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The article discusses various reports published within the issue, including one by John Bispam about the importance of musical rhythm to humans and another by Geoff Luck and Petri Toivianen about the gestures of a conductor

IN THE PSYCHOLOGICAL LITERATURE ON MUSICAL humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners' expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the long list of musical genres that are more or less explicitly associated with humor, wit, or comedy. As such, the communication of musical humor should be able to also rely on non-deviant compositional techniques; that is, compositional techniques that conform to the standard syntax in which the musical output is generated. In this paper, we show that selectively augmenting or inhibiting contrasts of register found in passages of Ce'cile Chaminade's humorous piano music impacted the extent to which both expert and non-expert listeners rated such passages as expressing something humorous. We then analyze the effects of contrasts of register in light of incongruity and play theories of humor, and further discuss the relevance of our results for the semantics and pragmatics of music. [ABSTRACT FROM AUTHOR]

WHEN DESIGNING A NEW STUDY REGARDING HOW music can portray and elicit emotion, one of the most crucial design decisions involves choosing the best stimuli. Every researcher must find musical samples that are able to capture an emotional state, are appropriate lengths, and have minimal potential for biasing participants. Researchers have often utilized musical excerpts that have previously been used by other scholars, but the appropriate musical choices depend on the specific goals of the study in question and will likely change among various research designs. The intention of this paper is to examine how musical stimuli have been selected in a sample of 306 research articles dating from 1928 through 2018. Analyses are presented regarding the designated emotions, how the stimuli were selected, the durations of the stimuli, whether the stimuli are excerpts from a longer work, and whether the passages have been used in studies about perceived or induced emotion. The results suggest that the literature relies on nine emotional terms, focuses more on perceived emotion than on induced emotion, and contains mostly short musical stimuli. I suggest that some of the inconclusive results from previous reviews may be due to the inconsistent use of emotion terms throughout the music community. [ABSTRACT FROM AUTHOR]

MANY FOUNDATIONAL QUESTIONS IN THE psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of ''music'' and ''culture.''. [ABSTRACT FROM AUTHOR]

LISTENERS ARE THOUGHT TO BE CAPABLE of perceiving multiple voices in music. This paper presents different views of what `voice' means and how the problem of voice separation can be systematically described, with a view to understanding the problem better and developing a systematic description of the cognitive task of segregating voices in music. Well-established perceptual principles of auditory streaming are examined and then tailored to the more specific problem of voice separation in timbrally undifferentiated music. Adopting a perceptual view of musical voice, a computational prototype is developed that splits a musical score (symbolic musical data) into different voices. A single `voice' may consist of one or more synchronous notes that are perceived as belonging to the same auditory stream. The proposed model is tested against a small dataset that acts as ground truth. The results support the theoretical viewpoint adopted in the paper. [ABSTRACT FROM AUTHOR]

THIS PAPER INVESTIGATES THE ROLE OF MUSICAL features in shaping peak-pleasurable experiences of electronic dance music (EDM). Typically, large structural and dynamic changes occur in an EDM track, which can be referred to as the break routine, consisting of breakdown, build-up, and drop. Twenty-four participants listened to four EDM excerpts featuring break routines, and one excerpt without a break routine. Measures were taken of skin conductance, self-reported affect, and embodied aspects of subjective experience, and incidence of pleasant bodily sensations. Participants reported intense affective experience with EDM despite being removed from the club context, and attributed this experience to the drop in particular. They described these experiences as energizing and uplifting, and pointed to an embodied, kinaesthetic experience of the music. Drop sections of the music were associated with significantly higher skin conductance response than other sections of the break routine. Analysis confirms correlation between specific acoustic and musical features and peak-response as observed with other music genres, and also identifies novel musical characteristics particular to EDM associated with peak experience. This shows that pleasurable peak experience with EDM is related to specific musical features, and has embodied spatial and kinaesthetic experiential qualities even when listened to without dancing and away from the club context. [ABSTRACT FROM AUTHOR]

This paper, taking its cue from the movement's heading, reads the "Heiliger Dankgesang" from Beethoven's String Quartet, op. 132, in terms of spirituality, divinity, and death, following a formal narrative understood in terms of Eastern-influenced conceptions of death and afterlife found in Beethoven's Tagebuch. It has often been noted that the movements of op. 132 present extremely strong contrasts with one another, and this paper draws connections between the narrative shapes of the various movements and several of the quite varied spiritual perspectives explored by Beethoven. Viewed in this way, op. 132 synthesizes two of the areas in which Maynard Solomon has argued that Beethoven was open to multiple contrasting and even contradictory possibilities-- the musical and the spiritual. The contrasts and conflicts among the movements and among the spiritual narratives that they suggest add new dimensions to inter-opus connections as well, giving new depth to the intertextual relationship between the String Quartet, op. 132, and the Ninth Symphony. [ABSTRACT FROM AUTHOR]

ARTIFICIAL INTELLIGENCE (AI) DEPLOYED FOR customer relationship management (CRM), digital rights management (DRM), content recommendation, and content generation challenge longstanding truths about listening to and making music. CRM uses music to surveil audiences, removes decision-making responsibilities from consumers, and alters relationships among listeners, artists, and music. DRM overprotects copyrighted content by subverting Fair Use Doctrine and privatizing the Public Domain thereby restricting human creativity. Generative AI, often trained on music misappropriated by developers, renders novel music that seemingly represents neither the artistry present in the training data nor the handiwork of the AI's user. AI music, as such, appears to be produced through AI cognition, resulting in what some have called ''machine folk'' and contributing to a ''culture in code.'' A philosophical analysis of these relationships is required to fully understand how AI impacts music, artists, and audiences. Using metasynthesis and grounded theory, this study considers physical reductionism, metaphysical nihilism, existentialism, and modernity to describe the quiddity of AI's role in the music ecosystem. Concluding thoughts call researchers and educators to act on philosophical and ethical discussions of AI and promote continued research, public education, and democratic/ laymen intervention to ensure ethical outcomes in the AI music space. [ABSTRACT FROM AUTHOR]

PROFESSIONAL MUSICIANS HAVE BEEN TEACHING/ learning/interpreting Western classical tonal music for longer than atonal music. This may be reflected in their brain plasticity and playing efficiency. To test this idea, EEG connectivity networks (EEG-CNs) of expert cellists at rest and during real and imagined musical interpretation of tonal and atonal excerpts were analyzed. Graphs and connectomes were constructed as models of EEG-CNs, using functional connectivity measurements of EEG phase synchronization in different frequency bands. Tonal and atonal interpretation resulted in a global desynchronization/dysconnectivity versus resting--irrespective of frequency bands--particularly during imagined-interpretation. During the latter, the normalized local information-transfer efficiency (NLE) of graph-EEG-CN's small-world structure at rest increased significantly during both tonal and atonal interpretation, and more significantly during atonalinterpretation. Regional results from the graphs/connectomes supported previous findings, but only certain EEG frequency bands. During imagined-interpretation, the number of disconnected regions and subnetworks, as well as regions with higher NLE, were greater in atonal-interpretation than in tonal-interpretation for delta/theta/gamma-EEG-CNs. The opposite was true during real-interpretation, specifically limited to alpha-EEG-CN. Our EEG-CN experimental paradigm revealed perceptual differences in musicians' brains during tonal and atonal interpretations, particularly during imagined-interpretation, potentially due to differences in cognitive roots and brain plasticity for tonal and atonal music, which may affect the musicians' interpretation. [ABSTRACT FROM AUTHOR]

IN TH IS PAPER, I MAKE THE FOLLOWING CLAIMS: (1) Subjective experience is tremendously useful in guiding productive research. (2) Studies of auditory scene analysis (ASA) in adults, newborn infants, and nonhuman animals (e.g., in goldfish or pigeons) establish the generality of ASA and suggest that it has an innate foundation. (3) ASA theory does not favor one musical style over another. (4) The principles used in the composition of polyphony (slightly modified) apply not only to one particular musical style or culture but to any form of layered music. (5) Neural explanations of ASA do not supersede explanations in terms of capacities; the two are complementary. (6) In computational auditory scene analysis (CASA) - ASA by computer systems - or any adequate theory of ASA, the most difficult challenge will be to discover how the contributions of a very large number of types of acoustical evidence and top-down schemas (acquired knowledge about the sound sources in our environments), can be coordinated without producing conflict that disables the system. (7) Finally I argue that the movement of a listener within the auditory scene provides him/her/it with rich information that should not be ignored by ASA theorists and researchers. [ABSTRACT FROM AUTHOR]

IN THIS PAPER, WE INTRODUCE A SMALL FAMILY OF novel bottom-up (sensory) models of the Krumhansl and Kessler (1982) probe tone data. The models are based on the spectral pitch class similarities between all twelve pitch classes and the tonic degree and tonic triad. Cross-validation tests of a wide selection of models show ours to have amongst the highest fits to the data. We then extend one of our models to predict the tonics of a variety of different scales such as the harmonic minor, melodic minor, and harmonic major. The model produces sensible predictions for these scales. Furthermore, we also predict the tonics of a small selection of microtonal scales--scales that do not form part of any musical culture. These latter predictions may be tested when suitable empirical data have been collected. [ABSTRACT FROM AUTHOR]

Over the past several decades, the field of cognitive neuroscience has drawn with increasing frequency on the figure of the "neural orchestra," a metaphor mapping the activities of localized cortical areas onto sections of a musical ensemble. Popularized by (among others) the neuroscientist Elkhonon Goldberg, the trope is often hailed by contemporary scientists as a new invention--a modern alternative to computational paradigms of cognition. And yet, as I argue here, the concept of the brain orchestra is far from new. Neural-orchestral cartographies originated in the phrenological theory of Franz Joseph Gall in the 1810s, then threaded through medical, ethnographic, anthropological, and pedagogical writing of the later nineteenth century, from the phreno-magnetic tracts of Mariano Cubí y Soler to the psychiatric diagnoses of Théodule-Armand Ribot. Fusing metaphysical concepts of harmony with theories of hierarchical cerebral organology, symphonic minds were products of an epistemological overlap between neural and musical discourses. Crucial to both domains was the newly powerful figure of the podium conductor, conceived as an overarching form of attentional control yoking players into powerful cognitive, musical, and political wholes. The result was a musical neurophysiology refracted through the lenses of imperial technocracy and authoritarian forms of centralization. Today, the historical and neuropolitical forces that generated the Romantic mind orchestra have been largely forgotten, but they continue to exert a spectral influence, hovering behind our conception of the "well-conducted mind," our descriptions of "orchestrated" attention, and our psychopolitical fear of distraction. [ABSTRACT FROM AUTHOR]

John Daverio has argued that Schumann's music was criticized as incomprehensible by many early listeners because of his fragmentary approach to musical form. He proposed that, rather than shy away from the seemingly incomprehensible moments in Schumann's music and try to "neutralize" them through "analytical sophistry," we should confront them "head-on as constitutive aesthetic qualities of Schumann's oeuvre." In the present paper, I take on Daverio's challenge through an analysis of "Zwielicht," from the Eichendorff Liederkreis. I use Daverio's critical theory of the romantic fragment as a starting point for my discussion, but I explain how my use of the concept as an analytic tool differs from his. [ABSTRACT FROM AUTHOR]

Which information dominates in evaluating performance in music? Both experts and laypeople consistently report believing that sound should be the most important domain when judging music competitions, but experimental studies of Western participants rating video-only vs. audio-only versions of 6-second excerpts of Western classical performances have shown that in at least some cases visual information can play a stronger role. However, whether this phenomenon applies generally to music competitions or is restricted to specific repertoires or contexts is disputed. In this Registered Report, we focus on testing the generalizability of sight vs. sound effects by replicating previous studies of classical piano competitions with Japanese participants, while also expanding the same paradigm using new examples from competitions of a traditional Japanese folk musical instrument: the Tsugaru shamisen. For both classical piano and Tsugaru shamisen, we ask participants to choose the winner between the 1stand 2nd-placing performers in 5 competitions and the 1st-place and low-ranking performers in 5 competitions (i.e., 40 performers total from 10 piano and 10 shamisen competitions). We tested the following three predictions twice each (once for piano and once for shamisen): 1) an interaction was predicted between domain (video-only vs. audio-only) and variance in quality (choosing between 1st and 2nd place vs. choosing between 1st and low-placing performers); 2) visuals were predicted to trump sound when variation in quality is low (1st vs. 2nd place); and 3) sound was predicted to trump visuals when variation in quality is high (1st vs. low-placing). Our experiments (n = 155 participants) confirmed our first predicted interaction between audio/visual domain and relative performer quality for both piano and shamisen conditions, suggesting that this interaction is cross-culturally general. In contrast, the second prediction was only supported for the piano stimuli and the third prediction was only supported for the shamisen condition, suggesting culturally dependent factors in the specific balance between sight and sound in the judgment of musical performance. Our results resolve discrepancies and debates from previous sight-vs-sound studies by replicating and extending them to include non-Western participants and musical traditions. Our findings may also have practical applications to evaluation criteria for performers, judges, and organizers of competitions, concerts, and auditions. [ABSTRACT FROM AUTHOR]

EMOTIONS HAVE BEEN FOUND TO PLAY A paramount role in both everyday music experiences and health applications of music, but the applicability of musical emotions depends on: 1) which emotions music can induce, 2) how it induces them, and 3) how individual differences may be explained. These questions were addressed in a listening test, where 44 participants (aged 19-66 years) reported both felt emotions and subjective impressions of emotion mechanisms (Mec Scale), while listening to 72 pieces of music from 12 genres, selected using a stratified random sampling procedure. The results showed that: 1) positive emotions (e.g., happiness) were more prevalent than negative emotions (e.g., anger); 2) Rhythmic entrainment was the most and Brain stem reflex the least frequent of the mechanisms featured in the BRECVEMA theory; 3) felt emotions could be accurately predicted based on selfreported mechanisms in multiple regression analyses; 4) self-reported mechanisms predicted felt emotions better than did acoustic features; and 5) individual listeners showed partly different emotion-mechanism links across stimuli, which may help to explain individual differences in emotional responses. Implications for future research and applications of musical emotions are discussed. [ABSTRACT FROM AUTHOR]

WE USED IMPLICIT AND EXPLICIT TASKS TO MEASURE knowledge of Western harmony in musically trained and untrained Canadian children. Younger children were 6-7 years of age; older children were 10-11. On each trial, participants heard a sequence of five piano chords. The first four chords established a major-key context. The final chord was the standard, expected tonic of the context or one of two deviant endings: the highly unexpected flat supertonic or the moderately unexpected subdominant. In the implicit task, children identified the timbre of the final chord (guitar or piano) as quickly as possible. Response times were faster for the tonic ending than for either deviant ending, but the magnitude of the priming effect was similar for the two deviants, and the effect did not vary as a function of age or music training. In the explicit task, children rated how good each chord sequence sounded. Ratings were highest for sequences with the tonic ending, intermediate for the subdominant, and lowest for the flat supertonic. Moreover, the difference between the tonic and deviant sequences was larger for older children with music training. Thus, the explicit task provided a more nuanced picture of musical knowledge than did the implicit task. [ABSTRACT FROM AUTHOR]

THE MEASUREMENT OF EVERYDAY MUSIC USE remains a challenge for researchers, with many of the available methodologies limited by intrusiveness or lack of ecological validity. The Experience Sampling Method (ESM) addresses such limitations by assessing current subjective experience at various times throughout participants’ everyday functioning. The aim of the current project was to develop and trial a mobile ESM (m-ESM) capable of collecting event-related data during natural listening episodes. This methodology was designed to maintain a natural and familiar listening experience for participants, and to collect real-time data on personal music listening. An application (app) was created which utilized mobile-device technology, and allowed combination of experience sampling with a personal music player. Analyses were performed on trial data from 101 participants to determine the efficacy of the m-ESM. Results indicated that this methodology would maintain ecological validity and cause minimal intrusion into everyday activities of the listener. Questionnaires were answered immediately at the time of listening, minimizing the problem of retrospective recall biases. This innovative methodology allows for the collection of a wealth of listening data that will advance the accurate measurement of everyday, personal music listening. [ABSTRACT FROM AUTHOR]

THE RIGORS OF ESTABLISHING INNATENESS and domain specificity pose challenges to adaptationist models of music evolution. In articulating a series of constraints, the authors of the target articles provide strategies for investigating the potential origins of music. We propose additional approaches for exploring theories based on exaptation. We discuss a view of music as a multimodal system of engaging with affect, enabled by capacities of symbolism and a theory of mind. [ABSTRACT FROM AUTHOR]

CONCEPTUAL PRIMING STUDIES HAVE SHOWN THAT listening to musical primes triggers semantic activation. The present study further investigatedwitha free semantic evocation task, 1) how rhythmic vs. textural structures affect the amount of words evoked after a musical sequence, and 2) whether both features also affect the content of the semantic activation. Rhythmic sequences were composed of various percussionsounds with a strong underlying beat and metrical structure. Textural sound sequences consisted of blended timbres and soundsources evolving over time without identifiable pulse. Participants were asked to verbalize the concepts evoked by themusical sequences. We measured the number of words and lemmas produced after having listened to musical sequences of each condition, and we analyzed whether specific concepts were associated with each sequence type. Results showed that more words and lemmas were produced for textural sound sequences than for rhythmic sequences and that some concepts were specifically associated with each musical condition. Our findings suggest that listening to musical excerpts emphasizing different features influences semantic activation in different ways and extent. This might possibly be instantiated via cognitive mechanisms triggered by the acoustic characteristics of the excerpts as well as the perceived emotions. [ABSTRACT FROM AUTHOR]

A conference titled 'Hearing the Motet: A Conference on the Motet of the Middle Ages and Renaissance' was held at Washington University from Feb. 13-14, 1994. The conference, organized by Prof. Dolores Pesce, was highly commendable. Almost 100 musical scholars and performers from Canada, Europe and the US participated in a conference that delved into the motet's various aspects. A total of thirteen papers were presented in four sessions. A discussion of the papers is presented.

Music and seismology merged in the daily work of the Caltech professor Hugo Benioff, who united the avant-garde technology of the 1920s with a nineteenthcentury Helmholtzian aesthetic, cultural, and scientific understanding of music. The transducer facilitated this merger, mediating between science and music and allowing for new ways of listening to waves outside the audible range. Benioff had the capacity to listen--"listening" understood here not as passive perception, but as an active search to distinguish and separate signal from noise, whether from in-or outside of the instrument. For more than forty years, Benioff worked as a sonic expert, perfecting the recording and reproduction of waves and vibrations of all types and frequencies. After tracing elements of Benioff's biography, I examine how he incorporated the technology of the transducer in his workshop into his seismological and musical instruments, notable not only for the control, austerity, and clarity of lines of their modernist design, but also for a new kind of poetic technology. Benioff's seismological instruments made it possible to listen to a large variety of previously undetectable phenomena such as the free oscillations of the earth, and his work with the pianist Rosalyn Tureck on electric musical instruments aimed to reproduce the pure sound of traditional instruments. I argue that Benioff's search for an aesthetic reconciliation of the scientific modern with an enchanted view of the world is very much a product of the social, cultural, technical, and scientific conditions of the interwar period. [ABSTRACT FROM AUTHOR]

BISPHAM'S (2006) ADDRESS OF THE QUESTION 'WHY' humans demonstrate musical rhythmic behavior provides a compelling evolutionary, contextualized view. of rhythm as an essentially corporate activity yielding convergence of emotional and motivational states in ways that augment individuals' fitness. In broad agreement with this viewpoint it is tentatively suggested here that such a model could be termed 'socio-emotional confluence signaling.' Adoption of an accordingly integrative biomusicological position circumvents many of the impasses incurred in the demarcated research agendas currently evident within this early phase of the study of human origins of music. Such a model provides a suitably broad theoretical substrate to facilitate a wide range of experimental studies that are necessary to enable the nascent field of biomusicology to progress beyond conjecture. [ABSTRACT FROM AUTHOR]

Although people across multiple cultures have been shown to experience music narratively, it has proven difficult to disentangle whether narrative dimensions of music derive from learned extramusical associations within a culture or from less experience-dependent elements of the music, such as musical contrast. Toward this end, two experiments investigated factors contributing to listeners' narrative engagement with music, comparing the narrative experiences of Western and Chinese instrumental music for listeners in two suburban locations in the United States with those of listeners living in a remote rural village in China with different patterns of musical exposure. Supporting an enculturation perspective where learned extramusical associations (i.e„ Topicality) play an important role in narrative perceptions of music, results from the first experiment show that for Western listeners, greater Topicality, rather than greater Contrast, increases narrative engagement, as long as listeners have sufficient exposure to its patterns of use within a culture. Strengthening this interpretation, results for the second experiment, which directly manipulated Topicality and Contrast, show that reducing an excerpt's Topicality, but not its Contrast reduces listeners' narrative engagement. [ABSTRACT FROM AUTHOR]

PASSIVE MUSIC LISTENING HAS SHOWN ITS capacity to soothe pain in several clinical and experimental studies. This phenomenon--known as musicinduced analgesia--could partly be explained by the modulation of pain signals in response to the stimulation of brain and brainstem centers. We hypothesized that music-induced analgesia may involve inhibitory descending pain systems. We assessed pain-related responses to endogenous pain control mechanisms known to depend on descending pain modulation: peak of first pain (PP), temporal summation (TS), and diffuse noxious inhibitory control (DNIC). Twenty-seven healthy participants (14 men, 13 women) were exposed to a conditioned pain modulation paradigm during a 20-minute relaxing music session and a silence condition. Pain was continually measured with a visual analogue scale. Pain ratings were significantly lower with music listening (p < .02). Repeated measures ANOVA indicated significant differences between conditions within PP and TS (p < .05) but not in DNIC. Those findings suggested that music listening could strengthen components of the inhibitory descending pain pathways operating at the dorsal spinal cord level. [ABSTRACT FROM AUTHOR]