Musical Cues Research Articles

CuePD: An IoT Approach for Enhancing Gait Rehabilitation in Older Adults Through Personalized Music Cueing

<i>CuePD</i>: An IoT Approach for Enhancing Gait Rehabilitation in Older Adults Through Personalized Music Cueing

Music cue during slow wave sleep improves visuospatial memory consolidation.

The active system consolidation theory assumes that sleep between encoding and retrieval promotes memory consolidation. In the present study, we cued new memories during slow-wave (SWS) or rapid eye movements (REM) sleep stages by presenting an instrumental music stimuli that had been previously presented during a learning session. In a within-subjects design, 18 participants slept for three nonconsecutive nights (cue during SWS, cue during REM, and no cue during control night) and were trained in a visuo-spatial memory task. The administration of cue during SWS produced better memory accuracy in comparison with REM and the control condition.

Conversations from Arendelle: Children’s understanding of musical affect in a narrative, multimedia context

Children’s verbatim memory for song lyrics has been broadly investigated in the psychological literature, but little is known about the developmental course of children’s ability to construct meaning from familiar multimedia songs containing both concrete and metaphorical language. The present study examined age-related change in children’s understanding of the hit song “Let It Go” using a brief comprehension measure and a semi-structured interview conducted over Zoom. Participants included 51 children from 3- to 10-year-olds whose parents reported that they were familiar with and enjoyed Frozen. Participants’ comprehension of the song was assessed using a visual comprehension measure. They then co-viewed the music video, with the researcher pausing at several time points in the song to ask how the child thought Elsa was feeling and how the child knew. A grounded analysis of participants’ responses yielded five categories that comprehensively captured the range of cues (song lyrics, non-lyrical musical elements, observable action on screen, character appearance, and non-observable narrative elements). A median split of the sample revealed that older children referenced more converging cues to explain their thinking on Elsa’s emotion during the song and that older children referenced musical cues (both lyrical and non-lyrical) significantly more than younger children.

On Meter and the Social Dynamics of Cueing in Bill Monroe’s “Muleskinner Blues”

“Muleskinner Blues,” the signature song of bluegrass patriarch Bill Monroe, is at once central to the bluegrass canon and yet metrically enigmatic, featuring a flexible timing structure that fluctuated wildly between performances. This article engages in a longitudinal study of 165 performances of “Muleskinner Blues” across Bill Monroe’s career to explore how the musicians that rotated through his band, the Blue Grass Boys, cognitively grappled with the song’s flexible structure. Through a series of analytical vignettes, I will detail the distributed cognitive system that drives performances of “Muleskinner Blues,” giving special attention to musical cues as tools for calling collective attention to structurally important moments of action. Additionally, I show how the song’s flexible meter was weaponized by Monroe in acts of musical hazing, antagonizing his musicians in the high-stakes environment of a live performance. Through these analyses, I show how the song’s peculiar meter centered Monroe musically, structurally, and socially, transforming “Muleskinner Blues” into a potent vehicle for the masculine ideology of the father of bluegrass music.

Actual and imagined music-cued gait training for people with multiple sclerosis: a multicentre qualitative study

ObjectivesTo explore the experiences and acceptability of music-cued motor imagery (MCMI), music-cued gait training (MCGT), and combined MCMI and MCGT (MCMI-MCGT) in people with multiple sclerosis (pwMS). We also aimed...

Exploring Different Types of Music Cues for Arm Movements in Adults with Parkinson’s

Abstract Music therapists may use auditory cueing to facilitate movement exercises when working on motor goals with adults with Parkinson’s disease (PD). There is minimal research, however, comparing the effects of different auditory cueing techniques on the kinematic parameters of movements in adults with PD. The purpose of this exploratory study was to compare how rhythmic and sonified musical cues impact the smoothness and path variance of a repetitive, volitional arm movement in adults with PD. Seven adults with PD and 10 neurotypical adults completed 3 trials of a repetitive arm-reaching task in each of the 3 auditory cueing conditions. The position of each participant’s wrist was recorded in 3 dimensions using an infrared motion capture system. Data from the motion capture system were processed for normalized jerk (NJ) and spatiotemporal index (STI). No significant differences in STI or NJ were observed between groups in the no cueing condition. Repeated measures analyses revealed no significant differences in NJ or STI for the PD group across conditions. Participant-level analysis of the PD group revealed a trend of less efficient movement performance in the rhythmic cueing condition and improved movement performance in the sonified cueing condition. These findings warrant further research to inform music therapists’ use of auditory-motor cueing.

Background music monitoring framework and dataset for TV broadcast audio

AbstractMusic identification is widely regarded as a solved problem for music searching in quiet environments, but its performance tends to degrade in TV broadcast audio owing to the presence of dialogue or sound effects. In addition, constructing an accurate dataset for measuring the performance of background music monitoring in TV broadcast audio is challenging. We propose a framework for monitoring background music by automatic identification and introduce a background music cue sheet. The framework comprises three main components: music identification, music–speech separation, and music detection. In addition, we introduce the Cue‐K‐Drama dataset, which includes reference songs, audio tracks from 60 episodes of five Korean TV drama series, and corresponding cue sheets that provide the start and end timestamps of background music. Experimental results on the constructed and existing datasets demonstrate that the proposed framework, which incorporates music identification with music–speech separation and music detection, effectively enhances TV broadcast audio monitoring.

Relationships among happy songs, store brand image, and store brand awareness

In this study we investigated the relationship between happy songs and store brand equity. In particular, we emphasized two pivotal components of brand equity (store brand image and store brand awareness), and explored the underlying mediating mechanism of these relationships. A survey study was conducted in a fashion store, where 266 customers (127 men and 99 women) reported their perception of happy songs, store brand image, and store brand awareness. Structural equation modeling revealed a positive relationship between happy songs and store brand image, and this link was, in turn, positively related to store brand awareness. Thus, store brand image played a mediating role in the relationship between happy songs and store brand awareness. This study contributes to better understanding of the relationship between store music and store brand equity, providing practical insights for retailers to build brand equity by using music cues in their stores.

Music, Memory, and Imagination

This article argues that the capacity of music to reliably cue both autobiographical memories and fictional imaginings can be leveraged to better understand the relationship and interdependence between memory and imagination more generally. The multiple levels involved in musical engagement provide a rich forum for investigating how emotional, semantic, and contextual associations with musical cues influence both memories and imaginings. Moreover, musical excerpts are extended in time and can influence the trajectory of a memory or imagining dynamically as it develops, allowing for a more precise manipulation of the implied semantic space. Because music’s uses and contextual associations are culturally constrained, and culture can be shared, autobiographical memories and fictional imaginings cued by music can show surprising similarities among individuals from the same culture. This article surveys the research on music-evoked autobiographical memories and music-evoked fictional imaginings, proposing a framework for bringing these separate strands of work together to shed light on larger questions about shared underlying mechanisms.

Anticipating the main theme: A model for understanding prospective memory and reward learning in sonata-form listening

A number of studies have established a connection between musical anticipation and reward processing, yet the interrelated roles of the musical themes, their anticipatory cues, and the large-scale design of musical forms have not been adequately explored. To fill this gap, I present in this article a psychological model that focuses on listeners’ anticipation of musical themes while listening to familiar pieces written in sonata form. Active listening may engage prospective memory, which refers to the ability to recall an intended action in the future. While listening to a piece in sonata form, an intended action is to monitor the recapitulation of the main theme in the home key. The retransition preceding the recapitulation may prompt listeners to engage in anticipatory imagery of the imminent theme. I identify four types of musical cues present in retransitions: dissonance-related, attention-related, goal-related, and time-based. These cues can foster listeners’ attention allocation toward predicting the theme through sequence processing and subvocal humming along with the music. The confirmation of this prediction and the harmonic resolution at the beginning of the recapitulation can serve as positive reinforcers, strengthening the listening habit of anticipatory imagery of main themes. Drawing on recent brain-imaging studies, the proposed model suggests that sensitization to anticipatory musical cues and precise prediction/imagery of themes are essential for reward-based learning of music. Moreover, this model clarifies both the presence of themes in various musical forms and a critical attribute of effective musical themes, namely, their ease of memorization and imaginability.

Motivated cognitive control during cued anticipation and receipt of unfamiliar musical themes: An fMRI study

Principal themes, particularly choruses in pop songs, hold a central place in human music. Singing along with a familiar chorus tends to elicit pleasure and a sense of belonging, especially in group settings. These principal themes, which frequently serve as musical rewards, are commonly preceded by distinctive musical cues. Such cues guide listeners' attention and amplify their motivation to receive the impending themes. Despite the significance of cue-theme sequences in music, the neural mechanisms underlying the processing of these sequences in unfamiliar songs remain underexplored. To fill this research gap, we employed fMRI to examine neural activity during the cued anticipation of unfamiliar musical themes and the subsequent receipt of their opening phrase. Twenty-three Taiwanese participants underwent fMRI scans while listening to excerpts of Korean slow pop songs unfamiliar to them, with lyrics they could not understand. Our findings revealed distinct temporal dynamics in lateral frontal activity, with posterior regions being more active during theme anticipation and anterior regions during theme receipt. During anticipation, participants reported substantial increases in arousal levels, aligning with the observed enhanced activity in the midbrain, ventral striatum, inferior frontal junction, and premotor regions. We posit that when motivational musical cues are detected, the ventral striatum and inferior frontal junction played a role in attention allocation, while premotor regions may be engaged in monitoring the theme's entry. Notably, both the anticipation and receipt of themes were associated with pronounced activity in the frontal eye field, dorsolateral prefrontal cortex, posterior parietal cortex, dorsal caudate, and salience network. Overall, our results highlight that within a naturalistic music-listening context, the dynamic interplay between the frontoparietal, dopaminergic midbrain-striatal, and salience networks could allow for precise adjustments of control demands based on the cue-theme structure in unfamiliar songs.

A retrospective study on the prevalence of main clinical findings in brown bears (Ursus arctos) rescued from substandard husbandry conditions.

Brown bears (Ursus arctos) are kept under varied captive conditions, some of which may greatly compromise their welfare. FOUR PAWS is an NGO that rescues some of these bears kept in substandard conditions and houses them in species-appropriate sanctuaries, where preventive and reactive veterinary care is provided. This retrospective study aims to provide an overview of pathologies and clinical abnormalities reported in veterinary records and their prevalence according to body system affected and pre-rescue bear origin. Origin was categorised as subzoo (bears coming from substandard zoos), dancing (used to "dance" upon a music cue), restaurant (used to attract clients), private keeping (used for various purposes, such as photo props), circus (used for shows), and bear-baiting (exploited for hunting dog training in baiting stations). Clinical findings were extracted from reports of veterinary examinations done from 2006 to 2021, during rescue, routinely, in response to clinical signs, and/or post-mortem. Their prevalence was calculated according to the body system affected and neoplasia (specific group independent from the organ) over the findings' total number. Prevalence was also calculated according to pre-rescue origin (general and relative values in proportion to the number of reports per origin). Results refer to 302 veterinary reports of 114 bears examined, rescued from 1998 to 2021, with the age at rescue varying from a few months to 30 years (median 13 years). The total number of clinical findings was 1,003, and the systems with more findings were oral cavity (56.0%), abdominal cavity and digestive system (7.9%), integumentary (7.9%), ocular systems (7.7%), and musculoskeletal (7.6%). Findings involving other body systems and neoplasia were less prevalent (≤2.8%). Results showed a higher prevalence of some clinical findings for bears rescued from certain origins compared to others. Straightforward associations between pre-rescue origin and clinical findings were not feasible due to unknown anamnesis and details on pre-rescue conditions, and because some housing and management characteristics might be transversal to origins. Results suggest that bears rescued from certain origins were prone to specific clinical findings, supporting the need for the creation of ad hoc preventive veterinary and husbandry management plans after rescue, thus contributing to the improvement of captive bear welfare.

Effect of musical cues on gait in individuals with Parkinson disease with comorbid dementia

BackgroundIndividuals with Parkinson disease and comorbid dementia (PDD) demonstrate gait impairments, but little is known about how these individuals respond to interventions for gait dysfunction. Rhythmic auditory stimulation (RAS), which utilizes music or other auditory cues to alter gait, has been shown to be effective for improving gait in individuals with PD without dementia, but has not been explored in individuals with PDD. Research questionCan individuals with PDD modulate their gait in response to music and mental singing cues? MethodsThis single center, cross-sectional, interventional study included 17 individuals with PDD. Participants received Music and Mental singing cues at tempos of 90 %, 100 %, 110 %, and 120 % of their uncued walking cadence. Participants were instructed to walk to the beat of the song. Gait variables were collected using APDM Opal sensors. Data were analyzed using mixed effect models to explore the impact of tempo and cue type (Music vs Mental) on selected gait parameters of velocity, cadence, and stride length. ResultsMixed effects models showed a significant effect of tempo but not for cue type for velocity (F=11.51, p < .001), cadence (F=11.13, p < .001), and stride length (F=5.68, p = .002). When looking at the marginal means, velocity at a cue rate of 90 % was significantly different from 100 %, indicating participants walked slower with a cue rate of 90 %. Participants did not significantly increase their velocity, cadence, or stride length with faster cue rates of 110 % and 120 % SignificanceIndividuals with PDD appear to be able to slow their velocity in response to slower cues, but do not appear to be able to increase their velocity, cadence, or stride length in response to faster cue tempos. This is different from what has been reported in individuals with PD without dementia. Further research is necessary to understand the underlying mechanism for these differences.

Musik als Special Effect

&#x0D; Music as special effect: »perfect« and »imperfect« orchestral performances in fictional and documentary contexts: Musical cues both in fictional and documentary films are not only taken from recordings and performances. They are also part of the pre- and post-production and thus can be described as a specific form of a filmic special effect. Several examples are discussed in which an »imperfect« and a »perfectionistic« version of the same musical work are heard in filmic contexts. Theories of narration and diegetic music can be refined by a comparison of these intentionally produced examples of non-intentional musical errors.&#x0D;

Hearing the music of Engrenages

ABSTRACT There is very little academic work on music in television series, and none on music in French television series. This article focuses on one of the most successful French television series, the eight-season-long Engrenages/Spiral (Canal+, 2005–2020). It identifies the similarities and differences between music for films and music for television series before focusing on the music composed by Stéphane Zidi for Engrenages. This combines the unusual use of gamelan instruments as musical cues with more melodic piano themes. Arguing that television series music, which might have been even more ‘unheard’ than film music, functions to shape audience perception of the characters, the article focuses on the specificities of gamelan cues and piano themes. The piano themes migrate from one character to another across the eight seasons of the series, and the article shows how this affects the narrative arc of the main character, Laure Berthaud, emphasising her rejection of (both) the conflicting roles of mother and leader.

Music, movement and mood in Parkinson’s: A transdisciplinary study to develop a new protocol to measure functional mobility in people with Parkinson’s by integrating motion capture with a pressure sensitive gait mat

Background&#x0D; Parkinson’s disease (PD) is a neurodegenerative brain disorder associated with early-onset functional motor impairments (Rana et al., 2012). There are several assessment scales for the evaluation of PD, but many motor measurement protocols lack reference to the qualitative assessment of functional mobility in everyday life (Opara et al., 2017). Moreover, previous studies have shown that pharmaceutical treatments in combination with physical therapy play an important role in improving motor symptoms, but the benefits do not seem to extend to mental well-being (Fox et al., 2018). Growing evidence suggest that an interdisciplinary approach by integrating musical activity with exercises may have the potential to improve both functional mobility and psychological wellbeing (Barnish &amp; Barran, 2020).&#x0D; Methods&#x0D; The first phase of this mixed methods study includes a Patient and Public Involvement (PPI) consultation process (workshops and interviews; Rose et al., 2022) to develop a context-appropriate new group-based intervention program for and with PwP and health professionals. The focus will lie on music activity and the use music imagery to develop individual jukeboxes of musical cues to combat motor symptoms such as rigidity and freeze of gait. To evaluate the efficacy and the generalisability of the program, a 12-week within-subject repeated measures controlled trial will be conducted in Switzerland and the UK. An accurate and reliable quantitative measurement protocol will be developed to enable assessment of disease progression, and evaluation of interventions alongside qualitative observations of mobility in PwP. Moreover, we aim to provide fine-grained assessment of clinical measures (such as the Timed Up and Go) using an integrated motion capture (MoCap) and gait mat analysis system.&#x0D; Expected Outcomes and Perspectives&#x0D; This project lays the foundation for the development of non-pharmaceutical and low-cost intervention programs. Our PPI approach will provide better individualised and targeted prevention strategies to counteract the increasing financial and personal burden of PD worldwide. A unique aspect of the study is to develop a new quantitative functional mobility measurement protocol to assess PwP over time. This research approach will contribute to our understanding of functional mobility symptoms and the use of music in PD to reduce symptom severity and improve quality of life.&#x0D; References&#x0D; Barnish, M. S., &amp; Barran, S. M. (2020). A systematic review of active group-based dance, singing, music therapy and theatrical interventions for quality of life, functional communication, speech, motor function and cognitive status in people with Parkinson’s disease. BMC Neurology, 20(1), Article 371. https://doi.org/10.1186/s12883-020-01938-3&#x0D; Fox, S. H., Katzenschlager, R., Lim, S. Y., Barton, B., de Bie, R. M. A., Seppi, K., Coelho, M., &amp; Sampaio, C. (2018). International Parkinson and movement disorder society evidence-based medicine review: Update on treatments for the motor symptoms of Parkinson’s disease. Movement Disorders, 33(8),1248-1266. https://doi.org/10.1002/mds.27372&#x0D; Opara, J., Małecki, A., Małecka, E., &amp; Socha, T. (2017). Motor assessment in Parkinson’s disease. Annals of Agricultural and Environment Medicine, 24(3), 411-415. https://doi.org/10.5604/12321966.1232774&#x0D; Rana, A. Q., Siddiqui, I., &amp; Yousuf, M. S. (2012). Challenges in diagnosis of young onset Parkinson’s disease. Journal of the Neurological Sciences, 323(1-2), 113-116. https://doi.org/10.1016/j.jns.2012.08.029&#x0D; Rose, D. C., Poliakoff, E., Hadley, R., Guérin, S. M. R., Phillips, M., &amp; Young, W. R. (2022) Levelling the playing field: The role of workshops to explore how people with Parkinson’s use music for mood and movement management as part of a patient and public involvement strategy. Frontiers in Rehabilitation Sciences, 3, Article 873216. https://doi.org/10.3389/fresc.2022.873216

Emotional expression through musical cues: A comparison of production and perception approaches.

Multiple approaches have been used to investigate how musical cues are used to shape different emotions in music. The most prominent approach is a perception study, where musical stimuli varying in cue levels are assessed by participants in terms of their conveyed emotion. However, this approach limits the number of cues and combinations simultaneously investigated, since each variation produces another musical piece to be evaluated. Another less used approach is a production approach, where participants use cues to change the emotion conveyed in music, allowing participants to explore a larger number of cue combinations than the former approach. These approaches provide different levels of accuracy and economy for identifying how cues are used to convey different emotions in music. However, do these approaches provide converging results? This paper's aims are two-fold. The role of seven musical cues (tempo, pitch, dynamics, brightness, articulation, mode, and instrumentation) in communicating seven emotions (sadness, joy, calmness, anger, fear, power, and surprise) in music is investigated. Additionally, this paper explores whether the two approaches will yield similar findings on how the cues are used to shape different emotions in music. The first experiment utilises a production approach where participants adjust the cues in real-time to convey target emotions. The second experiment uses a perception approach where participants rate pre-rendered systematic variations of the stimuli for all emotions. Overall, the cues operated similarly in the majority (32/49) of cue-emotion combinations across both experiments, with the most variance produced by the dynamics and instrumentation cues. A comparison of the prediction accuracy rates of cue combinations representing the intended emotions found that prediction rates in Experiment 1 were higher than the ones obtained in Experiment 2, suggesting that a production approach may be a more efficient method to explore how cues are used to shape different emotions in music.

Differential effects of familiarity and emotional expression of musical cues on autobiographical memory properties.

Features of visual cues, such as their familiarity and emotionality, influence the quantity and qualities of the autobiographical memories they evoke. Despite increasing use in autobiographical memory research, comparatively little is known about how such features of musical cues influence memory properties. In a repeated-measures design, we presented 24 musical cues selected to vary on their familiarity (high/low), emotional valence (positive/negative), and emotional arousal (high/low) to 100 young adults, who recorded details of any autobiographical memories that were evoked. Familiarity of the music primarily impacted memory accessibility, with high-familiarity music evoking more memories that were retrieved more quickly. More familiar music also elicited more positive and arousing memories; however, these differences were found to be attributed to greater liking of the high-familiarity music. The emotional expression of the music impacted the emotionality and evaluation of the memories, with negative valence/low-arousal (e.g., "sad") music evoking the most negative memories, high-arousal and positively valenced music evoking more arousing memories, and low-arousal music evoking memories rated as more important. These results provide important insights for developing effective paradigms for triggering (particular types of) autobiographical memories via music and highlight the need to critically consider potential differences in cue familiarity and emotionality in studies comparing musical with non-musical cues. Future research should extend this approach to other cue types (e.g., visual, olfactory, other auditory cues), to probe how familiarity and emotional qualities of cues conjunctively or interactively constrain autobiographical memory recall across different domains.

The cognitive characteristics of music-evoked autobiographical memories: Evidence from a systematic review of clinical investigations.

In healthy adults, autobiographical memories (AMs) evoked by music appear to have unique cognitive characteristics that set them apart from AMs evoked by other cues. If this is the case, we might expect music cues to alleviate AM deficits in clinical disorders. This systematic review examines music-evoked autobiographical memories (MEAMs) in clinical populations, focusing on cognitive characteristics, and whether MEAMs differ from AMs evoked by other stimuli. We identified 15 studies featuring participants with Alzheimer's disease (AD), behavioral variant - Frontotemporal dementia (bv-FTD), acquired brain damage, and depression. We found that music evokes AMs in these disorders, and that familiar music was more likely to evoke AMs. Compared with healthy controls, AD participants had a relative advantage for MEAMs over picture-evoked AMs. People with damage to the medial prefrontal cortex showed preserved access to MEAMs in terms of frequency, but a relative disadvantage regarding the episodic richness for MEAMs, but not for memories cued by pictures, compared to controls. Participants with bv-FTD had fewer AMs evoked after both music and pictures than healthy controls. Across conditions, MEAMs were generally specific and retrieved fast, suggesting little retrieval effort. MEAMs were also positive, except in depression, where as many negative as positive AMs were produced. These findings suggest several underlying cognitive and affective mechanisms of MEAMs, including anxiety reduction, increased fluency, music-evoked emotions, reminiscence, and involuntary retrieval, and that these might be moderated by musical abilities and memory for music. In conclusion, MEAMs appear to be relatively well preserved, especially in AD. This article is categorized under: Psychology > Memory.

Decomposing the Effects of Familiarity with Music Cues on Stride Length and Variability in Persons with Parkinson's Disease: On the Role of Covariates.

This study aimed to determine the role of cognitive and affective responses to music cues in modulating the effects of familiarity with music on stride length and stride-to-stride variability in people with Parkinson’s disease (PD). Using multilevel modeling, people with PD’s spatiotemporal gait parameters and self-reported ratings of familiarity, enjoyment, cognitive and physical demand, beats salience of music cues after each walking trial, as well as music reward, were analyzed. Our findings indicate that (1) condition-varying perceived enjoyment and beat salience are positively associated with increased stride length; (2) participants with a greater music reward for mood regulation and emotion evocation show greater stride length changes compared with those with less music reward; (3) condition-varying perceived enjoyment is positively associated with decreases in stride-to-stride variability; and (4) participants with lower cognitive demand of walking with music cues and higher beat salience show lower stride-to-stride variability compared with those with higher cognitive demand and lower beat salience. These results provide behavioral evidence of independent and interactive influences of cognitive and affective responses to music cues on spatiotemporal gait parameters in people with PD.