Musical Experience Research Articles

Voice actors show enhanced neural tracking of pitch, prosody perception, and music perception

Experiences with sound that make strong demands on the precision of perception, such as musical training and experience speaking a tone language, can enhance auditory neural encoding. Are high demands on the precision of perception necessary for training to drive auditory neural plasticity? Voice actors are an ideal subject population for answering this question. Voice acting requires exaggerating prosodic cues to convey emotion, character, and linguistic structure, drawing upon attention to sound, memory for sound features, and accurate sound production, but not fine perceptual precision. Here we assessed neural encoding of pitch using the frequency-following response (FFR), as well as prosody, music, and sound perception, in voice actors and a matched group of non-actors. We find that the consistency of neural sound encoding, prosody perception, and musical phrase perception are all enhanced in voice actors, suggesting that a range of neural and behavioural auditory processing enhancements can result from training which lacks fine perceptual precision. However, fine discrimination was not enhanced in voice actors but was linked to degree of musical experience, suggesting that low-level auditory processing can only be enhanced by demanding perceptual training. These findings suggest that training which taxes attention, memory, and production but is not perceptually taxing may be a way to boost neural encoding of sound and auditory pattern detection in individuals with poor auditory skills.

Hungarian choral tradition from the music pedagogical reforms to the end of the twentieth century

ABSTRACT In the first half of the twentieth century a vast transformation in Hungarian school music education occurred. The ideological foundations of music pedagogical reforms and the means of their implementation were laid down by Zoltán Kodály. The music pedagogical model of Kodály’s concept strongly linked the Central European life reform movement and pedagogical reform trends of the early twentieth century. Kodály’s pedagogy emphasised the concept of developing the individual throughout his or her entire lifespan, nature appreciation, folk music, community engagement, and the transformative power of the arts. Kodály believed in the profound impact of choral singing on individuals and communities. László Lukin (1926–2004), an outstanding music educator of the twentieth century, significantly impacted Hungarian choral life. He remained a consistent presence in professional publications until his death. This study focuses on showcasing his writings on choral pedagogy in the music trade press and how Lukin incorporated and modified Kodály’s guidance on choral singing. The results reveal that Kodály’s key principles in choral pedagogy are also evident in Lukin’s articles. Lukin aimed to fulfil the musical reform ideals of the early century by realising the “education of the whole person” through singing communities and musical experiences.

Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances

Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.

Dissemination of Marimba Performance Skills through Workshops: The Case of Rimba Resonance Vibes Ensemble

The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s socio-economic struggles which have led to marimba instructors, lecturers, tutors, and performers leaving for greener pastures. A yawning gap now exists, and the agency role is critically needed so that there are deliberate efforts to pass marimba performance knowledge and skills to the next generation, and conducting workshops is one way in which applied ethnomusicologists can advocate for the continuity of this culture. This paper is an autoethnographic account of my role in teaching marimba music performance experiences at marimba workshops in Zimbabwe. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s marimba workshops, describe the situation in Zimbabwe marimba music performance practices, and reflect on the nature of practice, skills development, and education. The paper reveals the concerted effort that marimba teachers need to invest to ensure the survival of their art in the future. There is a glaring need for action and dissemination to sustain the art of marimba music performance by bands based in Zimbabwe.

Komposisi Musik Semarak Sipai Bersumber Dari Beruji Dol Dalam Upacara Tabot Di Kota Bengkulu

Music is a means of expressing the soul to communicate and interact between living creatures. Through music we can express various ideas with various colors of sound produced by any object that can accommodate the idea itself. Sounds and voices are arranged well so that a musical work is created as a harbor for ideas that are full of messages and meaning. This work begins with research on the Bruji Dol performance and from the results of the analysis, a conclusion is drawn to take one part, namely the song Girik" which is contained in the Bruji Dol performance in the Tabot ceremony in the city of Bengkulu. Beruji dol is a depiction of the spirit of war carried out by two groups, namely Tabot Bangsal and Tabot Imam. Beruji dol has an interesting musical case, namely that there is a game concept that is "freely bound" in the tasa game of the Tamatam repertoire called "Girik". To create the musical composition "Semarak Sipai" it was worked on using the Analytical Descriptive method using a Re-interpretation of Tradition approach. Through the creation of the musical composition "Semarak Sipai", the creator tried to present several forms of novelty in various aspects of the work in accordance with the concept offered. The Tradition Re-interpretation approach is used to share musical experiences as a contribution to the development of the musical composition itself.

Development of Tailored Teaching Model for Beginning Piano Level Among Visually Impaired Students

Music education for visually impaired individuals faces significant challenges due to traditional methods relying heavily on visual cues. This study addresses this gap by developing a tailored teaching model for beginning piano instruction among visually impaired students. Through a multi-phase methodology, including pilot teaching, expert interviews, and formal teaching sessions, the study integrates innovative pedagogical strategies and adaptive technologies to create an inclusive learning environment. The pilot teaching phase was conducted at a specialized school for the blind and deaf in Jiangsu, China, involving six visually impaired students with varying levels of piano learning experience. Expert interviews were conducted with three individuals with expertise in music education for visually impaired individuals. The formal teaching phase comprised six new visually impaired students and spanned three months, with assessments conducted after the 5th and 10th lessons to evaluate learning progress. Results demonstrate the effectiveness of the tailored teaching model in fostering meaningful musical experiences and promoting musical proficiency among visually impaired students. Suggestions for further research and implementation of tailored teaching models are provided to enhance access to music education for visually impaired individuals.

Lights on music cognition: A systematic and critical review of fNIRS applications and future perspectives

Research investigating the neural processes related to music perception and production constitutes a well-established field within the cognitive neurosciences. While most neuroimaging tools have limitations in studying the complexity of musical experiences, functional Near-Infrared Spectroscopy (fNIRS) represents a promising, relatively new tool for studying music processes in both laboratory and ecological settings, which is also suitable for both typical and pathological populations across development. Here we systematically review fNIRS studies on music cognition, highlighting prospects and potentialities. We also include an overview of fNIRS basic theory, together with a brief comparison to characteristics of other neuroimaging tools. Fifty-nine studies meeting inclusion criteria (i.e., using fNIRS with music as the primary stimulus) are presented across five thematic sections. Critical discussion of methodology leads us to propose guidelines of good practices aiming for robust signal analyses and reproducibility. A continuously updated world map is proposed, including basic information from studies meeting the inclusion criteria. It provides an organized, accessible, and updatable reference database, which could serve as a catalyst for future collaborations within the community. In conclusion, fNIRS shows potential for investigating cognitive processes in music, particularly in ecological contexts and with special populations, aligning with current research priorities in music cognition.

Entertainment performance robots application in music network classroom based on speech sensor recognition and artificial intelligence

This article designs a framework for a music online classroom, optimizing the actions of performing robots to improve their performance. Combined with speech recognition and control algorithms, the robot’s actions are adjusted in real-time based on the emotions and rhythm of the music to increase student engagement and interactivity. Music recognition adopts methods based on time–frequency analysis and pattern recognition, identifying the type of music played based on the frequency and amplitude distribution patterns in the audio signal; Voice recognition uses feature analysis and speech recognition algorithms based on speech signals to better provide targeted feedback and interaction. This article optimizes the teaching of music online classrooms and verifies the feasibility and effectiveness of using performance robots based on speech sensor recognition and artificial intelligence in music online classrooms through experiments and analysis. Performance robots can mimic the way humans perform music, including singing, playing, and dancing, helping students better understand and imitate music performances. The music online classroom application in this article combines advanced technologies such as voice sensing recognition, artificial intelligence, and performance robots, providing students with a more convenient, personalized, and efficient music learning experience.

The inductive effect of musical mode types on emotions and physiological responses: Chinese pentatonic scales versus Western major/minor modes.

The value of music lies in its ability to evoke emotions. People can gain emotional experiences in music and can also regulate their own emotions through music. Music has its own structural rules, and exploring the relationship between musical structure and emotions is an important approach to understanding the mechanism of music-induced emotions. Musical mode refers to the arrangement of intervals around the tonic, presenting different musical modes based on the central tone and the arrangement of intervals, including Chinese pentatonic modes and Western major and minor modes. Musical morphology indicates significant differences in the construction intensity of traditional Chinese pentatonic modes and major and minor modes, affecting their mode forms and thus determining their adaptability to external influences. Exploring the modalities of music and the effects of individual music training experiences on emotion induction; validating whether musical modes exhibit cross-cultural universality in the process of emotion induction. This study recruited 65 university students as participants (34 with music training experience, 31 without music training experience). Through a passive listening paradigm using the GEMS and combined with a biofeedback equipment, it explored the differences in behavioral and physiological indicators (skin conductance, temperature, heart rate) of emotional experiences (basic and aesthetic emotions) influenced by the modal forms of Chinese traditional pentatonic modes and Western major and minor modes. Firstly, the arousal level of music emotion is a primary factor influencing individuals' aesthetic emotional experiences in music, which is related to the intensity of modal construction in music; Secondly, the emotional pleasure and skin temperature change induced by pentatonic music are greater than those induced by major and minor modes; Thirdly, the arousal level, electrodermal change, and heart rate variability of major and minor modes are greater than those of pentatonic music; Finally, music training experience enhances college students' familiarity and preference for pentatonic music, thereby strengthening the electrodermal physiological indicators of emotional experiences. The different modal forms of music express different levels of emotional arousal, leading to differences in individuals' emotional dimensions and physiological indicators in music. Additionally, individuals' music training experiences and cultural backgrounds also influence their experience of music emotions.

Artificial intelligence robots based on machine learning and visual algorithms for interactive experience assistance in music classrooms

This article aims to study the application of artificial intelligence robots based on machine learning and visual algorithms in music classroom interactive experience assistance. In artificial intelligence robots, mobile adaptive networks can be used to optimize the perception and decision-making abilities of robots. By continuously learning and adapting to environmental changes, robots can better understand and respond to the interactive needs of music classrooms, providing more accurate and targeted auxiliary services. By learning and analyzing rich training data, robots can possess higher-level cognitive and comprehension abilities. In terms of music recommendation, the K-nearest neighbor algorithm is used to recommend music works that are suitable for students. By analyzing students’ music preferences and learning needs, robots provide personalized music recommendations to students based on this information, helping them better participate in and enjoy music classes. By applying machine learning and visual algorithms to music classroom interaction experiments, artificial intelligence robots based on machine learning and visual algorithms have the potential to assist in music classroom interaction experience, and teaching optimization strategies for music classrooms have been proposed.

Social robots based on sensor technology simulate user music interaction experience

Social robots, as an important research object in the field of human–computer interaction, have enormous potential in simulating human social behavior and providing personalized services. This study aims to enhance the user experience of music interaction with social robots by constructing a social robot interaction model and combining sensor technology. The study sorted out relevant social psychology theories and methods of emotional computing, as well as theories related to music perception and expression in social robot design. By designing experimental scenarios, the interaction behavior between participants and social robots was observed, combined with gesture sensing processing and speech interaction enhancement processing, to improve the quality and effectiveness of interaction with social robots. We used simulation experiments to simulate the music interaction between users and social robots, in order to verify the reliability and stability of the social robot interaction model. Finally, human–machine electronic music interaction simulation was achieved, and user emotion collection and interaction simulation were carried out. By collecting physiological signals and emotional feedback from users, we have gained a deeper understanding of their emotional experience in music interaction, and through interaction simulation, we have regulated and guided their emotions.

Analyzing principles and applications of machine learning in music: Emotion music generation, and style modeling

The combination of machine learning with music composition and production is proving viable for innovative applications, enabling the creation of novel musical experiences that were once the exclusive domain of human composers. This paper explores the transformative role of machine learning in music, particularly focusing on emotion music generation and style modeling. Through the development and application of models including DNNs, GANs, and Autoencoders, this study delves into how machine learning is being harnessed to not only generate music that embodies specific emotional contexts but also to transfer distinct musical styles onto new compositions. This research discusses the principles of these models, their operational mechanisms, and evaluates their effectiveness through various metrics such as accuracy, precision, and creative authenticity. The outcomes illustrate that these technologies not only enhance the creative possibilities in music but also democratize music production, making it more accessible to non-experts. The implications of these advancements suggest a significant shift in the music industry, where machine learning could become a central component of creative processes. These results pave a path to the understanding of the potential and limitations of machine learning in music and forecasts future trends in this evolving landscape.

Compensation or Preservation? Different Roles of Functional Lateralization in Speech Perception of Older Non-musicians and Musicians.

Musical training can counteract age-related decline in speech perception in noisy environments. However, it remains unclear whether older non-musicians and musicians rely on functional compensation or functional preservation to counteract the adverse effects of aging. This study utilized resting-state functional connectivity (FC) to investigate functional lateralization, a fundamental organization feature, in older musicians (OM), older non-musicians (ONM), and young non-musicians (YNM). Results showed that OM outperformed ONM and achieved comparable performance to YNM in speech-in-noise and speech-in-speech tasks. ONM exhibited reduced lateralization than YNM in lateralization index (LI) of intrahemispheric FC (LI_intra) in the cingulo-opercular network (CON) and LI of interhemispheric heterotopic FC (LI_he) in the language network (LAN). Conversely, OM showed higher neural alignment to YNM (i.e., a more similar lateralization pattern) compared to ONM in CON, LAN, frontoparietal network (FPN), dorsal attention network (DAN), and default mode network (DMN), indicating preservation of youth-like lateralization patterns due to musical experience. Furthermore, in ONM, stronger left-lateralized and lower alignment-to-young of LI_intra in the somatomotor network (SMN) and DAN and LI_he in DMN correlated with better speech performance, indicating a functional compensation mechanism. In contrast, stronger right-lateralized LI_intra in FPN and DAN and higher alignment-to-young of LI_he in LAN correlated with better performance in OM, suggesting a functional preservation mechanism. These findings highlight the differential roles of functional preservation and compensation of lateralization in speech perception in noise among elderly individuals with and without musical expertise, offering insights into successful aging theories from the lens of functional lateralization and speech perception.

RELATIONSHIP BETWEEN SELF-RATED MUSICAL COMPETENCE AND AUDITORY PROCESSING IN INSTRUMENTALISTS

IntroductionAlthough the benefits of musical training have been shown to affect a number of auditory processes, the question of how self-rated musical competence correlates with auditory perception remains largely unexplored. The present study aimed to investigate how self-perceived musical competence correlates with musicians’ ratings of their own abilities in speech perception, spatial hearing, and <i></i>sound qualities.Material and methodsThe <i>Edinburgh Lifetime Musical Experience Questionnaire</i> (ELMEQ) was administered on 57 instrumentalists aged 19 to 53 years (mean = 25.1 ± 4.9 years, 34 males and 23 females). All had normal hearing and had undergone formal training on musical instruments for 1–2 years. All of them also regularly practised music for at least 1–2 h/week. Based on their ELMEQ scores, they were divided into two groups: low (ELMEQ score ≤ 7; <i>n</i> = 12) and high (ELMEQ score ≥ 11; <i>n</i> = 16; self-perceived musical competence. Participants were sent a modified questionnaire from the <i>Speech, Spatial and Qualities of Hearing Scale</i> (SSQ) using Google forms, and the data statistically analysed.ResultsA Mann–Whitney <i>U</i>-test showed that participants with high self-rated musical competence had significantly higher ratings on the spatial hearing and sound qualities sub-domains of SSQ compared to their counterparts who had lower ELMEQ scores. However, both groups scored about the same on the speech perception domain of SSQ. A Spearman test revealed a moderate to strong positive correlation between self-rated musical competence and SSQ ratings in each domain.ConclusionsThe findings show that instrumentalists with high self-rated musical competence exhibited high proficiency in the spatial hearing and sound quality domains of auditory processing.

Musical experience enhances time discrimination: Evidence from cortical responses.

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music-experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music-experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement.

The all-female Goth band that never existed: Voces de Ultratumba

Feminist musicology has studied and questioned the dynamics of power, privilege and discrimination that have developed in the history of popular music due to gender. In line with these contributions, there is an intention of recovering the memory and value of the first Goth group formed entirely of women in Vigo (Galicia, Spain): Voces de Ultratumba. The quality of their music, performance, lyrics and activism is not referenced as it should be in the collective imagination, which is unaware of its existence. The documented record is very scarce since its formation in 1984, as opposed to the amount of information about mixed groups or male bands of that time. Thus, after digitizing newspaper articles and live material, data collection was also performed by biographical-narrative methodology of life history. Its three original members – Chus Taboada, Marisé Izquierdo and Eva Izquierdo – were interviewed and their discourse was analysed through grounded theory (GT). Historical press was also consulted. The details of this analysis are presented in this article. The results of it indicate that, despite the political, musical and social openness that Spain was going through after the death of the Dictator Francisco Franco on 20 November 1975, gender roles continued to operate even in the underground scene, where the political–musical experiences of dissident identities were left out of official Goth history.

Time-varying similarity of neural responses to musical tension is shaped by physical features and musical themes

The similarity of understanding is important for music experience and communication, but little is understood about the sources of this common knowledge. Although neural responses to the same piece of music are known to be similar across listeners, it remains unclear whether this neural response similarity is linked to musical understanding and the role of dynamic musical attributes in shaping it. Our study addresses this gap by investigating the relationship between neural response similarity, musical tension, and dynamic musical attributes. Using electroencephalography-based inter-subject correlation (EEG-ISC), we examined how the neural response similarity among listeners varies throughout the evaluation of musical tension in the first movement of Beethoven's Piano Sonata No. 8. Participants continuously rated the degree of alignment between musical events and their expectations, while neural activity was recorded using electroencephalography (EEG). The results showed that neural response similarity fluctuated in tandem with musical tension, with increased similarity observed during moments of heightened tension. This time-varying neural response similarity was influenced by two dynamic attributes contributing to musical tension: physical features and musical themes. Specifically, its fluctuation was driven by physical features, and the patterns of its variation were modulated by musical themes, with similar time-varying patterns observed across similar thematic materials. These findings offer valuable insight into the role of dynamic musical attributes in shaping neural response similarity, and reveal an important source and mechanism of shared musical understandings.

Exploring the Interplay Between Religious Music, Emotions, and Ethics in Cultures Worldwide

There is no doubt that music significantly impacts people in their daily lives, emotionally and spiritually. This study explores the impact of religious music on people’s well-being, emotions, and ethical values. The paper provides evidence supporting the positive effects of religious music on mental well-being, reducing psychological distress, and enhancing life satisfaction. The literature review showed that within musical and religious activities, individuals have positive associations between certain aspects of musical and religious experiences and specific domains of happiness, such as sociability, satisfaction with life, and well-being that were not seen in correlation with happiness to membership of religion. It also analyzes the role of music in reinforcing morals and ethical standards within religious worship by influencing pro-social behavior and ethical decision-making. Listeners are attracted to the immersive world of religious music in reaction to the songs' symbolic suggestions, which forces them to reflect on moral quandaries and solidify their ethical views. Religious music serves as a tool to encourage a more robust emotional engagement, resulting in a more loyal following for religious groups. Case studies on Bapedi music and Gregorian chants are also reviewed and further support how religious music strengthens spiritual connections, fosters shared values, and contributes to cultural identity within religious communities. In conclusion, religious music profoundly influences an individual’s quality of life, emotions, and moral convictions and, therefore, has an enduring effect on shaping a religious experience for people.

만3세 벼리의 자발적인 노래 만들어 부르기 경험의 교육적 의미 탐색

The aim of this study is to investigate educational implications of spontaneous song-making and singing (SSMS) among 3-year-old children. Observations were conducted on the SSMS of a 3-year-old child named Byeory at the T Childcare center in W City over a 15-week period, supplemented by interviews with parents and teachers. Data were gathered through observation notes, video recordings, and interview transcripts, and were analyzed using qualitative analysis method based on the five-step cycle proposed by Yin (2021). Research findings reveal that Byeory's SSMS occurred in various everyday contexts, fostering the musical development of young children and providing opportunities for peer interaction and emotional expression. Furthermore, it was observed that Byeory's SSMS experiences were dynamically shaped and enhanced through emotional support, including environmental support from parents and teachers. In conclusion, this study highlights the educational value of early childhood SSMS enriched with creative elements, stressing the importance of attentive and proactive support for spontaneous and creative musical experiences that unfold in daily lives of young children.

Exploring The Connection of Passion and Motivation in Higher Education Singing and Choral Training in Music Performance Education

This qualitative study explores the intricate dynamics between students' passion for music and their motivation in higher education music performance classes. Guided by Self-Determination Theory (SDT) and Social Cognitive Theory (SCT), the research involves in-depth interviews with fifteen undergraduate music performance majors. The study identifies five pivotal themes shaping students' motivation. The theme of personal music connections emphasises the profound impact of individualised relationships with music, highlighting the significance of nurturing personal and emotional dimensions within musical connections. Exposure to diverse musical styles emerges as a transformative factor, broadening students' musical horizons and significantly influencing their motivation. Involvement in extracurricular music activities is identified as a powerful motivator, providing real-world experiences that enhance students' passion for music performance. The theme of supportive interactions highlights the critical role played by educators, peers, and the overall learning environment in shaping students' motivation. Cultivating a strong personal bond with music accentuates the profound impact of an individualised and emotionally resonant connection with music on students' motivation within the educational context. These findings underscore the vital role of cultivating enthusiasm, providing diverse musical experiences, and fostering supportive environments to enhance motivation in higher education music performance classes. The implications extend to educators, enabling them to design more engaging and effective music programs, enriching the overall educational experience for students.