation
between
the
spectral
content
found
in
tones
of
musical
instruments
and
the
human
voice
on
the
origin
and
formation
of
musical
scales.
From
an
interdisciplinary
point
of
view,
the
paper
surveys
important
concepts
that
have
contributed
to
the
perception
and
understanding
of
the
basic
building
blocks
of
musical
harmony:
intervals
and
scales.
The
theoretical
model
for
pitch
constructs
derived
from
the
perceptual
attributes
of
musical
tones
–
the
patterns
of
tone
intervals
extracted
from
the
harmonic
series
–
builds
on
the
hypothesis
that
fundamental
assumptions
of
musical
intervals
and
scales
indicate
physiological
and
psychological
properties
of
the
auditory
and
cognitive
nervous
systems.
The
model
is
based
on
the
intrinsic
hierarchy
of
vertical
intervals
and
their
relationships
within
the
harmonic
series.
As
a
result,
musical
scales
based
on
the
perceptual
and
cognitive
affinity
of
musical
intervals
are
derived,
their
rapport
with
Western
music
theory
suggested,
and
the
model’s
potential
for
use
in
music
composition
implied.
This
leads
to
a
vertical
aspect
of
musical
harmony
by
bonding
of
the
intervallic
quality
and
its
very
structure
embedded
within
the
spectra
of
tones
that
produce
it.
The
model’s
application
in
the
construction
of
tone
systems
puts
forward
a
rich
discourse
between
music
acoustics,
perception,
and
cognition
on
one
end,
and
music
theory,
aesthetics,
and
music
composition
on
the
other.
156
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Musical phrase extraction from performed blues solos
Bruce Pennycook,1 Carlos Guedes2
1The University of Texas at Austin, USA
2Faculty of Engineering, University of Porto, Portugal
The
Music
Phrase
Segmenter
software
is
an
adaptation
of
Lerdahl
&
Jackendoff's
Grouping
Preference
Rules
based
on
earlier
work
by
Pennycook
and
Stammen.
The
primary
objective
of
MPS
is
to
automatically
extract,
analyze
and
classify
phrases
from
live
performance,
audio
and/or
midi
files
and
scores
to
serve
as
input
to
a
generative
system.
It
has
been
shown
that
statistical
combined
with
boundary-‐detection
segmentation
methods
can
outperform
a
single
GPR
in
ground-‐truth
tests,
our
intent
was
to
extend
the
GPR
approach
by
adding
1)
style
dependent
weightings
and
2)
secondary
rules
which
are
dynamically
invoked
to
improve
results
on
ambiguous
interval
displacements.
The
target
application
for
this
system
is
an
interactive
generative
blues
player
suitable
for
mobile
applications
which
is
part
of
an
umbrella
research
project
focusing
on
real-‐time
interactive
generative
music
production
tools.
To
satisfy
the
requirements
for
this
application,
the
MPS
software
is
designed
to
provide
continuous
phrase-‐by-‐phrase
output
in
real-‐time
such
that
an
input
source
(playing
a
keyboard
or
saxophone
for
example)
could
produce
useful
data
with
a
minimal
latency.In
addition
to
the
segment
information
–
pitch,
duration,
amplitude
–
the
MPS
system
produces
for
each
detected
phrase
the
following
analyses:
estimated
bpm
for
the
current
phrase
and
estimated
bpm
from
the
beginning
of
the
analysis
to
the
current
(using
a
new
beat-‐tracking
Max/MSP
external
object
developed
for
the
overall
research
project),
estimated
root,
estimated
tonality,
estimated
chord-‐scale,
pitch
and
interval
class
collections
(raw
and
weighted)
plus
a
phrase
contour
value.
The
contours
are
determined
using
a
new
Max/MSP
external
implementation
of
a
dynamic
time-‐warp
method
to
classify
each
phrase
according
to
nine
templates
derived
from
Huron.
The
contour
matching
process
also
occurs
on
a
phrase-‐by-‐phrase
basis
in
real-‐time.
These
data
sets
are
then
passed
to
a
classification
system
allows
a
user
to
cluster
collections
according
to
any
of
the
analytical
criteria.
The
paper
demonstrates
a)
the
results
of
the
segmenter
processes
compared
to
ground-‐truth
data
b)
the
real-‐time
operation
of
the
analytical
and
contour
procedures
c)
the
clustering
classification
system
and
d)
how
the
data
is
ultimately
employed
in
the
generative
system.
An
Interactive
Computational
System
for
the
Exploration
of
Music
Voice/Stream
Segregation
Processes
Andreas
Katsiavalos,
Emilios
Cambouropoulos
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
In
recent
years
a
number
of
computational
models
have
been
proposed
that
attempt
to
separate
polyphonic
music
into
perceptually
pertinent
musical
voices
or,
more
generally,
musical
streams,
based
on
a
number
of
auditory
streaming
principles
(Bregman).
The
exact
way
such
perceptual
principles
interact
with
each
other
in
diverse
musical
textures
has
not
yet
been
explored
systematically.
In
this
study,
a
computational
system
is
developed
that
accepts
as
input
a
musical
surface
represented
as
a
symbolic
note
file,
and
outputs
a
piano-‐
roll
like
representation
depicting
potential
voices/streams.
The
user
can
change
a
set
variables
that
affect
the
relative
prominence
of
each
streaming
principle
giving,
thus,
rise
to
potentially
different
voice/stream
structures.
For
a
certain
setting
of
the
model’s
parameters,
the
algorithm
is
tested
against
a
small
but
diverse
set
of
musical
excerpts
(consisting
of
contrasting
cases
of
voicing/streaming)
for
which
voices
or
streams
have
been
manually
annotated
by
a
music
expert
(this
set
acts
as
ground
truth).
Preliminary
qualitative
results
are
encouraging
as
streaming
output
is
close
to
the
ground
truth
dataset.
However,
it
is
acknowledged
that
it
is
difficult
to
find
one
stable
set
of
parameters
that
works
equally
well
in
all
cases.
The
proposed
model
enables
the
study
of
voice/stream
separation
processes
per
se,
and,
at
the
same
time,
is
a
useful
tool
for
the
development
of
more
sophisticated
computational
applications.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 157
Timbral
&
Textural
Evolution
as
Determinant
Factors
of
Auditory
Streaming
Segregation
in
Christian
Lauba's
“Stan”
Nicolaos
Diminakis,
Costas
Tsougras
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Formal
musical
analysis
does
not
typically
involve
the
listener's
cognition
of
the
macro/micro
structural
levels
of
a
composition.
Auditory
scene
analysis
provides
a
fundamental
understanding
of
the
way
a
listener
perceives
combined
sounds
and
organizes
them
as
separate
elements
of
the
musical
texture.
The
aim
of
this
paper
is
to
show
how
a
number
of
cognitive
factors
(auditory
streaming
principles)
can
provide
an
insight
into
the
macro/microstructure
of
Christian
Lauba's
“Stan”
for
baritone
saxophone
and
pre-‐recorded
synthesizer.
“Stan”,
Lauba's
11th
saxophone
concert-‐study,
is
a
“Study
in
virtuosity
without
rubato
for
well-‐tempered
and
well-‐quantized
instruments”
and
an
homage
to
Stan
Getz,
the
renown
jazz
musician.
In
this
piece,
timbral
and
textural
parameters,
as
well
as
their
overlapping
and
interaction
during
the
evolution
of
the
composition,
attain
importance
and
constitute
the
main
generators
of
auditory
streams.
The
present
study
reveals
the
auditory
streaming
processes
-‐based
on
the
principles
of
Temporal
Continuity,
Minimum
Masking,
Tonal
Fusion,
Pitch
Proximity,
Pitch
Co-‐modulation,
Onset
Synchrony,
Limited
Density
and
Timbral
Differentiation-‐
that
project
the
division
of
the
piece
into
three
parts
(A-‐B-‐C)
and
explains
the
unfolding
of
the
composition'
s
musical
texture
and
the
relation
of
the
piece's
structure
to
its
title.
Pc
set
analysis
is
also
applied
in
order
to
enlighten
important
processes
at
the
microstructural
level.
The
study
shows
how
two
distinct
methodologies
can
complement
each
other
for
the
benefit
of
music
analysis.
The
acknowledgment
of
both
cognitive
and
theoretical
results
expands
our
understanding
of
musical
structure
and
broadens
our
knowledge
about
the
listener's
experience.
Understanding
Ornamentation
in
Atonal
Music
Michael
Buchler
College
of
Music,
Florida
State
University,
U.S.A.
In
1987,
Joseph
Straus
convincingly
argued
that
prolongational
claims
were
unsupportable
in
post-‐tonal
music.
He
also,
intentionally
or
not,
set
the
stage
for
a
slippery
slope
argument
whereby
any
small
morsel
of
prolongationally
conceived
structure
(passing
tones,
neighbor
tones,
suspensions,
and
the
like)
would
seem
just
as
problematic
as
longer-‐range
harmonic
or
melodic
enlargements.
Prolongational
structures
are
hierarchical,
after
all.
This
paper
argues
that
large-‐scale
prolongations
are
inherently
different
from
small-‐scale
ones
in
atonal
(and
possibly
also
tonal)
music.
It
also
suggests
that
we
learn
to
trust
our
analytical
instincts
and
perceptions
with
atonal
music
as
much
as
we
do
with
tonal
music
and
that
we
not
require
every
interpretive
impulse
to
be
grounded
by
strongly
methodological
constraints.
Perceiving
and
categorizing
atonal
music:
the
role
of
redundancy
and
performance
Maurizio
Giorgio,1
Michel
Imberty,2
Marta
Olivetti-‐Belardinelli3
1"Sapienza"
University
of
Rome,
Université
de
Paris-‐Ouest-‐Nanterre
La
Défense,
Italy
2Université
de
Paris-‐Ouest-‐Nanterre
La
Défense,
France;
3ECoNA
-‐
Interuniversity
Centre
for
Research
on
Cognitive
Processing
in
Natural
and
Artificial
Systems, “Sapienza” University of Rome, Italy
In order to verify if the performer interpretation has a role on the perceived segmentation of
atonal music, we performed three experiments according to the ecological approach developed by
Irène Deliège (1990). We hypothesize that musical structure affects grouping more than
158
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
performance
and,
moreover,
that
the
main
mechanism
involved
in
the
representation
of
musical
structure
is
related
to
the
detection
of
similarity
and
difference
between
phrases,
that
is,
of
their
redundancy.
For
each
experiment
30
subjects
were
invited
to
attentively
listen
to
two
different
performances
of
an
atonal
piece,
to
understand
its
plan
and
to
mark
off
the
sections
of
the
work
pressing
a
computer
key.
The
order
of
presentation
of
the
two
performances
was
balanced.
In
a
first
experiment
we
used
two
versions
of
Berio’s
Sequenza
VI
performed
respectively
by
Desjardins
(1998)
and
Knox
(2006).
These
variants
are
different
in
duration
(12.13min.
vs
13.14min.)
and
show
differences
in
dynamics
aspects
(i.e.:
velocity,
intensity),
accents
distribution
and
gaps
duration.
The
aim
of
this
work
was
to
isolate
and
analyze
the
role
of
variations
in
dynamic
components,
accents
distribution,
duration
and
the
instrumentalists’
point
of
view
in
the
representation
of
the
musical
surface,
as
perceived
by
the
listeners.
In
the
second
experiment
we
focused
on
the
role
of
performances
duration
by
using
two
versions
of
Berio’s
Sequenza
III,
recorded
by
the
same
singer,
that
differ
exactly
in
duration.
In
order
to
better
investigate
the
performers
interpretation
of
the
score,
in
the
third
experiment
we
asked
to
two
musicians
to
record
a
performance
of
Berio’s
Sequenza
VIII
by
means
of
a
score
in
which
we
had
previously
erased
the
dynamic
instructions
provided
by
the
composer.
Moreover,
none
of
the
two
instrumentalists
knew
the
Berio’s
composition
before
our
request.
Then
we
used
the
obtained
tracks
as
stimuli
in
the
same
paradigm
of
previous
experiments.
The
results
show
a
good
number
of
coinciding
segmentations
in
the
two
versions
either
for
the
first,
the
second
and
the
last
experiment,
confirming
our
hypothesis
and
suggesting
a
main
role
of
the
texture
in
perceiving
and
representing
the
plan
of
the
pieces.
The
results
of
the
three
experiments
are
discussed
in
relation
to
the
role
of
same/different
detection.
Speed
Poster
Session
32:
Crystal
Hall,
11:00-‐11:40
Emotion
&
affect
‘What’s
That
Coming
Over
The
Hill?’
The
Role
Of
Music
On
Response
Latency
For
Emotional
Words
Paul
Atkinson
Psychology,
Goldsmiths
University,
England
Music
and
words
both
have
the
potential
to
generate
emotional
states
that
may
impaction
concurrent
task
performance,
but
the
extent
of
this
interaction
is
rarely
explored.
A
classic
example
of
the
effects
of
emotional
words
is
seen
in
responses
to
the
emotional
Stroop
test,
Stroop
(1935)
whereby
the
presence
of
emotional
words
inhibits
response
times
to
a
standard
color
naming
task.
Graham,
Robinson
and
Mulhall
(2009)
combined
the
Stroop
task
with
music
and
found
an
effect.
The
aim
of
this
study
was
to
explore
whether
music
could
affect
performance
on
an
emotional
Stroop
task:
Specifically
it
was
hypothesized
that
fearful
music
would
inhibit
responses
on
the
reading
task
while
happy
music
would
decrease
inhibition.
Both
conditions
were
measured
against
a
silent
control.
The
music
samples
for
the
present
study
were
taken
from
a
study
by
Eerola
and
Vuoskoski
(2010).
60
undergraduates
took
part
in
the
study
and
were
comprised
of
33
females
and
24
males.
The
experiment
involved
participants
responding
to
a
colour
naming
Stroop
task
on
a
computer
screen
that
contained
both
threat
and
neutral
words,
either
in
silence
or
while
listening
to
music
that
was
rated
as
happy
or
fearful.
The
dependent
variable
was
the
time
taken
for
the
participant
to
respond
to
the
color
of
the
word
presented.
The
findings
of
the
study
supported
the
experimental
hypotheses:
fearful
music
significantly
inhibited
response
times,
while
response
times
in
the
happy
music
condition
were
significantly
facilitated.
In
the
silence
condition
no
significance
difference
was
found
between
performance
of
words.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 159
Diabolus
in
musica:
towards
an
understanding
of
the
emotional
perception
of
musical
dissonance
Kyriaki
Zacharopoulou,
Eleni
Lapidaki
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Musical
dissonance
is
considered
to
be
a
decisive
factor
in
the
emotional
evaluation
of
a
musical
piece.
However,
previous
research
on
the
developmental
perception
of
this
musical
phenomenon
is
characterized
by
lack
of
studies,
which
are
usually
low
in
ecological
validity
(extensive
use
of
written/verbal
self-‐reports
of
the
emotional
experience,
artificially
made
musical
stimuli,
or
isolated
musical
events).
The
purpose
of
this
study
was
twofold.
The
first
goal
was
to
propose
a
web-‐based,
multimedia
enriched
method,
which
provides
a
more
natural
research
setting,
assigning
a
task
that
people
generally
encounter
in
their
everyday
life,
namely
the
pairing
of
music
with
images
and
videos.
The
second
goal
of
the
study
was
to
assess
the
emotional
connotations
of
musical
dissonance
in
two
different
age
groups.
The
study
involved
29
pre-‐adolescents
and
17
adults.
The
participants
watched
a
set
of
images
and
videos
combined
with
a
consonant
and
a
dissonant
variation
of
three
musical
pieces.
The
images
and
videos
were
selected
so
that
they
would
evoke
extreme
low
or
high
levels
of
the
emotional
dimensions
of
valence
and
arousal.
We
confirmed
the
participants'
tendency
to
choose
the
dissonant
musical
versions
when
they
judged
a
visual
stimulus
as
more
arousing,
and
the
consonant
versions
when
they
judged
a
visual
stimulus
as
more
positive
or
pleasant.
The
pre-‐adolescents
generally
agreed
with
the
adults
in
evaluating
the
different
musical
pieces,
which
implies
that
the
emotional
responses
to
musical
dissonance
of
children
at
the
age
of
pre-‐adolescence
have
already
begun
to
strongly
resemble
those
of
adults.
Tonality
and
Affective
Experience:
What
the
Probe
Tone
Method
Reveals
Elizabeth
Hellmuth
Margulis,*
Zohar
Eitan#
*Department
of
Music,
University
of
Arkansas,
United
States
#School
of
Music,
Tel
Aviv
University,
Israel
Music
theorists
have
long
maintained
that
the
tonal
hierarchy
is
an
important
foundation
for
the
affective
experience
of
Western
music.
Tonal
relationships
are
believed
to
engender
expectancy,
tension
and
surprise,
and
thus
partake
in
diverse
ways
in
music
expression
and
meanings.
This
set
of
studies
aims
to
use
the
well-‐established
probe-‐tone
technique
(Krumhansl,
1990)
to
explore
the
relationship
between
perceptions
of
tonal
hierarchy
and
aspects
of
musical
expression.
Specifically,
we
examine
how
listeners’
goodness-‐of-‐fit
ratings
of
tonal
scale
degrees
correlate
with
their
ratings
of
expressive
qualities
conveyed
by
these
scale
degrees.
In
the
experiments
reported
here,
listeners
with
and
without
formal
musical
training
performed
two
tasks
in
counterbalanced
order:
the
original
probe-‐tone
task
(based
on
Krumhansl
&
Kessler,
1982),
and
a
replica
of
this
task
such
that
participants
rated
not
how
well
the
probe
tone
fit
with
the
tonal
context,
but
rather
how
tense
they
found
it
(Experiment
1)
or
how
much
they
liked
it
(Experiment
2).
Results
provide
basic
information
about
the
impact
of
tonality
on
affective
experience.
By
making
simple
modifications
to
a
well-‐established
methodology
in
music
perception,
we
hope
to
gain
preliminary
information
about
the
relationship
between
tonality
and
multidimensional
components
of
affective
experience,
as
well
as
about
the
relationship
between
these
dimensions
themselves.
160
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
“Lower
than
average”
spectral
centroid
and
the
subjective
ability
of
a
musical
instrument
to
express
sadness
Joseph
Plazak,*
David
Huron,#
*School
of
Music,
Illinois
Wesleyan
University,
USA;
#School
of
Music,
Ohio
State
University,
USA
One
of
the
known
cues
for
a
sad
"tone
of
voice"
in
instrumental
music
is
a
relatively
darker
timbre.
Previous
research
has
determined
that
“spectral
centroid”
is
a
reliable
indicator
of
the
perceived
brightness/darkness
for
a
musical
tone.
This
study
sought
to
determine
which
tones,
on
various
orchestral
instruments,
have
a
"lower
than
average"
spectral
centroid,
and
thus,
which
tones
might
be
better
suited
for
expressing
musical
sadness.
Further,
this
study
also
sought
to
compare
the
average
spectral
centroid
for
a
given
instrument
to
the
subjective
capacity
of
that
instrument
to
express
musical
sadness.
Huron
and
Anderson
collected
this
latter
data
in
an
unpublished
study.
A
weak
correlation
(r=
-‐.09)
was
found
between
an
instrument’s
average
spectral
centroid
and
the
subjective
capacity
of
that
instrument
to
express
musical
sadness.
These
results
are
limited,
but
are
consistent
with
the
hypothesis
that
darker
timbres,
defined
as
tones
with
“lower
than
average”
spectral
centroid
values,
are
correlated
with
an
instrument’s
subjective
capacity
to
express
musical
sadness.
Genre-‐related
Dynamics
of
Affects
in
Music
Pasi
Saari,
Tuomas
Eerola
Music
Department,
University
of
Jyväskylä,
Finland
Past
research
in
the
perception
of
affects
in
music
has
primarily
been
based
on
rather
limited
music
materials
both
in
terms
of
music
genres
covered
and
amount
of
examples
used.
Yet
we
are
aware
of
large
differences
in
functions,
typical
listener
profiles
and
affective
connotations
of
music
across
genres.
The
present
study
considers
the
contribution
of
music
genre
to
the
perception
of
affects
in
music
and
seeks
to
uncover
systematic
patterns
of
affects
and
their
musical
correlates
across
a
variety
of
genres.
Moreover,
the
aim
of
the
study
is
to
assess
the
congruence
between
affects
inferred
from
social
media
tags
and
participant
ratings
of
affect
characteristics.
Song-‐level
tags
related
to
genre
and
mood
were
retrieved
for
over
a
million
songs
from
the
Last.fm
social
music
catalogue.
Based
on
Latent
Semantic
Analysis
of
the
tags,
a
set
of
600
tracks,
balanced
in
terms
of
6
popular
music
genres
and
9
affects
were
chosen
for
a
listening
experiment,
where
29
participants
rated
the
excerpts.
Correlations
between
the
listener
ratings
and
corresponding
inferred
semantic
representations
were
low
(happy
r=.42)
to
high
(peaceful
r=.69).
Without
respect
to
genre,
correlations
between
mean
ratings
of
each
affect
showed
strong
(e.g.
energetic/relaxed
r=-‐.95),
but
also
unexpectedly
weak
(e.g.
happiness/sadness
r=-‐.46)
relationships.
However,
within
the
genres,
a
complex
pattern
of
relationships
emerges,
showing
strongly
negative
correlation
between
happiness
and
sadness
within
folk
and
pop,
but
weak
correlation
within
electronic
and
metal
–
due
to
non-‐
relevance
of
certain
affects
or
shift
in
the
relationship
of
the
affect
within
the
genre.
Romantic
changes:
Exploring
historical
differences
in
the
use
of
articulation
rate
in
major
and
minor
keys
Matthew
Poon,
Michael
Schutz
McMaster
Institute
for
Music
and
the
Mind,
McMaster
University,
Canada
Music
and
speech
are
known
to
communicate
emotion
using
acoustic
cues
such
as
timing
and
pitch.
Previously
we
explored
the
use
of
these
cues
within
a
corpus
of
24-‐prelude
sets,
quantifying
these
cues
in
each
of
the
12
major
(nominally
“happy”)
and
12
minor
(nominally
“sad”)
pieces.
We
found
that
the
major-‐key
pieces
were
both
higher
in
pitch
and
faster
in
articulation
rate
than
their
minor-‐key
counterparts
(Poon
&
Schutz,
2011).
However,
we
also
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 161
found
differences
in
the
way
Bach
and
Chopin
used
the
cues—differences
consistent
with
previous
work
suggesting
that
the
Romantic
era
practices
for
the
use
of
articulation
rate
broke
with
those
of
previous
eras
(Post
&
Huron,
2009).
To
further
explore
this
change,
we
expanded
our
survey
to
include
seven
additional
24-‐prelude
sets
written
by
Classical
and
Romantic
composers.
For
the
Classical-‐era
sets,
major
key
pieces
were
on
average
25%
faster
than
their
the
minor-‐key
counterparts.
However
for
the
Romantic-‐era
sets,
major-‐key
pieces
were
in
fact
7.5%
slower
than
their
minor
key
counterparts.
Our
analysis
of
pitch
height
differences
is
still
in
progress,
but
through
a
rigorous
methodology
we
document
clear
differences
in
acoustic
cues
between
the
Classical
and
Romantic
eras,
complementing
and
extending
work
by
Post
and
Huron.
Acoustic
variables
in
the
communication
of
composer
emotional
intent
Don
Knox,
Gianna
Cassidy
School
of
Engineering
and
the
Built
Environment,
Glasgow
Caledonian
University,
UK
Music
emotion
recognition
algorithms
automatically
classify
analysed
music
in
terms
of
the
emotion
it
expresses.
Typically
these
approaches
utilise
acoustical
features
extracted
from
the
digital
music
waveform.
Research
in
this
area
concentrates
on
the
perception
of
expressed
emotion
from
the
user
perspective,
and
has
received
some
criticism
in
that
it
is
limited
in
terms
of
unpicking
the
many
facets
of
emotional
communication
between
the
composer
and
the
listener.
Acoustical
analysis
and
classification
processes
can
be
expanded
to
include
aspects
of
the
musical
communication
model,
with
the
potential
to
shed
light
on
how
the
composer
conveys
emotion,
and
how
this
is
reflected
in
the
acoustical
characteristics
of
the
music.
The
communication
of
music
emotion
is
examined
from
the
point
of
view
of
the
composer’s
actions
which
have
a
direct
bearing
on
acoustical
properties
of
the
music
being
created.
A
pilot
study
was
carried
out
in
which
a
composer
was
tasked
with
composing
music
for
a
video
game.
The
composer
kept
a
diary
of
his
thoughts
and
descriptions
of
his
intentions
as
he
composed
music
for
the
game.
The
music
was
analysed
and
a
large
number
of
structural
features
extracted
which
were
analysed
in
relation
to
the
qualitative
descriptions
provided
by
the
composer.
The
results
shed
light
on
the
links
between
the
actions
and
intentions
of
the
composer
and
the
resulting
acoustical
characteristics
of
their
music.
Experienced
emotional
intensity
when
learning
an
atonal
piece
of
music.
A
case
study
Arantza
Almoguera1,
Mari
Jose
Eguilaz1,
Jose
Antonio
Ordoñana2,
Ana
Laucirica1
1Universidad
Pública
de
Navarra,
España
2Universidad
País
Vasco,
España
Different
studies
point
out
that
music
is
one
of
the
most
effective
inducers
of
intense
emotional
experiences.
Nevertheless,
almost
all
the
studies
found
are
focused
on
the
listener’s
emotion,
being
scarce
the
studies
focused
on
the
performer.
Due
to
its
characteristics,
it’s
more
difficult
that
atonal
music
generates
positive
emotions,
both
in
the
audiences
and
among
interpreters
and
students.
In
fact,
several
authors
consider
that
atonal
music
is
“emotionally”
incomprehensible,
and
that’s
the
reason
why
atonal
music
is
not
very
widespread
in
music
education
centers.
The
goal
of
our
study
is
to
investigate
into
the
emotional
intensity
experienced
by
five
Flute
students
when
learning
an
atonal
piece
for
Solo
Flute.
Results
point
out
that
the
deeper
knowledge
of
the
music
reached
in
the
learning
process
and
the
successive
listening
to
the
piece
entail
more
familiarity
and
a
better
understanding
of
the
music
played,
and,
therefore,
students
are
able
to
find
emotionally
intense
passages,
as
it
happens
with
tonal
music.
Consequently,
we
don’t
agree
with
all
those
162
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
theories
that
suggest
that
atonal
music
is
unexpressive
and
emotionally
incomprehensible,
and
we
confirm
that
cognition
has
a
positive
influence
in
the
emotion
felt
when
playing
atonal
music.
This
work
is
part
of
the
Research
National
Project
I+D
2008-‐2011,
code
EDU-‐
2008-‐03401
“Audition,
cognition
and
emotion
in
the
atonal
music
performance
by
high
level
music
students”,
funded
by
the
Ministry
of
Science
and
Innovation
of
Spain.
Speed
Poster
Session
33:
Dock
Six
Hall,
11:00-‐11:40
Learning
&
education
Engaging
Musical
Expectation
Research
in
Pedagogy
of
Musical
Form
and
Phrase
Structure
Nancy
Rogers
College
of
Music,
Florida
State
University,
United
States
This
paper
aims
to
bridge
the
gulf
between
music
cognition
and
mainstream
music
theory
by
describing
ways
to
augment
typical
approaches
to
basic
musical
organization
(form
and
phrase
structure)
in
a
traditional
music
theory
class.
Discussing
principles
of
musical
expectation,
event
segmentation,
schema
theory,
and
statistical
learning
is
compatible
with
common
pedagogical
approaches
to
form.
I
also
describe
classroom
activities
and
assignments
that
engage
research
in
expectation
and
schema
theory.
Interactive
Computer
Simulation
for
Kinesthetic
Learning
to
Perceive
Unconventional
Emergent
Form-‐bearing
Qualities
in
Music
by
Crawford
Seeger,
Carter,
Ligeti,
and
Others
Joshua
Banks
Mailman
Dept.
of
Music,
Columbia
University,
USA;
Steinhardt
School,
New
York
University,
USA
Embracing
the
notion
that
metaphors
influence
reasoning
about
music,
this
study
explores
a
computational-‐
phenomenological
approach
to
perception
of
musical
form
driven
by
a
dynamic
metaphor.
Specifically,
rather
than
static
metaphors
(structure,
architecture,
design,
boundary,
section)
instead,
dynamic
ones
are
emphasized
(flow,
process,
growth,
progression)
as
more
appropriate
for
modeling
musical
form
in
some
circumstances.
Such
models
are
called
dynamic
form.
A
pedagogical
program
for
enhancing
the
perception
of
dynamic
form
is
pursued,
by
exploiting
embodied
cognition
through
custom
built
simulation
technology.
Adopting
an
interdisciplinary
approach,
the
presentation
shows
some
computational
models
of
qualities
that
convey
such
dynamic
form
in
unconventional
repertoire.
Since
such
models
are
quantitative,
it
is
plausible
that,
with
appropriate
technology,
listeners
who
do
not
spontaneously
attend
to
these
could
learn
to
do
so,
and
then
subsequently
demonstrate
perception
and
cognition
of
such
form-‐bearing
flux.
Through
simulation
algorithms,
the
paper
offers
Max/MSP
patches
and
iPhone
apps
that
enable
real-‐
time
user
manipulation
of
the
intensity
of
such
qualities,
by
moving
sliders
with
a
mouse
or
finger
or
by
tilting
the
angle
of
an
iPhone.
Such
hands-‐on
control
is
intended
to
kinesthetically
cultivate
sharper
perception,
cognition,
attention,
and
interest
of
listeners
confronting
unconventional
music.
The
presentation
also
offers
computer
animations
of
some
theorized
unconventional
emergent
qualities,
which
indeed
constitute
vessels
of
musical
form.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 163
Automatic
Singing
Assessment
of
Pupil
Performance
Christian
Dittmar,
Jakob
Abeßer,
Sascha
Grollmisch,*
Andreas
Lehmann,
Johannes
Hasselhorn#
*Semantic
Music
Technologies,
Fraunhofer
IDMT,
Germany
#Hochschule
für
Musik,
Würzburg,
Germany
Assessing
practical
musical
skills
in
educational
settings
is
difficult
and
has
usually
been
done
using
human
raters.
Therefore,
projects
measuring
competencies
such
as
the
American
NAEP
(National
Assessment
of
Educational
Progress,
2008)
or
German
KOMUS
(Jordan
et
al.,
in
press)
rely
on
“responding”
items
rather
than
“performing”
or
“creating”
items
to
measure
what
student
know
and
can
do
in
the
field
of
music.
This
contribution
is
part
of
an
attempt
to
measure
practical
singing
skills
among
German
secondary
school
students.
This
study
contributes
to
the
measurement
of
competencies
in
music
by
developing
a
methodology
and
proprietary
software
solution
for
administering
“performing”
items
and
a
(semi-‐)automatic
scoring
procedure
for
evaluating
different
singing
tasks.
Voice
recordings
were
made
of
56
individual
students
(age
11)
singing
the
German
national
anthem
after
being
given
a
starting
pitch
and
rhythm.
Experts
rated
the
recordings
using
a
five-‐point
scoring
rubric
pioneered
by
Hornbach
and
Taggart
(2008).
The
experts’
averaged
ratings
served
as
ground
truth
data
that
were
then
modeled
with
automatic
analysis
tools
from
Music
Information
Retrieval
research.
Therefore,
the
singing
voice
recordings
were
subjected
to
an
automatic
melody
transcription
algorithm
which
outputs
the
discrete
note
sequence
in
MIDI
notation
and
fundamental
frequencies
in
Hz.
A
set
of
3
performance
assessment
features
were
derived
from
these
data:
(1)
the
optimum
Euclidean
distance
between
the
target
melodies’
pitch
class
histogram
and
the
transcribed
melodies;
(2)
the
variability
of
the
sung
fundamental
frequency
over
the
course
of
a
note;
(3)
change
in
fundamental
frequency
over
the
length
of
a
note.
The
correlation
between
the
Hornbach
&
Taggart
rubric
and
our
features
provided
an
indication
of
their
effectiveness
in
capturing
children’s
vocal
performance.
In
our
ongoing
analyses,
the
combination
of
all
features
was
used
to
train
a
regression
model,
optimized
with
respect
to
the
ground
truth.
The
current
regression
method
yields
a
significant
correlation
around
0.4.
Our
experiments
show
that
the
automatic
modeling
of
human
expert
ratings
is
possible.
More
sophisticated
features
are
still
needed
and
are
currently
under
development.
Competences
of
piano
teachers
and
the
attitudes
of
their
pupils
Malgorzata
Chmurzynska
Department
of
Music
Psychology,
Chopin
University
of
Music
In
the
training
of
future
piano
teachers
(as
well
as
of
other
instrumental
teachers)
provided
by
the
academies
of
music
the
strongest
emphasis
is
put
on
their
preparation
in
terms
of
specific
musical
competences,
such
as
a
high
level
of
piano
performance,
an
ability
to
build
up
pupils’
solid
métier,
to
shape
pupils’
playing
apparatus,
to
develop
their
musical
and
technical
skills.
The
teachers’
training
involves
also
the
psychological
and
educational
knowledge
and
skills,
which,
however,
are
usually
not
taken
too
seriously,
both
by
the
musical
students
themselves
and
the
music
academies.
The
study
aims
at
establishing
whether
there
exists
a
relationship
between
the
piano
teachers’
sense
of
competence
(musical,
educational,
and
psychological)
and
the
pupils’
attitudes
towards
their
piano
teachers
and
piano
lessons.
The
subjects
were
pupils
from
the
professional
primary
music
schools
(N=40)
and
their
piano
teachers
(N=15).
The
pupils
were
administered
the
Pupil’s
Questionnaire,
designed
to
test
their
attitudes
towards
their
piano
teachers
and
the
piano
lessons.
The
teachers
completed
the
Piano
Teacher
Self-‐Efficacy
Questionnaire
designed
to
measure
their
sense
of
competence.
The
data
were
compared
for
correspondence.
The
comparison
revealed
that
the
higher
the
teacher’s
sense
of
psychological
competences,
the
more
positive
their
pupils’
attitudes
–
both
towards
the
teacher
him/herself
and
the
piano
lessons,
the
less
often
the
pupils
experience
negative
feelings
during
the
lessons,
the
lower
their
level
of
anxiety
and
the
higher
sense
of
self-‐fulfillment.
It
has
also
been
revealed
that
the
higher
teachers’
musical
competences,
the
less
often
their
pupils
experience
joy,
self-‐realization,
and
the
more
often
they
experience
anxiety.
The
results
indicate
clearly
that
neither
the
teacher’s
good
piano
164
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
playing,
painstakingly
achieved
during
the
musical
studies,
nor
his/her
careful
training
in
the
remaining
areas
ensure
good
relationship
between
teacher
and
pupil.
These
factors,
therefore,
cannot
be
a
predictor
of
the
effectiveness
of
teaching,
e.g.
they
do
not
result
in
developing
pupils’
musical
interest
and
motivation
for
piano
playing.
These
findings
once
again
point
to
the
great
significance
of
teacher’s
psychological
competences
and
their
role
in
shaping
pupil’s
positive
attitude
towards
piano
playing
and
towards
music
in
general.
The
Effect
of
Music
Teaching
Method
on
Music
Reading
Skills
and
Music
Participation:
An
Online
Study
Ronniet
Orlando,
Craig
Speelman
School
of
Psychology
and
Social
Science,
Edith
Cowan
University,
Australia
Music
reading
skills
are
acknowledged
as
essential
for
musicians
when
learning
new
pieces,
accompanying,
or
playing
with
others
in
ensembles.
Approaches
to
teaching
beginners
may
be
divided
into
rote,
with
new
pieces
learnt
by
ear
and
/
or
finger
positions,
and
note,
where
students
learn
to
read
from
conventional
music
notation
from
the
earliest
lessons.
This
study
set
out
to
examine
relationships
between
first
methods
of
learning
musical
instruments
and
outcome
measures
of
subsequent
music
reading
skills,
participation
in
music
ensembles,
and
ability
to
play
music
by
ear.
A
self-‐administered
online
questionnaire
collected
data
regarding
the
musical
background
of
volunteer
adult
participants,
and
included
a
two-‐part
music
reading
task.
This
was
comprised
of
24
audio-‐visual
matching
tasks
using
sets
of
four
2-‐bar
melodies
requiring
either
matching
the
scored
melody
to
one
of
four
recorded
melodies,
or
matching
a
recorded
melody
to
one
of
four
scored
melodies.
Over
a
period
of
52
days,
155
responses
to
the
questionnaire
were
recorded,
of
which
118
(76%)
were
analyzed
using
a
series
of
one-‐way
analyses
of
variance.
Results
supported
the
hypothesis
that
the
first
method
of
instruction
affected
subsequent
music
reading
ability,
with
note
methods
resulting
in
higher
reading
abilities
than
rote.
Furthermore,
a
significant
relationship
emerged
between
music
reading
ability
and
ensemble
participation,
and
a
significant
effect
was
found
for
playing
by
ear
on
music
reading
ability.
Music
training,
personality,
and
IQ
E.
Glenn
Schellenberg,
Kathleen
A.
Corrigall
University
of
Toronto,
Canada
How
do
individuals
who
study
and
practice
music
for
years
on
end
differ
from
other
individuals?
We
know
that
musically
trained
individuals
tend
to
perform
better
on
tests
of
cognitive
abilities,
including
measures
of
listening,
memory,
verbal
abilities,
visuospatial
abilities,
nonverbal
abilities,
and
IQ.
Such
advantages
extend
to
school
classrooms,
where
musically
trained
children
and
adolescents
tend
to
get
better
grades
than
their
untrained
counterparts
on
all
school
subjects
except
for
physical
education
(i.e.,
sports).
One
particularly
provocative
finding
is
that
duration
of
music
training
is
associated
with
average
grades
in
school
even
when
IQ
is
held
constant.
In
other
words,
musically
trained
individuals
are
better
students
that
one
would
predict
based
on
their
IQ,
which
implicates
a
contribution
of
individual-‐difference
variables
other
than
IQ.
One
possibility
is
that
studying
music
is
associated
with
individual
differences
in
personality.
So,
the
research's
aim
is
to
examine
whether
personality
variables
can
help
to
explain
individual
differences
in
duration
of
music
training.
The
sample
included
a
large
number
of
undergraduates
who
varied
widely
in
terms
of
their
music
background.
They
were
tested
individually
on
measures
of
IQ
(Wechsler
Abbreviated
Scale
of
Intelligence)
and
personality
(Big
Five
Inventory).
They
also
provided
detailed
demographic-‐background
information.
Music
background
was
defined
as
the
number
of
years
of
playing
music
regularly,
which
was
highly
correlated
with
years
of
music
lessons
but
more
strongly
associated
with
the
predictor
variables.
Playing
music
regularly
was
correlated
positively
with
Performance
(nonverbal)
IQ
and
Openness-‐to-‐Experience,
but
negatively
with
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 165
Conscientiousness.
These
associations
remained
evident
when
socio-‐economic
status
(i.e.,
parents’
education)
was
held
constant.
Even
more
compelling
was
the
finding
that
duration
of
playing
music
could
be
predicted
by
a
combination
of
these
predictor
variables
using
multiple
regression,
with
each
variable
(i.e.,
IQ,
Openness-‐to
Experience,
and
Conscientiousness)
making
a
significant
unique
contribution
to
the
model’s
predictive
power.
In
fact,
the
regression
model
accounted
for
approximately
40%
of
the
variance
in
years
of
playing
music
regularly.
Duration
of
playing
music
regularly
can
be
predicted
by
a
combination
of
IQ
and
personality
variables.
Individuals
who
study
and
play
music
for
years
on
end
tend
to
score
well
on
tests
of
intellectual
ability.
They
also
tend
to
be
open
to
new
ideas
and
experiences,
but
they
score
relatively
low
on
a
dimension
of
personality
that
subsumes
qualities
such
as
orderliness,
responsibility,
attentiveness,
and
thinking
before
acting.
Music-‐Games:
Supporting
New
Opportunities
for
Music
Education
Gianna
Cassidy,
Anna
Paisley
Glasgow
Caledonian
Univeristy,
UK
This
paper
presents
Phase
1
of
the
EPSRC
24month
project,
“Music-‐Games:
Supporting
New
Opportunities
for
Music
Education”.
While
learners
are
increasingly
engaged
with
digital
music
participation
outside
the
classroom,
evidence
indicates
learners
are
increasingly
disengaged
with
formal
music
education.
The
challenge
for
music
educators
is
to
capitalise
on
the
evident
motivation
for
informal
music-‐making
with
digital
technology,
as
a
tool
to
create
authentic
and
inclusive
opportunities
to
inspire
and
engage
learners
with
music
in
educational
contexts.
Previous
research
highlights
the
power
of
music
participation
to
enrich
cognitive,
social
and
emotional
wellbeing,
while
a
growing
body
of
work
highlights
the
educational
potential
of
digital
games
to
scaffold
and
enrich
personalised
learning
across
curriculum.
This
body
of
work
addresses
the
neglected
music-‐game
synergy,
investigating
the
potential
of
music
games
to
support
and
enrich
music
education
by
identifying
processes,
opportunities
and
potential
outcomes
of
participation.
Phase
1
aimed
to
elucidate
Educator,
Learner
and
Industry
attitudes,
uses
and
requirements
with
music-‐games,
the
musical
opportunities
and
experiences
music-‐
games
support,
processes
of
participation
in
and
outside
the
classroom,
and
constraints
of
use
within
existing
practice
in
line
with
defined
curriculum
goals.
Study
1
presents
a
comprehensive
questionnaire
investigation
(n=2000)
of
Educators,
Learners,
and
Games
Industry
uses
and
functions
of
music-‐games,
and
barriers
to
classroom
employment.
Study
2
presents
a
mixed
method
investigation
of
learner
sessions
(n=70)
with
RockBand,
recording
performance
(e.g.,
score
music
choice,
usability)
and
self-‐report
measures
(e.g.,
Profile
of
Mood
States
and
Flow)
and
a
thematic
analysis
of
post-‐session
reflective
interviews.
Study
3
presents
a
thematic
analysis
of
educator
and
industry
co-‐created
scenarios
of
use
for
RockBand
in
the
classroom
in
line
with
defined
curriculum
goals.
Findings
suggest
music-‐games
can
engage
and
inspire
us
with
music,
potentially
supporting
and
enriching
key
areas
of
music
education,
social,
emotional
and
cognitive
wellbeing
in
the
classroom
and
wider
musical
world
of
the
learner.
Analysis
was
guided
by
the
elements
of
the
‘new
opportunities’
in
music
curriculum,
and
Hargreaves
et
al.,
(2003)
models
of
‘opportunities
in
music
education’,
and
‘potential
outcomes
of
music
education’.
Findings
are
discussed
through
recommendations
for
effective
and
efficient
employment
of
music
technologies
for
Educators,
and
innovative
and
user-‐centred
design
of
future
music
technologies
for
Industry.
Attitudes
Towards
Game-‐Based
Music
Technologies
in
Education:
A
Survey
Investigation
Anna
M.J.M.
Paisley,
Gianna
Cassidy
Department
of
Computer,
Communication
&
Interactive
Systems/Psychology
&
Allied
Health
Sciences;
Glasgow
Caledonian
University,
Scotland
(UK)
A
growing
body
of
literature
has
recently
emerged
extolling
the
virtues
of
incorporating
digital-‐based
games
within
formal
education
settings
and
in
line
with
defined
curriculum
166
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
goals.
Yet,
despite
the
widespread
usage
and
relative
accessibility
of
music-‐based
digital
games,
coupled
with
the
abundance
of
research
that
exists
to
support
the
cognitive,
emotional
and
social
benefits
of
musical
participation,
there
remains
a
dearth
of
empirical
research
into
the
inclusion
of
such
technologies
within
the
realm
of
music
education.
In
view
of
this
and,
as
part
of
an
ongoing
EPSRC-‐funded
project
designed
to
evaluate
the
educational
potential
of
music-‐based
digital
games,
a
large-‐scale
survey
investigation
was
primarily
conducted
as
a
means
of
ascertaining
current
uses,
requirements
with
and
attitudes
towards
music-‐based
video
games
across
three
groups
of
relevant
stakeholders,
to
include
educators,
learners
and
game
industry
experts.
An
initial
pilot
study
was
conducted
as
a
means
of
assessing
the
reliability
and
validity
of
this
scale
across
250
participants.
Following
analytical
proceedings,
the
questionnaire
was
subsequently
refined
before
being
administered
across
the
3
groups
of
relevant
stakeholders.
(n
=
2000+).
Results
from
a
nested
sub-‐sample
of
300
cases
from
the
overall
participant
pool
shall
be
presented
here
with
a
specific
focus
on
learners’
responses
to
the
final
version
of
the
survey.
These
initial
findings
shall
subsequently
be
discussed
in
light
of
the
overarching
aims
of
the
project,
and
with
regard
to
the
effective
and
successful
integration
of
music-‐based
games
within
music
education.
Speed
Poster
Session
34:
Timber
I
Hall,
11:00-‐11:40
Motion
&
gesture
Interpersonal
influence
of
nonverbal
body-‐movement
interaction
in
an
ensemble
situation
Kenji
Katahira
Graduate
school
of
Science
and
Technology,
Kwansei
Gakuin
University,
Japan
Enhancing interpersonal relationships would be an important function of musical
communication. Music may serve this function by affording participants the opportunity to
interact nonverbally. The nature of the nonverbal channels contributing to the development
of interpersonal relationships, often observed in everyday life, may be one of the factors
underpinning relationship-‐enhancing function of music. The present study aimed to
investigate whether nonverbal communication influenced the development of dyadic
rapport, through a simple ensemble task. Body movement was focused as a typical nonverbal
channel. Ensemble coordination, body movement, and self-‐rating rapport during the
ensemble task were measured, and the relationships among them were analyzed by means
of structural equation modeling (SEM). Eight unacquainted pairs of participants played
isochronous patterns together on the electronic drums, synchronizing them as well as
possible under a real-‐time point-‐light display environment. The following three
measurements were carried out: a) ensemble coordination, b) explicitness and synchrony of
body movements in dyads, and c) participants’ interaction rating, measured with a modified
version of the rapport scale developed by Bernieri, et al. (1996). SEM results revealed that
degree of communication through body movement in dyads contributed to ensemble
coordination, but ensemble coordination had no significant effect on rapport rating. Most
remarkable of all the results, communication through body movement showed a positive
direct effect on the interaction ratings. The results in this study empirically demonstrated
that nonverbal communication in a musical ensemble situation may have an interpersonal
function similar to its function in everyday life.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 167
The
Effect
of
Conductor
Expressivity
on
Choral
Ensemble
Evaluation
Steven
J.
Morrison,
Jeremiah
D.
Selvey
School
of
Music,
University
of
Washington,
USA
Visual
information
can
contribute
significantly
to
the
opinion
one
makes,
the
meaning
one
ascribes
and
the
interpretation
one
derives
from
musical
information.
An
ongoing
series
of
studies
has
examined
whether
a
conductor’s
use
of
gesture
in
a
manner
considered
either
“expressive”
or
“inexpressive”
affects
listeners’
evaluations
of
an
ensemble
performance.
Prior
results
have
indicated
that
among
university
music
students
instrumental
performances
led
by
conductors
deemed
to
be
expressive
were
evaluated
more
positively
than
those
led
by
inexpressive
conductors
even
when
the
performances
were
actually
identical.
The
purpose
of
the
present
study
was
(1)
to
determine
whether
a
similar
response
pattern
would
be
observed
(a)
among
younger
and
less-‐experienced
music
students
(b)
using
choral
performance
stimuli
and
(2)
to
compare
responses
against
evaluations
of
performances
presented
in
an
audio-‐only
condition.
Students
(N
=
429)
enrolled
in
secondary
level
music
classes
rated
the
expressivity
of
two
pairs
of
two
identical
choral
performance
excerpts
(four
excerpts
in
all)
using
a
10-‐point
Likert-‐type
scale.
One
group
(n
=
274)
watched
a
video
performance
of
the
four
excerpts
featuring
conductors
who
demonstrated
either
high-‐expressivity
(HE)
or
low-‐expressivity
(LE)
conducting
techniques.
There
was
a
significant
effect
of
conducting
condition
on
both
the
conductor
and
choral
performance
evaluations.
When
compared
with
the
evaluations
of
a
second
group
of
participants
(n
=
155)
who
heard
the
same
excerpts
presented
in
an
audio-‐only
format,
LE
performance
ratings
were
significantly
lower;
there
was
no
difference
between
HE
and
audio-‐only
ratings.
Effects
of
Observed
Music-‐Gesture
Synchronicity
on
Gaze
and
Memory
Lauren
Hadley,*
Dan
Tidhar,#
Matthew
Woolhouse†
*Department
of
Psychology,
Goldsmiths
College,
University
of
London,
England;
#Faculty
of
Music,
University
of
Cambridge,
England;
†School
of
the
Arts,
McMaster
University,
Canada
Following
a
previously
undertaken
dance
experiment,
which
found
that
music-‐gesture
synchronicity
(as
in
dance)
enhanced
social
memory
(Woolhouse
&
Tidhar,
2010),
this
study
examined
the
factors
which
could
be
seen
to
underlie
this
effect.
Both
gaze
time
and
gaze
quality
were
considered.
The
experiment
involved
two
videos
of
a
dancer
presented
beside
each
other,
accompanied
by
an
audio
track
in
time
with
only
one
of
the
two
visuals.
The
visual
stimuli
each
involved
the
same
dancer,
clothed
in
two
similar
outfits
of
different
colours.
As
participants
viewed
the
stimulus
their
eye-‐movements
were
recorded
using
a
webcam.
Subsequently,
the
subjects’
memory
of
the
dancer’s
clothing
was
tested
by
them
colouring-‐in
two
schematic
diagrams
of
the
dancer,
one
for
each
of
her
outfits.
Two
hypotheses
were
tested
in
this
experiment:
(1)
that
gaze
would
be
directed
more
towards
the
video
in
which
the
dancer
and
audio
were
matched
(‘synchronised
dance
video’
or
SDV),
and
(2)
that
memory
of
clothing
would
be
better
for
the
synchronised
dance
video
than
for
the
‘desynchronised
dance
video’
(or
DDV),
i.e.
the
video
in
which
the
dancer
and
audio
were
mismatched.
The
results
indicated
a
tendency
for
participants
to
focus
for
longer
on
the
SDV
than
the
DDV,
but
did
not
show
a
correlation
between
music-‐dance
synchronicity
and
memory
of
clothing.
Post
hoc
analysis
suggested
that
instead,
size
or
area
of
clothing
item
correlated
to
its
memorability.
These
findings
are
discussed
in
relation
to
various
hypothesised
modes
of
entrainment.
168
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Extracting Action Symbols From Continuous Motion Data
Kristian Nymoen,1 Arjun Chandra,1 Mariusz Kozak2, Rolf Inge Godøy3, Jim Tørresen1, Arve
Voldsund3
1Dept. of Informatics, University of Oslo, Norway; 2Dept. of Music, University of Chicago, IL.,
USA; 3Dept. of Musicology, University of Oslo, Norway
Human motion can be seen as a continuous phenomenon which can be measured as a series
of positions of body limbs over time. However, motion is cognitively processed as discrete
and holistic units, or chunks, ordered by goal-‐points with trajectories leading between these
goal-‐points. We believe this is also the case for music-‐related motion. With the purpose of
utilising such chunks for the control of musical parameters in mobile interactive systems, we
see substantial challenges in developing a robust automated system for identification of
motion chunks and extracting segments from the continuous data stream. This poster
compares several automated segmentation techniques for motion data, applied to recordings
of people moving to music. An experiment has been carried out, where 44 participants were
given the task of moving their body to short musical excerpts. The motion was recorded by
infrared motion capture, with markers on the right wrist, elbow, shoulder and the C7. In
order to make the segmentation techniques easily transferable to mobile devices, the
automated segmentation technique was only based on the data from the right wrist marker.
A human observing 3D point light displays of the motion recordings of the whole arm (wrist,
elbow, shoulder, neck) demarcated chunks by looking at perceptually salient moments in the
recordings. The chunks demarcated by the human were used as a baseline for evaluating the
precision and recall rates of the automated segmentation techniques.
Embodied musical gestures as a game controller
Charlie Williams
University of Cambridge, UK
With the increasing prevalence of portable electronic devices and the concomitant
pervasiveness of casual gaming, interest in the potential musical effects of this growth has
been growing. Michiel Kamp (2010) in particular surveys the gaming field looking for “ludic”
music, ultimately calling for it more as a future goal than as an aspect of currently available
games. I present a digital game-‐based model for music-‐making and musicianship-‐learning,
grounded in embodied spontaneity and sociality rather than the extant music-‐theoretical,
ear-‐training, or rote practice models. A series of four mobile-‐device “app” games in
development is described, in which live musical gestures (singing or clapping) serve as the
control mechanism. For example, in one game a group of pitch classes is represented by a
row of gates, which close when a pitch is sung and then open slowly over time. In that game
mechanic, the goal is to break bricks by bouncing the ball off of the closed gates; to do so a
user must accurately self-‐represent the pitch internally, and then perform the pitch required,
all within a timeframe bounded by the specifics of the game’s physics simulation. Other
games focus variously on controlling the high-‐low/loud-‐soft distinction rather than
producing specific pitch classes, and on rhythmic pattern-‐clapping. The rhythm-‐based games
do not require a fixed tempo but rather include a mechanism for mutual tempo entrainment
between player and device. Gameplay and demographic data are gathered in both laboratory
and in vivo settings, and a preliminary analysis of this data will be presented at the
conference. A hypothesis that musicality is at least partially constructed through increasingly
sophisticated manipulation of a vocabulary of potential gestures will be evaluated in light of
these findings.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 169
The
Coupling
of
Gesture
and
Sound:
The
Kinematics
of
Cross-‐Modal
Matching
for
Hand
Conducting
Gestures
and
Accompanying
Vocal
Sounds
Aysu
Erdemir,1
Erdem
Erdemir,2
Emelyne
Bingham,3
Sara
Beck,1
John
Rieser1
1Psychology
and
Human
Development
in
Peabody
College,
Vanderbilt
University,
USA
2Electrical
Engineering
and
Computer
Science,
Vanderbilt
University,
USA
3Blair
School
of
Music,
Vanderbilt
University,
USA
Physical
movement
of
musicians
and
conductors
alike
play
important
role
in
music
perception.
This
study
was
designed
to
identify
whether
there
was
a
predictable
mathematical
relationship
between
hand
gestures
performed
by
an
expert
conductor
and
vocal
responses
of
a
general
adult
sample
with
and
without
musical
background.
Our
empirical
work
has
found
that
adults
systematically
vary
their
utterance
of
the
syllable
/dah/
in
a
way
that
matches
the
motion
characteristics
of
the
hand
gestures
being
observed,
but
the
physical
nature
of
this
relationship
remained
unclear.
The
movements
of
the
conductor
were
captured
using
a
high-‐resolution
motion
capture
system
while
she
performed
four
different
hand
gestures,
namely
flicks,
punches,
floats
and
glides,
at
constant
tempo.
The
kinematic
features
such
as
position
and
velocity
were
extracted
from
the
motion
data
using
a
computational
data
quantification
method.
Similarly,
an
average
RMS
amplitude
profile
was
computed
from
the
repeated
utterances
of
/dah/
given
each
gesture
across
all
participants.
The
kinematic
features
were,
then,
compared
to
their
amplitude
counterparts
in
the
audio
tracks.
A
correlation
analysis
showed
very
strong
relations
among
the
velocity
profiles
of
the
movements
and
their
accompanying
sound-‐energy
profiles.
Deeper
analysis
showed
that
initial
velocity
in
the
motion
data
truly
predicted
the
RMS
amplitude
in
their
auditory
counterparts,
i.e.
faster
initial
speed
caused
louder
responses.
The
observed
structural
similarity
between
the
movement
and
sound
data
might
be
due
to
a
direct
mapping
of
the
visual
representation
of
observed
action
onto
one’s
own
motor
representation
which
is
reflected
in
its
resultant
auditory
effects.
Intelligent
dance
moves:
rhythmically
complex
and
attractive
dance
movements
are
perceived
to
reflect
higher
intelligence
Suvi
Saarikallio,
Geoff
Luck,
Birgitta
Burger,
Marc
R.
Thompson,
Petri
Toiviainen
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
Department
of
Music,
University
of
Jyväskylä,
Finland
Dance
movement
has
been
shown
to
reflect
individual
characteristics,
such
as
personality
of
the
dancer,
and
certain
types
of
movements
are
generally
being
perceived
as
more
attractive
than
others.
We
investigated
whether
particular
dance
movements
would
be
perceived
as
illustrative
of
a
dancer’s
intelligence.
As
intelligence
generally
refers
to
ability
to
adapt
to
complexly
changing
conditions,
we
studied
movement
features
indicating
complexity,
and
because
people
generally
co-‐associate
different
positive
characteristics,
we
studied
features
typically
perceived
as
attractive.
The
role
of
the
observers’
mood
and
music
preference
was
also
studied.
Sixty-‐two
adults
(28
males,
mean
age
24.68)
were
presented
with
48
short
(30s)
audiovisual
point-‐light
animations
of
other
adults
dancing
to
music
representing
different
genres
of
dance
music
(pop,
latin,
techno).
The
participants
were
instructed
to
rate
the
perceived
intelligence
of
the
dancer
in
each
excerpt.
In
addition,
they
rated
their
mood
and
activity
levels
before,
and
their
preference
of
the
music
after
the
experiment.
Movement
features
expressive
of
complexity
and
attractiveness
were
computationally
extracted
from
the
stimuli.
Men
gave
significantly
higher
intelligence
ratings
for
female
dancers
with
wider
hips,
greater
hip-‐knee
phase
ratio,
and
greater
movement
complexity
indicated
by
metrical
irregularity.
However,
female
observers’
ratings
were
not
influenced
by
the
movement
characteristics.
Moreover,
while
music
preference
did
not
influence
the
ratings,
current
positive
mood
and
higher
energy
level
biased
male
observers
to
give
higher
intelligence
ratings
for
female
dancers.
The
study
shows
that
rhythmically
complex
and
generally
170
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
attractive
movement
appears
to
be
perceived
indicative
of
intelligence,
particularly
for
men
rating
female
dancers.
Overall,
the
study
provides
preliminary
evidence
that
certain
music-‐
related
movements
are
perceived
expressive
of
more
inferred
personal
characteristics
such
as
intelligence.
The
Impact
of
Induced
Emotions
on
Free
Movement
Edith
Van
Dyck,*
Pieter-‐Jan
Maes,*
Jonathan
Hargreaves,#
Micheline
Lesaffre,*
Marc
Leman*
*Department
of
Arts,
Music
and
Theater
Sciences,
Ghent
University,
Belgium
#Department
of
Music,
Trinity
Laban
Conservatoire
of
Music
and
Dance,
UK
The
goal
of
this
study
was
to
examine
the
effect
of
two
basic
emotions,
happiness
and
sadness,
on
free
movement.
A
total
of
32
adult
participants
took
part
in
the
study.
Following
an
emotion
induction
procedure
intended
to
induce
emotional
states
of
happiness
or
sadness
by
means
of
music
and
guided
imagery,
participants
moved
to
an
emotionally
neutral
piece
of
music
that
was
composed
for
the
experiment.
Full
body
movement
was
captured
using
motion
caption.
In
order
to
explore
whether
differences
in
corporeal
articulations
between
the
two
conditions
existed,
several
movement
cues
were
examined.
The
criteria
for
selection
of
these
cues
was
based
on
Effort-‐Shape.
Results
revealed
that
in
the
happy
condition,
participants
showed
faster
and
more
accelerated
body
movement.
Moreover,
movements
proved
to
be
more
expanded
and
more
impulsive
in
the
happy
condition.
These
findings
provide
evidence
of
the
effect
of
emotion
induction
as
related
to
body
movement.
Speed
Poster
Session
35:
Timber
II
Hall,
11:00-‐11:40
Acoustics
&
timbre
perception
Beyond
Helmholtz:
150
Years
of
Timbral
Paradigms
Kai
Siedenburg,*
Christoph
Reuter,#
*
Austrian
Research
Institute
for
Artificial
Intelligence,
Austria
#
Musicological
Institute
of
the
University
of
Vienna,
Austria
This
article
locates
Helmhotz's
groundbreaking
research
on
timbre
and
a
few
of
its
historical
implications
in
terms
of
musical
and
mathematical
coordinates.
Through
pinpointing
on
selected
timbre-‐related
examples
it
describes
how
music
aesthetic
ideals,
mathematical
theories
and
acoustics
research
systematically
interdepend.
After
repositioning
Helmholtz's
work
with
respect
to
Fourier's
theorem,
two
musical
perspectives
are
considered,
Schoenberg's
vision
of
Klangfarbenmelodie
and
Xenakis's
quest
for
sonic
granularity.
It
is
moreover
suggested
to
regard
the
1960
ANSI
definition
as
a
late
echo
of
Helmholtz's
reign.
The
evolution
of
the
multi-‐dimensional-‐scaling-‐based
timbre
space
model
is
briefly
outlined
before
observing
a
plurality
of
mathematic
approaches
which
seems
to
mark
current
research
activities
in
acoustics.
Ecological
factors
in
timbre
perception
Jens
Hjortkjær
Department
of
Arts
and
Cultural
Studies,
University
of
Copenhagen,
Denmark
Recent
meta-‐analyses
of
timbre
perception
studies
have
suggested
that
physical
aspects
of
the
instrument
sources
are
picked
up
in
timbre
perception.
In
particular,
continuous
representations
of
perceived
timbre
similarities
(timbre
spaces)
appear
to
reflect
categorical
information
about
the
material
composition
of
the
instruments
and
about
the
actions
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 171
involved
in
playing
them.
To
examine
this
experimentally,
twenty
listeners
were
asked
to
rate
the
similarity
of
impact
sounds
representing
categorically
different
actions
and
materials.
In
a
weighted
multidimensional
scaling
analysis
of
the
similarity
ratings
we
found
2
latent
dimensions
relating
to
the
materials
and
actions,
respectively.
In
an
acoustic
analysis
of
the
sound
stimuli,
we
found
the
material
related
dimension
to
correlate
with
the
centroid
of
the
long-‐term
spectrum,
while
the
action
related
dimension
was
related
to
the
temporal
centroid
of
the
amplitude
envelope.
The
spectral
centroid
is
also
a
well-‐known
and
robust
descriptor
across
musical
timbre
studies,
suggesting
that
the
distribution
of
frequencies
is
perceptually
salient
because
it
carries
information
about
the
material
of
the
sound
source.
More
generally,
the
results
suggest
that
listeners
attend
implicitly
to
particular
aspects
of
the
continuous
sound
stimulation
that
carry
higher-‐order
information
about
the
sounding
source.
Establishing
a
spectral
theory
for
perceptual
timbre
blending
based
on
spectral-‐envelope
characteristics
Sven-‐Amin
Lembke,
Stephen
McAdams
CIRMMT,
Schulich
School
of
Music,
McGill
University,
Canada
A
perceptual
theory
for
timbre
blending
is
established
by
correlating
acoustical
and
perceptual
factors
between
orchestral
wind
instruments,
based
on
an
acoustical
description
employing
pitch-‐invariant
spectral
envelopes.
Prominent
spectral
maxima
(formants)
derived
from
the
spectral
envelopes
serve
as
the
acoustical
factors
under
investigation.
Relevant
perceptual
correlates
were
determined
through
a
behavioral
experiment,
which
investigated
perceptual
performance
across
different
instruments,
pitches,
intervals
and
stimulus
contexts.
The
experimental
task
involved
ratings
of
the
relative
degree
of
perceptual
blend
for
a
total
of
5
sound
dyads.
The
dyads
comprised
concurrent
presentations
of
a
constant
recorded
wind
instrument
sound
paired
with
variable
synthesized
sounds,
with
each
dyad
employing
a
different
parametric
manipulation
of
synthesized
spectral-‐envelope
maxima.
Relative
frequency
location
and
magnitude
differences
between
formants
can
be
shown
to
bear
a
pitch-‐invariant
perceptual
relevance
to
timbre
blend
for
several
instruments,
with
these
findings
contributing
to
a
perceptual
theory
of
orchestration
and
furthermore
offering
a
possibility
to
predict
perceptual
blend
based
on
acoustical
spectral-‐
envelope
descriptions.
Comparative
study
of
saxophone
multiphonic
tones.
A
possible
perceptual
categorization
Martín
Proscia,
Pablo
Riera,
Manuel
C.
Eguia
Laboratorio
de
Acústica
y
Percepción
Sonora,
Universidad
Nacional
de
Quilmes,
Argentina
A
number
of
studies
have
been
devoted
to
the
production
of
multiphonics
in
woodwinds,
focusing
on
the
possibilities
and
difficulties
of
intonation,
fingering,
pitch
of
components,
and
production
of
trills.
However,
most
of
them
disregard
the
timbric
and
dynamic
qualities
of
these
tones,
or
are
aimed
to
the
detailed
analysis
of
a
few
multiphonic
examples.
Recent
research
also
served
to
unveil
the
physical
principles
that
give
rise
to
these
complex
tones,
including
the
interaction
with
the
vocal
tract
of
the
performer.
In
comparison,
the
psychophyisics
of
the
multiphonic
perception
have
received
much
less
attention,
and
a
complete
picture
of
how
these
multiple
sonorities
are
eventually
grouped
into
perceptual
classes
is
still
missing.
This
work
presents
a
comparative
study
of
a
comprehensive
collection
of
multiphonics
of
the
saxophone,
from
which
a
possible
categorization
into
perceptual
classes
is
derived.
In
order
to
do
this
a
threefold
analysis
is
performed:
musical,
psychoacoustical
and
spectral.
Based
on
previous
research
from
the
musical
perspective,
an
organization
of
the
perceptual
space
for
the
multiphonics
into
four
main
classes
was
proposed.
As
a
first
step,
a
total
of
120
multiphonic
tones
of
the
alto
saxophone,
spanning
a
172
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
wide
spectrum
of
possible
sonorities,
were
analyzed
using
Schaeffer's
concept
of
‘sound
object’.
From
this
analysis,
a
representative
subset
of
15
multiphonic
tones
was
selected,
including
samples
for
each
of
the
four
groups
proposed.
These
representative
tones
were
used
in
a
psychoacoustical
experiment
(pair
comparison
test)
in
order
to
obtain
a
judgement
of
similarity
between
them.
The
results
obtained
were
analyzed
using
multidimensional
scaling.
Finally,
by
means
of
a
spectral
analysis
of
the
tones,
possibles
cues
used
by
the
listeners
to
evaluate
similarity
were
obtanied.
As
a
main
result,
multidimensional
scaling
shows
a
perceptual
organization
that
closely
resembles
the
classification
proposed
from
the
musical
point
of
view,
clustering
the
four
main
classes
on
a
two
dimensional
space.
From
the
spectral
analysis,
a
possible
correspondence
of
the
two
meaningful
dimensions
with
the
number
of
components
and
the
pitch
of
the
lower
component
was
analyzed.
A
perceptual
categorization
for
the
multiphonics
is
of
uttermost
importance
in
musical
composition.
This
works
advances
a
possible
organization
of
these
tones
for
the
alto
saxophone
that
could
be
eventually
extended
to
other
woodwind
instruments.
Comparison
of
Factors
Extracted
from
Power
Fluctuations
in
Critical-‐Band-‐
Filtered
Homophonic
Choral
Music
Kazuo
Ueda,
Yoshitaka
Nakajima
Department
of
Human
Science
and
Center
for
Applied
Perceptual
Research,
Kyushu
University,
Japan
A
consistent
pattern
of
three
factors,
which
led
to
four
common
frequency
bands
with
boundaries
of
about
540,
1720,
and
3280
Hz,
had
been
obtained
from
factor
analyses
of
power
fluctuations
of
critical-‐band-‐filtered
spoken
sentences
in
a
variety
of
languages/dialects.
The
aim
of
the
present
investigation
was
to
clarify
whether
the
same
factors
and
frequency
bands
could
be
found
in
homophonic
choral
music
sung
with
texts
in
English,
Japanese,
or
nonsense
syllables,
or
with
mono-‐vowel
vocalization.
Recordings
of
choral
music
were
analyzed.
Three
factors
and
four
frequency
bands
similar
to
those
obtained
from
spoken
sentences
appeared
in
the
analyses
of
music
with
ordinary
texts
in
English
and
Japanese.
However,
no
distinct
structure
was
observed
in
the
analysis
of
a
tune,
which
was
sung
with
no
text
but
a
mimicked
buzz
of
bumblebees,
and
another
tune,
which
was
vocalized
with
a
single
vowel.
Thus,
it
was
suggested
that
the
patterns
of
the
first
three
factors
could
appear
if
there
was
a
certain
amount
of
syllable
variety
in
choral
music,
and
that
basically
the
same
frequency
channels
were
utilized
for
conveying
speech
information
both
in
spoken
sentences
and
in
choral
music.
Analysis
of
Musical
Timbre
Semantics
through
Metric
and
Non-‐Metric
Data
Reduction
Techniques
Asterios
Zacharakis,
Konstantinos
Pastiadis,
Joshua
D.
Reiss,
George
Papadelis
Queen
Mary
University
of
London,
Centre
for
Digital
Music,
London,
U.K.
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
This
study
investigated
the
underlying
structure
of
musical
timbre
semantic
description.
Forty
one
musically
trained
subjects
participated
in
a
verbal
attribute
magnitude
estimation
listening
test.
The
objective
of
the
test
was
to
rate
the
perceptual
attributes
of
23
musical
tones
using
a
predefined
vocabulary
of
30
English
adjectives.
The
perceptual
variables
(i.e.
adjectives)
were
then
analyzed
through
Cluster
and
Factor
Analysis
techniques
in
order
to
achieve
data
reduction
and
to
identify
the
salient
semantic
dimensions
of
timbre.
The
commonly
employed
metric
approach
was
accompanied
by
a
non-‐metric
counterpart
in
order
to
relax
the
assumption
of
linear
relationships
between
variables
and
to
account
for
the
presence
of
monotonic
nonlinearities.
This
rank
transformation
into
an
ordinal
scale
has
offered
a
more
compact
representation
of
the
data
and
thus
confirmed
the
existence
of
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 173
nonlinearities.
Three
salient,
relatively
independent
perceptual
dimensions
were
identified
for
both
approaches
which
can
be
categorized
under
the
general
conceptual
labels:
luminance,
texture
and
mass.
A
physical
modelling
approach
to
estimate
clarinet
control
parameters
Vasileios
Chatziioannou,*
Maarten
van
Walstijn#
*Institute
of
Musical
Acoustics,
University
of
Music
and
Performing
Arts
Vienna,
Austria
#School
of
Electronics,
Electrical
Engineering
and
Computer
Science,
Queen’s
University
Belfast,
UK
Using
a
physical
model
of
a
musical
instrument,
a
set
of
physically
meaningful
parameters
can
be
translated
into
audio.
By
varying
several
of
the
model
parameters
it
is
possible
to
establish
how
this
affects
the
timbre
and
perception
of
the
resulting
sound.
Working
in
the
opposite
direction,
physics-‐based
analysis
aims
to
estimate
the
values
of
the
physical
model
parameters
from
the
oscillations
of
the
instrument.
Such
an
approach
offers
a
method
for
estimating
parameters
that
are
difficult,
if
not
impossible,
to
measure
directly
under
real
playing
conditions.
The
(inverse)
physical
model
formalises
the
causal
relationship
between
the
sound
and
the
parameters,
which
facilitates
investigating
how
the
physical
parameters
that
configure
and
drive
the
original
sound
generation
process
relate
and
map
to
the
perception
of
that
sound.
Of
particular
interest
is
the
possibility
of
feature
extraction
from
a
recorded
sound
on
this
basis.
The
presented
physical
model
of
a
clarinet
consists
of
a
non-‐
linear
lumped
model
of
the
reed-‐mouthpiece-‐lip
system
coupled
to
a
linear
approximation
of
a
cylindrical
bore.
Starting
form
the
pressure
and
flow
signals
in
the
mouthpiece,
a
two-‐step
optimisation
method
is
developed
that
estimates
physical
parameters
of
the
lumped
model
(blowing
pressure,
initial
reed
opening,
effective
stiffness
and
further
reed
properties).
The
presented
physical
analysis
approach
reveals
a
possible
methodology
for
extracting
useful
information
about
the
actions
of
the
player,
and
how
the
control
of
the
instrument
is
achieved
by
modulating
several
of
the
model
parameters.
Investigating
consistency
in
verbal
descriptions
of
violin
preference
by
experienced
players
Charalampos
Saitis,1
Claudia
Fritz,2
Catherine
Guastavino,3
Bruno
L.
Giordano,4
Gary
P.
Scavone1
1Schulich
School
of
Music,
CIRMMT,
McGill
University,
Montreal,
Canada
2Lutheries-‐Acoustique-‐Musique,
Université
Pierre
et
Marie
Curie,
UMR
CNRS
7190,
Paris,
France
3School
of
Information
Sciences,
CIRMMT,
McGill
University,
Montreal,
Canada
4Institute
of
Neuroscience
and
Psychology,
University
of
Glasgow,
Scotland,
UK
This
paper
reports
content
analyses
on
spontaneous
verbal
descriptions
collected
in
a
perceptual
experiment
investigating
intra-‐individual
consistency
and
inter-‐individual
agreement
in
preference
judgments
by
experienced
violinists.
In
the
experiment
(in
two
identical
sessions
3–7
days
apart)
20
musicians
played
8
violins
of
different
make
and
age
and
were
asked
to
rank
them
in
order
of
preference
(from
least
to
most
preferred),
and
provide
rationale
for
their
choices
through
a
specially
designed
questionnaire.
The
responses
were
classified
in
semantic
categories
emerging
from
the
free-‐format
data
and
all
occurrences
in
each
category
were
counted.
Results
for
self-‐consistency
and
inter-‐individual
agreement
in
the
preference
criteria
are
in
close
agreement
with
previous
observations
concerning
the
preference
rankings
of
the
participants:
violinists
are
quite
self-‐consistent
but
there
is
an
important
lack
of
agreement
between
individuals.
However,
further
analyses
yielded
no
obvious
relationship
between
verbal
and
nonverbal
consistency
within
and
across
violin
players.
174
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Speed Poster Session 36: Grand Pietra Hall, 11:40-‐12:10
Social perspectives
Dancing with death: music festivals, healthy and unhealthy behaviour
Alexandra Lamont
Centre for Psychological Research, Keele University, United Kingdom
Popular music festivals are growing in popularity, and certain types of festival have become
associated with different unhealthy behaviours such as alcohol and drug abuse. While
research has highlighted the considerable wellbeing that festivals can provide, little is known
about the unhealthier elements of music festivals. This project explores the choices festival-‐
goers make around healthy and unhealthy behaviour, and attitudes towards risk and
pleasure in relation to music. The research uses ethnographic methods at a three-‐day
residential (camping) electronic dance music festival, with observational data, an online
survey of 76 festival-‐goers completed after the event, and follow-‐up telephone interviews.
Across all ages, many participants reported an unhealthy set of behaviours (combining legal
and illegal drugs) as their route towards wellbeing, in a setting which provides an alternative
reality – the “giant bubble of happyness [sic]” – alongside a supportive social situation which
minimizes the perceived risks of such unhealthy behaviour. Emerging themes included
escape from reality, the importance of social connections, and a sense of control over use of
illegal drugs. Memories of the event are somewhat hazy for many participants, and other
behaviour is less planned (e.g. rarely is attention paid to set lists or attempts to hear
particular DJs or artists). The results show that many festival-‐goers prioritise a direct route
to pleasure through hedonism. The illusion of safety of the festival context leads to more
risky behaviour than is typical in festival-‐goers’ everyday life, and this altered perception of
risk poses concerns in terms of health and wellbeing.
Deriving Musical Preference Profiles from Liked and Disliked Artists
Rafael Ferrer, Tuomas Eerola
Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä,
Finland
Music preferences are typically determined by asking participants to rate the degree of liking
for music genres. These genre-‐based measures have certain pitfalls, since specific pieces of
music in a genre might be liked more than the genre itself, and finding consensus in a
definition of a genre is often a daunting task. We developed a tool that captures music
preferences in an intuitive fashion and creates music preference profiles that are highly
comparable across participants. The tool requires from the participant to give names of three
liked and disliked artists. From these, the tool constructs a profile resembling those
traditionally obtained with genre-‐based measures. In addition, the tool can also produce
other items than genres, such as adjectives, affect constructs or music preference factors
underlying the given artist names as the output. The underlying algorithm uses online
resources (EchoNest and Last.fm) to provide definitions on the items targeted by the
researcher. The effectiveness of the tool was evaluated with two surveys (N=346 and N=861)
in which genre-‐based preferences and liked and disliked artists were obtained. The
comparison between the two measures demonstrates highly similar results in over 70% of
the cases. The remaining cases typically showed mismatches between artists and genres. The
results underline how genres may not always reflect the actual choice of liked artists,
because they represent a problematic notion for a music preferences measure. The tool is
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 175
presented
as
an
alternative
to
common
music
preference
instruments
that
assume
a
homogeneous
musical
knowledge
in
their
sampled
population.
You
get
what
you
pay
for:
pitch
and
tempo
alterations
in
user-‐posted
YouTube
videos
Joseph
Plazak
School
of
Music,
Illinois
Wesleyan
University,
USA
Despite
the
widespread
availability
of
free
streaming
music
hosted
by
YouTube.com,
many
YouTube
videos
contain
music
that
has
been
altered
from
the
original
recording
in
some
way,
including
alterations
of
pitch,
tempo,
or
timbre.
The
factors
and
motivations
guiding
these
alterations
remain
unknown.
The
aims
of
this
study
were
to
determine
the
prevalence
of
pitch
and
tempo
alterations
in
user-‐posted
YouTube
videos,
and
also
to
determine
the
direction
and
magnitude
of
these
pitch
and
tempo
alterations.
In
an
initial
study,
75%
of
100
collected
YouTube
recordings
contained
a
nominal
alteration
of
pitch
and/or
tempo
(+/-‐
1Hz;
+/-‐
3bpm).
Thirty-‐four
of
these
recordings
contained
a
pitch
alteration
equal
to
or
larger
than
a
half
step
(m2).
Further
analysis
of
the
data
revealed
that
pitch
levels
of
the
sample
set
were
equally
likely
to
be
higher
or
lower,
but
decreasing
the
tempo
of
a
recording
was
more
prevalent
than
increasing
the
tempo.
Additional
studies
may
consider
investigating
if
specific
characteristics
of
the
music
are
influencing
the
direction
and
magnitude
of
YouTube
users’
alterations.
Such
characteristics
may
include:
the
type/style
of
music,
the
vocalist’s
gender
in
the
music
being
altered,
the
release
date
of
the
recording,
etc.
The
attribution
of
agency
to
sound
can
affect
social
engagement
Jacques
Launay,
Roger
T.
Dean,
Freya
Bailes
MARCS
Institute,
University
of
Western
Sydney,
Australia
The
purpose
of
music,
or
the
reasons
behind
its
spread
and
development
amongst
human
cultures,
is
a
contentious
topic.
One
explanation
put
forward,
that
music
can
enhance
the
social
relationships
of
people
who
engage
with
it
communally,
has
a
potential
flaw
that
has
become
striking
in
the
last
century:
people
enjoy
engaging
with
music
alone
–
perhaps
the
majority
of
time
people
spend
listening
to
music
is
in
isolation.
Does
this
mean
‘social
cohesion’
arguments
about
music
are
untenable?
The
set
of
experiments
presented
aim
to
test
whether
sound
attributed
with
agency
is
able
to
engage
people
in
a
more
social
way
than
sounds
that
are
not
attributed
with
agency.
Two
experiments
instructed
participants
to
synchronise
with
sounds
in
the
absence
of
interpersonal
contact,
and
demonstrated
that
when
sounds
are
attributed
with
agency
they
can
affect
subsequent
social
behaviour,
similarly
to
synchronisation
with
observed
movement
of
another
person.
Experiment
1
showed
that
participants
place
greater
trust
in
a
partner
when
they
report
better
synchronisation
with
that
partner,
even
in
the
absence
of
interpersonal
contact.
Experiment
2
demonstrated
that
synchronisation
with
sounds
that
are
attributed
to
another
person
could
affect
ratings
of
likeability
of
that
person.
We
conclude
that
people
engage
differently
with
sounds
that
are
attributed
with
agency,
compared
with
those
that
are
not.
As
sounds
with
agency
appear
to
have
a
greater
capacity
for
affecting
subsequent
social
interaction,
musical
sounds,
by
virtue
of
being
sounds
with
agency,
may
also
have
some
‘social’
quality,
even
when
listened
to
alone.
176
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Surveying
attitudes
towards
singing
and
their
impact
on
engagement
with
this
musical
activity
Rita
Bento
Allpress,*
Jesse
Allpress,#
*Sidney
De
Haan
Research
Centre
for
Arts
and
Health,
Canterbury
Christ
Church
University,
England;
#School
of
Psychology,
University
of
Sussex,
England
Singing
is
the
most
natural
of
all
musical
activities
and
one
that
is
readily
accessible
to
most
individuals.
It
can
be
used
on
our
own
or
in
a
group,
in
different
cultural
settings,
on
different
occasions,
and
for
the
most
diverse
purposes
(entertainment,
grieving,
religious
rituals,
alliance
rituals).
A
recent,
yet
growing
body
of
literature
highlights
the
potential
benefits
of
singing
on
well-‐being
and
health.
This
evidence
shows
singing
as
an
activity
with
several
psychological,
physical
and
social
components
that
can
interact
and
contribute
to
feelings
of
well-‐being
and
impact
on
the
immune
system.
However,
Bailey
and
Davidson
(2002,
2005),
highlight
an
elitist
view
of
music-‐making
that
is
predominant
in
Western
world.
According
to
those
authors,
this
musical
elitism
present
in
the
westernized
societies,
not
only
views
musical
ability
as
being
limited
to
a
talented
minority,
it
also
restricts
the
majority
of
the
population
to
being
procurers
rather
than
producers
of
music.
If
this
musical
elitism
is
present
in
our
society,
than
it
is
possible
that
it
influences
our
engagement
with
singing
activities.
If
this
is
indeed
the
case,
then
it
is
possible
that
a
majority
of
individuals
in
the
western
world
are
missing
out
on
an
activity
that
can
potentially
benefit
their
well-‐being
and
even
health.
This
study
aimed
to
explore
how
our
attitudes
towards
singing
influence
our
engagement
with
this
musical
activity.
Specifically,
we
hoped
to
see
how
people's
opinions
on
their
own
voices,
their
own
singing,
singing
in
general
and
the
general
singing
voice
influenced
their
likelihood
of
singing
in
public
or
private,
in
formal
or
informal
settings
and
in
group
or
on
their
own.
We
suggest
that
the
majority
of
our
respondents
share
an
elitist
attitude
towards
singing.
We
expected
this
attitude
to
impact
negatively
on
their
engagement
with
singing
and
this
impact
to
be
more
pronounced
when
asked
about
public,
formal
and
solo
singing.
A
survey
was
developed
and
made
available
online.
Data
was
collected
until
the
Spring
of
2012
and
suggested
that
a
majority
of
our
respondents
share
an
elitist
attitude
towards
singing.
For
those
who
believe
they
are
not
part
of
the
singing
elite,
singing
is
something
they
do
in
private
or
informal
settings.
Approaches
to
research
and
promotion
of
singing
for
well-‐
being
may
have
to
start
taking
these
attitudes
into
account.
Work
attitudes,
Role
Stress
and
Health
among
Professional
Singers
and
Call
Center
Employees
Maria
Sandgren
Department
of
Culture
and
Communication,
Södertörn
University,
Sweden
In
the
literature
on
artists
and
health
problems,
there
is
a
lack
of
studies
taking
work
conditions
and
their
impact
on
well-‐being
and
health
into
account.
The
specific
work
conditions
for
artists
can
be
summarized
under
the
concept
of
boundaryless
work,
where
the
individual
is
facing
short
term
employment,
increased
demands
on
flexibility
and
personal
responsibility.
Research
on
for
example
short-‐term
employment
and
health
show
inconsistent
results.
Professional
classical
singers
might
constitute
a
very
selected
group
of
individuals
who
have
been
very
successful
in
coping
with
complex
work
circumstances.
Yet,
singers
do
not
appear
indifferent
to
work
load,
not
even
in
a
familiar
situation
such
as
a
singing
lesson
with
their
regular
vocal
coach.
They
are
also
at
increased
risk
of
developing
voice
disorders.
The
aim
of
the
study
was
to
compare
professional
singers
in
the
classical
genre
with
another
group
of
professional
voice
users,
call
centre
employees,
on
variables
such
as
work
conditions,
job
satisfaction,
health
and
vocal
behaviour.
Professional
classical
singers
(n=61,
women
n=33,
men
n=28)
and
call
centre
employees
filled
in
a
questionnaire
covering
validated
variables;
qualitative
and
quantitative
work
load,
perceived
performance,
job
satisfaction,
work
involvement,
job
autonomy,
mental
health
and
physical
health
and
vocal
behaviour.
Results
indicated
that
qualitative
work
load
and
perceived
performance
showed
significant
positive
associations
with
impaired
mental
and
physical
health
among
singers.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 177
Vocal
behavior
showed
significant
positive
associations
with
job
induced
tension,
perceived
external
demands
and
quantitative
work
load.
Job
satisfaction
showed
significant
positive
associations
with
work
involvement,
job
autonomy
and
perceived
performance.
Effects
of
work
load
were
manifested
both
in
vocal
behaviour
and
mental
health.
Singers
seemed
to
be
positively
influenced,
and
not
distressed,
by
the
achievement-‐oriented
nature
of
their
work
in
that
job
satisfaction
was
associated
with
a
strong
commitment
and
their
personal
contribution
of
high
artistry.
Speed
Poster
Session
37:
Crystal
Hall,
11:40-‐12:10
Emotional
responses
&
affective
experiences
II
From
‘Wanting’
to
‘Liking’:
Listeners’
Emotional
Responses
to
Musical
Cadences
as
Revealed
by
Skin
Conductance
Responses
Chen-‐Gia
Tsai
Graduate
Institute
of
Musicology,
National
Taiwan
University,
Taiwan
Research
on
the
emotional
responses
and
brain
activations
evoked
by
music
has
been
a
topic
of
great
academic
and
public
interest.
A
recent
brain-‐imaging
study
by
Salimpoor
and
colleagues
suggests
the
involvement
of
mechanisms
for
'wanting'
and
'liking'
when
subjects
listened
to
intensely
pleasurable
music.
Their
paper
elaborates
the
functions
of
the
reward
system
during
music
listening.
Inspired
by
their
paper,
the
present
study
aims
to
explore
the
listening
behavior
of
authentic
cadences
through
combining
music
analysis
and
listeners'
physiological
measures.
We
hypothesize
that
cognition
of
the
dominant
chord
and
the
following
tonic
chord
may
engage
mechanisms
for
'wanting'
and
'liking',
respectively.
The
associated
experiences
of
peak
emotion
may
be
detected
by
measuring
skin
conductance.
Participants'
skin
conductance
was
measured
during
music
listening.
In
Experiment
1,
we
used
long
music
stimuli,
including
complete
Taiwanese
popular
songs
(3-‐5
min)
and
excerpts
of
German
art
songs
(50-‐100
sec).
In
Experiment
2,
we
used
48
short
music
stimuli
(<30
sec).
A
moving
window
of
2
sec
was
used
to
detect
significant
increases
of
skin
conductance
within
this
window,
i.e.,
skin
conductance
responses.
In
Experiment
1,
we
observed
that
some
authentic
cadences
tend
to
induce
listeners'
skin
conductance
responses.
Cadences
combining
with
changes
in
tempo/loudness
or
the
recurrence
of
a
theme
tend
to
evoke
large
skin
conductance
responses.
In
Experiment
2,
among
12
musical
events
that
evoked
significant
skin
conductance
responses,
only
one
event
may
be
related
to
an
authentic
cadence.
An
isolated
musical
cadence
may
be
unable
to
evoke
listeners'
experience
of
peak
emotion.
Regarding
ecological
validity,
longer
music
excerpts
are
more
appropriate
for
investigating
listeners'
emotional
responses
to
cadences.
If
an
authentic
cadence
combines
with
changes
in
tempo/loudness
or
the
recurrence
of
a
theme,
listeners
would
have
higher
probability
to
experience
intense
emotion
of
'wanting'
and
'liking'.
We
suggest
that
skin
conductance
measures
and
brain-‐imaging
techniques
may
be
important
tools
for
future
research
on
the
'art'
of
elaborating
musical
cadences.
Limits
on
the
Application
of
Statistical
Correlations
to
Continuous
Response
Data
Finn
Upham
Music
and
Audio
Research
Lab,
Department
of
Music
and
Performing
Arts
Professions,
Steinhardt
School
of
Culture,
Education,
and
Human
Development,
New
York
University,
USA
How
can
we
compare
different
listeners'
experiences
of
the
same
music?
For
decades,
experimenters
have
collected
continuous
ratings
of
tension
and
emotion
to
capture
the
moment-‐by-‐moment
experiences
of
music
listeners.
Over
that
time,
Pearson
correlations
have
routinely
been
applied
to
evaluate
the
similarity
between
response
A
and
response
B,
between
the
time
series
averages
of
responses,
and
between
responses
and
continuous
178
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
descriptors
of
the
stimulating
music.
Some
researchers
have
criticized
the
misapplication
and
misinterpretation
of
this
class
of
statistics,
but
alternatives
have
not
gained
wide
acceptance.
This
paper
looks
critically
at
the
applicability
of
correlations
to
continuous
responses
to
music,
the
assumptions
required
to
estimate
their
significance,
and
what
is
left
of
the
responses
when
these
assumptions
are
satisfied.
This
paper
also
explores
an
alternative
measure
of
cohesiveness
between
responses
to
the
same
music,
and
discusses
how
it
can
be
employed
as
a
measure
of
reliability
and
similarity
with
empirical
estimates
of
significance.
Towards
Three-‐Dimensional
Model
of
Affective
Experience
of
Music
Marija
Trkulja,
Dragan
Janković
Department
of
Psychology,
Faculty
of
Philosophy,
University
of
Belgrade,
Serbia
Number
of
studies
suggested
that
the
two-‐dimensional
valence-‐arousal
model
is
not
able
to
account
for
all
the
variance
in
music
elicited
affective
experiences.
The
goal
of
this
study
is
further
elaboration
of
the
underlying
dimensions
of
affective
experiences
of
music.
Specifically,
the
aim
of
the
first
study
was
to
empirically
collect
a
set
of
attributes
that
represents
subjective,
evaluative
experience
of
music.
Participants
were
asked
to
produce
attributes
that
can
describe
their
subjective
experience
of
presented
64
musical
excerpts,
selected
to
cover
wide
spectrum
of
music
genres,
themes
and
instruments.
The
aim
of
the
second
study
was
to
establish
the
underlying
structure
of
affective
experience
of
music
through
factor
analytic
study.
Participants
assessed
72
musical
excerpts
on
the
instrument
that
consisted
of
43
bipolar
seven-‐point
scales.
The
principal
component
analysis
showed
that
the
underlying
structure
of
affective
experience
of
music
consisted
of
three
basic
dimension,
interpreted
as
affective
valence,
arousal
and
cognitive
evaluation.
Congruence
analysis
indicated
robustness
of
three
obtained
dimensions
across
different
music
stimuli
and
participants.
How
music
can
brighten
our
world:
emotions
induced
by
music
affect
brightness
perception
Job
P.
Lindsen,
Joydeep
Bhattacharya
Department
of
Psychology,
Goldsmiths,
University
of
London,
UK
Can
musical
primes
influence
low
level
processing
of
visual
target
stimuli,
which
is
classically
conceptualized
as
bottom-‐up
perceptual
processing
immune
from
influences
of
top-‐down
processing?
In
three
experiments,
musical
primes
were
used
that
were
pre-‐rated
as
either
high
or
low
along
the
dimensions
of
arousal
and
valence.
In
Experiment
1
and
2,
a
grey
square
was
presented
before
each
prime
and
after
its
evaluation,
and
participants
were
asked
to
judge
whether
the
second
square
was
brighter
or
darker
than
the
first.
Participants
were
told
that
the
changes
in
brightness
were
small
but
detectable,
while
in
actuality
a
square
with
identical
brightness
was
presented
twice.
Exp.
2
was
similar
to
Exp.
1
but
without
active
affective
evaluations
of
the
primes
in
order
to
investigate
the
automaticity
in
musical
affective
evaluations.
Exp.
3
was
designed
to
control
for
potential
memory
effects;
only
one
grey
square
was
presented
on
each
trial
after
each
musical
excerpt,
and
participants
rated
its
absolute
brightness
on
a
grey
scale.
Exp.
1
showed
that
perception
was
biased
in
a
brighter
direction
following
positively
(vs.
negatively)
valenced
music,
and
Exp.
2
showed
that
this
bias
is
automatic.
A
similar,
effect
was
observed
in
Exp.
1
for
high
arousal
as
compared
to
low
arousal
musical
primes.
Exp.
3
showed
that
such
biases
were
not
caused
by
memory
effects,
and
absolute
judgment
of
brightness
was
mostly
modulated
by
happy
musical
primes.
These
results
suggest
that
general
affective
disposition
of
musical
stimuli
can
systematically
induce
perceptual
bias
across
modality.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 179
Speed
Poster
Session
38:
Dock
Six
Hall,
11:40-‐12:10
Music
Therapy
Psychosomatic
patient’s
satisfaction
from
the
music
therapy
treatment
Stella
Kaczmarek,*
Norbert
Kieslich#
*Faculty
of
Music,
University
of
Paderborn,
Germany
#Dept
of
Psychosomatic,
Klinik
Rosenberg,
Bad
Driburg,
Germany
In
the
last
few
years,
patient
satisfaction
has
gained
more
and
more
important,
both
in
health-‐policy,
economic
terms,
in
scientific
clinical
investigation,
as
well
as
in
music
therapy
treatment.
Within
the
treatment
psychosomatic
patients
it
is
important
to
separate
the
pure
patient
satisfaction
with
the
treatment
from
the
attitude
towards
the
music
therapy.
With
the
aim
to
split
these
two
aspects,
we
have
developed
a
questionnaire
and
used
questions
about
the
general
satisfaction
from
the
music
therapy,
the
attitude
to
the
music
therapy
before
the
treatment
with
comparison
to
the
attitude
after
the
end
of
the
treatment
as
well
as
individual
profits
from
the
music
therapy
and
some
personal
characteristics.
100
adult
psychosomatic
patients
were
surveyed
in
the
psychosomatic
clinic
in
Bad
Driburg
(Germany).
Our
results
confirmed
the
hypothesis,
that
the
patient
satisfaction
from
music
therapy
is
connected
with
their
attitude
to
the
treatment
and
previous
musical
activity.
Promoting
Social
Engagement
for
Young
Children
with
Autism:
a
Music
Therapy
Approach
Potheini
Vaiouli
Indiana
University,
USA
Joint
attention
is
a
foundational
non-‐verbal
social-‐communication
milestone
that
fails
to
develop
naturally
in
children
with
autism.
This
study
used
improvisational
music
therapy
for
three
young
children
identified
with
autism
in
a
kindergarten
classroom.
The
three
participants
receive
individual,
weekly
music
therapy
sessions
at
their
school.
The
study
employs
a
mixed
method
design
that
uses
improvisational
music
therapy
to
enable
joint
attention,
verbal
or
non-‐verbal
communication,
and
social
interaction
for
the
three
participants.
Also,
a
complimentary
qualitative
analysis
explored
the
teachers’
and
the
parents’
perspectives
and
variables
that
may
have
influenced
the
intervention
outcomes.
Music
Therapy
enhances
perceptive
and
cognitive
development
in
people
with
disabilities.
A
quantitative
research
Dora
Psaltopoulou,
Maria
Micheli
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
General
Hospital
Thessaloniki,
“Agios
Paulos”,
Greece
A
statistic
research,
designed
to
unravel
the
effectiveness
of
Music
Therapy
to
children
and
adults
with
disabilities
in
Greece,
shows
that,
Music
Therapy
enhances
perceptive
and
cognitive
development.
The
main
assumptions
were
related
with
the
types
of
populations
and
the
characteristics
of
their
pathologies,
as
well
as,
the
role
that
is
played
by
the
combination
of
different
therapy
modalities
to
them,
so
as
to
show
the
effectiveness
of
Music
Therapy
in
Greece.
The
key
objective
was
to
assess
the
effectiveness
of
music-‐therapy
through
the
personal
evaluations
made
by
the
parents
of
the
subjects.
The
subjects’
characteristics
and
parental
environments
were
documented
as
populations
who
participate
180
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
in
the
practice
of
music
therapy
in
Greece.
Quantitative
research
was
conducted
upon
149
subjects
with
disabilities.
Questionnaires
were
used
as
research
instruments,
which
were
answered
by
the
subjects’
parents.
The
data
was
processed
with
the
statistical
instrument
SPSS
v.12
with
hypothesis
validity
set
at
a=0,05
and
twofold
crosschecking.
Music
Therapy
is
effective
regardless
the
pathology
of
the
subjects
or
the
co-‐practice
of
other
therapies
such
as
Occupation
Therapy,
Speech
Therapy
and
Psychotherapy.
The
subjects
participating
in
Music
Therapy
sessions
in
Greece,
children
and
young
adults
with
disabilities,
showed
improvement
in
listening
ability,
in
the
psychosocial
function,
in
the
intellectual
ability
and
the
emotional
growth.
Finding
the
right
tone
for
right
words?
Music
therapy
EEG
and
fronto-‐temporal
processing
in
depressed
clients
Jörg
Fachner,
Jaakko
Erkkilä
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
University
of
Jyväskylä,
Finland
Fronto-‐temporal
areas
process
shared
elements
of
speech
and
music.
Improvisational
psychodynamic
music
therapy
(MT)
utilizes
verbal
and
musical
reflection
on
emotions
and
images
arising
from
clinical
improvisation.
Music
listening
is
shifting
frontal
alpha
asymmetries
(FAA)
in
depression,
and
increases
frontal
midline
theta
(FMT).
The
purpose
of
this
study
is
to
test
whether
or
not
MT
has
an
impact
on
anterior
resting
state
alpha
and
theta
oscillations
of
depressed
clients
with
comorbid
anxiety.
In
a
two-‐armed
randomized
controlled
trial
(RCT)
with
79
clients,
we
compared
standard
care
(SC)
versus
MT
added
to
SC
at
intake
and
after
3
months.
Correlations
between
anterior
EEG,
Montgomery-‐Åsberg
Depression
Rating
Scale
(MADRS)
and
the
Hospital
Anxiety
and
Depression
Scale
–
Anxiety
Subscale
(HADS-‐A),
power
spectral
analysis
(topography,
means,
asymmetry)
and
normative
EEG
database
comparisons
were
explored.
After
3
month
of
MT,
lasting
changes
in
resting
EEG
were
observed,
i.e.,
significant
absolute
power
increases
at
left
fronto-‐temporal
alpha,
but
most
distinct
for
theta
(also
at
left
fronto-‐central
and
right
temporoparietal
leads).
MT
differed
to
SC
at
F7-‐F8
(z-‐scored
FAA,
p<.03)
and
T3-‐T4
(theta,
p<.005)
asymmetry
scores,
pointing
towards
decreased
relative
left-‐sided
brain
activity
after
MT;
pre/post
increased
FMT
and
decreased
HADS-‐A
scores
(r
=
.42,
p
<
.05)
indicate
reduced
anxiety
after
MT.
Verbal
reflection
and
improvising
on
emotions
in
MT
may
induce
neural
reorganization
in
fronto-‐temporal
areas.
Alpha
and
theta
changes
in
fronto-‐temporal
and
temporoparietal
areas
indicate
MT
action
and
treatment
effects
on
cortical
activity
in
depression,
suggesting
an
impact
of
MT
on
anxiety
reduction.
Speed
Poster
Session
39:
Timber
I
Hall,
11:40-‐12:10
Listening
&
Meaning
Towards
a
Cognitive
Music
Aesthetics
Ludger
Hofmann-‐Engl
Department
of
Music,
Coulsdon
College
Following
the
ideas
by
Kurt
Blaukopf,
who
pointed
out
that
a
thinking
in
symmetries
was
not
only
confined
to
Baroque
composing
but
could
be
found
elsewhere
such
as
landscaping,
this
paper
introduces
the
concept
of
cognitive
categories
as
to
be
found
within
different
music
aesthetical
approaches.
Additionally,
it
claims
that
isomorph
cognitive
categories
can
be
found
in
other
areas
of
human
activity
such
as
philosophy,
mathematics
and
politics.
In
order
to
demonstrate
the
validity
of
this
approach
the
concept
of
cognitive
categories
has
been
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 181
applied
to
different
time
periods
of
the
Western
Civilization
commencing
with
the
medieval
ages
and
leading
up
to
the
avant-‐garde.
Here,
for
instance,
the
paper
makes
the
claim
that
the
cognitive
category
of
force
and
counter
force
is
instrumental
for
the
classical
period
and
can
be
found
within
the
Sonata
Form,
Newton's
Laws
of
Motion
as
well
as
within
the
concept
of
thesis,
anti-‐thesis
and
synthesis
in
the
works
of
Hegel.
The
paper
does
not
claim
to
be
comprehensive
but
to
open
up
an
area
for
research
which
has
received
little
attention
so
far.
Music
listening
from
an
ecological
perspective
Anders
Friberg
KTH
Royal
Institute
of
Technology,
Sweden
It
is
evident
that
we
normally
analyze
sounds
in
our
environment
regarding
the
source
properties
rather
than
the
quality
of
the
sound
itself.
This
is
natural
in
everyday
listening
considering
that
the
human
perceptual
system
always
tries
to
understand
and
categorize
sensory
input.
We
can
from
the
sound
estimate
physical
properties
of
the
objects,
such
as
size
and
material.
This
ecological
approach
can
also
be
extended
to
human
communication.
From
a
person’s
voice
we
can
estimate
identity,
distance,
effort,
and
emotion.
From
footstep
sounds
we
can
estimate
gender
and
other
properties.
This
type
of
source
perception
is
thus
evident
for
environmental
and
human
sounds
but
is
the
same
mechanism
also
active
in
music
listening?
It
seems
plausible
if
we
consider
music
as
a
human
to
human
communication.
Also,
as
pointed
out
by
Clarke
(2005)
it
is
hard
to
make
any
distinction
between
everyday
listening
and
music
listening.
Thus,
we
may
assume
that
both
kinds
of
listening
involve
the
same
perceptual
processing.
We
will
present
a
broad
spectrum
of
perceptual
features
related
to
source
properties
that
can
be
motivated
from
an
ecological/survival
point-‐of-‐view
and
discuss
their
potential
relevance
in
music
listening.
A
variety
of
different
aspects
are
potentially
important
during
music
listening.
Many
of
them
are
self-‐evident
and
empirically
validated,
while
some
others
still
lack
empirical
evidence.
Basic
object
properties
not
related
to
human
communication
includes
Source
separation
-‐
obviously
active
in
music
listening;
Source
localization
-‐
an
important
aspect
in
music
reproduction;
Size/Material
-‐
related
to
musical
instruments
and
timbre;
Classification/Identification
-‐
related
to
objects,
humans
or
instruments;
Deviation
from
expectation
-‐
considered
a
major
mechanism
for
creating
meaning
in
music.
There
are
several
human
properties
that
are
relevant.
Human
movement
is
related
to
music
on
a
number
of
different
levels
as
evidenced
by
a
current
research.
Energy
relates
to
the
physical
effort
used
to
produce
the
sound.
Other
human
aspects
include
intention,
emotion,
skill,
and
authenticity/sincerity.
By
analyzing
music
listening
using
an
ecological
perspective
we
can
provide
an
alternative
viewpoint
that
provide
an
explanation
and
motivation
of
the
musical
meaning
for
many
different
musical
aspects
ranging
from
instrument
sounds
and
melody
to
motion
and
emotion.
On
musical
intentionality:
Motor
knowledge
and
the
development
of
musical
expertise
Andrea
Schiavio
Department
of
Music.,
The
University
of
Sheffield,
UK
According
to
previous
literature
skilled
musicians
develop
a
cross-‐modal
expertise
using
different
modalities
and
categories
to
understand
a
musical
object.
My
hypothesis
is
that
this
ability
is
based
on
the
sensory
motor
integration
provided
by
the
Mirror
Mechanism,
implicitly
assuming
the
existence
a
musical
repertoire
of
acts
that
musicians
develop
throughout
their
life.
In
this
behavioral
experiment,
participants
(musicians
and
non
musicians)
are
asked
to
familiarize
with
four
piano
melodies
under
different
conditions
(playing
the
melodies
on
the
piano,
seeing
someone
playing
and
imagining
them
through
a
silent-‐tapping
task).
Afterwards,
the
subjects
will
be
asked
to
recognize
these
melodies
among
a
series
of
other
similar
auditory
stimuli.
I
predict
that
non
musicians
will
firstly
rely
182
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
on
a
motor-‐based
experience
recognizing
more
efficiently
the
pieces
they
have
actually
played
(hence
constituting
a
musical
vocabulary
of
acts)
while
musicians
will
not
show
a
great
mismatch,
despite
the
diverse
modalities
used
to
familiarize
with
the
musical
excerpts.
So,
this
study
has
two
aims:
(i)
to
consolidate
the
hypothesis
that
skilled
musicians
have
a
cross-‐
modal
intentional
relationship
with
a
musical
object,
independently
from
the
modalities
used
to
intend
it
and
(ii)
to
show
that
this
kind
of
intentionality
is
motor
in
its
roots.
Transported
to
Narrative
Worlds:
The
Effects
of
A
Narrative
Mode
of
Listening
on
Music
Perception
Thijs
Vroegh
Media
and
Culture
Studies,
University
of
Utrecht,
the
Netherlands
The
tendency
to
ascribe
‘agency’
to
musical
features
and
interpreting
a
series
of
musical
events
as
a
type
of
story
represent,
besides
musical
emotions,
a
vital
part
of
our
capacity
for
music
understanding
and
our
ability
to
find
music
meaningful.
Indeed,
a
"narrative
mode
of
thought"
may
be
significant
in
music
listening.
However,
although
the
domain
of
music
psychology
is
involved
with
many
conceptualizations
of
music
experience
such
as
music
absorption,
imaginative
involvement,
deep
listening,
or
strong
experiences,
scholars
so
far
refrained
from
thinking
of
listening
to
music
as
a
narrative
experience,
or
from
drawing
on
the
extensive
literature
concerning
the
reception
of
narrative
in
other
domains
(e.g.,
literature,
film).
It
may
therefore
be
useful
to
investigate
these
musical
responses
in
precisely
those
terms;
that
is,
of
actually
being
a
narrative
experience
equivalent
to
those
of
readers
feeling
‘transported’
in
the
fictional
world
created
by
the
book.
Music
imbued
with
narrative
meaning
(e.g.,
personality-‐driven
associations
and
autobiographical
memories)
that
leads
to
the
experience
of
transportation
shares
important
aspects
with
the
pleasurable
engagement
with
an
immersive
story
in
a
book
or
film.
It
features
transformations
in
consciousness
that
demonstrate
changes
in
attentional
focus,
arousal,
altered
experience
of
time,
thought
processes
and
mental
imagery.
This
suggests
that
the
engagement
with
stories
and
a
narrative
mode
of
thought
triggered
by
music
might
share
a
number
of
deeper
psychological
mechanisms.
What
is
the
Sound
of
Citrus?
Research
on
the
Correspondences
between
the
Perception
of
Sound
and
Flavour
Kai
Bronner*,
Klaus
Frieler†,
Herbert
Bruhn#,
Rainer
Hirt*,
Dag
Piper§
*audity,
Germany;
#University
of
Flensburg,
Germany;
†University
of
Hamburg,
Germany;
§Mars,
Germany
This
study
investigates
systematic
relationships
between
the
perception
of
flavour
and
sound
with
regard
to
underlying
inter-‐modal
attributes
and
recognisability.
The
research
was
inspired
by
the
question,
if
it
is
possible
to
express
a
flavour
acoustically,
which
might
be
of
practical
interest,
e.g.,
for
audio
branding
applications.
One
preliminary
and
two
main
experiments
were
conducted,
in
which
participants
tasted
or
imagined
two
flavours
(“orange”
and
“vanilla”),
and
had
to
perform
several
association
and
matching
tasks.
For
the
second
main
experiment,
short
audio
logos
and
sound
moods
were
specially
designed
to
yield
different
citrus-‐like
sounds.
A
wide
range
of
significant
differences
between
the
two
flavour
conditions
were
found,
from
which
musical
parameters
could
be
extracted
that
are
suitable
to
represent
the
flavours
of
“orange”
and
“vanilla”.
Furthermore,
a
few
significant
differences
between
imagined
and
tasted
stimuli
showed
up
as
well,
hinting
at
an
interference
of
visual
associations.
In
the
second
experiment,
subjects
were
reliably
able
to
identify
the
principal
flavour
attributes
from
sound
stimuli
alone
and
to
distinguish
different
degrees
of
citrus-‐sounds.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 183
Speed
Poster
Session
40:
Timber
II
Hall,
11:40-‐12:10
Performance
studies
II
Unexpected
Melodic
Events
during
Music
Reading:
Exploring
the
Eye-‐
Movement
Approach
Marjaana
Penttinen,*
Erkki
Huovinen,#
Anna-‐Kaisa
Ylitalo¤
*Department
of
Teacher
Education
&
Centre
for
Learning
Research,
University
of
Turku,
Finland
#School
of
Music,
University
of
Minnesota,
USA
¤Department
of
Mathematics
and
Statistics,
University
of
Jyväskylä,
Finland
Two
studies
examined
the
eye-‐movement
effects
of
unexpected
melodic
events
during
music
reading.
Simple
melodic
variants
of
a
familiar
tune
were
performed
in
a
temporally
controlled
setting.
In
a
pilot
study
with
five
university
students,
unexpected
alterations
of
the
familiar
melody
were
found
to
increase
the
number
of
incoming
saccades
to
the
altered
bar
and
the
bar
immediately
before
the
alteration.
The
main
experiment
with
34
music
students,
incorporating
several
improvements
to
the
experimental
design,
again
showed
an
increase
in
the
number
of
incoming
saccades
to
the
bar
before
the
alteration,
but
no
effects
in
the
altered
bar
itself.
In
addition,
the
bar
following
the
alteration
showed
decrease
in
relative
fixation
time
and
incoming
saccades.
These
results
are
discussed
with
a
view
to
future
studies
in
eye-‐
movements
in
music
reading,
emphasizing
the
need
for
more
systematic
research
on
truly
prima
vista
performance
and,
in
general,
temporally
controlled
music
reading.
Mutual
Gaze
Facilitates
Synchronization
during
Piano
Duo
Performances
Satoshi
Kawase
Graduate
School
of
Human
Sciences,
Osaka
University,
Japan
This
study
investigated
the
roles
of
gazing
behaviour
(specifically
eye
contact)
during
music
performances
by
focusing
on
coordination
among
performers.
Experiment
1
was
conducted
under
four
different
visual-‐contact
conditions:
invisible,
only
the
body
visible,
only
the
head
visible,
and
face-‐to-‐face.
Experiment
2
was
conducted
under
three
different
visual-‐contact
conditions:
invisible,
only
the
movable-‐head
visible,
and
only
the
fixed-‐head
visible;
the
condition
was
implemented
by
using
a
chin
rest.
The
results
of
experiment
1
showed
that
the
timing
lag
between
performers
did
not
vary
significantly
among
the
three
conditions
in
which
visual
cues
were
available.
Performers
looked
toward
each
other
just
before
changes
of
tempo
during
which
two
performers
need
to
coordinate
timing
in
both
experiments.
Under
these
three
conditions,
when
performers
looked
toward
each
other
at
points
of
coordination,
it
significantly
improved
synchronization
accuracy.
The
results
of
experiment
2
showed
that
the
timing
lag
was
significantly
shorter
under
the
fixed-‐head
condition
than
the
invisible
condition,
and
significantly
longer
under
the
fixed-‐head
condition
than
the
movable-‐head
condition.
Regardless
of
whether
or
not
the
head
was
fixed,
the
timing
lag
decreased
when
performers
made
eye
contact
just
before
the
beginning
of
the
sound.
On
the
basis
of
two
experiments,
we
conclude
that
mutual
gaze
is
important
for
reducing
timing
lag
during
a
performance
and
that
performers
may
utilize
movements
(body
or
head)
as
visual
cues
for
coordination
since
they
can
coordinate
only
loosely
through
eye
contact
alone
(without
movement).
184
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
The Embodied Effect of Facial Expressions on Pianists’ Performance
Interpretation
Hila Tamir-‐Ostrover,* Zohar Eitan,** Eric F. Clarke***
*Department of Music, Graduate School of Art and Science, New York University, USA
**Buchmann-‐Mehta School of Music, Tel-‐Aviv University, Israel
***Faculty of Music, University of Oxford, UK
Facial
expression
has
been
shown
to
affect
emotional
and
cognitive
processes,
such
that
smile
facilitates
positively
valenced
emotion
and
related
cognition.
Here
we
examine
whether
performers’
interpretation
is
influenced
by
their
facial
expressions
in
a
similar
way.
16
professional
pianists
played
two
newly
composed
musical
miniatures,
each
in
a
Major
and
Minor
version.
The
pieces
were
conventionally
notated,
but
lacked
tempo,
dynamics
and
articulation
markings;
performers
were
instructed
to
make
use
of
these
expressive
dimensions
as
they
wished.
Each
piece
was
performed
in
3
conditions.
In
two
embodied
conditions,
participants
were
asked
to
hold
a
wooden
stick
in
their
mouth
in
ways
that
either
facilitated
or
inhibited
smile-‐like
expression.
In
the
control
condition,
participants
played
with
nothing
in
their
mouth.
Performances
were
audio
recorded
and
analysed,
focusing
on
quantifiable
parameters
associated
with
valence
or
intensity
in
music,
such
as
tempo
(mean,
SD),
note
duration
(articulation),
and
intensity
(mean,
SD).
Both
participants
and
15
independent
referees
rated
performances
on
evaluative
and
expressive
scales.
Results
will
be
reported
at
the
conference.
This
is
the
first
empirical
examination
of
the
effects
of
facial
expression
on
musical
performance,
examining
the
hypothesis
that
the
bodily
and
emotional
aspects
of
performance
influence
each
other
bi-‐directionally.
Furthermore,
the
study
investigates
whether
the
embodied
effect
is
transitive
(i.e.,
conveyed
from
performer
to
listener),
thus
examining
whether
embodied
aspects
of
music-‐making
are
shared
by
different
musical
activities
such
as
listening
and
performance.
Recorded
interpretations
of
Chopin
Preludes:
Performer’s
choice
of
score
events
for
emphasis
and
emotional
communication
Erica
Bisesi,*
Jennifer
MacRitchie#,
Richard
Parncutt*
*Center
for
Systematic
Musicology,
University
of
Graz,
Austria
#Conservatorio
della
Svizzera
Italiana,
Lugano,
Switzerland
What
structural
features
characterize
individual
performers’
styles?
To
what
extent
do
eminent
pianists
agree
on
segmentation
and
rendering
of
musical
phrases?
How
much
do
they
agree
on
selection
of
score
events
(accents)
for
local
emphasis,
and
how
to
emphasize
them?
How
do
these
choices
influence
the
emotional
responses
of
listeners?
How
musical
expertise
and
cognitive
style
of
listening
influences
listeners’
responses?
Our
hypothesis
is
that
the
location
of
the
particular
points
emphasized
by
performers
by
mean
of
expressive
deviations
in
timing
and
dynamics
can
provide
some
clues
as
to
a
performer’s
interpretation
and
communication
of
emotions.
By
asking
24
expert
musicians
to
listen
to
16
eminent
interpretations
of
two
Chopin
Preludes
op.
28
(no.
7
and
no.
11),
and
provide
information
about
perceived
segmentation
and
emphasis
on
local
events,
as
well
as
on
the
main
emotions
associated
to
these
pieces,
we
extract
similarities
in
the
segmentation
and
emphasis
on
local
events
(phrases’
climaxes
and
accents),
and
discuss
striking
differences
across
the
performances.
We
group
performances
by
cluster
analysis
and
consider
each
cluster
as
an
interpretative
style.
We
also
correlate
interpretative
styles
with
intended
emotion.
Finally,
we
discuss
results
in
the
light
of
participants’
musical
expertise
and
cognitive
style
of
listening.
This
work
is
supported
by
the
Stand-‐Alone
Project
P
24336-‐G21
(“Expression,
Emotion
and
Imagery
in
Music
Performance”),
sponsored
by
the
Austrian
Fonds
zur
Förderung
der
wissenschaftlichen
Forschung
(FWF).
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 185
Coping
Strategies
for
Music
Performance
Anxiety:
a
Study
on
Flute
Players
Andre
Sinico,*
Fernando
Gualda,*#
Leonardo
Winter,*
*Music
Department,
Federal
University
of
Rio
Grande
do
Sul,
Brazil
#Sonic
Arts
Research
Centre,
Queen's
University
Belfast,
Northern
Ireland
This
research
focuses
on
identifying
differences
in
trait
and
state
anxiety
levels
in
flute
players.
The
participants
of
this
survey
were
members
of
Brazilian
Flute
Association
(ABRAF).
In
total,
142
flute
players
answered
an
online
questionnaire.
Eight
of
twenty
questions
are
reported
in
this
paper.
The
participants
reported
on
gender,
age,
years
of
flute
practice,
proficiency
level
(professional,
student,
and
amateur),
and
their
most
anxiety-‐
inducing
situation
(masterclass,
recital,
and
competition).
According
to
the
literature,
some
musical
factors
can
lead
to
decrease
in
music
performance
anxiety.
Some
musical
factors
that
can
be
considered
as
coping
strategies
are
familiarity
with
repertoire,
sight-‐reading
skills,
deliberate
practice,
musical
expression,
and
memorization.
Results
suggest
that
male
flute
players
exhibited
higher
incidence
of
music
performance
anxiety
(MPA),
professional
flute
players
may
cope
better
with
MPA,
and
the
most
stressful
performance
situation
did
not
correlate
with
MPA
in
those
142
flute
players.
Paper Session 28: Grand Pietra Hall, 14:30-‐15:30
Cross-‐cultural studies
The Effect of Context on Cross-‐Cultural Music Memory Performance
Steven M. Demorest,* Steven J. Morrison,* Vu Q. Nguyen,# Erin Bodnar,*
*Laboratory for Music Cognition Culture and Learning, School of Music, University of
Washington,
USA
#School
of
Music,
Washington
University,
USA
Previous
research
has
shown
that
both
expert
and
novice
listeners
demonstrate
an
“enculturation
effect”
where
they
have
more
difficulty
processing
and
remembering
music
that
is
culturally
unfamiliar.
The
purpose
of
this
study
was
to
explore
the
effect
of
contextual
variables
like
texture,
timbre,
tuning,
rhythm
and
complexity
on
listeners’
ability
to
process
and
retain
culturally
unfamiliar
music.
We
also
sought
to
determine
if
there
was
a
direct
relationship
between
preference
for
a
piece
of
music
and
listener’s
memory
of
it.
US
born
participants
were
randomly
assigned
to
one
of
two
conditions,
contextualized
(recordings
from
both
cultures)
or
decontextualized
(single
line
melodies
transcribed
from
the
originals).
Removing
the
stimuli
from
their
cultural
texture,
timbre
and
tuning
had
no
impact
on
cross-‐cultural
memory
performance
when
compared
to
the
original
examples.
Listeners
preferred
Western
examples
in
general
to
Turkish
examples,
but
when
we
correlated
preference
responses
with
memory
performance
on
each
individual
piece
across
the
two
cultures
there
was
no
significant
association.
This
experiment
demonstrates
that
removing
surface
aspects
of
the
music
like
timbre,
instrumentation
and
tuning
does
not
alter
the
effect
of
enculturation
suggesting
that
cultural
differences
are
more
structural.
Poorer
memory
performance
cannot
be
explained
by
a
decrease
in
preference
for
out-‐of-‐culture
music.
These
results
have
implications
for
a
theory
of
cross-‐cultural
music
cognition
that
centers
on
statistical
properties
of
expectancy
formation
for
pitch
and
rhythm
patterns.
A
second
experiment
is
currently
underway
to
explore
whether
the
removal
of
rhythmic
variability
might
affect
cross-‐cultural
memory
performance.
186
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Cross-‐Cultural Emotional and Psychophysiological Responses to Music:
Comparing Western Listeners to Congolese Pygmies
Hauke Egermann,*# Nathalie Fernando,+ Lorraine Chuen,** Stephen McAdams *
*CIRMMT, Schulich School of Music, McGill University, Montréal, Québec, Canada
#Audio Communication Group, Berlin Institute of Technology, Berlin, Germany
+Laboratoire de Musicologie Comparée et Anthropologie de la Musique, Faculté de Musique,
Université de Montréal, Montréal, Québec, Canada
**Department of Psychology, McGill University, Montréal, Québec, Canada
Previous
research
has
indicated
that
emotion
recognition
in
Western
and
Indian
music
might
be
based
on
universal
features.
However,
whether
a
similar
cross-‐cultural
comparison
can
reveal
universal
emotion
induction
remains
unexplored.
The
study
compared
subjective
and
psychophysiological
emotional
responses
to
music
from
two
different
cultures
within
two
different
cultures.
Two
similar
experiments
were
conducted,
the
first
in
the
Congolese
rainforest
with
an
isolated
population
of
Mbenzele
Pygmies
without
any
exposure
to
Western
music
and
culture;
the
second
with
a
group
of
Western
music
listeners,
with
no
experience
with
Congolese
music.
40
Pygmies
(age
in
yrs.:
M=35,
SD=14,
22
males),
and
39
Western
listeners
(age
in
yrs.:
M=22,
SD=6,
22
males)
listened
in
pairs
of
two
to
19
music
excerpts
of
29
to
99
seconds
in
duration
in
random
order
(8
from
the
Pygmy
population
and
11
western
instrumental
excerpts).
For
both
groups,
emotional
responses
were
continuously
measured
on
the
dimensions
of
subjective
feeling,
(using
a
two
dimensional
rating
interface
which
measures
arousal
and
valence),
as
well
as
psychophysiological
response
(GSR,
HR,
Respiration
Rate,
facial
EMG).
Results
suggest
that
the
dimension
of
valence
might
be
mediated
by
cultural
learning,
whereas
changes
in
arousal
might
involve
a
more
basic,
universal
response
to
implicit
characteristics
of
music
(with
universal
reactions
in
GSR
and
HR
measurements).
Paper
Session
29:
Crystal
Hall,
14:30-‐15:30
Music
style
&
schemata
A
Diachronic
Analysis
of
Harmonic
Schemata
in
Jazz
Daniel
Shanahan,
Yuri
Broze
School
of
Music,
Ohio
State
University,
USA
Jazz
harmony
relies
heavily
on
a
set
of
well-‐defined
harmonic
patterns
that
evolved
gradually
throughout
the
20th
century.
While
certain
tonally-‐oriented
progressions
such
as
the
“ii-‐V-‐I”
appear
to
be
nearly
ubiquitous
across
time-‐periods,
the
jazz
tradition
also
includes
a
notable
departure
from
tonal
harmony:
the
rise
of
modal
jazz
in
the
late
1950s.
We
aimed
to
systematically
investigate
the
history
of
jazz
composition
by
describing
the
evolution
of
chordal
syntax,
as
well
as
the
sort
of
organizational
frameworks
that
might
be
described
as
harmonic
schemata.
In
this
study,
we
empirically
describe
the
most
common
chords
and
chord
motions
of
the
jazz
canon,
and
trace
their
evolution
over
time.
Additionally,
we
describe
an
attempt
to
account
for
one
particularly
well-‐known
compositional
schema:
the
so-‐called
“rhythm
changes.”
In
so
doing,
we
make
use
of
a
recently
compiled
database
of
harmonic
progressions
for
more
than
1,160
jazz
standards,
encoded
into
the
Humdrum
“kern”
format
(Huron
1995).
The
present
study
provides
details
of
corpus
validation,
and
presents
an
initial
descriptive
characterization
of
the
data
set.
Furthermore,
we
present
evidence
consistent
with
the
hypothesis
that
chord
sequences
using
tonal
harmonic
syntax
became
progressively
less
common
from
1925
to
1970.
Finally,
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 187
we
characterize
the
decline
in
popularity
of
one
harmonic
schema:
the
so-‐called
“rhythm
changes.”
Optimising
a
short
test
of
musical
style
grouping
Jason
Musil*,
Bruno
Gingras#,
Lauren
Stewart*,
Daniel
Müllensiefen*
*Department
of
Psychology,
Goldsmiths,
University
of
London,
United
Kingdom
#Department
of
Cognitive
Biology,
University
of
Vienna,
Austria
Extremely
short
musical
clips
can
cue
correct
genre
schemas
and
also
knowledge
of
particular
artists
and
recordings,
most
probably
through
timbral
cues.
The
extent
to
which
individuals
acquire
and
are
able
to
use
such
timbre-‐based
knowledge
may
vary
with
their
breadth
and
degree
of
engagement
with
the
many
different
styles
of
music
available
to
modern
listeners.
We
aimed
to
create
and
optimise
a
short
and
implicit
musical
clip
sorting
task,
which
would
be
an
ecologically
valid
test
of
musical
perception
skills
necessary
for
discriminating
between
musical
styles
in
a
general
Western
population.
We
were
also
interested
in
comparing
the
performance
of
self-‐
recruiting
online
and
laboratory
tested
participants.
26
laboratory
and
91
online
participants
grouped
sets
of
16
short
musical
clips
into
four
equal
sized
bins.
They
were
told
to
group
by
similarity
and
'genre'
was
not
mentioned
explicitly.
Four
representative
stimulus
songs
were
chosen
from
each
of
Jazz,
Rock,
Pop
and
Hiphop.
Two
vocal-‐free
regions
were
extracted
from
each
song
and
400ms
and
800ms
clips
created
from
each.
Each
participant
sorted
two
sets
of
stimuli,
the
second
set
always
having
a
different
clip
duration
and
region
from
the
first.
Population
parameter
estimates
from
test-‐wise
scores
did
not
differ
significantly
between
online
and
offline
participants
(variance:
p=.1;
mean:
p=.57).
Low
item-‐wise
scores
(M=1.14,
SD=.95,
out
of
3)
suggest
high
task
difficulty,
with
longer
clips
being
significantly
easier
to
pair
(p<.001).
Complete
linkage
agglomerative
hierarchical
clustering
cluster
analyses
of
pairwise
clip
distances
from
the
sampled
solutions
showed
a
suitable
4
cluster
solution
by
genre
for
800ms
clips
but
400ms
Pop
clips
showed
a
high
confusion
rate
with
the
other
genres.
Piloting
with
derived
shorter
sets
favours
a
3
item
by
3
genre
400ms
set
with
Pop
excluded,
which
is
easier
to
solve
than
the
original
4x4
problem
but
also
harder
than
an
optimised
small
800ms
set
(which
was
also
piloted
and
found
to
be
too
easy).
An
ecologically
valid
and
compelling
test
of
musical
style
grouping
is
presented,
deliverable
over
the
internet
via
standard
web-‐browsers.
Planned
future
research
will
ascertain
which
cognitive
abilities
are
being
tested
and
how
the
measured
ability
relates
to
self-‐
reported
musical
sophistication
as
measured
by
the
Goldsmiths
Musical
Sophistication
Index,
which
the
test
was
designed
to
accompany.
Paper
Session
30:
Dock
Six
Hall,
14:30-‐15:30
Rhythm
&
time
perception
The
implicit
learning
of
metrical
and
non-‐metrical
rhythms
in
a
serial
recall
task
Benjamin
G.
Schultz1,
2,
Catherine
J.
Stevens1,
Peter
E.
Keller1,3,
&
Barbara
Tillmann1,2
1MARCS
Institute,
University
of
Western
Sydney
2Lyon
Neuroscience
Research
Center,
Team
Auditory
Cognition
and
Psychoacoustics,
CNRS,
UMR 5292, INSERM U1028, Université Lyon 1
3Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig
Rhythm
is
the
patterned
onsets
of
sound
in
regards
to
timing,
accent,
and
grouping.
Meter
is
the
sense
of
strong
and
weak
beats
that
can
be
abstracted
from
a
rhythm.
According
to
dynamic
attending
theory
(DAT;
Jones
&
Boltz,
1989),
expectancies
for
the
timing
of
onsets
are
easier
to
form
for
metrical
rhythms
than
non-‐metrical
rhythms.
Differences
between
implicit
learning
(IL)
of
metrical
and
non-‐metrical
rhythms
have
not
been
explored
using
a
serial
recall
task,
where
IL
is
characterized
by
decreases
in
temporal
error
over
blocks
containing
a
repeating
rhythm
and
188
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
increases
in
temporal
error
when
novel
rhythms
are
introduced.
Two
experiments
investigated
IL
of
metrical
and
non-‐metrical
rhythms
in
the
presence
and
absence
of
an
ordinal
pattern
using
a
serial
recall
paradigm.
Based
on
DAT,
it
was
hypothesized
that
i),
metrical
rhythms
are
learned
more
readily
than
non-‐metrical
rhythms,
and
ii)
introducing
novel
rhythms
with
a
weaker
metrical
framework
in
test
blocks
results
in
larger
timing
error
increases
than
novel
rhythms
with
the
same
metrical
strength.
In
the
serial
recall
task,
an
ordinal
pattern
(auditory
spatial
locations)
was
presented
with
rhythmic
timing.
Participants
were
instructed
to
reproduce
the
pattern
after
each
presentation.
They
were
not
informed
of
the
rhythm.
Experiment
1
(N=64)
examined
IL
of
rhythms
in
the
presence
of
a
correlated
ordinal
pattern.
Experiment
2
(N=72)
examined
IL
of
rhythms
when
the
ordinal
sequence
was
randomized
each
trial.
In
the
metrical
conditions,
participants
were
trained
on
a
strongly
metrical
(SM)
rhythm,
and
received
novel
SM
and
weakly
metrical
(WM)
rhythms
in
test
blocks.
In
Experiment
1,
metrical
rhythms
elicited
significantly
larger
decreases
in
timing
error
than
non-‐metrical
rhythms
in
the
presence
of
an
ordinal
pattern.
In
Experiment
2,
decreases
in
timing
error
were
not
significantly
different
between
metrical
and
non-‐metrical
rhythms
in
the
absence
of
an
ordinal
pattern.
In
both
experiments,
the
introduction
of
a
novel
WM
rhythm
resulted
in
significantly
larger
increases
in
timing
error
than
the
introduction
of
a
novel
SM
rhythm.
Metrical
and
non-‐metrical
rhythms
were
implicitly
learned.
Metrical
patterns
were
only
learned
more
readily
than
non-‐metrical
rhythms
in
the
presence
of
an
ordinal
pattern.
This
suggests
that
meter
aids
rhythm
learning
differently
depending
on
the
predictability
of
the
ordinal
sequence.
In
line
with
DAT,
meter
was
abstracted
in
metrical
conditions
in
the
presence
and
absence
of
an
ordinal
pattern.
A
Unified
Model
for
the
Neural
Bases
of
Auditory
Time
Perception
Sundeep
Teki,*
Timothy
D.
Griffiths#
*Wellcome
Trust
Centre
for
Neuroimaging,
University
College
London,
UK
#Auditory
Group,
Institute
of
Neuroscience,
Newcastle
University,
UK
Perception
of
time
is
essential
for
normal
functioning
of
sensory
and
motor
processes
such
as
the
perception
of
speech
and
music
and
the
execution
of
skilled
motor
movement.
Perceptual
and
motor
timing
of
intervals
between
sequences
of
sounds
holds
special
importance
for
music.
Accumulating
evidence
suggests
that
perception
of
time
is
mediated
by
a
distributed
neural
system
consisting
of
distinct
motor
structures
such
as
the
cerebellum,
inferior
olive,
basal
ganglia,
supplementary
motor
area
as
well
as
prefrontal
cortical
areas.
In
this
theoretical
paper,
we
review
and
assess
how
distinct
components
of
the
timing
network
mediate
different
aspects
of
perceptual
timing.
Recent
work
from
our
group
suggests
that
different
subsystems
of
the
timing
network
are
recruited
depending
on
the
temporal
context
of
the
intervals
to
be
timed.
Using
functional
magnetic
resonance
imaging,
we
established
brain
bases
for
absolute,
duration-‐based
timing
of
irregular
intervals
and
relative,
beat-‐
based
timing
of
regular
intervals
in
the
olivocerebellar
and
the
striato-‐thalamo-‐cortical
circuits
respectively.
We
assess
neurophysiological
and
neuroanatomical
data
that
suggests
that
the
timing
functions
of
these
circuits
may,
however,
not
be
entirely
independent
and
propose
a
unified
model
of
time
perception
based
on
coordinated
activity
in
the
core
striatal
and
olivocerebellar
networks
that
are
interconnected
with
each
other
and
the
cerebral
cortex
through
multiple
synaptic
pathways.
Timing
in
this
unified
model
is
proposed
to
involve
serial
beat-‐based
striatal
activation
followed
by
absolute
olivocerebellar
timing
mechanisms
with
a
central
role
for
the
striatum
as
the
brain’s
internal
timekeeper.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 189
Paper
Session
31:
Timber
I
Hall,
14:30-‐15:30
Timbre
Exploring
Instrument
Blending
as
a
Function
of
Timbre
Saliency
Song
Hui
Chon,*
Stephen
McAdams*
*CIRMMT,
Schulich
School
of
Music,
McGill
University,
Canada
A
rating
experiment
was
carried
out
to
understand
the
relationship
between
blending
and
timbre
saliency,
the
attention-‐capturing
quality
of
timbre.
Stimuli
were
generated
from
15
Western
orchestral
instrument
sounds
from
the
Vienna
Symphonic
Library,
equalized
in
pitch,
loudness
and
effective
duration.
Listeners
were
presented
with
a
composite
of
two
simultaneous,
unison
instrumental
sounds
and
were
asked
to
rate
the
degree
of
blending
on
a
continuous
scale
between
"very
blended"
and
"not
blended".
Data
from
60
participants
showed
no
effect
of
gender,
musicianship
or
age
in
blending
judgments.
Mild
negative
correlations
were
observed
between
the
average
degree
of
blending
as
well
as
the
sum
(ρ
=
–
0.34,
df
=
103,
p
<
0.01),
minimum
(ρ
=
–0.26,
df
=
103,
p
<
0.01)
and
maximum
(ρ
=
–0.30,
df
=
103,
p
<
0.01)
of
saliency
values
of
two
individual
timbres.
These
results
suggest
that
a
highly
salient
sound
will
not
blend
well.
In
addition,
it
is
the
individual
sound’s
saliency
level
and
the
saliency
sum
of
the
sound
pair
that
determine
the
overall
degree
of
perceived
blending,
rather
than
the
saliency
difference.
The
best
acoustic
correlate
to
describe
the
average
blending
is
the
minimum
attack
time
of
the
two
individual
timbres,
explaining
57%
of
the
variance.
This
agrees
with
Tardieu
&
McAdams'
(2011)
observation
that
a
sound
with
a
longer
attack
tends
to
blend
better.
Previous
findings
that
sounds
with
lower
spectral
centroids
are
likely
to
blend
better
by
Sandell
(1995)
and
Tardieu
&
McAdams
(2011)
were
also
confirmed.
A
study
of
confusions
in
identifying
concurrently
sounding
wind
instruments
Despina
Klonari,
Konstantinos
Pastiadis,
Georgios
Papadelis,
Georgios
Papanikolaou
Aristotle
University
of
Thessaloniki,
Greece
This
paper
investigates
confused
identification
of
physical
wind
instruments’
tones
that
play
in
pairs
and
at
various
interval
relationships.
Our
work
moves
the
study
of
timbre
for
solo
musical
tones
towards
a
more
realistic
framework
of
complex
timbres
produced
by
combinations
of
instruments,
considering
musically
meaningful
factors
of
importance
such
as
the
pitch
intervals
and
the
timbral
constituents
of
the
examined
pairs.
Additionally,
an
important
cognitive
factor,
namely
the
subject’s
response
time
in
an
identification
task,
is
examined
to
validate
hypotheses
about
possible
relations
between
subjects’
confidence
and
efficiency.
42
musically
experienced
listeners
were
asked
to
name
the
individual
instruments
within
each
pair,
in
total
58
pairs,
from
within
all
possible
combinations
of
Flute,
Oboe,
Bb
Clarinet
and
Bb
Trumpet,
playing
at
each
and
any
of
four
musical
pitches
(A4,
C#5,
A5,
C#6,
forming
the
pitch
intervals
of
unison,
major
third,
octave
and
major
tenth),
in
a
randomized
design
with
five
repetitions
for
each
pair’s
presentation.
The
procedure
was
conducted
and
administered
within
an
elaborate
computerized
desktop
system,
which,
allowing
for
recording
of
each
step
of
the
subjects’
response,
facilitated
the
registration
of
the
respective
response
times.
Percentages
of
correct,
semi-‐correct
and
false
identifications
populate
the
instruments’
confusion
matrices.
Various
statistically
significant
tendencies
appear
with
respect
to
the
position
of
instruments
within
each
pair
and
pitch
interval.
Unison
identities
show
the
smallest
erroneous
identification
scores.
Correlations
of
confusion
scores
with
mean
response
times
highlight
possible
manifestations
of
subjects’
response
confidence
levels.
This
work
is
a
systematic
attempt
to
explore
several
issues
in
identification
of
concurrently
sounding
musical
instruments
and
highlights
the
diversity
and
complexity
of
the
interplay
between
their
acoustics
and
the
respective
perceptual
transformations.
Even
within
a
musically
more
limited
and
coherent
subset,
namely
the
wind
instruments,
observed
systematic
190
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
variations of confusion between instruments, require further extensive investigation of
perceptual and cognitive phenomena, such as spectro-‐temporal masking/prominence effects,
listener’s bias, etc. Interpretation of results might prove useful especially in the fields of
orchestration or music synthesis, wherein tonal and timbral combinations of musical instruments
are extensively considered.
Paper Session 32: Timber II Hall, 14:30-‐15:30
Singing voice -‐ speech
Multivariate analyses of speech signals in singing and non-‐singing voices
Yoshitaka Nakajima*, Hiroshige Takeichi#, Saki Kidera§, and Kazuo Ueda*,
*Department of Human Science and Center for Applied Perceptual Research, Kyushu University,
Japan
#RIKEN
Nishina
Center,
Japan,
§School
of
Design,
Kyushu
University,
Japan
In
previous
studies,
we
had
analyzed
spoken
sentences
in
eight
languages/dialects
[e.g.,
Ueda
et
al.
(2010,
Fechner
Day
2010,
Padua)];
we
calculated
power
fluctuations
extracted
by
critical-‐band
filters.
Three
factors
related
to
four
frequency
bands
appeared
constantly.
These
factors
seemed
important
to
convey
linguistic
information.
We
were
interested
in
whether
similar
factors
would
appear
in
singing
voices
and
whether
there
would
be
any
systematic
difference
between
singing
and
non-‐singing
voices.
Two
male
and
two
female
amateur
singers
sang
two
simple
tunes
in
Japanese,
and
sang
also
variations
of
these
tunes
in
which
tone
duration
(as
notated)
or
pitch
was
fixed.
They
also
read
the
lyrics
aloud
at
three
different
tempi.
These
speech
signals
were
analyzed
utilizing
a
critical-‐band-‐filter
bank
covering
a
frequency
range
50-‐6400
Hz.
Factor
analyses
were
performed
on
the
power
fluctuations
obtained
from
these
critical-‐band
filters.
The
correlation-‐coefficient
matrices,
calculated
as
a
first
step
of
the
analyses,
were
also
compared
directly
with
each
other.
The
same
three
factors
as
in
our
previous
research
appeared
in
all
speech-‐generating
conditions;
power
comodulations
between
critical
bands
took
place
in
similar
ways.
One
of
the
factors
corresponded
to
a
frequency
range
of
several
critical
bands
around
1000
Hz,
which
is
supposed
to
be
important
for
the
perception
of
pitch
and
rhythm.
The
Euclidean
distances
between
the
correlation-‐coefficient
matrices
presented
a
clear
distinction
between
reading
aloud,
singing
with
a
fixed
pitch,
and
singing
with
the
original
pitch
pattern,
indicating
acoustic
difference
between
singing
and
non-‐singing
voices.
(Supported
by
JSPS)
Effects
of
background
sound
on
the
volume
and
fundamental
frequency
of
a
singing
voice
Mario
Suzuki,*#
Takayuki
Kagomiya,#
Motoki
Kouzaki,*
Seiji
Nakagawa
#
*Dept.
of
Human
Coexistence,
Graduate
School
of
Human
and
Environmental
Studies,
Kyoto
University,
Japan,
#Health
Research
Institute,
National
Institute
of
Advanced
Industrial
Science
and
Technology
(AIST),
Japan
Singers
often
perform
with
musical
accompaniment
or
the
voices
of
other
singers.
These
background
sounds
can
mask
a
singer's
own
voice,
whereas
they
can
be
a
reference
for
the
fundamental
frequency
(F0).
We
investigated
the
effect
of
the
level
of
the
chorus
and
musical
accompaniment
on
the
volume
and
F0
of
the
singing
voice
under
the
condition
that
singers
can
change
their
singing
volume
freely.
Five
normal
subjects
were
requested
to
sing
a
song
a
cappella
or
with
background
sound
of
a
piano
accompaniment,
choir
singing,
or
multi-‐talker
noise.
The
intensity
of
the
background
sound
was
varied
from
40
to
80
dB(A).
The
results
show
that
the
volume
of
the
singing
voice
increased
as
the
intensity
of
background
sound
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 191
increased,
regardless
of
the
type
of
sound.
Meanwhile,
F0
precision
of
the
singing
voice
was
not
affected
by
the
intensity
of
background
sound.
However,
F0
precision
deteriorated
more
under
the
multi-‐talker
noise
condition
than
a
cappella
and
other
conditions.
The
variation
in
singing
volume
in
accordance
with
the
intensity
of
background
sound
was
similar
to
that
for
speech
production
in
noise
(i.e.,
the
Lombard
effect).
That
is,
the
subjects
tried
to
keep
the
auditory
feedback
constant
subconsciously
against
the
background
sound
even
in
singing
tasks,
and
consequently
obtained
high
F0
precision
over
all
tested
intensities
of
background
sound.
It
is
also
indicated
that
the
intensity
of
background
sound
does
not
directly
affect
F0
precision
while
the
existence
of
sufficient
auditory
feedback
or
the
external
reference
is
important
to
maintaining
F0
precision.
Speed
Poster
Session
41:
Grand
Pietra
Hall,
15:30-‐16:00
Listening
context
–
listening
experience
Effects
of
the
Listening
Context
on
the
Audience’s
Perceptions
of
Artistry,
Expressiveness,
and
Affective
Qualities
in
the
Piano
Performance
Haruka
Shoda*,
#
and
Mayumi
Adachi*
*Dept.
of
Psychology,
Hokkaido
University,
Japan
#The
Japan
Society
for
the
Promotion
of
Science,
Japan
According
to
the
previous
studies,
visual
information
enhances
the
audience’s
perception
of
the
performer’s
expressivity,
but
no
such
effects
are
evident
in
their
affective
impressions
of
late
Romantic
pieces.
Moreover,
our
previous
study
suggests
that
the
pianist’s
affective
interpretations
can
be
communicated
successfully
to
the
audience
only
through
the
sound.
The
purpose
of
the
present
study
was
to
investigate
whether
the
performer’s
visual
information
plays
similar
roles
during
a
“live”
concert.
We
arranged
13
separate
concerts
in
which
each
of
13
professional
pianists
performed
the
same
set
of
six
pieces
(2-‐4
minutes)—
three
slow
and
three
fast,
each
from
Bach,
Schumann,
and
Debussy—in
front
of
different
groups
of
the
audience
consisting
of
11-‐23
university
students
(N
=
211).
Ten
weeks
later,
the
same
audience
listened
to
the
live
recording
(i.e.,
only
the
sound)
of
the
same
pianist’s
performances
in
the
same
auditorium.
In
both
contexts,
the
audience
evaluated
each
performance
in
terms
of
artistry,
expressiveness,
and
affective
qualities
(measured
by
11
adjectives)
on
9-‐point
Likert
scale,
which
each
pianist
also
rated
after
his
or
her
concert.
The
results
revealed
that
the
performances
were
perceived
more
artistically
and
expressively
in
the
concert
than
in
the
recorded
context
regardless
of
the
piece.
A
three-‐mode
positioning
analysis
also
showed
that
the
audience
could
perceive
the
pianist’s
affective
interpretations
more
successfully
in
the
concert
than
in
the
recorded
context.
These
results
suggest
that
sharing
the
common
time
and
place
enhances
the
communication
of
information
from
the
performer
to
the
audience.
Many
Ways
of
Hearing:
Clustering
Continuous
Responses
to
Music
Finn
Upham
Music
and
Audio
Research
Lab,
Department
of
Music
and
Performing
Arts
Professions,
Steinhardt
School
of
Culture,
Education,
and
Human
Development,
New
York
University,
USA
Is
there
more
than
one-‐way
to
experience
or
perceive
a
piece
of
music?
Anecdotal
evidence
suggests
that
many
are
possible
and
cognitive
theories
hypothesise
variety
and
yet
analyses
of
music
rarely
attempt
to
describe
multiple
cognitive
or
affective
sequences
of
experience.
Continuous
responses
collected
from
different
listeners
to
the
same
music
often
show
great
variability
in
their
temporal
sequence,
whether
ratings
of
emotional
arousal
or
measures
of
192
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
skin
conductance.
Either
these
differences
are
the
result
of
random
noise
interfering
with
the
common
experience
(as
assumed
implicitly
in
any
analysis
of
the
average
response
time
series),
or
they
reflect
distinct
interpretations
of
the
stimulating
music
and
corresponding
experiences.
The
aim
of
this
study
is
to
evaluate
whether
continuous
responses
show
evidence
of
distinct
but
repeatable
temporal
patterns
of
perception
or
experience
to
the
same
musical
stimuli.
Comparing
the
cohesiveness
and
distinction
between
clusters
within
continuous
behavioural
response
collections
from
multiple
experiments
and
to
those
of
several
artificially
constructed
collections
of
unrelated
responses,
this
poster
presents
criteria
for
defining
differences
between
responses
and
robust
response
patterns.
Correlations
Between
Acoustic
Features,
Personality
Traits
and
Perception
of
Soundscapes
PerMagnus
Lindborg
Nanyang
Technological
University,
Singapore;
KTH
Institute
of
Technology,
Stockholm
The
present
study
reports
results
from
an
experiment
that
is
part
of
Soundscape
Emotion
Responses
(SSER)
study.
We
investigated
the
interaction
between
psychological
and
acoustic
features
in
the
perception
of
soundscapes.
Participant
features
were
estimated
with
the
Ten-‐
Item
Personality
Index
(Gosling
et
al.
2003)
and
the
Profile
of
Mood
State
for
Adults
(Terry
et
al.
1999,
2005),
and
acoustic
features
with
computational
tools
such
as
MIRtoolbox
(Lartillot
2011).
We
made
ambisonic
recordings
of
Singaporean
everyday
sonic
environments
and
selected
12
excerpts
of
90
seconds
duration
each,
in
4
categories:
city
parks,
rural
parks,
eateries
and
shops/markets.
43
participants
rated
soundscapes
according
to
the
Swedish
Soundscape
Quality
Protocol
(Axelsson
et
al.
2011)
which
uses
8
dimensions
related
to
quality
perception.
Participants
also
grouped
‘blobs’
representing
the
stimuli
according
to
a
spatial
metaphor
and
associated
a
colour
to
each.
A
principal
component
analysis
determined
a
set
of
acoustic
features
that
span
a
2-‐dimensional
plane
related
to
latent
higher-‐level
features
that
are
relevant
to
soundscape
perception.
We
tentatively
named
these
dimensions
Mass
and
Variability
Focus;
the
first
depends
on
loudness
and
spectral
shape,
the
second
on
amplitude
variability
across
temporal
domains.
A
series
of
repeated-‐measures
ANOVA
showed
that
there
is
are
patterns
of
significant
correlations
between
perception
ratings
and
the
derived
acoustic
features
in
interaction
with
personality
measures.
Several
of
the
interactions
were
linked
to
the
personality
trait
Openness,
and
to
aural-‐visual
orientation.
Implications
for
future
research
are
discussed.
Influence
of
the
listening
context
on
the
perceived
realism
of
binaural
recordings
Davide
Andrea
Mauro,*
Francesco
Vitale#
*LIM
-‐
Laboratorio
di
Informatica
Musicale,
Dipartimento
di
Informatica
e
comunicazione
(DICo),
Università
degli
Studi
di
Milano,
Milan,
Italy;
#AGON
acustica
informatica
musica,
Milan,
Italy
Binaural
recordings
and
audio
are
becoming
an
interesting
resource
for
com-‐
posers,
live
performances
and
augmented
reality.
This
paper
focuses
on
the
acceptance
and
the
perceived
quality
by
the
audience
of
such
spatial
recordings.
We
present
the
results
of
a
preliminary
study
of
psychoacoustic
perception
where
N=26
listeners
had
to
report
on
the
realism
and
the
quality
of
different
couples
of
sounds
taken
from
two
different
rooms
with
peculiar
reverb.
Sounds
are
recorded
with
a
self-‐made
dummy
head.
The
stimuli
are
grouped
into
classes
with
respects
to
some
characteristics
highlighted
as
potentially
important
for
the
task.
Listening
condition
is
fixed
with
headphones.
Participants
are
divided
into
musically
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 193
trained
and
naive
subjects.
Results
show
that
there
exists
differences
between
the
two
groups
of
participants
and
that
the
“semantic
relevance”
of
a
sound
plays
a
central
role.
Speed
Poster
Session
42:
Crystal
Hall,
15:30-‐16:00
Memory
&
Earworms
Effect
of
timbre
change
on
memory
for
vocal
and
instrumental
melodies
Michael
Weiss,
E.
Glenn
Schellenberg,
Sandra
Trehub
University
of
Toronto
Mississauga,
Canada
Recently
we
found
that
adults
remembered
vocal
melodies
better
than
instrumental
melodies
(piano,
banjo,
timbre),
which
did
not
differ
from
one
another.
Previous
research
suggests
that
timbre
changes
between
exposure
and
test
impair
memory
for
melodies,
but
none
of
the
studies
in
question
included
melodies
presented
in
vocal
timbre.
Aims:
(1)
To
examine
whether
changes
in
timbre
between
initial
exposure
and
test
impair
memory
for
melodies
regardless
of
the
timbre
at
exposure;
(2)
to
explore
the
possibility
of
differential
reduction
in
memory
across
timbres,
and
(3)
to
determine
whether
memory
for
vocal
melodies
is
enhanced
both
in
the
presence
and
absence
of
a
timbre
shift
at
test.
Method:
To
ensure
that
changes
in
timbre
were
not
confounded
by
performance
differences
between
melodies,
instrumental
versions
were
triggered
by
MIDI
data
generated
from
the
vocal
melodies
(i.e.,
preserving
timing
and
relative
amplitude).
Participants
heard
16
unfamiliar
Irish
folk
melodies
presented
in
four
timbres:
voice,
piano,
banjo,
and
marimba.
In
a
subsequent
memory
test,
participants
heard
the
16
old
melodies,
half
of
which
changed
timbre,
intermixed
with
8
new
melodies
(i.e.,
foils).
Participants
were
instructed
to
attend
to
the
melody,
and
to
rate
how
confident
they
were
that
they
had
heard
it
previously—
regardless
of
instrument—during
the
exposure
phase.
Results:
As
in
previous
research,
recognition
scores
were
highest
for
old
melodies
presented
in
the
same
timbre
as
in
the
exposure
phase,
lowest
for
new
melodies,
and
intermediate
for
old
melodies
presented
in
a
timbre
that
changed
from
exposure
to
test.
The
finding
of
greatest
interest
was
that
vocal
melodies
were
remembered
better
than
instrumental
melodies
whether
the
melodies
were
presented
at
test
in
a
different
timbre
or
in
the
original
timbre.
There
was
no
evidence
of
differential
reduction
in
memory
for
melodies
that
were
timbre-‐shifted
between
exposure
and
test
(no
interaction).
Conclusions:
Vocal
melodies
are
recognized
better
than
instrumental
melodies
but
not
simply
because
fine-‐grained
acoustic
details
are
retrieved
more
readily
at
test.
Rather,
vocal
timbre
enhances
encoding
of
the
melody,
an
advantage
that
persists
even
in
the
context
of
subsequent
timbre
change.
The
advantage
for
vocal
melodies
may
stem
from
the
adaptive
significance
of
the
human
voice.
The
Effect
of
Singing
on
Lexical
Memory
Katelyn
Horn,
Daniel
Shanahan
Ohio
State
University
Previous
research
has
demonstrated
that
both
music
and
musical
ability
might
facilitate
verbal
memory
(Crowder,
Serafine,
Repp
1986
and
Chan,
Ho,
and
Cheung,
1998,
2003,
respectively).
Most
studies
have
focused
on
how
the
passive
act
of
listening
effects
one’s
recall
ability,
rather
than
on
the
physical
act
of
song
production.
It
is,
however,
a
common
pedagogical
tool
to
encourage
the
student
to
sing
as
a
memory
aid.
Singing
is
generally
more
difficult
than
speaking
a
text,
though,
so
one
might
expect
the
added
difficulty
to
inhibit
lexical
memory.
Nonetheless,
common
examples
such
as
the
alphabet
song
seem
to
indicate
that
singing
really
does
aid
in
the
memory
process.
In
this
study,
we
aim
to
test
if
the
act
of
singing
increases
lexical
memory
more
than
the
act
of
speaking.
For
this
experiment,
we
asked
two
groups
of
subjects
to
recite
a
randomized
list
of
102
words,
and
tested
their
194
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
memory
for
these
words.
The
first
group
was
asked
to
sing
each
word
to
a
2,
3,
or
4-‐note
melody
(corresponding
with
the
number
of
syllables
in
the
word),
while
the
second
group
simply
spoke
the
words.
This
was
immediately
followed
by
a
recognition
task,
in
which
the
subjects
were
asked
how
confident
they
were
that
they
had
previously
been
presented
with
the
word.
Our
results
are
currently
being
analyzed,
but
we
have
hypothesized
that
subjects
in
the
singing
condition
will
have
a
markedly
improved
performance
in
the
recognition
task
compared
to
those
in
the
spoken
condition.
The
Impact
of
Trace
Decay,
Interference,
and
Confusion
in
a
Tonal
Memory
Span
Task
Sven
Blankenberger,
Katrin
Bittrich
Department
of
Psychology,
Martin-‐Luther-‐University
Halle-‐Wittenberg,
Germany
The
aim
of
the
present
study
was
to
propose
and
test
a
mathematical
model
concerning
the
impact
of
different
mechanisms
of
forgetting
in
short
term
memory
for
tonal
and
verbal
stimuli.
N=10
participants
completed
a
modified
memory
span
task.
In
each
trial
they
were
presented
1—6
letters
or
tones
which
they
had
to
recall
(sing
or
speak)
in
correct
serial
order.
In
half
of
the
trials
the
recall
started
immediately
after
the
last
item.
In
the
remaining
trials
the
recall
was
delayed.
Quality
of
response
was
registered.
Letters
were
considered
as
correct
if
recalled
at
the
correct
serial
position.
For
the
tonal
reproduction
a
tolerance
criterion
was
applied:
Tones
were
considered
as
correct
response
if
recalled
at
the
correct
position
and
if
the
sung
frequency
was
within
the
range
of
plus/minus
a
quarter
tone
of
the
given
frequency.
As
expected
participants
were
better
in
the
verbal
compared
to
the
tonal
memory
span
task.
Differences
between
both
conditions
concerning
proportion
of
correct
recall
as
a
function
of
list
length
and
serial
position
were
observed.
The
proposed
model
fitted
the
data
reasonably
well.
The
parameter
estimation
revealed
a
stronger
impact
of
forgetting
mechanisms
in
the
tonal
compared
to
the
verbal
condition.
Furthermore,
item
confusion
only
appeared
in
the
verbal
condition.
These
results
suggest
that
different
mechanisms
of
forgetting
apply
to
tonal
and
verbal
stimuli
in
short
term
memory.
Contracting
Earworms:
The
Roles
of
Personality
and
Musicality
Georgia
A.
Floridou,
Victoria
J.
Williamson,
Daniel
Müllensiefen
Department
of
Psychology,
Goldsmiths
College,
London,
UK
The
term
‘earworm’
(also
known
as
‘Involuntary
Musical
Imagery’
or
INMI)
describes
the
experience
of
a
short
melody
getting
stuck
in
the
mind
and
being
heard
repeatedly
outside
of
conscious
control.
Previous
studies
have
examined
the
relationship
between
the
occurrence
of
INMI
and
individual
differences,
however
important
questions
still
remain;
the
role
of
personality
in
particular
remains
largely
unexplored.
The
studies
presented
here
explored
a)
the
impact
of
individual
characteristics,
related
to
personality
and
musicality,
on
INMI
experiences
(Study
1)
and
b)
different
methods
of
triggering
INMI
in
the
lab
(Study
2).
In
study
1,
332
participants
completed
the
BFI
(Big
Five
Inventory)
and
Gold-‐MSI
(Musical
Sophistication
Index)
questionnaires
online
and
provided
information
about
their
INMI
experiences
(pleasantness,
controllability,
length,
interference,
worrying
and
expunging
strategies).
Evaluation
of
the
responses
indicated
that
only
Neuroticism
correlated
with
earworm
characteristics.
Earworm
frequency
correlated
with
all
Gold-‐MSI
subscales
(Importance
of
Music,
Perception
and
Production,
Emotions,
Body
and
Creativity)
except
Musical
Training.
Two
earworm
induction
procedures
tested
in
Study
2,
based
on
a
musical
stimulus
and
on
recall
of
lyrics,
were
equally
successful,
regardless
of
personality
traits.
The
findings
of
these
studies
indicate
that
a)
the
characteristics
of
spontaneously
earworms
(INMI)
show
a
dependence
on
certain
individual
personality
traits
(neuroticism),
whereas
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 195
the
deliberate
induction
of
earworms
under
laboratory
conditions
does
not,
and
b)
the
mental
process
of
recalling
song
lyrics
can
be
as
efficient
in
triggering
earworms
as
listening
to
music,
suggesting
that
earworm
induction
may
be
linked
with
basic
memory
mechanisms.
Involuntary
musical
imagery
and
musical
structure
–
do
we
get
earworms
only
for
certain
tunes?
Sebastian
Finkel*,
Daniel
Müllensiefen#
*Institute
of
Medical
Psychology
and
Behavioural
Neurobiology,
University
of
Tuebingen,
Germany
#Department
of
Psychology,
Goldsmith
College,
University
of
London,
UK
Involuntary
Musical
Imagery
(INMI)
or
‘earworms’
describes
the
prevalent
phenomenon
whereby
tunes
get
stuck
in
one’s
head.
INMI
appears
spontaneously
and
repeatedly,
triggered
by
a
variety
of
mental
or
environmental
stimuli.
To
our
knowledge,
this
is
the
first
study
using
computational
analysis
to
investigate
structural
aspects
of
INMI
tunes.
Our
aim
is
to
develop
a
statistical
model
that
can
distinguish
between
INMI
and
non-‐INMI
songs
on
the
basis
of
unique
musical
features.
Our
present
modelling
results
have
a
prediction
accuracy
of
61%.
We
are
currently
improving
the
model
by
using
a
larger
corpus
of
songs
as
well
as
employing
more
powerful
classification
techniques
from
the
machine-‐learning
field
(e.g.
random
forests).
The
present
approach
promises
new
insights
into
the
cognition
of
music
in
everyday
life
using
quantitative
methods.
We
hope
to
address
the
role
of
memory
and
emotions
on
INMI
in
the
future.
Speed Poster Session 43: Dock Six Hall, 15:30-‐16:00
Rhythm & time perception
Rhythm deafness in absence of perceptual disorders
Jakub Sowinski, Simone Dalla Bella
Dept. of Psychology, WSFiZ, Warsaw, Poland; EuroMov, Movement to Health (M2H) Laboratory,
University of Montpellier-‐1, Montpellier, France; BRAMS, Montreal, Canada
A great deal of research has been devoted to rhythm perception and production in ordinary
musicians. Much less is known about connections between rhythm perception and
production in the general population. Recent data (Phillips-‐Silver et al., 2011) suggest that
some individuals (so-‐called rhythm deaf) may exhibit impaired rhythm perception and
inaccurate sensorimotor synchronization (SMS) while showing spared pitch processing. In
this study we examined more in depth rhythm perception and SMS in non-‐musicians. In a
first screening experiment, 96 non-‐musicians synchronized with musical and non-‐musical
stimuli in a hand-‐tapping task. Synchronization accuracy and precision were analyzed with
Circular Statistics. The results allowed to select 16 participants revealing difficulties in the
SMS task (Poor Synchronizers). In a second experiment, 10 of the Poor Synchronizers and 23
Controls (i.e., participants chosen randomly among the other participants without impaired
synchronization tested in the screening experiment) underwent various SMS tasks (e.g., with
different pacing stimuli and using different tempos), and to rhythm perception tasks (i.e.,
anisochrony detection and the rhythm task of the Montreal Battery of Evaluation of Amusia,
MBEA, Peretz et al., 2003). The analyses confirmed that 8 participants were poor
synchronizers. In particular, some of them exhibited normal rhythm perception. This finding
points to a possible mismatch between perception and action in the rhythm domain, similar
to what previously observed in the pitch domain (Dalla Bella et al., 2007, 2009; Loui et al.,
2008).
196 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012
FRI
Young children’s musical enculturation: Developing a test of young children’s
metre processing skills
Kathleen M. Einarson,* Laurel J. Trainor*
*Department of Psychology, Neuroscience & Behaviour, McMaster University, Canada
Research
indicates
that
adults
can
perceptually
extract
the
beat
from
rhythmic
sequences,
and
that
adults’
ability
to
perceive
and
produce
rhythmic
sequences
is
affected
by
experience
with
the
particular
hierarchical
metrical
structure
of
their
culture’s
music.
Evidence
of
specialization
can
be
seen
by
12
months
of
age
but
little
is
known
about
the
developmental
trajectory
of
this
enculturation
process
throughout
childhood.
We
examine
musical
development
in
five-‐
and
six-‐year-‐old
Western
children,
asking
(1)
whether
they
show
a
perceptual
bias
for
common
Western
metres,
and
(2)
whether
perception
and
production
abilities
are
correlated.
On
each
trial
of
the
perception
task,
participants
are
presented
with
a
rhythmic
sequence
in
either
a
four-‐beat,
five-‐beat,
or
six-‐beat
metre.
The
sequence
is
then
repeated,
with
small
alterations
on
half
of
the
trials,
and
children
indicate
whether
the
sequence
was
copied
exactly
right.
The
production
tasks
consist
of
recording
and
analyzing
the
children’s
ability
to
tap
back
simple
rhythms
similar
to
those
used
in
the
perception
task.
Additionally,
we
measure
vocabulary,
pre-‐reading
skills,
and
working
memory
in
order
to
examine
correlations
between
these
abilities
and
rhythmic
perception.
Results
show
that
alterations
were
detected
equally
well
in
the
simple
four-‐
and
six-‐beat
metres
compared
to
the
complex
five-‐beat
metres
by
both
the
five-‐year-‐olds
and
the
six-‐year-‐olds.
Sequence
length
exerted
a
much
stronger
effect
on
performance
than
metric
complexity,
suggesting
that
this
task
is
not
a
sensitive
measure
of
metric
enculturation.
Analyses
in
progress
will
determine
whether
sequence
length
is
also
the
main
factor
affecting
production
task
performance.
Newborn
infants
are
sensitive
to
sound
timing
Gábor
P.
Háden*,
Henkjan
Honing*,
István
Winkler#§
*Cognitive
Science
Center
Amsterdam,
Institute
for
Logic,
Language
and
Computation,
University of Amsterdam, The Netherlands
#Department of Experimental Psychology, Institute of Cognitive Neuroscience and Psychology,
Research
Centre
for
Natural
Sciences,
Hungarian
Academy
of
Sciences,
Hungary
§
Institute
of
Psychology,
University
of
Szeged,
Hungary
Detecting
changes
in
temporal
intervals
is
important
for
perceiving
music
and
speech.
Shorter
time
intervals
(ca.
10-‐100
ms)
are
relevant
to
the
study
of
expressive
timing
in
music
and
to
prosody
and
phonology
in
language.
Detection
of
short
intervals
is
reflected
by
the
mismatch
negativity
event-‐related
potential
(ERP).
We
used
ERPs
to
test
whether
newborns
detect
instantaneous
tempo
changes
as
well
as
the
onsets
and
offsets
of
sound
trains
at
“fast”
presentation
rates.
ERPs
were
recorded
from
healthy
newborn
infants
during
sleep.
50
ms
long
tones
randomly
selected
from
the
C
major
scale
were
presented
in
short
trains
of
8-‐24
(random)
identical
tones
followed
by
a
silent
gap.
The
first
half
of
the
trains
was
presented
at
a
“slow”
rate
(mean
Inter-‐Onset-‐Interval
200
ms).
The
second
half
was
presented
at
a
“fast”
rate
(mean
IOI
100
ms).
ERPs
elicited
at
the
start
of
each
train,
responses
to
the
change
of
rate
and
elicited
by
the
tone
expected
at
the
beginning
of
the
silent
gap
were
contrasted
with
mid-‐train
controls.
Analysis
showed
significant
differential
responses
to
the
change
of
presentation
rate
as
well
as
to
start
of
train
compared
to
their
respective
controls,
and
there
is
some
indication
that
a
tone
was
expected
at
the
beginning
of
the
silent
gap.
We
conclude
that
the
mechanisms
for
detecting
auditory
events
based
on
timing
are
already
functional
at
birth
making
this
information
available
to
the
infant
brain
and
thus
providing
an
important
prerequisite
of
entering
dialogues
as
well
as
for
music
cognition.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 197
Bouncing
babies
to
the
beat:
Music
and
helping
behaviour
in
infancy
Laura
K.
Cirelli,
Kathleen
M.
Einarson,
Laurel
J.
Trainor
Psychology,
Neuroscience
&
and
Behaviour,
McMaster
University,
Canada
A
prerequisite
for
musical
behaviour
is
the
ability
to
entrain
movement
to
an
external
auditory
beat.
Interpersonal
auditory-‐motor
entrainment
has
effects
on
the
social
behaviour
of
both
adults
and
4-‐year-‐old
children.
For
example,
individuals
who
walk,
sing,
or
tap
together
are
found
to
be
subsequently
more
helpful,
compliant
or
cooperative
in
later
interactions
with
one
another.
However,
the
developmental
trajectory
of
this
social
facilitation
effect
is
still
unclear.
The
current
study
investigated
whether
such
effects
could
be
measured
in
14-‐month-‐old
infants.
Experimenter
1
bounced
infants
to
either
predictable
or
unpredictable
versions
of
a
melody.
At
the
same
time,
Experimenter
2
faced
the
infant
and
bounced
either
synchronously
or
asynchronously
with
the
infant.
Following
the
bouncing
phase,
Experimenter
2
performed
a
few
short
tasks
during
which
the
child
was
given
the
opportunity
to
help
Experimenter
2
by
handing
accidently
dropped
objects
back
to
her.
Results
comparing
the
two
extreme
groups
demonstrate
that
the
infants
in
the
synchronous-‐
predictable
beats
condition
were
significantly
more
likely
to
help
Experimenter
2
than
infants
in
the
asynchronous-‐unpredictable
beats
condition,
t(20.5)=3.02,
p<.01,
61%>25%
helping
likelihood.
These
results
suggest
that
social
facilitation
following
interpersonal
auditory-‐motor
entrainment
might
be
experienced
by
14-‐month-‐olds.
The
two
control
groups
are
currently
being
tested
to
confirm
this
interpretation.
Speed
Poster
Session
44:
Timber
I
Hall,
15:30-‐16:00
Absolute
pitch
&
tone
perception
Absolute
Pitch
–
Simple
Pair-‐Association?
Katrin
Bittrich,
Juliane
Katrin
Heller,
Sven
Blankenberger
Department
of
Psychology,
Martin-‐Luther-‐University
Halle-‐Wittenberg,
Germany
The
genesis
of
absolute
pitch
–
predisposition
versus
acquisition
through
learning
–
is
still
subject
of
numerous
scientific
investigations.
The
aim
of
the
present
study
was
to
examine
the
impact
of
simple
pair-‐association-‐mechanisms
for
the
acquisition
of
absolute
pitch.
At
intervals
of
two
weeks
all
participants
(N=20
non-‐musicians)
completed
a
tone
identification
tests
(pre-‐,
post-‐,
and
follow-‐up
test).
Pitches
ranged
from
A3
to
G#4.
The
proportion
of
correct
responses
as
well
as
the
differences
in
semi-‐tones
were
observed.
Participants
of
the
experimental
group
(n=10)
underwent
a
ten-‐day
adaptive
training
between
the
first
and
the
second
test
in
which
they
learned
to
associate
pitches
with
the
corresponding
name.
The
training
started
with
two
pitches
only.
After
reaching
a
predefined
success
criterion
a
further
tone
was
added.
This
procedure
entails
that
within
the
ten-‐day
training
period
each
participant
reached
an
individual
number
of
pitches
which
they
could
identify.
Participants
of
the
experimental
group
learned
to
successfully
identify
seven
to
nine
pitches
within
ten
days
of
training.
Relative
frequency
of
correct
responses
as
well
as
the
difference
in
semi-‐
tones
in
the
tone
identification
task
revealed
a
positive
effect
of
training
in
the
experimental
group
compared
to
the
control
group.
The
results
of
the
training
study
suggest
that
simple
pair-‐association
mechanisms
are
one
aspect
in
the
development
of
absolute
pitch.
Within
only
two
weeks
of
training
a
group
of
non-‐musicians
was
able
to
successfully
identify
seven
to
nine
pitches
within
one
octave.
Possible
causes
for
the
fail
of
previous
learning
studies
are
discussed.
198
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
A
unique
pattern
of
ratio
effect
in
musicians
that
are
absolute
pitch
possessors
Lilach
Akiva-‐Kabiri1,
Tali
Leibovich2,
Gal
Azaria1,
Avishai
Henik1
1
Department
of
Psychology,
and
the
Zlotowski
Center
for
Neuroscience
2
Department
of
Cognitive
Sciences,
Ben-‐Gurion
University
of
the
Negev,
Beer-‐Sheva,
Israel
3
Ben-‐Gurion
University
of
the
Negev,
Beer-‐Sheva,
Israel
According
to
the
ratio
effect,
when
the
difference
between
two
magnitudes
is
large,
the
comparison
between
them
is
faster.
The
distance
(or
the
ratio)
effect
holds
for
a
large
variety
of
cardinal
scales
(numbers,
quantities,
physical
sizes,
etc.).
In
ordinal
scales,
such
as
the
alphabet,
this
effect
is
more
elusive.
This
effect
complies
with
Weber's
law
and
was
found
for
many
modalities
such
as
numbers,
brightness
and
musical
tones.
However,
the
ratio
effect
is
elusive
in
ordinal
scales
(i.e.,
alphabet).
Absolute
pitch
(AP)
is
a
rare
ability
to
identify
musical
pitches
without
an
external
reference
tone.
It
has
been
suggested
that
AP
possessors
are
able
to
label
pitch
automatically.
In
contrast,
most
people
use
the
relations
between
pitches
(relative
pitch)
in
order
to
process
musical
information.
In
the
current
study
two
groups
of
musicians
(those
with
AP
and
controls
without
AP)
were
asked
to
compare
pairs
of
musical
tones
that
varied
in
their
ratio.
Results
yielded
a
significant
ratio
effect
for
nAP
group,
as
expected
according
to
the
literature;
namely,
RTs
were
longer
for
large
ratios
than
for
small
ratios.
Interestingly,
AP
possessors
showed
no
ratio
effect;
namely,
RTs
for
small
and
large
ratios
were
similar.
To
the
best
of
our
knowledge
this
is
the
first
study
that
demonstrates
the
lack
of
the
effect
in
a
particular
group
of
people.
Results
are
interpreted
suggesting
that
pitch
tones
can
be
represented
on
ordinal
or
cardinal
scales,
contingent
on
AP
ability.
The
effect
of
intensity
on
relative
pitch
William
Forde
Thompson,*
Varghese
Peter,+
Kirk
Olsen,#
Catherine
J.
Stevens#
*Department
of
Psychology,
Macquarie
University,
Australia;
+Department
of
Linguistics,
Macquarie University, Australia; #MARCS, University of Western Sydney, Australia
Music performers frequently introduce systematic changes in intensity as music unfolds. We
tested the hypothesis that changes in the intensity of tones affect the perceived size of
melodic intervals. In Experiment 1, 39 musically untrained participants rated the size of the
interval spanned by two pitches within individual gliding tones. Tones were presented at
high-‐intensity, low-‐intensity, looming intensity (up-‐ramp), and fading intensity (down-‐ramp)
and glided between two pitches spanning 6 or 7 semitones (a tritone or a perfect fifth
interval). The pitch shift occurred in either ascending or descending directions. Experiment 2
repeated the conditions of Experiment 1 but the shifts in pitch and intensity occurred across
two discrete tones (i.e., a melodic interval). Ratings of interval size were dependent on
whether the interval was high or low in intensity, whether it increased or decreased in
intensity across the two pitches, and whether the interval was ascending or descending in
pitch. A control experiment replicated the effect of intensity using pitch intervals of 6 or 10
semitones in size (N = 30). The perception of interval size did not adhere to a strict
logarithmic function as implied by musical labels. As observed in previous investigations,
identical intervals were perceived as substantially different in size depending on other
attributes of the sound source. The implications for research on interval size and auditory
looming are discussed.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 199
Frequency
and
Pitch
Representation
Using
Self-‐Organized
Maps
Christos
Zarras,
Konstantinos
Pastiadis,
George
Papanikolaou,
George
Papadelis
Department
of
Electrical
&
Computer
Engineering,
Aristotle
University
of
Thessaloniki,
Greece
Previous
works
on
computational
approaches
for
the
description
of
pitch
phenomena
have
employed
various
methodologies,
deterministic
and
probabilistic,
which
are
based
on
psychophysiological
auditory
stimuli
modeling,
representations
and
transformations
(e.g.
spatial,
temporal,
spatiotemporal),
both
at
peripheral
and
more
central
stages
of
the
auditory
chain.
Then,
a
confirmatory
phase,
utilizing
data
from
behavioral
(or
even
imaging)
studies,
is
usually
followed
to
assess
the
validity
of
the
computational
methods.
The
human
auditory
perception
relies
on
interconnected
neuronal
networks,
which
have
been
shown
to
demonstrate
multi-‐directional
activity
and
dynamical,
adaptive,
and
self-‐organizing
properties,
together
with
strong
tonotopical
organization
along
the
auditory
pathway
up
to
the
primary
auditory
cortex.
This
paper
focuses
on
the
exploration
of
properties
and
effectiveness
of
a
certain
type
of
computational
approaches,
namely
self-‐organized
networks,
for
the
description
of
frequency
and
pitch
related
phenomena.
A
Self-‐Organized
connectionist
model
is
presented
and
tested.
We
explore
the
ability
of
Kohonen
type
neural
networks
(Self-‐
Organizing
Feature
Maps,
SOFMs
or
SOMs)
to
organize
based
on
frequency
information
conveyed
by
sound
signals.
Various
types
of
artificially
generated
sound
signals
(ordered
along
a
frequency/pitch
axis)
are
employed
in
our
simulations,
including
single
tones,
harmonic
series,
missing
fundamental
series,
band
limited
noises,
and
harmonics
with
formants.
Simple
Fourier
representations
and
their
physiologically
plausible
frequency-‐to-‐pitch
mappings
(e.g.
tonotopy
in
the
cochlea)
are
used
as
network
inputs.
The
networks’
efficiency
is
investigated,
according
to
various
structural
parameters
of
the
network
and
the
organizing
procedure,
together
with
aspects
of
the
obtained
tonotopical
organization.
Our
results,
using
different
types
of
input
spectra
and
various
SOM
implementations,
demonstrate
a
clear
ability
for
self-‐organizing
according
to
(fundamental)
frequency
or
pitch.
However,
when
certain
test
configurations
were
used,
the
networks
showed
observable
inability
to
organize,
revealing
limitations
in
the
resolving
ability
of
the
network
related
to
the
required
number
(density)
of
neurons
compared
to
the
dataset
size.
Some
more
difficulties
were
also
observed,
relating
to
the
type
of
signals
for
which
an
organized
network
can
identify
pitch.
The
results
of
this
work
indicate
that,
under
some
provisions,
such
a
model
could
be
effective
in
frequency
and
pitch
indication,
within
certain
limitations
upon
training
parameters
and
types
of
signals
employed.
Further
work
will
compare
the
efficiency
of
the
proposed
representation
with
classical
computational
approaches
upon
various
aspects
of
pitch
perception,
together
with
examination
of
feasibility
and
possible
advantages
of
employing
SOMs
in
the
description
of
pitch
perception
in
various
types
of
auditory
dysfunction.
Detecting
degrees
of
density
in
aggregates:
when
can
we
hear
a
cluster?
Luk
Vaes,*
Dirk
Moelants
#
*ORCiM,
Orpheus
Institute,
Belgium;
#IPEM-‐Dept.
of
Musicology,
UGent,
Belgium
In
contemporary
music,
clusters
have
become
a
common
part
of
the
musical
language.
Yet,
our
understanding
of
how
clusters
are
perceived
does
not
match
its
popularity
in
compositional
practice.
The
few
existing
cluster
theories
are
contradictory
to
each
other
as
well
as
to
the
cluster’s
history
in
scores;
empirical
data
on
the
cluster's
aural
perception
are
almost
non-‐existing.
Considering
a
cluster
to
be
a
psycho-‐physiological
phenomenon
of
which
the
individual
constituents
are
losing
perceptibility
in
favor
of
its
contour,
an
experiment
was
set
up
to
study
the
aural
perception
of
aggregates
with
varying
degrees
of
density
within
a
fixed
contour.
The
primary
interest
was
vested
in
detecting
quantity
(number
of
tones)
and
quality
(identity
of
tones).
30
professional
musicians
listened
toe
all
63
possibilities
to
fill
a
fixed
interval
c-‐g
with
1
to
6
different
pitches,
and
indicated
the
number
of
perceived
tones
(between
3
and
8)
and
which
pitches
they
heard.
Whereas
66%
of
the
three-‐component
chords
are
identified
correctly,
this
drops
to
28%
when
four
pitches
200
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
are
used,
12%
with
five
elements
and
about
5%
with
six
or
more.
Subjects
show
a
clear
preference
for
certain
clusters
and
some
configurations
seem
to
increase
the
difficulty
to
indentify
the
components
correctly
or
lead
to
the
perception
of
a
more
complex
aggregate
than
what
they
actually
heard.
These
elements
provide
us
with
interesting
insights
on
how
trained
subjects
perceive
complex
aggregates
of
pitches.
Symposium 4: Grand Pietra Hall, 17:00-‐19:00
Cognition in Musical Composition: Methodologies, Results, Challenges
Convener: Nicolas Donin, Discussants: Irène Deliège, John Sloboda
Research on composers’ creative cognition is scarce, and has been mainly divided into two
independent trends in research: 1) sketch studies as a means to decipher the composer’s
intentions, planning and decision-‐making processes during the creative process of some
work; 2) empirical research on creativity in an educational context, with children or students
performing well-‐defined compositional tasks in an experimental setting. Recent research
suggests a third approach is worth exploring: gathering ‘sketch studies’-‐like data about
contemporary creative processes and using them to ‘look at creative acts’ (Deliège & Wiggins
2006) with the help of the artist. For example: tracking the creative cognition of a
professional composer over the course of his creative process, with the support of all the
traces left by his activity, whether through real-‐time data retrieval or through self-‐report
data obtained shortly after the work completion. This approach poses great methodological
and epistemological challenges. Yet the risk is worth taking: such analysis of the activity of
composition uncovers various aspects of music cognition (and of human creativity in
general) that might not necessarily coincide with our view of music cognition from the
perceptive and performative sides. In the last years, disparate attempts have been made to
implement in-‐depth research into the cognition of individual composers at work, notably by
McAdams, Collins Donin & Theureau, which lead into discussion of the forgotten pioneering
work of Bahle (1935), Mion, Nattiez & Thomas (1982) and others. Drawing upon a recent
project called MuTeC where case studies of past and current creative processes are
interconnected, Donin (2012) pleads for a ‘crossfertilization’ between empirical and
historical approaches to creative cognition. The symposium will present samples of the
various methodologies and results emerging from the recent work of researchers active in
this new subfield and delineate current challenges to the development of further research on
compositional cognition. Constituent papers present various practices and situations
(mainstream composition, jazz, new music, sound installation) and distinct disciplinary
backgrounds (music psychology, psycho-‐ergonomics, musicology), all converging toward a
common, innovative goal.
Studying the act of musical composition in real-‐time
Dave Collins
University Centre, Doncaster College, UK
The primary aim of research undertaken and ongoing has been to track cognitions of
composers in real-‐time in naturalistic settings. The emphasis is to gain an understanding of
the process of the structuring and re-‐structuring of musical events in an unfolding
composition with a conjoined appraisal and development of appropriate methodological
techniques. Participants have been purposively selected to have significant experience in
using computer-‐based compositional tools, and asked to compose freely without external
constraints (length of composition, number of parts, duration of compositional period). Data
collection integrates computer tools (MIDI save-‐as files,) with verbal protocol, interview
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 201
sessions and video observation techniques. Results: a) Methodological procedures: the
acquisition of meaningful cognition data indicates success in methodologies with rich data to
informing hypothetical models of compositional problem-‐solving strategies. b) Hypothetical
structures of compositional problem-‐solving strategies indicate: i) moments of insightful
behaviours (gestalt moments) within both general and specific compositional process, ii)
holistic levels of an entire composition as non-‐linear, recursive problem-‐solving and
problem-‐generation, iii) a cycle of chunking processes which contribute to the holistic level
of compositional activity, iv) a ‘micro’ level of individual processes which take place within
and through each of the chunking processes. Immediately retrospective verbal reporting
with digital data collection techniques can provide substantially rich data to postulate a time-‐
based hypothetical model of compositional cognition.
Stefano Gervasoni’s Cognition Through the Compositional Process of
Gramigna. Methodology, Results Samples, Issues
Nicolas Donin, François-‐Xavier Féron
Analyse des pratiques musicales Research Group, STMS Lab (IRCAM-‐CNRS-‐UPMC), France
In 2009, internationally renowned composer Stefano Gervasoni authorized researchers to
delineate the genesis of his then most recent piece, Gramigna, a cycle of miniatures that was
soon to be developed into an expanded version. The creative process of the existing version
of Gramigna was documented via drafts and sketches. With regards to the creative process of
newer miniatures added to Gramigna over the course of 2010, data collection during
composition was favored versus retrospective monitoring. Then the composer’s cognition
along his course of action was recollected through four ‘situation simulation interviews’ in
which the composer was asked to re-‐enact and comment on as many compositional
procedures as possible, based on every trace of his activity gathered by the researchers.
These two-‐hour long interviews were videotaped and transcribed. This data is highly suited
to questioning various aspects of compositional cognition. Sample results are introduced,
concerning: generation and use of rules, filling in the score in course of writing, decisions
about ending or restarting a process.
Negotiation in a jazz ensemble: Sound and speech in the making of a
commercial record
Maya Gratier, Rebecca Evans, Ksenija Stevanovic
Psychology Department, Université Paris Ouest Nanterre La Défense, France
Empirical research on the performance of improvised music is only just beginning to provide
a richer account of how music is made in real life contexts through the collaborative and
coordinated actions of participants. However, most studies to date focus either on the
musical outcome of improvised performance or on the social and cultural practices involved
in making music. Few studies have attempted to connect communicative processes, verbal,
nonverbal and musical, with the audible musical product they bring about. Traditional
cognitive psychology cannot explain the speed and efficiency with which musicians co-‐
produce and dynamically manage rhythmic, melodic and harmonic expression. The present
study situates cognition in embodied verbal and musical interchange. The recording studio is
an interesting context in which to study improvisational music making because so much is at
stake in the act of permanently fixing sound that is performed with a degree of
indeterminacy, fostering at time a tension between individual and collective expression. The
principal aim of this study was to reveal the verbal and musical processes involved in
selecting a take for inclusion on a commercial album of a professional jazz ensemble. A
second aim of the study was to analyze the relation between musicians’ representations of
202
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
their
jointly
produced
music
and
the
actual
musical
product.
Based
on
analyses
of
transcribed
conversations
between
musicians,
as
well
as
detailed
acoustic
analysis
of
the
protocols
tracks
obtained
from
their
performances,
we
show
that
musical
projects
are
shaped
through
both
musical
interaction
and
conversational
exchange.
Analysing
the
design
process
of
an
interactive
music
installation
in
the
urban
space
:
constraints
as
resources
and
resources
as
constraints
Pascal
Salembier,
Marie-‐Christine
Legout
ICD-‐TechCICO,
Université
de
Technologie
de
Troyes,
France
This
study
is
part
of
a
project
that
aims
at
documenting
several
examples
of
20th
and
21st
century
professional
composers’
practices
in
order
to
contribute
to
the
understanding
of
music
creative
processes.
This
2
year
study,
conducted
in
collaboration
with
the
composer
Jean-‐Luc
Hervé,
examined
the
design
process
of
an
electro-‐acoustic
music
installation
(a
‘sound
garden’)
located
in
a
public
park
in
central
Paris.
The
installation
is
a
collaboration
between
the
composer
and
a
landscape
architects
agency.
Various
different
types
of
data
were
collected
such
as:
traces
of
the
composer’s
activity
(notes,
sketches,
sound
samples,
and
e-‐mails
with
other
project
participants);
verbal
reports
and
comments
based
on
the
composer’s
sketchbooks;
and
notes
from
the
direct
observation
of
electro-‐acoustic
work
session.
Interviews
with
the
composer
were
videotaped
and
transcribed
(15
sessions,
totalling
more
than
25
hours).
The
aim
of
this
paper
is
to
briefly
present
some
preliminary
results
of
the
study
concerning:
the
instrumental
role
played
by
the
administrative,
political,
musical
and
technical
constraints
that
the
composer
faced
thoughout
the
project;
composition
as
a
model-‐based
activity,
versus
activity
as
a
dynamically
situated
activity;
the
distribution
of
control
between
the
composer
and
the
computer
system;
and
the
cognitive
scrutability
of
the
music
generator.
Paper Session 33: Crystal Hall, 17:00-‐18:30
Motion & Gesture II
Body Rhythmic Entrainment and Pragmatics in Musical and Linguistic
Improvisation Tasks
Satinder Gill,* Marc R. Thompson#, Tommi Himberg #
*Centre for Music and Science, Faculty of Music, University of Cambridge, UK
#Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music,
University of Jyväskylä, Finland
This interdisciplinary study combines researchers and methods from linguistic
communication, music, and movement. We consider conversation as performance, and
improvisation in music as akin to this performance. Improvisation, musical or linguistic,
involves rules/conventions, but the interactive performance will often unfold in
unpredictable ways, involving heightened moments of rhythmic and empathic connection
(salient rhythmic moments, SRM), and require synchrony. We aimed to combine qualitative
observational analysis and quantitative movement analysis to identify SRM, describe
kinematics related to them, and compare periodicity and entrainment of body movements
across different conditions (participants facing each other vs. not facing; music making vs.
story telling). 8 pairs of participants performed musical and linguistic improvisations (2 min)
while audio, video, and movement recordings were made. Video analysis identified SRM’s,
and kinematic and statistical analysis of motion capture data, including principal
components analysis (PCA) of a number of movement features, and cross-‐recurrence
12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 203
analysis (QRA) to investigate interpersonal entrainment were undertaken. Preliminary
findings include that that SRM’s in the linguistic trial correlate with moments of less distance
between the bodies, indicating increased contact, while SRM’s in the music trial correlate
with less distance, but only when the interaction was mutually cooperative. There were no
major differences in the periodicity of movements between the linguistic and musical trials,
suggesting the two systems share rhythmic properties at the relational level of
communication. Observational analysis combined with kinematic and entrainment analyses
form a complementary set of methods for analyzing embodied interaction. Music and
language as communicative performance appear very likely to share properties of body
rhythmic interpersonal synchrony.
Classifying Music-‐Related Actions
Rolf Inge Godøy*, Alexander Refsum Jensenius*, Arve Voldsund*, Kyrre Glette#, Mats Høvin#,
Kristian Nymoen#, Ståle Skogstad#, Jim Tørresen#
*Department of Musicology, University of Oslo, Norway,
#Department of Informatics, University of Oslo, Norway
Our research on music-‐related actions is based on the conviction that sensations of both
sound and body motion are inseparable in the production and perception of music. The
expression "music-‐related actions" is here used to refer to chunks of combined sound and
body motion, typically in the duration range of approximately 0.5 to 5 seconds. We believe
that chunk-‐level music-‐related actions are highly significant for the experience of music, and
we are presently working on establishing a database of music-‐related actions in order to
facilitate access to, and research on, our fast growing collection of motion capture data and
related material. In this work, we are confronted with a number of perceptual, conceptual
and technological issues regarding classification of music-‐related actions, issues that will be
presented and discussed in this paper.
Movement expertise influences gender recognition in point-‐light displays of
musical gestures
Clemens Wöllner,* Frederik J.A. Deconinck #
*Institute of Musicology and Music Education, University of Bremen, Germany,
#Institute for Biomedical Research into Human Movement and Health, Manchester
Metropolitan University, UK
We investigated (a) whether observers perceive the gender of orchestral conductors in
point-‐light displays across multimodal conditions and (b) whether there are quantifiable
motion differences between male and female conductors. We hypothesised that in explicitly
trained conducting gestures, gender differences are less pronounced as compared to walking
motion. Gestures of male and female orchestral conductors were recorded with a motion
capture system while they conducted two excerpts from a Mendelssohn string symphony to
musicians. Point-‐light displays were created according to the following conditions: static
image (no movement), gait, visual-‐only and audiovisual conducting. In addition, auditory-‐
only versions of the same music were produced. Musically trained observers distinguished
best between male and female conductors in gait and static images, for which differences in
body morphology and/or motion parameters were found in accordance with previous
research. For conducting movements, no significant motion differences were recorded.
Accuracy of gender recognition was influenced by conductors’ expertise: While observers
perceived the gender of less experienced conductors’ above chance level for visual-‐only and
audiovisual point-‐light displays of conducting, displays of experienced conductors permitted
correct recognition for gait and static images only, but not for the three conducting
conditions. Results point to a response bias in judgments such that experienced conductors
204 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012
FRI
were
more
often
judged
to
be
male.
We
conclude
that
judgement
accuracy
depended
both
on
conductors’
level
of
expertise
as
well
as
on
observers’
concepts,
suggesting
that
perceivable
differences
between
men
and
women
diminished
for
highly
trained
movements
of
experienced
individuals.
Paper
Session
34:
Dock
Six
Hall,
17:00-‐19:00
Structure,
Performance,
Interaction
Perceptual
Evaluation
of
Automatically
Extracted
Musical
Motives
Oriol
Nieto,
Morwaread
M.
Farbood
Dept.
of
Music
and
Performing
Arts
Professions,
New
York
University,
USA
Motives
are
the
shortest
melodic
ideas
or
patterns
that
recur
in
a
musical
piece.
This
paper
presents
an
algorithm
that
automatically
extracts
motives
from
score-‐based
representations
of
music.
The
method
combines
perceptual
grouping
principles
with
data
mining
techniques,
using
score-‐based
representations
of
music
as
input.
The
algorithm
is
evaluated
by
comparing
its
output
to
the
results
of
an
experiment
where
participants
were
asked
to
label
representative
motives
in
six
musical
excerpts.
The
perceptual
judgments
were
found
to
align
well
with
the
motives
automatically
extracted
by
the
algorithm
and
the
experimental
data
was
further
used
to
tune
the
threshold
values
for
similarity
and
strength
of
grouping
boundaries.
Does
Higher
Music
Tend
to
Move
Faster?
Evidence
For
A
Pitch-‐Speed
Relationship
Yuri
Broze
&
David
Huron
School
of
Music,
Ohio
State
University,
USA
We
tested
whether
higher-‐pitched
music
is
associated
with
faster
melodic
speeds
in
Western
music.
Three
empirical
studies
produced
results
consistent
with
the
hypothesized
pitch-‐
speed
relationship.
This
pitch-‐speed
correspondence
was
evident
when
analyzing
musical
parts
and
instruments,
but
not
when
considering
isolated
notes.
We
sketch
five
possible
origins
for
the
observed
effect:
acoustic,
kinematic,
music
theoretical,
sensory/perceptual,
and
psychological.
Study
1
tested
the
idea
that
high-‐pitched
notes
will
tend
to
be
faster
than
low-‐pitched
notes,
regardless
of
musical
part
or
instrument.
Using
an
electronic
database
of
174
scores
of
Western
music,
we
calculated
correlations
between
pitch
height
and
note
duration.
Results
were
mixed,
and
dependent
on
genre.
Study
2
tested
whether
higher-‐
pitched
musical
parts
tend
to
be
faster
than
lower-‐pitched
ones.
Using
an
independent
sample
of
238
Western
scores,
we
tallied
the
number
of
pitched
events
per
musical
part
to
index
melodic
speed.
Statistically
significant
effects
were
observed
in
every
subsample
studied
when
considering
the
music
part-‐by-‐part.
Study
3
directly
measured
melodic
speed
in
notes
per
second
using
192
live
recordings
of
solo
instrumental
performances.
A
strong
correlation
(r
=
0.754,
p
<
.001)
between
observed
median
melodic
speed
and
instrumental
midrange.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 205
Computational
Analysis
of
Solo
Versus
Ensemble
Performance
in
String
Quartets:
Intonation
and
Dynamics
Panagiotis
Papiotis,*
Marco
Marchini,*
Esteban
Maestre#*
*Music
Technology
Group,
Universitat
Pompeu
Fabra,
Spain
#Center
for
Computer
Research
in
Music
and
Acoustics
(CCRMA),
Stanford
University,
U.S.A.
Musical
ensembles,
such
as
a
string
quartet,
are
a
clear
case
of
music
performance
where
a
joint
interpretation
of
the
score
as
well
as
joint
action
during
the
performance
is
required
by
the
musicians.
Of
the
several
explicit
and
implicit
ways
through
which
the
musicians
cooperate,
we
focus
on
the
acoustic
result
of
the
performance
–
in
this
case
in
terms
of
dynamics
and
intonation
-‐
and
attempt
to
detect
evidence
of
interdependence
among
the
musicians
by
performing
a
computational
analysis.
We
have
recorded
a
set
of
string
quartet
exercises
whose
challenge
lies
in
achieving
ensemble
cohesion
rather
than
correctly
performing
one’s
individual
task
successfully,
which
serve
as
a
‘ground
truth’
dataset;
these
exercises
were
recorded
by
a
professional
string
quartet
in
two
experimental
conditions:
solo,
where
each
musician
performs
their
part
alone
without
having
access
to
the
full
quartet
score,
and
ensemble,
where
the
musicians
perform
the
exercise
together
following
a
short
rehearsal
period.
Through
an
automatic
analysis
and
post-‐processing
of
audio
and
motion
capture
data,
we
extract
a
set
of
low-‐level
features,
on
which
we
apply
several
numerical
methods
of
interdependence
(such
as
Pearson
correlation,
Mutual
Information,
Granger
causality,
and
Nonlinear
coupling)
in
order
to
measure
the
interdependence
-‐or
lack
thereof-‐
among
the
musicians
during
the
performance.
Results
show
that,
although
dependent
on
the
underlying
musical
score,
this
methodology
can
be
used
in
order
to
automatically
analyze
the
performance
of
a
musical
ensemble.
Musical
Agreement
via
Social
Dynamics
Can
Self-‐Organize
a
Closed
Community
of
Music:
A
Computational
Model
İsmet
Adnan
Öztürel,*
Cem
Bozşahin#
Cognitive
Science
Department,
Middle
East
Technical
University,
Ankara
Turkey
This
study
aims
to
model
social
dynamics
of
an
idealized
closed
musical
society
to
investigate
whether
a
musical
agreement
in
terms
of
shared
musical
expectations
can
be
attained
without
external
intervention
or
centralized
control.
Our
model
implements
a
multi-‐
agent
simulation,
where
identical
agents,
which
have
their
own
private
two
dimensional
transition
matrix
that
defines
their
expectations
on
all
possible
bi-‐gram
note
transitions,
are
involved
in
round-‐based
pairwise
interactions.
Throughout
an
interaction
two
agents
are
randomly
chosen
from
the
population,
one
as
the
performer
and
the
other
as
the
listener.
Performers
compose
a
fixed
length
melodic
line
by
successively
appending
their
most
expected
note
sequences
recursively
by
using
sounds
from
a
finite
inventory.
Listeners
assess
this
melody
to
determine
the
success
of
the
interaction
by
evaluating
how
familiar
they
are
to
the
bi-‐gram
transitions
that
they
hear.
According
to
success
the
interacting
parties
perform
updates
on
their
transition
matrices.
All
agents
start
with
a
flat
transition
matrix,
and
the
simulation
ends
when
they
converge
on
a
state
of
agreement.
We
have
found
that
30
out
of
144
possible
bi-‐grams,
74
out
of
1728
possible
tri-‐grams,
and
7
out
of
20736
four-‐grams
emerged
as
agreements,
although
only
bi-‐grams
are
communicated.
The
findings
signify
that
melodic
building
blocks
for
the
modeled
society
are
self-‐organizing,
given
the
limited
bi-‐gram
expectations
of
individuals,
and
that
convergence
trends
are
dependent
on
simulation
parameters.
206
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Paper Session 35: Timber I Hall, 17:00-‐18:30
Group singing
Why do people sing in a choir? Social, emotional and well-‐being effects of choir
singing
Jukka Louhivuori
University of Jyväskylä, Finland
Singing appears to be a common and widely practiced musical activity across cultures.
According to previous studies people sing in a choir mainly because of social and emotional
reasons. In addition, several studies have suggested connections between choir singing,
wellbeing and health. Most of the studies have been done in Western cultural context. Thus,
it is not known for sure if cultural background has an effect on choristers’ motivation. The
aim of the study is to get better understanding how cultural background effects choir singers’
reasons to sing in a choir. A survey was conducted for choristers with different cultural
background (European, African; N=684). In addition to the questionnaire information was
acquired by interviewing individual choristers (N=48). The choirs represented most
common choir types, such as children, youth, mixed, male, female and senior choirs. The data
consists of typical age groups for choir singers (16-‐91 years; average age = 47 years). The
results show, that the main reasons for choristers to sing in a choir are related to emotional
experiences, relaxation, social networks group support and well-‐being effects. The findings
are in line with previous studies, but for the choristers with European cultural background
social aspects were more important compared to African singers who emphasized musical
and emotional aspects in choir singing. The findings suggest that cultural background has a
clear effect on which aspects choristers consider as most important factor in choir singing.
Tight and close social networks typical for many African societies may explain the difference
between European and African choir singers. Interviews support this interpretation.
Typically European choristers spoke about the benefits of choir singing in building social
networks, while African choir singers pointed out that they have enough social connections;
choirs are not needed for getting friends, but to support musical development and emotional
needs. Both groups emphasized the relaxation and wellbeing aspects of choir singing.
An empirical field study on sing-‐along behaviour in the North of England
Alisun Pawley,* Daniel Müllensiefen#
*Kendal, United Kingdom
# Department of Psychology, Goldsmiths, University of London, United Kingdom
Singing
along
to
a
tune
in
a
leisure
environment,
such
as
on
the
dance
floor
of
a
nightclub,
is
one
frequent
form
of
spontaneous
and
informal
music-‐making.
This
paper
reports
the
empirical
findings
and
theoretical
implications
of
a
field
study
of
sing-‐along
behaviour
carried
out
at
music
entertainment
venues
across
northern
England,
addressing
how
singing
along
is
affected
by
context,
as
well
as
what
musical
qualities
make
a
song
singalongable.
Thirty
nights
of
field
research
were
conducted
in
five
different
entertainment
venues.
Both
quantitative
and
qualitative
data
was
collected,
including
how
many
people
sang
along
to
each
of
the
1168
songs
played
during
research.
Nine
contextual
factors
as
well
as
32
musical
features
of
the
songs
were
considered
as
different
categories
of
explanatory
variables.
Regression
trees
and
a
random
forest
analysis
were
employed
to
model
the
empirical
data
statistically.
A
resulting
quantitative
model
predicts
the
proportion
of
people
singing
along
with
a
particular
song
(dependent
variable)
given
information
about
the
audience,
song
popularity,
context,
and
song-‐specific
musical
features
as
explanatory
variables.
Results
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 207
indicate
that
non-‐musical
factors
can
account
for
40%
of
the
variability
in
sing-‐along
behaviour,
whilst
musical
factors
are
able
to
explain
about
another
25%
of
the
variance.
The
prediction
model
demonstrates
that
it
is
features
of
vocal
performance
rather
than
structural
features
of
the
tunes
that
make
audiences
sing
along.
Results
are
interpreted
in
terms
of
theoretical
notions
of
‘tribal’
or
indigenous
societies.
This
study
makes
a
significant
contribution
to
the
largely
unexplored
territory
of
sing-‐along
behaviour.
Effects
of
Group
Singing
on
Psychological
States
and
Cortisol
Rita
Bento
Allpress,*
Stephen
Clift,*
Lucy
Legg#
*Sidney
De
Haan
Research
Centre
for
Arts
and
Health,
Canterbury
Christ
Church
University,
England;
#London,
England
Group
singing
has
several
psychological,
physical,
and
social
components
that
can
interact
and
contribute
to
feelings
of
well-‐being.
Due
to
the
relative
infancy
of
this
field
of
research,
understanding
on
what
these
beneficial
and
positive
effects
of
group
singing
are
and
how
they
interact
is
still
limited.
In
order
to
investigate
how
group
singing
may
benefit
our
well-‐
being
and
health,
previous
research
has
looked
at
effects
of
singing
on
psychological
states
and
cortisol,
a
hormone
related
to
well-‐being.
One
major
limitation
of
previous
research
to
this
date
is
a
lack
of
experimental
designs,
participant
randomization
and
an
active
control.
However,
without
such
research
we
are,
in
fact,
unable
to
determine
the
effects
of
group
singing
on
our
well-‐being
and
health.
This
study
aims
to
overcome
the
limitations
of
previous
research
and
experimentally
assess
effects
of
group
singing
on
cortisol
and
psychological
variables.
In
this
way,
we
hope
to
better
understand
short-‐term
effects
of
group
singing
on
the
psychological
states
and
cortisol
of
a
group
of
people
that
had
never
sang
together
before.
At
the
same
time,
we
hope
it
will
allow
us
to
start
answering
the
question
of
whether
the
effects
reported
in
the
literature
are
indeed
due
to
group
singing
or
if
they
can
be
equally
brought
into
place
by
other,
non-‐musical
group
activities.
Twenty-‐one
participants
(11
females)
were
recruited
from
the
general
population
and
no
previous
experience
with
singing
was
required.
Eighteen
participants
(9
females)
completed
two
conditions:
singing
and
a
non-‐musical
group
activity.
Given
the
repeated
measures
design,
participants
were
randomly
allocated
to
one
of
two
groups.
Group
A
sang
on
day
1
and
did
the
non-‐musical
activity
on
day
2,
and
group
B
did
the
non-‐musical
activity
on
day
1
and
the
singing
on
day
2.
Participants
donated
saliva
samples
and
completed
the
positive
and
negative
affect
schedule
before
and
after
each
activity.
A
flow
state
scale
and
a
connectedness
scale
were
also
completed
after
each
activity,
and
a
general
well-‐being
questionnaire
was
completed
at
baseline
on
day
1.
Data
analysis
points
to
similar
effects
of
both
group
activities
on
levels
of
flow,
connectedness
and
positive
affect
which
indicate
that
both
activities
had
similar
levels
of
engagement,
challenge
and
social
interaction.
208
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
FRI
Paper Session 36: Timber II Hall, 17:00-‐18:30
Beat & time perception
Probing Beat Induction in Rhesus Monkeys: Is Beat Induction Species-‐Specific?
Henkjan Honing,* Hugo Merchant,# Gábor Háden,* Luis Prado,# and Ramón Bartolo#
*Cognitive Science Center Amsterdam, Institute for Logic, Language and Computation,
University of Amsterdam, The Netherlands
#Department of Cognitive Neuroscience, Instituto de Neurobiología, Universidad Nacional
Autonoma de México, Queretaro, Mexico
We measured auditory event-‐related potentials (ERPs) in a rhesus monkey (Macaca
mulatta), probing a well-‐documented component in humans, the mismatch negativity
(MMN). We show for the first time in a rhesus monkey that, in response to infrequent
deviants that were presented in a continuous sound stream, a comparable ERP component
can be detected with negative deflections in early latencies. This result is in line with an
earlier study with a single chimpanzee (Pan troglodytes) that showed a similar MMN-‐like
response using the same two-‐tone odd-‐ball paradigm. Consequently, using more complex
stimuli, we tested whether a rhesus monkey can not only detect gaps (omissions at random
positions in the sound stream) but also the beat (omissions at the first position of a musical
unit, i.e. the ‘downbeat’). In contrast to what has been shown in human adults and newborns
(using identical stimuli and experimental paradigm), preliminary analyses suggest that the
monkey is not able to detect the beat in music. These findings are in support of the
hypothesis that beat induction (the cognitive mechanism that supports the detection of a
regular pulse from a varying rhythm) is species-‐specific.
Electrophysiological correlates of subjective equality and inequality between
neighboring time intervals
Hiroshige Takeichi*, Takako Mitsudo#, Yoshitaka Nakajima§, and Shozo Tobimatsu¶,
*RIKEN Nishina Center, Japan, #Faculty of Information Science and Electrical Engineering,
Kyushu
University,
Japan,
§Faculty
of
Design,
Kyushu
University,
Japan,
¶Faculty
of
Medical
Sciences,
Kyushu
University,
Japan
Rhythm
is
an
important
aspect
of
music.
However,
perceived
rhythm
does
not
always
correspond
to
the
physical
temporal
patterns
in
a
simple
manner.
When
two
neighboring
time
intervals
are
marked
by
three
successive
tone
bursts,
human
listeners
are
able
to
judge
whether
the
intervals
are
equal
or
unequal.
The
equality
appears
as
a
perceptual
category
when
the
intervals
are
around
200
ms
or
below.
However,
the
perception
displays
some
ambiguity
around
a
categorical
boundary.
We
aimed
at
examining
whether
different
judgments
to
the
same
pattern
could
be
related
to
any
particular
brain
activities
observed
in
the
event-‐related
potentials
of
the
scalp.
The
event-‐related
potentials
were
recorded
while
participants
listened
to
the
temporal
patterns
around
categorical
boundaries
and
made
judgments
about
the
subjective
equality.
Selective
average
waveforms
were
calculated
for
each
response
for
each
participant,
and
converted
to
z-‐scores
for
each
recording
site.
Bhattacharyya
distances
between
the
different
responses
were
calculated,
and
correlations
were
calculated
between
the
rate
of
the
unequal
judgment
and
the
integral
of
the
Bhattacharyya
distance
over
the
100-‐ms
interval
after
the
onset
of
the
third
tone
burst.
A
significant
correlation
was
found
between
them,
suggesting
that
one
of
the
most
important
brain
activities
for
the
temporal
judgment
appears
immediately
after
the
last
temporal
marker
for
a
very
short
period
of
about
100
ms.
An
elementary
process
in
rhythm
perception
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 209
takes
place
in
the
brain
in
a
very
brief
period
after
the
presentation
of
the
temporal
pattern,
enabling
rhythm
processing
in
real
time.
(Supported
by
JSPS)
Comparisons
between
chunking
and
beat
perception
in
auditory
short-‐term
memory
Jessica
A.
Grahn
Brain
and
Mind
Institute
&
Department
of
Psychology,
University
of
Western
Ontario,
Canada
Auditory
working
memory
is
often
conceived
of
as
a
unitary
capacity:
different
sounds
are
processed
with
similar
neural
mechanisms.
In
verbal
working
memory
(e.g.,
digit
span
tasks),
temporal
grouping
or
‘chunking’
of
auditory
information
occurs
spontaneously
and
benefits
working
memory.
The
current
fMRI
study
examines
whether
beat
perception
may
simply
be
a
case
of
chunking,
by
measuring
brain
responses
to
chunked
and
unchunked
verbal
sequences
and
comparing
them
to
beat-‐based
and
nonbeat-‐based
rhythmic
sequences.
Participants
performed
same/different
judgements
on
pairs
of
auditory
sequences.
Rhythm
sequences
were
constructed
from
a
single
letter,
repeated
with
rhythmic
timing
(e.g.,
the
letter
‘B’
repeated
6
times,
with
variable
SOAs
corresponding
to
a
beat-‐based
rhythmic
sequence).
Non-‐beat
sequences
had
irregularly
timed
SOAs.
Verbal
sequences
were
composed
of
strings
of
different
letters
(e.g.,
P
M
J
O
E
I
K
C).
‘Chunked’
verbal
sequences
had
temporal
grouping
of
letters
into
2-‐
or
4-‐letter
chunks;
unchunked
sequences
had
no
regular
temporal
grouping.
Overall,
activation
to
rhythm
and
verbal
working
memory
stimuli
overlapped,
apart
from
in
the
basal
ganglia.
The
basal
ganglia
showed
a
greater
response
to
beat
than
non-‐beat
rhythms,
but
showed
no
difference
between
chunked
and
unchunked
verbal
sequences.
Thus,
beat
perception
is
not
simply
a
case
of
chunking,
suggesting
a
dissociation
between
beat
processing
and
grouping
or
chunking
mechanisms
that
warrants
further
exploration.
210
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
Saturday 28 July
Paper Session 37: Grand Pietra Hall, 09:00-‐11:00
Emotion recognition & response
Emotion Recognition in Western Popular Music: The Role of Melodic Structure
Scott Beveridge,* Don Knox#, Raymond MacDonald#
*Fraunhofer Institute for Digital Media Technology IDMT, Ilmenau, Germany
#Glasgow Caledonian University, Glasgow, Scotland
Music
Emotion
Recognition
(MER)
involves
modelling
the
relationship
between
musical
features
and
expressed
emotion.
Previous
work
in
this
field
concentrates
on
the
extraction
of
spectrally
derived
acoustical
and
psychoacoustical
features.
However,
this
method
has
reached
a
‘glass
ceiling’
with
respect
to
the
accuracy
in
which
MER
algorithms
can
identify
music
emotion.
This
paper
adopts
a
wider
view
of
emotional
expression
in
music
by
considering
the
musical
communication
process.
Higher
level
structural
elements
of
music,
specifically
the
role
of
melodic
structure,
are
incorporated
into
the
feature
extraction
process.
A
study
is
introduced
in
which
participants
use
a
2
dimensional
time-‐continuous
measurement
methodology
to
rate
the
emotion
expressed
by
musical
pieces.
These
musical
stimuli
are
then
analyzed
using
feature
extraction
algorithms.
A
statistical
analysis
of
these
measures
is
then
performed
with
the
aim
of
identifying
correlations
between
melodic
structural
features
and
expressed
emotion.
Emotional
influences
on
attention
to
auditory
streams
Renee
Timmers,*
Harriet
L.
Crook#,
Yuko
Morimoto*
*Department
of
Music,
University
of
Sheffield,
United
Kingdom
#Department
of
Audiovestibular
Medicine,
Royal
Hallamshire
Hospital,
United
Kingdom
Perception
and
experience
of
emotions
are
important
elements
of
the
appreciation
and
understanding
of
music.
In
fact,
they
may
not
only
be
a
response
to
music,
but
may
also
play
a
directing
role
in
our
perception
of
music.
The
results
of
three
experiments
present
corroborating
evidence
that
this
is
indeed
the
case:
Presentations
of
affective
pictures
influence
the
way
participants
attend
to
and
group
auditory
sequences.
The
experiments
used
sequences
consisting
of
alternating
high
and
low
notes.
Participants
indicated
their
perception
of
the
sequences
by
judging
to
what
extent
they
attended
to
the
high
or
low
sequence
or
to
both
lines
(one
stream).
Happy
pictures
increased
the
tendency
of
participants
to
focus
on
the
higher
line,
while
sad
pictures
increased
the
tendency
to
focus
on
the
lower
pitches.
Sad
pictures
also
increased
the
tendency
to
segregate
the
lines
and
focus
on
slower
melodic
movement.
Quantitative
Estimation
of
Effects
of
Musical
Parameters
on
Emotional
Features
Masashi
Yamada,
Ryo
Yoneda,
Norio
Emura
Department
of
Media
Informatics,
Kanazawa
Institute
of
Technology,
Japan
It
has
been
shown
that
musical
emotion
can
be
illustrated
by
a
two-‐dimensional
model,
which
is
spanned
by
“valence”
and
“arousal”
axes,
and
experimental
studies
has
revealed
the
correlations
between
the
emotional
features
and
musical
parameters.
However,
the
quantitative
correlations
between
the
effects
of
different
parameters
on
the
emotional
features
have
not
been
clarified,
yet.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 211
The
two-‐dimensional
plane
of
musical
emotion
is
illustrated
by
orthogonal
axes
of
“cheerfulness”
and
“tension”,
rotating
the
two
axes
of
“valence”
and
“arousal”
in
45
degrees.
In
the
present
study,
effects
of
several
musical
parameters
on
the
“cheerfulness”
and
“tension”
were
estimated,
quantitatively.
In
the
present
study,
three
listening
experiments
were
conducted,
using
simple
musical
scales
performed
by
pure
tones
as
stimuli.
In
the
first
and
second
experiments,
Scheffe’s
paired
comparison
method
was
applied.
In
the
first
experiment,
scales
were
provided
as
stimuli,
varying
tempo,
performing
resister
and
tonality
systematically,
and
listeners
compared
and
rated
the
“cheerfulness”
of
measure.
Using
the
results
of
the
experiment,
a
quantitative
scale
CM
(Cheerfulness
of
Music)
was
determined
and
the
effects
of
the
parameters
of
tempo,
resister
and
tonality
on
the
cheerfulness
were
estimated
on
the
CM
measure.
In
the
second
experiment,
ascending
major
scales
were
provided
as
stimuli
varying
tempo,
sound
level
and
articulation,
and
listeners
rated
the
“tension”
of
the
scales.
A
quantitative
measure
TM
(Tense
of
Music)
was
determined.
In
the
last
experiment,
15
stimuli
were
selected
from
the
stimuli
used
in
the
first
and
second
experiment,
and
listeners
rated
similarity
between
every
pair
of
the
stimuli.
Multiple-‐
dimensional
scaling
of
the
similarity
matrix
showed
a
three-‐dimensional
solution.
Moreover,
multiple-‐regression
analyses,
using
the
values
on
the
three
dimensions
as
independent
variable
and
the
CM
and
TM
values
as
dependent
variables,
showed
that
the
first
and
second
dimensions
are
almost
along
with
the
CM
and
TM
measures,
respectively.
Then,
one
PU
(Perceptual
Unit)
was
determined
as
the
perceptual
difference
between
one
CM
on
the
cheerfulness,
and
TM
measure
was
translated
into
PU
measure.
The
stimuli
were
plotted
on
the
cheerfulness-‐tension
plane,
and
the
plots
successfully
revealed
the
effects
of
tempo,
register,
tonality,
sound
level
and
articulation
both
on
the
cheerfulness
and
tension,
quantitatively.
Towards
a
brief
domain-‐specific
self-‐report
scale
for
the
rapid
assessment
of
musically
induced
emotions
Eduardo
Coutinho,
Klaus
R.
Scherer
Swiss
Center
for
Affective
Sciences,
University
of
Geneva,
Switzerland
The
Geneva
Emotional
Music
Scale
(GEMS)
is
the
first
domain-‐specific
model
of
emotion
specifically
developed
to
measure
musically
evoked
subjective
feelings
of
emotion
(particularly
in
live
performances).
The
scale
consists
of
a
list
of
45
emotion
terms
pertaining
to
nine
emotion
factors.
In
this
paper,
we
address
two
potential
limitations
of
this
instrument.
First,
since
the
GEMS
comprises
a
high
number
of
elements
to
be
rated,
it
becomes
uninteresting
for
fieldwork
studies
where
a
rapid
assessment
is
often
necessary.
Second,
it
is
questionable
the
extent
to
which
the
GEMS
may
be
consistently
used
to
discern
the
emotions
experienced
while
listening
to
music
of
music
genres
differing
significantly
from
those
that
led
to
its
development,
especially
due
to
an
overrepresentation
of
classical
music
performances.
Regarding
the
former
limitation,
and
based
on
the
analysis
of
subjective
judgments
of
pair-‐wise
dissimilarity
between
the
feelings
described
by
each
GEMS
emotion
term
(N=20),
we
created
a
short
version
of
the
GEMS
consisting
of
nine
rating
items.
Each
item
is
defined
by
a
fuzzy
set
of
three
emotion
terms.
In
this
way,
the
imprecision
of
assigning
a
single
verbal
label
to
describe
each
item
is
minimized,
by
maintaining
the
verbal
richness
of
the
original
terms.
Regarding
the
latter
aspect,
we
found
that
three
new
dimensions
of
emotional
meaning
concerning
contemporary
music
are
necessary
to
consistently
describe
emotional
experiences
evoked
by
this
genre:
knowledge
related
feelings,
enthusiasm
and
boredom.
Future
work
includes
an
investigation
of
semantic
space
of
emotion
labels,
and
the
development
of
genre
specific
scales.
212
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
Symposium 5, Crystal Hall, 09:00-‐11:00
Classification as a tool in probing neural mechanisms of music perception,
cognition, and performance
Convener: Rebecca Schaefer, Sinichi Furuya, Discussant: Petri Toiviainen
Music can be considered acoustic information with complex temporal and spatial features.
Research into perception and cognition of multifaceted elements of music tries to decode the
information from neural signals elicited by listening to music. Music performance, on the
other hand, entails the encoding of musical information to neural commands issued to the
muscles. To understand the neural processes underlying music perception, cognition, and
performance, therefore, researchers face issues of extracting meaningful information from
extremely large datasets with regard to neural, physiological, and biomechanical signals.
This is nontrivial for music researchers in light of recent technological advances regarding
data measurement. Classification using machine-‐learning techniques is a powerful tool in
uncovering the unseen patterns in these large datasets. In this way, not only are the means
compared, but a data-‐driven method is used to uncover the sources of informative variance
in the signals. Moreover, classification techniques allow for quantitative evaluation of
individual differences in music perception and performance. In this symposium, examples
are presented of uncovering neural representations of musical information such as rhythm
and harmony through applying single-‐trial EEG classification techniques such as linear
discriminant classification, and multivariate data reduction methods such as Principal
Component Analysis (PCA) to electrophysiological signals derived from individuals who
listened to musical stimuli. Additionally, these methods are useful to behavioral scientists,
allowing them to characterize fundamental patterns of movements of the motor system with
a large number of joints and muscles during musical performance by means of PCA and
cluster analysis such as K-‐means and expectation maximization (EM) algorithm.
Classification can also be performed on spectro-‐temporal features derived from audio
waveforms to investigate the features that may be most informative in perception for
auditory processing by the brain. This symposium, comprising participants from six different
research groups, has two aims. The first is to present, through empirical research, examples
of how classification methods can be applied to various experimental setups and different
types of measurement. The second aim is to provide fundamental knowledge of the methods
of classification techniques. The hope is that conference delegates will gain a greater
understanding of classification and how its methodology can be applied to their own
research.
Automated Classification of Music Genre, Sound Objects, and Speech by
Machine Learning
Leigh M. Smith,* Stephen T. Pope#, Jay Leboeuf,* Steve Tjoa*
*iZotope Inc., USA, #HeavenEverywhere.com, USA
A software system, MediaMined, is described for the efficient analysis and classification of
auditory signals. This system has been applied to the tasks of musical instrument
identification, classifying musical genre, distinguishing between music and speech, and
detection of the gender of human speakers. For each of these tasks, the same algorithm is
applied, consisting of low-‐level signal analysis, statistical processing and perceptual
modeling for feature extraction, and then supervised learning of sound classes. Given a
ground truth dataset of audio examples, textual descriptive classification labels are then
produced. Such labels are suitable for use in automating content interpretation (auditioning)
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 213
and
content
retrieval,
mixing
and
signal
processing.
A
multidimensional
feature
vector
is
calculated
from
statistical
and
perceptual
processing
of
low
level
signal
analysis
in
the
spectral
and
temporal
domains.
Machine
learning
techniques
such
as
support
vector
machines
are
applied
to
produce
classification
labels
given
a
selected
taxonomy.
The
system
is
evaluated
on
large
annotated
ground
truth
datasets
(n
>
30000)
and
demonstrates
success
rates
(F-‐measures)
greater
than
70%
correct
retrieval,
depending
on
the
task.
Issues
arising
from
labeling
and
balancing
training
sets
are
discussed.
The
performance
of
classification
of
audio
using
machine
learning
methods
demonstrates
the
relative
contribution
of
bottom-‐up
signal
derived
features
and
data
oriented
classification
processes
to
human
cognition.
Such
demonstrations
then
sharpen
the
question
as
to
the
contribution
of
top-‐down,
expectation
based
processes
in
human
auditory
cognition.
An
Exploration
of
Tonal
Expectation
Using
Single-‐Trial
EEG
Classification
Blair
Kaneshiro,*#
Jonathan
Berger,*
Marcos
Perreau-‐Guimaraes,#
Patrick
Suppes#
*Center
for
Computer
Research
in
Music
and
Acoustics,
Stanford
University,
Stanford,
CA,
USA
#Center
for
the
Study
of
Language
and
Information,
Stanford
University,
Stanford,
CA,
USA
We
use
a
machine-‐learning
approach
to
extend
existing
averaging-‐based
ERP
research
on
brain
representations
of
tonal
expectation,
particularly
for
cadential
events.
We
introduce
pertinent
vocabulary
and
methodology,
and
then
demonstrate
the
use
of
machine
learning
in
a
classification
task
on
single
trials
of
EEG
in
a
tonal
expectation
paradigm.
EEG
was
recorded
while
participants
listened
to
two-‐measure
chord
progressions
that
established
expectation
for
resolution
to
the
tonic.
Cadential
events
included
the
tonic;
repeated
dominant;
bII;
and
silence.
Progressions
were
presented
in
three
keys.
Classifications
were
performed
on
single
trials
of
EEG
responses
to
the
cadential
events,
with
the
goal
of
correctly
identifying
the
label
of
the
stimulus
that
produced
the
EEG
response.
Classification
of
the
EEG
responses
by
harmonic
function
of
the
cadential
endings
across
keys
produced
classifier
accuracies
significantly
above
chance
level.
Our
results
suggest
that
the
harmonic
function
of
the
stimulus
can
be
correctly
labeled
in
single
trials
of
the
EEG
response.
We
show
that
single-‐trial
EEG
classification
can
additionally
be
used
to
identify
task-‐relevant
temporal
and
spatial
components
of
the
brain
response.
Using
only
the
top
performing
time
ranges
or
electrodes
of
the
brain
response
produced
classification
rates
approaching
and
even
exceeding
the
accuracy
obtained
from
using
all
time
points
and
electrodes
combined.
Exploring
the
mechanisms
of
subjective
accenting
through
multivariate
decoding
Rutger
Vlek,*
Rebecca
Schaefer,#
Jason
Farquhar,*
Peter
Desain*
*
Radboud
University
Nijmegen,
Netherlands
#
University
of
Edinburgh,
UK
Subjective
accenting
is
a
cognitive
process
in
which
identical
auditory
pulses
at
an
isochronous
rate
turn
into
the
percept
of
an
accenting
pattern
or
‘rhythm’.
Subjective
accenting
can
occur
spontaneously,
for
instance
when
perceiving
the
sound
of
a
clock
(making
‘tick-‐tick-‐tick-‐tick’
sound
like
‘tick-‐tock-‐tick-‐tock’),
but
can
also
be
voluntarily
controlled.
In
two
EEG
studies
the
neuronal
mechanisms
underlying
our
capability
to
generate
subjective
accents
have
been
investigated.
The
first
study
was
set
up
to
investigate
whether
responses
to
subjectively
accented
beats
could
be
decoded
on
a
single-‐trial
level
from
64-‐channel
EEG
signal.
When
this
was
shown
to
be
possible,
the
same
multivariate
single-‐trial
approach
was
used
to
investigate
the
relationship
between
the
imagined
and
perceived
accents,
by
predicting
responses
to
(imagined)
subjectively
accented
beats,
from
responses
to
(perceived)
physically
accented
beats.
A
second
study
was
set
up
to
investigate
214
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
the
effects
of
different
mental
strategies
on
subjective
accenting
more
closely,
contrasting
imagined
accents
cued
by
a
loudness
accent
versus
a
timbral
accent.
In
addition
to
being
successful
in
decoding
subjective
accents
from
single-‐trial
EEG
up
to
67%
correctly,
the
first
study
uncovered
evidence
for
shared
mechanisms
in
rhythm
processing,
showing
similarity
between
responses
to
perceived
and
subjective
accents
through
a
maximum
of
66%
classification
rate.
Adding
to
this,
the
second
study
sheds
light
on
how
different
strategies
modulate
the
responses
to
subjective
accents,
with
preliminary
results
showing
a
significant
increase
in
the
decoding
performance
of
subjective
loudness
accents
versus
subjective
timbral
accent,
indicating
that
the
robustness
of
the
brain
signature
may
depend
on
imagery
strategy
or
cueing
parameters.
The
main
contribution
of
this
work
is
to
provide
an
insight
into
the
cerebral
mechanisms
of
subjective
accenting,
showing
that
not
only
is
the
brain
response
detectable
in
a
single
trial
of
data,
but
it
can
also
be
predicted
from
the
EEG
signatures
of
perceived
accenting.
Additionally,
it
is
shown
that
imagery
strategy
has
a
considerable
effect,
which
has
consequences
for
further
research
in
this
area.
The
use
of
subject-‐specific
classification
methods
also
yields
data
on
interpersonal
differences,
and
the
range
of
responses
that
are
measured,
which
makes
it
a
tool
particularly
well
suited
to
look
at
the
cognitive
mechanism
of
imagery.
The
results
may
inform
a
rhythm-‐based
Brain-‐
Computer
Interface
paradigm,
allowing
rhythm
to
be
used
to
drive
a
device
from
the
brain
signal
alone.
Classification
of
movement
repertoire
within
and
across
pianists
Shinichi
Furuya,
Eckart
Altenmüller
Institute
for
Music
Physiology
and
Musicians’
Medicine,
Hannover
University
of
Music,
Drama,
and
Media,
Germany
A
large
number
of
joints/muscles
at
human
body
enable
a
rich
variety
of
movement
production
across
pieces
and
players
during
musical
performance.
To
address
similarity
and
difference
across
these
movement
repertoires
provides
insights
for
uncovering
motor
control
mechanisms
and
biomechanical
principles
underlying
virtuosic,
artistic,
and
injury-‐
preventive
performance.
Multivariate
analysis
is
a
clue
for
probing
this
issue,
allowing
for
discovering
a
set
of
fundamental
movement
patterns
that
are
hidden
behind
large
datasets.
The
present
talk
aimed
to
introduce
some
approaches
using
multivariate
analysis
and
classification
techniques
for
motion
data
during
piano
playing,
particularly
focusing
on
the
three
key
issues.
The
first
topic
is
to
describe
covariation
of
motion
across
joints.
This
issue
has
been
addressed
by
researchers
who
wish
to
elucidate
neural
mechanism
governing
complex
motor
behaviors
in
terms
of
dimensionality
reduction
of
the
redundant
motor
system.
We
will
introduce
principle
component
analysis
(PCA)
as
a
mean
of
addressing
changes
in
joint
covariation
at
the
hand
through
piano
practice.
The
second
topic
is
to
classify
hand
movement
patterns
across
various
tone
sequences.
Here,
a
combination
of
PCA
and
cluster
analysis
enabled
to
segregate
a
number
of
hand
coordination
into
two
to
three
patterns.
The
third
issue
is
individual
differences
in
movement
strategy
across
players
to
change
acoustic
variables.
We
investigated
it
by
combining
multiple
regression
and
cluster
analyses,
which
categorized
pianists
into
a
few
groups
according
to
similarity
of
the
movement
patterns.
In
general,
these
techniques
will
be
applicable
for
understanding
both
consistency
and
variety
of
bodily
movements
in
musical
performance.
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 215
Paper
Session
38,
Dock
Six
Hall,
09:00-‐11:00
Musical
Expectation
and
Predictability
Shannon
entropy
predicts
perceptual
uncertainty
in
the
generation
of
melodic
pitch
expectations
Niels
Chr.
Hansen,*#
Marcus
T.
Pearce*#
*School
of
Electronic
Engineering
and
Computer
Science,
Queen
Mary,
University
of
London,
United
Kingdom,
#Department
of
Computing,
Goldsmiths
College,
University
of
London,
United
Kingdom
Following
the
proposal
that
schematic
expectations
arise
from
automatically
internalised
probabilities
in
sensory
input,
we
tested
Shannon
entropy
as
a
model
of
predictive
uncertainty
in
auditory
cognition.
24
melodic
contexts
were
selected
from
two
repertoires
differing
in
rhythmic
and
tonal
complexity
(i.e.
complex
Schubert
songs
and
simple
isochronous
hymns).
The
contexts
were
assigned
to
low-‐
and
high-‐entropy
categories
according
to
predictions
of
an
unsupervised,
variable-‐order
Markov
model.
Musicians
and
non-‐musicians
listened
to
the
stimuli
and
provided
explicit
judgements
of
perceived
uncertainty
(explicit
uncertainty)
and
an
implicit
measure
computed
as
the
entropy
of
expectedness
ratings
obtained
using
a
classical
probe-‐
tone
paradigm
(implicit
uncertainty).
High-‐entropy
contexts
produced
significantly
greater
implicit
uncertainty
for
both
complexity
levels
and
greater
explicit
uncertainty
for
hymns.
Averaged
across
participants,
implicit
uncertainty
correlated
with
entropy.
Musicians
experienced
lower
implicit
uncertainty
for
both
complexity
levels
and
lower
explicit
uncertainty
for
hymns.
Entropy-‐by-‐expertise
and
complexity-‐by-‐entropy
interactions
were
found
for
implicit
uncertainty.
Moreover,
Schubert
songs
produced
higher
explicit
uncertainty,
and
an
expertise-‐by-‐complexity
interaction
was
present.
Unexpectedness
increased
with
information
content;
this
effect
was
strongest
in
musicians
and
increased
with
musical
training.
Additionally,
a
hypothesised
entropy-‐by-‐expertise
interaction
was
found
for
these
ratings.
In
conclusion,
consistent
with
predictive
coding
theory,
domain-‐
relevant
training
leads
to
an
increasingly
accurate
cognitive
model
of
probabilistic
structure.
Furthermore,
the
efficacy
of
entropy
as
a
model
of
predictive
uncertainty
is
enhanced
by:
(a)
simplicity
in
sensory
input,
(b)
domain-‐relevant
training,
and
(c)
implicitness
of
uncertainty
assessment.
We
argue
that
these
factors
facilitate
the
generation
of
more
accurate
perceptual
expectations.
Evidence
for
implicit
tracking
of
pitch
probabilities
during
musical
listening
Diana
Omigie,
Marcus
Pearce,
Lauren
Stewart
Goldsmiths,
University
of
London,
UK
An
emerging
theory
about
the
origins
of
musical
expectations
emphasises
the
role
of
a
mechanism
commonly
termed
statistical
learning.
This
theory
has
led
to
the
development
of
a
computational
model,
which
encodes
past
experience
of
pitch
sequences
and
then
predicts
the
conditional
probability
of
future
events
occurring
given
the
current
musical
context.
Results
from
a
previous
behavioural
study
showed
a
close
relationship
between
the
predictions
of
the
model
and
listeners’
expectedness
ratings.
The
current
study
extends
this
work
to
determine
whether
the
model
can
also
account
for
expectations
made
on
the
basis
of
implicit
knowledge,
with
the
main
aim
of
developing
a
tool
able
to
provide
a
sensitive
measure
of
listeners’
musical
expectations
as
they
unfold
in
real
time.
Our
aim
is
to
develop
a
tool
that
allows
the
assessment
of
dynamic
musical
expectations
while
circumventing
confounding
factors
related
to
decision
making
and
musical
competence.
Methods:
Target
216
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
notes
that
had
either
a
high
or
low
probability
according
to
the
computational
model
of
melodic
expectation
were
selected
and
participants
carried
out
speeded
judgments
to
indicate
which
of
two
instruments
had
played
the
target
note.
Notes
for
which
a
judgement
was
required
were
indicated
to
the
participants
using
a
visual
cue
that
avoided
the
need
to
interrupt
the
flow
of
the
melody
while
allowing
the
measurement
of
expectations
at
multiple
points
in
a
piece
of
music.
Results:
As
predicted,
analysis
of
reaction
times
showed
that
participants
responded
faster
to
high
probability
compared
with
low
probability
notes
when
they
were
rendered
in
the
same
timbre
as
the
preceding
context.
The
present
study
provides
support
for
the
view
that
musical
expectations
are
formed
on
the
basis
of
musical
knowledge
acquired
over
a
lifetime
of
incidental
exposure.
In
addition,
it
validates
an
implicit
priming
paradigm
that
takes
full
account
of
the
dynamic
nature
of
musical
expectancy
during
everyday
music
listening,
and
which
is
suitable
for
individuals
of
varying
levels
of
musical
expertise.
Structural
Conditions
of
Predictability
in
Post-‐Tonal
Music:
The
Compound
Melodic
Structures
of
Nikos
Skalkottas’s
Octet
Petros
Vouvaris
Department
of
Music
Science
and
Art,
University
of
Macedonia,
Greece
The
investigation
of
compound
melodic
structures
has
been
an
implicit
feature
of
most
analytical
approaches
that
adopt
a
prolongational
perspective
with
respect
to
the
hierarchical
structure
of
tonal
music.
When
it
comes
to
theorizing
the
compound
structure
of
melodies
with
no
apparent
tonal
orientation,
the
problematics
of
prolongation
associated
with
post-‐tonal
music
discourage
the
espousal
of
the
aforementioned
approaches
without
adapting
their
methodological
paradigm
to
the
requisites
of
this
specific
musical
idiom.
This
thesis
concurs
with
the
fundamental
premise
of
the
present
paper
as
relates
to
the
opening
thematic
melodies
of
the
three
movements
of
Nikos
Skalkottas’s
Octet
(1931).
Their
analysis
aims
at
proposing
an
interpretation
of
their
compound
structure,
based
on
an
investigation
of
the
salient
features
that
account
for
their
respective
associative
middleground.
The
perceptual
relevance
of
these
features
is
factored
in
the
analysis
by
assimilating
the
conclusions
of
empirical
research
on
auditory
stream
segregation
in
relation
to
the
implied
polyphony
of
monophonic
tonal
music.
The
analysis
evinces
the
resemblance
of
the
associative
middleground
of
Skalkottas’s
compound
melodies
to
prolongational
structures
commonly
associated
with
tonal
melodic
lines.
These
findings
prompt
the
assessment
of
the
compound
character
of
the
Octet’s
thematic
melodies
as
one
of
the
work’s
structural
attributes
that
induce
and/or
undermine
expectations
related
to
schematic,
dynamic,
veridical,
and
conscious
predictability.
Musical
Expectation
and
paths
in
Tonal
Pitch
Space
-‐
Integration
of
concepts/models
and
an
application
on
the
analysis
of
Chopin'
s
Prelude
in
A
minor
Costas
Tsougras
School
of
Music
Studies,
Aristotle
University
of
Thessaloniki,
Greece
Musical
Expectation
Theory
(Huron
2006)
describes
how
a
set
of
psychological
mechanisms
functions
in
the
cognition
of
music.
The
theory
identifies
fundamental
aesthetic
possibilities
afforded
by
expectation,
and
shows
how
musical
devices
(such
as
meter,
cadence,
tonality)
exploit
psychological
opportunities.
Tonal
Pitch
Space
Theory
(Lerdahl
2001)
is
an
expansion
of
the
Generative
Theory
of
Tonal
Music
(Lerdahl
&
Jackendoff
1983)
and
proposes
a
model
that
provides
explicit
stability
conditions
and
preference
rules
for
the
construction
of
GTTM's
time-‐span
and
prolongational
reductions.
This
paper
aims
at
the
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 217
integration
of
the
perceptually/psychologically
based
Musical
Expectation
Theory
with
the
mathematically/cognitively
based
Tonal
Pitch
Space
Theory
with
the
purpose
of
making
the
principles
of
Melodic
and
Harmonic
Expectation
more
explicit
through
the
geometrical
representation
and
mathematical
calculation
of
melodic
tension
and
harmonic/regional
distance.
The
paper
explores
the
correlation
between
key
aspects
of
Expectation
Theory
[ITPRA
psychological
responses
(imagination,
tension,
prediction,
reaction,
appraisal),
the
experienced
listener's
innate
or
learned
expectations
(such
as
pitch
proximity,
most
frequent
past
event,
surprise),
and
emotional
qualia
(such
as
uncertainty,
stability,
closure)]
and
key
components
of
the
Tonal
Space
model
(melodic
attraction,
chordal
distance,
prolongational
tension
and
relaxation,
normative
structure)
and
attempts
a
parallelism
between
the
concept
of
expectation
and
the
concept
of
hierarchical
paths
in
Pitch
Space.
The
integration
is
applied
on
the
analysis
of
Chopin's
"enigmatic"
Prelude
in
A
minor
(op.
28,
nr.
2),
proposing
a
cognitive
explanation
of
the
prelude'
s
musical
effect
that
embraces
or
contradicts
existing
analyses
of
the
work.
The
proposed
fusion
of
theories
could
induce
a
cognitively
based
music
analysis
attitude
that
strives
towards
deciphering
musical
function
rather
than
describing
musical
form.
Moreover,
the
proposed
approach
could
be
the
incentive
for
empirical
research
and
experimentation.
Paper
Session
39,
Timber
I
Hall,
09:00-‐11:00
Perspectives
on
world
musics
In
Search
of
a
Generative
and
Analytical
Model
for
the
Traditional
Music
of
North
Africa
Xavier
Hascher
GREAM
Laboratory
of
excellence,
Université
de
Strasbourg,
France
This
paper
aims
at
applying
a
general
model
of
modal
monody,
constructed
deductively
from
a
theory
of
the
generation
of
musical
systems
and
scales,
to
the
analysis
of
pieces
of
a
given
repertoire,
namely
the
traditional
Arabo-‐Andalusian
music
of
Tunisia,
or
mālūf
(‘customary’).
The
latter
is
therefore
considered
from
a
music-‐theoretical
perspective
rather
than
an
ethnomusicological
one
(be
it
of
the
‘etic’
type),
even
though
a
certain
permeability
between
the
two
approaches
is,
of
course,
assumed.
After
describing
the
model
and
summarizing
the
principles
that
underlie
its
constitution,
a
brief
recapitulation
of
previous
analyses
is
given.
Then
a
new
piece
is
presented,
a
shghul
(‘well-‐wrought
song’,
a
form
related
in
style
to
the
nūba)
in
the
characteristic
aṣba‘ayn
mode.
The
purpose
here
is
twofold:
firstly,
to
attempt
a
reductive
analysis
of
the
piece
based
on
the
theoretical
assumptions
exposed
previously;
and,
secondly,
to
derive
from
this
a
deeper
grammatical
understanding
of
the
musical
language
involved
so
as
to
allow
at
least
a
partial
reconstruction,
or
recreation
of
the
piece,
or
of
some
similar
one.
What
is
sought
for
is
a
finite
vocabulary
of
structural
gestures
and
a
syntax
that
regulates
their
articulation,
which
can
be
compatible
with
a
more
customary
kind
of
analysis
in
terms
of
modes
(ṭubū‘)
and
genres
(‘udūq),
or
the
breaking
down
of
form
into
sections,
yet
without
being
bound
by
the
limitations
inherent
to
such
approaches.
Finally,
a
reference
is
made
to
the
point
of
view
of
the
receiver
and
to
potential
cognitive
implications.
218
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
Incidental Learning of Modal Features of North Indian Music
Martin Rohrmeier,* Richard Widdess#
*Cluster Languages of Emotion, Freie Universität Berlin, Germany
#Department of Music, School of Oriental and African Studies, University of London, United
Kingdom
Musical
knowledge
is
largely
implicit;
it
is
acquired
without
awareness
of
its
complex
rules,
through
interaction
with
a
large
number
of
samples
during
musical
enculturation.
Whereas
several
studies
explored
implicit
learning
of
features
of
Western
music,
very
little
work
has
been
done
with
respect
to
non-‐Western
music,
and
synthetic
rather
than
ecologically
valid
stimuli
have
been
predominantly
used.
The
present
study
investigated
implicit
learning
of
modal
melodic
features
in
traditional
North
Indian
music
in
a
realistic
and
ecologically
valid
way.
It
employed
a
cross-‐grammar
design,
using
melodic
materials
from
two
ragas
that
use
the
same
scale,
Toṛī
and
Multānī.
Participants
were
trained
on
the
ālāp
section
of
either
rāga
and
tested
on
novel
excerpts
from
joṛ
sections
of
both
ragas
featuring
5
distinct
melodic
features
and
using
binary
familiarity
and
6-‐point
confidence
judgments.
Three
of
the
five
features
were
melodically
distinctive
of
either
rāga,
whereas
two
were
only
distinctive
based
on
other
than
mere
pitch
sequence
features
(for
instance,
emphasis).
Findings
indicated
that
Western
participants
in
both
groups
incidentally
learned
to
recognise
some,
but
not
all,
of
the
five
features
above
chance
level,
and
that
the
melodically
distinctive
features
were
better
recognised
than
the
non-‐distinctive
ones.
Confidence
ratings
suggest
that
participants’
performance
was
consistently
correlated
with
confidence,
indicating
that
they
became
aware
of
whether
they
were
right
in
their
responses,
i.e.
they
possessed
explicit
judgment
knowledge.
Altogether
participants
began
to
incidentally
acquire
familiarity
with
a
musical
style
from
beyond
their
cultural
background
during
only
a
very
short
exposure.
Pictorial
Notations
of
Pitch,
Duration
and
Tempo:
A
Musical
Approach
to
the
Cultural
Relativity
of
Shape
George
Athanasopoulos,
Nikki
Moran
Music
Department,
University
of
Edinburgh,
United
Kingdom
In
a
previous
cross-‐cultural
study
we
demonstrated
that
literacy
makes
a
difference
in
the
way
that
performers
regard
textual
representation
of
music.
We
carried
out
fieldwork
involving
performers
from
distinct
cultural
backgrounds
(Japanese
musicians
familiar
/
unfamiliar
with
western
standard
notation
(W.S.N.);
members
of
the
Bena
tribe,
a
non-‐
literate
rural
community
in
Papua
New
Guinea;
and
classical-‐trained
musicians
based
in
the
United
Kingdom
–
pilot
group).
Performer
responses
to
original
auditory
stimuli
were
examined
in
order
to
explore
distinctions
between
cultural
and
musical
factors
in
the
visual
organization
of
musical
sounds.
Three
major
styles
of
symbolic
representation
emerged:
linear-‐notational
(x-‐y
axial
representation,
time
on
x
axis,
variable
parameter
on
y
axis);
linear-‐pictorial
(axial
time
indication,
variable
parameter
represented
pictorially);
and
abstract-‐pictorial
(no
axial
representation).
In
this
follow-‐on
study,
we
analysed
resulting
pictorial
representations
in
order
to
explore
whether
participants
showed
any
notable
preferences
that
could
be
based
on
their
cultural
background.
The
pilot
group
had
minimal
response
in
pictorial
representations,
opting
for
linear-‐notational
models.
Japanese
participants
from
both
groups
provided
comparable
pictorial
responses
amongst
themselves
by
providing
a
horizontal
time
frame.
Non-‐literate
Benas
-‐
the
only
group
who
produced
a
majority
of
pictorial
and
abstract-‐pictorial
responses
-‐
provided
significantly
different
responses
to
other
groups
in
that
their
method
of
application
did
not
follow
the
axial
representational
model
of
time
versus
variable
parameter.
Although
resemblances
among
participant
responses
opting
for
linear-‐notational
models
of
representation
could
suggest
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 219
underlying
universality
in
music
representation
(particularly
among
literate
participants),
the
variety
in
pictorial
and
abstract-‐pictorial
responses
suggests
that
the
association
between
music
and
shape
(where
it
takes
place)
is
affected
by
cultural
norms.
Socio-‐Cultural
Factors
Associated
with
Expertise
in
Indian
Classical
Music:
An
Interview
Based
Study
Shantala
Hegde,
Bhargavi
Ramanujam,
Nagashree
Santosh
Cognitive
Psychology
Unit,
Center
for
Cognition
and
Human
Excellence,
Department
of
Clinical
Psychology,
National
Institute
of
Mental
Health
And
Neuro
Sciences
(NIMHANS),
Bangalore,
India
This
exploratory
study
examined
the
socio-‐cultural
factors
associated
with
expertise
in
Indian
Classical
Music
(ICM)
as
there
are
no
systematic
studies
hitherto.
Twenty
accomplished
professional
musicians
with
A
or
A-‐top
grade
from
the
All
India
Radio
(AIR)
were
interviewed.
Content
analysis
of
the
interview
was
carried
out
to
elucidate
the
factors
that
facilitated
and
contributed
to
their
musical
pursuits
and
achievements.
Factors
examined
were
broadly
classified
as
family
background,
musical
training,
opportunities
in
academic
school,
personal
abilities
and
skills
and
any
other
factors.
All
musicians
had
precocious
musical
abilities.
Active
role
played
by
parents,
opportunities
to
learn
music,
positive
relation
with
music
teachers,
opportunities
to
attend
music
programs,
to
perform,
and
at
school
to
showcase
one’s
talent,
regularity
in
music
lessons
and
practice
sessions
were
considered
as
important
factors.
Persistence,
determination
to
succeed
and
a
fine
balance
of
all
the
above
factors
were
considered
crucial
in
nurturing
and
facilitating
in
reaching
the
level
of
expertise
the
musicians
in
the
present
study
had.
Active
music
listening
was
reported
as
an
extremely
important
factor
as
it
helped
in
improving
one’s
creative
ideas
in
the
improvisation
and
elaboration
of
ragas
and
talas.
Ragas
–roughly
analogous
to
modes
and
talas
–rhythmic
cycles
form
the
edifice
of
ICM,
which
is
basically
an
oral
tradition.
The
musicianship
is
reflected
in
the
creative
ways
in
which
a
musician
develops
a
raga
and
talas.
This
study
provides
further
evidence
to
our
understanding
of
factors
contributing
to
development
of
musical
expertise
from
an
Indian
perspective.
Paper
Session
40,
Timber
II
Hall,
09:00-‐11:00
Communicating
intention
in
performance
Embodied
Communication
Strategies
in
Accompanied
Vocal
Performance
Katty
Kochman,
Matthias
Demoucron,
Dirk
Moelants,
Marc
Leman
Institute
for
Psychoacoustics
and
Electronic
Music
(IPEM),
Gent
University,
Belgium
In
this
paper,
the
effects
of
nonverbal
communication
involving
respiration
during
a
collaborative
vocal
performance
are
studied.
Respiration
in
this
context
functions
as
an
anticipatory
signal
that
allows
for
perceptual
matching
and
effective
decision
making
between
two
performers
–
a
singer
and
an
accompanist.
The
experimental
design
uses
noninvasive
respiration
sensors
during
individual
music
rehearsal
and
then
collaborative
music
practice.
The
purpose
of
the
research
project
is
to
analyze
the
effects
of
nonverbal
communication
that
occur
between
singers
and
accompanists
during
a
performance
The
purpose
of
this
research
project
is
to
analyze
the
effects
of
nonverbal
communication
that
occur
between
singers
and
accompanists
during
a
vocal
performance.
The
efficient
nonverbal
cooperation
among
singers
and
accompanists
is
an
important
factor
for
the
improvement
of
vocal
performance
and
vocal
technique.
The
analysis
of
the
specific
skill
sets
involved
is
an
important
area
of
this
research
study.
The
data
collected
in
terms
of
220
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
performance
strategies
may
provide
a
significant
insight
into
the
effects
of
supportive
musical
gestures
on
a
vocal
performance.
Respiration
values
did
seem
to
be
impacted
as
a
result
of
musical
collaboration.
When
examining
the
effects
of
previous
interaction
and
rehearsal
on
performance
strategies,
correlations
were
higher
for
the
collaborative
conditions.
In
addition,
correlations
were
also
higher
for
rehearsed
pieces
than
for
pieces
rehearsed
together
for
the
first
time.
Deadpan
and
immobile
performance
intentions
share
movement
features
but
not
expressive
parameters
Marc
R.
Thompson,*
Marcelo
M.
Wanderley,#
&
Geoff
Luck,*
*Finnish
Centre
of
Excellence
in
Multidisciplinary
Music
Research,
University
of
Jyväskylä,
Finland;
#Input
Devices
and
Music
Interaction
Lab,
McGill
University,
Canada
Investigations
on
expressive
body
movement
in
music
performances
have
often
employed
the
‘standard
paradigm’,
whereby
musicians
are
asked
to
perform
under
conditions
of
varied
emotional
and/or
expressive
intentions.
By
contrast,
other
studies
have
investigated
the
effect
of
performing
without
extraneous
physical
movements
by
including
an
immobile
condition.
It
has
generally
been
observed
that
expressively
deadpan
performances
result
in
smaller
movements
and
an
overall
reduction
of
dynamics
and
expressive
timing.
Similar
results
have
been
found
in
studies
where
musicians
were
tasked
with
performing
using
the
immobile
condition.
Interestingly,
immobile
and
deadpan
performance
conditions
have
until
very
recently
not
been
included
in
the
same
experiment.
The
aim
of
this
study
is
to
examine
the
effect
of
performing
in
deadpan
and
immobile
playing
conditions
on
movement
characteristics
and
expressive
parameters.
Pianists
and
clarinettists
(total
number
=
14)
performing
various
musical
excerpts
were
asked
to
play
using
four
separate
conditions
(deadpan,
normal,
exaggerated
and
immobile)
and
the
performances
were
recorded
and
motion-‐captured.
To
gauge
the
differences
between
each
condition,
we
investigated
timing,
dynamics
and
amount
of
physical
movement.
The
results
present
evidence
that
for
both
piano
and
clarinet
performances,
the
deadpan
and
immobile
conditions
are
related
according
to
the
amount
of
physical
movement
used,
but
not
in
terms
of
other
expressive
parameters
(dynamics
and
timing).
Hence,
musicians
were
able
to
suppress
extraneous
movements
such
as
swaying
and
gesturing
while
maintaining
an
expressive
timing
profile
similar
to
when
performing
in
a
normal
fashion.
The
presentation
will
further
highlight
these
relationships
with
statistical
findings.
The
Intentions
of
Piano
Touch
Jennifer
MacRitchie,
Massimo
Zicari
Divisione
Ricerca
e
Sviluppo,
Scuola
Universitaria
di
Musica
-‐
SUPSI,
Conservatorio
della
Svizzera
Italiana,
Switzerland
For
pianists,
touch
is
a
corporeal
tool
that
can
be
used
not
only
to
physically
produce
notes
on
the
piano,
but
to
mediate
their
expressive
intentions
for
the
performed
music.
This
paper
directs
attention
towards
the
cognitive
decisions
that
result
in
these
performed
gestures,
generating
different
types
of
touch
for
the
pianist.
An
open-‐ended
questionnaire
concerning
piano
touch
technique
was
sent
to
piano
tutors
from
European
conservatoires.
Written
or
verbal
responses
were
required,
for
the
latter
the
questions
formed
a
semi-‐structured
interview.
Results
conclude
that
“touch”
originates
in
the
pianist’s
musical
intention,
an
intuitive
response
to
the
timbre
of
sound
or
specific
mood
they
are
trying
to
project,
often
manifested
through
the
use
of
imagery
or
metaphor.
Connecting
intention
to
physical
gesture,
along
with
parameters
such
as
weight
and
point
of
contact
on
the
finger,
the
main
concern
for
pianists
is
control
of
tension
within
the
limbs,
this
helping
to
create
different
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 221
types
of
sound.
A
case
study
was
examined
where
a
professional
pianist
performs
two
pieces
of
different
styles
with
two
different
sound
intentions.
Shoulder,
arm
and
hand
motion
is
recorded
via
video-‐camera
with
a
side-‐view
of
the
pianist.
Results
show
that
touch
is
heavily
based
on
musical
context
with
movement
and
tension
within
the
shoulder-‐arm-‐wrist
system
changing
based
on
musical
intention.
With
the
basis
of
touch
rooted
in
conscious
musical
expression,
this
study
provides
a
starting
point
for
which
to
explore
the
connection
between
the
conscious
choice
of
the
performer
and
the
resulting
physical
gesture.
Functions
and
Uses
of
Auditory
and
Visual
Feedback:
Exploring
the
Possible
Effects
of
a
Hearing
Impairment
on
Music
Performance
Robert
Fulford,*
Jane
Ginsborg,*
Juliet
Goldbart#
*
Centre
for
Music
Performance
Research,
Royal
Northern
College
of
Music,
Manchester,
UK
#Research
Institute
for
Health
and
Social
Change,
Manchester
Metropolitan
University,
Manchester,
UK
Musicians
with
hearing
impairments
develop
complex
strategies
for
interactive
performance
relying
on
dynamic,
or
sometimes
reduced,
auditory
attending
and
increased
visual
attending
in
music-‐making
situations.
Research
suggests
that
there
may
be
a
relationship
between
auditory
feedback
and
the
use
of
visual
cues
by
musicians
with
hearing
impairments.
To
improve
understanding
of
these
processes,
the
present
study
explored
the
use
of
auditory
and
visual
cues
by
examining
the
movement
and
looking
behaviours
of
performing
musicians.
Four
violinists
with
normal
hearing
were
observed
playing
together
as
two
duos
in
four
experimental
conditions
involving
the
attenuation
of
auditory
and
visual
information
in
which
participants
wore
earplugs
and/or
faced
away
from
their
partner.
Dependent
measures
were
the
duration
and
frequency
of
physical
movements
and
looking
behaviour
as
coded
in
Noldus
Observer
XT9.
Analysis
showed
that
auditory
attenuation
of
the
level
used
in
this
study
had
no
effect
on
the
violinists’
movement
or
looking
behaviour.
The
ability
to
see
a
co-‐performer
did
not
affect
movement
behaviour
but,
where
there
was
the
possibility
of
eye
contact,
the
amount
of
both
movement
and
looking
behaviour
increased.
Idiosyncratic,
inter-‐player
differences
were
far
larger
than
intra-‐player
differences
resulting
from
the
manipulation
of
experimental
conditions,
highlighting
the
uniqueness
of
individual
playing
styles.
The
results
confirm
that
physical
movement
in
music
serves
many
purposes:
it
is
used
expressively
by
the
player
but
can
be
consciously
modified
for
the
benefit
of
the
co-‐performer.
Paper
Session
41:
Grand
Pietra
Hall,
11:30-‐13:00
Rhythm
&
beat
Melodic
Direction’s
Effect
on
Tapping
Amos
David
Boasson,
Roni
Granot
Dept.
of
Musicology,
Hebrew
University
of
Jerusalem,
Israel
Behavioral
response
to
pitch
(pure
tone)
change
was
probed,
using
the
tapping
methodology.
Musicians
and
non-‐musicians
were
asked
to
tap
steadily
to
isochronous
(2
Hz)
beep
sequences
featuring
pitch
events:
rise,
fall,
peak,
valley,
step-‐size
change,
and
pitch
re-‐
stabilization.
Peaks
and
valleys
were
presented
in
either
early,
middle
or
late
ordinal
position
within
sequences.
Two
non-‐western
melodic
step-‐sizes
were
used
(144
and
288
cents).
Inter-‐Tap
Intervals
(ITIs)
were
checked
for
correlations
to
melodic
direction
and
step-‐size.
Three
contradicting
predictions
regarding
response
to
melodic
direction
and
step-‐
size
were
proposed:
a)
based
on
musicians’
tendency
to
‘rush’
on
ascending
melodic
lines,
222
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
the
“High-‐Urgent”
hypothesis
predicted
shortened
ITIs
in
response
to
rising
pitches;
b)
based
on
approach/withdrawal
theories
of
perception
and
on
ethological
research
showing
lower
pitches
interpreted
as
more
threatening,
the
“Flexor/Extensor”
hypothesis
predicted
shorter
ITIs
in
response
to
falling
pitches,
due
to
stronger
activation
of
the
flexing
muscles
while
tapping;
c)
based
on
previous
research
on
temporal
judgment,
the
“Δ”
hypothesis
predicted
one
effect
in
both
melodic
directions,
correlated
to
the
magnitude
of
pitch
change.
Elicited
ITIs
were
related
to
the
stimuli’s
melodic
direction.
Following
first
pitch-‐change,
the
shortest
elicited
ITIs
were
to
pitch-‐rise
in
double-‐steps,
showing
a
main
effect
to
melodic
direction.
Taps
to
rising
lines
maintained
increased
negative
asynchrony
through
six
taps
after
first
pitch-‐change.
However,
peaks
and
valleys
in
mid-‐sequence
position
both
yielded
delays.
The
“High-‐Urgent”
hypothesis
gained
support
the
most,
but
does
not
account,
for
example,
for
the
delays
on
both
peaks
and
valleys
in
mid-‐sequence.
The
relationship
between
the
human
body,
motor
tasks,
mood
and
musicality:
How
do
you
feel
the
beat?
Dawn
Rose,
Daniel
Müllensiefen,
Lauren
Stewart
&
Christopher
Lee
Department
of
Psychology,
Goldsmiths,
University
of
London,
United
Kingdom
Embodied
rhythm
encompasses
the
notion
that
perceptual
preferences
are
constrained
by
physical
factors,
may
be
goal-‐orientated
and
guided
by
cultural/environmental
influences
(Leman,
2008).
A
study
by
Todd,
Cousins
&
Lee
(2007)
yielded
evidence
suggesting
that
body
size
is
a
possible
determining
physical
factor
in
beat
perception,
i.e.
the
larger
the
body,
the
longer
the
preferred
beat
period
(PBP).
We
report
here
a
follow-‐up
experiment
investigating
the
relationship
between
body
size,
performance
on
motor
tasks,
and
PBP,
and
possible
mediating
effects
of
musicality
and
mood
state.
40
subjects
completed
a
mixed
design
experiment,
incorporating
anthropometric
measurements,
motor
tasks
(walking
and
tapping,
estimating
preferred
step
period
and
spontaneous
inter-‐tap
interval
respectively),
psychometric
tests
of
mood,
and
a
measure
of
musicality,
alongside
the
perceptual
paradigm
estimating
PBP
used
by
Todd
et
al.
(2007).
Using
a
variety
of
methods
of
statistical
analysis,
we
found
some
evidence
of
a
positive
relationship
between
(some)
anthropometric
variables
and
both
preferred
step
period
and
PBP,
as
predicted,
as
well
as
suggestive
evidence
of
effects
of
musicality
and
mood
variables.
Rhythmic
Regularity
Revisited:
Is
Beat
Induction
Indeed
Pre-‐attentive?
Fleur
Bouwer,
Henkjan
Honing
Cognitive
Science
Center
Amsterdam,
University
of
Amsterdam,
The
Netherlands
Institute
for
Logic,
Language
and
Computation,
University
of
Amsterdam,
The
Netherlands
When
listening
to
musical
rhythm,
regularity
in
time
is
often
perceived
in
the
form
of
a
beat
or
pulse.
External
rhythmic
events
can
give
rise
to
the
perception
of
a
beat,
through
a
process
known
as
beat
induction.
In
addition,
internal
processes,
like
long-‐term
memory,
working
memory
and
automatic
grouping
can
influence
how
we
perceive
a
beat.
Beat
perception
thus
is
an
interplay
between
bottom-‐up
and
top-‐down
processes.
Beat
perception
is
thought
to
be
a
very
basic
process.
However,
whether
or
not
beat
perception
depends
on
attention
is
subject
to
debate.
Some
studies
have
shown
that
beat
perception
is
a
pre-‐attentive
process,
while
others
provide
support
for
the
view
that
attention
is
a
prerequisite
for
beat
perception.
In
this
paper,
we
review
the
current
literature
on
beat
perception
and
attention.
We
propose
a
framework
for
future
work
in
this
area,
differentiating
between
bottom-‐up
and
top-‐down
processes
involved
in
beat
perception.
We
introduce
two
hypotheses
about
the
relation
between
beat
perception
and
attention.
The
first
hypothesis
entails
that
without
attention
there
can
be
no
beat
induction
and
thus
no
beat
perception.
The
second
hypothesis
states
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 223
that
beat
induction
is
independent
of
attention,
while
attention
can
indirectly
modulate
the
perception
of
a
beat
by
influencing
the
top-‐down
processes
involved
in
beat
perception.
Paper
Session
42,
Crystal
Hall,
11:30-‐13:00
Pitch,
tonality
&
memory
Memory
of
a
Prior
Key
after
Modulation
Morwaread
Mary
Farbood
Dept.
of
Music
and
Performing
Arts
Professions,
New
York
University,
USA
This
study
examines
the
how
the
percept
of
a
tonal
center
is
retained
in
working
memory,
and
in
particular,
how
long
the
memory
of
a
previous
tonal
region
continues
to
affect
the
perception
of
harmony
following
a
key
change.
An
experiment
was
designed
to
systematically
explore
responses
to
key
changes
from
an
established
key
to
a
new
key,
and
then
from
this
new
key
back
to
the
original
key.
The
duration
of
the
new
key
section
was
parametrically
varied
as
well
as
the
type
of
harmonic
progression
in
the
new
key.
Subjects
were
asked
to
indicate
how
they
felt
harmonic
tension
was
changing
while
listening
to
the
progressions.
The
magnitude
and
direction
of
the
tension
slopes
following
the
modulations
indicate
a
gradual
decay
in
the
memory
of
the
previous
key,
tapering
off
completely
between
13.5s
and
21s.
Furthermore,
harmonic
context
(stability
and
predictability
of
chord
progressions)
plays
an
important
role
in
how
long
a
previous
key
is
retained
in
memory.
The
Effect
of
Tonal
Context
on
Short-‐Term
Memory
for
Pitch
Panayotis
Mavromatis,
Morwaread
M.
Farbood
Dept.
of
Music
and
Performing
Arts
Professions,
New
York
University,
USA
This
paper
presents
an
experimental
investigation
into
how
the
tonal
interpretation
of
a
pitch
affects
its
retention
in
short-‐term
memory.
The
hypothesis
that
a
clear
tonal
context
facilitates
the
retention
of
pitches
over
longer
time-‐spans
as
compared
to
tonally
ambiguous
or
atonal
contexts
has
been
examined
in
previous
work.
We
present
two
experiments
that
aim
to
partly
replicate
previous
findings
while
controlling
for
additional
parameters.
The
main
experimental
task
involves
comparing
a
probe
tone
to
a
target
that
is
separated
by
interference
tones.
We
experimentally
manipulated
the
degree
of
tonality
of
the
interference
tones
and
the
scale
degrees
of
the
target
and
probe,
while
fixing
factors
such
as
the
time
interval
between
target
and
probe,
and
the
overall
pitch
register.
Our
results
indicate
that
subjects
may
be
actually
responding
to
the
tonal
fitness
of
the
probe,
as
described
by
Krumhansl
and
Kessler
(1982),
and
are
not
necessarily
basing
their
responses
on
an
accurate
pitch
recall
of
the
target.
Memory
for
Sequence
Order
in
Songs.
Craig
P.
Speelman,
Susan
Sibma,
Simon
MacLachlan
School
of
Psychology
and
Social
Science.,
Edith
Cowan
University,
Australia
Previous
research
on
memory
for
music
has
typically
measured
RT
and
accuracy
in
tests
of
recall
and
recognition
of
songs.
Little
research,
however,
has
focused
on
the
ability
of
people
to
switch
their
attention
between
various
parts
of
a
song
to
answer
questions
about
those
parts.
One
hypothesis
is
that,
because
music
unfolds
in
time,
one’s
ability
to
consider
different
parts
of
a
song
might
be
influenced
by
where
in
the
song
someone
begins
their
consideration,
and
also
in
which
direction
they
are
then
asked
to
switch
their
attention,
with
the
overriding
bias
being
in
a
forwards
direction.
The
current
study
tested
this
forward
bias
224
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
hypothesis.
Fifty
people
were
asked
to
identify
whether
the
second
excerpt
(target
line)
of
a
pair
of
excerpts
taken
from
a
song
came
‘before’
or
‘after’
the
first
excerpt
(probe
line)
in
the
normal
course
of
the
song.
Seven
pairs
of
excerpts,
three
pairs
falling
before
the
target
line,
and
four
pairs
occurring
after
the
target
line,
were
presented
for
each
of
8
popular
and
2
new
songs.
It
was
predicted
that
RTs
for
identifying
the
target
lines
occurring
‘after’
the
probe
line
would
be
shorter
than
those
coming
‘before’
the
probe
line.
Results
supported
this
hypothesis.
The
familiarity
of
a
song
did
not
affect
this
result.
A
companion
experiment
that
compared
performance
on
this
task
for
musicians
and
non-‐musicians
replicated
these
results,
but
indicated
no
effect
of
musical
expertise.
These
results
support
the
hypothesis
that
memory
for
songs
is
biased
in
a
forward
direction.
Paper Session 43, Dock Six Hall, 11:30-‐13:00
Brain imaging & perception
Short-‐term piano training changes the neural correlates of musical imagery
and perception -‐ a longitudinal fMRI study
Sibylle C. Herholz*, Emily B.J. Coffey*, Christo Pantev#, Robert J. Zatorre*
*Montreal Neurological Institute, McGill University; International Laboratory for Brain, Music
and Sound Research (BRAMS); Centre for Interdisciplinary Research in Music Media and
Technology (CIRMMT), Canada
#Institute for Biomagnetism and Biosignalanalysis, University of Münster, Germany
Short-‐term
instrumental
training
has
the
potential
to
alter
auditory
cognition,
but
effects
on
mental
imagery
of
music
are
yet
unknown.
In
the
present
study
we
investigated
the
effects
of
six
week
of
piano
training
on
the
behavioral
and
neuronal
correlates
of
perception
and
mental
imagery
of
music,
in
a
longitudinal
functional
magnetic
imaging
study
in
healthy
young
adults.
Learning
to
play
familiar
simple
melodies
resulted
in
increased
activity
both
during
listening
and
imagining
of
the
trained
compared
to
untrained
melodies
in
left
dorsal
prefrontal
cortex
and
bilateral
intraparietal
sulcus,
a
network
believed
to
be
important
for
motor
learning
and
auditory-‐motor
integration.
For
imagery,
we
additionally
found
training-‐
related
increases
in
bilateral
cerebellar
areas
involved
in
mental
imagery
of
music.
The
results
indicate
that
the
cortical
networks
for
mental
imagery
and
perception
of
auditory
information
not
only
overlap,
but
are
also
similarly
malleable
by
short-‐term
musical
training.
Long-‐term
musical
training
changes
the
neural
correlates
of
musical
imagery
and
perception
-‐
a
cross-‐sectional
MRI
study
Emily
Coffey,
Sibylle
Herholz,
Robert
Zatorre
Montreal
Neurological
Institute,
McGill
University;
International
Laboratory
for
Brain,
Music
and
Sound
Research
(BRAMS);
Centre
for
Interdisciplinary
Research
in
Music
Media
and
Technology
(CIRMMT)
Long-‐term
musical
training
has
been
linked
to
many
of
the
perceptual,
cognitive,
and
neurological
differences
found
between
musicians
and
non-‐musicians.
It
is
not
yet
known
how
training
affects
auditory
imagery;
that
is,
the
ability
to
imagine
sound.
Previous
studies
have
shown
that
secondary
auditory
and
premotor
areas
are
recruited
for
auditory
imagery,
as
well
as
association
areas
in
frontal
and
parietal
lobes,
but
differences
due
to
experience
have
not
been
identified.
Our
aim
is
to
investigate
the
effects
of
long-‐term
training
by
comparing
the
functional
and
structural
neural
correlates
of
musical
imagery
of
musicians
and
non-‐musicians.
Twenty-‐nine
young
adults
including
fifteen
with
extensive
musical
experience
and
fourteen
with
minimal
musical
experience
listened
to
and
imagined
familiar
melodies
during
functional
resonance
imaging.
The
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 225
task
comprised
four
conditions:
listen
to
familiar
tunes,
imagine
them
cued
by
the
first
tones
of
the
song,
listen
to
random
tones,
or
rest
in
silence.
We
tested
the
accuracy
of
mental
imagery
by
asking
participants
to
judge
if
a
note
presented
either
after
the
imagery
period
or
at
the
end
of
the
listening
period
was
a
correct
continuation
of
the
melody.
In
addition
to
the
functional
data,
we
acquired
anatomical
data
using
diffusion
tensor
imaging,
magnetization
transfer,
and
T1-‐
weighted
imaging.
As
expected,
musicians
demonstrated
more
accurate
imagery
performance
(85%)
as
compared
with
non-‐musicians
(68%).
Both
groups
showed
activation
during
imagery
in
a
previously
identified
network
encompassing
secondary
auditory
cortex,
pre-‐motor
area,
dorsolateral
prefrontal
cortex,
intraparietal
sulcus,
and
cerebellum.
However,
the
musicians
showed
stronger
activation
in
the
supplementary
motor
area.
Grey
matter
organization,
white
matter
integrity,
and
cortical
thickness
will
be
analyzed.
While
both
musicians
and
non-‐musicians
are
able
to
imagine
familiar
tunes,
musicians
are
better
at
it.
This
performance
difference
may
be
related
to
stronger
recruitment
of
the
supplementary
motor
area,
which
is
involved
in
auditory
imagery,
planning
motor
actions,
and
bimanual
control.
Analysis
of
the
anatomical
data
will
clarify
the
relationship
between
these
behavioural
and
functional
differences
and
the
underlying
brain
structure.
These
results
support
the
idea
that
long-‐term
musical
training
affects
higher
order
sound
representation
and
processing.
Furthermore,
the
results
of
this
cross-‐sectional
study
complement
those
of
short-‐term
training
studies
in
which
practice
cannot
be
extensive,
but
can
be
experimentally
controlled.
Common
Components
in
Perception
and
Imagery
of
Music:
an
EEG
study
Rebecca
S.
Schaefer,*
Jason
Farquhar,#
Peter
Desain,#
*Intstitute
for
Music
in
Human
Social
Development,
Reid
School
of
Music,
University
of
Edinburgh,
UK;
#Donders
Institute
for
Brain,
Cognition
and
Behavior,
Centre
for
Cognition,
Radboud
University,
The
Netherlands
The
current
work
investigates
the
brain
activation
shared
between
perception
and
imagery
of
music
as
measured
with
electroencephalography
(EEG).
Meta-‐analyses
of
four
separate
EEG
experiments
are
reported,
focusing
on
perception
and
imagination
of
musical
sound
with
differing
levels
of
stimulus
complexity.
Imagination
and
perception
of
simple
accented
metronome
trains,
as
manifested
in
the
clock
illusion,
as
well
as
monophonic
melodies
are
discussed,
complimented
by
more
complex
rhythmic
patterns
as
well
as
ecologically
natural
music
stimuli.
By
decomposing
the
data
with
Principal
Component
Analysis
(PCA),
similar
component
distributions
are
found
between
experiments
that
explain
most
of
the
variance.
All
datasets
show
a
fronto-‐central
and
a
central
component
as
the
largest
sources
of
variance,
fitting
with
projections
seen
for
the
network
of
areas
contributing
to
the
N1/P2
complex.
We
expand
on
these
results
using
PARAFAC
tensor
decomposition
(which
allows
to
add
the
task
into
the
decomposition,
but
does
not
make
assumptions
of
independence
or
orthogonality)
and
calculated
the
relative
strengths
of
these
components
for
each
task.
The
components
were
shown
to
be
further
decomposable
into
parts
that
load
primarily
on
to
the
perception
or
imagery
task,
or
both,
adding
more
detail
to
the
PCA
results.
Especially
the
frontal
and
central
components
are
shown
to
have
multiple
parts,
and
these
subcomponents
are
differentially
active
during
perception
and
imagination.
A
number
of
possible
interpretations
of
these
results
are
discussed,
taking
into
account
the
pitch
and
metrical
information
in
the
different
stimulus
materials,
as
well
as
the
different
measurement
conditions.
226
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
Paper Session 44, Timber I Hall, 11:30-‐13:00
Phenomenology & meaning
The Specificity of Musical Meaning in Helmuth Plessner’s Philosophical
Anthropology of the Senses
Markos Tsetsos
Department of Music Studies, University of Athens, Greece
Some recent psychological and philosophical approaches to musical meaning, especially
those on embodied music cognition, try to establish a bodily mediated relationship between
sound structures and mind. Nevertheless, the structural synarthrosis of sensuality (sound),
corporeality (movement) and understanding (meaning), as long as it is attempted in strictly
empirical terms, looses much of its philosophical cogency. In his writings on music Helmuth
Plessner, a pioneer of modern philosophical anthropology, provides an a priori,
transcendental underpinning of the aforementioned synarthrosis, ensuring thus its
necessity. Plessner proceeds to a systematic account of the phenomenal qualities specific to
sound, such as produceability (Produzierbarkeit), remoteness-‐proximity (Fern-‐Nähe),
voluminosity (Voluminosität) and phenomenal spatiality (tonal position), impulsivity
(Impulsivität), temporal dynamism, ability to be displayed in intrinsically justified horizontal
and vertical structures. These qualities render sound and sonic movements structurally
conform to man’s phenomenal corporeality. Musical meaning, albeit semantically open, is
thus understood immediately in terms of human conduct (Verhalten). All these matters are
discussed in the first section of the paper. The second section presents a critical account of
some older and recent studies on embodied musical cognition in reference to Plessner’s
theory. This critical account aims at a theoretical reconsideration of some basic issues
concerning this highly important trend of research.
Vers une musicologie anti-‐phénomènologique
Ilias Giannopoulos
This paper will investigate some aspects of the relation of the musical work to time, and its
perception as temporal artwork par excellence. The idea of a qualitative experienced time as
opposed to the objective time, the notion of temporal extension as it appears in the work of
Husserl (and Bergson) and the subjective ability of reflective perception of an extended
“temporal object…which exposes its material on a time interval” (Husserl), gave rise -‐in the
field of music aesthetics-‐ to phenomenological approaches of the temporality of the complete
musical work with the conviction that it also constitutes an extensive temporal and
homogeneous object. However, in his extended lectures On the Phenomenology of the
Consciousness of Internal Time (1893-‐1917), Husserl demonstrates his phenomenological
analysis of the perception of temporal objects on the basis of small units, like melodies or
even single tones. The author will try to scrutinize the appropriateness of phenomenological
approaches of the temporality of musical work and juxtapose them to Adorno's notion of
"intensive time", based on selected texts, mainly on his Musikalische Schriften, where he
unfolds a dialectical understanding of musical time. Phenomenological temporal analysis and
Adorno's time dialectics have namely opposite directions: the one aims to extend an ideally
identical -‐since small and homogeneous-‐ content in temporal succession and the other aims
to comprise a diversity of content in the moment (on the basis of Hegelian logical principles).
The aim of this paper is to demonstrate misleading schematisms arising from holistic
phenomenological approaches of the temporality of musical work which in addition
presuppose the assumption of questionable for the ontology of the musical work supra-‐
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 227
temporal
categories.
On
the
other
hand
Adorno’s
idealistic
attempt
to
comprise
the
manifold,
succesive
given
and
temporal
extended
content
in
the
objective
and
aesthetic
now,
proves
to
be
a
supreme
temporal
hermeneutics
since
it
can
be
supported
(“without
any
kind
of
violence”)
by
concrete
musical
phenomena.
Is
It
All
Autographic?
Samples
from
the
Musical
Avant-‐Garde
of
the
60s
Panos
Vlagopoulos
Dept.
of
Music
Studies,
Ionian
University,
Greece
A
usual
critique
voiced
against
Nelson
Goodman's
symbolic
theory
of
art
is
related
to
his
strict
adhesion
to
an
extensional
semantics
and,
with
it,
the
failure
to
account
for
the
artist's
intentions.
In
fact,
Joseph
Margolis
even
doubts
the
sustainability
of
the
autographic
/
allographic
distinction
by
claiming
that
since
stylistic
features
are
"profoundly
intentionalized,
historicized,
incapable
of
being
captured
by
any
strict
extensionalized
notation,
then
it
may
well
be
that
all
so-‐called
allographic
arts
are
ineluctably
autographic".
This
however
would
amount
to
practically
collapse
the
distinction
between
score
and
performance,
which
in
turn
is,
if
anything,
a
strong
engaged
aesthetic
view
about
musical
works.
I
would
like
to
suggest
that,
in
trying
to
understand
the
peculiarities
of
Avant-‐garde
music
works
of
the
50s
and
60s
(graphic-‐score
music-‐works
and
prose
music),
one
can
find
it
very
useful
to
use
Goodman's
autographic
/
allographic
distinction,
without
necessarily
subscribing
to
Goodman's
extensionalism.
Against
suggestions
to
the
contrary,
the
two
elements
(either
the
pictorial
and
the
musical,
in
graphic-‐score
music-‐works;
or
the
discursive
and
the
musical,
in
prose
music)
should
be
addressed
together
as
two
irreducible
aspects
of
graphic-‐score
or
prose
music-‐works.
These
types
of
music
works
rely
on
a
sui
generis
combination
of
autographic
cum
allographic
elements.
On
the
other
hand,
rehearsal
represents
an
essential
stage
of
these
music
works,
next
to
the
preparation
of
the
score,
on
one
end,
and
performance,
on
the
other.
I
will
try
to
illustrate
this
by
using
samples
from
the
work
of
Earle
Brown,
La
Monte
Young,
and
Anestis
Logothetis.
Paper Session 45, Timber II Hall, 11:30-‐13:00
Music psychology & music therapy
A randomized controlled trail on improvisational psychodynamic music
therapy in depression treatment
Jaakko Erkkilä, Jörg Fachner
Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä,
Finland
Music therapy has previously been found to be effective in the treatment of depression but
the studies have been methodologically insufficient and lacking in clarity about the clinical
model employed. The aim of this study was to determine the efficacy of music therapy added
to standard care compared with standard care only in the treatment of depression among
working-‐age people. Participants (n = 79) with an ICD–10 diagnosis of depression were
randomised to receive individual music therapy plus standard care (20 bi-‐weekly sessions)
or standard care only, and followed up at baseline, at 3 months (after intervention) and at 6
months. Clinical measures included depression, anxiety, general functioning, quality of life
and alexithymia. Participants receiving music therapy plus standard care showed greater
improvement than those receiving standard care only in depression symptoms (mean
difference 4.65, 95% CI 0.59 to 8.70), anxiety symptoms (1.82, 95% CI 0.09 to 3.55) and
general functioning (-‐4.58, 95% CI -‐8.93 to -‐0.24) at 3-‐month follow-‐up. The response rate
228
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
SAT
was
significantly
higher
for
the
music
therapy
plus
standard
care
group
than
for
the
standard
care
only
group
(odds
ratio
2.96,
95%
CI
1.01
to
9.02).
Individual
music
therapy
combined
with
standard
care
is
effective
for
depression
among
working-‐age
people
with
depression.
The
results
of
this
study
along
with
the
previous
research
indicate
that
music
therapy
with
its
specific
qualities
is
a
valuable
enhancement
to
established
treatment
practices.
Active
Music
Therapy
and
Williams
Syndrome:
a
Possible
Method
for
the
Visual-‐Motor
and
Praxis
Rehabilitation?
A.
Chiofalo,*
A.
Bordin#,
A.
Mazzeschi+,
R.
Aglieri°
*Ce.s.m.m.e,
Music
and
Medicine
Studies
Center,
Pavia,
Italy,
#Conservatory,
Pavia,
Italy,
+Institute
of
Education,
University
of
London,
United
Kingdom,
°
Civic
Institute
of
Music,
Pavia,
Italy
Notwithstanding
variation
from
person
to
person,
research
into
Williams
Syndrome
identifies
difficulty
in
the
following
areas
of
psychomotor
control:
co-‐ordinating
movements,
spatial
orientation,
physical
ability
and,
in
particular,
visual-‐motor
integration.
These
difficulties
are
magnified
by
physical
traits,
mainly
low
muscle
tone
and
contraction
of
the
joints,
which
present
a
further
cause
of
reduced
coordination.
Music
and
sound
act
as
specific
stimuli
to
obtain
emotive
and
movement
responses,
activating
various
sensory
areas.
We
explored
the
efficacy
of
active
music
therapy
(MT)
on
motor
functions
in
patients
with
WS.
We
investigate
the
use
of
active
music
therapy,
in
particular
the
use
of
rhythmic
components,
to
stimulate
functional
hand-‐eye
co-‐ordination
and
visual-‐motor
integration
in
patients
with
WS.
The
study
involved
10
subjects
with
WS,
aged
between
3
and
20.
The
patients
were
involved
in
weekly
sessions
of
music
therapy.
The
sessions
consisted
of
exercises
using
rhythm
and
movement,
vocal
exercises
and
musical
improvisation
over
a
rhythmic
base.
Patients
do
not
require
any
musical
training.
A
music
therapist
who
played
an
active
part
in
the
proceedings
conducted
each
session.
In
MT
sessions,
Visual-‐motor
integration
and
praxis
was
tested
(VMI
–
Visuo-‐Motor
Integration
Test,
adapted,
TGM)
before
and
after
the
program
and
every
two
months
during
the
program.
The
patients
showed
significant
improvements
in
visual-‐motor
ability
and
in
praxis
skills
in
the
direct
aftermath
of
the
program.
Less
significant,
but
nevertheless
important,
results
were
observed
long-‐term.
Music
therapy
is
demonstrated
to
be
efficient
for
improving
praxis
skills
and
visual-‐motor
integration
in
subjects
with
Williams
Syndrome.
We
propose
an
idea
to
use
music
therapy
as
an
integrated
part
of
rehabilitation.
"Reframing
time
and
space
–
Drugs
and
musical
consciousness"
Jörg
Fachner
Finnish
Centre
of
Excellence
in
Interdisciplinary
Music
Research,
University
of
Jyväskylä,
Finland
Discussing
the
effects
of
drugs
on
music
and
consciousness
is
a
difficult
enterprise:
on
the
one
hand,
drugs
have
specific
effects
on
physiology;
but
on
the
other,
the
phenomena
experienced
and
reported
in
drug-‐induced
altered
states
of
consciousness
(dASC)
cannot
simply
be
reduced
to
the
perceptual
consequences
of
those
physiological
effects.
This
paper
discusses
the
psychedelic
effects
of
drugs
(mainly
cannabis)
on
the
perception
and
performance
of
music,
and
in
particular
how
such
drugs
influence
time
perception
in
the
process
of
performance.
Drugs
are
binding
to
endogenous
receptors
of
certain
neurotransmitters
and
therefore
emphasize,
amplify
or
weaken
certain
brain
functions
that
-‐
even
in
extreme
form
-‐
are
also
possible
without
drugs.
Already
Baudelaire
mentioned
that
‘nothing
supernatural
happens’
under
the
influence
drugs,
but
that
reality
simply
becomes
more
vivid,
and
receives
more
attention.
Drugs
have
the
capacity
to
reframe
perspectives
on
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 229
musical
materials
through
an
altered
temporality
and
a
temporarily
more
intense
stimulation
and
evocation
of
physiological
functions.
These
changes
take
place
in
the
context
of
personal
musical
preferences,
in
a
habituated
set
and
setting
that
significantly
influence
the
listener’s
focus
of
attention
on
the
musical
time-‐space.
If
the
information
revealed
in
the
time
course
of
some
music
becomes
meaningful
for
the
listener
or
performer,
the
brain
has
various
strategies
available
to
it
to
zoom
into
particular
parts
of
the
music
in
order
to
process
musical
elements
more
distinctly
and
in
a
more
focused
manner,
in
a
hypofrontal
state
of
enhanced
sensory
perception.
Post-‐Conference Social Session: Grand Pietra Hall, 14:30-‐16:30
Global crises and their implications for research
Co-‐ordinated and co-‐chaired by John Sloboda and Mayumi Adachi
A two-‐hour post-‐conference session looking at the wider social and political context of our
research and practice, in the tradition begun at the ICMPC in Evanston and continued in
Bologna. A likely focus will be the current global economic situation as it is currently being
felt most strongly in Greece, and its impact on scholarship and intellectual exchange. This is
not part of the academic programme of the conference, but all registered conference
participants and their non-‐participant accompanying persons are encouraged to attend and
take part in the discussion. The session will be conducted in English.
230
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
AUTHOR
INDEX
Bhattacharya,
18,
36,
82,
84,
139,
152,
Abeßer,
164
179
Abla,
62
Bi,
39
Adachi,
116,
143,
192,
230
Bigand,
38,
140
Addessi,
26,
68
Billig,
35
Aglieri,
229
Bingham,
49,
170
Aguiar,
46,
93
Birchfield,
32
Aiba,
102
Biró,
95
Akinaga,
61
Bisesi,
185
Akiva-‐Kabiri,
120,
199
Bittrich,
195,
198
Albrecht,
28,
66
Blankenberger,
195,
198
Alexakis,
26,
68
Blasi,
62
Allpress,
177,
208
Boasson,
222
Alluri,
151
Bodnar,
186
Almoguera,
162
Boer,
47
Altenmüller,
92,
134,
215
Bogert,
62
Ambrazevičius,
86
Boggio,
63
Anagnostopoulou,
26,
68,
93
Bogunović,
81,
113
Antovic,
119
Bonada,
112
Aoki,
107
Bongard,
80,
136
Armin,
90
Bordin,
229
Ashley,
34,
126
Bortz,
93
Athanasopoulos,
219
Bourne,
29,
34
Atherton,
109
Bouwer,
223
Atkinson,
159
Bozşahin,
206
Au,
121
Bramley,
134
Aucouturier,
38
Brattico,
62,
63,
151
Auer,
22
Brodsky,
45,
99,
135
Aufegger,
78
Bronner,
183
Ayari,
24
Brown,
16,
115
Azaria,
199
Broze,
43,
187,
205
Bruhn,
183
Bååth,
101
Buchler,
158
Bagic,
83
Büdenbender,
155
Bailes,
15,
100,
133,
176
Budrys,
86
Baldwin,
29,
46
Bugos,
31
Barrett,
95
Burger,
58,
107,
127,
154,
170
Barrow,
29
Busch,
109
Bartlett,
32
Bartolo,
209
Cali,
98
Bas
de
Haas,
55
Callahan,
75
Beck,
49,
170
Cambouropoulos,
41,
77,
157
Ben-‐Haim,
126
Cameron,
84,
110
Benoit,
91,
139
Canonne,
124
Berger,
100,
214
Carrus,
36,
139
Berkowska,
57,
61
Carugati,
26
Bertolino,
62
Carvalho,
79
Best,
17
Cassidy,
162,
166
Beveridge,
211
Cattaneo,
97
Chajut,
126
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 231
Chan,
89
Egermann,
187
Chandra,
169
Eguia,
172
Chang,
60
Eguilaz,
162
Chatziioannou,
174
Einarson,
137,
197,
198
Chiofalo,
229
Eitan,
50,
126,
160,
185
Chmurzynska,
79,
114,
164
Elowsson,
23
Chon,
190
Emura,
61,
211
Chuen,
187
Erdemir,
49,
170
Cirelli,
198
Erkkilä,
181,
228
Clarke,
124,
152,
185
Evans,
202
Clift,
208
Exter,
37
Coffey,
225
Cohrdes,
106
Fabiani,
94
Collins,
95,
201
Fachner,
181,
228,
229
Corrigall,
137,
165
Fairhurst,
70
Costa-‐Giomi,
47
Falk,
116
Coutinho,
212
Farbood,
74,
205,
224
Creighton,
109
Farquhar,
214,
226
Crook,
211
Farrugia,
57,
91,
139
Cucchi,
97
Fazio,
62
Cunha,
79
Fernando,
187
Custodero,
98
Féron,
202
Ferrari,
26
Dakovanou,
93
Ferrer,
175
Dalla
Bella,
57,
61,
91,
139,
196
Feth,
118
Davidson,
16
Finkel,
196
Davidson-‐Kelly,
34
Fischer,
47
Dean,
15,
100,
143,
176
Fischinger,
66,
141
Deconinck,
204
Floridou,
195
Degé,
137
Foltyn,
84
Delbé,
95
Fornari,
35
Deliège,
12
Forth,
40
Demorest,
17,
98,
186
Fouloulis,
41
Demoucron,
220
Foxcroft,
28
Desain,
214,
226
Franěk,
58
Dibben,
134
Frank,
63
Dilley,
53
Friberg,
23,
94,
182
Diminakis,
158
Frieler,
25,
66,
183
Ding,
39
Fritz,
105,
174
Dittmar,
164
Fujii,
99
Dobson,
108
Fulford,
222
Doffman,
124
Furukawa,
44
Dohn,
151
Furuya,
103,
215
Donin,
202
Dowling,
32,
38,
42
Gao,
90
Doyne,
152
Garnier,
124
Dunbar-‐Hall,
17
Geringer,
87
Dyck,
171
Ghitza,
74
Dykens,
85
Giannopoulos,
227
Giannouli,
19,
33
Edwards,
149
Giesriegl,
50
Eerola,
69,
161,
175
Gifford,
16
232
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
Gill,
203
Hemming,
134
Gingras,
96,
130,
143,
188
Henik,
120,
199
Ginsborg,
222
Herbert,
46,
148
Giordano,
174
Herholz,
82,
85,
225
Giorgio,
158
Himberg,
101,
203
Giovanni,
86
Hinds,
128
Glette,
204
Hirano,
60,
103,
104
Glover,
122
Hirashima,
99
Goda,
103
Hirt,
183
Godøy,
169,
204
Hitz,
22
Goebl,
140,
141
Hjortkjær,
49,
171
Gold,
62,
63,
121
Hofmann,
141
Goldbart,
222
Hofmann-‐Engl,
181
Goldman,
123
Honing,
197,
209,
223
Gollmann,
48
Horn,
67,
194
Gómez,
112
Høvin,
204
Goodchild,
69,
143
Hughes,
76
Gordon,
85
Huovinen,
129,
184
Goto,
42
Huron,
37,
66,
67,
125,
161,
205
Govindsamy,
105
Graepel,
156
Imberty,
158
Grahn,
210
Innes-‐Brown,
121
Granot,
51,
145,
222
Ioannou,
82
Gratier,
202
Israel-‐Kolatt,
51
Griffiths,
189
Ito,
60,
104
Grollmisch,
164
Ivaldi,
106,
146
Grube,
80
Iwanaga,
44,
62
Gualda,
186
Guastavino,
112,
174
Jakubowski,
66
Guedes,
157
Janata,
95
Janković,
179
Háden,
197,
209
Jensenius,
204
Hadjidimitriou,
83
Judge,
128
Hadjileontiadis,
83
Hadley,
119,
168
Kaczmarek,
144,
180
Hallett,
135
Kagomiya,
191
Halpern,
33
Kaila,
129
Hamann,
37
Kaiser,
67
Hambrick,
53
Kamiyama,
62
Handy,
60
Kanamori,
20,
45
Hannon,
48
Kaneshiro,
100,
214
Hans,
152
Kang,
115
Hansen,
216
Katahira,
167
Harding,
54,
139
Katsiavalos,
157
Hargreaves,
171
Kawakami,
44,
102
Hascher,
218
Kawase,
184
Hasselhorn,
80,
164
Kazai,
102
Hawes,
142
Kecht,
65
Hedblad,
94
Keller,
41,
70,
71,
188
Hegde,
38,
220
Key,
85
Heller,
198
Kidera,
191
Helsing,
149
Kieslich,
180
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 233
Kim,
100
Liebermann,
141
Kinoshita,
60,
103,
104
Liikkanen,
132
Kitamura,
109
Lim,
124
Kizner,
135
Lindborg,
122,
193
Klonari,
190
Lindsen,
18,
84,
152,
179
Knox,
162,
211
Liu,
53
Kochman,
220
Lock,
16
Koelsch,
48
Lorrain,
138
Kohn,
50
Lothwesen,
25,
66
Koniari,
138
Louhivuori,
207
Kopiez,
64,
106,
111,
117,
127,
145
Loui,
52
Koreimann,
22,
113
Louven,
129
Korsakova-‐Kreyn,
42
Luck,
30,
58,
107,
127,
144,
154,
170,
221
Kotta,
16
Ludke,
116
Kotz,
54,
91,
117,
139
Lund,
151
Kouzaki,
191
Kozak,
169
MacDonald,
211
Kranenburg,
95
MacLachlan,
224
Krause,
108
MacLeod,
87
Krause-‐Burmester,
37
MacRitchie,
185,
221
Kreutz,
80,
136,
155
Madison,
101
Kringelbach,
152
Madsen,
87
Kuchenbuch,
82,
85
Maes,
171
Kudo,
103
Maestre,
206
Kuhn,
92
Mailman,
163
Küssner,
121
Mallikarjuna,
72
Mankarious,
130
Lamont,
27,
135,
147,
175
Manning,
57
Lapidaki,
160
Marchini,
206
Larrouy-‐Maestri,
86
Marcus,
74
Lartillot,
24
Marentakis,
21
Laucirica,
162
Margulis,
160
Launay,
100,
176
Marin,
125
Leadbeater,
147
Marozeau,
121
Leboeuf,
213
Marsden,
55
Lee,
223
Martorell,
112
Leech-‐Wilkinson,
121
Mastay,
92
Lega,
97
Matsui,
102
Legg,
208
Matsumoto,
45,
107
Legout,
203
Mauro,
193
Lehmann,
80,
164
Mavromatis,
224
Lehne,
48
Mayer,
141
Leibovich,
199
Mazzeschi,
229
Leitner,
22
McAdams,
21,
69,
105,
143,
172,
187,
190
Leman,
171,
220
McAuley,
53,
92
Lembke,
172
Mendoza,
46
Lense,
85
Merchant,
209
Lenz,
21
Micheli,
180
Lesaffre,
171
Misenhelter,
20
Lévêque,
86,
88
Mitchell,
111
Li,
39
Mito,
102
Liao,
89
Mitsudo,
42,
209
234
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
Miura,
61,
102
Paisley,
166
Miwa,
103
Palmer,
140
Moelants,
142,
200,
220
Panebianco-‐Warrens,
28
Moran,
34,
219
Pantev,
82,
85,
225
Mori,
44
Papadelis,
173,
190,
200
Morimoto,
30,
211
Papanikolaou,
190,
200
Morrill,
53
Papiotis,
206
Morrison,
168,
186
Paraskevopoulos,
82,
85
Morsomme,
86
Parncutt,
50,
67,
185
Moura,
93
Pastiadis,
173,
190,
200
Müllensiefen,
35,
55,
66,
91,
96,
130,
133,
Patel,
105
188,
195,
196,
207,
223
Paul,
43,
118
Mungan,
33
Pawley,
207
Musil,
96,
130,
188
Pearce,
18,
36,
84,
110,
139,
143,
152,
216
Pecenka,
70
Nagata,
102,
103
Peebles,
15
Nagel,
29
Pennycook,
157
Nagy,
156
Penttinen,
184
Nakagawa,
191
Perreau-‐Guimaraes,
214
Nakajima,
42,
173,
191,
209
Pesjak,
22
Nakamura,
103
Peter,
199
Napoles,
87
Petrovic,
119
Nave,
92
Peynircioğlu,
33
Ness,
95
Pfeifer,
37
Ng,
88,
89
Phillips,
31,
119
Nguyen,
186
Pikrakis,
41
Nichols,
98
Piper,
183
Nielsen,
151
Platz,
111,
117,
127,
145
Nieto,
205
Plazak,
161,
176
Nonogaki,
61
Poeppel,
74
North,
108
Poon,
161
Nozaki,
99
Pope,
213
Nymoen,
169,
204
Potter,
110
Prado,
209
Obata,
60,
103,
104
Prem,
50
Oehler,
65
Prince,
118
Oelker,
27
Prior,
59,
121
Oh,
136
Proscia,
172
Ohsawa,
60,
103,
104
Psaltopoulou,
180
Ohtsuki,
103
Okanoya,
44,
62
Quarto,
62
Olbertz,
97
Olivetti-‐Belardinelli,
158
Rahal,
146
Olsen,
199
Raju,
24
Omigie,
18,
216
Raman,
38
Oohashi,
99
Ramanujam,
38,
220
Ordoñana,
162
Randall,
83,
150
Orlandatou,
120
Raposo
de
Medeiros,
36
Orlando,
165
Reiss,
173
Osterhout,
17
Remijn,
42
Overy,
34
Repp,
70
Öztürel,
206
Reuter,
65,
171
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 235
Rickard,
90,
150
Siedenburg,
171
Riera,
172
Sinico,
186
Rieser,
49,
170
Skogstad,
204
Riess
Jones,
96
Sloboda,
108,
230
Rink,
13
Slor,
45
Rocha,
63
Smetana,
141
Roden,
80,
136
Smith,
213
Rogers,
22,
163
Smukalla,
27
Rohrmeier,
48,
156,
219
Sobe,
123
Rollnik,
92
Sowinski,
57,
196
Rose,
223
Speelman,
165,
224
Ross,
24
Spiro,
101
Rowe,
67,
134
Stevanovic,
202
Rowland,
74
Stevens,
17,
121,
188,
199
Russell,
78
Stewart,
18,
96,
125,
130,
188,
216,
223
Russo,
56
Stigler,
50
Stoklasa,
141
Saari,
161
Stolzenburg,
75
Saarikallio,
30,
58,
107,
127,
150,
154,
170
Strauß,
109
Saitis,
174
Sudre,
83
Salembier,
203
Sulkin,
99
Sammler,
54
Sun,
72
Sandgren,
177
Suppes,
214
Santosh,
220
Suzuki,
191
Sapp,
67
Syzek,
92
Scavone,
174
Schaefer,
214,
226
Tabei,
43
Schäfer,
27
Tafuri,
81
Schellenberg,
130,
165,
194
Taga,
99
Scherer,
212
Takeichi,
42,
191,
209
Schiavio,
182
Takiuchi,
143
Schinkel-‐Bielefeld,
29
Tamar,
90
Schlaug,
52
Tamir-‐Ostrover,
185
Schlegel,
33
Tanaka,
43
Schlemmer,
66
Tardieu,
17
Schmidt,
138
Taurisano,
62
Schön,
86,
88
Teki,
189
Schroeder,
71
Tekman,
47
Schubert,
121
Temperley,
154
Schultz,
40,
188
Tervaniemi,
51,
150
Schurig,
109
Thompson,
32,
54,
58,
107,
125,
127,
154,
Schutz,
57,
161
170,
199,
203,
221
Schütz,
25
Tidhar,
168
Schwarzer,
137
Tillmann,
17,
73,
95,
96,
188
Sederberg,
118
Timmers,
30,
211
Selchenkova,
96
Ting,
32
Selvey,
168
Tjoa,
213
Sergi,
90
Tobimatsu,
42,
209
Shanahan,
37,
187,
194
Toiviainen,
58,
107,
112,
127,
144,
151,
Shandara,
65
154,
170
Shoda,
143,
192
Tørresen,
169,
204
Sibma,
224
Toussaint,
110
236
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012
Trainor,
137,
197,
198
Wallentin,
151,
152
Trehub,
194
Walters,
92
Triantafyllaki,
26,
68,
93
Wammes,
91
Trkulja,
179
Wanderley,
221
Trochidis,
140
Wang,
39,
70,
88,
89,
136
Troge,
138
Watanabe,
99,
107
Tsai,
39,
178
Weilguni,
141
Tsay,
73
Weinberg,
72
Tsetsos,
227
Weiss,
194
Tsougras,
138,
158,
217
Wenger,
29
Tsuzaki,
102
Widdess,
219
Tzanetakis,
95
Widmer,
14
Wiering,
56
Ueda,
173,
191
Wiggins,
18,
23,
40,
84,
110,
143,
152
Uhlig,
71
Wild,
69
Upham,
178,
192
Williams,
169
Williamson,
91,
115,
133,
195
Vaes,
200
Winkler,
197
Vaiouli,
180
Winter,
186
Van
den
Tol,
149
Witek,
152
van
der
Steen,
41
Wolf,
55,
117,
127,
145
van
Handel,
75
Wollman,
105
van
Kranenburg,
55,
56
Wöllner,
204
van
Noorden,
58
Woolhouse,
77,
168
van
Vugt,
92
van
Walstijn,
174
Yamada,
20,
45,
211
van
Zijl,
144
Yamasaki,
20
Vanden
Bosch,
48
Yan,
88,
89
Vattulainen,
150
Yanagida,
61
Vecchi,
97
Yankeelov,
54
Vempala,
56
Yim,
76
Verga,
117
Ylitalo,
184
Vitale,
193
Yoneda,
20,
45,
211
Vitouch,
22,
78,
113,
123
Young,
67
Vlagopoulos,
228
Yovel,
145
Vlek,
214
Yust,
74
Voldsund,
169,
204
Volk,
55,
56,
95
Zacharakis,
173
Vouvaris,
217
Zacharopoulou,
160
Vroegh,
183
Zamm,
52
Vujović,
81
Zarras,
200
Vuoskoski,
30,
69
Zatorre,
225
Vurma,
87
Zicari,
221
Vuust,
151,
152
Ziv,
146
12th
ICMPC
-‐
8th
ESCOM
Joint
Conference,
Aristotle
University
of
Thessaloniki,
23-‐28
July
2012 237
ISBN:
978-‐960-‐99845-‐1-‐5
You might also like
- The Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good LifeFrom EverandThe Subtle Art of Not Giving a F*ck: A Counterintuitive Approach to Living a Good LifeRating: 4 out of 5 stars4/5 (5834)
- The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You AreFrom EverandThe Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You AreRating: 4 out of 5 stars4/5 (1093)
- Never Split the Difference: Negotiating As If Your Life Depended On ItFrom EverandNever Split the Difference: Negotiating As If Your Life Depended On ItRating: 4.5 out of 5 stars4.5/5 (852)
- Grit: The Power of Passion and PerseveranceFrom EverandGrit: The Power of Passion and PerseveranceRating: 4 out of 5 stars4/5 (590)
- Hidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space RaceFrom EverandHidden Figures: The American Dream and the Untold Story of the Black Women Mathematicians Who Helped Win the Space RaceRating: 4 out of 5 stars4/5 (903)
- Shoe Dog: A Memoir by the Creator of NikeFrom EverandShoe Dog: A Memoir by the Creator of NikeRating: 4.5 out of 5 stars4.5/5 (541)
- The Hard Thing About Hard Things: Building a Business When There Are No Easy AnswersFrom EverandThe Hard Thing About Hard Things: Building a Business When There Are No Easy AnswersRating: 4.5 out of 5 stars4.5/5 (349)
- Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic FutureFrom EverandElon Musk: Tesla, SpaceX, and the Quest for a Fantastic FutureRating: 4.5 out of 5 stars4.5/5 (474)
- Her Body and Other Parties: StoriesFrom EverandHer Body and Other Parties: StoriesRating: 4 out of 5 stars4/5 (823)
- The Sympathizer: A Novel (Pulitzer Prize for Fiction)From EverandThe Sympathizer: A Novel (Pulitzer Prize for Fiction)Rating: 4.5 out of 5 stars4.5/5 (122)
- The Emperor of All Maladies: A Biography of CancerFrom EverandThe Emperor of All Maladies: A Biography of CancerRating: 4.5 out of 5 stars4.5/5 (271)
- The Little Book of Hygge: Danish Secrets to Happy LivingFrom EverandThe Little Book of Hygge: Danish Secrets to Happy LivingRating: 3.5 out of 5 stars3.5/5 (405)
- The World Is Flat 3.0: A Brief History of the Twenty-first CenturyFrom EverandThe World Is Flat 3.0: A Brief History of the Twenty-first CenturyRating: 3.5 out of 5 stars3.5/5 (2259)
- The Yellow House: A Memoir (2019 National Book Award Winner)From EverandThe Yellow House: A Memoir (2019 National Book Award Winner)Rating: 4 out of 5 stars4/5 (98)
- Devil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New AmericaFrom EverandDevil in the Grove: Thurgood Marshall, the Groveland Boys, and the Dawn of a New AmericaRating: 4.5 out of 5 stars4.5/5 (266)
- A Heartbreaking Work Of Staggering Genius: A Memoir Based on a True StoryFrom EverandA Heartbreaking Work Of Staggering Genius: A Memoir Based on a True StoryRating: 3.5 out of 5 stars3.5/5 (231)
- Team of Rivals: The Political Genius of Abraham LincolnFrom EverandTeam of Rivals: The Political Genius of Abraham LincolnRating: 4.5 out of 5 stars4.5/5 (234)
- On Fire: The (Burning) Case for a Green New DealFrom EverandOn Fire: The (Burning) Case for a Green New DealRating: 4 out of 5 stars4/5 (74)
- The Unwinding: An Inner History of the New AmericaFrom EverandThe Unwinding: An Inner History of the New AmericaRating: 4 out of 5 stars4/5 (45)
- Working Memory: Alan D. Baddeley' and Graham Hitch'Document22 pagesWorking Memory: Alan D. Baddeley' and Graham Hitch'santiago Buitrago garciaNo ratings yet
- Trainor, L., Wu, L., & Tsang, C. (2004Document9 pagesTrainor, L., Wu, L., & Tsang, C. (2004santiago Buitrago garciaNo ratings yet
- Representing Musical Knowledge in A Jazz Improvisation SystemDocument8 pagesRepresenting Musical Knowledge in A Jazz Improvisation Systemsantiago Buitrago garcia100% (1)
- Craik 1998Document26 pagesCraik 1998santiago Buitrago garciaNo ratings yet
- Conway 2001 Sensory - Perseptual Episodic MemoriDocument10 pagesConway 2001 Sensory - Perseptual Episodic Memorisantiago Buitrago garciaNo ratings yet
- Cash Davis 2009Document15 pagesCash Davis 2009santiago Buitrago garciaNo ratings yet
- Burman, D. D., & Booth, J. R. (2009) .Document19 pagesBurman, D. D., & Booth, J. R. (2009) .santiago Buitrago garciaNo ratings yet
- 10.1.1.408.5587 Roger and RatcliffDocument50 pages10.1.1.408.5587 Roger and Ratcliffsantiago Buitrago garciaNo ratings yet
- Bugos, J. A. (2012) .Document1 pageBugos, J. A. (2012) .santiago Buitrago garciaNo ratings yet
- I. Introduction To Seminar - WorkshopDocument5 pagesI. Introduction To Seminar - WorkshopJellybabes GazmenNo ratings yet
- Research Methodology: Group MembersDocument17 pagesResearch Methodology: Group MembersEngr mehraj hameedNo ratings yet
- Study Plan 2024Document3 pagesStudy Plan 2024Zain Shahid100% (3)
- RRE 2025 CallForProposalsDocument7 pagesRRE 2025 CallForProposalsCarlos DecioNo ratings yet
- Syllabus For Mentor To Learn With Mentee About Speaking SkillDocument2 pagesSyllabus For Mentor To Learn With Mentee About Speaking SkillTài Nguyễn ĐứcNo ratings yet
- Credit Card Fraud Detection Using Adaboost and Majority VotingDocument4 pagesCredit Card Fraud Detection Using Adaboost and Majority VotingVasavi Daram100% (1)
- A Prospective Study of The Relationship Between SLI, PH DisDocument25 pagesA Prospective Study of The Relationship Between SLI, PH DiscynthiaNo ratings yet
- Chrome Music Lab Song Maker Lesson 2Document7 pagesChrome Music Lab Song Maker Lesson 2Janelle JulianNo ratings yet
- TIMSS Assessment Framework Outline (Group 3)Document7 pagesTIMSS Assessment Framework Outline (Group 3)heystobitNo ratings yet
- Course OutlineDocument4 pagesCourse OutlinesaraNo ratings yet
- The Dissertation OverviewDocument8 pagesThe Dissertation OverviewCristinaCris0% (1)
- Sed 2101Document3 pagesSed 2101Zester MabasaNo ratings yet
- Making Sense of Audience EngagementDocument78 pagesMaking Sense of Audience EngagementDaniela CarvajalNo ratings yet
- Content-Based Instruction Is Theme Based InstructionDocument4 pagesContent-Based Instruction Is Theme Based InstructionAsRaf SapEriNo ratings yet
- Kajian Tindakan InggerisDocument8 pagesKajian Tindakan InggerisPuvaneswari Punis100% (1)
- Introduction To Dissertation: 8 Semester B.Arch 6 Semester B.Des (ID)Document7 pagesIntroduction To Dissertation: 8 Semester B.Arch 6 Semester B.Des (ID)Asvantika SenthivelNo ratings yet
- Self DisciplineDocument20 pagesSelf Disciplinealokshri25No ratings yet
- Foundation of CurriculumDocument48 pagesFoundation of CurriculumKunoichii SatōNo ratings yet
- A Framework of Mobile Educational Application For Kindergarten Early ReadingDocument7 pagesA Framework of Mobile Educational Application For Kindergarten Early ReadingIJMAJournalNo ratings yet
- Syllabus 2019 20 PDFDocument45 pagesSyllabus 2019 20 PDFSth DevilNo ratings yet
- Book of Abstract First PAN IIT International Mangement Conference 2018Document457 pagesBook of Abstract First PAN IIT International Mangement Conference 2018Jishnu Bhattacharyya0% (1)
- Project KickStart Create A Winning Presentation ProjectDocument27 pagesProject KickStart Create A Winning Presentation ProjectIMZNNo ratings yet
- 02mapeh-3RD Quarter Week 7Document8 pages02mapeh-3RD Quarter Week 7ivan abandoNo ratings yet
- As I Had Missed The History Lesson My Friend Went Over The Homework With MeDocument6 pagesAs I Had Missed The History Lesson My Friend Went Over The Homework With Meg3pbvd4j100% (1)
- Mohammed Jundi Hussein Haramaya University 2006, PDFDocument55 pagesMohammed Jundi Hussein Haramaya University 2006, PDFMohammed Jundi100% (1)
- Psychosynthesis Quarterly March 2013Document34 pagesPsychosynthesis Quarterly March 2013CuriousOneTooNo ratings yet
- BIOL40241 - Assessment Spec 2 MerajDocument11 pagesBIOL40241 - Assessment Spec 2 MerajM SaleemNo ratings yet
- COURSE-GUIDE-HBO PortraitDocument5 pagesCOURSE-GUIDE-HBO PortraitJpoy RiveraNo ratings yet
- Bilingualism and DementiaDocument14 pagesBilingualism and DementiaChao Chen0% (1)
- 09 Homework 1 - ARGDocument1 page09 Homework 1 - ARGLaurene Jamaica ArroyoNo ratings yet
