Music Perception Research Articles

Music education alumni perceptions of undergraduate degree experiences, skills development, and job satisfaction

Music education alumni perceptions of undergraduate degree experiences, skills development, and job satisfaction

Technology and Interspecies Musical Practice

This case study on the work of interspecies musician David Rothenberg explores how engaging with the songs and rhythms of other species continues to challenge his musical practice and aesthetic. Technology, science and art come together in an artistic and research practice, which is grounded in the belief that technologies can bring us closer to nature. The article outlines how Umwelt theory, enactive music cognition, biosemiotics and the phenomenology of human-technology relations are engaged in the perception and creation of musical experiences. It also looks at how interdisciplinary research practices that traverse zoomusicology, the visual and performing arts, and data visualisation contribute to interspecies music theory and practice. The article concludes by presenting four interspecies auditory dispositives as a guide to how knowledge, tools and practice are entangled in concrete examples from Rothenberg’s musical collaborations with nightingales, humpback whales, periodical cicadas and pond life.

Community musicking and musical cognition among adungu music communities of the Acholi people from Awach, Gulu district, Northern Uganda

This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.

Are we all anxious about the same thing? A comparison of lay definitions of music making and performance in the context of music participation

Adverse experiences toward making music can be found in both musicians (music performance anxiety) and non-musicians (avoidance of participating in musical experiences). Both anxiety and avoidance are driven by perceptions and attributions about particular stimuli, based on schemas developed via direct and indirect experiences. Most research within music psychology focuses on the views of professional or student musicians. However, little is known about music avoidance in the general population, or their perceptions of music and performance. This article proposes to address this gap by comparing Australian adults’ perceptions toward music making and performance. A total of 116 participants self-identified as musical/non-musical, a musician/non-musician, and a performer/non-performer, then defined various terms and phrases related to music making and performance. Logistic regressions indicated that those with exposure to the music education system were significantly more likely to self-identify as musical, a musician, and a performer. Tests of independence reveal a relationship between self-identification and perceptions of music making, performance, anxiety, and willingness to engage. Possible mechanisms underlying the results of this study are discussed and a conceptual expansion related to music performance anxiety (MPA) and music making is proposed.

THE ROLE OF KASHMIRI FOLK MUSIC IN PRESERVING CULTURAL IDENTITY AND FOSTERING SOCIAL COHESION

Kashmiri folk music, with its rich tapestry of melodic traditions and lyrical storytelling, plays a pivotal role in preserving the cultural heritage and identity of the Kashmir Valley. This research article explores the historical evolution, distinctive features, and socio-cultural significance of Kashmiri folk music. By examining traditional instruments, musical genres, and the narratives encapsulated in folk songs, the study underscores how this musical heritage reflects the region's diverse cultural influences and historical experiences. The research delves into the role of folk music in community gatherings, religious ceremonies, and seasonal festivals, highlighting its function in fostering social cohesion and communal harmony. Through qualitative analysis the article sheds light on the transmission of musical knowledge across generations and the adaptive strategies employed to sustain these traditions in the face of modern challenges. Furthermore, the study addresses the impact of political unrest and socio-economic changes on the folk music landscape, considering how musicians and communities navigate these dynamics to maintain their musical practices. The research concludes by advocating for the preservation and promotion of Kashmiri folk music as an integral part of the region's intangible cultural heritage, emphasizing the need for collaborative efforts between local communities, cultural organizations, and policymakers.

Research and Practice on Instructional Methods for Piano Improvization Based on Computer Technology

In the backdrop of evolving technological landscapes, this paper delves into the utilization of computer technology, specifically Artificial Neural Networks (ANN), in enhancing piano improvisation instruction. Recognizing the growing demand for innovative teaching methods, our study aims to evaluate the practical effectiveness of ANN-based teaching evaluation in real-world piano improvisation settings. Through rigorous testing, we found that ANN demonstrates remarkable precision and consistency in assessing piano improvisation skills. In comparison to the traditional decision tree algorithm, ANN excels in managing complex nonlinear relationships, providing more accurate and reliable scoring results. This integration of technology not only elevates students’ performance but also fosters their musical creativity and perception. Our findings suggest potential improvements in refining instructional methodologies and expanding the use of computer technology in piano teaching. This underscores the importance of personalized teaching, blended learning models, and technical proficiency training for educators. Overall, our research methodologies and findings significantly contribute to advancing the modernization and technological progress of music education, equipping piano instructors with cutting-edge teaching tools and strategies.

Literacy Preservation of the Zhuang Ethnic Group’s Folk Song “Fwen Sam Ngued” in Pingguo, Guangxi, China

This study focuses on the literacy preservation of the Zhuang ethnic group’s folk song “Fwen Sam Ngued” in Pingguo, Guangxi, China, which is critical for maintaining cultural identity and legacy. This preservation endeavor is centered on understanding and conserving the Haleu song, which is an important component of Zhuang folk music culture. The Haleu song, with its distinctive melody and duet style, serves as the principal expression in the performance of “Fwen Sam Ngued.” Singers’ varied interpretations of the melodies in “Fwen Sam Ngued” demonstrate the dynamic nature of oral tradition and knowledge transfer. Zhuang folk music knowledge preservation strategies emphasize the importance of lyrics, oral transmission, and singing in various aspects of life. Furthermore, the modern-day growth of Zhuang song fairs highlights the importance of proactive preservation efforts in the face of societal change. By supporting literacy and cultural preservation projects, the Zhuang people’s unique musical history can be preserved for future generations.

A Case Study on the Application of Information Technology in Rural Music Education

In recent years, the application of information technology in the field of education has received considerable attention, especially in music education, where its potential is increasingly evident. This study explores the application of information technology in rural music education through a case study of a volunteer teacher teaching music in a rural school in China. Using qualitative research methods, including classroom observations and semi-structured interviews with the teacher and students, the study analyzes the practical application of information technology in music education. The results show that by integrating multidisciplinary teaching methods and using interactive games and information technology, rural students not only developed a strong interest in learning music but also improved their singing skills and emotional expression abilities. These methods enabled students to better grasp musical knowledge. This study provides valuable insights for educators and demonstrates the significant potential of information technology in rural music education in China. The research indicates that even in resource-limited rural areas, the successful application of information technology in music classes is feasible. As information technology continues to develop, educators should continue to explore and innovate, providing students with richer and more effective educational resources to enhance educational quality and promote the comprehensive development of students.

Understanding the Effect of Listening to Music, Playing Music, and Singing on Brain Function: A Scoping Review of fNIRS Studies.

Music is integrated into daily life when listening to it, playing it, and singing, uniquely modulating brain activity. Functional near-infrared spectroscopy (fNIRS), celebrated for its ecological validity, has been used to elucidate this music-brain interaction. This scoping review synthesizes 22 empirical studies using fNIRS to explore the intricate relationship between music and brain function. This synthesis of existing evidence reveals that diverse musical activities, such as listening to music, singing, and playing instruments, evoke unique brain responses influenced by individual traits and musical attributes. A further analysis identifies five key themes, including the effect of passive and active music experiences on relevant human brain areas, lateralization in music perception, individual variations in neural responses, neural synchronization in musical performance, and new insights fNIRS has revealed in these lines of research. While this review highlights the limited focus on specific brain regions and the lack of comparative analyses between musicians and non-musicians, it emphasizes the need for future research to investigate the complex interplay between music and the human brain.

Towards mechanistic investigations of numerical and music cognition.

Are there cognitive connections between humans' ability to make music and their understanding of math and numbers? This question has motivated centuries of speculation across the fields of philosophy and education and an increasing number of empirical studies of the topic. We review research at the intersection of numerical and music cognition, and establish its relevance both to the applied sphere (e.g., education) and to core theoretical issues in the cognitive sciences. Next, we identify notable limitations within the literature, and attempt to explain some of the likely causes of-and solutions to-these limitations. Finally, we propose specific themes of focus (spatialization and the mapping between symbolic and nonsymbolic representations) for future research aimed at understanding whether there is shared cognitive architecture for reasoning about number and math. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Acquiring musical knowledge increases music liking: Evidence from a neurophysiological study.

People possessing musical knowledge tend to enjoy music more, but the linkage remains to be determined. Based on the shared affective motion experience model for music appreciation, we hypothesized that acquiring musical knowledge about the music itself, for example, an analytical understanding of music elements and the related emotional expressions, would increase music liking. To test the hypothesis, we asked 48 participants to learn analytical or historical information about a piece of music by watching a pre-recorded teaching video. Learners' physiological responses, such as skin conductance and heart rate, were recorded during learning. The increase of music liking was observed after both types of knowledge acquisition, but more so for analytical knowledge. Notably, acquiring analytical knowledge made learners' skin conductance more similar, indicating the alignment of physiological responses. This physiological similarity, correlated with analytical knowledge similarity, could mediate the effect of knowledge acquisition on music liking. In sum, this study reveals the impact of analytical knowledge on music enjoyment and the associated neurophysiological mechanism. It extends the theoretical framework of shared affective motion experience to explain how musical knowledge influences music appreciation.

Deficits in congenital amusia: Pitch, music, speech, and beyond

Congenital amusia is a neurodevelopmental disorder characterized by deficits of music perception and production, which are related to altered pitch processing. The present study used a wide variety of tasks to test potential patterns of processing impairment in individuals with congenital amusia (N = 18) in comparison to matched controls (N = 19), notably classical pitch processing tests (i.e., pitch change detection, pitch direction of change identification, and pitch short-term memory tasks) together with tasks assessing other aspects of pitch-related auditory cognition, such as emotion recognition in speech, sound segregation in tone sequences, and speech-in-noise perception. Additional behavioral measures were also collected, including text reading/copying tests, visual control tasks, and a subjective assessment of hearing abilities. As expected, amusics' performance was impaired for the three pitch-specific tasks compared to controls. This deficit of pitch perception had a self-perceived impact on amusics’ quality of hearing. Moreover, participants with amusia were impaired in emotion recognition in vowels compared to controls, but no group difference was observed for emotion recognition in sentences, replicating previous data. Despite pitch processing deficits, participants with amusia did not differ from controls in sound segregation and speech-in-noise perception. Text reading and visual control tests did not reveal any impairments in participants with amusia compared to controls. However, the copying test revealed more numerous eye-movements and a smaller memory span. These results allow us to refine the pattern of pitch processing and memory deficits in congenital amusia, thus contributing further to understand pitch-related auditory cognition. Together with previous reports suggesting a comorbidity between congenital amusia and dyslexia, the findings call for further investigation of language-related abilities in this disorder even in the absence of neurodevelopmental language disorder diagnosis.

The rhythmic mind: brain functions of percussionists in improvisation.

Percussionists stand out for their expertise in rhythm, with the network for musical rhythm (NMR) serving a vital neurological function in their improvisation, which is deeply rooted in comprehensive musical knowledge. Our research examines the central representations of various improvisation tactics used by percussionists and investigates the interactions between the NMR and other relevant neural networks. Twenty-five percussionists participated in functional magnetic resonance imaging (fMRI) sessions, which included two cognitive strategies of improvisation. Structural improvisation (SIMP) emphasized rhythmic patterns, while free improvisation (FIMP) focused on musical spontaneity. Sight-reading scenario served as the reference condition. Paired t-tests were utilized for comparative analyses. The findings revealed a dynamic interplay characterized by increased activity in the executive control network and NMR, along with decreased activity in the default mode network during SIMP. During FIMP, heightened activity was observed in the executive control network, NMR, limbic, and memory systems. In both SIMP vs. sight-reading and FIMP vs. sight-reading comparisons, the visual network's activity decreased, a trend also observed in the comparative analysis of FIMP vs. SIMP. In SIMP, percussionists leverage external rhythmic signals, resulting in heightened NMR and ECN activity and reduced DMN activity. In contrast, FIMP is characterized by a rise in activity within the NMR, ECN, limbic system, memory system, and reward system, underscoring the vital roles of motivation and memory in the rapid production of spontaneous musical ideas within set frameworks. The diminished activity in the visual network during FIMP compared to SIMP suggests less reliance on visual stimuli in FIMP. These findings suggest that various improvisational tactics may engage different neural pathways.

Newborn's neural representation of instrumental and vocal music as revealed by fMRI: A dynamic effective brain connectivity study.

Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non-language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full-term born infants and 35 preterm infants at term-equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task-based effective connectivity, we employed a psychophysiological interaction of co-activation patterns (PPI-CAPs) analysis, using the auditory cortices as seed region, to investigate moment-to-moment changes in task-driven modulation of cortical activity during an fMRI task. Our findings reveal condition-specific, dynamically occurring patterns of co-activation (PPI-CAPs). During the vocal condition, the auditory cortex co-activates with the sensorimotor and salience networks, while during the instrumental condition, it co-activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher-order cognitive and visuo-spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations.

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.

Social robot assisted music course based on speech sensing and deep learning algorithms

In the field of social robot teaching, research has focused on how to use technological means to provide better learning support and personalized interactive experiences. Social robots can interact with students and provide personalized learning support, thereby improving their learning effectiveness and engagement. The speech sensing model of social robots can perceive students’ emotions and feedback in real-time through technologies such as speech recognition and sentiment analysis, thereby providing intelligent responses and guidance. The deep learning recommendation model for music course resources extracts music features through deep learning techniques, and combines session interest extraction techniques to personalized recommend music resources suitable for students’ interests and abilities. By analyzing students’ interests and learning goals, robots can provide music learning resources that meet their needs based on recommendation algorithms, further stimulating their learning interest and enthusiasm. The experimental results show that the use of social robots in the learning environment significantly improves the learning effectiveness and participation of students. Through personalized interaction and intelligent response guidance, students are more likely to understand and master music knowledge, while experiencing joyful and positive learning emotions. The study validated the effectiveness of social robot assisted music courses based on speech sensing and deep learning algorithms, demonstrating its advantages in improving student learning effectiveness and engagement.

Research on the Pathways for Innovative Cultural Development of University Music Courses Based on Music Education Concepts

In order to improve the music education in colleges and universities for cultivating students' comprehensive quality and enriching students' cultural literacy. In this paper, firstly, we optimize the music teaching mode, based on the theory of multiple intelligences and centered on the characteristics of students' intelligence structure, we innovate the teaching mode of music courses in colleges and universities, and emphasize the authenticity and context of the teaching environment. Secondly, the ant colony algorithm is used to find the optimal solution of music course classroom-time. In the solution process, hard constraints and soft constraints are considered to set up a class schedule that teachers and students are satisfied at the same time. Next, the optimal results of music course scheduling without and with conflicts are calculated. The traditional teaching model was set as a control class, and the final validation found that the experimental class scored the highest 90.2 ± 9.4 for music knowledge mastery and was statistically significant. In terms of music composition and music understanding, the experimental class fully agreed with 43% and 48%, higher than 41.0% and 40% of the control class, and the innovative music teaching content was above the students' psychological acceptability, with an average cultural satisfaction score of 4.2487 and an average cultural recommendation score of 4.5347. Therefore, colleges and universities should base their curriculum on the concept of music education, constantly explore and innovate, improve the rationality of curriculum arrangement, and promote the dissemination and development of music culture.

How (not) to write a B♭ french horn beginners method book

Name: Isabelle Roelofs Main subject: Master Natural Horn Research supervisor: Daniel Salbert Title: How (not) to write a Bb French Horn beginners method book Research question: How (not) to write a Bb French Horn beginners method book Summary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book. If playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality. I have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence. I am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point. Based on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones. Biography: Isabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.

A Narrative Analysis of J. G. Roederer’s The Physics and Psychophysics of Music

This paper conducts narrative analysis for the rhetorical critique of Roederer's <i>The Physics and Psychophysics of Music</i>, a prominent textbook of music science. It is possible to analyze implicit narratives even for texts in non-narrative genres. In science textbooks, implicit narratives can be analyzed in structural, educational, and research contexts. Roederer's satisfies structural coherence by composing a book in a way that deals with the perception of pitch, volume, timbre, and harmony according to the stages of sound generation, transmission, and acceptance in a structural context. In an educational context, a book is composed of content that students may be interested in for a scientific understanding of music to satisfy material coherence, and the validity of narrative fidelity is satisfied through the pursuit of reliable knowledge through experience data and improved observational equipment according to the method of constructing scientific knowledge. From the research context, we can confirmed that characterological coherence is secured by satisfying the truthfulness of narrative fidelity through the update of knowledge throughout the four editions, and by revealing that the knowledge of music science is being built through the activities of major researchers.

Extracurricular concert practice as a factor of personal and professional self-development of the future teacher-musician

The article is devoted to the study of the problem of personal and professional self-development of the future teacher-musician in the process of his participation in extracurricular concert practice. The potential possibilities of various forms of organization of this practice are analyzed in order to determine the most favorable ones from the point of view of the student's personal and professional growth. Based on the environmental approach to understanding the professional specifics of the musical and pedagogical activity of the future teacher and the principles of personality-developing higher education, based on the study of works in the field of musical psychology and pedagogy, as well as the use of methods of pedagogical observation, it was found that for the personal and professional self-development of students, extracurricular educational space is used extremely insufficiently. In this regard, an attempt was made to consider the possibilities of a student's personal and professional self-development in the conditions of an extracurricular creative educational environment: class concerts, festivals, competitions, educational projects, master classes, thematic events in collaboration with museum and art organizations, etc. Based on the analysis of the results of pedagogical observation, the levels, criteria and indicators of the student's personal and professional self-development in the conditions of extracurricular concert practice were developed. A number of conditions are determined that most optimally contribute to the personal self-development of the future teacher-musician in the field of professional creative activity.