1
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Albouy P, Mehr SA, Hoyer RS, Ginzburg J, Du Y, Zatorre RJ. Spectro-temporal acoustical markers differentiate speech from song across cultures. Nat Commun 2024; 15:4835. [PMID: 38844457 PMCID: PMC11156671 DOI: 10.1038/s41467-024-49040-3] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/21/2023] [Accepted: 05/21/2024] [Indexed: 06/09/2024] Open
Abstract
Humans produce two forms of cognitively complex vocalizations: speech and song. It is debated whether these differ based primarily on culturally specific, learned features, or if acoustical features can reliably distinguish them. We study the spectro-temporal modulation patterns of vocalizations produced by 369 people living in 21 urban, rural, and small-scale societies across six continents. Specific ranges of spectral and temporal modulations, overlapping within categories and across societies, significantly differentiate speech from song. Machine-learning classification shows that this effect is cross-culturally robust, vocalizations being reliably classified solely from their spectro-temporal features across all 21 societies. Listeners unfamiliar with the cultures classify these vocalizations using similar spectro-temporal cues as the machine learning algorithm. Finally, spectro-temporal features are better able to discriminate song from speech than a broad range of other acoustical variables, suggesting that spectro-temporal modulation-a key feature of auditory neuronal tuning-accounts for a fundamental difference between these categories.
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Affiliation(s)
- Philippe Albouy
- CERVO Brain Research Centre, School of Psychology, Laval University, Québec City, QC, Canada.
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, QC, Canada.
- Centre for Research in Brain, Language and Music and Centre for Interdisciplinary Research in Music, Media, and Technology, Montréal, QC, Canada.
| | - Samuel A Mehr
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, QC, Canada
- School of Psychology, University of Auckland, Auckland, 1010, New Zealand
- Child Study Center, Yale University, New Haven, CT, 06511, USA
| | - Roxane S Hoyer
- CERVO Brain Research Centre, School of Psychology, Laval University, Québec City, QC, Canada
| | - Jérémie Ginzburg
- CERVO Brain Research Centre, School of Psychology, Laval University, Québec City, QC, Canada
- Lyon Neuroscience Research Center, CNRS, UMR5292, INSERM, U1028 - Université Claude Bernard Lyon 1, F-69000, Lyon, France
- Cognitive Neuroscience Unit, Montreal Neurological Institute, McGill University, Montreal, QC, Canada
| | - Yi Du
- Institute of Psychology, Chinese Academy of Sciences, Beijing, China
| | - Robert J Zatorre
- International Laboratory for Brain, Music and Sound Research (BRAMS), Montreal, QC, Canada.
- Centre for Research in Brain, Language and Music and Centre for Interdisciplinary Research in Music, Media, and Technology, Montréal, QC, Canada.
- Cognitive Neuroscience Unit, Montreal Neurological Institute, McGill University, Montreal, QC, Canada.
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2
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Ozaki Y, Tierney A, Pfordresher PQ, McBride JM, Benetos E, Proutskova P, Chiba G, Liu F, Jacoby N, Purdy SC, Opondo P, Fitch WT, Hegde S, Rocamora M, Thorne R, Nweke F, Sadaphal DP, Sadaphal PM, Hadavi S, Fujii S, Choo S, Naruse M, Ehara U, Sy L, Parselelo ML, Anglada-Tort M, Hansen NC, Haiduk F, Færøvik U, Magalhães V, Krzyżanowski W, Shcherbakova O, Hereld D, Barbosa BS, Varella MAC, van Tongeren M, Dessiatnitchenko P, Zar SZ, El Kahla I, Muslu O, Troy J, Lomsadze T, Kurdova D, Tsope C, Fredriksson D, Arabadjiev A, Sarbah JP, Arhine A, Meachair TÓ, Silva-Zurita J, Soto-Silva I, Millalonco NEM, Ambrazevičius R, Loui P, Ravignani A, Jadoul Y, Larrouy-Maestri P, Bruder C, Teyxokawa TP, Kuikuro U, Natsitsabui R, Sagarzazu NB, Raviv L, Zeng M, Varnosfaderani SD, Gómez-Cañón JS, Kolff K, der Nederlanden CVB, Chhatwal M, David RM, Setiawan IPG, Lekakul G, Borsan VN, Nguqu N, Savage PE. Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report. SCIENCE ADVANCES 2024; 10:eadm9797. [PMID: 38748798 PMCID: PMC11095461 DOI: 10.1126/sciadv.adm9797] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 11/15/2023] [Accepted: 04/19/2024] [Indexed: 05/19/2024]
Abstract
Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.
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Affiliation(s)
- Yuto Ozaki
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Adam Tierney
- Department of Psychological Sciences, Birkbeck, University of London, London, UK
| | - Peter Q. Pfordresher
- Department of Psychology, University at Buffalo, State University of New York, Buffalo, NY, USA
| | - John M. McBride
- Center for Algorithmic and Robotized Synthesis, Institute for Basic Science, Ulsan, South Korea
| | - Emmanouil Benetos
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Polina Proutskova
- School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK
| | - Gakuto Chiba
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Fang Liu
- School of Psychology and Clinical Language Sciences, University of Reading, Reading, UK
| | - Nori Jacoby
- Computational Auditory Perception Group, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Suzanne C. Purdy
- School of Psychology, University of Auckland, Auckland, New Zealand
- Centre for Brain Research and Eisdell Moore Centre for Hearing and Balance Research, University of Auckland, Auckland, New Zealand
| | - Patricia Opondo
- School of Arts, Music Discipline, University of KwaZulu Natal, Durban, South Africa
| | - W. Tecumseh Fitch
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
| | - Shantala Hegde
- Music Cognition Lab, Department of Clinical Psychology, National Institute of Mental Health and Neuro Sciences, Bangalore, Karnataka, India
| | - Martín Rocamora
- Universidad de la República, Montevideo, Uruguay
- Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain
| | - Rob Thorne
- School of Music, Victoria University of Wellington, Wellington, New Zealand
| | - Florence Nweke
- Department of Creative Arts, University of Lagos, Lagos, Nigeria
- Department of Music, Mountain Top University, Ogun, Nigeria
| | - Dhwani P. Sadaphal
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
| | | | - Shafagh Hadavi
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Kanagawa, Japan
| | - Sangbuem Choo
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
| | - Marin Naruse
- Faculty of Policy Management, Keio University, Fujisawa, Kanagawa, Japan
| | | | - Latyr Sy
- Independent researcher, Tokyo, Japan
- Independent researcher, Dakar, Sénégal
| | - Mark Lenini Parselelo
- Memorial University of Newfoundland, St. John’s, NL, Canada
- Department of Music and Dance, Kenyatta University, Nairobi, Kenya
| | | | - Niels Chr. Hansen
- Aarhus Institute of Advanced Studies, Aarhus University, Aarhus, Denmark
- Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland
- Interacting Minds Centre, School of Culture and Society, Aarhus University, Aarhus, Denmark
- Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark
| | - Felix Haiduk
- Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria
- Department of General Psychology, University of Padua, Padua, Italy
| | - Ulvhild Færøvik
- Institute of Biological and Medical Psychology, Department of Psychology, University of Bergen, Bergen, Norway
| | - Violeta Magalhães
- Centre of Linguistics of the University of Porto (CLUP), Porto, Portugal
- Faculty of Arts and Humanities of the University of Porto (FLUP), Porto, Portugal
- School of Education of the Polytechnic of Porto (ESE IPP), Porto, Portugal
| | - Wojciech Krzyżanowski
- Adam Mickiewicz University, Faculty of Art Studies, Musicology Institute, Poznań, Poland
| | | | - Diana Hereld
- Department of Psychiatry, UCLA Semel Institute for Neuroscience and Human Behavior, Los Angeles, CA, USA
| | | | | | | | | | - Su Zar Zar
- Headmistress, The Royal Music Academy, Yangon, Myanmar
| | - Iyadh El Kahla
- Department of Cultural Policy, University of Hildesheim, Hildesheim, Germany
| | - Olcay Muslu
- Centre for the Study of Higher Education, University of Kent, Canterbury, UK
- MIRAS, Centre for Cultural Sustainability, Istanbul, Turkey
| | - Jakelin Troy
- Director, Indigenous Research, Office of the Deputy Vice-Chancellor (Research); Department of Linguistics, Faculty of Arts and Social Sciences, The University of Sydney, Camperdown, NSW, Australia
| | - Teona Lomsadze
- International Research Center for Traditional Polyphony of the Tbilisi State Conservatoire, Tbilisi, Georgia
- Georgian Studies Fellow, University of Oxford, Oxford, UK
| | - Dilyana Kurdova
- South-West University Neofit Rilski, Blagoevgrad, Bulgaria
- Phoenix Perpeticum Foundation, Sofia, Bulgaria
| | | | | | - Aleksandar Arabadjiev
- Department of Folk Music Research and Ethnomusicology, University of Music and Performing Arts–MDW, Wien, Austria
| | | | - Adwoa Arhine
- Department of Music, University of Ghana, Accra, Ghana
| | - Tadhg Ó Meachair
- Department of Ethnomusicology and Folklore, Indiana University, Bloomington, IN, USA
| | - Javier Silva-Zurita
- Department of Humanities and Arts, University of Los Lagos, Osorno, Chile
- Millennium Nucleus on Musical and Sound Cultures (CMUS NCS 2022-16), Santiago, Chile
| | - Ignacio Soto-Silva
- Department of Humanities and Arts, University of Los Lagos, Osorno, Chile
- Millennium Nucleus on Musical and Sound Cultures (CMUS NCS 2022-16), Santiago, Chile
| | | | | | - Psyche Loui
- Music, Imaging and Neural Dynamics Lab, Northeastern University, Boston, MA, USA
| | - Andrea Ravignani
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University, Aarhus, Denmark & The Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark
| | - Yannick Jadoul
- Department of Human Neurosciences, Sapienza University of Rome, Rome, Italy
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
| | - Pauline Larrouy-Maestri
- Music Department, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Max Planck—NYU Center for Language, Music, and Emotion (CLaME), New York, NY, USA
| | - Camila Bruder
- Music Department, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Tutushamum Puri Teyxokawa
- Txemim Puri Project–Puri Language Research, Vitalization and Teaching/Recording and Preservation of Puri History and Culture, Rio de Janeiro, Brasil
| | | | | | | | - Limor Raviv
- Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
- cSCAN, University of Glasgow, Glasgow, UK
| | - Minyu Zeng
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
- Rhode Island School of Design, Providence, RI, USA
| | - Shahaboddin Dabaghi Varnosfaderani
- Institute for English and American Studies (IEAS), Goethe University of Frankfurt am Main, Frankfurt am Main, Germany
- Cognitive and Developmental Psychology Unit, Centre, for Cognitive Science, University of Kaiserslautern-Landau (RPTU), Kaiserslautern, Germany
| | | | - Kayla Kolff
- Institute of Cognitive Science, University of Osnabrück, Osnabrück, Germany
| | | | - Meyha Chhatwal
- Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
| | - Ryan Mark David
- Department of Psychology, University of Toronto Mississauga, Mississauga, ON, Canada
| | | | - Great Lekakul
- Faculty of Fine Arts, Chiang Mai University, Chiang Mai, Thailand
| | - Vanessa Nina Borsan
- Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan
- Université de Lille, CNRS, Centrale Lille, UMR 9189 CRIStAL, F-59000 Lille, France
| | - Nozuko Nguqu
- School of Arts, Music Discipline, University of KwaZulu Natal, Durban, South Africa
| | - Patrick E. Savage
- School of Psychology, University of Auckland, Auckland, New Zealand
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Kanagawa, Japan
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3
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Passmore S, Wood ALC, Barbieri C, Shilton D, Daikoku H, Atkinson QD, Savage PE. Global musical diversity is largely independent of linguistic and genetic histories. Nat Commun 2024; 15:3964. [PMID: 38729968 PMCID: PMC11087526 DOI: 10.1038/s41467-024-48113-7] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/28/2023] [Accepted: 04/19/2024] [Indexed: 05/12/2024] Open
Abstract
Music is a universal yet diverse cultural trait transmitted between generations. The extent to which global musical diversity traces cultural and demographic history, however, is unresolved. Using a global musical dataset of 5242 songs from 719 societies, we identify five axes of musical diversity and show that music contains geographical and historical structures analogous to linguistic and genetic diversity. After creating a matched dataset of musical, genetic, and linguistic data spanning 121 societies containing 981 songs, 1296 individual genetic profiles, and 121 languages, we show that global musical similarities are only weakly and inconsistently related to linguistic or genetic histories, with some regional exceptions such as within Southeast Asia and sub-Saharan Africa. Our results suggest that global musical traditions are largely distinct from some non-musical aspects of human history.
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Affiliation(s)
- Sam Passmore
- Graduate School of Media and Governance, Keio University, Fujisawa, Japan.
- Evolution of Cultural Diversity Initiative (ECDI), Australian National University, Canberra, Australia.
| | | | - Chiara Barbieri
- Department of Evolutionary Biology and Environmental Studies, University of Zurich, Zurich, 8057, Switzerland
- Centre for the Interdisciplinary Study of Language Evolution (ISLE), University of Zurich, Zurich, 8050, Switzerland
- Department of Life and Environmental Sciences, University of Cagliari, 09126, Cagliari, Italy
| | - Dor Shilton
- Cohn Institute for the History and Philosophy of Science and Ideas, Tel Aviv University, Tel Aviv, Israel
- Edelstein Centre for the History and Philosophy of Science, Technology, and Medicine, Hebrew University of Jerusalem, Jerusalem, Israel
| | - Hideo Daikoku
- Graduate School of Media and Governance, Keio University, Fujisawa, Japan
| | | | - Patrick E Savage
- School of Psychology, University of Auckland, Auckland, New Zealand.
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan.
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4
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Jacoby N, Polak R, Grahn JA, Cameron DJ, Lee KM, Godoy R, Undurraga EA, Huanca T, Thalwitzer T, Doumbia N, Goldberg D, Margulis EH, Wong PCM, Jure L, Rocamora M, Fujii S, Savage PE, Ajimi J, Konno R, Oishi S, Jakubowski K, Holzapfel A, Mungan E, Kaya E, Rao P, Rohit MA, Alladi S, Tarr B, Anglada-Tort M, Harrison PMC, McPherson MJ, Dolan S, Durango A, McDermott JH. Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries. Nat Hum Behav 2024; 8:846-877. [PMID: 38438653 PMCID: PMC11132990 DOI: 10.1038/s41562-023-01800-9] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/22/2021] [Accepted: 12/07/2023] [Indexed: 03/06/2024]
Abstract
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random 'seed' rhythms; their reproductions were fed back as the stimulus (as in the game of 'telephone'), such that their biases (the prior) could be estimated from the distribution of reproductions. Every tested group showed a sparse prior with peaks at integer-ratio rhythms. However, the importance of different integer ratios varied across groups, often reflecting local musical practices. Our results suggest a common feature of music cognition: discrete rhythm 'categories' at small-integer ratios. These discrete representations plausibly stabilize musical systems in the face of cultural transmission but interact with culture-specific traditions to yield the diversity that is evident when mental representations are probed across many cultures.
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Affiliation(s)
- Nori Jacoby
- Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.
- Presidential Scholars in Society and Neuroscience, Columbia University, New York, NY, USA.
| | - Rainer Polak
- RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, Blindern, Oslo, Norway
| | - Jessica A Grahn
- Brain and Mind Institute and Department of Psychology, University of Western Ontario, London, Ontario, Canada
| | - Daniel J Cameron
- Department of Psychology, Neuroscience and Behaviour, McMaster University, Hamilton, Ontario, Canada
| | - Kyung Myun Lee
- School of Digital Humanities and Social Sciences, Korea Advanced Institute of Science and Technology, Daejeon, Republic of Korea
- Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology, Daejeon, Republic of Korea
| | - Ricardo Godoy
- Heller School for Social Policy and Management, Brandeis University, Waltham, MA, USA
| | - Eduardo A Undurraga
- Escuela de Gobierno, Pontificia Universidad Católica de Chile, Santiago, Chile
- CIFAR Azrieli Global Scholars programme, CIFAR, Toronto, Ontario, Canada
| | - Tomás Huanca
- Centro Boliviano de Investigación y Desarrollo Socio Integral, San Borja, Bolivia
| | | | - Noumouké Doumbia
- Sciences de l'Education, Université Catholique d'Afrique de l'Ouest, Bamako, Mali
| | - Daniel Goldberg
- Department of Music, University of Connecticut, Storrs, CT, USA
| | | | - Patrick C M Wong
- Department of Linguistics & Modern Languages and Brain and Mind Institute, Chinese University of Hong Kong, Hong Kong SAR, China
| | - Luis Jure
- School of Music, Universidad de la República, Montevideo, Uruguay
| | - Martín Rocamora
- Signal Processing Department, School of Engineering, Universidad de la República, Montevideo, Uruguay
- Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | - Patrick E Savage
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- School of Psychology, University of Auckland, Auckland, New Zealand
| | - Jun Ajimi
- Department of Traditional Japanese Music, Tokyo University of the Arts, Tokyo, Japan
| | - Rei Konno
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | - Sho Oishi
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | | | - Andre Holzapfel
- Division of Media Technology and Interaction Design, KTH Royal Institute of Technology, Stockholm, Sweden
| | - Esra Mungan
- Department of Psychology, Bogazici University, Istanbul, Turkey
| | - Ece Kaya
- Max Planck Research Group 'Neural and Environmental Rhythms', Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Cognitive Science Master Program, Bogazici University, Istanbul, Turkey
| | - Preeti Rao
- Department of Electrical Engineering, Indian Institute of Technology Bombay, Mumbai, India
| | - Mattur A Rohit
- Department of Electrical Engineering, Indian Institute of Technology Bombay, Mumbai, India
| | | | - Bronwyn Tarr
- Department of Cognitive and Evolutionary Anthropology, University of Oxford, Oxford, UK
- Department of Experimental Psychology, University of Oxford, Oxford, UK
| | - Manuel Anglada-Tort
- Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Department of Psychology, Goldsmiths, University of London, London, UK
| | - Peter M C Harrison
- Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
- Faculty of Music, University of Cambridge, Cambridge, UK
| | - Malinda J McPherson
- Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA
- Program in Speech and Hearing Biosciences and Technology, Harvard University, Cambridge, MA, USA
- McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA
| | - Sophie Dolan
- Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA
- Department of Brain and Cognitive Sciences, Wellesley College, Wellesley, MA, USA
| | - Alex Durango
- Department of Brain and Cognitive Sciences, Massachusetts Institute of Technology, Cambridge, MA, USA
- McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA
- Neurosciences Graduate Program, Stanford University, Stanford, CA, USA
| | - Josh H McDermott
- Faculty of Music, University of Cambridge, Cambridge, UK.
- Program in Speech and Hearing Biosciences and Technology, Harvard University, Cambridge, MA, USA.
- McGovern Institute for Brain Research, Massachusetts Institute of Technology, Cambridge, MA, USA.
- Center for Brains, Minds & Machines, Massachusetts Institute of Technology, Cambridge, MA, USA.
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5
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Spake L, Hassan A, Schaffnit SB, Alam N, Amoah AS, Badjie J, Cerami C, Crampin A, Dube A, Kaye MP, Kotch R, Liew F, McLean E, Munthali-Mkandawire S, Mwalwanda L, Petersen AC, Prentice AM, Zohora FT, Watts J, Sear R, Shenk MK, Sosis R, Shaver JH. A practical guide to cross-cultural and multi-sited data collection in the biological and behavioural sciences. Proc Biol Sci 2024; 291:20231422. [PMID: 38654647 PMCID: PMC11040250 DOI: 10.1098/rspb.2023.1422] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/23/2023] [Accepted: 03/21/2024] [Indexed: 04/26/2024] Open
Abstract
Researchers in the biological and behavioural sciences are increasingly conducting collaborative, multi-sited projects to address how phenomena vary across ecologies. These types of projects, however, pose additional workflow challenges beyond those typically encountered in single-sited projects. Through specific attention to cross-cultural research projects, we highlight four key aspects of multi-sited projects that must be considered during the design phase to ensure success: (1) project and team management; (2) protocol and instrument development; (3) data management and documentation; and (4) equitable and collaborative practices. Our recommendations are supported by examples from our experiences collaborating on the Evolutionary Demography of Religion project, a mixed-methods project collecting data across five countries in collaboration with research partners in each host country. To existing discourse, we contribute new recommendations around team and project management, introduce practical recommendations for exploring the validity of instruments through qualitative techniques during piloting, highlight the importance of good documentation at all steps of the project, and demonstrate how data management workflows can be strengthened through open science practices. While this project was rooted in cross-cultural human behavioural ecology and evolutionary anthropology, lessons learned from this project are applicable to multi-sited research across the biological and behavioural sciences.
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Affiliation(s)
- Laure Spake
- Binghamton University (SUNY), Binghamton, NY, USA
| | - Anushé Hassan
- London School of Hygiene and Tropical Medicine, London, UK
| | | | - Nurul Alam
- International Centre for Diarrhoeal Disease Research, Bangladesh (icddr,b), Dhaka, Bangladesh
| | - Abena S. Amoah
- London School of Hygiene and Tropical Medicine, London, UK
- Malawi Epidemiology and Intervention Research Unit, Lilongwe, Malawi
- Leiden University Medical Center, Leiden, The Netherlands
| | - Jainaba Badjie
- Medical Research Council Unit The Gambia at the London School of Hygiene and Tropical Medicine (MRCG@LSHTM), Fajara, The Gambia
| | - Carla Cerami
- London School of Hygiene and Tropical Medicine, London, UK
- Medical Research Council Unit The Gambia at the London School of Hygiene and Tropical Medicine (MRCG@LSHTM), Fajara, The Gambia
| | - Amelia Crampin
- International Centre for Diarrhoeal Disease Research, Bangladesh (icddr,b), Dhaka, Bangladesh
- University of Glasgow, Glasgow, UK
| | - Albert Dube
- Malawi Epidemiology and Intervention Research Unit, Lilongwe, Malawi
| | - Miranda P. Kaye
- Pennsylvania State University, University Park, PA, USA
- University of Chicago, Chicago, IL, USA
| | - Renee Kotch
- Pennsylvania State University, University Park, PA, USA
| | - Frankie Liew
- London School of Hygiene and Tropical Medicine, London, UK
| | - Estelle McLean
- London School of Hygiene and Tropical Medicine, London, UK
- Malawi Epidemiology and Intervention Research Unit, Lilongwe, Malawi
| | | | - Lusako Mwalwanda
- Malawi Epidemiology and Intervention Research Unit, Lilongwe, Malawi
| | | | - Andrew M. Prentice
- London School of Hygiene and Tropical Medicine, London, UK
- Medical Research Council Unit The Gambia at the London School of Hygiene and Tropical Medicine (MRCG@LSHTM), Fajara, The Gambia
| | - Fatema tuz Zohora
- International Centre for Diarrhoeal Disease Research, Bangladesh (icddr,b), Dhaka, Bangladesh
| | - Joseph Watts
- University of Chicago, Chicago, IL, USA
- University of Canterbury, Christchurch, New Zealand
| | - Rebecca Sear
- London School of Hygiene and Tropical Medicine, London, UK
| | - Mary K. Shenk
- Pennsylvania State University, University Park, PA, USA
| | | | - John H. Shaver
- University of Otago, Dunedin, New Zealand
- Baylor University, Waco, TX, USA
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6
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Sabharwal SR, Breaden M, Volpe G, Camurri A, Keller PE. Leadership dynamics in musical groups: Quantifying effects of musical structure on directionality of influence in concert performance videos. PLoS One 2024; 19:e0300663. [PMID: 38568939 PMCID: PMC10990194 DOI: 10.1371/journal.pone.0300663] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/15/2023] [Accepted: 03/01/2024] [Indexed: 04/05/2024] Open
Abstract
Music ensemble performance provides an ecologically valid context for investigating leadership dynamics in small group interactions. Musical texture, specifically the relative salience of simultaneously sounding ensemble parts, is a feature that can potentially alter leadership dynamics by introducing hierarchical relationships between individual parts. The present study extended previous work on quantifying interpersonal coupling in musical ensembles by examining the relationship between musical texture and leader-follower relations, operationalised as directionality of influence between co-performers' body motion in concert video recordings. It was hypothesised that the directionality of influence, indexed by Granger Causality, would be greater for 'homophonic' textures with a clear distinction between melody and accompaniment parts than for 'polyphonic' textures with less distinction between melody and accompaniment. This hypothesis was tested by using pose estimation algorithms to track instrumentalists' body movements in a string quartet and a clarinet quintet, and then applying Granger Causality analysis to their head motion to estimate directional influence between instrumentalist pairs for sections of the pieces that varied in texture. It was found that Granger Causality values were generally higher (indicating greater directionality of influence) for homophonic than polyphonic textures. Furthermore, considering melody and accompaniment instrument roles revealed more evidence for the melody instrument influencing accompanying instruments than vice versa, plus a high degree of directionality among accompanying instruments, in homophonic textures. These observed patterns of directional information flow in co-performer body motion are consistent with changing leader-follower relations depending on hierarchical relations between ensemble parts in terms of the relative salience of melodic material in the musical texture. The finding that automatic pose estimation can detect modulations of leadership dynamics in standard video recordings under naturalistic performance conditions has implications for investigating interpersonal coordination in large-scale music video datasets representing different cultural traditions, and for exploring nonverbal communication in group activities more generally.
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Affiliation(s)
| | - Matthew Breaden
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
| | | | | | - Peter E. Keller
- MARCS Institute for Brain, Behaviour and Development, Western Sydney University, Penrith, Australia
- Center for Music in the Brain, Department of Clinical Medicine, Aarhus University & The Royal Academy of Music Aarhus, Aarhus, Aalborg, Denmark
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7
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De Souza J, Overy K. Embodied playfulness in musical synchrony: Comment on "musical engagement as a duet of tight synchrony and loose interpretability" by Tal-Chen Rabinowitch. Phys Life Rev 2024; 48:167-168. [PMID: 38244477 DOI: 10.1016/j.plrev.2023.11.009] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/13/2023] [Accepted: 11/21/2023] [Indexed: 01/22/2024]
Affiliation(s)
- Jonathan De Souza
- Don Wright Faculty of Music, University of Western Ontario; Brain and Mind Institute, University of Western Ontario
| | - Katie Overy
- Reid School of Music, Edinburgh College of Art, University of Edinburgh; Edinburgh Neuroscience, University of Edinburgh.
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8
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Putkinen V, Zhou X, Gan X, Yang L, Becker B, Sams M, Nummenmaa L. Bodily maps of musical sensations across cultures. Proc Natl Acad Sci U S A 2024; 121:e2308859121. [PMID: 38271338 PMCID: PMC10835118 DOI: 10.1073/pnas.2308859121] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/15/2023] [Accepted: 12/01/2023] [Indexed: 01/27/2024] Open
Abstract
Emotions, bodily sensations and movement are integral parts of musical experiences. Yet, it remains unknown i) whether emotional connotations and structural features of music elicit discrete bodily sensations and ii) whether these sensations are culturally consistent. We addressed these questions in a cross-cultural study with Western (European and North American, n = 903) and East Asian (Chinese, n = 1035). We precented participants with silhouettes of human bodies and asked them to indicate the bodily regions whose activity they felt changing while listening to Western and Asian musical pieces with varying emotional and acoustic qualities. The resulting bodily sensation maps (BSMs) varied as a function of the emotional qualities of the songs, particularly in the limb, chest, and head regions. Music-induced emotions and corresponding BSMs were replicable across Western and East Asian subjects. The BSMs clustered similarly across cultures, and cluster structures were similar for BSMs and self-reports of emotional experience. The acoustic and structural features of music were consistently associated with the emotion ratings and music-induced bodily sensations across cultures. These results highlight the importance of subjective bodily experience in music-induced emotions and demonstrate consistent associations between musical features, music-induced emotions, and bodily sensations across distant cultures.
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Affiliation(s)
- Vesa Putkinen
- Turku PET Centre, University of Turku, Turku 20520, Finland
- Turku Institute for Advanced Studies, Department of Psychology, University of Turku, Turku 20014, Finland
| | - Xinqi Zhou
- Institute of Brain and Psychological Sciences, Sichuan Normal University, Chengdu 610066, China
| | - Xianyang Gan
- The Center of Psychosomatic Medicine, Sichuan Provincial Center for Mental Health, Sichuan Provincial People's Hospital, University of Electronic Science and Technology of China, Chengdu 610072, China
- MOE Key Laboratory for Neuroinformation, School of Life Science and Technology, University of Electronic Science and Technology of China, Chengdu 610054, China
| | - Linyu Yang
- College of Mathematics, Sichuan University, Chengdu 610064, China
| | - Benjamin Becker
- State Key Laboratory of Brain and Cognitive Sciences, The University of Hong Kong, Hong Kong, China
- Department of Psychology, The University of Hong Kong, Hong Kong, China
| | - Mikko Sams
- Department of Neuroscience and Biomedical Engineering, School of Science, Aalto University, Espoo 00076, Finland
| | - Lauri Nummenmaa
- Turku PET Centre, University of Turku, Turku 20520, Finland
- Department of Psychology, University of Turku, Turku 20520, Finland
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9
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Brandt AK. Calls of the wild: Exploring the evolutionary roots of consonance and dissonance: Comment on "Consonance and dissonance perception: A critical review of historical sources, multidisciplinary findings, and main hypotheses" by N. Di Stefano, P. Vuust and E. Brattico. Phys Life Rev 2023; 47:68-70. [PMID: 37734283 DOI: 10.1016/j.plrev.2023.09.005] [Citation(s) in RCA: 1] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/05/2023] [Accepted: 09/07/2023] [Indexed: 09/23/2023]
Affiliation(s)
- Anthony K Brandt
- The Shepherd School of Music, Rice University, United States of America.
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10
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Hake R, Bürgel M, Nguyen NK, Greasley A, Müllensiefen D, Siedenburg K. Development of an adaptive test of musical scene analysis abilities for normal-hearing and hearing-impaired listeners. Behav Res Methods 2023:10.3758/s13428-023-02279-y. [PMID: 37957432 DOI: 10.3758/s13428-023-02279-y] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Accepted: 10/21/2023] [Indexed: 11/15/2023]
Abstract
Auditory scene analysis (ASA) is the process through which the auditory system makes sense of complex acoustic environments by organising sound mixtures into meaningful events and streams. Although music psychology has acknowledged the fundamental role of ASA in shaping music perception, no efficient test to quantify listeners' ASA abilities in realistic musical scenarios has yet been published. This study presents a new tool for testing ASA abilities in the context of music, suitable for both normal-hearing (NH) and hearing-impaired (HI) individuals: the adaptive Musical Scene Analysis (MSA) test. The test uses a simple 'yes-no' task paradigm to determine whether the sound from a single target instrument is heard in a mixture of popular music. During the online calibration phase, 525 NH and 131 HI listeners were recruited. The level ratio between the target instrument and the mixture, choice of target instrument, and number of instruments in the mixture were found to be important factors affecting item difficulty, whereas the influence of the stereo width (induced by inter-aural level differences) only had a minor effect. Based on a Bayesian logistic mixed-effects model, an adaptive version of the MSA test was developed. In a subsequent validation experiment with 74 listeners (20 HI), MSA scores showed acceptable test-retest reliability and moderate correlations with other music-related tests, pure-tone-average audiograms, age, musical sophistication, and working memory capacities. The MSA test is a user-friendly and efficient open-source tool for evaluating musical ASA abilities and is suitable for profiling the effects of hearing impairment on music perception.
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Affiliation(s)
- Robin Hake
- Department of Medical Physics and Acoustics, University of Oldenburg, Oldenburg, Germany.
| | - Michel Bürgel
- Department of Medical Physics and Acoustics, University of Oldenburg, Oldenburg, Germany
| | - Ninh K Nguyen
- Department of Medical Physics and Acoustics, University of Oldenburg, Oldenburg, Germany
| | | | - Daniel Müllensiefen
- Department of Psychology, Goldsmiths, University of London, London, UK
- Hanover Music Lab, Hochschule Für Musik, Theater und Medien, Hannover, Germany
| | - Kai Siedenburg
- Department of Medical Physics and Acoustics, University of Oldenburg, Oldenburg, Germany
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11
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Daikoku H, Shimozono T, Fujii S, Hegde S, Savage PE. Cross-cultural Perception of Musical Similarity Within and Between India and Japan. MUSIC & SCIENCE 2023; 2023:6. [PMID: 38798704 PMCID: PMC7615992 DOI: 10.1177/20592043231207998] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Indexed: 05/29/2024]
Abstract
Cross-cultural perception of musical similarity is important for understanding musical diversity and universality. In this study we analyzed cross-cultural music similarity ratings on a global song sample from 110 participants (62 previously published from Japan, 48 newly collected from musicians and non-musicians from north and south India). Our pre-registered hypothesis that average Indian and Japanese ratings would be correlated was strongly supported (r = .80, p <.001). Exploratory analyses showed that ratings from experts in Hindustani music from the north and Carnatic music from the south showed the lowest correlations (r= .25). These analyses suggest that the correlations we found are likely due more to shared musical exposure than to innate universals of music perception.
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Affiliation(s)
- Hideo Daikoku
- Graduate School of Media and Governance, Keio University, Fujisawa, Japan
| | | | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
| | - Shantala Hegde
- Music Cognition Lab, & Clinical Neuropsychology and Cognitive Neuroscience Center, Department of Clinical Psychology, National Institute of Mental Health and Neurosciences, Bengaluru, India
| | - Patrick E. Savage
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- School of Psychology, University of Auckland, Auckland, New Zealand
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12
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Fram NR. Music in the Middle: A Culture-Cognition-Mediator Model of Musical Functionality. PERSPECTIVES ON PSYCHOLOGICAL SCIENCE 2023; 18:1178-1197. [PMID: 36649305 DOI: 10.1177/17456916221144266] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 01/18/2023]
Abstract
Music is both universal, appearing in every known human culture, and culture-specific, often defying intelligibility across cultural boundaries. This duality has been the source of debate within the broad community of music researchers, and there have been significant disagreements both on the ontology of music as an object of study and the appropriate epistemology for that study. To help resolve this tension, I present a culture-cognition-mediator model that situates music as a mediator in the mutually constitutive cycle of cultures and selves representing the ways individuals both shape and are shaped by their cultural environments. This model draws on concepts of musical grammars and schema, contemporary theories in developmental and cultural psychology that blur the distinction between nature and nurture, and recent advances in cognitive neuroscience. Existing evidence of both directions of causality is presented, providing empirical support for the conceptual model. The epistemological consequences of this model are discussed, specifically with respect to transdisciplinarity, hybrid research methods, and several potential empirical applications and testable predictions as well as its import for broader ontological conversations around the evolutionary origins of music itself.
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Affiliation(s)
- Noah R Fram
- Center for Computer Research in Music and Acoustics, Department of Music, Stanford University
- Department of Otolaryngology, Vanderbilt University Medical Center, Nashville, TN
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13
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Passmore S, Savage PE. The Exceptions and the Rules in Global Musical Diversity. J Cogn 2023; 6:47. [PMID: 37600218 PMCID: PMC10437135 DOI: 10.5334/joc.312] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/29/2022] [Accepted: 07/28/2023] [Indexed: 08/22/2023] Open
Abstract
Global music diversity is a popular topic for both scientific and humanities researchers, but often for different reasons. Scientific research typically focuses on the generalities through measurement and statistics, while humanists typically emphasize exceptions using qualitative approaches. But these two approaches need not be mutually exclusive. Using a quantitative approach to identify musical outliers and a qualitative discussion of the most unusual songs, we can combine scientific and humanities approaches to unite knowledge on musical diversity. Objectively defining unusual music is a delicate task, having historically been subject to Eurocentric approaches. Using the Global Jukebox, a dataset containing almost 6,000 songs from over 1,000 societies coded on 37 "Cantometric" variables of musical style, we designate the unusualness of a song as the frequency of its coded variables relative to their regional frequency. Using quantitative metrics to identify outliers in musical diversity, we present a qualitative discussion of some of the most unusual individual songs (from a Panpipe ensemble from Kursk, Russia), and a comparison of unusual repertoires from Malay, Kel Aïr, and Moroccan Berber musical cultures. We also ask whether unusual music is the result of unusual social organisation or isolation from other groups. There is weak evidence that the unusualness of music is predicted by kinship organisation and cultural isolation, but these predictors are heavily outweighed by the finding that unusual songs are best predicted by knowing the society they come from - evidence that quantitatively supports the existence of musical style.
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Affiliation(s)
- Sam Passmore
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- Evolution of Cultural Diversity Initiative, Australia National University, Australian Capital Territory, Australia
| | - Patrick E. Savage
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
- School of Psychology, University of Auckland, New Zealand
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14
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Tervaniemi M. The neuroscience of music – towards ecological validity. Trends Neurosci 2023; 46:355-364. [PMID: 37012175 DOI: 10.1016/j.tins.2023.03.001] [Citation(s) in RCA: 4] [Impact Index Per Article: 4.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/04/2022] [Revised: 01/28/2023] [Accepted: 03/02/2023] [Indexed: 04/03/2023]
Abstract
Studies in the neuroscience of music gained momentum in the 1990s as an integrated part of the well-controlled experimental research tradition. However, during the past two decades, these studies have moved toward more naturalistic, ecologically valid paradigms. Here, I introduce this move in three frameworks: (i) sound stimulation and empirical paradigms, (ii) study participants, and (iii) methods and contexts of data acquisition. I wish to provide a narrative historical overview of the development of the field and, in parallel, to stimulate innovative thinking to further advance the ecological validity of the studies without overlooking experimental rigor.
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Affiliation(s)
- Mari Tervaniemi
- Centre of Excellence in Music, Mind, Body, and Brain, Faculty of Educational Sciences, University of Helsinki, Helsinki, Finland; Cognitive Brain Research Unit, Department of Psychology and Locopedics, Faculty of Medicine, University of Helsinki, Helsinki, Finland.
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15
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Merseal HM, Beaty RE, Kenett YN, Lloyd-Cox J, de Manzano Ö, Norgaard M. Representing melodic relationships using network science. Cognition 2023; 233:105362. [PMID: 36628852 DOI: 10.1016/j.cognition.2022.105362] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/23/2022] [Revised: 11/13/2022] [Accepted: 12/18/2022] [Indexed: 01/11/2023]
Abstract
Music is a complex system consisting of many dimensions and hierarchically organized information-the organization of which, to date, we do not fully understand. Network science provides a powerful approach to representing such complex systems, from the social networks of people to modelling the underlying network structures of different cognitive mechanisms. In the present research, we explored whether network science methodology can be extended to model the melodic patterns underlying expert improvised music. Using a large corpus of transcribed improvisations, we constructed a network model in which 5-pitch sequences were linked depending on consecutive occurrences, constituting 116,403 nodes (sequences) and 157,429 edges connecting them. We then investigated whether mathematical graph modelling relates to musical characteristics in real-world listening situations via a behavioral experiment paralleling those used to examine language. We found that as melodic distance within the network increased, participants judged melodic sequences as less related. Moreover, the relationship between distance and reaction time (RT) judgements was quadratic: participants slowed in RT up to distance four, then accelerated; a parallel finding to research in language networks. This study offers insights into the hidden network structure of improvised tonal music and suggests that humans are sensitive to the property of melodic distance in this network. More generally, our work demonstrates the similarity between music and language as complex systems, and how network science methods can be used to quantify different aspects of its complexity.
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Affiliation(s)
- Hannah M Merseal
- Department of Psychology, Pennsylvania State University, United States.
| | - Roger E Beaty
- Department of Psychology, Pennsylvania State University, United States
| | - Yoed N Kenett
- Faculty of Data and Decisions Sciences, Technion Institute of Technology, Israel
| | - James Lloyd-Cox
- Department of Cognitive Neuroscience, Goldsmiths, University of London, England, United Kingdom
| | - Örjan de Manzano
- Department of Cognitive Neuropsychology, Max Planck Institute for Empirical Aesthetics, Germany
| | - Martin Norgaard
- Department of Music Education, Georgia State University, United States
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16
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Sauvé SA, Phillips E, Schiefelbein W, Daikoku H, Hegde S, Moore S. Anti-Colonial Strategies in Cross-cultural Music Science Research. MUSIC PERCEPTION 2023; 40:277-292. [PMID: 38798763 PMCID: PMC7615982 DOI: 10.1525/mp.2023.40.4.277] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Subscribe] [Scholar Register] [Indexed: 05/29/2024]
Abstract
THIS PAPER PRESENTS A CRITICAL ANALYSIS OF ethical and methodological issues within cross-cultural music science research, including issues around community based research, participation, and data sovereignty. Although such issues have long been discussed in social science fields including anthropology and ethnomusicology, psychology and music cognition are only beginning to take them into serious consideration. This paper aims to fill that gap in the literature, and draw attention to the necessity of critically considering how implicit cultural biases and pure positivist approaches can mar scientific investigations of music, especially in a cross-cultural context. We focus initially on two previous papers (Jacoby et al., 2020; Savage et al., 2021) before broadening our discussion to critique and provide alternatives to scientific approaches that support assimilation, extractvism, and universalism. We then discuss methodological considerations around cross-cultural research ethics, data ownership, and open science and reproducibility. Throughout our critique, we offer many personal recommendations to cross-cultural music researchers, and suggest a few larger systemic changes.
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Affiliation(s)
- Sarah A Sauvé
- University of Lincoln, Lincoln, United Kingdom & Memorial University of Newfoundland, St. John's, Canada
| | | | | | | | - Shantala Hegde
- National Institute of Mental Health and Neurosciences, Bengaluru, India
| | - Sylvia Moore
- Memorial University of Newfoundland, St. John's, Canada
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17
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Gordon RL, Martschenko DO, Nayak S, Niarchou M, Morrison MD, Bell E, Jacoby N, Davis LK. Confronting ethical and social issues related to the genetics of musicality. Ann N Y Acad Sci 2023; 1522:5-14. [PMID: 36851882 PMCID: PMC10613828 DOI: 10.1111/nyas.14972] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 03/01/2023]
Abstract
New interdisciplinary research into genetic influences on musicality raises a number of ethical and social issues for future avenues of research and public engagement. The historical intersection of music cognition and eugenics heightens the need to vigilantly weigh the potential risks and benefits of these studies and the use of their outcomes. Here, we bring together diverse disciplinary expertise (complex trait genetics, music cognition, musicology, bioethics, developmental psychology, and neuroscience) to interpret and guide the ethical use of findings from recent and future studies. We discuss a framework for incorporating principles of ethically and socially responsible conduct of musicality genetics research into each stage of the research lifecycle: study design, study implementation, potential applications, and communication.
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Affiliation(s)
- Reyna L. Gordon
- Department of Otolaryngology- Head & Neck Surgery, Vanderbilt University Medical Center, TN, USA
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
| | | | - Srishti Nayak
- Department of Otolaryngology- Head & Neck Surgery, Vanderbilt University Medical Center, TN, USA
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
| | - Maria Niarchou
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
- Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, TN, USA
| | - Matthew D. Morrison
- Clive Davis Institute of Recorded Music, Tisch School of the Arts, New York University, New York, NY, USA
| | - Eamonn Bell
- Department of Music/Graduate School of Arts and Sciences, Columbia University, New York, NY, USA
- Department of Computer Science, Durham University, Durham, United Kingdom
| | - Nori Jacoby
- Computational Auditory Perception Research Group, Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany
| | - Lea K. Davis
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, TN, USA
- Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, TN, USA
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18
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Modeling enculturated bias in entrainment to rhythmic patterns. PLoS Comput Biol 2022; 18:e1010579. [PMID: 36174063 PMCID: PMC9553061 DOI: 10.1371/journal.pcbi.1010579] [Citation(s) in RCA: 4] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/17/2021] [Revised: 10/11/2022] [Accepted: 09/16/2022] [Indexed: 11/19/2022] Open
Abstract
Long-term and culture-specific experience of music shapes rhythm perception, leading to enculturated expectations that make certain rhythms easier to track and more conducive to synchronized movement. However, the influence of enculturated bias on the moment-to-moment dynamics of rhythm tracking is not well understood. Recent modeling work has formulated entrainment to rhythms as a formal inference problem, where phase is continuously estimated based on precise event times and their correspondence to timing expectations: PIPPET (Phase Inference from Point Process Event Timing). Here we propose that the problem of optimally tracking a rhythm also requires an ongoing process of inferring which pattern of event timing expectations is most suitable to predict a stimulus rhythm. We formalize this insight as an extension of PIPPET called pPIPPET (PIPPET with pattern inference). The variational solution to this problem introduces terms representing the likelihood that a stimulus is based on a particular member of a set of event timing patterns, which we initialize according to culturally-learned prior expectations of a listener. We evaluate pPIPPET in three experiments. First, we demonstrate that pPIPPET can qualitatively reproduce enculturated bias observed in human tapping data for simple two-interval rhythms. Second, we simulate categorization of a continuous three-interval rhythm space by Western-trained musicians through derivation of a comprehensive set of priors for pPIPPET from metrical patterns in a sample of Western rhythms. Third, we simulate iterated reproduction of three-interval rhythms, and show that models configured with notated rhythms from different cultures exhibit both universal and enculturated biases as observed experimentally in listeners from those cultures. These results suggest the influence of enculturated timing expectations on human perceptual and motor entrainment can be understood as approximating optimal inference about the rhythmic stimulus, with respect to prototypical patterns in an empirical sample of rhythms that represent the music-cultural environment of the listener. Cross-cultural studies have highlighted that listeners from non-Western cultures can precisely tap along with complex rhythms present in music from their culture that are challenging for participants from Western cultures. Therefore, while most adults can synchronize movements with simple periodic patterns (e.g. a ticking clock, a metronome), the ability to precisely track more complex rhythmic patterns depends on musical experience. Many computer models have been developed to describe the remarkable precision of human “entrainment”, but they have done little to explain how this ability depends on cultural musical experience. Here, we describe this as the problem of estimating the phase of a cycle underlying an auditory rhythm in real time, by drawing upon learned patterns (reference structures) that could plausibly describe the structure of observed events. By creating a model that solves this inference problem, and configuring these patterns to reflect specific musical features, we are able to simulate cultural variation in synchronization to rhythm. These results highlight that while humans universally move to musical rhythm, the ability to do so depends on musical experience within a cultural tradition, as reflected by the distinct “categories” of rhythm learned during such experience.
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19
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Gómez-Cañón JS, Gutiérrez-Páez N, Porcaro L, Porter A, Cano E, Herrera-Boyer P, Gkiokas A, Santos P, Hernández-Leo D, Karreman C, Gómez E. TROMPA-MER: an open dataset for personalized music emotion recognition. J Intell Inf Syst 2022. [DOI: 10.1007/s10844-022-00746-0] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 10/14/2022]
Abstract
AbstractWe present a platform and a dataset to help research on Music Emotion Recognition (MER). We developed the Music Enthusiasts platform aiming to improve the gathering and analysis of the so-called “ground truth” needed as input to MER systems. Firstly, our platform involves engaging participants using citizen science strategies and generate music emotion annotations – the platform presents didactic information and musical recommendations as incentivization, and collects data regarding demographics, mood, and language from each participant. Participants annotated each music excerpt with single free-text emotion words (in native language), distinct forced-choice emotion categories, preference, and familiarity. Additionally, participants stated the reasons for each annotation – including those distinctive of emotion perception and emotion induction. Secondly, our dataset was created for personalized MER and contains information from 181 participants, 4721 annotations, and 1161 music excerpts. To showcase the use of the dataset, we present a methodology for personalization of MER models based on active learning. The experiments show evidence that using the judgment of the crowd as prior knowledge for active learning allows for more effective personalization of MER systems for this particular dataset. Our dataset is publicly available and we invite researchers to use it for testing MER systems.
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20
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Savage PE, Fujii S. Towards a cross-cultural framework for predictive coding of music. Nat Rev Neurosci 2022; 23:641. [PMID: 35995944 DOI: 10.1038/s41583-022-00622-4] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 01/21/2023]
Affiliation(s)
- Patrick E Savage
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan.
| | - Shinya Fujii
- Faculty of Environment and Information Studies, Keio University, Fujisawa, Japan
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21
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Xu Y, Shen R. Aesthetic evaluation of Chinese calligraphy: a cross-cultural comparative study. CURRENT PSYCHOLOGY 2022. [DOI: 10.1007/s12144-022-03390-7] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/03/2022]
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22
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Cai F. The Application of the Gestalt Theory in Music Psychotherapy for Piano. Occup Ther Int 2022; 2022:2119111. [PMID: 35711610 PMCID: PMC9187491 DOI: 10.1155/2022/2119111] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/07/2022] [Revised: 05/10/2022] [Accepted: 05/12/2022] [Indexed: 11/21/2022] Open
Abstract
This paper presents an in-depth study and analysis of the application of the Gestalt theory to music psychotherapy for piano. The paper focuses on how to apply the "whole and part" and "epiphany" perspectives of the Gestalt learning theory to singing and music appreciation lessons. In addition, the Gestalt school's ideas of developing creative thinking, creating problematic situations, and transferring learning were demonstrated through the implementation of teaching cases. There are differences in the effects of different music on the distribution of body surface temperature; there are differences in the effects of yang music on the Directing Vessel compared to the effects of yin music on the Directing Vessel, and the effects are following the hierarchical model of thinking; there are individual differences in the magnitude of the effects of the same music on the body surface temperature of different people, and the identification of music needs to be combined with the three factors. The wavelet energy entropy (WEE) characteristics of EEG signals were extracted as the input of the designed and optimized deep belief network model, and the average emotional classification accuracy of EEG signals in the left and right brain regions could be obtained as 84.20% and 83.07%, respectively, under the condition of distinguishing brain regions and different music environments. Compared with the classification accuracies of DBN, restricted Boltzmann machine (RBM), and K nearest neighbor (kNN) algorithms in mixed music environments, the classification effects were improved by about 3.49%, 12.89%, and 7.24%. Relying on the ability-poor theory and Weiner attribution theory, different types of secondary school students, their psychological characteristics, and their causes were pointed out. Combined with the psychological characteristics, the case study illustrates the positive effect of music therapy on psychological support.
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Affiliation(s)
- Fukun Cai
- School of Music, Jingzhong University, Jinzhong, 030619 Shanxi, China
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23
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Bonomo ME, Brandt AK, Frazier JT, Karmonik C. Music to My Ears : Neural modularity and flexibility differ in response to real-world music stimuli. IBRO Neurosci Rep 2022; 12:98-107. [PMID: 35106517 PMCID: PMC8784322 DOI: 10.1016/j.ibneur.2021.12.007] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/18/2021] [Accepted: 12/28/2021] [Indexed: 10/30/2022] Open
Abstract
Music listening involves many simultaneous neural operations, including auditory processing, working memory, temporal sequencing, pitch tracking, anticipation, reward, and emotion, and thus, a full investigation of music cognition would benefit from whole-brain analyses. Here, we quantify whole-brain activity while participants listen to a variety of music and speech auditory pieces using two network measures that are grounded in complex systems theory: modularity, which measures the degree to which brain regions are interacting in communities, and flexibility, which measures the rate that brain regions switch the communities to which they belong. In a music and brain connectivity study that is part of a larger clinical investigation into music listening and stroke recovery at Houston Methodist Hospital's Center for Performing Arts Medicine, functional magnetic resonance imaging (fMRI) was performed on healthy participants while they listened to self-selected music to which they felt a positive emotional attachment, as well as culturally familiar music (J.S. Bach), culturally unfamiliar music (Gagaku court music of medieval Japan), and several excerpts of speech. There was a marked contrast among the whole-brain networks during the different types of auditory pieces, in particular for the unfamiliar music. During the self-selected and Bach tracks, participants' whole-brain networks exhibited modular organization that was significantly coordinated with the network flexibility. Meanwhile, when the Gagaku music was played, this relationship between brain network modularity and flexibility largely disappeared. In addition, while the auditory cortex's flexibility during the self-selected piece was equivalent to that during Bach, it was more flexible during Gagaku. The results suggest that the modularity and flexibility measures of whole-brain activity have the potential to lead to new insights into the complex neural function that occurs during music perception of real-world songs.
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Affiliation(s)
- Melia E. Bonomo
- Department of Physics and Astronomy, Rice University, Houston, TX, USA
- Center for Theoretical Biological Physics, Rice University, Houston, TX, USA
| | | | - J. Todd Frazier
- Center for Performing Arts Medicine, Houston Methodist Hospital, Houston, TX, USA
| | - Christof Karmonik
- Center for Performing Arts Medicine, Houston Methodist Hospital, Houston, TX, USA
- MRI Core, Houston Methodist Research Institute, Houston, TX, USA
- Department of Radiology, Weill Cornell Medical College, New York, NY, USA
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24
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López-Íñiguez G, McPherson GE, Zarza Alzugaray FJ, Angel-Alvarado R. Effects of Passion, Experience, and Cultural Politics on Classical Musicians' Practice During the COVID-19 Pandemic. Front Psychol 2022; 13:888678. [PMID: 35592151 PMCID: PMC9111886 DOI: 10.3389/fpsyg.2022.888678] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/03/2022] [Accepted: 03/28/2022] [Indexed: 01/05/2023] Open
Abstract
The widespread cancelation of cultural events during the early 2020 stages of the COVID-19 pandemic led professional performing musicians across the world to experience an increasing economic fragility that threatened their health and wellbeing. Within this “new normal,” developing countries have been at a higher risk due to their vulnerable health systems and cultural policies. Even in such difficult times, the music profession requires musicians to keep up their practicing routines, even if they have no professional commitments. This is because high level technical and expressive skills are crucial to sustaining a music career at a high performance level. However, it could be expected that not all musicians might have had the same engagement with music practice during lockdowns. In this study, we studied the experiences of 309 professional classical musicians based in European and Latin American countries with different levels of performing experience to examine their passionate (or lack thereof) engagement with music practice. Through the mixed methods combination of multigroup invariance and narrative analyses, we identified distinct profiles of musicians who displayed more harmonious or more obsessive passion orientations before and at the peak of the pandemic. We observed that musicians with higher levels of harmonious passion in particular were more capable of sustaining their practice at the peak of the pandemic and that these musicians were mostly located in Latin America—a paradox, considering that cultural politics supporting the careers of professional performing musicians and entrepreneurial education in Latin America are lacking to a great extent, especially in comparison with the European context. We explain this in terms of the “forced” self-management embraced by musicians in Latin American countries who want to engage with music practice both before and during the COVID-19 pandemic even if the music profession does not generate enough revenue for them.
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Affiliation(s)
| | - Gary E McPherson
- Melbourne Conservatorium of Music, University of Melbourne, Parkville, VIC, Australia
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25
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Wojcik EH, Lassman DJ, Vuvan DT. Using a Developmental-Ecological Approach to Understand the Relation Between Language and Music. Front Psychol 2022; 13:762018. [PMID: 35250709 PMCID: PMC8896854 DOI: 10.3389/fpsyg.2022.762018] [Citation(s) in RCA: 1] [Impact Index Per Article: 0.5] [Reference Citation Analysis] [Abstract] [Grants] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/20/2021] [Accepted: 01/31/2022] [Indexed: 11/13/2022] Open
Abstract
Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of the lab to understand what children are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can not only inform developmental theories of language-music learning, but also address challenges inherent to neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input.
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26
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Margulis EH, Wong PCM, Turnbull C, Kubit BM, McAuley JD. Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity. Proc Natl Acad Sci U S A 2022; 119:e2110406119. [PMID: 35064081 PMCID: PMC8795501 DOI: 10.1073/pnas.2110406119] [Citation(s) in RCA: 10] [Impact Index Per Article: 5.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/04/2021] [Accepted: 12/13/2021] [Indexed: 11/18/2022] Open
Abstract
The scientific literature sometimes considers music an abstract stimulus, devoid of explicit meaning, and at other times considers it a universal language. Here, individuals in three geographically distinct locations spanning two cultures performed a highly unconstrained task: they provided free-response descriptions of stories they imagined while listening to instrumental music. Tools from natural language processing revealed that listeners provide highly similar stories to the same musical excerpts when they share an underlying culture, but when they do not, the generated stories show limited overlap. These results paint a more complex picture of music's power: music can generate remarkably similar stories in listeners' minds, but the degree to which these imagined narratives are shared depends on the degree to which culture is shared across listeners. Thus, music is neither an abstract stimulus nor a universal language but has semantic affordances shaped by culture, requiring more sustained attention from psychology.
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Affiliation(s)
| | - Patrick C M Wong
- Department of Linguistics and Modern Languages, Chinese University of Hong Kong, Hong Kong SAR, China
| | - Cara Turnbull
- Department of Music, Princeton University, Princeton, NJ 08544
| | - Benjamin M Kubit
- Department of Psychology, Princeton University, Princeton, NJ 08544
| | - J Devin McAuley
- Department of Psychology, Michigan State University, East Lansing, MI 48824
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27
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Parada-Cabaleiro E, Batliner A, Schedl M. An Exploratory Study on the Acoustic Musical Properties to Decrease Self-Perceived Anxiety. INTERNATIONAL JOURNAL OF ENVIRONMENTAL RESEARCH AND PUBLIC HEALTH 2022; 19:994. [PMID: 35055816 PMCID: PMC8775969 DOI: 10.3390/ijerph19020994] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.5] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Subscribe] [Scholar Register] [Received: 12/06/2021] [Revised: 01/04/2022] [Accepted: 01/12/2022] [Indexed: 12/29/2022]
Abstract
Musical listening is broadly used as an inexpensive and safe method to reduce self-perceived anxiety. This strategy is based on the emotivist assumption claiming that emotions are not only recognised in music but induced by it. Yet, the acoustic properties of musical work capable of reducing anxiety are still under-researched. To fill this gap, we explore whether the acoustic parameters relevant in music emotion recognition are also suitable to identify music with relaxing properties. As an anxiety indicator, the positive statements from the six-item Spielberger State-Trait Anxiety Inventory, a self-reported score from 3 to 12, are taken. A user-study with 50 participants assessing the relaxing potential of four musical pieces was conducted; subsequently, the acoustic parameters were evaluated. Our study shows that when using classical Western music to reduce self-perceived anxiety, tonal music should be considered. In addition, it also indicates that harmonicity is a suitable indicator of relaxing music, while the role of scoring and dynamics in reducing non-pathological listener distress should be further investigated.
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Affiliation(s)
- Emilia Parada-Cabaleiro
- Multimedia Mining and Search Group, Institute of Computational Perception, Johannes Kepler University Linz (JKU), 4040 Linz, Austria;
- Human-Centered AI Group, AI Laboratory, Linz Institute of Technology (LIT), 4040 Linz, Austria
| | - Anton Batliner
- Embedded Intelligence for Health Care and Wellbeing, University of Augsburg, 86159 Augsburg, Germany;
| | - Markus Schedl
- Multimedia Mining and Search Group, Institute of Computational Perception, Johannes Kepler University Linz (JKU), 4040 Linz, Austria;
- Human-Centered AI Group, AI Laboratory, Linz Institute of Technology (LIT), 4040 Linz, Austria
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28
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Bryant GA. Vocal communication across cultures: theoretical and methodological issues. Philos Trans R Soc Lond B Biol Sci 2022; 377:20200387. [PMID: 34775828 PMCID: PMC8591381 DOI: 10.1098/rstb.2020.0387] [Citation(s) in RCA: 2] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/02/2021] [Accepted: 08/03/2021] [Indexed: 11/12/2022] Open
Abstract
The study of human vocal communication has been conducted primarily in Western, educated, industrialized, rich, democratic (WEIRD) societies. Recently, cross-cultural investigations in several domains of voice research have been expanding into more diverse populations. Theoretically, it is important to understand how universals and cultural variations interact in vocal production and perception, but cross-cultural voice research presents many methodological challenges. Experimental methods typically used in WEIRD societies are often not possible to implement in many populations such as rural, small-scale societies. Moreover, theoretical and methodological issues are often unnecessarily intertwined. Here, I focus on three areas of cross-cultural voice modulation research: (i) vocal signalling of formidability and dominance, (ii) vocal emotions, and (iii) production and perception of infant-directed speech. Research in these specific areas illustrates challenges that apply more generally across the human behavioural sciences but also reveals promise as we develop our understanding of the evolution of human communication. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact (Part II)'.
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Affiliation(s)
- Gregory A. Bryant
- Department of Communication, Center for Behavior, Evolution, and Culture, University of California, Los Angeles, 2225 Rolfe Hall, Los Angeles, CA 90095-1563, USA
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29
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Niarchou M, Gustavson DE, Sathirapongsasuti JF, Anglada-Tort M, Eising E, Bell E, McArthur E, Straub P, McAuley JD, Capra JA, Ullén F, Creanza N, Mosing MA, Hinds DA, Davis LK, Jacoby N, Gordon RL. Genome-wide association study of musical beat synchronization demonstrates high polygenicity. Nat Hum Behav 2022; 6:1292-1309. [PMID: 35710621 PMCID: PMC9489530 DOI: 10.1038/s41562-022-01359-x] [Citation(s) in RCA: 24] [Impact Index Per Article: 12.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/09/2021] [Accepted: 04/21/2022] [Indexed: 02/02/2023]
Abstract
Moving in synchrony to the beat is a fundamental component of musicality. Here we conducted a genome-wide association study to identify common genetic variants associated with beat synchronization in 606,825 individuals. Beat synchronization exhibited a highly polygenic architecture, with 69 loci reaching genome-wide significance (P < 5 × 10-8) and single-nucleotide-polymorphism-based heritability (on the liability scale) of 13%-16%. Heritability was enriched for genes expressed in brain tissues and for fetal and adult brain-specific gene regulatory elements, underscoring the role of central-nervous-system-expressed genes linked to the genetic basis of the trait. We performed validations of the self-report phenotype (through separate experiments) and of the genome-wide association study (polygenic scores for beat synchronization were associated with patients algorithmically classified as musicians in medical records of a separate biobank). Genetic correlations with breathing function, motor function, processing speed and chronotype suggest shared genetic architecture with beat synchronization and provide avenues for new phenotypic and genetic explorations.
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Affiliation(s)
- Maria Niarchou
- Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN, USA. .,Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, Nashville, TN, USA.
| | - Daniel E. Gustavson
- grid.412807.80000 0004 1936 9916Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN USA ,grid.412807.80000 0004 1936 9916Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, Nashville, TN USA
| | | | - Manuel Anglada-Tort
- grid.461782.e0000 0004 1795 8610Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Else Eising
- grid.419550.c0000 0004 0501 3839Department of Language and Genetics, Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
| | - Eamonn Bell
- grid.21729.3f0000000419368729Department of Music, Columbia University, New York, NY USA ,grid.8250.f0000 0000 8700 0572Department of Computer Science, Durham University, Durham, UK
| | - Evonne McArthur
- grid.412807.80000 0004 1936 9916Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN USA
| | - Peter Straub
- grid.412807.80000 0004 1936 9916Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN USA
| | | | - J. Devin McAuley
- grid.17088.360000 0001 2150 1785Department of Psychology, Michigan State University, East Lansing, MI USA
| | - John A. Capra
- grid.266102.10000 0001 2297 6811Bakar Computational Health Sciences Institute, University of California, San Francisco, CA USA ,grid.266102.10000 0001 2297 6811Department of Epidemiology & Biostatistics, University of California, San Francisco, CA USA
| | - Fredrik Ullén
- grid.465198.7Department of Neuroscience, Karolinska Institutet, Solna, Sweden ,grid.461782.e0000 0004 1795 8610Department of Cognitive Neuropsychology, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Nicole Creanza
- grid.152326.10000 0001 2264 7217Department of Biological Sciences, Vanderbilt University, Nashville, TN USA ,grid.152326.10000 0001 2264 7217Evolutionary Studies Initiative, Vanderbilt University, Nashville, TN USA
| | - Miriam A. Mosing
- grid.465198.7Department of Neuroscience, Karolinska Institutet, Solna, Sweden ,grid.461782.e0000 0004 1795 8610Department of Cognitive Neuropsychology, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany ,grid.1008.90000 0001 2179 088XMelbourne School of Psychological Sciences, University of Melbourne, Melbourne, Victoria Australia
| | - David A. Hinds
- grid.420283.f0000 0004 0626 085823andMe, Inc, Sunnyvale, CA USA
| | - Lea K. Davis
- grid.412807.80000 0004 1936 9916Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN USA ,grid.412807.80000 0004 1936 9916Division of Genetic Medicine, Department of Medicine, Vanderbilt University Medical Center, Nashville, TN USA ,grid.412807.80000 0004 1936 9916Department of Biomedical Informatics, Vanderbilt University Medical Center, Nashville, TN USA ,grid.412807.80000 0004 1936 9916Department of Psychiatry and Behavioral Sciences, Vanderbilt University Medical Center, Nashville, TN USA ,grid.152326.10000 0001 2264 7217Department of Molecular Physiology and Biophysics, Vanderbilt University, Nashville, TN USA
| | - Nori Jacoby
- grid.461782.e0000 0004 1795 8610Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany
| | - Reyna L. Gordon
- grid.412807.80000 0004 1936 9916Vanderbilt Genetics Institute, Vanderbilt University Medical Center, Nashville, TN USA ,grid.412807.80000 0004 1936 9916Department of Otolaryngology—Head & Neck Surgery, Vanderbilt University Medical Center, Nashville, TN USA ,grid.152326.10000 0001 2264 7217Department of Psychology, Vanderbilt University, Nashville, TN USA ,grid.152326.10000 0001 2264 7217Vanderbilt Brain Institute, Vanderbilt University, Nashville, TN USA
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30
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Schruth DM, Templeton CN, Holman DJ. On reappearance and complexity in musical calling. PLoS One 2021; 16:e0218006. [PMID: 34919558 PMCID: PMC8683036 DOI: 10.1371/journal.pone.0218006] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 05/19/2019] [Accepted: 10/30/2021] [Indexed: 12/03/2022] Open
Abstract
Music is especially valued in human societies, but music-like behavior in the form of song also occurs in a variety of other animal groups including primates. The calling of our primate ancestors may well have evolved into the music of modern humans via multiple selective scenarios. But efforts to uncover these influences have been hindered by the challenge of precisely defining musical behavior in a way that could be more generally applied across species. We propose an acoustic focused reconsideration of "musicality" that could help enable independent inquiry into potential ecological pressures on the evolutionary emergence of such behavior. Using published spectrographic images (n = 832 vocalizations) from the primate vocalization literature, we developed a quantitative formulation that could be used to help recognize signatures of human-like musicality in the acoustic displays of other species. We visually scored each spectrogram along six structural features from human music-tone, interval, transposition, repetition, rhythm, and syllabic variation-and reduced this multivariate assessment into a concise measure of musical patterning, as informed by principal components analysis. The resulting acoustic reappearance diversity index (ARDI) estimates the number of different reappearing syllables within a call type. ARDI is in concordance with traditional measures of bird song complexity yet more readily identifies shorter, more subtly melodic primate vocalizations. We demonstrate the potential utility of this index by using it to corroborate several origins scenarios. When comparing ARDI scores with ecological features, our data suggest that vocalizations with diversely reappearing elements have a pronounced association with both social and environmental factors. Musical calls were moderately associated with wooded habitats and arboreal foraging, providing partial support for the acoustic adaptation hypothesis. But musical calling was most strongly associated with social monogamy, suggestive of selection for constituents of small family-sized groups by neighboring conspecifics. In sum, ARDI helps construe musical behavior along a continuum, accommodates non-human musicality, and enables gradualistic co-evolutionary paths between primate taxa-ranging from the more inhibited locational calls of archaic primates to the more exhibitional displays of modern apes.
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Affiliation(s)
- David M. Schruth
- Department of Anthropology, University of Washington, Seattle, Washington, United States of America
| | | | - Darryl J. Holman
- Department of Anthropology, University of Washington, Seattle, Washington, United States of America
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Abstract
Abstract. This brief statement revisits some earlier observations on what makes web-based experiments, and especially citizen science using engaging games, an attractive alternative to laboratory-based setups. It suggests web-based experimenting to be a full-grown alternative to traditional laboratory-based experiments, especially in the field of music cognition, where sampling bias is a common problem and large amounts of empirical data are needed to characterize individual variability.
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Affiliation(s)
- Henkjan Honing
- Music Cognition Group, Institute for Logic, Language and Computation, University of Amsterdam, The Netherlands
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Abstract
We discuss approaches to the study of the evolution of music (sect. R1); challenges to each of the two theories of the origins of music presented in the companion target articles (sect. R2); future directions for testing them (sect. R3); and priorities for better understanding the nature of music (sect. R4).
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Affiliation(s)
- Samuel A Mehr
- Department of Psychology, Harvard University, Cambridge, MA02138, , https://, https://projects.iq.harvard.edu/epl
- Data Science Initiative, Harvard University, Cambridge, MA02138
- School of Psychology, Victoria University of Wellington, Wellington6012, New Zealand
| | - Max M Krasnow
- Department of Psychology, Harvard University, Cambridge, MA02138, , https://, https://projects.iq.harvard.edu/epl
| | - Gregory A Bryant
- Department of Communication, University of California Los Angeles, Los Angeles, CA90095, , http://gabryant.bol.ucla.edu
- Center for Behavior, Evolution, and Culture, University of California Los Angeles, Los Angeles, CA90095, USA
| | - Edward H Hagen
- Department of Anthropology, Washington State University, Vancouver, WA98686, USA. , https://anthro.vancouver.wsu.edu/people/hagen
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Pluralism provides the best chance for addressing big questions about music. Behav Brain Sci 2021; 44:e82. [PMID: 34588014 DOI: 10.1017/s0140525x20000965] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/06/2022]
Abstract
Studying a complex cultural phenomenon like music requires many kinds of expertise. Savage et al. adopt a pluralistic approach, considering multiple forms of evidence and perspectives from multiple fields. This commentary argues that a similar scholarly ecumenicism should be embraced by more studies of music and other cultural phenomena.
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Navarro L, Martinón-Torres F, Salas A. Sensogenomics and the Biological Background Underlying Musical Stimuli: Perspectives for a New Era of Musical Research. Genes (Basel) 2021; 12:1454. [PMID: 34573436 PMCID: PMC8472585 DOI: 10.3390/genes12091454] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/31/2021] [Revised: 09/01/2021] [Accepted: 09/13/2021] [Indexed: 01/03/2023] Open
Abstract
What is the actual impact of music on the human being and the scope for scientific research in this realm? Compared to other areas, the study of the relationship between music and human biology has received limited attention. At the same time, evidence of music's value in clinical science, neuroscience, and social science keeps increasing. This review article synthesizes the existing knowledge of genetics related to music. While the success of genomics has been demonstrated in medical research, with thousands of genes that cause inherited diseases or a predisposition to multifactorial disorders identified, much less attention has been paid to other human traits. We argue for the development of a new discipline, sensogenomics, aimed at investigating the impact of the sensorial input on gene expression and taking advantage of new, discovery-based 'omic' approaches that allow for the exploration of the whole transcriptome of individuals under controlled experiments and circumstances.
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Affiliation(s)
- Laura Navarro
- Unidade de Xenética, Instituto de Ciencias Forenses (INCIFOR), Facultade de Medicina, Universidade de Santiago de Compostela, Galicia, 15706 Santiago de Compostela, Spain;
- GenPoB Research Group, Instituto de Investigación Sanitaria (IDIS), Hospital Clínico Universitario de San-tiago (SERGAS), Galicia, 15706 Santiago de Compostela, Spain
- Genetics, Vaccines and Pediatric Infectious Diseases Research Group (GENVIP), Instituto de Investigación Sanitaria de Santiago (IDIS), Universidad de Santiago de Compostela (USC), Galicia, 15706 Santiago de Compostela, Spain;
| | - Federico Martinón-Torres
- Genetics, Vaccines and Pediatric Infectious Diseases Research Group (GENVIP), Instituto de Investigación Sanitaria de Santiago (IDIS), Universidad de Santiago de Compostela (USC), Galicia, 15706 Santiago de Compostela, Spain;
- Translational Pediatrics and Infectious Diseases, Department of Pediatrics, Hospital Clínico Universitario de Santiago de Compostela (SERGAS), Galicia, 15706 Santiago de Compostela, Spain
| | - Antonio Salas
- Unidade de Xenética, Instituto de Ciencias Forenses (INCIFOR), Facultade de Medicina, Universidade de Santiago de Compostela, Galicia, 15706 Santiago de Compostela, Spain;
- GenPoB Research Group, Instituto de Investigación Sanitaria (IDIS), Hospital Clínico Universitario de San-tiago (SERGAS), Galicia, 15706 Santiago de Compostela, Spain
- Genetics, Vaccines and Pediatric Infectious Diseases Research Group (GENVIP), Instituto de Investigación Sanitaria de Santiago (IDIS), Universidad de Santiago de Compostela (USC), Galicia, 15706 Santiago de Compostela, Spain;
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35
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Verhoef T, Ravignani A. Melodic Universals Emerge or Are Sustained Through Cultural Evolution. Front Psychol 2021; 12:668300. [PMID: 34408694 PMCID: PMC8365168 DOI: 10.3389/fpsyg.2021.668300] [Citation(s) in RCA: 8] [Impact Index Per Article: 2.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/16/2021] [Accepted: 07/05/2021] [Indexed: 11/13/2022] Open
Abstract
To understand why music is structured the way it is, we need an explanation that accounts for both the universality and variability found in musical traditions. Here we test whether statistical universals that have been identified for melodic structures in music can emerge as a result of cultural adaptation to human biases through iterated learning. We use data from an experiment in which artificial whistled systems, where sounds produced with a slide whistle were learned by human participants and transmitted multiple times from person to person. These sets of whistled signals needed to be memorised and recalled and the reproductions of one participant were used as the input set for the next. We tested for the emergence of seven different melodic features, such as discrete pitches, motivic patterns, or phrase repetition, and found some evidence for the presence of most of these statistical universals. We interpret this as promising evidence that, similarly to rhythmic universals, iterated learning experiments can also unearth melodic statistical universals. More, ideally cross-cultural, experiments are nonetheless needed. Simulating the cultural transmission of artificial proto-musical systems can help unravel the origins of universal tendencies in musical structures.
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Affiliation(s)
- Tessa Verhoef
- Creative Intelligence Lab, Leiden Institute for Advanced Computer Science, Leiden University, Leiden, Netherlands
| | - Andrea Ravignani
- Comparative Bioacoustics Group, Max Planck Institute for Psycholinguistics, Nijmegen, Netherlands
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Fraser T, Crooke AHD, Davidson JW. "Music Has No Borders": An Exploratory Study of Audience Engagement With YouTube Music Broadcasts During COVID-19 Lockdown, 2020. Front Psychol 2021; 12:643893. [PMID: 34305714 PMCID: PMC8295728 DOI: 10.3389/fpsyg.2021.643893] [Citation(s) in RCA: 3] [Impact Index Per Article: 1.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/19/2020] [Accepted: 06/11/2021] [Indexed: 11/13/2022] Open
Abstract
This exploratory study engages with eight case studies of music performances broadcast online to investigate the role of music in facilitating social cohesion, intercultural understanding and community resilience during a time of social distancing and concomitant heightened racial tensions. Using an online ethnographic approach and thematic analysis of video comments, the nature of audience engagement with music performances broadcast via YouTube during COVID-19 lockdown of 2020 is explored through the lens of ritual engagement with media events and models of social capital. The eight case studies featured virtual choirs, orchestras and music collaborations of various genres, including classical, pop and fusion styles drawing from European, Asia Minor, South African, West African, North African, Arabic, South Asian, and East Asian cultural origins. Five overarching themes resulted from thematic analysis of video comments, including Interaction, Unity, Resilience, Identity, and Emotion. The paper contributes important theorisation that ritual engagement and social learning fosters intercultural understanding through engaging with music both cognitively and emotionally, which can in turn shape both individual and collective identity. Online platforms provide scope for both bonding and bridging opportunities. Community resilience is supported through the sharing of knowledge, sustaining music practice during social distancing, as well as emotional support shared among audience participants, with potential wellbeing outcomes.
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Affiliation(s)
- Trisnasari Fraser
- Faculty of Fine Arts and Music, The University of Melbourne, Melbourne, VIC, Australia
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Lahdelma I, Athanasopoulos G, Eerola T. Sweetness is in the ear of the beholder: chord preference across United Kingdom and Pakistani listeners. Ann N Y Acad Sci 2021; 1502:72-84. [PMID: 34240419 DOI: 10.1111/nyas.14655] [Citation(s) in RCA: 9] [Impact Index Per Article: 3.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/26/2021] [Revised: 05/28/2021] [Accepted: 06/08/2021] [Indexed: 01/24/2023]
Abstract
The majority of research in the field of music perception has been conducted with Western participants, and it has remained unclear which aspects of music perception are culture dependent, and which are universal. The current study compared how participants unfamiliar with Western music (people from the Khowar and Kalash tribes native to Northwest Pakistan with minimal exposure to Western music) perceive affect (positive versus negative) in musical chords compared with United Kingdom (UK) listeners, as well as the overall preference for these chords. The stimuli consisted of four distinct chord types (major, minor, augmented, and chromatic) and were played as both vertical blocks (pitches presented concurrently) and arpeggios (pitches presented successively). The results suggest that the Western listener major-positive minor-negative affective distinction is opposite for Northwest Pakistani listeners, arguably because of the reversed prevalence of these chords in the two music cultures. The aversion to the harsh dissonance of the chromatic cluster is present cross-culturally, but the preference for the consonance of the major triad varies between UK and Northwest Pakistani listeners, depending on cultural familiarity. Our findings imply not only notable cultural variation but also commonalities in chord perception across Western and non-Western listeners.
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Affiliation(s)
- Imre Lahdelma
- Department of Music, Durham University, Durham, United Kingdom
| | | | - Tuomas Eerola
- Department of Music, Durham University, Durham, United Kingdom
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Popescu T, Widdess R, Rohrmeier M. Western listeners detect boundary hierarchy in Indian music: a segmentation study. Sci Rep 2021; 11:3112. [PMID: 33542358 PMCID: PMC7862587 DOI: 10.1038/s41598-021-82629-y] [Citation(s) in RCA: 5] [Impact Index Per Article: 1.7] [Reference Citation Analysis] [Abstract] [Key Words] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 03/31/2020] [Accepted: 01/04/2021] [Indexed: 11/23/2022] Open
Abstract
How are listeners able to follow and enjoy complex pieces of music? Several theoretical frameworks suggest links between the process of listening and the formal structure of music, involving a division of the musical surface into structural units at multiple hierarchical levels. Whether boundaries between structural units are perceivable to listeners unfamiliar with the style, and are identified congruently between naïve listeners and experts, remains unclear. Here, we focused on the case of Indian music, and asked 65 Western listeners (of mixed levels of musical training; most unfamiliar with Indian music) to intuitively segment into phrases a recording of sitar ālāp of two different rāga-modes. Each recording was also segmented by two experts, who identified boundary regions at section and phrase levels. Participant- and region-wise scores were computed on the basis of "clicks" inside or outside boundary regions (hits/false alarms), inserted earlier or later within those regions (high/low "promptness"). We found substantial agreement-expressed as hit rates and click densities-among participants, and between participants' and experts' segmentations. The agreement and promptness scores differed between participants, levels, and recordings. We found no effect of musical training, but detected real-time awareness of grouping completion and boundary hierarchy. The findings may potentially be explained by underlying general bottom-up processes, implicit learning of structural relationships, cross-cultural musical similarities, or universal cognitive capacities.
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Affiliation(s)
- Tudor Popescu
- Department of Behavioural and Cognitive Biology, Universität Wien, Althanstrasse 14, 1090, Vienna, Austria.
- Medizinische Universität Wien, Spitalgasse 23, 1090, Vienna, Austria.
| | - Richard Widdess
- Department of Music, School of Arts, SOAS University of London, London, UK
| | - Martin Rohrmeier
- Centre for Music and Science, École Polytechnique Fédérale de Lausanne (EPFL), Lausanne, Switzerland
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Athanasopoulos G, Eerola T, Lahdelma I, Kaliakatsos-Papakostas M. Harmonic organisation conveys both universal and culture-specific cues for emotional expression in music. PLoS One 2021; 16:e0244964. [PMID: 33439887 PMCID: PMC7806179 DOI: 10.1371/journal.pone.0244964] [Citation(s) in RCA: 21] [Impact Index Per Article: 7.0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/25/2020] [Accepted: 12/19/2020] [Indexed: 11/23/2022] Open
Abstract
Previous research conducted on the cross-cultural perception of music and its emotional content has established that emotions can be communicated across cultures at least on a rudimentary level. Here, we report a cross-cultural study with participants originating from two tribes in northwest Pakistan (Khow and Kalash) and the United Kingdom, with both groups being naïve to the music of the other respective culture. We explored how participants assessed emotional connotations of various Western and non-Western harmonisation styles, and whether cultural familiarity with a harmonic idiom such as major and minor mode would consistently relate to emotion communication. The results indicate that Western concepts of harmony are not relevant for participants unexposed to Western music when other emotional cues (tempo, pitch height, articulation, timbre) are kept relatively constant. At the same time, harmonic style alone has the ability to colour the emotional expression in music if it taps the appropriate cultural connotations. The preference for one harmonisation style over another, including the major-happy/minor-sad distinction, is influenced by culture. Finally, our findings suggest that although differences emerge across different harmonisation styles, acoustic roughness influences the expression of emotion in similar ways across cultures; preference for consonance however seems to be dependent on cultural familiarity.
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Affiliation(s)
| | - Tuomas Eerola
- Dept of Music, Durham University, Durham, United Kingdom
| | - Imre Lahdelma
- Dept of Music, Durham University, Durham, United Kingdom
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Abstract
Abstract
Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music.
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