Search results for "ta6131"
showing 10 items of 120 documents
The reliability of continuous brain responses during naturalistic listening to music
2015
Low-level (timbral) and high-level (tonal and rhythmical) musical features during continuous listening to music, studied by functional magnetic resonance imaging (fMRI), have been shown to elicit large-scale responses in cognitive, motor, and limbic brain networks. Using a similar methodological approach and a similar group of participants, we aimed to study the replicability of previous findings. Participants' fMRI responses during continuous listening of a tango Nuevo piece were correlated voxelwise against the time series of a set of perceptually validated musical features computationally extracted from the music. The replicability of previous results and the present study was assessed b…
Large-scale brain networks emerge from dynamic processing of musical timbre, key and rhythm
2012
We investigated the neural underpinnings of timbral, tonal, and rhythmic features of a naturalistic musical stimulus. Participants were scanned with functional Magnetic Resonance Imaging (fMRI) while listening to a stimulus with a rich musical structure, a modern tango. We correlated temporal evolutions of timbral, tonal, and rhythmic features of the stimulus, extracted using acoustic feature extraction procedures, with the fMRI time series. Results corroborate those obtained with controlled stimuli in previous studies and highlight additional areas recruited during musical feature processing. While timbral feature processing was associated with activations in cognitive areas of the cerebel…
Fractionating auditory priors: A neural dissociation between active and passive experience of musical sounds
2019
Learning, attention and action play a crucial role in determining how stimulus predictions are formed, stored, and updated. Years-long experience with the specific repertoires of sounds of one or more musical styles is what characterizes professional musicians. Here we contrasted active experience with sounds, namely long-lasting motor practice, theoretical study and engaged listening to the acoustic features characterizing a musical style of choice in professional musicians with mainly passive experience of sounds in laypersons. We hypothesized that long-term active experience of sounds would influence the neural predictions of the stylistic features in professional musicians in a distinct…
Phoneme processing skills are reflected in children's MMN responses.
2017
Phonological awareness (PA), the core contributor in phoneme processing abilities, has a link to later reading skills in children. However, the associations between PA and neural auditory discrimination are not clear. We used event-related potential (ERP) methodology and neuropsychological testing to monitor the neurocognitive basis of phonological awareness in typically developing children. We measured 5–6-year-old children's (N=70) phoneme processing, word completion and perceptual reasoning skills and compared their test results to their brain responses to phonemic changes, separately for each test. We found that children performing better in Phoneme processing test showed larger mismatc…
Reading ahead: Adult music students’ eye movements in temporally controlled performances of a children’s song
2014
In the present study, education majors minoring in music education ( n = 24) and music performance majors ( n =14) read and performed the original version and melodically altered versions of a simple melody in a given tempo. Eye movements during music reading and piano performances were recorded. Errorless trials were analyzed to explore the adjustments of visual processing in successful performances. The temporal length of the eye–hand span (time between gaze and the performed note) was typically around one second or less. A measure of gaze activity indicated that performers generally inspected two quarter-note areas between two metrical beat onsets. The performance majors operated with s…
Moved through music: The effect of experienced emotions on performers’ movement characteristics
2012
Do performers who feel sad move differently compared to those who express sadness? Although performers’ expressive movements have been widely studied, little is known about how performers’ experienced emotions affect such movements. To investigate this, we made 72 motion-capture recordings of eight violinists playing a melodic phrase in response to three different instructions. The first instruction was to focus on the technical aspects of playing. The second instruction was to give an expressive performance. Before the third instruction, performers were subjected to a mood induction task. Following this, performers played while focusing on their experienced emotions. After each playing co…
Sengenyadance of theDigocommunity: Documentation of social context, music transcriptions and acoustic measurements of selected instruments
2015
ABSTRACTThis paper documents social and cultural aspects of Sengenya music which is practiced by Digo community (from the coast region in Kenya). Specifically the paper addresses (a) Background and Regional (Country) Context, (b) Social Context and Description of Sengenya Music, (c) Melodic transcriptions of Chivoti melodies, rhythmic transcriptions of the Six Drum Rhythms, and (d) Acoustic Measurement of selected chivoti Instruments and pitch registers of the drums used to accompany the dance. While there has been some documentation (Zake 1986, Darkwa 1991, Nyakiti 2007) of general social /cultural aspects of the Digo people (including other Coastal communities), scanty information exists …
Influence of virtual room acoustics on choir singing.
2015
(ProQuest: ... denotes formulae omitted)The aesthetic appreciation of a choir performance heavily relies on both the singers' skills and the acoustical characteristics of the venue. Choir directors usually know that choral performances are greatly influenced by room acoustics, while the choir singers experience the difference between singing in a small room for practice and performing in a comparatively large space like a concert hall. Clearly, it would be beneficial for musicians to understand both the effect of room acoustical features on their performance and how best to adjust tempo, phrasing, dynamics, and other musical parameters with respect to a given venue's acoustical environment.…
Imagining between ourselves: a group interview approach in exploring listening experiences
2014
In this paper listening experiences are explored through verbal interactions in a group interview situation. By focusing on (1) ordinary and (2) evocative modes of dealing with listening experiences, the present study investigated how imagination mediates between pre-reflective and reflective consciousness and how imagining is shared between persons. Analysis revealed that participants utilised both modes in their discussions for either music or everyday sound samples, although the ordinary mode was the dominant one. The evocative mode was utilised relatively more frequently with the music samples. Group dynamics had an effect on how the mental images and meanings were described and shared …
Are the Emotions Expressed in Music Genre-specific? An Audio-based Evaluation of Datasets Spanning Classical, Film, Pop and Mixed Genres
2011
Abstract Empirical studies of emotions in music have described therole of individual musical features in recognizing particular emotions. However, no attempts have been made as yet to establish if there is a link between particular emotions and a specific genre. Here this is investigated byanalysing nine separate datasets that represent categories ranging from classical (three sets), and film music (two), to popular music (two), and mixed genre (two). Atotal of 39 musical features were extracted from the audio. Models were then constructed from theseto explain self-reports of valence and arousal, by using multiple andRandom Forest regression. The models were fully validated across the datas…