psych music test 2

sensori motor

what kind of processes are listening to, performing music, and reacting to music

beats

humans perceive periodic pulses that are called …

meters

what are beats grouped into

duple

triple

quadruple

what are time signatures

beat induction

process by which we can identify a regular pulse in a piece of music

periodicity of amplitude modulation

what do our brains pick up on?

60

1 hz equals ? bpm

144

an amplitude modulation of 2.4 hz equals ? bpm

0.5-5 hz

corresponds to standard tempo range in music

meter frequency

beat frequency divided by the number of beats per measure

entrainment

synchronization of an organism to an external rhythmic pattern

steady state evoked potential

periodic firing of neurons in the brain

eeg studies

where is there evidence of entrainment found?

musical beat and meter periodicities

what can be perceived whether or not sound is actually periodic

entrainment

isochronous pulses with metronome, complex rhythmic structures, imagined metric structure

nozaradan

stimulus: pure tone at 2.4 hz (144 bpm)

task: imagine either a binary or ternary meter (or control task)

measure: eeg recording - looked for ss-ep

tierney and kraus

evidence that entrainment can be disrupted when emphasizing wrong beat

tierney and kraus

participants listened to musical excerpt

added bassoon note - aligned with beat, not aligned with beat

tierney and kraus

breakdown in musical processing from off beat emphasis

sms

coordination of rhythmic movement with rhythmic sensory stimuli

sms

almost exclusively seen in humans - fundamental to music performance and dance

sms

coordinating movements with other musician; practicing a metronome; tapping along to music

sms

involves auditory, visual, and proprioceptive and vestibular sensory systems

motor synchronization

sensori motor

what kind of process is sms

upper limit

1:1 in phase synchronization set by max frequency of an effector (body part) can move

finger tapping: 5-7 sec

lower limit

~2 seconds

anticipation tendency

our tapping will go before the actual beat by 10ths of a msec

increase

if the metronome is synchronized to a person’s tapping, what will tempo do over time

nozaradan

stimulus: pure tone at 2.4 hz (144 bpm)

task: tap on every other beat (lh, rh) (1.2 hz)

beat related entrainment

2.4-hz ss-ep

movement related entrainment

1.2-hz ss-ep

sum of beat and movement frequencies - integration

3.6-hz ss-ep

7 months

at what age does nozaradan phenomenon happen?

philips silver and trainor

infants listen to 2 minutes of ambiguous rhythm pattern

bounced every 2nd or every 3rd beat

philips silver and trainor

preferential looking task: congruent vs incongruent to bouncing pattern

movement

in infancy, what affects music perception - however, this isnt true when infants watched someone else move

entrainment

further neural evidence has shown what during infancy?

nozaradan

individual differences in entrainment maps on ability to find and tap beat

sms

ability to coordinate rhythmic movement with rhythmic sensory stimuli

groove

about wanting to move in response to music

sensorimotor coupling

a positive affect is associated with what?

groove

what did musicologists, ethnomusicologists, and philosophers focus on?

mid 2000s

when did psychologists start studying groove

landmark paper in 2012 - janata

what paper was written to study groove?

janata

defined groove as a construct

janata

153 participants across a number of studies

all participants completed a survey of likert scale items endorsing statements about groove and defined groove themselves

groove

aspect of music that induces a pleasant sense of wanting to move along with the music

perceived groove as a function of genre, tempo, and familarity

what did study 1 of janata do?

janata study 1

participants used slider to indicate amount of groove in 20 second excerpts (varied by genre and tempo)

rated each excerpt for familiarity and enjoyment

experiencing the groove during sensorimotor behaviors

what did janata study 2 do?

janata study 2

participants tapped tasks to excerpts

likert scale ratings

effect of groove category on enjoyment

no effect of tapping on perceived groove

tempo

rhythmic complexity

slope of attack

bass frequencies

what musical characteristics impact groove?

tempo

janata finding - contradictory evidence from other work but likely due to stimuli

107-126

what is the optimal tempo for groove

120

what is the preferred tempo for walking, dancing, and tapping

120

what bpm are we most accurate on beat perception tasks and show greatest activation in a motor region involved in motor movement intiation

syncopation

note (sound onset) occurring in a weak metrical position that is not properly bound to a note in the following stronger metrical position

rhythmic complexity

a medium level of syncopation will elicit the highest groove ratings

rhythmic complexity

slight violation of expectation due to metrical rules

rhythmic complexity

activation seen in regions of the brain associated with pleasure and reward

sound envelope

particular characteristics of amplitude across the duration of a tone

slope of attack

steep slopes = higher groove ratings

slope of attack

what is predictive of groove

percussive instruments

what are steep slopes elicited by?

highly percussive music

what do we tend to dance more to?

beat saliency

what does attack slope impact

beat saliency

associated with increased groove

bass frequencies

greater prescence of low frequencies increases groove

bass frequencies

increased sensitivity to changes in timing of low frequency sounds

low frequency

better at facilitating synchronized movement

slope of attack and bass frequencies

increase beat saliency and make neural entrainment easier

dotov

33 participants listened to 4 types of musical stimuli (groove x tempo) with eyes open or shut

movement energy and synchrony between people increased with high groove stimuli and open eyes

adults

ss-ep for movement related entrainment in tapping taski

infants

preference for meter based on bouncing experience

groove

aspect of music that induces a pleasant sense of wanting to move along with the music

groove

related to musical features that support beat perception but also moderately violate expectations

movement energy and synchrony

between people increased with high groove stimuli and open eyes

emotional expression

ability to associated an emotional label to a stimulus in the environment

emotional response

relatively brief, though intense, affective reaction to potentially important events or changes in the external or internal environment

cognitivist and emotivist

what are the 2 schools of thought

cognitivist perspective

music expresses but does not prompt emotions

emotivist perspective

music expresses and prompts emotions

perceived and felt

what type of emotions tend to be related

emotions

are perceived more strongly than felt

krumhansl

study 1: slider was used to assess emotion throughout experiment

study 2: ratings were given after excerpt (physiological measures were taken)

krumhansl

excerpts 1 and 4, 2 and 6, 3 and 5

yes

do listeners assign the same emotional labels to a piece of music? is expression of emotion systematic?

due to musical characteristics

why is the expression of music systematic

arousal

relaxing-stimulatingv

valence

pleasant-unpleasant

commonalities between emotionally expressive speech and music

experience with spoken language drives identification in music

why do musical characteristics exemplify particular emotions

fritz

mafa in cameroon

do not represent emotions in their music

short phrases of flutes during ceremonies

fritz

musical stimuli rated by westerns as happy, sad, fearful

ekman faces

fritz

basic emotions in western music are recognized in non westenr culture through people who havent been exposed to western music

western listeners

can identify happiness, sadness, or anger in hindustani pieces

fritz

follow up study looking at higher level extra musical meanings (rather than basic emotions)

fritz

german and mafa listened to song excerpts and were asked to choose 1 of 3 song labels

fritz

researches asked…

whether the participants identified the intended label

whether participants within group systematically chose the label, regardless of whether it was correct

basic emotions

systematically identified regardless of cultural/musical background

culture specific

experiences that influence the imagery/iconicity that listeners identify in music