12th International Conference for Music Perception and Cognition 8th Conference of the European Society for the Cognitive Sciences of Music ICMPC -‐ ESCOM 2012 Joint Conference Proceedings Book of Abstracts CD-‐ROM Proceedings Edited by E. Cambouropoulos, C. Tsougras, P. Mavromatis, K. Pastiadis School of Music Studies Aristotle University of Thessaloniki Thessaloniki/Greece, 23-‐28 July 2012 Proceedings of the ICMPC-‐ESCOM 2012 Joint Conference: 12th Biennial International Conference for Music Perception and Cognition 8th Triennial Conference of the European Society for the Cognitive Sciences of Music Edited by: Emilios Cambouropoulos, Costas Tsougras, Panayotis Mavromatis, Konstantinos Pastiadis Book of Abstracts: Costas Tsougras CD-‐ROM Proceedings: Kostantinos Pastiadis Cover design: Emilios Cambouropoulos Printed by COPYCITY, Thessaloniki, www.copycity.gr Published by the School of Music Studies, Aristotle University of Thessaloniki http://www.mus.auth.gr 12th ICMPC -‐ 8th ESCOM Joint Conference webpage: http://icmpc-‐escom2012.web.auth.gr ICMPC webpage: http://www.icmpc.org ESCOM webpage: http://www.escom.org The Proceedings are also available online at the conference's website: http://icmpc-‐escom2012.web.auth.gr ISBN: 978-960-99845-1-5 Copyright 2012 by E. Cambouropoulos, C. Tsougras, P. Mavromatis, K. Pastiadis 2 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 Welcoming Address by ESCOM president Dear delegates, On behalf of the European Society for the Cognitive Sciences of Music, I would like to extend a warm welcome to all of you. I am very happy to see such an impressive number of delegates from all over the world. I know that some of you have had a very long journey, but I am sure you will not regret the effort. I have no doubts that this will be an inspiring and fruitful conference. As you might suspect, the road to this conference was not always smooth. In 2009, when we decided Greece would be the next venue for the joint ESCOM/ICMPC conference, not even the Delphi oracle would have been able to predict the current economic crisis in Europe. Of course, we did briefly consider moving the conference to another country, but due to the general tense economic situation in most European countries, this was not a realistic option. Eventually, the unexpected difficulties led to a very productive and personally enriching inner-‐European cooperation between ESCOM, DGM, and the ICMPC organizers. First of all, I want to thank the local team, Emilios Cambouropoulos, Costas Tsougras, and SYMVOLI, for persistently pursuing their vision of an international conference in this impressive setting. Secondly, I would like to express my sincere gratitude to the executive council of the German Society for Music Psychology (DGM), in particular to its president Andreas Lehmann and its treasurer Michael Oehler for their cooperation with ESCOM and ICMPC in settling financial matters. I hope that all of the delegates will leave the ESCOM-‐ICMPC 2012 conference and Thessaloniki fresh and brimming with new ideas, new friends, good experiences, life-‐enhancing impressions and optimism regarding the scientific and scholarly potential of the cognitive sciences of music. Reinhard Kopiez, Professor of Music Psychology, Hanover University of Music, Drama and Media, Germany ESCOM President 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 3 Welcoming Address by the Conference co-‐Chairs Dear delegates, We would like to welcome all participants here in Thessaloniki for the joint meeting of the 12th International Conference on Music Perception and Cognition (ICMPC) and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM). The conference is organized by the School of Music Studies at the Aristotle University of Thessaloniki, and the European Society for the Cognitive Sciences of Music. This year’s joint conference is the fourth joint international meeting of ICMPC and ESCOM following the meetings in Liege, Belgium (1994), Keele, England (2000), and Bologna, Italy (2006). Three years ago, at the urging of Irène Deliège, we decided to go ahead and make a petition for holding this international event in Thessaloniki. At that time, we could not imagine the financial turmoil this country would enter just a short time down the line. We are grateful to ESCOM, and above all to Reinhard Kopiez and Irène Deliège, for their steady support and encouragement throughout this long preparatory period. Many thanks are due to Andreas Lehmann and Michael Oehler (German Society for Music Psychology -‐ DGM) for assisting us in securing a credible financial environment for the conference. We would also like to express our gratitude to the members of the international ICMPC-‐ESCOM 2012 Conference Advisory Board for trusting us, despite the negative international publicity surrounding the country. The conference brings together leading researchers from different areas of music cognition and perception. A large number of papers, from a broad range of disciplines -‐ such as psychology, psychophysics, philosophy, neuroscience, artificial intelligence, psychoacoustics, linguistics, music theory, anthropology, cognitive science, education -‐ report empirical and theoretical research that contributes to a better understanding of how music is perceived, represented and generated. Out of 570 submissions, 154 papers were selected for spoken presentation and 258 for poster presentation. Additionally, five keynote addresses will be presented in plenary sessions by five internationally distinguished colleagues. The two SEMPRE-‐ICMPC12 Young Researcher Award winners for this year will also present their work in plenary sessions on Wednesday and Friday morning. 4 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 This year we have attempted to give poster presentations a more prominent position in the conference programme. Posters are organised thematically into speed poster sessions where authors have the opportunity to present briefly the core points of their work orally to participants; these speed sessions will be followed by more relaxed presentations and discussions in front of the posters in the friendly environment of the main venue hall. The speed poster presentations are held mostly in the morning giving time for discussion later on in the day. We are hoping that this compound mode of presentation (oral plus poster presentation) will contribute to a better communication between poster presenters and conference participants. We are open to further suggestions and ideas, as well as feedback on how well this whole process works. We also tried to provide an interesting and diverse social programme. Apart from the welcome reception and banquet, a variety of half-‐day excursions are offered on Thursday afternoon, plus other activities in the city such as walking tours. We would like to draw your attention to the special concert on Wednesday evening that features contemporary works by Greek composers performed by leading local performers. The concert will include works from the beginning of the th 20 century to the present; also, a traditional vocal female ensemble will participate in the concert complementing contemporary works inspired by Greek folk music. On the last day of the conference, Saturday afternoon, a special post-‐conference two-‐hour session, co-‐chaired by John Sloboda and Mayumi Adachi, will be looking at the wider social and political context of our research and practice. This event will focus on the current global economic situation as it is currently being felt most strongly in Greece, and its impact on scholarship and intellectual exchange. All are welcome for a lively and thought-‐provoking discussion. We hope that the richness of research topics, the high quality of presentations, the smooth flow of the programme, the friendly and comfortable enviroment of Porto Palace, the relaxed coffee and lunch breaks, along with the conference excursions, musical concerts and other social events, will make this conference a most rewarding experience. We hope that everyone will leave with fresh ideas and motivation for future research, and new collaborations that will give rise to inspiring new ideas and lasting friendships. Closing this openning comment, we would like to thank all our co-‐organisers in the organising committee, our colleagues in the Music Department and our collaborators at Symvoli for their support. We want to thank especially Panos Mavromatis, Kostas Pastiadis and Andreas Katsiavalos, for their invaluable practical help in various stages of this organisation. Finally, a warm thanks to all of you for coming to Thessaloniki and for your support and solidarity in the midst of this difficult period of our country. We are confident that this conference will be a most rewarding and memorable experience for all. Emilios Cambouropoulos and Costas Tsougras, ICMPC-‐ESCOM 2012 co-‐chairs 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 5 ICMPC12-‐ESCOM8 Organizing Committee Chair: Emilios Cambouropoulos, School of Music Studies, Aristotle University of Thessaloniki, Greece Co-‐Chair: Costas Tsougras, School of Music Studies, Aristotle University of Thessaloniki, Greece Reviewing Co-‐ordinator: Panayotis Mavromatis, New York University, USA Technical Co-‐ordinator: Konstantinos Pastiadis, School of Music Studies, Aristotle University of Thessaloniki, Greece Georgios Papadelis, School of Music Studies, Aristotle University of Thessaloniki Danae Stefanou, School of Music Studies, Aristotle University of Thessaloniki Christina Anagnostopoulou, Department of Music Studies, University of Athens Eleni Lapidaki, School of Music Studies, Aristotle University of Thessaloniki Technical assistant, webmaster: Andreas Katsiavalos Conference Administration: SYMVOLI Conference and Cultural Management, www.symvoli.gr Conference Venue: Porto Palace Hotel and Conference Center, www.portopalace.gr ICMPC-‐ESCOM 2012 Conference Advisory Board Mayumi Adachi, Hokkaido University, Japan Anna Rita Addessi, University of Bologna, Italy Steven Demorest, University of Washington, USA Andrea Halpern, Bucknell University, USA Reinhard Kopiez, University of Hannover, Germany Jukka Louhivuori, University of Juväskylä, Finland Yoshitaka Nakajima, Kyushu University, Japan Jaan Ross, Estonian Academy of Music and Theatre & University of Tartu, Estonia Programme Committee Eckart Altenmüller, Hanover University of Music, Drama and Media, Germany Nicola Dibben, University of Sheffield, U.K. Robert O. Gjerdingen, Northwestern University, U.S. Carol L. Krumhansl, Cornell University, U.S. Stephen McAdams, McGill University, Canada Richard Parncutt, Karl-‐Franzens-‐Universität Graz, Austria Catherine (Kate) Stevens, University of Western Sydney, Australia Petri Toiviainen, University of Jyväskylä, Finland 6 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 Scientific Advisory Board Mayumi Adachi, Hokkaido University, Japan Anna Rita Addessi, University of Bologna, Italy Rita Aiello, New York University, United States Eckart Altenmüller, University of Music Drama and Media, Hannover, Germany Rytis Ambrazevičius, Kaunas University of Technology, Lithuania Christina Anagnostopoulou, University of Athens, Greece Richard Ashley, Northwestern University, United States Roberto Bresin, KTH Royal Institute of Technology, Sweden Warren Brodsky, Ben-‐Gurion University of the Negev, Israel Annabel Cohen, University of Prince Edward Island, Canada Eugenia Costa-‐Giomi, University of Texas, Austin, United States Sarah Creel, University of California, San Diego, United States Ian Cross, University of Cambridge, United Kingdom Lola Cuddy, Queen's University, Canada Lori Custodero, Columbia University, United States Irène Deliège, ESCOM, Belgium Steven M. Demorest, University of Washington, United States Nicola Dibben, University of Sheffield, United Kingdom Walter Jay Dowling, University of Texas, Dallas, United States Tuomas Eerola, University of Jyväskylä, Finland Zohar Eitan, Tel Aviv University, Israel Dorottya Fabian, University of New South Wales, Australia Morwaread Farbood, New York University, United States Robert Gjerdingen, Northwestern University, United States Rolf Inge Godøy, University of Oslo, Norway Werner Goebl, University of Music and Performing Arts, Vienna, Austria Andrea Halpern, Bucknell University, United States Stephen Handel, University of Tennessee, United States Erin Hannon, University of Nevada, Las Vegas, United States Yuzuru Hiraga, University of Tsukuba, Japan Henkjan Honing, University of Amsterdam, Netherlands Erkki Huovinen, University of Minnesota, School of Music, United States Roger Kendall, University of California, Los Angeles, United States Reinhard Kopiez, Hanover University of Music, Drama and Media, Germany Stefan Koelsch, Freie Universität Berlin, Germany Nina Kraus, Northwestern University, United States Alexandra Lamont, Keele University, United Kingdom Eleni Lapidaki, Aristotle University of Thessaloniki, Greece Edward Large, Florida Atlantic University, United States Andreas Lehmann, Hochschule für Musik, Würzburg, Germany Marc Leman, University of Ghent, Belgium Scott Lipscomb, University of Minnesota, United States Steven Livingstone, Ryerson University, Canada Jukka Louhivuori, University of Jyväskylä, Finland Psyche Loui, Beth Israel Deaconess Medical Center and Harvard Medical School, United States 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 7 Geoff Luck, University of Jyväskylä, Finland Raymond MacDonald, Glasgow Caledonian University, United Kingdom Elizabeth Margulis, University of Arkansas, United States Elizabeth Marvin, Eastman School of Music, University of Rochester, United States Stephen McAdams, McGill University, Canada Josh McDermott, New York University, United States David Meredith, Aalborg University, Denmark Yoshitaka Nakajima, Kyushu University, Japan Takayuki Nakata, Future University, Hakodate, Japan Marta Olivetti Belardinelli, Sapienza University of Rome, Italy Georgios Papadelis, Aristotle University of Thessaloniki, Greece Richard Parncutt, University of Graz, Austria Bruce Pennycook, University of Texas, Austin, United States Peter Pfordresher, University at Buffalo State University of New York, United States Ian Quinn, Yale University, United States James Renwick, University of Sydney, Australia Bruno Repp, Haskins Laboratories, United States Martina Rieger, UMIT -‐ University for Health Sciences, Medical Informatics and Technology, Austria Jaan Ross, Estonian Academy of Music and Theatre, Estonia Frank Russo, Ryerson University, Canada E. Glenn Schellenberg, University of Toronto, Canada Emery Schubert, University of New South Wales, Australia Uwe Seifert, University of Cologne, Germany John Sloboda, Guildhall School of Music & Drama, United Kingdom Kate Stevens, University of Western Sydney, Australia David Temperley, Eastman School of Music, University of Rochester, United States William Forde Thompson, Macquarie University, Australia Barbara Tillmann, Lyon Neuroscience Research Center, France Petri Toiviainen, University of Jyväskylä, Finland Laurel Trainor, McMaster University/McMaster Institute for Music and the Mind, Canada Minoru Tsuzaki, Kyoto City University of Arts, Japan Maris Valk-‐Falk, Estonian Academy of Music and Theatre, Estonia Oliver Vitouch, University of Klagenfurt, Austria Geraint Wiggins, Queen Mary, University of London, United Kingdom Suk Won Yi, Seoul National University, Republic Of Korea 8 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 SEMPRE AWARDS The Society for Education, Music and Psychology Research (SEMPRE) <http://www.sempre.org.uk/> kindly offers a number of awards to researchers attending this year’s ICMPC conference. SEMPRE & ICMPC12 Young Researcher Award The SEMPRE & ICMPC12 Young Researcher Award (YRA) is awarded to young researchers that submit a high quality research paper and demonstrate the potential to be a leading researcher in the field of Music Perception and Cognition. This year’s Young Researcher Award selection committee, consisting of Graham Welch (chair of SEMPRE), Reinhard Kopiez (president of ESCOM), and Kate Stevens (member of the ICMPC-‐ ESCOM12 Scientific Advisory board), examined carefully all shortlisted applications, and decided this year's YRA prize to be shared by the following two researchers: Birgitta Burger: Emotions move us: Basic emotions in music influence people's movement to music Chia-‐Jung Tsay: The Impact of Visual Cues on the Judgment and Perceptions of Music Performance The selection process consisted of the following steps: Initially, eleven submissions were shortlisted based on the review ratings of the submitted abstract. Then, the authors of these eleven abstracts submitted full papers, which were additionally reviewed by at least two reviewers from the Scientific Advisory board. Finally, the YRA selection committee examined carefully these eleven submissions in terms of their overall quality and originality (taking into account the additional reviews), and, in terms of meeting all the criteria described on the conference webpage, delivered their final decision. Apart from receiving a money prize (1000$ each), the two YRA winners will present their work in special plenary sessions on Wednesday and Friday morning. The YRA selection committee, SEMPRE, the conference organising committee and all participants, would like to congratulate whole-‐heartedly the two winners for their success. SEMPRE Attendance Bursaries The Attendance Bursaries are awarded by SEMPRE to assist financially ICMPC participants on the basis of merit and need. This year, a total of 10000 US dollars (from 100$ to 750$) has been awarded to the following participants: Amos David Boasson, Blanka Bogunović, Daniel Cameron, Elisa Carrus, Song Hui Chon, Emily B.J. Coffey, Cara Featherstone, Georgia-‐Aristi Floridou, Benjamin Gold, Andrew Goldman, Meghan Goodchild, Shantala Hegde, Sibylle C. Herholz, Christos Ioannou, Jenny Judge, Sarah Knight, Amanda Krause, Carlotta Lega, Samuel A. Mehr, Alisun Pawley, Crystal Peebles, Rachna Raman, Sundeep Teki, Michael Wammes, Dustin Wang, Michael W. Weiss 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 9 Presentation Guidelines Spoken Papers Spoken papers are allotted 20 minutes plus 8 minutes for questions and 2 minutes break for changing rooms. You must stop talking when your time is up. The timetable will be strictly adhered to so that people can easily change rooms and plan meetings during breaks. All papers are presented in English. All powerpoint presentations must be brought to the Central Technical Helpdesk in the main foyer at least three hours prior to the scheduled opening time of the session. At the helpdesk, the authors should be able to preview their presentation. The computers in the presentation halls are laptops with Microsoft Windows 7 or XP SP3 installed. Presentations should be prepared for MS Office PowerPoint or in Acrobat pdf format. The powerpoint presentations (ppt or pptx file) and all audio/visual files must be in the same folder (without sub-‐folders) named after the presenter's surname. If it is absolutely necessary, e.g. if you want to use a program that runs only on your computer, bring your own laptop and check well in advance that your and our equipment work together in harmony. In case of use of Apple Macintosh computers, participants should provide any necessary adapters for video (VGA) output to the in-‐situ audiovisual equipment. Meet your chair and technical assistant 10-‐15 minutes before the start of your session. If you have a handout, give it to an assistant along with any instructions on what to do. If something goes wrong with the equipment during your talk, ask the technician to fix it. Meanwhile, continue your talk, even if you have to improvise without slides. Your 20-‐minute period will not be extended on account of a technical problem. Poster Presentations Hanging up and presenting posters. Authors are responsible for setting up and removing their posters. If your poster is presented at a Speed Poster Session on Tuesday, then you should hang it up on Monday afternoon before 5:30pm and the poster will remain till Tuesday evening. If your poster is presented on Wednesday or Friday, then it should be hung up on the morning of that same day before 9am and removed the following day. A timetable of papers on each poster panel will indicate which posters should be hung up on that particular panel. Posters will be organised thematically, so look for your poster panel in the appropriate thematic region. We will provide the means for you to hang your poster. At least one author of a poster must be available to present it during the special poster presentation sessions and, also, during coffee breaks and lunch breaks on the two days that the poster will be hanged. Speed poster presentations. Apart from the poster, a 5-‐minute slot is allocated for the spoken presentation of each poster. The goal of this brief presentation is not to present the full paper, but rather to give a glimpse into the participants' research that will attract delegates for a more detailed presentation and discussion around the actual poster. Authors should not try to fit as much as possible into the five minutes, but preferably to give a few interesting/exciting points that will urge delegates to discuss the issues raised further during the poster presentation sessions, and the lunch/coffee breaks. The same requirements for spoken talks apply for the speed poster presentations (read carefully the quidelines above), with the following exception: each speed poster presentation is allotted exactly 5 minutes without extra time for discussion -‐ presenters should ensure that their presentation is less than 5 minutes to allow half-‐a-‐minute or so for the preparation of the next presentation. The timetable will be strictly adhered to. We suggest powerpoint presentations should consist of no more that 4-‐5 slides. All powerpoint presentations must be brought to the Central Technical Helpdesk in the main foyer at least three hours prior to the scheduled opening time of the session. Use of individual laptops is not allowed in speed poster sessions. 10 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 ' ' '-‐ OVERVIEW ' CONFERENCE PROGRAMΜΕ ! ! ' MONDAY' 23'JULY' 9:00% 9:30! 9:30% 10.00! 10:00% 10:30! 10:30% 11:00! 11:00% 11:30! 11:30% 12:00! 12:00% 12:30! 12:30% 13:00! 13:00% 13%30! 13:30% 14%00! 14:00% 14:30! 14:30% 15:00! 15:00% 15:30! 15:30% 16:00! 16:00% 16:30! 16:30% 17:00! 17:00% 17:30! 17:30% 18:00! 18:00% 18:30! 18:30% 19:00! 19:00% 19:30! 19:30% 20:00! 20:00% 20:30! 20:30% 22:00! ! TUESDAY' 24'JULY' WEDNESDAY' 25'JULY' THURSDAY' 26'JULY' FRIDAY' 27'JULY' SATURDAY' 28'JULY' REGISTRATION' keynote!4! keynote!3! Young!Resear% cher!Award!1! keynote!5! symposium!2,! paper!sessions! 20%23! Young!Resear% cher!Award!2! coffee!break! coffee!break! speed!poster! sessions!1%5! speed!poster! sessions!6%10! speed!poster! sessions!16%20! speed!poster! sessions!21%25! poster! presentation! poster! presentation! symposium!3,! paper!sessions!! 24%27! poster! presentation! LUNCH! LUNCH! ! LUNCH! paper!sessions!! 1%5! paper!sessions! 10%14! symposium!4,! paper!sessions! 23%36! speed!poster! sessions!11%15! poster! presentation! speed!poster! sessions!26%30! poster! presentation! speed!poster! sessions!41%44! poster! presentation! coffee!break! coffee!break! coffee!break! symposium!1,! paper!sessions!! 6%9! paper!sessions! 15%19! ESCOM! General! Assembly! ICMPC! Business! Meeting! symposium!5,! paper!sessions! 37%40! coffee!break! coffee!break! speed!poster! sessions!31%35! speed!poster! sessions!36%40! coffee!break! paper!sessions! 41%45! ! REGISTRATION' welcome! keynote!1! LUNCH! Special! Post% Conference! Session! TOURS'&' EXCURSIONS' paper!sessions! 36%40! ! ! keynote!2! ! ! WELCOME! RECEPTION! CONCERT! BANQUET! 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 11 Monday 23 July Keynote 1: Grand Pietra Hall, 18:30-‐19:30 Irène Deliège: The cue-‐abstraction model: its premises, its evolution, its prospects Irène Deliège obtained her qualifications at the Royal Conservatory of Brussels. After a twenty-‐year career as a music teacher, she retrained in psychology at the University of Brussels and obtained her PhD in 1991 from the University of Liège. A founding member of the European Society for the Cognitive Sciences of Music (ESCOM), she acted since its inception in 1991 till recently as Permanent Secretary and Editor of its journal, Musicae Scientiae that she launched in 1997. Her main research interests include the organisation of a mental representation of the musical work, cue abstraction and imprint formation, categorisation and similarity perception during listening. She is the author of several articles and has co-‐edited several books dedicated to music cognition and perception, among which La Musique et les Sciences Cognitives (Mardaga, 1986), Naissance et Développement du Sens Musical (Presses Universitaires de France, 1995), Musical Beginnings (Oxford University Press, 1996), Perception and Cognition of Music (Psychology Press, 1997), Musique contemporaine : Perspectives théoriques et philosophiques (Mardaga, 2001), Musical Creativity (Psychology Press, 2006), Musique et Évolution (Mardaga, 2010), Music and the Mind: Essays in honour to John Sloboda (Oxford University Press, 2011), Contemporary Music: Theoretical and philosophical Perspectives (Ashgate, 2011). Born of a reflection resulting from an approach by Lerdahl and Jackendoff’s grouping preference rules (see GTTM, 1983), the cue-‐abstraction model is proposed. This model is anchored on the formulation of the general perceptual principle of sameness and difference. The description and discussion of the cue-‐abstraction model will revolve around three main axes. A first axis of reflection concerns the psychological constants on which our perceptual activities are based whatever the perceptual field addressed. The theoretical premises of the cue-‐abstraction model in the perception of a musical piece are based on arguments put forward in general psychology as well as in psycholinguistics. Similarly, the hypothesis of imprint formation as a result of the repetition of abstracted figures, found its theoretical foundations in the work on categorisation processes from Rosch’s team and in research about prototype effects in visual and linguistic material by Posner, Keele, Bransford and Franks. A second axis considers the influence of culture, education, music tuition and social environment on the perception of a musical piece. All my investigations from 1985 to date have been conducted by comparing the performance of musicians and non-‐musicians. Some findings have established that : • the cue abstraction process is relatively tuition-‐independent; • tuition intervenes, however, in the formation of imprints and categorization processes in which case the role of memory is more effective -‐ influence of implicit learning and memory require further investigation; 12 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 • the impact of heads of thematic elements is more pronounced in abstracted cued elements: so-‐called priming procedures can shed light for a better understanding of the mechanisms involved. A third axis concerns the definition of notions underlying the psychological mechanisms involved in music perception. Cue, musical idea, variation, imprint, theme, motif, pertinence, salience, accent, similarity, difference, and so on, are all terms borrowed from the common vocabulary and used intuitively by musicians and musicologists in their work on music analysis, theory, history, philosophy and aesthetics of music. Would it be possible to go beyong this intuitive use? Do we have tools to make progress towards more relevant definitions that can satisfy scientists’ quest for more precision? Keynote 2: Grand Pietra Hall, 19:30-‐20:30 John Rink: The (F)utility of Performance Analysis John Rink studied at Princeton University, King’s College London, the Guildhall School of Music & Drama, and the University of Cambridge. His work as Professor of Musical Performance Studies at Cambridge, as Fellow at St John’s College, and as Director of the AHRC Research Centre for Musical Performance as Creative Practice (CMPCP) draws upon his broad musical and musicological experience. He specialises in performance studies, theory and analysis, and nineteenth-‐century studies. He has published six books with Cambridge University Press, including The Practice of Performance (1995), Musical Performance (2002), and Annotated Catalogue of Chopin’s First Editions (with Christophe Grabowski; 2010). In addition to directing CMPCP, John Rink is one of four Series Editors of The Complete Chopin – A New Critical Edition, and he directs two other research projects: Chopin’s First Editions Online (funded by the Arts and Humanities Research Council) and Online Chopin Variorum Edition (funded by the Andrew W. Mellon Foundation). Considerable scepticism has been expressed in recent scholarship about the mapping from structure to performance that was once considered ideal in the musicological literature. Clearly the interpretive practice of performers of Western art music involves a good deal more than translating notated symbols, theoretical constructs and analytical findings into sound, just as listening is not simply a matter of the ‘structural hearing’ valorized by certain authors. That does not mean that musical structure as conventionally understood is irrelevant to performers or listeners – only that the relationship is more complex and less exclusive than some have assumed. One problem has to do with a reductivist tendency to regard musical structure as a single, seemingly static entity rather than as a range of potential, inferred relationships between the various parameters active within a work. Not only is it more accurate to refer to music’s structures, but the origin and dynamic nature of those structures must also be acknowledged. In that respect performers have a seminal role to play, creating rather than just responding to musical structure in each performance. This goes well beyond the surface-‐level expressive microstructure upon which much of the literature has focused to date. This paper will survey a range of different analytical approaches to musical performance, including those developed by CHARM (www.charm.kcl.ac.uk) and CMPCP (www.cmpcp.ac.uk). It will be argued that no single analysis can ever be exhaustive and that analytical ‘truth’ is both partial and contingent. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 13 MON Tuesday 24 July Keynote 3: Grand Pietra Hall, 09:30-‐10:30 Gerhard Widmer: Computational Music Perception: On the Importance of Music Cognition Research for Building Musically Competent Systems Gerhard Widmer is full professor and head of the Department of Computational Perception at the Johannes Kepler University Linz, and head of the Intelligent Music Processing and Machine Learning Group at the Austrian Research Institute for Artificial Intelligence (OFAI), Vienna. He holds degrees in computer science from the University of Technology Vienna and the University of Wisconsin/Madison, USA. His research interests are in computational models of musical skills (notably: expressive music performance), and in the application of AI and machine learning methods to real-‐world musical problems. He has been awarded several research prizes, including the highest scientific award in the country of Austria, the "Wittgenstein Prize" (2009). In 2006, he was elected a Fellow of the European Coordinating Committee for Artificial Intelligence (ECCAI), for his contributions to European AI Research. Driven by a strong demand from the digital music world, engineering-‐oriented fields like Music Information Retrieval (MIR) and Sound and Music Computing (SMC) have made great technical progress in the past decade. Today, computer systems are being developed that successfully perform complex tasks such as music detection, classification, recognition, and tracking, some of these with substantial commercial impact. An analysis of the underlying methods shows that these systems generally solve such tasks in ways that seem very different from how humans approach them, which one might take to imply that we do not need music cognition research to build musically competent systems. In this presentation, we will take a closer look at some of these systems and will discover that they are successful because, in effect, the problems they solve are rather easy, in certain respects. We will then focus on a more demanding musical task and a corresponding research field that (I claim) has not made as much progress in the past decade as one might have hoped: computational modelling of expressive music performance. By looking at recent work on models of expressive timing, we will identify some central questions related to music perception that are still (again: my claim) fundamentally unsolved, and whose solution would greatly help in the development of truly 'musical' systems. 14 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 1: Grand Pietra Hall, 11:00-‐11:40 Musical expectation – tension Changing expectations: does retrospection influence our perceptions of melodic fit? Freya Bailes, Roger T. Dean MARCS Auditory Labs, University of Western Sydney Statistical models can predict listeners’ melodic expectations and probable musical events are more readily processed than less probable events. However, there has been little consideration of how such expectations might change through time, as remembering becomes necessary. Huron’s ITPRA theory proposes successive stages forming musical expectation, the last of which, appraisal, might shift a listener’s representations and expectations. The temporal trajectory of expectations and the role of remembering and appraisal, are not well understood. The aim of this experiment was to identify conditions in which expectation and retrospective appraisal contribute in melodic processing. It was hypothesized that melodic expectations based on the most recently heard musical sequence would initially influence ratings in a probe tone task, with a shift to a retrospective analysis of the whole sequence through time. Four male and 12 female ‘non-‐musicians’ studying undergraduate psychology participated for course credit. An adaptation of Krumhansl’s probe tone method was used, in which an isochronous melody was presented, consisting of a sequence of five chords in one key followed by a sequence of three monophonic notes forming an arpeggio in another key a semitone away. Following this, a probe tone was presented immediately, 1.8s, 6s, or 19.2s later. Participants hearing the stimuli over headphones rapidly rated the goodness of fit of the probe to the preceding context, using a 7-‐point scale. The tonal relationship of the probe to both parts of the melodic sequence was manipulated. Probe tone ratings changed significantly with time. Response variability decreased as the time to probe presentation increased, yet ratings at every time point were significantly different from the scale mid-‐point of ‘4’, arguing against increasingly ‘noisy’ data, or a memory loss, even 19.2s after presentation of the melodic sequence. Suggestive evidence for a role of appraisal was the development with delay time of statistical correlation between distributions of perceived fit and predictions based on literature data on tonal pitch preference, or on the IDyoM model of statistical probability. So, with no further musical input, listeners can continue to transform recent musical information and so change their expectations beyond simply forgetting. Closure and Expectation: Listener Segmentation of Mozart Minuets Crystal A. Peebles School of Music, Northern Arizona University, United States This study investigates the theoretical claim that the perception of closure stems from the ability to predict the completion of a schematic unit, resulting in a transient increase in prediction error for the subsequent event. In this study, participants were asked to predict the moment of completion of mid-‐level formal units while listening to three complete minuet movements by Mozart (K. 156, K. 168, and K. 173). Following this prediction task, participants then rated the degree of finality of ending gestures from these same movements. Generally, endings punctuated by strong cadential arrival were best predicted and received higher ratings, suggesting that learned harmonic and melodic ending gestures contribute to the segmentation of musical experience. These results were accentuated for participants with formal musical training, further supporting this conclusion. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 15 Tracking levels of closure in melodies Andrew R. Brown,* Toby Gifford,* Robert Davidson# *Queensland Conservatorium, Griffith University, Australia #Dept. Music, University of Queensland, Australia We computationally implemented the conditions of closure posited in Narmour’s Implication-‐ Realisation (I-‐R) theory, and evaluated how well these formally defined notions of melodic closure align with points of structural closure – phrase ends and score ends – in the Essen folksong corpus. We found three of the conditions, those relating to durational, metric and tonal resolution, were positively correlated with points of structural closure, and that a combined closure measure calculated from a weighted combination of these individual measures had a strong relationship with structural closure. We suggest this provides evidence supporting the I-‐R theory’s claim that points of positive congruence in these measures can give rise to a sense of repose or completion, or closure in the sense of Gestalt psychology. We provide further detail regarding the strength and independence of the individual conditions in this regard. We conclude that these computationally tractable measures may be of benefit in automated segmentation tasks. Musical tension as a response to musical form Gerhard Lock,* Kerri Kotta # * Estonian Academy of Music and Theatre, Department of Musicology Tallinn University, Institute of Fine Arts, Department of Music, Tallinn/Estonia # Estonian Academy of Music and Theatre, Department of Musicology Musical tension is a complex phenomenon and its comprehensive description should generally include a variety of different approaches. In this study, our goal is to describe the musical tension as a response of a listener to formal patterns by combining perception tests with musical analysis. To the authors of this article, musical form is essentially a hierarchical phenomenon. The main idea behind this study is that the perception of musical tension can be seen as being dependant on the hierarchical aspects of form. We hypothesize that the intensity of the perceived musical tension is proportional to the structural (or hierarchical) significance of the corresponding musical event. For ease of comparison of the tension curves obtained from listening tests and score-‐based structural analysis, we will present three new methods: 1) Analysis of salient features of music: based on the discrimination of the relative importance of different types of compound musical events (i.e. impulse and culmination, see Lock 2010) based on the musical score and cognitive analysis. 2) Analysis of musical “energy”: form is treated as a succession of short areas in which the energy of music (i.e. a relative degree of the activity of its carriers, i.e. rhythm, dynamics, texture, timbre, and register) can be described by simple terms, i.e. increase, decrease, and sustain (see Kotta 2011). 3) Reduction and averaging of tension curves: the method allows taking apart different “levels” of curves obtained from listening tests with continuous data capture (via slider controllers). Through further research, we will find optimal mappings between and compare the outputs of the three analytical methods presented here with a traditional formal analysis of the works of post-‐tonal music. 16 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Expectations in Culturally Unfamiliar Music: Influences of Perceptual Filter and Timbral Characteristics Catherine Stevens,* Barbara Tillmann,#* Peter Dunbar-‐Hall,§ Julien Tardieu,✝ Catherine Best* *MARCS Institute, University of Western Sydney, Australia; #Lyon Neuroscience Research Center, CNRS-‐UMR 5292, INSERM U1028, Université de Lyon, France; §Conservatorium of Music, The University of Sydney, Australia; ✝Université de Toulouse UTM, France With exposure to a musical environment, listeners become sensitive to the regularities of that environment. These acquired perceptual filters likely come into play when novel scales and tunings are encountered. i) What occurs with unfamiliar timbre and tuning? ii) Are novice listeners sensitive to both in-‐ and out-‐of-‐scale changes? iii) Does unfamiliar timbre make a difference to judgments of completeness? iv) When changes are made, is perceived coherence affected and how much change disrupts judged cohesion of unfamiliar music? An experiment investigated the effect of unfamiliar timbre and tuning on judgments of melody completeness and cohesion using Balinese gamelan. It was hypothesized that, when making judgments of musical completeness, novice listeners are sensitive to in-‐ and out-‐of-‐scale changes and this is moderated by an unfamiliar timbre such as “sister” or beating tones. Thirty listeners with minimal experience with gamelan rated coherence and completeness of gamelan melodies. For the out-‐of-‐scale endings, the gong tone was replaced by a tone outside the scale of the melody; for in-‐scale endings, the gong tone was replaced by a tone belonging to the scale of the melody. For completion ratings, the out of scale endings were judged less complete than the original gong and in-‐scale endings. For the novel “sister” melodies, in-‐scale endings were judged as less complete than the original gong endings. For coherence, melodies using the original scale tones were judged as more coherent than melodies containing partial or total replacements. The results provide evidence of perceptual filters influencing judgments of novel tunings. ERP Responses to Cross-‐cultural Melodic Expectancy Violations Steven M. Demorest,* Lee Osterhout# *Laboratory for music Cognition, Culture & Learning, School of Music, University of Washington, USA #Cognitive Neuroscience of Language Lab, Department of Psychology, University of Washington, USA The purpose of this study was to use ERP to test cultural awareness of out-‐of-‐scale notes in Western and North Indian music. We measured late positive ERP responses to out of scale notes in both listening conditions as well as a rating of the congruousness of the melody. US-‐ born participants listened to synthesized presentations of 30 excerpts each of European folk songs and North Indian ragas. All melodies were heard in their original form and in deviation form. There was a significant main effect for culture and condition with deviation melodies rated as less congruous than the original versions, and Indian music less congruous than Western. A significant condition by culture interaction indicated that listeners were less sensitive to deviations in the culturally unfamiliar melody context. There was a significant and widely distributed P600 response to out-‐of-‐scale notes in the Western condition and a much smaller but still significant P600 effect in the Indian condition. Congruousness ratings suggest that listeners are less sensitive to melodic expectancy violations in the music of unfamiliar cultures compared to their own culture. ERP data were more mixed with subjects exhibiting a late positive component in response to deviations in both cultural conditions, but less robust in the unfamiliar culture. The results provide support for the idea that listeners can internalize tonal structures in culturally unfamiliar music, but there are 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 17 possible confounds between these two musical systems. We discuss the implications of these findings for theories on cultural versus universal factors in music cognition. A pilot investigation on electrical brain responses related to melodic uncertainty and expectation Job P. Lindsen*, Marcus T. Pearce#, Geraint Wiggins#, Joydeep Bhattacharya* *Department of Psychology, Goldsmiths, University of London, UK #Centre for Digital Music, Queen Mary, University of London, UK Forming an expectation of how music unfolds in time is inherent to listening to music. However, not all melodic contexts allow for the generation of strong expectations about how those melodies will continue, i.e. melodic contexts differ in the uncertainty they create about the melodic continuation. In music there are roughly three possibilities: A melody sets up a strong expectation that is confirmed by the expected note, or a strong expectation that is violated by an unexpected note, or no strong expectation in which case the following note is likely to be unexpected. The aim was to identify distinct brain responses reflecting uncertainty of melodic continuation, and unexpectedness of musical notes. We used our statistical learning model to estimate, note-‐by-‐note, the uncertainty of expectation, and the unexpectedness of that note. EEG data was recorded while participants (musicians, n=20) listened to monophonic and isochronous, but ecologically valid, melodies. Unexpected of notes was negatively associated with a frontal EEG amplitude around 120 ms after note onset, followed by a positive frontocentral relationship between 200-‐300ms. Uncertainty was also associated with an early negative relationship with frontal EEG amplitude, followed by a recurrent posterior negative relationship ~470 and ~580ms after note onset. These findings provide first evidence of neural responses associated with the generation of melodic expectations, and altogether support our claim that statistical learning produces information-‐theoretic descriptions of music that are associated with distinct patterns of neural activity. Neural and behavioural correlates of musical expectation in congenital amusia Diana Omigie, Marcus Pearce, Lauren Stewart Goldsmiths, University of London, UK Music listening involves using previously internalized regularities to process incoming musical structures. Congenital amusia, a disorder believed to affect 4% of the population, is typically associated with insensitivity to unexpected musical events. However recent evidence suggests that despite showing striking impairment on tasks of musical perception requiring explicit judgement, these individuals may possess intact implicit knowledge of musical regularities. The present study uses two analogous paradigms to measure the formation of melodic expectations at an implicit and explicit level respectively. We test the hypothesis that those with amusia are able to demonstrate intact melodic expectations when probed implicitly, but are impaired when explicit judgements are required. Further, we use EEG to compare the neural correlates of melodic expectation in amusics versus controls. A computational model of melodic expectation was used to identify probe notes varying in expectedness in real melodies. In an implicit task, amusic and control participants made speeded, forced-‐choice discriminations concerning the timbre of a cued target note in the context of a melody while in an explicit task, they used a 1-‐7 rating scale to indicate the degree to which the pitch of the cued target note was expected or unexpected. In an EEG study, electrophysiological recordings were taken while participants listened to the same melodies, with the task of detecting occasional timbral deviants introduced to keep participants’ attention levels constant. As predicted, amusic participants were significantly worse than controls at explicitly differentiating between high and low probability notes. However both groups showed faster responses to high probability than low probability 18 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE notes in the implicit task indicating that they found these notes more expected. Further, ERP analysis revealed that while an early negative response, which was highly sensitive to note probability, was more salient in controls than amusics, both groups showed a delayed P2 to low relative to high probability notes suggestive of increased processing time required for these events. The current results, showing spared, albeit incomplete, processing of melodic structure adds to previous evidence of implicit pitch processing in amusic individuals. The finding of an attenuated early negative response in amusia is in line with studies showing a close relationship between the amplitude of such a response and explicit awareness of musical deviants. Finally, the current study provides support that the notion that early pre-‐attentive mechanisms play an important role in generating conscious awareness of improbable events in the auditory environment. Speed Poster Session 2: Crystal Hall, 11:00-‐11:40 Audio & audio-‐visual perspectives Optic and Acoustic Symmetry Perception Vaitsa Giannouli Department of Psychology, Aristotle University of Thessaloniki, Greece The aim of this paper is to investigate the perception of optic and tonal acoustic symmetry. Twenty-‐eight volunteers (14 musicians and 14 non-‐musicians) aged 18-‐67 participated in the study. The participants were examined individually and the tests were administered in varying order to the various participants. Half of the participants were informed at the beginning of the examination for the possible kinds of symmetry. Also, half of the participants were presented before the acoustic stimuli, with a similar kind of symmetry for the optic stimuli. The examination material were: the mirror reversal letter task from PALPA, the paper folding task from ETS, the spatial ability test from ETS, Benton’s judgment of line orientation test, digit span (forward and backward) and a newly constructed test, that includes a series of symmetrical and asymmetrical, big and small, optic and acoustic stimuli. Except for the registration of participants’ response time (RT) and the correctness of their responses, measurements were also taken with the use of Likert scales for the metacognitive feeling of difficulty and the metacognitive feeling of confidence and measurements of the aesthetic judgments for each and every one of the optic and acoustic stimuli. The majority of the participants (young -‐ middle-‐aged, women -‐ men, individuals with music education and without music education) did not show statistically significant differences in their scores in the visuospatial tests and the memory tests, while at the same time they had a homogeneously high performance (with almost zero deviation) for all the optic symmetrical and asymmetrical stimuli. For all the acoustic stimuli, a statistically significant difference was found for the participants with music education, not only for the cognitive processing of symmetry, but also for the metacognitive. The proposed (on the basis of the literature) preference (correctness of responses and reaction time) for the mirror symmetrical around a vertical axis optic stimuli was not confirmed and neither there was any confirmation for the preference for repetitive acoustic stimuli. What was found were more positive aesthetic judgments for the symmetrical formations versus the asymmetrical ones for both senses. Finally, no cross-‐modal interaction of priming was found, nor influence of prior explanation of the kinds of symmetry. These preliminary data provide support for the independence of the underlying mechanism of optic and acoustic perception of symmetry, with the second one probably being a non-‐automatic and possibly learned process. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 19 Asymmetry of audio-‐visual interaction in multimedia works Teuro Yamasaki Osaka Shoin Women's University A lot of studies investigated the interaction between musical materials and visual materials in multimedia works, and some studies suggested that there was an asymmetry on direction of the interaction. That is, the size of musical effect on the impression of visual materials was more than that of visual effect on the impression of musical materials. This might show that musical impression and visual impression are formed through different emotional processes. In these studies, however, the intensity of impression of both materials was not controlled. Therefore, this asymmetry might be caused not by the modality of materials but by the intensity of impression of materials. This study investigates whether this asymmetry is found even on the condition where the intensity of materials is controlled. In preliminary experiment, fifteen music excerpts and fifteen paintings are evaluated on their valence and arousal, and five music excerpts and five paintings are chosen as stimuli for main experiment. Those stimuli are musical excerpts or paintings with positive valence and high arousal (+/+), with positive valence and low arousal (+/-‐), with negative valence and high arousal (-‐/+), with negative valence and low arousal (-‐/-‐), or with neutral valence and medium arousal (0/0). To add to it, musical excerpts and paintings with same descriptor, for example a musical excerpt with +/+ and a painting with +/+, are chosen as having same degree of valence and arousal. In main experiment, musical excerpts and paintings are combined and presented. Participants are asked to evaluate their musical impression or visual impression of combined stimuli. Comparing the results of the main experiment with results of the preliminary experiment, the effect of musical excerpts on paintings and the effect of paintings on musical excerpts are analyzed respectively. These results will be discussed, along with confirming the existence of asymmetry of the size of musical effect and visual effect and, if such an asymmetry exists, exploring the reason of the asymmetry. Congruency between music and motion pictures in the context of video games: Effects of emotional features in music Shinya Kanamori, Ryo Yoneda, Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology, Japan In the present study, two experiments are conducted. In the first experiment, it is revealed that the impression of game music is spanned by “pleasantness” and “excitation” axes, using one hundred pieces of game music. In the second experiment, it is shown that the congruency of moving picture and musical tune does not decrease and the whole impression is not change significantly, even if a tune is replaced by a tune which possesses similar impression. These results suggests that an archive, where various tunes are plotted on the impression plane spanned by the “pleasantness” and “excitation” axes, is useful to communicate in the group of game creators and engineers, for designating a piece of music for a scene in a video game. Complex Aural and Visual Stimuli: Discerning Meaning in Musical Experiences Dale Misenhelter University of Arkansas, USA This meta-‐analysis explores findings from preference and response studies. Several of the studies utilized both traditional major musical works, including the Bach Passacaglia, Beethoven Seventh Symphony, Stravinsky Rite of Spring, as well as select contemporary popular compositions. Variables considered in the studies included the experience level of 20 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE participants (often characterized as musicians and non-‐musicians), musical elements (tension and release, textural and dynamic considerations, consonance and dissonance, etc), and visual elements as changes in affect (dramatic and temporal events, dance, direction, speed of travel, tension and repose, artistic considerations, etc.). A primary research question is regarding focus of attention -‐ the ability of listeners to distinguish between perceived musical elements or other stimuli while concurrently attending and responding -‐ a process loosely termed "multi-‐tasking." While there is considerable research on listeners’ ability to discriminate and/or prioritize among elements in audio only environments, research in audio-‐visual stimuli discerning among multiple elements seems to be comparatively minimal. Within aural models, it would seem that less experienced listeners attend to individual components or concepts of a musical selection, while experienced listeners are able to process more complex information. With an aural-‐visual model, data suggest negative responses to “negative” visual stimuli (despite the consistency with the musical content), which raises issues of unclear definitions regarding what constitutes aesthetic response, as well as the possibility of participants simply responding to a demand characteristic -‐ e.g., as they may have assumed was expected. Interaction of Audiovisual Cues in the Perception of Audio Trajectories Georgios Marentakis,* Stephen McAdams# * IEM, Universität für Musik und Darstellende Kunst Graz, Austria # CIRMMT, Department of Music, McGill University, Quebec, Canada We present a study that investigates how the presence of visual cues affects the perception of musical spatial sound trajectories and the way listeners perceive a musical performance. Based on the results of a first experiment, where it was found that congruent visual feedback from the movement of the hands of a performer controlling the location of sound in space, assists listeners in identifying spatial sound trajectory shapes, we ask whether this was due to the integration of the visual cues with the auditory ones or because participants simply attended to the visual cues and ignored the auditory ones. Participants watched a video of the performance gestures while listening to the spatial sound trajectories and identification performance was measured in conditions that manipulate presentation modality, the sensory focus of attention, attentional process (selective or divided) and the congruency of audiovisual cues. Although we found that congruent visual stimulation improves identification performance even when listeners attended selectively to the auditory stimulus, we also found that under divided attention conditions, a tendency to focus on vision exists, which explains the results of the first experiment in which the sensory focus of attention was not controlled. In such cases, auditory movement information is overwritten. It is therefore important that listeners maintain an auditory focus of attention when gesture control of spatialization is employed on stage, as a vision oriented strategy will bias auditory movement perception in cases of incongruent stimulation and limit the resources available towards the interpretation of musical material. Cross-‐modal Effects of Musical Tempo Variation and on Musical Tempo in Audiovisual Media Friedemann Lenz Departement of Musicology and Music Education, University of Bremen, Germany Music is an acoustical phenomenon, which is part of a complex multisensory setting. A kind of research, which focuses on this special issue is the research on background music and music in different kinds of audiovisual media. Research of audiovisual interaction shows, that visual spatial motion can induce percepts of auditory movements and that visual illusion 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 21 can be induced by sound. Studies on background music indicate, that the musical tempo can be a factor in cross-‐modal interactions. In the present study, three different effects of musical tempo variation in audiovisual media will be discussed. First it is assumed and tested that musical tempo variation can influence the perception of the velocity of the visual objects in an audiovisual medium and vice versa. The second assumption refers to the thesis that the perception of time in movies depends partially on the variation of musical tempo. The third question deals with the influence of the musical tempo on the sensation of emotions felt by recipients while watching an audiovisual medium. Several computer-‐aided tests with audiovisual stimuli were conducted. The stimuli consisted of videos of a conveyor belt with moving boxes and a musical soundtrack with a simple melody. Several pretests on the three hypotheses were conducted. There are hints that musical tempo can change perception of visual velocity perception, but not vice versa. When Music Drives Vision: Influences of Film Music on Viewers’ Eye Movements Karin Auer,* Oliver Vitouch,* Sabrina Koreimann,* Gerald Pesjak,# Gerhard Leitner,# Martin Hitz# *Dept. of Psychology, University of Klagenfurt, Austria #Interactive Systems Group, University of Klagenfurt, Austria Various studies have shown the co-‐determining strength that film music has on the viewers’ perception. We here try to show that the cognitive processes of watching a film, observed through viewers’ scanpaths and eye-‐movement parameters such as number and duration of fixations, are different when the accompanying film music is changed. If this holds, film music does not just add to a holistic impression, but the visual input itself is actually different depending on features of the soundtrack. Two film clips, 10 seconds each, were presented with three different musical conditions (horror music, documentary music, no music) in a between-‐subjects design. Clip 2 additionally contained a cue mark (red X in the bottom left corner, shown for 1 s). Participants’ scanpaths were recorded using a ASL H6 head-‐mounted eye-‐tracking system based on corneal reflection of infrared light. The resulting scanpaths of N = 30 participants showed distinct patterns dependent on the music condition. Specific trajectory categories were found for both film clips (five for clip 1, nine for clip 2). Systematic differences (p < .05) could be shown in most of these categories and variables. The additional cue mark was consciously perceived significantly more often in both music conditions than in the silent condition. Our results suggest that the slogan “What you see is what you hear” can be true on a very fundamental, first-‐layer level: Visual input varies with different scores, resulting in viewers not seeing the same film anymore in a straight sense. Emotional Impact of Musical/Visual Synchrony Variation in Film Andrew Rogers University of Huddersfield, United Kingdom The emotional impact of synchronous musical and visual prominences within the cinematic experience awaits thorough empirical evaluation. Film composition is defined here as a genre of stereotypes, whose methodologies are not feasibly subject to significant redevelopment. As consequence, the research focuses on improving components of the audience recognisable functions of film music. Subjects graded cinematic clips with musical elements that varied in their synchronous interaction with visual prominences. A positive response to more frequent synchronisation between music and film was concluded. Perceptual expectancy, attention and multisensory integration are principal in analysis of the findings. 22 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 3: Dock Six Hall, 11:00-‐11:40 Composition & improvisation An information-‐theoretic model of musical creativity Geraint A. Wiggins Centre for Digital Music, Queen Mary, University of London I propose a hypothetical computational model of spontaneous musical creativity; that is, not deliberate musical problem solving, (e.g. rearranging a score for a smaller orchestra), but the production of original musical ideas without reasoning. The theory is informed by evolutionary thinking, in terms of the development of its mechanisms, and of the social evolution of music. Hitherto, no computational model of musical creativity has made a distinction between spontaneous creativity and deliberate application of explicit design principles. Further, there was no computational model of musical creativity which subsisted in an explicit, coherent relationship with models of other mental processing. This hypothetical model suggests a mechanism which may underlie general implicit reasoning, including the production of language. That mechanism arises from simple statistical principles, which have been shown to apply in perceptual models of music, and therefore may reasonably supposed to be available in the mind/brain, and consists in the moderation of input to the Global Workspace via the interaction of information-‐theoretic quantities. The proposed high-‐level model, instantiated with appropriate sub-‐component models of learning and production, explains the origins of musical creativity and their connection with speech/language, narrative, and other time based creative forms. It also supplies a model of the mediation of information as it becomes available to consciousness. Therefore it may have implications outside music cognition, for general ideation. Algorithmic Composition of Popular Music Anders Elowsson, Anders Friberg Speech, Music and Hearing, KTH Royal Institute of Technology, Sweden � Human composers have used formal rules for centuries to compose music, and an algorithmic composer – composing without the aid of human intervention – can be seen as an extension of this technique. An algorithmic composer of popular music (a computer program) has been created with the aim to get a better understanding of how the composition process can be formalized and at the same time to get a better understanding of popular music in general. With the aid of statistical findings a theoretical framework for relevant methods are presented. The concept of Global Joint Accent Structure is introduced, as a way of understanding how melody and rhythm interact to help the listener form expectations about future events. Methods of the program are presented with references to supporting statistical findings. The algorithmic composer creates a rhythmic foundation (drums), a chord progression, a phrase structure and at last the melody. The main focus has been the composition of the melody. The melodic generation is based on ten different musical aspects which are described. The resulting output was evaluated in a formal listening test where 14 computer compositions were compared with 21 human compositions. Results indicate a slightly lower score for the computer compositions but the differences were statistically insignificant. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 23 Comprehensive and Complex Modeling of Structural Understanding, Studied on an Experimental Improvisation Olivier Lartillot,* Mondher Ayari# *Finnish Centre of Excellence in Interdisciplinary Music Research, Finland #IRCAM-‐CNRS / University of Strasbourg, France Music perception and cognition are ruled by complex interdependencies between bottom-‐up and top-‐down processes at various cognitive levels, which have not been fully understood and described yet. Cognitive and computational descriptions of particular facets of music listening remain insufficient if they are not integrated in a comprehensive modeling. In the long term, we aim at proposing a comprehensive and complex cognitive modeling of the emergence of structures in music listening and to test its potential by running a computational implementation on elaborate music. The study presented in this paper is part of a broader project, whose general aim is to collect an experimentally controlled jazz improvisation with the view to study jazz listeners’ understanding of that piece. An eminent jazz guitarist, Teemu Viinikainen, was invited to play an original improvisation while following a few general heuristics that we defined beforehand, concerning the use of pauses, repetitions, accentuations and of various ways of evolving the modal discourse. During a subsequent interview, while listening progressively to the recording, the musician gave a detailed a posteriori analysis that was recorded as well, talking and playing examples on his guitar. A systematic analysis was performed exhaustively on the piece, starting from a manual transcription of the piece, followed by motivic, harmonic, rhythmical and structural analyses. Our previous cognitive complex modeling of structural analysis of music has been extended further and implemented in the Matlab programming environment. This extended model starts from the audio recordings, and performs altogether transcription and higher-‐level analyses, with bottom-‐up and top-‐down interactions between low-‐ level and high-‐level processes. The study challenges the traditional dichotomy between transcription and structural analysis and suggests instead a multi-‐layer structuring of events of various scales (notes, gestures, motifs, chords, phrases, etc.), where higher-‐level structures contextually guide the progressive discovery of lower-‐level elements. The model will be further validated and enriched through a comparison with the musician’s analysis and with jazz listeners’ annotation of the piece collected experimentally. Vocal improvisations of Estonian children Marju Raju, Jaan Ross Department of Musicology, Estonian Academy of Music and Theatre, Estonia Even a child´s passive encounter with the Western tonal music is capable of building certain expectations as to the set of tonal and temporal “composition” rules that define which musical patterns are acceptable for the idiom. This presentation is aimed at studying different strategies children use to approach the task of vocal improvisation. For the data collection, Test Battery from Advancing Interdisciplinary Research in Singing (AIRS) project was applied to Estonian children (N = 26, 17 girls and 9 boys, age 4 to 12). In this presentation, results of two component tasks (to finish a melody and to compose a song after a picture) of the Test Battery are presented. For analysis, successful cases from both components were combined to one dataset with total 32 vocal improvisations which were then grouped into four types according to two main features: (1) how well did they fit the Western tonal musical canon and (2) whether the implied composition rules were applied explicitly or implicitly. Distribution of improvisational songs between these 4 types seemed to be more influenced by a child’s previous encounter with music rather than her/his age. In both tasks, majority of children seem to be strongly influenced by the Western musical canon as their improvisations sound “classical” like we expect from children´s songs. In addition to analyzing vocal material, the process of performance must also be considered as children use different strategies to reach the goal. 24 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE The Ideational Flow: Evaluating a New Method for Jazz Improvisation Analysis Klaus Frieler,* Kai Lothwesen#, Martin Schütz* *Institute of Musicology, University of Hamburg, Germany #University of Music and Performings Arts, Germany In two recent studies (Lothwesen & Frieler, 2011; Schütz, 2011), a new approach to the analysis of jazz improvisation was proposed based on the concept of “ideational flow”. Jazz piano solos were segmented into gapless sequences of musical ideas, settling thus on a mid-‐ level of analysis as opposed to more traditional approaches in which jazz improvisations are either analysed manually with classical methods or statistically on a single-‐note level (see Pfleiderer & Frieler, 2010 for an overview). Our approach is inspired by Grounded Theory (Glaser & Strauss, 1967) and by methods of qualitative content-‐analysis (Mayring, 2000). It supposes a seamless chain of underlying musical ideas which are shaped into a musical surface during improvisation. Indeed, several musical ideas could be identified, which turned out to be quite diverse categories, ranging from thematic/motivic variations and various kinds of melodic runs to purely rhythmical parts and even “emptiness”. In this study, we aim at further validation of the method by cross-‐evaluating a set of selected analyses of jazz piano improvisations drawn from the previous studies, thereby objectifying this method with the overall goal of standardisation. Improvisation in Jazz: “Stream of Ideas”-‐Analysis of Jazz Piano-‐Improvisations Martin Schütz Institute of Musicology, University of Hamburg, Germany The “stream of ideas”-‐analysis embodies a new way to analyze jazz improvisations. The core of the “stream of ideas”-‐analysis, which was developed within an empirical research, is to translate an improvisation on a mid-‐level to a sequence of melodic phrases/patterns (=”ideas”). On the basis of methods of qualitative content research and grounded theory an expendable and differentiable dynamic system of categories was created to represent every kind of melodic phrases, which occurred within the 30 examined improvisations. The underlying improvisations were the result of an experiment with five jazz pianists, who were asked to improvise in several sessions on the same collection of different jazz tunes. Afterwards each improvisation was categorized according to the “stream of ideas”-‐analysis and presented as a sequence of used “ideas”. After analyzing the 30 improvisations, the system of categories consisted of nine main categories (=”basis-‐ideas”), which covered every appearing melodic phrase. The nine “basis-‐ideas” are defined with regard to either aspects of melodic contour or intra-‐musical aspects (variation of the theme, creating motifs etc.). Furthermore the “stream of ideas”-‐analysis makes it possible to compare improvisations objectively between different musicians or tunes by using statistical methods (e.g. by dealing with frequency distributions). It could be shown that each of the five participating pianists used a quite similar combination of preferred “basis ideas” (individual vocabulary) to create his different improvisations (takes) on the same underlying tune. In addition, a connection between the different tunes and the amount of certain “ideas” was recognized. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 25 Observing and Measuring the Flow Emotional State in Children Interacting with the MIROR Platform Anna Rita Addessi,1 Laura Ferrari,2 Felice Carugati3 1,2 Dept. of Music and Performing Arts, University of Bologna, Italy 3 Dept. of Psychology, University of Bologna, Italy This paper introduces a study aiming to measure the Flow state (Csikszentmihalyi 1996) of children playing with the MIROR-‐ Improvisation prototype, an Interactive Reflexive Musical System (IRMS) implemented in the framework of the EU-‐ICT Project MIROR-‐Music Interaction Relaying On Reflexion. The IRMS have been defined as Flow machine, thanks to their ability to imitate the style of the human playing a keyboard (Pachet 2006). The Flow grid was created with the software Observer (Noldus©). The basic idea of this grid is that the observer did not register the flow state but rather the “variables” and the “intensity” of each variable. The presence of Flow state is instead measured by means an automatic process of the Observer based on several constraints: according to Csikszentmihalyi, when the level of all variables is higher, the presence of Flow is indicated. 24 children (4 and 8 years old) carried out 3 sessions playing a keyboard in 3 consecutive days. In every session, all children played the keyboard with and without the MIROR-‐Impro, alone and with a friend. One group of children played the system with set-‐up Same and another group with set-‐up Very different (with set-‐up Same the system's reply is more similar to the child's input). The video collected were analysed with the Flow grid. The results show that the Flow state is higher when the children play with MIROR-‐Impro, with set-‐up Same and with 8 years old children. The difference between sessions is not significant. These results would support the hypothesis that the IRMS and the reflexive interaction can generate an experience of well-‐being and creativity. The Flow grid worked in effective way and it was possible to indicate some aspects of the system to be improved. Some limitations have been discussed for further adjustments of the grid. A Computational Method for the Analysis of Musical Improvisations by Young Children and Psychiatric Patients with No Musical Background Christina Anagnostopoulou, Antonis Alexakis, Angeliki Triantafyllaki Department of Music Studies, University of Athens, Greece Improvisation is a common form of musical practice and yet remains the least studied or understood from a music analysis point of view. When populations with no musical background engage in musical improvisation (such as young children or patients in therapy settings) the analysis of the musical aspects becomes more challenging: The possible lack of common learned musical schemata and related technical skills requires the introduction of methods of analysis which can deal with these peculiarities. In this paper we propose a computational method for analysing such types of improvisations and apply it to the analysis of a small number of case studies. The analytical method is a type of semiotic analysis, where repetition, variation and transformation are brought forward. Musical parameters have to be defined, and a computational tool is built to reveal interesting patterns that repeat within the various musical parameters. The method is applied to the improvisations of six eight-‐year old children and two psychiatric patients with psychotic syndromes. For their improvisations they use the machine-‐learning based system MIROR-‐IMPRO, developed within the FP7 European Project MIROR, which can respond interactively, by using and rephrasing the user's own material. The results point towards the usefulness of more abstract types of representations and bring forward several general common features across these types of improvisations, which can be related to gestures. 26 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 4: Timber I Hall, 11:00-‐11:40 Emotion & communication How intense experiences with music influence people’s way of life Thomas Schäfer, Mario Smukalla, Sarah-‐Ann Oelker Department of Psychology, Chemnitz University of Technology, Germany Music can change our lives. As true as this notion may seem, we have little sure knowledge about what it actually means. Strong emotional experiences or peak experiences with music have proven to be of high significance for the people who have them. The authors investigated the long-‐term effects of such experiences on people’s way of life, using narrative interviews and a grounded theory approach to develop a process model that describes the nature of intense musical experiences (IMEs) and their long-‐term effects. The most important results are that (1) IMEs are characterized by altered states of consciousness, which leads to the experience of harmony and self-‐realization; (2) IMEs leave people with a strong motivation to attain the same harmony in their daily lives; (3) people develop several resources during an IME, which they can use afterward to adhere to their plans; (4) IMEs cause long-‐term changes to occur in people’s personal values, their perception of the meaning of life, social relationships, engagement and activities, and consciousness and development. The authors discuss the results as they relate to spirituality and altered states of consciousness and draw 10 conclusions from the process model that form a starting point for quantitative research about the phenomenon. Results suggest that music can indeed change our lives—by making it a bit more fulfilling, spiritual, and harmonious. Anxiety, flow and motivation: students’ strong and intense experiences of performing music Alexandra Lamont Centre for Psychological Research, Keele University, United Kingdom Many music students and professionals experience a number of health-‐related problems connected to performing, but performing music also has the potential to engender high levels of wellbeing. Memories of early performing experiences may be important in determining continued involvement in music, However, in a volunteer sample of Swedish adults, Gabrielsson (2011) found participants chose listening music episodes more frequently than performing music. This presentation explores recollections of experiences of performing music, and interprets these in relation to theories of happiness and wellbeing. 27 university students (median age 20) gave free written reports of their strongest, most intense experiences related to music performing. Accounts were content analysed using Gabrielsson’s Strong Experiences of Music Descriptive System. Results were also analysed thematically for the three components of happiness (hedonism, engagement and meaning) using an idiographic approach. Most memories were of performances to an audience, with the majority reflecting positive experiences of familiar music not chosen by the participants. Accounts either tended to emphasise flow and meaning achieved through personal identity, or pleasure and meaning achieved through group identity, and did not always explicitly mention a hedonic state. Four profiles emphasising different combinations of pleasure, engagement and meaning are identified. The importance of the eudaimonic route to happiness and wellbeing is encouraging in showing that valuable and rewarding experiences have the potential to sustain long-‐term motivation to engage with practical music-‐making. Music performance seems to be a qualitatively different experience to music listening in that it can embody both negative and positive emotions. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 27 A Model of Perceived Musical Affect Accurately Predicts Self-‐Report Ratings Joshua Albrecht School of Music, Ohio State University, USA A new method of collecting self-‐report assessments of the perceived affective content of short musical passages is described in Albrecht & Huron (2010). This study used a procedure termed the progressive exposure method in which a large passage is divided into discrete five-‐second excerpts. These excerpts are then presented in random order, and participants evaluate the perceived affective content of these short passages. In that study, 110 participants used the progressive exposure method to analyze the second movement from Beethoven’s Pathétique sonata. The results from this study provide a mosaic portrait of eleven affective dimensions across the movement. In this study, a model of perceived affective content is built by measuring sixteen different musical features of each excerpt and using these measurements as predictors of participant ratings. This model is used to make predictions of participant evaluations of the same eleven affective dimensions for fifteen excerpts from different Beethoven piano sonatas. To anticipate the results, the predictions for each of the fifteen excerpts along each of the eleven affective dimensions are significantly correlated with participant ratings. Exploring the role of the performer’s emotional engagement with music during a solo performance Catherine Foxcroft,* Clorinda Panebianco-‐Warrens# *Department of Music and Musicology, Rhodes University, South Africa #Department of Music., Pretoria University, South Africa Research shows that performers’ emotional engagement with the music they are performing may play a crucial role in the preparation of an expressive performance. Yet optimal performance requires a relaxed concentration which is incompatible with experiencing certain emotions. To what extent then do performers engage emotionally with the music they are performing during an emotionally expressive performance? This research aimed to explore the extent to which pianists emotionally engage with the music they are performing during a solo recital. The IPA research method focused on the performers’ perspectives of their experienced emotional engagement while performing.10 concert pianists (5 students and 5 professionals) were individually interviewed directly after a solo recital lasting approximately 60 minutes. The interview questions posed questions relating to the pianists’ experience of their specific performances. The data was collated at the 2010 National UNISA piano competition (student pianists), and from recitals performed in SA concert halls in 2011/12 (professional pianists). Preliminary results suggest that pianists experience varying degrees of both musical and non-‐musical emotions during their performances. The pianists agreed that engagement with musical emotions may enhance the performance’s expression. However uncontrolled musical and non-‐musical emotions impede the ability to critically listen to their performances, leading to technical, musical or memory error. Error prevents the performer from achieving the ideal mental state necessary for an expressive performance. Preliminary conclusions suggest that while controlled emotional engagement is a desirable aspect of some performances, uncontrolled emotional engagement disrupts the focused concentration performers require for spontaneous, creative and expressive performances. 28 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Coding Emotions with Sounds Nadja Schinkel-‐Bielefeld, Frederik Nagel Fraunhofer Institute for Integrated Circuits IIS, Germany International Audio Laboratories Erlangen, Germany Emotions play a fundamental role in human communication. Particularly music and films are capable of eliciting emotions which unfold and vary over time. However, in order to communicate emotions with sounds, a) subjects should consistently and reliably associate the sound with a certain emotion, independent of what happened before and b) sounds should be perceived similarly by different subjects. We presented subjects with a series of sounds from the International Affective Digitized Sounds database which changed every 5 seconds. Listeners rated the elicited valence and arousal using the real time measurement software EMuJoy. After an initial training they rated the same sound sequence twice the first day and once on the following day. We also played the sounds of this sequence in reverse order to investigate context dependence and possible series effects. We found high intra-‐ rater correlations of 0.79 (IQR: 0.13) for valence and 0.77 (IQR: 0.10) for arousal. We found no significant effect of the order, in which the sounds were presented. Inter-‐rater correlations were still at about 0.60 (IQR: 0.23) for valence and 0.52 (IQR: 0.27) for arousal. No series effects have been found. Elicited emotions were generally more consistent for extreme values of valence and arousal. Thus at least these sounds could be used to reliably communicate emotions. However, there may be other stimuli which require less interpretation and thus are more suitable for fast and reliable communication of emotions. The Effect of Musical Valence on Pseudoneglect in a Likert-‐type Rating Task Jane H. Barrow,*1 Lindsay Wenger,* Janet E. Bourne,# Carryl L. Baldwin* *Department of Psychology, George Mason University, USA #Bienen School of Music, Northwestern University, USA Music is widely used in everyday life, and has been shown to affect a wide range of behaviors from basic decision tasks to driving performance. Another aspect of everyday life is spatial attention, which is used in most tasks regardless of whether it is simple or complex. Pseudoneglect is a phenomenon where neurologically normal individuals demonstrate a reliable bias towards the left visual hemifield. Theories of spatial attention suggest that because the right hemisphere of the brain is more involved in visuo-‐spatial processing, it has greater activation which leads to the biasing of the left visual hemifield. It is also theorized that there is hemispheric asymmetry in the brain for different emotional valences, such that the left hemisphere is more activated during happy emotions and the right hemisphere more activated by sad emotions. Music can also be highly emotional, which was utilized for the purpose of evoking emotions in the participants of this study. The current study sought to determine if manipulating emotional valence through music would increase, reverse, or ameliorate pseudoneglect in neurologically normal individuals. One hundred fourteen participants performed a rating task using a visual analog scale on works of art in silence or while listening to music with a sad or happy valence. The musical stimuli were selections from various orchestral works by Haydn, Albinoni, Fauré, Bruch, Mendelssohn, and Prokofiev. The valence of the music was confirmed using independent raters. Participants rated both portrait art that contained a human face and abstract/scene art that did not contain a human subject. Additionally, the anchors of the rating scale were reversed half-‐way through to determine if the pseudoneglect effect occurred regardless. The results demonstrated a replication of earlier work on pseudoneglect in line bisection tasks when the ratings were performed in silence, but demonstrated a reversal of the effect when happy music was present. No significant effect was found when sad music was present, though the trend followed the same direction as the happy condition. The results are framed within theory regarding hemispheric specialization of emotions and spatial attention in the brain, and how the findings might be of interest to researchers using Likert-‐type scales for testing purposes. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 29 Emotion perception in music is mediated by socio-‐emotional competence Suvi Saarikallio, Jonna Vuoskoski, Geoff Luck Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland This study investigated how adolescents’ general socio-‐emotional competence, in terms of empathy and problem behavior, would relate to a) biases in emotion perception, b) ability to recognize emotion in music, and c) biases in emotions felt as a response to music. Sixty-‐one 14-‐15-‐year-‐old adolescents (26% males) filled in self-‐report scales for empathy (IRI), and adolescent conduct problems (SDQ). For measuring emotion perception, they rated 50 music excerpts regarding 8 emotions (happiness, sadness, anger, fear, tenderness, hope, longing, and potency), and for measuring emotion recognition, they were asked to identify emotions from 15 music excerpts representing five emotions (happiness, sadness, anger, fear, tenderness). In addition, they rated their personally felt emotions regarding the excerpts. Empathy was related to increased, and problem behavior to decreased, perception of emotion in music. Empathy was also related to higher, and problem behavior to lower, recognition rates of emotion (tenderness) in music. Furthermore, the results showed that the affect-‐related sub-‐components of socio-‐emotional competence correlated with perception biases, while the cognition-‐related aspects correlated with emotion recognition. As regards felt emotion, problem behavior correlated with lower ratings of felt emotion in music. The results show that general socio-‐emotional competence indeed is related to adolescents’ perception of emotions in music, and broaden our knowledge on musical behavior as a part of adolescents’ socio-‐emotional development. The Effect of Repeated Listening on Pleasure and Boredom Response to a Cadenza Yuko Morimoto, Renee Timmers Music Dept., The University of Sheffield, UK This study investigates how familiarity with a piece of music influences a listener’s aesthetic response in terms of pleasure and boredom. Repeated listening to a piece of music increases the listener’s familiarity with it, and often also their appreciation for it. However, appreciation begins to decrease beyond a certain number of listens, a trend that can be represented by an inverted-‐U line. We devised a listening experiment to test the effect of repeated listening, contextual listening, different performances, and musical structure on listeners’ pleasure and boredom responses. Forty-‐eight participants were divided into six groups (two patterns, and three listening patterns), and were asked to listen to an extract and cadenza from the first movement of Mozart’s Piano Concerto No 20 in D minor. They responded by pressing buttons on a computer keyboard whenever they felt pleasure and/or boredom. They also rated on a 7-‐point intensity scale the pleasantness, interestingness, boringness, annoyingness, and likeability of the musical stimulus after each listening. The button-‐pressing data revealed that participants generally felt more pleasure than boredom. There was a negative correlation between pleasure and boredom responses. Responses were influenced both by the musical structure, and by the manner in which the cadenza was performed. Pleasantness ratings from those that listened to the cadenza, the exposition twice, and the cadenza, displayed an increase followed by a decrease in conformity with the inverted-‐U line. Boredom ratings, conversely, displayed a decrease followed by an increase. Contextual listening was found to have no effect on participants’ responses. 30 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 5: Timber II Hall, 11:00-‐11:40 Attention & memory Effect of a reference vs. working memory task on verbal retrospective estimation of elapsed duration during music listening Michelle Phillips Centre for Music and Science, University of Cambridge, UK Psychological time may be warped and shaped by musical engagement and variation, including factors such as the music’s volume, tempo, and modality. Two studies will be presented here, exploring both reference and working memory. Participants listened to a 37-‐ second extract of a bespoke piano composition (100bpm), and retrospectively verbally estimated elapsed duration of the listening period. In study 1 (N = 50, 12 male, average age: 30.0), the average estimate for participants who listened only (‘no task’) was 52.00 seconds. Participants in condition 2 (‘reference memory task’), who were instructed to write a list of jungle animals whilst listening, gave a not-‐significantly different average estimate of 55.88 seconds. However, in study 2 (N = 28, 12 male, average age: 25.5) the average estimate for participants who listened only (‘no task’) of 63.36 seconds was significantly longer (p < 0.02) than in the ‘working memory task’ group (instructed to rehearse a list of jungle animals whilst listening) which yielded an average estimate of 38.57 seconds. These findings suggest that retrospective estimates of elapsed duration during music listening are not significantly shortened when a reference memory task is included, but are significantly reduced when working memory is occupied during the listening period. Diverting attention from the listening had a greater impact when attention was focused on rehearsal in working memory, than on retrieval from reference memory. This study provides evidence that differing processes may underlie these systems, and that one diverts attention from music to a greater extent than the other. Working Memory and Cognitive Control in Aging: Results of Three Musical Interventions Jennifer A. Bugos School of Music, University of South Florida, United States One common barrier to successful aging is decreased performance in cognitive abilities such as executive function and working memory tasks due to age-‐related cognitive decline (Salthouse, 1994; Meja et al., 1998; Wecker et al., 2005). A key challenge is to identify cognitive interventions that may mitigate or reduce potential age-‐related cognitive decline. This research examines the effects of different types of musical training namely: gross motor training (group percussion ensemble, GPE) and fine motor training (group piano instruction, GPI) compared to non-‐motor musical training (music listening instruction, MLI) on working memory and cognitive control in older adults (ages 60-‐86). One hundred ninety non-‐ musicians, ages 60-‐86, were recruited and matched by age, education, and intelligence to two training interventions. Two programs were administered concurrently, in each of three 16-‐ week sessions: (GPI and MLI), (GPE and MLI), and (GPE and GPI). A series of standardized cognitive assessments were administered pre and post training. Results of a Repeated Measures ANOVA show significantly reduced perseveration errors on the ACT for the GPE group compared to GPI and MLI, F(2,121)=3.6, p<.05. The GPI group exhibited a similar pattern of reduced perseveration errors. Results of a Repeated Measures ANOVA on the Musical Stroop Task indicate significantly reduced errors by the MLI group compared to GPI and GPE, F(2,109)=3.1, p<.05. Musical training may benefit general cognitive abilities. Data 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 31 suggest that instrumental training enhances working memory performance while music listening instruction may contribute to cognitive control. Interfering Effects of Musical and Non-‐Musical Stimuli in a Short-‐term Memory Task Jack D. Birchfield, James C. Bartlett, W. Jay Dowling Behavioral and Brain Sciences, University of Texas at Dallas, USA In a previous study, we found that performance in a short-‐term verbal memory task was reduced by presentation of familiar instrumental songs during the retention interval. One possible interpretation is that the musical nature of these songs (e.g. their tonality, coherent rhythmic patterns) is a source of interference. An alternative view is that retention is disrupted by auditory sequences with elements that vary over time. To test the musicality versus changing-‐state hypothesis, participants were asked to retain spoken 9-‐digit sequences while hearing white noise (the control condition) or one of four types of auditory distractor: Familiar instrumental music, instrumental versions of familiar vocal songs (IFVS), random diatonic note sequences between C3 and C5, or random chromatic sequences between C3-‐C5. Recall of the digits was significantly lower after hearing the familiar instrumental distractors than after either the diatonic or chromatic distractors. Recall performance in the IFVS condition was not reliably different from any of the other conditions, but was numerically lower than the equally familiar instrumental music and numerically higher than the diatonic and chromatic distractors. Average notes-‐per-‐sequence was greater for the instrumental songs than for the IFVS, while the diatonic and chromatic distractors were isochronal (equal onset and duration with no rhythmic information). Thus, we conclude that the greater interference associated with instrumental music may result from the greater rhythmic complexity of the instrumental selections rather than from familiarity or other musical qualities. Musical Accents and Memory for Words Thomas Ting, William Forde Thompson Department of Psychology, Macquarie University, Australia In this study, we examined the effect of background music on reading, focusing on memory for words that are read concurrently with musical accents. Can musical accents enhance memory for words in the same way that visual accents (underscoring, highlighting) draw attention to words and hence, increase memory for them? Forty undergraduate psychology students were presented sentences one word at a time on a computer screen. Each word was accompanied by a piano tone such that the sequence of tones outlined a brief melody with one note being musically accented. Melodic accents had increased intensity, duration and pitch height. There were three music conditions. In the first two, musical accents were either congruent (aligned) or incongruent (not aligned) with a target word. In the third condition there was no accompanying music. The target words were either visually emphasized (bolded) during the exposure phase or not. Contrary to predictions, recall was better when a musical accent was incongruent with a target word compared to when the accent was congruent or when there was no music at all. There was no significant effect of bolding target words in the exposure phase. The results suggest that background music enhances coding of words during reading, but only for words that do not coincide with strong musical accents. A cost-‐benefit trade-‐off model is suggested, where prominent musical accents may compete for attention, eliminating potential benefits of positive changes in arousal and mood priming effects of accents during an implicit memory task. 32 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Mood-‐Based Processing of Unfamiliar Tunes Increases Recognition Accuracy in ‘Remember’ Responses Esra Mungan,* Zehra F. Peynircioğlu#, Andrea R. Halpern§ *Psychology, Bogazici University, Turkey; #Psychology, American University, USA; §Psychology, Bucknell University, USA We investigated the effects of orienting task (OT) on “remember” (R) and “know” (K) responses in melody recognition of unfamiliar tunes. In Experiment 1, nonmusicians made mood judgments, continued melodies (=conceptual OTs), counted number of long notes, and traced pitch contours (=perceptual OTs) of unfamiliar tunes. As expected from earlier research (Mungan, Peynircioğlu, & Halpern, 2011) with familiar tunes, conceptual processing was more effective than perceptual processing in R type recognition accuracy, which once again was due mostly to the mood-‐based processing task. In Experiment 2, we investigated whether a distinctive versus relational processing difference underlies this OT effect. Nonmusicians judged a set of familiar tunes in terms of how distinctive they were (distinctive-‐conceptual), to which music category they belonged (relational-‐conceptual), or their loudness (neutral-‐perceptual). Findings revealed only that conceptual processing was more effective than perceptual processing on R-‐type recognition sensitivity. We discuss possible reasons why the distinctiveness factor was not effective, even though it is has been shown with many types of verbal and nonverbal material. Effects of Manipulating Attention during Listening on Undergraduate Music Majors’ Error Detection in Homophonic and Polyphonic Excerpts: A Pilot Study Amanda L. Schlegel School of Music., University of Southern Mississippi, United States The purpose of this pilot study was to investigate the potential effects of wholistic versus selective listening strategies on music majors’ detection of pitch and rhythm errors in three-‐ voice homophonic and polyphonic excerpts. During the familiarization phase, upper-‐level undergraduate instrumental music majors participants (N = 14) first heard a correct full (all voices at once) performance, followed by each individual voice, and one final opportunity to listen to the full excerpt again. Participants then heard a flawed performance containing pitch and rhythm errors with their task being to detect the errors. Participants in the wholistc listening group were instructed to attend/listen to all voices while listening, while selective group participants were instructed to attend/listen to individual voices while listening. Participants heard the flawed performance twice. Results indicated no significant main effects due to texture, error type (pitch or rhythm), error location (top, middle, or bottom voice), or treatment group. A significant three-‐way interaction among texture, error type, and error location illustrate the influence of musical context in the detection of pitch and rhythm errors. Though the small sample size (N = 14) and lack of significance as a result of the treatment illustrate the need for additional and adjusted investigations, efforts to illuminate texture’s influence on listening/attending are of value to all musicians. Attention and Music Vaitsa Giannouli Department of Psychology, Aristotle University of Thessaloniki, Greece Many studies have found that cognitive test performance can be influenced by background music. The aim of the present study is to investigate whether background music can influence attention. Twenty-‐four neurologically and acoustically healthy volunteers (12 non-‐ musicians and 12 musicians, 15 men and 14 women, Mean age=26,20, SD=5,64) participated 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 33 in the study. All of the participants had university education (minimum 16years).The examination materials were Ruff 2 & 7 Selective Attention Test (2 & 7 Test), Symbol Digit Modalities Test (SDMT), Digit Span Forward and Trail Making Test Part A (TMT). Metacognitive feelings (feeling of difficulty-‐FOD and feeling of confidence-‐FOC) were also measured after the completion of each test with the use of Likert scales. Volunteers participated in all three condition of the experiment and were grouped according to the acoustic background that they experienced during the neuropscyhological examination (Mozart’s Allegro con spirito from the Sonata for two pianos K.448, favorite music excerpt and no exposure to any acoustic stimuli during their examination). Results indicated a statistically significant difference in favor of the favorite music condition and statistically more positive metacognitive judgments (less difficulty, more confidence) for this condition. Listening to Mozart’s music did not enhance performance on attention tasks. No music education influence was found and also no gender differences were found. The finding of a better attention performance could be interpreted as the result of a general positive influence-‐effect that preferred music listening has on general cognitive abilities. Learning and memorisation amongst advanced piano students: a questionnaire survey Kirsteen Davidson-‐Kelly, Nikki Moran, Katie Overy IMHSD, Reid School of Music, ECA, University of Edinburgh, UK Professional musicians are often advised to use mental rehearsal techniques, including musical imagery, but to date there is little evidence regarding the extent to which these techniques are actually used, or indeed their relative efficacy. We conducted an online questionnaire with piano students at six UK conservatoires, designed to examine their conceptions and experiences of the process of learning and memorisation, and to identify which strategies were most commonly recommended and implemented. Results from 37 respondents showed that statements about conceptions of learning and memorisation did not always fit with self-‐reports of actual practice, and that although widely recommended, mental techniques were less likely to be implemented than physical rehearsal techniques. These findings suggest that while students may know about certain approaches and strategies they may not know how to implement them. Future research should investigate the relative efficacy of specific mental learning techniques involving deliberate uses of musical imagery and examine ways of teaching these techniques effectively. Speed Poster Session 6: Grand Pietra Hall, 11:40-‐12:10 Music, words, language “What We’ve Got Here is [No?] Failure to Communicate”: How Listeners Reconcile Music and Lyrics Mismatch in Interpretation Janet Bourne, Richard Ashley Northwestern University While songs (defined as music with lyrics) have been studied extensively in music theory, little empirical research addresses how music and lyrics together influence the interpretation of a song’s narrative. Previous experiments on song focus on how lyrics and music elicit emotion; yet do not address the song’s narrative. Cook (1998) proposed three models of multimedia, including “contest” (or “mismatch”), when two simultaneous media contradict each other. Previous research (e.g. McNeill, 2005) indicates that mismatched verbal and nonverbal communication implies “meta-‐communication,” or other instances of non-‐literal language (deception, irony, 34 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE sarcasm, joking, and so on). In like manner, when music and lyrics mismatch, a listener might interpret the music-‐lyrics mismatch as a kind of “meta-‐communication.” We propose the following hypotheses: (1) in song, music does not simply elicit emotion but also plays a part in a listener’s narrative interpretation; a listener uses both. (2) If music and lyrics mismatch, listeners will reconcile the contradictory sources to create a coherent story. (3) When the music and lyrics conflict in a song sung by a character, a listener may infer the character in the song as being ironic, lying, sarcastic or being humorous. Participants listened to song clips from Broadway musicals and provided responses to a variety of questions: free response, Likert scale ratings, forced choice and adjective listening. The study used a 2x2 between-‐subjects design where the factors are the affect of the music and the affect of the lyrics: 1) Positive Music/Positive Lyrics, 2) Positive Music/Negative Lyrics, 3) Negative Music/Negative Lyrics, 4) Negative Music/Positive Lyrics. This research provides further insight into how a composer is able to successfully communicate a meaning or message to a listener through song. Commercially, advertising companies may find the results informative because then they would know how best to reach their target audience by knowing how different sources of media are understood by the public. These results would be of interest to other non-‐music researchers who study how people reconcile conflicting simultaneous sources of information. Studying the Intervenience of Lyrics Prosody in Songs Melodies Jose Fornari NICS, University of Campinas (UNICAMP), Brazil Songs are made of two intrinsically connected parts: poetry (in the form of songs lyrics) and music. The proper fitting between these parts seems to be made by acoustic features that encompass the relationship between them, representing two fields of sonic communication: musical and verbal communication. While lyrics convey semantic meaning, music enhances its emotional intention, filling informational gaps and enhancing its signification that otherwise would make the poetic meaning of lyrics incomplete of even misleading. This work presents an introductory research about the influence of lyrics on their accompanying melodies. The experiment here presented analyzes three famous popular songs. Computational predictions, given as time series of eight acoustic descriptors, were retrieved from pairs of audio files; one solely with the speech of the lyrics, and another solely with its corresponding melody. In order to avoid data tainting from human emotional interpretation, the audio files with the speech were generated by a text-‐to-‐speech voice synthesizer. For the same reason, melodies are generated by MIDI files. These pairs were analyzed by computational models of higher-‐level acoustic descriptors that output time series representing the development of a particular acoustic aspect on time. The correlation of each acoustic feature for each pair of audio file are here presented, in the form of the correlation coefficient. R The experimental results are here presented, explained and discussed, in order to introduce a study on the acoustic features that better describe the intervenience of lyrics prosody in song melodies. Comparing Models of Melodic Contour in Music and Speech Alex Billig, Daniel Müllensiefen Department of Psychology, Goldsmiths, University of London, United Kingdom Contour is an important perceptual and mnemonic feature of both music and speech. Four formal models of contour, differing in the degree to which they compress melodic information, were compared empirically to assess how closely they correspond to the mental processes involved in perception and memory of pitch sequences. Participants listened to a series of short monophonic melodies and low-‐pass filtered English sentences. They were asked to identify which of four images best represented the auditory stimulus. All images in a 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 35 trial were produced using the same contour model, but only one was derived from the melody or sentence heard. Models facilitating the highest proportion of correct matches were considered to summarise the pitch information in a cognitively optimal way. Matching was at above chance level for all models, with increased visual detail generally leading to better performance. A linear regression model with musical training, stimulus type, their interaction and contour model as predictors accounted for 44% of variance in accuracy scores (p < .001). Accuracy was significantly higher for melodies than for speech, and increased with musical training for melodies only. This novel cross-‐modal paradigm revealed that listeners can successfully match images derived from music theoretical models of contour not only to melodies but also spoken sentences. Our results support the important role of contour in perception and memory in both music and speech, but suggest limits to the extent that musical training can bring about changes to the mental representation of pitch patterns. The effect of melodic expectation on language processing at different levels of task difficulty and working memory load Elisa Carrus,* Marcus T. Pearce,# Joydeep Bhattacharya* *Department of Psychology, Goldsmiths, University of London, UK; #Center for Digital Music, School of Electronic Engineering & Computer Science, Queen Mary’s, University of London, UK Behavioural studies have shown that language expectancy effects are reduced when language is presented with unexpected compared to expected musical chords (e.g. Hoch et al, 2011). This study aimed at investigating the behavioural impact of melodic expectation on processing of language. A computational model was used to create melodies (Pearce, 2005), allowing to distinguish between high-‐probability (expected) and low-‐probability (unexpected) notes. We used a cross-‐modal paradigm in three behavioural studies where sentences and melodies were presented in synch and both consisted of five elements. In the first experiment, the task consisted in an acceptability judgment, whereas in the second experiment the task involved detecting the type of language condition presented. The third experiment included a working memory component which involved keeping digits in memory while they were doing the language task. When participants were asked to judge the acceptability of sentences, melodically unexpected notes facilitated processing of unexpected but not expected sentences. Participants were faster in responding to incorrect sentences when these were paired with unexpected rather than expected notes. When participants were asked to detect the type of language violation, the language expectancy effect (faster processing for correct than for incorrect sentences) was reduced when sentences were presented on unexpected notes, compared to expected notes. Finally, when working memory load increased, the language expectancy effect was suppressed. It could be speculated that a congruency effect is generating the facilitation effect, and that the presence of increased cognitive load enhances processing of distracting (music) stimuli, thus preventing a behavioural interaction. Towards a Musical Gesture in the Perspective of Music as a Dynamical System Beatriz Raposo de Medeiros Department of Linguistics, University of São Paulo, Brazil Assuming a perspective of music as a dynamical system in the domain of cognition implies adopting the notion that the cognitive structures (nervous system, body and environment) are integrated. In other words, in each behavior that involves acting and knowing – e.g., a football player kicking a corner ball– cognitive structures act as an entire system. The dynamical view provides the necessary tools and the language required to deal with time, 36 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE movement and change over time. We present a locus of convergence among studies with different views on music as a dynamical system, whereafter we propose a musical gesture based on the same dynamical principles which in the domain of Linguistics led to a phonological unit called articulatory gesture. The singing voice is presented as a plausible musical gesture as it produces tones and durations combined in order to provide the musical information. This information can be understood as specific tones in a given scale system and rhythmic structure and is part of the musical unit proposed here. The articulatory movements of the singing voice produced by the larynx characterize this unit as a unit of action. Thus we suggest a larynx modeling for music production in an initial attempt to view the singing voice as a basic realization of music, organized and coordinated as a musical gesture. Perceiving Differences in Linguistic and Non-‐Linguistic Pitch: A Pilot Study With German Congenital Amusics Silke Hamann,* Mats Exter,# Jasmin Pfeifer,# Marion Krause-‐Burmester# *Amsterdam Centre for Language and Communication, University of Amsterdam, The Netherlands #Institute for Language and Information, University of Düsseldorf, Germany This study investigates the perception of pitch differences by seven German congenital amusics in speech and two types of non-‐speech material (sinusoidal waves and pulse trains). Congenital amusia is defined by a deficit in musical pitch perception, and recent studies indicate that at least a subgroup of congenital amusics also show deficits in linguistic pitch perception. While previous studies employed pitch differences that occur in naturally spoken pairs of statement vs. echo question to test the influence of amusia on linguistic pitch perception, the present study parametrically varied the pitch differences in steps of one semitone (from one to seven semitones). We further tested the influence of the direction of the pitch change, the length of the stimuli and the continuity of the pitch curve. Our results show that amusics have difficulties detecting pitch changes both in non-‐linguistic stimuli and in speech. Furthermore, we found that amusics and controls performed better when the stimuli where discontinuous and the pitch was raised (instead of lowered). With respect to non-‐speech material, all participants performed better for pulse trains. The length of the stimuli did not influence the performance of the participants. Speed Poster Session 7: Crystal Hall, 11:40-‐12:10 Ethnomusicology & cross-‐cultural studies Prosodic Stress, Interval Size and Phrase Position: A Cross-‐Cultural Contrast Daniel Shanahan, David Huron Ohio State University Two studies were carried out in order to test the existence of “late phrase compression” in music where the interval size tends to decline toward the end of a phrase. A sample of phrases from notated Germanic folksongs shows the predicted decline in interval size. However, a sample of phrases from Chinese folksongs shows a reverse relationship. In short, late phrase interval compression is not evident cross-‐culturally. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 37 Variations in emotional experience during phases of elaboration of North Indian Raga performance Shantala Hegde,* Jean-‐Julien Aucouturier,# Bhargavi Ramanujam*, Emmanuel Bigand# *Cognitive Psychology Unit, Center for Cognition and Human Excellence, Department of Clinical Psychology, National Institute of Mental Health And Neuro Sciences (NIMHANS), Bangalore, India; #LEAD-‐CNRS, Université de Bourgogne, Pôle AAFE, Dijon cedex, France In Indian classical music (ICM) ‘ragas’ are the base for melodic improvisation. Ragas are closely associated with specific emotional themes, termed as ‘rasas’. Artists improvise and elaborate on a raga over different successive phases with variation in the melodic elaboration, tempo and rhythm to evoke the rasa of the raga. There has been little study so far on how the emotional experience varies along with different phases of raga elaboration. This study examined the variation in emotional experience associated with specific ragas during the different phases of raga presentation in the North-‐Indian-‐Classical-‐Music tradition (NICM), and correlate with acoustic parameters. Fifty musically-‐untrained Indian participants listened to one-‐minute long excerpts from ten ragas. All excerpts were from Bansuri (bamboo flute) performance by an accomplished musician. For each raga, three excerpts from different phases of elaboration, viz., Alaap (P1), Jor-‐Jhala (P2) and Bandish-‐ Madhyalaya (P3) were included. Participants were asked to choose the predominant emotion experienced from a set of eight categories. Here we only report on differences observed comparing P1 and P2 of the ragas. PCA analysis of the complete dataset of the 30 excerpts was carried out. Rhythmic properties of each extract using MIR Toolbox's algorithms. Valence and arousal variations within a raga typically exceed variations between different ragas. The transition from P1 to P2 was associated with a significant increase in pulse clarity. Indian performers have the possibility to strongly vary the expressivity associated with a specific raga by their performances, but with some specific constraints depending upon the ragas. Analyzing Modulation in Scales (Rāgams) in South Indian Classical (Carnātic) Music: A Behavioral Study Rachna Raman, W. Jay Dowling Dept. of Behavioral & Brain Sciences, The University of Texas at Dallas, USA The study was aimed at (1) identifying cues that help listeners perceive tonality changes, (2) investigating if cues learnt from one culture help toward understanding music across cultures, and (3) understanding if musical training is advantageous for cross-‐cultural perception. Carnātic music has two kinds of tonality shifts: the popular rāgamālikā (shifts of rāgam, retaining tonal center; e.g., C to C minor), and the controversial grahabēdham (shifts of rāgam and tonal center; e.g., C to A minor). Stimuli were 45 rāgamālikā and 46 grahabēdham shifts in songs. South Indian and American teachers and students divided by age (older or younger than 60 yr) served in either the rāgamālikā or grahabēdham condition. Participants indicated the point at which a modulation occurred, measured in terms of accuracy and latency. Indians were more accurate and faster in rāgamālikā whereas westerners performed better with grahabēdham. Cues could explain performance differences between nationalities: Indians performed better in rāgamālikā presumably because of their familiarity with it; westerners performed better with grahabēdham because they were probably able to apply cues to a type of modulation culturally familiar to them. Indians and westerners had similar hit rates in grahabēdham. Increased caution toward the less familiar grahabēdham for Indians could explain their slower response time compared to rāgamālikā. Musical training was advantageous to teachers overall: they had more hits and 38 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE fewer errors than students. This could be attributed to enhanced representation for systems of pitches and modalities. Embodiment of Metrical Structure: Motor Patterns Associated with Taiwanese Music Li-‐Ching Wang,* Chen-‐Gia Tsai# *Centre for Music and Science, University of Cambridge, UK #Graduate Institute of Musicology, National Taiwan University, Taiwan Sensory feedback, whether auditory, visual, tactile, proprioceptive and vestibular, enables music performers to perceive metrical structures of music better due to the multiple sources of information. Cognitively, humans tend to synchronize their body movements with beats they are listening to. Ontogenically, the ability to feel music through body movements develops at an early age. Physiologically, different mechanisms behind the feedback caused by body movements may result in different types of embodied expression of meter. Embodiment of metrical hierarchy can also be observed in the variety of beat-‐counting processes from different musical cultures, such as the art of conducting in Western classical music. In some Taiwanese music genres, musicians count beats with specific motor patterns. The present study used an accelerometer to examine the beat-‐counting movements in diverse music traditions: Taiwanese aboriginal music, nanguan music, and beiguan music, in comparison with the conducting movement in Western classical music. We hypothesize that different feedbacks induced by beat-‐counting movements reflect the hierarchy of beats in a measure. Our results suggest that the tactile feedback is in a higher hierarchy than proprioception, in which the zero-‐acceleration timing indicates the beat in some music traditions. If no tactile feedback occurs, the hand movement with downward velocity is on a higher hierarchical level than that with upward velocity. Literarily Dependent Chinese Music: A Cross-‐Culture Research of Chinese and Western Musical Score Based on Automatically Interpretation Rongfeng Li,* Yelei Ding*, Wenxin Li*, Minghui Bi # * Key Laboratory of Machine Perception (Ministry of Education), Peking University # School of Arts, Peking University The evolvement of Western and Chinese musical score is quite different. Firstly, Chinese musical score depends greatly on literary while with a common view, Western music is comparatively independent on literary. Specially, in Chinese musical score, the melody is evolve from the tones of Chinese poetry. The other difference is in rhythmic rule. Compare to the strictly regulated Western music, gongchepu uses a flexible rhythmic rule, which only denotes ban (downbeat) and yan (upbeat), and the duration of each note is improvised by musicians. However, to perform the correct music, the improvisation, of which the experience is only passed by oral tradition, have fixed patterns. In this paper, we proposed an automatically interpretation model by recognizing those patterns based on Hidden Markov Model. Our automatic interpretation method successfully achieves 90.392% precision and 83.2% OOV precision on database of published manually interpretation of Gongchepu. The result shows that the up and down tune and the position of the lyrics are the key feature that affect the rhythmic improvisation of Chinese music, which also support that the Chinese musical score is literarily dependent. Also, the automatically interpretation have a great impact on protecting the ancient Chinese traditional culture, for experts who are able to read gongchepu is decreasing and the way of singing the Chinese traditional poetry will likely fade in the following generation. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 39 Speed Poster Session 8: Dock Six Hall, 11:40-‐12:10 Temporality & rhythm I Conceptual spaces of metre and rhythm Jamie Forth,* Geraint Wiggins# *Department of Computing, Goldsmiths, University of London, UK #School of Electronic Engineering and Computer Science, Queen Mary, University of London, UK We introduce a formalisation of metrical-‐rhythmic concepts within Gärdenfors' theory of conceptual space. The conceptual spaces framework is a cognitive theory of representation in which concepts are represented geometrically within perceptually grounded and variably weighted quality dimensions. Distance corresponds to conceptual dissimilarity. Informed by London's psychological theory of metre as a process of entrainment, two conceptual space models are developed, each designed to encapsulate salient aspects of the experience of metrically organised rhythmic structure. As a basis for defining each conceptual space, we first develop a symbolic formalisation of London's theory in terms of metrical trees, taking into account isochronous and non-‐isochronous structures. The first conceptual space represents metrical concepts as hierarchical structures of periodic components. The second extends this representation to include the internal sequential structure of periodic cycles. The geometry is defined in terms of the symbolic formulation, and the mappings between the levels of representation associate metrical tree structures with points in geometrical space. Expressively varied metres are naturally represented in the space as regions surrounding prototypical metrical points. The developed models are evaluated within a genre classification task involving stratified 10x10-‐fold cross-‐validation over a labelled dataset of rhythmically distinctive musical genres using k-‐nearest-‐neighbour clustering. The models achieve classification accuracies of 77% and 80% respectively, with respect to a tempo-‐only base-‐line of 48%. Modeling the implicit learning of metrical and non-‐metrical rhythms Benjamin G. Schultz1,2, Geraint A. Wiggins3, & Marcus Pearce3 1MARCS Institute, University of Western Sydney 2Lyon Neuroscience Research Center, Team Auditory Cognition and Psychoacoustics, CNRS, UMR 5292, INSERM U1028, Université Lyon 1 3 Centre for Digital Music, Queen Mary, University of London The information dynamics of music (IDyOM; Pearce & Wiggins, 2006) model, originally applied to melodic expectation, indicates learning via entropy (reflecting uncertainty) and information content (reflecting unexpectedness). Schultz, Stevens, Keller, and Tillmann found implicit learning (IL) of metrical and non-‐metrical rhythms using the serial reaction-‐time task (SRT). In the SRT, learning is characterized by RT decreases over blocks containing a repeating rhythm, RT increases when novel rhythms are introduced, and RT recovery when the original rhythm is reintroduced. Metrical rhythms contained events that occurred on the beat and downbeat. Non-‐ metrical rhythms contained events that deviated from the beat and downbeat. In the metrical condition, larger RT increases occurred for the introduction of novel weakly metrical rhythms compared to novel strongly metrical rhythms. No differences were evident between the introductions of novel non-‐metrical rhythms. We used the IDyOM model to test the hypothesis that IL of metrical and non-‐metrical rhythms is related to developing expectations (i.e. RT data) based on the probabilistic structure of temporal sequences. We hypothesized that previous exposure to the corpus results in larger positive correlations for metrical rhythms than non-‐ metrical rhythms. Correlational analyses between RT data and the IDyOM model were performed. The IDyOM model correlated with RT. Entropy demonstrated moderate positive correlations for 40 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE the LTM+ and BOTH+ models. Information content demonstrated moderate to strong positive correlations for the LTM, BOTH, LTM+, and BOTH+ models. As hypothesized, models exposed to the corpus demonstrated larger correlations for metrical rhythms compared to non-‐metrical rhythms. Results suggest that the IDyOM model is sensitive to probabilistic aspects of temporal learning, and previous exposure to metrical rhythms. The probabilistic structure of temporal sequences predicts the development of temporal expectations as reflected in RT. Results indicate that the usefulness of the IDyOM model extends beyond predicting melodic expectancies to predicting the development of temporal expectancies. Asymmetric beat/tactus: Investigating the performance of beat-‐tracking systems on traditional asymmetric rhythms Thanos Fouloulis,* Emilios Cambouropoulos,* Aggelos Pikrakis# * School of Music Studies, Aristotle University of Thessaloniki, Greece #Department of Computer Science, University of Pireaus, Greece Theories of western metrical structure commonly hypothesize an isochronous beat level (tactus) upon which the concept of metre is built. This assumption is challenged by this study. It is proposed that time at the tactus level may be measured by isochronous or asymmetric temporal ‘scales’ depending on the musical data (just like asymmetric pitch scales are adequate for organising tonal pitch space). This study examines the performance of beat tracking systems on music that features asymmetric rhythms (e.g. 5/8, 7/8) and proposes potential improvement of theoretical and practical aspects relating to beat perception that can allow the construction of more general idiom-‐independent beat trackers. The tactus of asymmetric/complex musical rhythms is non-‐isochronous; for instance, a 7/8 song is often counted/taped/danced at a level 3+2+2 (not at a lower or higher level). Two state-‐of-‐the-‐art beat-‐tracking systems (Dixon 2007; Davies & Plumley 2007) and a beat/tempo induction system (Pikrakis et al, 2004) are tested on a number of traditional Greek (dance) songs that feature asymmetric rhythms. The beat output of the algorithms is measured against the corresponding beat structures indicated by expert musicians (we also use knowledge regarding corresponding dance movements), and the algorithms are compared to each other. As expected, the beat-‐trackers cannot cope well with asymmetric rhythms. The metre/tempo induction system performs better in processing asymmetric rhythms; it does not always find the correct beat level but this level exists implicitly in the model (in between sub-‐ and super-‐beat levels). Meet ADAM – a model for investigating the effects of adaptation and anticipatory mechanisms on sensorimotor synchronization Marieke van der Steen,* Peter E. Keller *# *Music Cognition and Action Group, Max Planck Institute for Human Cognitive and Brain Sciences, Germany; #MARCS Institute, University of Western Sydney, Australia The temporal coordination of self-‐generated motor rhythms with perceived external rhythms is an important component of musical activities. Such sensorimotor synchronization (SMS) involves temporal adaptation and anticipation. Adaptation mechanisms enable humans to modify the timing of their actions online when synchronizing with external event sequences. Reactive temporal error correction processes influence the timing of upcoming movements and therefore facilitate the maintenance of synchrony. Anticipatory processes concern predictions about the unfolding external event sequence with which the action is to be coordinated. These mechanisms facilitate efficient and precise motor control and are related to online action simulation and internal models. We introduce ADAM —an ADaptation and Anticipation Model— to investigate the role of adaptation and anticipatory mechanisms, and their interactions, on SMS. Adam combines an established formal model of 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 41 adaptation with an anticipation process inspired by the notion of internal models. ADAM is created in Simulink, a MATLAB-‐based simulation environment. ADAM can be implemented in a real-‐time set up, creating a virtual synchronization partner. ADAM produces an auditory pacing signal, and can parametrically adjust the timing of this signal based on information about the human participant's timing (via MIDI). The set up enables us not only to run simulations but also to conduct experiments during which participants directly interact with the model. In doing so, we investigate the effect of the different processes and their interactions on SMS in order to gain knowledge about how SMS-‐based tasks might be exploited in a motor rehabilitation for different patient groups. Electrophysiological Substrates of Auditory Temporal Assimilation Between Two Neighboring Time Intervals Takako Mitsudo*, Yoshitaka Nakajima†, Gerard B. Remijn†, Hiroshige Takeichi‡, Yoshinobu Goto§, Shozo Tobimatsu# *Faculty of Information Science and Electrical Engineering, Kyushu University, Japan; †Faculty of Design, Kyushu University, Japan; ‡RIKEN Nishina Center, Saitama, Japan; §Faculty of Rehabilitation, International University of Health and Welfare, Japan; #Faculty of Medical Sciences, Kyushu University, Japan Brain activities related to temporal assimilation, a perceptual phenomenon in which two neighboring time intervals are perceived as equal even when their physical difference is substantially larger than the difference limen, were observed. The neighboring time intervals (T1 and T2 in this order) were marked by three successive 1000-‐Hz pure-‐tone bursts of 20 ms. Event-‐related potentials (ERPs) were recorded from 19 scalp locations while the participants listened to the temporal patterns. Thirteen participants just listened to the patterns in the first session, and judged the equality/inequality of the neighboring intervals in the next session. The participant made his/her judgments on perceived equality/inequality by pressing one of two buttons. First, T1 was varied from 80 to 320 ms in steps of 40 ms, and T2 was fixed at 200 ms. About one year later, the same participants took part in another experiment in which the procedures remained the same except that the temporal patterns were reversed in time. Behavioral data showed typical temporal assimilation; equality appeared in an asymmetrical categorical range T1-‐T2 = -‐80 to 50 ms. Electrophysiological data showed a contingent negative variation (CNV) during T2 in the frontal area, which might reflect the process of memorizing the length of T1. A slow negative component (SNCt) after the presentation of T1 and T2 appeared in the right-‐frontal area, and continued up to about 400 ms after the end of T2; this component was larger when perceptual inequality took place. (Supported by JSPS) Speed Poster Session 9: Timber I Hall, 11:40-‐12:10 Emotional responses & affective experiences I Emotion in Music: Affective Responses to Motion in Tonal Space Marina Korsakova-‐Kreyn, * Walter Jay Dowling # * School of Music and the Arts, NJ, USA # The University of Texas at Dallas, USA Tonal modulation is the reorientation of a scale on a different tonal center in the same musical composition. Modulation is one of the main structural and expressive aspects of music in the European musical tradition. Although it is known a priori that different degrees of modulation produce characteristic emotional effects, these effects have not yet been 42 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE thoroughly explored. We conducted two experiments to investigate affective responses to tonal modulation by using semantic differential scales related to valence, synesthesia, potency, and tension. Experiment 1 examined affective responses to modulation to all 12 major and minor keys using 48 brief harmonic progressions. The results indicated that affective response depends on degree of modulation and on the use of the major and minor modes. Experiment 2 examined responses to modulations to the subdominant, the dominant, and the descending major third using a set of 24 controlled harmonic progressions and a balanced set of 24 excerpts from piano compositions belonging to the First Viennese School and the Romantics; all stimuli were in the major mode to maintain the ecological validity of modulation to the dominant. In addition, Experiment 2 investigated the affective influence of melodic direction in soprano and bass melodic lines. The results agreed with the theoretical model of pitch proximity based on the circle of fifths and demonstrated the influence of melodic direction and musical style on emotional response to reorientation in tonal space. Examining the affective influence of motion along different tonal distances can help deepen our understanding of aesthetic emotion. Voice Multiplicity Influences the Perception of Musical Emotions Yuri Broze* & Brandon Paul# *School of Music, Ohio State University, USA #Department of Speech and Hearing Science, Ohio State University, USA A polyphonic musical texture can be described in terms of its voice multiplicity―the number of simultaneous musical voices present. We conjectured that listeners might make use of voice multiplicity information when inferring the expression of musical emotions. In particular, we hypothesized that ratings of musical loneliness would be highest for monophonic music, and decrease as more voices are added to the texture. Moreover, voice multiplicity should only influence emotion perception to the extent that it can be accurately perceived. In an experimental study, listeners were asked to rate brief (5s) musical excerpts for expression of happiness, sadness, loneliness, and pride. We controlled for style, motivic content, timbre, and loudness by excerpting harpsichord recordings of fugue expositions from Bach’s Well-‐Tempered Clavier. Higher loneliness and sadness ratings were associated with fewer musical voices; loneliness showed a stronger effect than sadness. The effect of voice multiplicity was consistent with the pattern predicted by limitations in stream segregation. Unexpectedly, listeners were much more likely to make strong emotion ratings for monophonic textures than for any other multiplicity level, and multiplicity effects seemed to be greater for loneliness and pride ratings than for sadness and happiness ratings. Preliminary results from a second study using an expanded between-‐groups design are consistent with the idea that positively-‐valenced emotions are more easily perceived when more musical voices are present, whereas negatively-‐valenced emotions are perceived more strongly when fewer voices are present. Multisensory Perception of Six Basic Emotions in Music Ken-‐ichi Tabei,* Akihiro Tanaka# *Department of Dementia Prevention and Therapeutics, Graduate School of Medicine, Mie University, Japan; #Department of Psychology, Tokyo Woman's Christian University, Japan The interaction between auditory and visual information is known to influence emotion judgments by using audiovisual speech stimuli (i.e., face–voice combination). In contrast, little is known about how emotion perception changes when the musician’s facial and bodily movements can be seen as well as heard. In the present study, we applied a paradigm often used in face–voice emotion perception to music performance to examine the interaction 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 43 between musical sound and facial and bodily movements in perceiving emotion from music performance. Results showed that the performances in the Audio (A), Visual (V), and Audio-‐ Visual (AV) conditions were dependent on the combination of instruments and emotions: angry expression by cellists and sad expression by violinist were perceived better in the V condition, while disgust expression by pianist were perceived better in the AV condition. While previous studies have shown that visual information from facial expression facilitates the emotion perception from emotional prosody in speech, that of musician’s facial and bodily movements did not necessarily enhance the emotion perception from musical sound. This pattern suggests that multisensory perception of emotion from music performance may be different from that from audiovisual speech. New perspective of peak emotional response to music: The psychophysiology of tears Kazuma Mori,*# Makoto Iwanaga* *Graduate School of Integrated Arts and Sciences, Hiroshima University, Japan # Research Fellow of the Japan Society for Promotion of Science Music sometimes induces peak emotion. Previous studies examined musical chills (feeling of goose bumps and shivers down the spine) as peak emotional response to music. Our previous study, however, revealed that musical tears (feeling of weeping and lump in the throat) seemed to be another peak emotional response to music. The present study examined how psychophysiology states induced by musical tears. Thirty four students listened to self-‐selected tear music and other-‐selected neutral music. During music listening, the participants pushed mouse button when they felt sense of tears. They also moved mouse right and left to continuous real time recordings of subjective emotional valences (pleasure-‐ displeasure). Simultaneously, the participants was recorded autonomic nervous activity such as heart rate, respiratory rate and skin conductance response. We compared time series subjective emotion and physiology responses accompanied with sense of tears between when listening self-‐selected tear music and when listening other-‐selected neutral music. The results showed that the participants exhibited monotone increasing of subjective pleasure before and after fifteen second of tears onset. They also exhibited respiratory rate decreases that rapidly subsided after tears onset. Decreasing respiratory rate meant that, after tears onset, the participants experienced activating parasympathetic nervous system. These results showed that musical tears induce slowly peak pleasurable with physiologically calming state. On the other hand, previous studies confirmed that musical chills induce fast peak pleasurable and physiologically arousing state. We conducted that musical tears give different peak pleasurable state from musical chills. Musical Emotions: Perceived Emotion and Felt Emotion in Relation to Musical Structures Ai Kawakami,1,2 Kiyoshi Furukawa,1 Kazuo Okanoya2,3,4 1 Graduate School of Fine Arts, Tokyo University of the Arts, JAPAN 2 Emotional Information Joint Research Laboratory, RIKEN BSI, JAPAN 3 JST, ERATO, OKANOYA Emotional Information Project, JAPAN 4 Graduate School of Arts and Sciences, The University of Tokyo, JAPAN Musical emotions are an integration of two kinds of emotions: perceived emotion and felt emotion. In this study, we hypothesized that perceived emotion would not necessarily correspond to felt emotion, particularly in response to low consonant music such as music in a minor key. In addition, we investigated the effect of musical experiences toward the two kinds of emotions. In total, 24 participants listened to 21 newly composed musical stimuli 44 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE and rated the intensities of perceived and felt emotions using a two-‐dimensional evaluation: arousal (active/passive) and valence (pleasant/unpleasant). The results showed that the perceived emotion did not always coincide with the felt emotion. Notably, participants who had substantial musical experience rated the felt emotion as less unpleasant or more pleasant than the perceived emotion in response to minor-‐key, dissonant and high note density music. This finding may lead to a better understanding of why people sometimes like or “enjoy” sad music. Emotional features of musical pieces for a series of survival-‐horror games Ryo Yoneda, Kohta Matsumoto, Shinya Kanamori, Masashi Yamada Graduate School of Engineering, Kanazawa Institute of Technology In recent years, the hardware and software of video games has substantially developed. This led to rapid increase of the cost and time for creating high-‐quality contents for a video game. Therefore, once a game title sales successfully, producers tend to make that title into a series, because the content can easily recover the cost of development. However, it is rare for the original creators of a series to stay with it all the way through its life span, because game creators tend to switch companies frequently. In the present study, emotional features of musical pieces composed for Capcom’s survival–horror title “Resident Evil,” in which seven titles were released in the last 16 years, were rated using 24 semantic differential scales. The results showed that the emotional features of the musical pieces were constructed by “pleasantness” and “excitation” axes. On the two dimensional emotional plane, musical pieces were plotted for each title. The results of the distribution of the musical pieces were consistent for five titles. This implies that the musicians and sound engineers retained the original emotional features of musical peaces through at least five of the titles. Speed Poster Session 10: Timber II Hall, 11:40-‐12:10 Musical experience & preference Background Music As A Risk Factor For Distraction Among Young Drivers: An IVDR Study Warren Brodsky,* Zack Slor# *Music Science Lab, Department of the Arts, Ben-‐Gurion University of the Negev, Beer-‐Sheva Israel΄ #Israel Center For Emotional Fitness, Zahala Tel Aviv Israel Statistical data on road safety indicates that drivers between ages 16-‐24 account for a high level of accidents and fatalities; in Israel 25% severe accidents and 5% fatalities occur during the first two years of driving, and young novice drivers are 10-‐times more likely to be in an accident during their first 500 miles. Ironically, the most common violations for this group are speeding (37%) and lane weaving (20%) – both of which correlate with in-‐cabin music behavior (Brodsky, 2002). Young drivers regularly listen to fast-‐tempo highly energetic aggressive music played at elevated volumes. This State of Israel National Road Safety Authority study investigates music as a risk factor among young novice drivers. The study employed two Learners Vehicles installed with in-‐vehicle data recorders (IVDR). Eighty-‐five young novice drivers drove six trips: twice with preferred music brought from home, twice with In-‐car alternative music (Brodsky & Kizner, 2012), and twice with no-‐music. For each trip 27 events were logged; a range of vehicle variables that were mechanical, behavioral, or predetermined HMI interactions. The findings indicate that both frequency and severity of driving violations were higher for trips with driver-‐preferred music than trips when either no music or In-‐car alternative music. We recognize that in-‐car listening will forever be part 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 45 of vehicular performance, and therefore future research should explore the effects of music on driving performance. Developing and testing functional music backgrounds towards increased driver safety is an important contribution of Music Science in the war against traffic accidents and fatalities. Conceptualizing the subjective experience of listening to music in everyday life Ruth Herbert Music Dept., Open University, UK Empirical studies of everyday listening often frame the way individuals experience music primarily in terms of emotion and mood. Yet emotions -‐ at least as represented by categorical, dimensional and domain-‐specific models of emotion -‐ do not account for the entirety of subjective experience. The term 'musical affect' may equally relate to aesthetic, spiritual, and 'flow' experiences, in addition to a range of altered states of consciousness (Juslin & Sloboda, 2010), including the construct of trance. Alternative ways of conceptualizing and mapping experience suggest new understandings of the subjective, frequently multimodal, experience of music in daily life. This poster explores categorizations of aspects of conscious experience, such as checklists of basic dimensions of characteristics of transformations of consciousness (e.g. Pekala's Phenomenology of Consciousness Inventory (PCI), or Gabrielsson and Lindström Wik's descriptive system for strong experiences with music (SEM-‐DSM), together with the potential impact of specific kinds of consciousness upon experience (e.g. the notion of present centred (core or primary), and autobiographical (extended/higher order) forms of consciousness (Damasio, 1999, Edelman, 1989).Three recent empirical studies (Herbert, 2011) which used unstructured diaries and semi-‐structured interviews to explore the psychological processes of everyday involving experiences with music in a range of 'real-‐world' UK scenarios are referenced. Free phenomenological report is highlighted as a valuable, if partial means of charting subjective experience. Importantly, it constitutes a method that provides insight into the totality of experience, so enabling researchers to move beyond the confines of emotion. The impact of structure discovery on adults’ preferences for music and dance Jennifer K. Mendoza, Naomi R. Aguiar, Dare Baldwin Department of Psychology, University of Oregon, USA In our society, music features prominently from Beethoven to Lady Gaga concerts, and from singing on Broadway to singing in the shower. Why is music such a pervasive part of our world? Why do we derive such pleasure from our musical experiences? Our research investigates these questions, exploring how adults’ musical processing affects musical preferences. Specifically, we seek to determine whether adults’ structure discovery impacts their subjective liking of music. Similarities in structural organization make music and dynamic action domains ripe for comparison. Given the intimate connection between dance and music, our research also examines whether structure discovery relates to subjective liking in the field of dance. We created music and dance stimuli with matching structure. Each undergraduate participant either views the dance stimuli or listens to the music stimuli at her own pace using the dwell-‐time methodology (Hard, Recchia, and Tversky, 2011). If adults ‘dwell’ longer at points where one phrase ends and the next begins in the stimuli, we can infer that they discovered the structure in both domains. Participants will rate their subjective liking of the dance or the music. We predict that adults who discover the structure will report higher ratings of subjective liking. Our research also explores the effects of stimulus complexity and domain expertise on the relationship between structure discovery 46 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE and subjective liking for both music and dance. If our research yields the predicted results, then we will have initial confirmation that structure discovery impacts adults’ subjective liking of both music and dance. Values, Functions of Music, and Musical Preferences Hasan Gürkan Tekman,* Diana Boer,# Ronald Fischer* *Psychology Department, Yaşar University,Turkey #School of Humanities and Social Sciences., Jacob University Bremen, Germany *School of Psychology, Victoria University of Wellington, New Zealand One function of music that is recognized cross-‐culturally is helping shape identity and values. Moreover, values may determine which functions of music people use and which musical styles are suited to serve different functions. This study had three main aims. First, we examined the structure of musical style preferences of a Turkish sample. Second, we examined the relations between value orientations, functions of music and musical preferences. Third, we searched for mediating effects of functions of music that explain the link between values and musical preferences. Two hundred and forty six students of Uludag University in Bursa, Turkey filled a questionnaire in which they were questioned about the importance of 10 functions of music listening, their preferences for 16 musical styles and their endorsement of self-‐enhancement, self-‐transcendence, openness to change, and conservation values. Musical preferences could be summarized by five underlying dimensions that mainly conformed to those obtained in other countries and in earlier research in Turkey. While self-‐enhancement values were associated with preference for contemporary styles, self-‐transcendence values were associated with preferences for sophisticated styles. Sophisticated and intense styles were associated positively with openness-‐to-‐change and negatively with conservation. Endorsement of openness-‐to-‐change values was associated with intrapersonal and affective and socio-‐cultural and contemplative functions of music, whereas endorsement of conservation values was negatively associated with these functions. Shaping values, expressing cultural identity, and dancing functions of music had significant mediating roles in the relation between values and musical preferences. Paper Session 1: Grand Pietra Hall, 14:30-‐15:30 Music & language development Categorization in music and language: Timbral variability interferes with infant categorization of melodies Eugenia Costa-‐Giomi Center for Music Learning, University of Texas-‐Austin, USA Although timbre plays different roles in the organization of musical and linguistic information, research has consistently shown its salience as a perceptual feature in both music and language. Infants recognize phonemes and words despite variations in talker’s voice early in life and have difficulty in recognizing short melodies when played by different instruments until they are 13-‐month-‐old. It seems that during the first year of life, timbral variability interferes with the categorization of melodies but not words. Because the categorization of words and melodies is critical for the understanding of language and western music respectively, it is surprising that the former seems to develop earlier than the latter. But studies on infant categorization of linguistic stimuli have been based on the recognition of single words or phonemes lasting less than a second, whereas those on infant 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 47 categorization of music stimuli have used sequences of tones lasting almost 6 seconds. We conducted a series of experiments to directly compare the formation of categories in music and language under timbral variability using melodies and phrases of the same length, speed, and rhythmic features and found that 11-‐month olds categorized the language but not the music stimuli. The findings suggest that the categorization of certain structural elements emerges earlier in language than in music and indicate a predisposition for the formation of timbral categories in auditory stimuli in general, even in case in which such categories are not structurally important. Music, Language, and Domain-‐specificity: Effects of Specific Experience on Melodic Pattern-‐Learning Erin Hannon, Christina Vanden Bosch der Nederlanden Psychology Dept., University of Nevada, Las Vegas, USA Despite their surface similarities, music and language conform to distinct, domain-‐specific rules and regularities. Experienced listeners presumably possess music-‐specific expectations about which acoustic features will be most relevant in a musical context, but relatively little is known about how and when this knowledge emerges over the course of development. Given that melodic structure is of central importance in music but of secondary importance in language, we report a set of experiments exploring the extent to which listeners with different life-‐long listening experiences attend to or ignore melodic information in the context of language or music. In all experiments we present listeners with a sequence of sung syllable triplets whose syllables and/or pitches conform to an ABA or ABB pattern. We use subsequent similarity ratings of novel sequences to determine which rule-‐like pattern listeners inferred during the exposure phase. Some test items violate the established syllable whereas others violate only the melodic rule. We compare performance on this task among English-‐speaking non-‐musicians and musicians and among native speakers of a tonal language (Chinese, Thai). We find a strong bias among non-‐musicians to give high similarity ratings to test stimuli that conform to the syllable pattern, regardless of the syllable pattern. This bias is attenuated or reversed (i.e. the melodic pattern is favored) for listeners with music training or experience speaking a tonal language. Implications for the development of music-‐specific knowledge and capacities will be discussed. Paper Session 2: Crystal Hall, 14:30-‐15:30 Musical tension The influence of structural features on perceived musical tension Moritz Lehne, Martin Rohrmeier, Donald Gollmann, Stefan Koelsch Cluster Languages of Emotion, Freie Universität Berlin, Germany In Western tonal music, a dynamic flow of tension and resolution is usually perceived. This musical tension is related to various structural features of the music (e.g., dynamics, agogics, melodic contour or harmony), however, the relative contribution of different features to the experience of musical tension remains unclear.To explore how different features contribute to the tension experience of the listener, we acquired continuous ratings of musical tension for original and modified versions of two classical piano pieces. Modifications included versions without dynamics, without agogics and versions in which harmony, melody and outer voices were played in isolation. The influence of these features on subjectively experienced tension was investigated by comparing average tension ratings of the different versions using correlation analysis. In addition, we investigated the relation of perceived 48 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE tension and loudness of the music by comparing tension ratings to predictions of a loudness model. Despite a general tendency towards flatter tension profiles, tension ratings for versions without dynamics as well as versions without agogics correlated highly with ratings for the original versions for both pieces. Correlations between tension ratings of the original versions and ratings of harmony and melody versions as well as predictions of the loudness model differed between pieces. Our findings indicate that discarding expressive features generally preserves the overall tension-‐resolution patterns of the music. The relative contribution of single features like loudness, harmony and melody to musical tension appears to depend on idiosyncrasies of the individual piece. The semantics of musical tension Jens Hjortkjær Department of Arts and Cultural Studies, University of Copenhagen, Denmark The association between music and tension is a strong and long-‐standing one and yet the psychological basis of this phenomenon remains poorly understood. Formal accounts of musical grammar argue that patterns of tension and release are central to the structural organization of music, at least within the tonal idiom, but it is not clear why structural relations should be experienced in terms of tension in the first place. Here, I will discuss a semantic view, suggesting that musical tension relies on cognitive embodied force schemata, as initially discussed by Leonard Talmy within cognitive semantics. In music, tension ratings studies tend to relate musical tension to continuous measures of perceived or felt arousal, but here I will discuss how it may also relate to the ways in which listeners understand musical events as discrete states with opposing force tendencies. In a behavioral tension rating study, listeners rated tension continuously in musical stimuli with rapid amplitude contrasts that could represent one of two force dynamic schemas: events either releasing or causing a force tendency. One group of participants were primed verbally beforehand by presenting an analog of the release-‐type schema in the experimental instructions. It was found that primed subjects rated tension with a distinctly opposite pattern relative to the unprimed group. The results support the view that musical tension relates to the ways in which listeners understand dynamic relations between musical events rather than being a simple continuous measure of arousal. Paper Session 3: Dock Six Hall, 14:30-‐15:30 Motion & Gesture I The Coupling of Gesture and Sound: Vocalizing to Match Flicks, Punches, Floats and Glides of Conducting Gestures Aysu Erdemir,1 Emelyne Bingham,2 Sara Beck,1 John Rieser1 1Psychology and Human Development in Peabody College, Vanderbilt University, USA 2Blair School of Music, Vanderbilt University, USA The study was designed to explore whether there was a systematic relationship between various hand gestures performed by an expert conductor, and accompanying vocal sounds produced by adults with or without any kind of musical background. We explored whether people automatically and systematically vary their utterances in a way to match the movement characteristics of certain gestures. For this reason, we picked gestures that are not contained in conducting manuals, but nevertheless seem familiar/natural in an everyday life context. Participants watched videos of a conductor performing four different hand gestures called “flicks, punches, floats and glides”, which varied in terms of their use of space 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 49 (direct/indirect), weight (strong/light) and time (sudden/sustained). Participants were asked to produce the syllable /dah/ repeatedly in a way that feels natural to the four gestures they observed visually. Audio-‐recordings of the vocal responses were scored by three independent judges, whose task was to judge which type of gesture gave rise to each of the vocal productions. Results showed that categorization accuracies were 94%, 96%, 80% and 82% for flicks, punches, floats and glides respectively. Additional psychoacoustic analysis on the sound data revealed significant associations of the motion characteristics of the gestures such as their use of space, weight & time to overall pitch, loudness & duration levels of the utterances, respectively. The data collected imply a definable cross-‐modal relationship between gesture and sound, where the visual effects from the kinematics of movement patterns are automatically translated into predictable auditory responses. Seeing Sound Moving: Congruence of Pitch and Loudness with Human Movement and Visual Shape Dafna Kohn,1 Zohar Eitan2 1Levinsky College of Education, Israel, 2School of Music, Tel Aviv University, Israel We investigate listeners’ evaluations of correspondence between pitch or loudness contours and human motion (Exp1) or visual shape (Exp2). In Exp1 32 adult nonmusicians watched 16 audiovisual stimuli (a videotaped dancer), which systematically combined bidirectional changes in pitch or loudness with bidirectional vertical or horizontal (opening and closing) human motion. Participants ranked how well the music and movement in each audiovisual stimulus matched. Significant correspondences were found between loudness change and both vertical and horizontal motion, while pitch changes corresponded with vertical motion only. Perceived correspondences were significantly stronger for loudness, as compared to pitch, and for vertical, as compared to horizontal movement. Congruence effects were also significantly higher for convex (inverted-‐U) as compared to concave (U-‐shaped) change contours, both musical (e.g., pitch rise-‐fall as compared to fall-‐rise) and motional (e.g., opening-‐closing vs. closing-‐opening). In Exp2 the same participants were presented with the same music stimuli and with 4 static visual shapes, and selected the shape that best matched each stimulus. Most participants chose the “correct” shape for each musical stimulus. Results indicate that adult non-‐musicians strongly associate particular bodily movements and visual shapes with particular changes in musical parameters. Importantly, correspondences were affected not only by the local directions of motion (e.g., rise, fall), but by overall contours (in both music and motion), such that mappings involving convex contours were stronger than mappings involving concave contours. This suggests that cross-‐modal mappings may be affected by higher-‐level patterning, and specifically that convex (inverted-‐U) patterns may facilitate such mappings. Paper Session 4: Timber I Hall, 14:30-‐15:30 Voice & performance The Ideal Jazz Voice Sound: A Qualitative Interview Study Ella Prem,1 Richard Parncutt, 2 Annette Giesriegl,3 Hubert Johannes Stigler4 1, 2 Centre for Systematic Musicology, University of Graz, Austria, 3 Department of Jazz, University of Music and Dramatic Arts Graz, Austria, 4 Centre for Information Modelling, University of Graz, Austria The vocabulary of words and phrases used by jazz singers to describe jazz voice sound is the subject of this research. In contrast to the ideal classical voice sound, which is linked to the need to project over loud accompaniments (e.g. formant tuning), the ideal jazz voice sound 50 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE takes advantage of microphones enabling greater expressive variation. Implicit concepts of ideal voice sounds influence teaching in conservatories and music academies but have been the subject of little empirical investigation. We are interviewing 20 Austrian jazz singers. All are or used to be students of jazz singing. In open interviews, each participant brings 10 examples of jazz singing and described that singer’s voice sound. The qualitative data are represented in an XML database. XSLT stylesheets are used to create tag clouds, where the size of a word reflects its number of occurrences. The vocabulary is split up in a small core of commonly used terms such as: deep, spoken and diverse (25 descriptors used by more then 60% of the participants) and a large periphery of intuitive associations reflecting individuality of the perception, description and the jazz voice sound itself (260 descriptors are used by less then 10% of the participants). We explored the ideal jazz voice sound without asking for it directly. Participants additionally showed remarkable motivation to listen to different sounds to cultivate their individuality as jazz singers, raising questions about the tension between uniformity and individuality in jazz pedagogics. Inaccurate singing as a dynamic phenomenon: Interval matching a live vocal model improves accuracy levels of inaccurate singers Rona Israel-‐Kolatt, Roni Granot The Hebrew University, Israel One of the most powerful and enjoyable gifts given to man is the ability to communicate with others in song. But for some the gift remains unwrapped. One aspect of such “Non-‐singing” which has received much attention in the last years is "out of tune" (OOT) singing. Previous studies have found that accuracy of singing or level of OOT is not a static factor. Recent research suggests that the degree of acoustical\physical match of the stimuli source (in terms of vocal range and timbre), to those of a participant, has a significant influence on accuracy levels. This in turn suggests some involvement of a mirror system which could be enhanced when the target tones are produced by a live visible human source. In the current experiment we asked a group of participants, who varied in their ability to sing accurately, to vocally match target intervals produced in five different manners: A live voice of a professional soprano, two versions of her recorded voice, one defined as optimal vocal production and the other defined as poor, "forced" vocal production, a piano played "live" in front of the participants, and a recorded piano. Preliminary findings suggest a significant improvement in accuracy when participants matched intervals produced vocally in comparison to intervals produced by a piano. Furthermore, the improvement was significantly heightened in the live voice condition. Paper Session 5: Timber II Hall, 14:30-‐15:30 Neurocognitive approaches Neurocognitive profile of musicians Mari Tervaniemi Cognitive Brain Research Unit, Institute of Behavioural Sciences, University of Helsinki, Finland Department of Psychology, University of Jyväskylä, Finland Centre of Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland In the neurosciences of music, musicians have traditionally been treated as a unified group. However, obviously, their musical preferences differentiate them, for instance, in terms of their major instrument they play and music genre they are mostly engaged with as well as 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 51 their practicing style. Here our intention was to reveal the neurocognitive functions underlying the diversity of the expertise profiles of musicians. To this end, groups of adult musicians (jazz, rock, classical, folk) and a group of non-‐musicians participated in brain recordings (event-‐related potentials in mismatch negativity (MMN) paradigm which probes the brain’s automatic reaction to any change in sound environment). The auditory stimulation consisted of a short melody which includes “mistakes” in pitch, rhythm, timbre, key, and melody. During stimulation, the participants were instructed to watch a silent video. Our interest was in comparing the MMN response evoked by the “mistakes” to the genre the musicians are most actively involved in. We found that all melodic “mistakes” elicited MMN response in all adult groups of participants. The strength of MMN and a subsequent P3a response reflects the importance of various sound features in the music genre they specialized to: pitch (classical musicians), rhythm (classical and jazz musicians), key (classical and jazz musicians), and melody (jazz and rock musicians). In conclusion, MMN and P3a brain responses are sensitively modulated by the genre of musicians are actively engaged with. This implies that not only musical expertise as such but the type of musical expertise can further modulate auditory neurocognition. Absolute Pitch and Synesthesia: Two Sides of the Same Coin? Shared and Distinct Neural Substrates of Music Listening Psyche Loui, Anna Zamm, Gottfried Schlaug Department of Neurology, Beth Israel Deaconess Medical Center and Harvard Medical School, USA People with Absolute Pitch can categorize musical pitches without a reference, whereas people with tone-‐color synesthesia can see colors when hearing music. Both of these special populations perceive music in an above-‐normal manner. In this study we asked whether AP possessors and tone-‐color synesthetes might recruit specialized neural mechanisms during music listening. Furthermore, we tested the degree to which neural substrates recruited for music listening may be shared between these special populations. AP possessors, tone-‐color synesthetes, and matched controls rated the perceived arousal levels of musical excerpts in a sparse-‐sampled fMRI study. Both APs and synesthetes showed enhanced superior temporal gyrus (STG, secondary auditory cortex) activation relative to controls during music listening, with left-‐lateralized enhancement in the APs and right-‐lateralized enhancement in the synesthetes. When listening to highly arousing excerpts, AP possessors showed additional activation in the left STG whereas synesthetes showed enhanced activity in the bilateral lingual gyrus and inferior temporal gyrus (late visual areas). Results support both shared and distinct neural enhancements in AP and synesthesia: common enhancements in early cortical mechanisms of perceptual analysis, followed by relative specialization in later association and categorization processes that support the unique behaviors of these special populations during music listening. 52 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 11: Grand Pietra Hall, 15:30-‐16:00 Language perspectives Perceiving meaningful discourse structure in music and language Jiaxi Liu Faculty of Music, Cambridge University, United Kingdom Despite common belief that music lacks truth-‐conditional meaning, recent evidence of similar neural processing of the syntactic and semantic aspects of the music and language suggests that they have much in common (Steinbeis and Koelsch 2007). However, this similarity seems to break down at different structural levels. Music studies have proposed that listeners attend to local but not global structure (Tillman and Bigand 2004, Deliège et. al. 1997); linguistic data have yet to distinguish the level of meaningful structure perception. Thus, this study aims to make parallel findings for both domains, additionally comparing musicians to nonmusicians. Original musical and textual compositions were analysed for tree structure by the Generative Theory of Tonal Music (Lerdahl and Jackendoff 1983) and the Rhetorical Structure Theory (Carlson et. al. 2001), respectively. The branches at each tree depth were cut and randomized as audio-‐visual music clips and visual text slides in iMovie projects. Collegiate native English speakers – 50 musicians and 50 nonmusicians – were asked to recreate what they considered the original work in a puzzle task. The resulting ordered strings were analysed using edit distance, revealing that successful recreation was overall independent of subject and stimulus type. Musicians performed better than nonmusicians for music only at intermediate tree depths (p=0.03). Cluster analyses suggested that musicians attended to structural (global) cues in their recreation process while nonmusicians relied on surface (local) cues. These novel findings provide empirical support for differing affinities for differing compositional features in music and language as perceived by musicians versus nonmusicians. Domain-‐generality of pitch processing: the perception of melodic contours and pitch accent timing in speech Tuuli H. Morrill,*# J. Devin McAuley,* Laura C. Dilley#*, David Z. Hambrick* *Dept. of Psychology, Michigan State University, USA #Dept. of Communicative Sciences and Disorder, Michigan State University, USA It is unclear to what extent individuals with pitch processing deficits in music also show speech processing deficits. In speech, pitch and timing information (i.e., prosody) frequently convey meaning; listeners must perceive the timing of pitch changes (e.g., a peak on the second syllable of digést (verb) vs. dígest (noun), on the first syllable). We investigate the relationship between MBEA performance and pitch peak timing perception in speech, controlling for individual differences in cognitive ability. Participants (n = 179) completed a Cognitive Ability Battery, the Montreal Battery of Evaluation of Amusia (MBEA), and a prosody test. Participants learned versions of a nonsense word with a pitch peak on the first or second syllable (versions A and B), then completed an AXB discrimination task including versions (X) with pitch peaks at intermediate temporal positions. Structural equation modeling involved two steps: (1) Establishing a measurement model: predictor constructs included latent variables representing fluid intelligence and working memory capacity (Gf/WMC), crystallized intelligence (Gc), and music perception (MBEA) and (2) Tests for effects of Gf, Gc, and MBEA on a latent variable representing prosody test performance (Prosody); only MBEA was a significant predictor of Prosody (β = .55). MBEA accounted for 35.7% of variance in Prosody; Gf and Gc added < 1%. Results indicate music perception is 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 53 highly predictive of speech prosody perception; effects do not appear to be mediated by cognitive abilities. This suggests pitch peak timing perception may be controlled by a domain-‐general processing mechanism. Expertise vs. inter-‐individual differences: New evidence on the perception of syntax and rhythm in language and music Eleanor Harding, Daniela Sammler, Sonja Kotz Max Planck Society for Human Cognitive and Brain Sciences, Leipzig Language and music perception overlap in the realms of syntax (Koelsch, Gunter, Wittfoth, & Sammler, 2005) and rhythm (Vuust, Roepstorff, Wallentin, Mouridsen, & Ostergaard, 2006; Schmidt-‐Kassow & Kotz, 2008). Considering that native-‐speaker language proficiency is subject to inter-‐individual variability (Pakulak and Neville, 2010) and that musical aptitude is not strictly limited to musical experts (Bigand & Poulin-‐Charronat, 2006; Koelsch, Gunter, & Friederici, 2000), this ongoing study collects individual working memory and rhythm performance data among musicians and non-‐musicians and correlates natural aptitude with language-‐ and music-‐ syntax perception as a function of rhythm. In discrete sessions, participants were asked to detect syntactic differences in sentences and melodies, making an uninformed choice as to whether paired items were 'same' or 'different.' The sentence-‐ and melody discriminate pairs were either spoken/played in a regular or irregular rhythm. When comparing musicians to non-‐musicians, musicians have a globally improved performance in the melody discrimination, however working memory capacity and rhythm aptitude correlate with task performance across all participants. Results indicate that variance in the data may be linked to individual 'affinity' for regular-‐rhythm entrainment, irrespective of musical expertise. Music and the Phonological Loop Lindsey M. Thompson1, Marjorie J. Yankeelov2 1Music, Mind and Brain, Goldsmiths, University of London, United Kingdom 2Dept. of Music, Belmont University, United States Research on the phonological loop and music processing remains inconclusive. Some researchers claim that the Baddeley and Hitch Working Memory model requires another module for music processing while others suggest that music is processed in a similar way to verbal sounds in the phonological loop. The present study tested musical and verbal memory in musicians and non-‐musicians using an irrelevant sound-‐style working memory paradigm. It was hypothesized that musicians (MUS –at least seven years musical training) would perform more accurately than non-‐musicians (NONMUS) on musical but not verbal memory. Verbal memory for both groups was expected to be disrupted by verbal irrelevant sound only. In the music domain, a music expertise x interference type interaction was predicted: MUS were expected to experience no impairment under verbal irrelevant sound whereas NONMUS would be impaired by verbal and musical sounds. A standard forced choice recognition (S/D) task was used to assess memory performance under conditions of verbal, musical and static irrelevant sound, across two experiments. On each trial the irrelevant sound was played in a retention interval between the to-‐be remembered standard and comparison stimuli. Thirty-‐one musically proficient and 31 musically non-‐proficient Belmont University students participated across two experiments with similar interference structures. Results of two-‐way balanced ANOVAs yielded significant differences between musical participants and non-‐musical participants, as well as significant differences between interference types for musical stimuli, implying a potential revision of the phonological loop model to include a temporary storage subcomponent devoted to music processing. 54 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Speed Poster Session 12: Crystal Hall, 15:30-‐16:00 Melodic similarity Implicit and explicit judgements on the melodic similarity of cases of plagiarism and the role of computational models Anna Wolf,* Daniel Müllensiefen# *Hanover Music Lab, Hanover University of Music, Drama and Media, Germany #Department of Psychology, Goldsmiths College, University of London, United Kingdom Computational similarity measures have proven to be invaluable in the classification, retrieval and comparison of melodies (e.g. Eerola & Bregman, 2007). A commercially very relevant application is their use in cases of musical plagiarism (Müllensiefen & Pendzich, 2009; Cason & Müllensiefen, 2012). However, apart from a few notable exceptions (e.g. Müllensiefen & Frieler, 2004) there is surprisingly little psychological evidence to validate the cognitive adequacy of the proposed algorithms. In an implicit memory paradigm participants (n = 36) were exposed to 20 melodies performing cover tasks. In a subsequent test phase participants listened to 30 melodies (15 similar to melodies from initial phase, 10 neutral, 5 identical) to identify which ones they had heard before. For this task we used melodies from court cases from the US and the Commonwealth. Participants’ judgments agreed fairly well with the courts’ decision (AUC of .70). Many of the computational measures of similarity correlate highly with the participants’ data, such as a Tversky (1977) feature-‐based measure (r=.59) and a duration-‐weighted Edit Distance (r=.51). The court decisions are best classified by an Earth Mover’s Distance measure (AUC of .84; Typke, Wiering & Veltkamp, 2007) and the Tversky measure (AUC of .69). Participants are able to distinguish between those melodies classified or rejected as plagiarism to a good degree. However, it has to be noted that, aside from melodic similarity, factors such as knowledge of either song, lyrics or the title can also significantly influence the court’s decision. Towards Modelling Variation in Music as Foundation for Similarity Anja Volk,# W. Bas de Haas, # Peter van Kranenburg* #ICS, Utrecht University, Netherlands; *Meertens Institute, Amsterdam, Netherlands This paper investigates the concept of variation in music from the perspective of music similarity. Music similarity is a central concept in Music Information Retrieval (MIR), however there exists no comprehensive approach to music similarity yet. As a consequence, MIR faces the challenge on how to relate musical features to the experience of similarity by listeners. Musicologists and studies in music cognition have argued that variation in music leads to the experience of similarity. In this paper we review the concept of variation from three different research strands: MIR, Musicology, and Cognitive Science. We show that all of these disciplines have contributed insights to the study of variation that are important for modelling variation as a foundation for similarity. We introduce research steps that need to be taken to model variation as a base for music similarity estimation within a computational approach. Melodic Similarity: A Re-‐examination of the MIREX2005 Data Alan Marsden Lancaster Institute for the Contemporary Arts, Lancaster University, UK Despite a considerable body of research, there is no clarity about the basic properties of melodic similarity, such as whether or not it constitutes a metric space, or whether it is a more complex phenomenon. An experiment conducted by Typke et al., used as a basis for the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 55 MIREX2005 melodic-‐similarity modelling contest, represents a particularly rich source of data. In the experiment, for each of eleven queries (melodies taken from RISM A/II), about 25 experts ranked some of about 50 candidates for similarity with the query. A ‘Monte Carlo’ approach has been taken in re-‐examining this data, simulating data in the same form on the basis of simple assumptions about the nature of melodic similarity. Statistical properties of the actual data were compared with the same properties for 10,000 sets of simulated data, allowing estimation of the significance of differences found. In terms of overall measures such as the ranking profile for each candidate, quite good simulations (i.e., sets of simulated data in which the original falls within the second and third quartiles in the measured property) arose from stochastic ranking based only on the mean and variance of the actual ranking for each candidate and on the likelihood of the candidate being selected for ranking. However, the simulations did show evidence, in a substantial minority of cases, of an effect for some candidates to be ranked higher or lower dependent on the presence of another candidate, and of the influence of similarity between candidates. On Identifying Folk Song Melodies Employing Recurring Motifs Peter van Kranenburg,* Anja Volk,# Frans Wiering,# *Meertens Institute, Amsterdam, Netherlands; #ICS, Utrecht University, Netherlands The recurrence of characteristic motifs plays an important role in the identification of a folk song melody as member of a tune family. Based on a unique data set with expert annotations of motif occurrences in a collection of Dutch folk song melodies, we define 15 abstract motif classes. Taking a computational approach, we evaluate to what extent these 15 motif classes contribute to automatic identification of folk songs. We define various similarity measures for melodies represented as sequences of motif occurrences. In a retrieval experiment, alignment measures appear the most successful. The results are additionally improved by taking into account the phrase position of motif occurrences. These insights motivate future research to improve automatic motif detection and retrieval performance, and to determine similarity between melodies on the basis of motifs. A Melodic Similarity Measure Based on Human Similarity Judgments Naresh N. Vempala, Frank A. Russo Department of Psychology, Ryerson University, Canada Music software applications often require similarity-‐finding methods. One instance involves performing content-‐based searches, where music similar to what is heard by the listener is retrieved from a database using audio or symbolic input. Another instance involves music generation tools where compositional suggestions are provided by the application based on user-‐provided musical choices (e.g. genre, rhythm and so on) or samples. The application would then generate new samples of music with varying degrees of musical similarity. Although several similarity algorithms such as edit distance methods and hidden Markov models already exist, they are not fully informed by human judgments. Furthermore, only a few studies have compared human similarity judgments with algorithmic judgments. In this study, we describe an empirically derived measure, from participant judgments based on multiple linear regression, for determining similarity between two melodies with a one-‐note change. Eight standard melodies of equal duration (eight notes) were systematically varied with respect to pitch distance, pitch direction, tonal stability, rhythmic salience, and melodic contour. Twelve comparison melodies with one-‐note changes were created for each standard. These comparison melodies were presented to participants in transposed and non-‐ transposed conditions. For the non-‐transposed condition, predictors of similarity were pitch distance, direction and melodic contour. For the transposed condition, predictors were tonal 56 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE stability and melodic contour. In a follow-‐up experiment, we show that our empirically derived measure of melodic similarity yielded superior performance to the Mongeau and Sankoff similarity algorithm. We intend to extend this measure to comparison melodies with multiple note changes. Speed Poster Session 13: Dock Six Hall, 15:30-‐16:00 Motion & timing Using Body Movement to Enhance Timekeeping Fiona Manning, Michael Schutz McMaster Institute for Music and the Mind, McMaster University, Canada We previously demonstrated that tapping along while listening to a tone sequence can offer objective improvements in a listeners’ ability to detect deviations in that sequence’s timing. Previously, participants were asked to judge whether the final probe tone after a short silence was consistent with the previous rhythm. Each trial contained three segments: (1) the tempo-‐establishment segment (i.e., isochronous beats to establish tempo); (2) the timekeeping segment (i.e., one measure of silence) and the probe segment (i.e., the beat on which the probe tone sounded). Our results indicated that when the probe tone occurred later than expected, participants performed significantly better when moving compared to listening only. In a follow up study, this effect was eliminated when participants moved for all except the timekeeping segment (2) during the “movement condition”, demonstrating the importance of moving during this segment. The present experiment was needed to assess whether our previous results were due to (a) movement itself, or (b) participants simply calculating the difference in timing between the probe tone and the produced tap. In this experiment the movement condition contained tapping in segments 1 (tempo-‐ establishment) and 2 (timekeeping), but not 3 (probe). Participants performed significantly better on the task when moving than when listening without moving. However, here the effect of movement was less marked than the effect in the first experiment, when participants tapped during all three segments. This experiment builds on our previous work by confirming that moving to the beat actually improves timekeeping abilities in this paradigm. Effect of stimulus isochrony on movement kinematics in a child drummer prodigy Jakub Sowinski, Nicolas Farrugia, Magdalena Berkowska, Simone Dalla Bella Dept. of Psychology, WSFiZ in Warsaw, Poland Most people, musicians and non-‐musicians alike (Sowiński & Dalla Bella, in preparation), can easily synchronize their movement to a temporally predictable stimulus (i.e., via sensorimotor coupling), such as a metronome or musical beat. The effects of sensorimotor coupling on movement timing (e.g., as shown with the finger tapping paradigm) are well-‐known. In contrast, little is known about the effects of sensorimotor coupling on movement kinematics during music performance. Here this problem is examined in the case of IF, a 7-‐year-‐old child drummer prodigy. IF revealed outstandingly precocious musical abilities as soon as at the age of 3 and is exceptionally accurate and precise in synchronizing to auditory stimuli (Dalla Bella et al., in preparation; Sowiński et al., 2009). In addition, IF’s timing during performance is particularly affected when producing a rhythmic pattern in correspondence of a non-‐isochronous metronome (Sowiński et al., 2011). In this study we examined whether this effect extends to movement kinematics, using motion capture. IF and children from music schools with 1-‐to-‐2.5 years of 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 57 percussion training (i.e., “Control” group) imitated on a percussion pad a short 6-‐note isochronous metrical pattern (Strong-‐weak-‐weak-‐Strong-‐weak-‐weak) at the rhythm provided by a metronome under four conditions: 1) with an isochronous metronome, 2) with an isochronous metronome but making a break in between repetitions, 3) with a non-‐isochronous, still predictable, metronome, and 4) with a non-‐isochronous and non-‐predictable metronome. Data were analyzed with Functional Data Analyses techniques (Ramsay & Silverman, 2002). The results showed that manipulating the metronome isochrony affected IF’s movement kinematics more that in Controls. For IF, stimulus isochrony (in conditions (1) and (2)) led to higher maximum amplitude of the top of stick, an effect particularly visible in the vicinity of the strong beats. .In addition, Functional ANOVAs allowed to uncover the portions of the trajectories where differences between conditions are statistically significant. These analyses showed that for most of the strokes produced in condition (2), movement amplitude, velocity and acceleration were all higher than in conditions (3) and (4). These findings are in keeping with the effect of stimulus isochrony on performance timing previously observed in IF. We suggest that synchronizing with a non-‐isochronous sequence may have deleterious effects (visible both in timing and movement kinematics) in individuals with exceptional sensorimotor coupling skills. The influence of Spontaneous Synchronisation and Motivational Music on Walking Speed Leon van Noorden,* Marek Franěk # * UNESCOG, Université Libre de Bruxelles, Belgium; *IPEM, Ghent University, Belgium # University of Hradec Králové, Czech Republic In each of three experiments 120 walks were made on a 2 km long circuit through various environments. In the first two experiments 60 students walked twice, once without and once with music or with different tempo ranges of music. The walkers had an mp3player with good headphones and a small camera fixed to their belt. In the environment markers were drawn. In the first experiment only 1 out of 60 walkers synchronised spontaneously to the music. In the second experiment music was offered with a tempo closer to the walking tempo of each subject. 3 music tracks were prepared differing 8% in tempo. Now 5 out of 35 walkers synchronised. The third experiment was not aimed at synchronisation. Music was collected from the students: either motivating for movement or nice music but that did not urge to move. These pieces were rated with the Brunel Music Rating Inventory-‐2. Half of the 120 students received the motivating music and half the non-‐motivating music. The motivating music resulted in faster walks: 1.67 m/s vs 1.47 m/s. In order to stimulate the movements of walkers they need not to be synchronised to the beat. It is in line with our earlier experiments in which walkers were explicitly asked to synchronise. Some walkers did not synchronise but still walked faster to fast music. Music Moves Us: Beat-‐Related Musical Features Influence Regularity of Music-‐ Induced Movement Birgitta Burger, Marc R. Thompson, Geoff Luck, Suvi Saarikallio, Petri Toiviainen Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland Listening to music makes us move in various ways. Several factors can affect the characteristics of these movements, including individual factors, musical features, or perceived emotional content of music. Music is based on regular and repetitive temporal patterns that give rise to a percept of pulse. From these basic metrical structures more complex temporal structures emerge, such as rhythm. It has been suggested that certain rhythmic features can induce movement in humans. Rhythmic structures vary in their degree of complexity and regularity, and one could expect that this variation influences 58 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE movement patterns – for instance, when moving to rhythmically more complex music, the movements may also be more irregular. To investigating this relationship, sixty participants were presented with 30 musical stimuli representing different genres of popular music. All stimuli were 30 seconds long, non-‐vocal, and differed in their rhythmic complexity. Optical motion capture was used to record participants’ movements. Two movement features were extracted from the data: Spatial Regularity and Temporal Regularity. Additionally, 12 beat-‐ related musical features were extracted from the music stimuli. A subsequent correlational analysis revealed that beat-‐related musical features influenced the regularity of music-‐ induced movement. In particular, a clear pulse and high percussiveness resulted in small spatial variation of participants’ movements, whereas an unclear pulse and low percussiveness led to greater spatial variation of their movements. Additionally, temporal regularity was positively correlated to flux in the low frequencies (e.g., kick drum, bass guitar) and pulse clarity, suggesting that strong rhythmic components and a clear pulse encourage temporal regularity. Speed Poster Session 14: Timber I Hall, 15:30-‐16:00 Performance studies I Methods for exploring interview data in a study of musical shaping Helen M. Prior Music Department, King’s College, London, UK The notion of shaping music in performance is pervasive in musical practice and is used in relation to several different ideas, from musical structure to musical expression; and in relation to specific musical features such as phrasing and dynamics. Its versatile and multi-‐ faceted nature prompted an interview study, which investigated musicians’ use of the concept of musical shaping in a practical context. Semi-‐structured interviews were conducted with five professional violinists and five professional harpsichordists. These interviews incorporated musical tasks that involved participants playing a short excerpt of music provided by the researcher, as well as their own examples, to demonstrate their normal playing, playing while thinking about musical shaping, and sometimes, playing without musical shaping. These musical demonstrations were then discussed with participants to elicit descriptions of their shaping intentions. This poster will illustrate the multiple ways in which the interview data were examined, and explore the technical and methodological implications of these approaches. First, an Interpretative Phenomenological Analysis of the musicians’ interview data revealed a wide range of themes. Secondly, Sonic Visualiser was used to analyse their musical demonstrations, which allowed the examination of the relationships between the musicians’ shaping intentions, their actions, and the resulting sound. Thirdly, the data were explored in relation to participants’ use of metaphors, which were expressed verbally, gesturally, and through musical demonstrations. The exploratory nature of the research area has exposed the value of the adoption of multiple approaches as the relationships between musical shaping and other research areas have become apparent. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 59 The effects of music playing on cognitive task performance Sabrina M. Chang,* Todd C. Handy# *Interdisciplinary Studies Graduate Program, University of British Columbia, Canada #Department of Psychology, University of British Columbia, Canada Many music cognition studies have demonstrated the cognitive benefits of both long-‐ and short-‐term musical training. Whereas most of these studies deal with the short-‐term benefits for the music listener or the longer term benefits for the novice or accomplished musician, our study examines the short-‐term effects of music playing for the advanced performer. For our pretest-‐posttest design, we recruited 46 advanced classically/score-‐ based trained pianists. The participants completed a creative exercise (alternative uses task) or detail-‐oriented exercise (proofreading task); they then performed a piano piece for ten minutes. The performances were followed by completion of a second cognitive task (whichever task they were not given in the pretest condition). No significant pretest-‐ posttest differences in creativity were reported. However, we found that participants performed significantly worse in the posttest detail-‐oriented task. Our results suggest that performance in a proofreading task involving the visual detection of errors may be hindered immediately following a short period of music playing when the piece is already familiar to the performer. One of the reasons may be that once a piece is learned to a certain degree, the performance is no longer entirely score-‐based. At this stage, score reading involves recognition and not the full cognitive process of reading something unfamiliar—there is no longer a need to continuously check the musical page for errors. Hence, the participants in this study were not primed for visual accuracy. It is also possible that the neural underpinnings for error monitoring are minimally activated during higher-‐level motor performance. Accuracy of reaching a target key by trained pianists Chie Ohsawa,* Takeshi Hirano,* Satoshi Obata, * Taro Ito,# Hiroshi Kinoshita* *Graduate School of Medicine, Osaka University, Japan #School of Health and Sports Sciences, Mukogawa Women’s University, Japan One fundamental element of successful piano playing is moving the fingertip to hit a key for aimed tone production. We hypothesized that pianists with years of training would possess relatively accurate spatial memory of a keyboard, and thus able to target any key position without viewing a keyboard. This hypothesis was tested in 10 highly trained pianists, who seated on a chair was faced a table on which either only a flat sheet of C4 key copy, or a real scale copy of a whole piano keyboard was present. The participant moved their left or right index finger on the target key (A1, F2, or E3 for the left hand, A4, G5 or E6 for the right hand) after touching the reference key. Kinematics of the fingertip were recorded by 3D motion capture system sampling at 60 Hz. Data were collected 10 times for each key. Constant, absolute, and variable errors of the finger center relative to the center of the target key were computed. Contrary to our hypothesis, errors in the no-‐keyboard condition were considerably large. The mean constant errors for A1, F2, E3, A4, G5, and E6 were 63.5, 58.6, 27.4, 6.2, 12.9, and 29.1 mm, respectively. Corresponding values for the keyboard condition was all less 2 mm. The right-‐left hand difference in errors suggests the presence of a laterality bias in spatial memory. The larger positive constant errors for more remote keys indicate that the spatial memory could be constructed of expanded keyboard representation. 60 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Evaluation parameters for proficiency estimation of piano based on tendency of moderate performance Asami Nonogaki,1 Norio Emura,2 Masanobu Miura,3 Seiko Akinaga,4 Masuzo Yanagida5 1Graduate School of Science and Technology, Ryukoku University, Japan; 2College of Informatics and Human Communication, Kanazawa Institute of Technology, Japan; 3Faculty of Science and Technology, Ryukoku University, Japan; 4Department of Education, Shukugawa Gakuin College, Japan; 5Faculty of Science and Engineering, Doshisha University, Japan This paper describes an automatic estimation for piano performance in terms of the proficiency for an etude “Czerny”. Our previous study proposed a method of proficiency estimation for a scale performance within one octave by the MIDI-‐piano, in which a set of parameters were obtained and then applied to the automatic estimation. However, it is not sufficient to simply employ them to other musical excerpts, since the piano performance usually has several complex aspects such as artistic expression or so. Here we introduce another set of parameters for the automatic estimation for other musical task “Czerny”. Even though the content of the task is thought as simple because of the simple equal intervals, players might produce deviation of loudness, tempo, and/or onset from equal timing. We then newly introduce several parameters concerning tempo, duration, velocity, onset time, normalized tempo, normalized duration, normalized velocity, normalized onset, slope tempo, slope duration, slope velocity, and slope onset, where the normalized parameters mean the average of all performances, named here as moderate performance. By using the Principle Component Analysis for all the obtained parameters, we then obtained principle components for them. A simple determination method (k-‐NN) is employed to calculate the proficiency score of them. Results shows that correlation coefficient of proposed method are 0.798, 0.849, 0.793 and 0.516, for task A of 75 (bpm) and 150 (bpm), and task B of 75 (bpm) and 150 (bpm), respectively, showing the effectiveness of proposed method. The Sung Performance Battery (SPB) Magdalena Berkowska, Simone Dalla Bella Dept. of Psychology, WSFiZ in Warsaw, Poland Singing is as natural as speaking for humans. In spite of the general belief that individuals without vocal training are inept at singing, there is increasing evidence that the layman can carry a tune. This is observed when occasional singers are asked to sing a well-‐known melody from memory and when they are asked to imitate single pitches, intervals and short novel melodies. Different tasks are typically used in various experiments, making the comparison of the results across studies arduous. So far there is not a standard set of tasks used to assess singing proficiency in the general population. To fill this gap we propose here a new tool for assessing singing proficiency (the Sung Performance Battery, SPB). The SPB starts from the assessment of participants’ vocal range followed by five tasks: 1) single-‐pitch matching, 2) interval-‐matching, 3) novel-‐melody matching, 4) singing from memory of familiar melodies (with lyrics and on a syllable), and 5) singing from memory of familiar melodies (again, with lyrics and on a syllable) at a slow tempo, as indicated by a metronome. Data analysis is realized with acoustical methods providing objective measures of pitch accuracy and precision (i.e., in terms of absolute and relative pitch) as well as of time accuracy. To illustrate the SPB we report the results obtained with a group of 50 occasional singers. The results indicate that the battery is useful for characterizing proficient singing and for detecting cases of inaccurate and/or imprecise singing. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 61 Speed Poster Session 15: Timber II Hall, 15:30-‐16:00 Neuroscience & emotion Effect of sound-‐induced affective states on brain activity during implicit processing of emotional faces T.Quarto1,2,3, G.Blasi3, L.Fazio3, P.Taurisano3, B.Bogert1,2, B.Gold1,2, A.Bertolino3, E.Brattico1,2 1 Cognitive Brain Research Unit, Institute of Behavioral Science, University of Helsinki, Finland 2 Center of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland 3 Dipartimento di Neuroscienze ed Organi di Senso, Università degli studi di Bari “Aldo Moro” Social interaction involves perception and interpretation of facial expressions. Our ability to recognize the emotions contained in facial expressions is influenced by our current affective state. In a behavioural study we demonstrated that music impacts temporary affective state, and that this modified affective state in turn alters the implicit processing of facial emotions. Up to date, no study has revealed the neural substrates of these cross-‐modal effects of music on visual emotions and affective state. We here investigate how affective state induced by noise or music stimulation modulates the brain responses at a precognitive, automatic stage of emotional face processing. 20 healthy subjects underwent functional magnetic resonance imaging (fMRI) at 3 Tesla while performing an implicit emotion-‐processing task. In this task, subjects were asked to identify the gender of angry and happy facial expressions while listening to a relaxing music sequence or else while listening to amplitude-‐modulated noise. Random-‐effect models on fMRI data (all p<0.001) revealed a main effect of sound stimulation in bilateral prefrontal cortex (BA47) and a main effect of facial expression in left supplementary motor area and left fusiform gyrus. An interaction between sound stimulation and facial expression was present in right insula. Inspection of brain signal demonstrated that subjects had greater activity in the right insula during processing of happy faces with music background compared with the other experimental conditions. Our results indicate that music and noise can alter current affective states, which, in turn, modulate brain activity during implicit processing of facial emotions. Musical emotion and facial expression: mode of interaction as measured by an ERP Keiko Kamiyama*, Dilshat Abla#, Koichi Iwanaga†, and Kazuo Okanoya*‡ * Department of Life Sciences, Graduate School of Arts and Sciences, The University of Tokyo, Japan; #Noninvasive BMI Unit, BSI-‐TOYOTA Collaboration Center, RIKEN Brain Science Institute, Japan; †Department of Design, Graduate School of Engineering, Chiba University, Japan; ‡Japan Science Technology Agency, ERATO, Okanoya Emotional Information Project, Japan Music has been believed to express emotion through various elements in music itself, while it has been increasingly reported that the musical expression interacted with extra-‐musical factors. In order to reveal how these two emotional processes are processed in the brain, we recorded the electroencephalogram (EEG) of the amateur musicians and non-‐musicians. We presented several pairs of musical excerpts and images of facial expressions, each of which represented “happy” or “sad” expressions. Half of the pairs were semantically congruent (congruent condition), where the emotional meaning of facial expression and music were the same, and the remaining pairs were semantically incongruent (incongruent condition). During the EEG recording, participants listened to the musical excerpt for 500ms, immediately after the presentation of the facial image for 500 ms. We found that music stimuli elicited a larger negative component in the 250 – 450 ms range (N400) under the 62 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE incongruent condition than under the congruent condition, notably in musicians. Also, in musicians the N400 effect appeared regardless of the emotional type of music, while in non-‐ musicians the effect was observed only when the happy music excerpts were presented as target stimuli. These results indicated that the sadness of music was not automatically extracted in no-‐musicians, although they could judge the congruency of stimulus pairs in the behavioral test. Also it was suggested that facial emotional cognition had some common processes with musical emotional cognition and that the emotional meanings of music were integrated with other semantic inputs such as facial expressions. Experiential effects of musical pleasure on dopaminergic learning Benjamin Gold,a,b Michael Frank,c Elvira Brattico,a,b aCognitive Brain Research Unit, Institute of Behavioural Studies, University of Helsinki, Finland bFinnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland; cDepartment of Cognitive, Linguistic, and Psychological Sciences, Brown Institute for Brain Science, Brown University, U.S.A. Neuroimaging has linked music listening with dopaminergic areas implicated in emotion and reward. Subjects with more striatal dopamine transmission generally learn better from rewards, while those with less usually learn better from punishments. In this study we explored the implications of musical pleasure through its ability to enhance dopamine release by measuring its effect on reward-‐based learning in a dopamine-‐dependent probabilistic selection learning task. Forty-‐five subjects (twenty-‐two musicians) selected pleasurable and neutral music from an experimenter-‐created database, and were then pseudo-‐randomly divided into four groups -‐-‐ balanced for musical experience -‐-‐ according to which music they would hear during the Training and Test phases. In Training, participants chose between stimuli of different reward probabilities and received feedback; the Test consisted of recombined stimuli without feedback. All participants exceeded a learning criterion, but non-‐musicians performed better when listening to pleasurable music whereas musicians performed better when listening to neutral music. Going into the Test, participants across groups and musical backgrounds had learned the task to similar levels. In the Test, musicians switching from neutral music to pleasurable music performed better than other subjects, while non-‐musicians in the same group responded the slowest. Overall, musical pleasure had a greater effect on Training, enhancing dopaminergic learning in non-‐musicians but distracting musicians perhaps due to non-‐optimal striatal dopamine transmission. These effects were complicated when participants switched musical conditions; pleasurable music during Training distracted musicians but helped non-‐musicians, and at Test it benefited musicians not affected by it in Training while non-‐musicians were less able to successfully switch musical conditions. Melodies without Words: Validity of Happy/Sad Musical Excerpts for Use in ERP Studies Viviane Cristina da Rocha, Paulo Sérgio Boggio Social and Cognitive Neuroscience Laboratory, Mackenzie University, Brazil The aim of this study was to validate the excerpts composed so that they could be used in a posterior ERP study. We also wished to better understand the characteristics in which, given only a melody, subjects would rely on to judge whether it was a happy or sad piece of music. A professional musician composed 80 melodies, 40 intentionally representative of sadness and 40 representative of happiness. Some parameters were used to construct the excerpts, such as tempo, mode, duration of notes, and tessitura. They were recorded by a professional female singer. The stimuli were randomly presented to 19 subjects (10 female; mean age 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 63 22,6 years) using E-‐Prime. Subjects were asked to rate each excerpt in a scale of 1 to 7, 1 being sad, 4 being neutral and 7, happy. All of the subjects were non musicians. The answers were analyzed considering the mean score of each excerpt. The 30 excerpts with means close to neutral (3, 4 or 5) were discarded. The remaining 50 stimuli were analyzed as to its musical features. After the analysis, we concluded that subjects tended to guide their evaluation by tempo (e.g., happy excerpts composed in not such a fast tempo were discarded), tessitura and direction of melody (e.g., happy excerpts with a downward melody were discarded), and duration of the notes (e.g., excerpts with staccato were the highest rated). It’s possible that, given the fact that the subjects were non musicians, they didn’t rely on mode as much as musicians would. Symposium 1: Grand Pietra Hall, 17:00-‐18:30 Replication and ‘truth’ in music psychology Convener: Timo Fischinger, Discussants: Henkjan Honing, Diana Deutsch Over the last years, the reliability and validity of findings in (general) psychology have been seriously questioned. Often used arguments are, among others, the (now) well-‐known publication bias, the ritual of statistical significance testing, the so-‐called 'decline effect', and, last but not least, the lack of replication studies. Especially the last point is a serious issue in music psychology, because most studies never get replicated, probably due to the rather small size of the field. Consequently, meta-‐analyses are also scarce. This raises the serious question, which findings in music psychology a really trustful and resilient -‐ besides the merely trivial ones. In our view, there is a strong need to think and discuss these issues. Therefore, this symposium is thought as an initial contribution to a methodological discussion about future needs in empirical music research. In the first presentation on "The role of replication studies and meta-‐analyses in the search of verified knowledge", Reinhard Kopiez will talk about the important functions of replication studies in general, referring to a selected number of replication studies to illuminate the potential power of replications. Michael Oehler et al. will then present their replication study on "Aspects of handedness in Deutsch's octave illusion – a replication study". This paper gives new insights into the study of the octave illusion as well as it shows, how replications can be innovative using supplementary experimental paradigms. The third presentation on "Absolute memory for music: Comparative replication studies of the ‘Levitin Effect’ in six European laboratories" will be about a larger replication project across six different labs in Germany and the UK. Here, a widely cited but never replicated study in music psychology was repeated. The role of replication studies and meta-‐analyses in the search of verified knowledge Reinhard Kopiez Hanover University of Music, Drama, and Media, Hanover Music Lab, Germany In the natural sciences the replication of important findings plays a central role in the creation of verified knowledge. However, in the discipline of psychology there is only one attempt for a systematic reproduction of published studies (see the website of the Reproducibility project, http://openscienceframework.org/project/shvrbV8uSkHewsfD4/ wiki and the “Project Progress and Results Spreadsheet”). In music psychology, this self-‐ evident tradition of replication studies plays only a minor role. I will argue that replication studies have two important functions: (a) as a “best practice” mechanism of academic self-‐ control which is necessary to prevent the publication of premature results; (b) as a reliable 64 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE way for the production and integration of verified knowledge which is important for the advancement of every scientific discipline. Comparisons of selected replications with original studies will demonstrate that the design of replications is a creative research strategy. Replication studies discussed will come from topics such as “music cognition”, “open earedness”, or “neuroscience of music”. In a last step I will show the high power of meta-‐ analysis in the production of verified knowledge. This important method for the uncovering of reliable effects by means of data aggregation from single studies should be extended in the field of empirical music research. One consequence of the replication approach will be the future need for an online repository of already conducted replication studies. This idea will be discussed in the symposium. Aspects of handedness in Deutsch's octave illusion -‐ a replication study Michael Oehler, Christoph Reuter, Harald Shandara, Michael Kecht Macromedia University for Media and Communication, University of Vienna, Musicological Institute, University of Vienna, Cognitive Sciences An extended replication study of the octave illusion (Deutsch 1974, 1983) is presented. Since the first description of the octave illusion in 1974 several studies showed that the perception of the two-‐tone pattern depends on subjects' handedness. Most of the right-‐handed subjects reported to hear the high tone of the octave at the right ear. Left-‐handed subjects either perceive the high tone on the left ear or tend to perceive more complex tone patterns (39%). In all related studies the handedness categorization was done by means of a questionnaire, e.g. the handedness inventory of Varney and Benton (1975). Several current studies (e.g. Kopiez, Galley, Lehmann 2010) however show that objective non-‐right-‐handed persons cannot be identified by handedness inventories. In concordance with Annett's "right shift theory" (2002) performance measurements as speed tapping seem to be a much more reliable handedness predictor. It is supposed that more distinct perception patterns for the right-‐ and non-‐right-‐handed subjects can be obtained, when performance measures are used for handedness classification. Especially the group size of right-‐handers in the original study that perceive complex tone patterns (17%) is likely to be much smaller. In the replication study Varney and Benton's handedness inventory as well as a speed tapping task were used to classify left-‐ and right-‐handed subjects. All 131 subjects (M=28.88, SD=10.21) were naive concerning the octave illusion. The subjects' perception of the original two-‐tone pattern was measured in a forced-‐choice task according to the categories used by Deutsch (octave, single, complex). The results of Deutsch's study could be replicated when using the same handedness inventory. The performance measurement task however led to a significantly clearer distinction between the left-‐ and right-‐handed subjects (w=.42, p=.0001 in contrast to w=.20, p=.19 in the replication and w=.28, p<.05 in the original study) and more structured perception patterns could be observed within the left-‐handed group. The group size of the right-‐handed subjects that perceive complex patterns is significantly smaller (w=.36, p=.0001) when using performance measures (5%) instead of the questionnaire (replication: 15%, original study: 17%). All in all the results of Deutsch could be replicated. Misclassification of handedness could be reduced and the observed perception patterns were more distinct, when speed tapping was used for measuring handedness. Therefore performance measurements might be a useful method in future studies that deal with aspects of the octave illusion and handedness. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 65 Absolute memory for music: Comparative replication studies of the “Levitin effect” in six European laboratories Kathrin Bettina Schlemmer1, Timo Fischinger2, Klaus Frieler3, Daniel Müllensiefen4, Kai Stefan Lothwesen5, Kelly Jakubowski6 1Katholische Universität Eichstätt-‐Ingolstadt, Germany, 2Universität Kassel, Germany, 3Universität Hamburg, Germany, 4,6Goldsmiths, University of London, UK, 5Hochschule für Musik und Darstellende Kunst Frankfurt am Main, Germany When analysing human long term memory for musical pitch, relational memory is commonly distinguished from absolute memory. The ability of most musicians and non-‐musicians to recognize tunes even when presented in a different key suggests the existence of relational music memory. However, findings by Levitin (1994) point towards the additional existence of absolute music memory. In his sample, the m ajority of non absolute pitch possessors could produce pitch at an absolute level when the task was to recall a very familiar pop song recording. Up to now, no replication of this study has been published. The aim of this paper is to present the results of a replication project across six different European labs. All labs used the same methodology, carefully replicating the experimental conditions of Levitin’s study. In each lab, between 40 and 60 participants (primarily university students with different majors, musicians and non-‐musicians) were tested. Participants recalled a pop song that they had listened to very often, and produced a phrase of this song. The produced songs were recorded, analysed regarding pitch, and compared with the published original version. Preliminary results suggest that participants show a tendency to sing in the original key, but a little flat. The distribution of the data is significantly not uniform, but more spread out than Levitin’s data. The distributions differ significantly between the three labs analysed so far. Our replication study supports basically the hypothesis that there is a strong absolute component for pitch memory of very well-‐known tunes. However, a decline effect of results could be observed as well as other effects to be discussed. Paper Session 6: Crystal Hall, 17:00-‐18:30 Analysing historical styles On the emergence of the major-‐minor system: Cluster analysis suggests the late 16th century collapse of the Dorian and Aeolian modes Joshua Albrecht, David Huron School of Music, Ohio State University, USA Stable scale-‐degree distributions have been observed for an idealized version of the major and minor scales. However, these scales developed out of an earlier system of modes. This paper describes a corpus study conducted on works spanning the period in which the major and minor modes were established as the dominant modes. The study involves 455 musical works by 259 composers sampled across the years 1400 to 1750. Beginning with the period 1700-‐1750, a series of statistical studies are carried out on the distribution of scale tones, progressively moving backward in time. The method utilizes a modified version of the Krumhansl-‐Schmuckler method of key determination – generalized to handle an arbitrary number of modal classifications. The results from cluster analyses on this data are consistent with the view that the modern minor mode emerged from the amalgamation of earlier Dorian and Aeolian modes, with the collapse being completed around the late sixteenth century. 66 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE Estimating historical changes in consonance by counting prepared and unprepared dissonances in musical scores Richard Parncutt,1 Fabio Kaiser2 and Craig Sapp3 1,2 Centre for Systematic Musicology, University of Graz, Austria 3 CCARH, Stanford University, USA As musical styles changed in Western history, so did concepts of consonance and dissonance (C/D; Parncutt & Hair, 2011; Tenney, 1988). Sonorities considered dissonant gradually became more consonant, consistent with the idea that familiarity is a psychological component of C/D (cf. Cazden, 1945), other components being smoothness (Helmholtz, 1963) and harmonicity (Stumpf, 1883; Terhardt, 1976). In Western music (theory), dissonances require preparation and resolution. We investigate historical changes in C/D by comparing the prevalence of prepared and unprepared dissonances in polyphonic sacred music by searching for vertical pc-‐sets with the Humdrum Toolkit (Huron, 2002). For “onset counts”, onsets of all tones (and no others) were simultaneous (unprepared dissonances); for “sonor counts”, one or more tones were sounded early or held (prepared dissonance). In Perotin’s Viderunt omnes and Sederunt (13th Century), sonor > onset for most intervals and especially triads, suggesting dissonance, but for the perfect fifth/fourth, onset ≈ sonor. For dyads and major/minor triads in Machaut’s Messe de nostre Dame (14th), onset ≈ sonor suggesting a historical increase in perceived consonance. In works by Lassus and Palestrina (16th), onset > sonor for third/sixth dyads and major/minor triads, suggesting a further increase in consonance; but sonor > onset for fourth/fifth dyads, consistent with Huron’s (1991) finding that J. S. Bach encouraged smoothness but avoided fusion so voices would remain individually audible. Major and Minor: An Empirical Study of the Transition between Classicism and Romanticism Katelyn Horn, David Huron Music, The Ohio State University, USA An empirical study is reported tracing the changing use of the major and minor modes between the so-‐called “Classical” and “Romantic” periods. Specifically cluster analysis was carried out on a random sample of Western art music works spanning the period 1750-‐1900. The analysis examined modality, dynamics, tempo, and articulation. The resulting clusters are consistent with several affective or expressive categories, deemed joyful, regal, tender/lyrical, light/effervescent, serious, passionate, sneaky, and sad/relaxed. Changes across time are consistent with common musical intuitions regarding the shift from Classical to Romantic musical languages. Paper Session 7: Dock Six Hall, 17:00-‐18:30 Technology-‐enhanced learning & improvisation Young children’s improvisations on a keyboard: How might reflexive technologies support the processes of learning to improvise? Susan Young, Victoria Rowe Graduate School of Education, University of Exeter, UK In this presentation we will propose that young children draw on a number of generative sources or modes when improvising spontaneously on an electronic keyboard. These sources are driven by, for example, expressive bodily gestures, by an interest in the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 67 morphology of the keyboard, a motivation to imitate known and meaningful musical experiences or an interest in making interactive play with a play-‐partner (whether human or technological). The international, EU-‐funded MIROR project is exploring the potential of reflexive technologies to support children’s learning processes in music. The contribution of the Exeter University team to the project has been to carry out some studies with 4-‐ and 8-‐ year-‐olds in educational settings and to analyse the children’s musical play to attempt to understand how they use and engage with the MIROR software’s capacity to reply. Whilst most of the children interacted with the system at a basic level of turn-‐taking, some responded at what appeared to be a higher level, listening intently to the responses and including some elements from them in a more extended musical conversation. The analysis raised many further questions about children’s musical processing skills and how interactive technology might support these. The study also raises wider, more fundamental questions concerned with the directions for ICT in educational practice with young children and these too will be shared in this presentation. An exploratory study of young children’s technology-‐enabled improvisations Angeliki Triantafyllaki, Christina Anagnostopoulou, Antonis Alexakis Dept. of Music Studies, National and Kapodistrian University of Athens, Greece Improvisation is now recognised as a central component of musical creativity. Although a relatively young area of study, its educational value has been discussed both musically and socially; young children’s musical improvisations more specifically, have been explored through a variety of methods and from diverse paradigmatic viewpoints: cognitive, developmental, educational, sociological and others. The aim of this ongoing exploratory study is to enrich our understanding of the variety of ways young children experience musical improvisation, as this is enabled through the MIROR platform – an innovative adaptive system for children's music improvisation and composition, based on the reflexive interaction paradigm. In this paper we draw on data from an exploratory study conducted in November 2011 with eight year-‐old children, which aimed to explore the ways children engage with the MIROR Improvisation prototype. Three types of data are brought together for the analysis: thematic analysis of children’s talk, descriptive analysis of children’s turn-‐ taking behaviour and computational music analysis. The research findings indicate connections between particular children’s (a) turn-‐taking behavior and their embodied (gestural) understandings of how they played with the machine and (b) type of musical output and the density of their turn-‐taking behavior, which seem to indicate that the MIROR technology may in some children encourage particular ways of engagement, both musically and kinesthetically. Pedagogical issues arising from the integration of such technology-‐ enabled improvisation in the primary school classroom are discussed. From Eco to the Mirror Neurons: Founding a Systematic Perspective of the Reflexive Interaction Paradigm Anna Rita Addessi Dept. of Music and Performing Arts., University of Bologna, Italy The MIROR Project (EC project, FP7-‐ICT) deals with the development of an innovative adaptive system for children' music improvisation, composition and body performance, based on the reflexive interaction paradigm. This paradigm is based on the idea of letting users manipulate virtual copies of themselves, through specifically designed machine-‐ learning software referred to as interactive reflexive musical systems (IRMS). In this paper, the theoretical framework of the reflexive interaction paradigm is discussed from a systematic musicological perspective. Implications are introduced, aiming to support the 68 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE hypothesis that the reflexive interaction enhances teaching/learning processes and musical creativity in children. Paper Session 8: Timber I Hall, 17:00-‐18:30 Measuring emotional response The Role of Orchestral Gestures in Continuous Ratings of Emotional Intensity Meghan Goodchild, Jonathan Wild, Stephen McAdams Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) Schulich School of Music, McGill University, Canada Despite its increasing importance in compositions in the nineteenth and twentieth centuries, timbre has not been theorized in research to the same extent as other musical parameters. Typically, orchestration manuals provide prescriptions and prohibitions of instrumental combinations and short excerpts to be emulated. Empirical studies suggest that emotional responses may be induced by changes in orchestration, such as a sudden shift in texture and the alternation of the orchestra and a soloist. Some orchestration treatises allude to these expressive gestures, but a conceptual framework is still lacking. Our first aim is to model one aspect of the dynamics of the listening experience by investigating the musical features in orchestral music that elicit emotional responses. Additionally, we aim to contribute to the development of a theory of orchestration gestures through music-‐theoretical analyses and principles from timbre perception. Musical excerpts were chosen to fit within four categories defined by the researchers based on instrumentation changes: gradual or sudden addition, or gradual or sudden reduction of instruments. Forty-‐five participants (22 musicians and 23 nonmusicians) listened to the excerpts and continuously moved a slider to indicate the intensity of their emotional responses. They also completed questionnaires outlining their specific subjective experiences (chills, tears, and other reactions) after each excerpt. Musical features of the acoustic signal were coded as time series and used as predictors of the behavioural ratings in a linear regression model using the ordinary least squares approach (Schubert 2004). The texture parameter was expanded to include the contributions of each instrument family. The results suggest that there are significant differences between the participants’ continuous response profiles for the four gesture categories. Musicians and nonmusicians exhibit similar emotional intensity curves for the gradual gestures (additive and reductive); however, musicians tend to anticipate the sudden changes, whereas non-‐ musicians are more delayed in their responses. For both gradual and sudden reductive excerpts, participants demonstrate a sustained lingering effect of high emotional intensity despite the reduction of instrumental forces, loudness, and other parameters. Through discussion of new visualizations created from musical feature overlays and the results of the regression study, we will highlight relationships between perceptual and musical/acoustical dimensions, quantify elements of the temporality of these experiences, and relate these to the retrospective judgments. To our knowledge, this is the first study that specifically investigates the role of timbral changes on listeners’ emotional responses in interaction with other musical parameters. Empathy contributes to the intensity of music-‐induced emotions Jonna K. Vuoskoski, Tuomas Eerola Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland Emotional contagion has been suggested as one of the mechanisms through which music can induce emotions in listeners (Juslin & Västfjäll, 2008). Although links have been established between trait empathy and emotional contagion in general (e.g., Doherty, 1997), it remains to be investigated whether trait empathy also contributes to emotion contagion through music. The aim of the study was to investigate whether trait empathy contributes to the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 69 intensity of felt emotions induced by music. The possible contribution of empathy was investigated by analysing the results of two separate experiments. In Experiment 1, 131 participants listened to 16 film music excerpts and evaluated the intensity of their emotional responses. In experiment 2, 60 participants were randomly assigned to either a neutral music group or a sad music group. The induced emotions were assessed using two indirect measures of emotional states; a word recall task, and a facial expression judgment task. In Experiment 1, trait empathy correlated with the self-‐rated intensity of emotions experienced in response to tender and sad excerpts. In Experiment 2, trait empathy was reliably associated with induced sadness – as measured by the facial expression judgment task -‐ in the sad music group. The results suggest that trait empathy may indeed enhance the induction of emotion through music – at least in the case of certain emotions. The self-‐report and indirect measures indicated that highly empathic people may be more susceptible to music-‐induced sadness and tenderness, possibly reflecting their tendency to feel compassion and concern for others. Music Preferences in the Early Years: Infants' Emotional Responses to Various Auditory Stimulations Dennis Ping-‐Cheng Wang Faculty of Education, University of Macau, Macau, China The study aims at investigating if infants can differentiate various types of music and respond differently in terms of emotional and physical behaviours. The study discovers that the infants showed the different emotional and bodily responses to the various auditory stimulations, such as, thriller, suspense, and pleasantness. In this research, there were 20 four-‐ to twelve-‐month-‐old infants participated in this study. The whole experiment lasted six month period of time and physical check and psychological check were given twice during the period. After cross comparing the two tests of the physical and psychological checks, the researcher discovered that there were around 68% of the infants expressed similar reactions which included the increasing heart rates, blood pressure, prolong regular drinking habits, and showing disturbed when they heard thriller music. Moreover, there were about 80% of the infants expressed visible contrasts of emotional and facial expression, such as frowning eyebrows, showing disturbed, and crying when they heard thriller and pleasant music. On contrast, the infants tended to behavior calmly, such as stable heart rating and longer lengths of eye contacts with their parents and asleep falling when they heard pleasant and comic music. The similar results were reflected on the tests throughout the whole experimental period. Paper Session 9: Timber II Hall, 17:00-‐18:30 Coordination & synchronization Relations Between Temporal Error Correction Processes and the Quality of Interpersonal Coordination Peter E. Keller,1,2 Nadine Pecenka,1 Merle Fairhurst,1 Bruno H. Repp3 1Music Cognition & Action Group, Max Planck Institute for Human Cognitive & Brain Sciences, Leipzig, Germany 2MARCS Institute, University of Western Sydney, Australia 3Haskins Laboratories, New Haven, Connecticut Interpersonal coordination in joint rhythmic activities, such as ensemble music making, can be temporally precise yet variable between individuals. This may be due to individual 70 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 TUE differences in the operation of temporal error correction mechanisms, such as ‘phase correction’, that enable internal timekeepers in co-‐performers to remain entrained despite tempo fluctuations. The current study investigated the relationship between phase correction and interpersonal sensorimotor synchronization. Phase correction was assessed in 40 participants by estimating the proportion of asynchronies that each individual corrected for when synchronizing finger taps (on a percussion pad) with adaptively timed auditory sequences. Participants were subsequently paired to form 10 ‘high correcting’ dyads and 10 ‘low correcting’ dyads. Each dyad performed a synchronization-‐continuation task that required both individuals to tap together in time with a 2 Hz auditory metronome (for 20 sec) and then to continue tapping together when the metronome ceased (for 20 sec). Each individual’s taps produced a distinctive percussion sound. The variability of interpersonal asynchronies was greater for low than high correcting dyads only when the metronome paced the interaction. The lag-‐1 autocorrelation of interpersonal asynchronies was likewise only relatively high in low correcting dyads during paced tapping. Low correcting dyads may be able to stabilize their performance during self-‐paced continuation tapping by increasing the gain of phase correction or by engaging in period correction (i.e., tempo adjustment). These findings imply compensatory mutual adaptive timing strategies that are most likely effortful and may have costs in attentionally demanding contexts such as musical ensemble performance. Knowing too much or too little: The effects of familiarity of a co-‐performer’s part on interpersonal coordination in piano duos Marie Uhlig,1 Tim Schroeder, 1 Peter Keller 1,2 1Research group Music Cognition and Action, Max-‐Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany 2MARCS Auditory Laboratories, University of Western Sydney, Sydney, Australia Performing ensemble musicians may be more or less familiar with each others’ parts. Such familiarity may affect the ability to predict, and therefore to synchronize with, co-‐ performers’ actions. Specifically, the operation of internal models that guide processes related to action simulation and anticipatory musical imagery may be affected by knowledge of (1) the musical structure of a co-‐performer’s part (e.g., in terms of its rhythm and phrase structure) and/or (2) the co-‐performer’s idiosyncratic playing style (e.g., expressive micro-‐ timing variations). To test the effects of familiarity each pianist plays two duets with two different partners. In one duet both parts are known to both players, while in the other piece only one’s own part is known. The pieces are played and recorded six times without joint rehearsal or visual contact in order to analyze the effects of increasing familiarity. Interpersonal coordination was quantified by measuring asynchronies between pianists’ keystroke timing and the correlation of their body sway movements. The findings suggest that familiarity with a co-‐performer’s part, but not their playing style, may engender predictions about micro-‐timing variations that are based instead upon one’s own playing style, leading to a mismatch between predictions and actual events at short timescales. Predictions at longer timescales—that is, those related to musical measures and phrases, and reflected in body sway movements—are, however, facilitated by familiarity with the structure of a co-‐performer’s part. Results point to a dissociation between interpersonal coordination at the level of keystrokes and body sway. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 71 Effect of Visual Cues in Synchronization of rhythmic patterns Sisi Sun, Trishul Mallikarjuna, Gil Weinberg Center for Music Technology, Georgia Institute of Technology, Atlanta, GA, U.S.A. We conducted a rhythmic pattern learning and synchronization experiment. During the experiment, each of 20 experiment subjects was learning 7 patterns in different level of difficulty from a drummer robot. They played all the patterns twice in 2 different visual conditions: being able to see, and not being able to see the robot’s movement. 10 of the subjects could see the robot the first time they played the 7 patterns, and they then played the patterns the second time without seeing the robot. The other 10 played in the opposite order of visual conditions. We applied Dynamic Time Warping algorithm on the onset time values to find the best matches between the subjects' and robot's hits. Then we used 4-‐way Analysis of Variance with the factors: existence of visual cues, order of visual conditions, subjects, and onset times, to analyze their influence on the time difference between matching onsets. The average of onset time differences was treated as a measure of synchronization. The data showed that, in case of more difficult patterns, the average onset time difference had higher variance when there were no visual cues compared to when there were visual cues, while in case of easier patterns, the variance was not significant. Thus we infer that visual cues can influence synchronization in a task that requires learning of more difficult rhythmic patterns. We also inferred that subjects showeda tendency to learn new patterns faster with visual cues, though more experimentation is needed to establish statistical significance of the effect. What's more, people tend to play in lag with visual cues in the learning period, but then play better after learning. 72 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Wednesday 25 July Keynote 4: Grand Pietra Hall, 9:00-‐10:00 Barbara Tillman: Music perception and memory in nonmusicians and amusics: To be (or not to be) musical? After a PhD in cognitive psychology (1999, Dijon) and postdoctoral research in cognitive neuroscience (Dartmouth College), Barbara Tillmann started a CNRS research position in Lyon in 2001. Her research is in the domain of auditory cognition and uses behavioural, neurophysiological and computational methods. More specifically, she is investigating how the brain acquires knowledge about complex sound structures, such as music and language, and how this knowledge shapes perception. Since 2007, she is leader of the team "Auditory Cognition and Psychoacoustics", which has now integrated the Lyon Neuroscience Research Center. The team's research aims to understand cognitive and neural mechanisms that underlie how humans perceive, learn, memorize and use complex sound structures (e.g., to expect and anticipate future events). Numerous research has provided evidence that nonmusicians have acquired sophisticated knowledge about the musical system of their culture, even though part of it remains on an implicit level. This musical knowledge allows nonmusicians to process musical structures, develop expectations for future incoming tones or chords, influences memory etc. The tonal enculturation process is one example of the cognitive capacity of implicit learning, that is the capacity to acquire knowledge about complex structures and regularities by mere exposure and without intention to learn. In contrast to nonmusiciansʼ musical expertise stands the phenomenon of congenital amusia, which has attracted increasing research interest as it provides further insights in cognitive and neural correlates of music and speech processing. Individuals with congenital amusia are impaired in music perception and production, without auditory, cognitive or social deficits. A first hypothesis focused on a pitch discrimination deficit, which would affect music perception in particular. Further data have shown that short-‐term memory for pitch can be impaired in congenital amusia even without impaired pitch discrimination. Recent research using indirect investigation methods reveals some musical knowledge at an implicit level in congenital amusia, thus providing further evidence for the power of implicit cognition. Young Researcher Award 1: Grand Pietra Hall, 10:00-‐10:30 The Impact of Visual Cues on the Judgment and Perceptions of Music Performance Chia-‐Jung Tsay Harvard University, Cambridge, United States There exists a wide consensus that sound is central to judgment about music performance. Although people often make evaluations on the basis of visual cues, these are often discounted as peripheral to the meaning of music. Yet, people can lack insight into their own capacities and preferences, or are unwilling to report their beliefs. This suggests that there 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 73 may be gaps between what we say we use to evaluate performance, and what we actually use. People may be unlikely to recognize or admit that visual displays can affect their judgment about music performance, a domain that is defined by sound. Six sets of experiments demonstrated that visual information is what people actually rely on when making rapid judgments about performance. These findings were extended in experiments elaborating on 1) the generalizability and persistence of effects throughout domains and levels of analyses, and 2) potential mechanisms such as attention to specific types of visual cues. Additional experiments further examine the underlying visual and affective contributions to judgments of performance, the role of expertise in such decision making, and the implications for organizational performance and policy. Speed Poster Session 16: Grand Pietra Hall, 11:00-‐11:40 Tonality – Harmony Testing Schenkerian theory: An experiment on the perception of key distances Jason Yust School of Music, Boston University, USA The lack of attention given to Schenkerian theory by empirical research in music is striking when compared to its status in music theory as a standard account of tonality. In this paper I advocate a different way of thinking of Schenkerian theory that can lead to empirically testable claims, and report on an experiment that shows how hypotheses derived from Schenker’s theories explain features of listener’s perception of key relationships. To be relevant to empirical research, Schenker’s theory must be treated as a collection of interrelated but independent theoretical claims rather than a comprehensive analytical method. These discrete theoretical claims can then lead to hypotheses that we can test through empirical methods. This makes it possible for Schenkerian theory improve our scientific understanding of how listeners understand tonal music. At the same time, it opens the possibility of challenging the usefulness of certain aspects of the theory. This paper exemplifies the empirical project with an experiment on the perception of key distance. The results show that two features of Schenkerian theory predict how listeners rate stimuli in terms of key distance. The first is the Schenkerian principle of “composing out” a harmony, and the second is the theory of “voice-‐leading prolongations.” In a regression analysis, both of these principles significantly improve upon a model of distance ratings based on change of scalar collection alone. How Fast Can Music and Speech Be Perceived? Key Identification in Time-‐ Compressed Music with Periodic Insertions of Silence Morwaread M. Farbood,* Oded Ghitza,# Jess Rowland, ‡ Gary Marcus, § David Poeppel §† * Dept. of Music and Performing Arts Professions, New York University, USA; # Dept. of Biomedical Engineering, Boston University, USA; ‡ Dept. of Psychology, New York University, USA; § Dept. of Art Practice, University of California, Berkeley, USA; † Center for Neural Science, New York University, USA This study examines the timescales at which the brain processes structural information in music and compares them to timescales implicated in previous work on speech. Using an experimental paradigm similar to the one employed by Ghitza and Greenberg (2009) for speech, listeners were asked to judge the key of short melodic sequences that were presented at a very fast tempo with varying “packaging rates,” defined by the durations of silence gaps inserted periodically in the audio. This resulted in a U-‐shaped key identification 74 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED error rate curve, similar in shape to the one implicated for speech by Ghitza and Greenberg. However, the range of preferred packaging rates was lower for music (packaging rate of 1.5-‐ 5 Hz) than for speech (6-‐17 Hz). We hypothesize that that music and speech processing rely on comparable oscillatory mechanisms that are calibrated in different ways based on the specific temporal structure of their input. The Role of Phrase Location in Key Identification by Pitch Class Distribution Leigh van Handel, Michael Callahan College of Music, Michigan State University, USA This study extends prior research by investigating how pitch distribution differs at beginnings, middles, and ends of phrases, and by determining whether these differences impact key-‐finding. In the corpus of Haydn and Mozart string quartets used in Temperley and Marvin (2008), many phrases modulate to either the dominant or the relative major; this results in an overrepresentation of raised scale degree 4, as the leading tone to the dominant, and of lowered scale degree 7, as the dominant of III. The overrepresentation of these two scale degrees in the overall distribution may have contributed to the difficulties that Temperley and Marvin’s subjects had with key finding. This study corrects the problem of overrepresentation by limiting the corpus to non-‐modulating phrases. A behavioral study indicates that subjects have better success with the distributional view of key finding with this modified distribution of pitches. In addition, melodies were constructed using independent pitch distributions for the beginnings, middles, and ends of phrases. Preliminary results show that subjects improve at identifying the key of a melody when the pitch distributions within its beginning, middle, and end follow those of the three sections o f the original phrases. Harmony Perception by Periodicity and Granularity Detection Frieder Stolzenburg Automation and Computer Sciences Department, Harz University of Applied Sciences, Germany Music perception and composition seem to be influenced not only by convention or culture, but also by the psychophysics of tone perception. Early models express musical intervals by simple fractions. This helps to understand that human subjects rate harmonies, e.g. major and minor triads, differently with respect to their sonority. Newer explanations, based upon the notion of consonance or dissonance, correlate better to empirical results on harmony perception, but still do not explain the perceived sonority of common triads well. By applying results from neuroscience and psychophysics on periodicity detection in the brain consistently, we obtain a more precise theory of musical harmony perception: The perceived sonority of a chord decreases with the ratio of the period length of the chord (its virtual pitch) relative to the period length of its lowest tone component ̶ called harmonicity. In addition, the number of extrema in one period of its lowest tone component ̶ called granularity ̶ appears to be relevant. The combination of both values in one measure, counting the maximal number of times that the whole periodic structure can be decomposed in time intervals of equal length, gives us a powerful approach to the analysis of musical harmony perception. The analysis presented here demonstrates, that it does not matter much whether tones are presented consecutively as in scales or simultaneously as in chords or chord progressions. The presented approach yields meaningful results for dyads and common triads and classical diatonic scales, showing highest correlation with empirical results (r > 0.9). 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 75 Affordant Harmony in Popular Music: Do Physical Attributes of the Guitar Influence Chord Sequences? Gary Yim Music Theory, The Ohio State University, USA It is proposed that two different harmonic systems govern popular music chord sequences: affordant harmony and functional harmony. Affordant chord transitions favor chords and chord transitions that minimize technical difficulty when performed on the guitar, while functional chord transitions favor those based on traditional harmonic functions. A corpus analysis compares these systems by encoding each song in two ways. Songs are encoded with their absolute chord names (such as “Cm”), characterizing the chord's physical position on the guitar – this operationalizes the affordant harmonic system. They are also encoded with Roman numerals, characterizing the chord's harmonic function – this operationalizes the functional harmonic system. The total entropy (a measure of “unexpectedness”) within the corpus for each encoding is calculated. Arguably, the encoding with the lower entropy value (that is, “less unexpectedness”) corresponds with the harmonic system that more greatly influences the chord transitions. It was hypothesized that affordant factors play a greater role than functional factors, and therefore a lower entropy value for the letter-‐name encoding was expected. Instead, a lower entropy value for the Roman numeral encoding was found. Thus, the results are not consistent with the original hypothesis. However, post-‐hoc analyses yielded significant results, consistent with the claim that affordant factors (that is, the physical movements involved in playing a guitar) do play some role in popular music chord sequences. Nevertheless, the role of functional harmony cannot be downplayed. Harmonic Expectation in Twelve-‐Bar Blues Progressions Bryn Hughes Ithaca College, USA Harmonic expectation has been shown to reflect syntactical rules for chord-‐to-‐chord connections in both short and long musical contexts. These expectations may derive from the activation of specific musical schemata, providing listeners with the necessary context for identifying syntactical errors. Few empirical studies have addressed the connection between chord-‐to-‐chord syntax and larger schemata, such as phrases or form. The twelve-‐bar blues, with its three unique phrases, offers an opportunity to investigate this relationship. This research investigates whether listeners expect chord successions presented in the context of the twelve-‐bar blues idiom to adhere to common-‐practice syntax. Additionally, it addresses the degree to which harmony affects the activation of phrase schemata. Participants listened to 16-‐second synthesized excerpts representing a phrase from the standard twelve-‐bar blues. Each phrase included a single variable chord. For each trial, participants provided a goodness rating on a six-‐point scale and indicated whether they thought the excerpt came from the beginning (Phrase 1), middle (Phrase 2), or end (Phrase 3) of a twelve-‐bar blues. Ratings were interpreted as levels of expectancy in accordance with the concept of misattribution. Listeners preferred harmonic successions in which the relationship between chord roots reflected common practice; however, two instances of root motion idiosyncratic to blues also received high ratings. The variable chord significantly affected phrase labelling. The magnitude of this effect was dependent upon the variable chord’s location within the phrase and the surrounding chords. Successions for which a consensus phrase label emerged received significantly higher ratings than those that did not receive a clear-‐cut phrase label. In some cases, ratings and phrase labels combined to reveal that specific chord successions can invoke different expectations depending on the presently active phrase schema. Harmonic expectation in blues includes a wider range of acceptable root motion. Phrase schemata are defined both by their harmonic content and by the order in which that content is presented. Single chords can affect the strength of an active schema and can suppress the activation of other viable schemata. Listeners have stronger expectations for phrases that can be clearly identified as part of the larger musical context. 76 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED A Directional Interval Class Representation of Chord Transitions Emilios Cambouropoulos School of Music Studies, Aristotle University of Thessaloniki, Greece Chords are commonly represented, at a low level, as absolute pitches (or pitch classes) or, at a higher level, as chords types within a given tonal/harmonic context (e.g. roman numeral analysis). The former is too elementary, whereas, the latter, requires sophisticated harmonic analysis. Is it possible to represent chord transitions at an intermediate level that is transposition-‐invariant and idiom-‐independent (analogous to pitch intervals that represent transitions between notes)? In this paper, a novel chord transition representation is proposed. A harmonic transition between two chords can be represented by a Directed Interval Class (DIC) vector. The proposed 12-‐dimensional vector encodes the number of occurrence of all directional interval classes (from 0 to 6 including +/-‐ for direction) between all the pairs of notes of two successive chords. Apart from octave equivalence and interval inversion equivalence, this representation preserves directionality of intervals (up or down). Interesting properties of this representation include: easy to compute, independent of root finding, independent of key finding, incorporates voice leading qualities, preserves chord transition asymmetry (e.g. different vector for I-‐V and V-‐I), transposition invariant, independent of chord type, applicable to tonal/post-‐tonal/atonal music, and, in most instances, chords can be uniquely derived from a vector. DIC vectors can be organised in different categories depending on their content, and distance between vectors can be used to calculate harmonic similarity between different music passages. Some preliminary examples are presented. This proposal provides a simple and potentially powerful representation of elementary harmonic relations that may have interesting applications in the domain of harmonic representation and processing. Wagner in the Round: Using Interval Cycles to Model Chromatic Harmony Matthew Woolhouse School of the Arts, Faculty of Humanities, McMaster University, Canada A formal grouping model is used to model the experience of tonal attraction within chromatic music, i.e. its dynamic “ebb and flow”. The model predicts the level of tonal attraction between temporally adjacent chords. The functional ambiguity of nineteenth-‐ century chromatic harmony can be problematic: chromatic chords, unlike diatonic harmony, often have ill-‐defined roots, and thus their proper functions are difficult to establish. An important feature of the model, however, is that the key or tonal context of the music does not need to be specified. The model is based on the idea of ‘interval cycle proximity’ (ICP), a grouping mechanism hypothesized to contribute to the perception of tonal attraction. This paper illustrates the model with an analysis of the opening of Wagner’s ‘Tristan und Isolde’, and shows that the model can predict the opening sequence of ‘Tristan’ in terms of tonal attraction without the chords needing to be functionally specified. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 77 Speed Poster Session 17: Crystal Hall, 11:00-‐11:40 Musical Development & Education I Tales of Talent: Rapid Learning of Acoustic Instrument Recognition Lisa Aufegger, Oliver Vitouch Dept. of Psychology, University of Klagenfurt, Austria Also in the 21st century, the role of innate talents in music remains a matter of fundamental debate. Within the framework of the “rapid learning paradigm”, the aim of this study was to find out whether it is possible to simply and quickly teach non-‐musicians musical skills in the perceptual realm, specifically the recognition of instruments’ timbres. Within a week, 34 subjects had three feedback-‐driven computer-‐based training sessions, where they were asked to discriminate between 10 brass and woodwind instruments. In the pre-‐ and a post-‐ test, subjects had to recognize the main instrument from an orchestral piece. Results shown that non-‐musicians did not fully reach expert level (benchmarked by brass or woodwind instrument students) after this short period, but performed well at par with semi-‐experts (piano students). Our findings demonstrate that acoustic instrument recognition is well-‐ trainable “for (almost) everybody” using the simplest of means, and does not seem to depend on rare individual abilities. Important Experiences and Interactions in the Occupational Identity Development of Music Educators Joshua A. Russell The Hartt School, The University of Hartford, USA The purposes of this paper were to describe the reported professional identity of in-‐service music educators through the lens of symbolic interactionism and to identify activities and interactions that music educators can seek out in order to inform their own professional identity. Three hundred secondary music educators from southwestern United States responded to the Music Educator Career Questionnaire, which was developed from previous research. Participants responded to a series of ipsative items designed to elicit information regarding their occupational identity as well as the perceived importance of different activities or interactions. Music educators saw themselves and believe others saw them as an educator, ensemble leader, a creative businessperson, and entertainer. However, their musical identities separated into both an external music identity, in which others saw them as a performer, artist, performer, or scholar, and an internal identity, in which they saw themselves differently in the same roles. The impact of different activities and interactions on the various identified occupational identities will be discussed a s a means to assist music educators self select their own most appropriate occupational identity and engage in activities and with individuals in order to develop their chosen identity. As teachers move from preservice to in-‐service, their identities may transform from an integrated musician identity and segregated educator identity to an integrated educator identity and segregated musician identity unless they intentionally seek out interactions and activities to develop a continuously integrated occupational identity. Implications are discussed. 78 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Cognitive and emotional aspects of pupils’ attitudes towards piano teachers and piano lessons Malgorzata Chmurzynska Department of Music Psychology, Chopin University of Music Professional primary music schools in Poland aim at creating well-‐educated and competent future performing musicians as well as their audience (comprising primarily those who will not pursue further stages of musical education). However, the majority of pupils who complete their music education discontinue to play instruments and lose interest in the classical music. According to the experts the reason for this is their having been discouraged by their music teachers and the way they were taught. The aim of the study was to examine pupils’ attitudes towards their piano teachers and piano lessons. The emotional and cognitive components of the attitudes have been taken into account. The respondents (40 pupils from the primary music schools) were asked to complete the Pupil’s Questionnaire, designed to test the cognitive aspect of their attitudes (what they think of their teachers and piano lessons) as well as the emotional aspect (what they feel during the piano lessons). In the cognitive aspect the results revealed a general positive attitude of the pupils towards their piano teachers, more positive than towards the piano playing itself. However, almost 20% of the subjects preferred to learn with a different teacher, and over 40% did not feel increased motivation to practice after the lessons. Almost 25% reported they did not fulfill their aspiration concerning piano playing. In the emotional aspect the results revealed a significant percentage of subjects manifesting quite high level of anxiety during the lessons. Certainly, this is neither a source of inspiration for the students, nor does it build up their high self-‐esteem. The pupils much more frequently denied the negative emotions than admitted the positive ones. On the basis of the comparison of both aspects of the attitudes one can conclude that pupils’ image of their teachers (the cognitive aspect) is more positive than their feelings during the lessons (the emotional aspect). The analysis of the pupils’ attitudes revealed many negative emotions and lack of strong positive experiences connected to classical music, the latter undoubtedly necessary for shaping the intrinsic motivation. It was hypothesized that this fact may be a source of a decrease in interest in this kind of music. Experienced Emotions through the Orff-‐Schulwerk Approach in Music Education -‐ A Case Study Based on Flow Theory João C.R. Cunha, Sara Carvalho INET -‐ MD, University of Aveiro, Portugal Orff-‐Schulwerk is one of the most holistic and creative approaches in Music Education, and during Music classes, teachers are expected to regularly combine a wide range of sources, including speech, music, creativity, movement and dance. In this paper we propose to identify different experienced emotions boosted by Orff-‐Schulwerk’ activities in a Music Education context. Students (N=50), aged between 10 and 12 years old, were audio and video recorded, while attending their weekly Music Education class during one academic year (9 months). In addition, in the end of each class, each student was asked to answer one questionnaire, in order to understand their perspective on their lived emotions. All classes were structured according to three main categories: “General”, “Music and Movement” and “Music Laboratory”. The empirical process was based on Csikszentmihalyi’s Flow Theory (1975, 1990, 1997, 2002), and the consequent adaptation of the FIMA (Flow Indicators in Musical Activity) and AFIMA (Adapted Flow Indicators in Musical Activity), both developed by Custodero (1998, 1999, 2002a, 2003, 2005). After analyzing the collected data using AFIMA conclusions were drawn. As emotions and cognition are closely linked in music (Cook & 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 79 Dibben, 2010, Krumhansl, 2002; Sloboda, 1999, 2005; Sloboda & Juslin, 2001; Juslin & Sloboda, 2010), data enabled us to put in evidence several correlations regarding the Orff-‐ Schulwerk approach and the students lived emotions during Music Education classes. AFIMA enabled us to establish that through an Orff-‐Schulwerk’s approach children lived many positive emotions, which demonstrated to be significant in the way they acquire musical knowledge. Benefits of a classroom-‐based instrumental training program on working memory of primary school children: A longitudinal study Ingo Roden,* Dietmar Grube,* Stephan Bongard,# Gunter Kreutz* * Institute for Music, School of Linguistics and Cultural Studies, Carl von Ossietzky University Oldenburg, Germany; #Department of Psychology, Goethe-‐University Frankfurt, Germany Instrumental music tuition may have beneficial influences on cognitive processing. We examined this assumption with regard to working memory in primary school children (N = 50; 7-‐8 years of age) within a longitudinal study design. Half of the children participated in a special music program with weekly sessions of instrumental tuition, while the other half received extended natural science training. Each child completed a computerized test battery for three times over a period of 18 months. The battery includes seven subtests, which address the central executive, the phonological loop and the visuospatial sketchpad components of Baddeley’s working memory model. Socio-‐economic background and IQ were assessed for each participant and used as covariates in subsequent analyses of variance (ANOVAs). Significant Group by Time interactions were found for phonological loop and central executive subtests indicating a superior developmental course in children with music training compared to the control group. These results confirm and specify previous findings concerning music tuition and cognitive performance. It is suggested that children receiving music training benefit specifically in those aspects of cognitive functioning that are strongly related to auditory information processing. Assessing children’s voices using Hornbach and Taggart’s (2005) rubric Andreas C. Lehmann, Johannes Hasselhorn Hochschule für Musik Würzburg, Germany Assessment of voice quality and performance is notoriously difficult, and even professional singers may not always agree on the quality of a voice or performance. Although there is a mild consensus about what constitutes a good professional voice, untrained voices pose a serious challenge to raters and it is unclear what specific aspects of performance influence overall (summative) impressions. In our study three expert judges rated recorded performances of 55 eleven-‐year-‐old children on 19 five-‐point rating scales regarding specific aspects (e.g., articulation, matching of given starting notes, rhythm), and they also gave a comprehensively, summative evaluations using a five-‐point assessment rubric developed by Hornbach and Taggart (2005; H&T rubric). Here we show that there is a highly reliable scale (Cronbachs α = .94) of eight individual attributes (Piano starting tone: match – no match, Type of performance: speechlike – singing, Melody execution: secure – insecure, Attitude: secure – insecure, Voice-‐ear coordination: fitting – not fitting, Tessitura: small – age appropriate, Text integration: fluent – stumbling, Interpretation regression analysis, two variables, namely “Melody execution” and “Piano starting tone” entered the equation, explaining a total of 92 percent (adjusted) of the variance on the H&T rubric. Thus, the H&T rubric appears to be an effective assessment instrument when used by experts, because it aggregates well more specific musico-‐acoustical aspects of children’s vocal performance. 80 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Cognitive Strategies in Sight-‐singing Ida Vujović,* Blanka Bogunović # * Royal Conservatoire, The Hague,The Netherlands # Faculty of Music, University of Arts, Belgrade, Serbia This paper presents a part of a wider study that is based on interdisciplinary research of sight-‐singing (music education and psychology). We aimed: 1. to determine the kinds and levels of strategies that music students use in the cognitive processes involved during sight-‐ singing; 2. to explore strategies of problem solving when difficulties appear; 3. to investigate the self-‐evaluation perspectives of students; and 4. to relate students’ learning experience to the strategies used. The sample consisted of 89 music students from higher music education in The Hague and Belgrade. They filled in the questionnaire based on self-‐reports, covering general data about their music education background, different issues of sight-‐singing, such as planning, problem solving, monitoring and evaluation of outcomes, and three melodic examples written in different musical styles. Strategies used during sight-‐singing could be roughly sorted into three groups that differ according to the “key accent” given: cognitive, intuitive and no-‐strategy. The music cognitive strategies involved cover three levels of musical organization and representation: a) relying on smaller chunks of the musical piece, referring to existing knowledge and learning experience b) leaning on a slightly “bigger picture” of familiar patterns; and c) mental representation of melodic/rhythmic/harmonic structures. When faced with a problem, half of the students employ analytic approaches. Comparisons between sub-‐samples showed, e.g., that future performing musicians more often use “tone-‐to-‐tone” thinking and “bottom-‐up” strategies in approaching musical structure, while music theory students have better insight into the whole and have “top-‐ down” strategies. Research results give a possibility for evaluation of learning outcomes and improving teaching practices. Influence of Music Education on Expressive Singing of Preschool Children Johanella Tafuri Conservatoire of Music, Bologna, Italy Singing is one of the most diffused musical activities in nursery schools. Teachers are accustomed to accompanying different moments of the day with songs and children enjoy having fun with music. When do children start to sing autonomously? How do they sing?Several studies have explored the many ways used by children to sing songs they know and to play with them. The results showed different kinds of repetition, change of words and also changes in the expression through little variations in speed, loudness and other musical characteristics. The studies that explore the relationships between music and emotions with the particular aim of understanding the underlying processes of an expressive performance, pointed out that, in order to produce it, performers need to manage physical sound properties. More recently, Tafuri (2011) analysed a corpus of songs performed, between the age of 2 ½ and 3, by the children of the inCanto Project. This is a group of children who received a special music education that began during their prenatal life (Tafuri 2009). The analysis revealed that already at this age it is possible to observe a certain ability of children to sing in an expressive way. This implies a certain ability in managing some musical structures, in particular loudness and timing. The aims of the present research are firstly to verify the appearance and development of the ability to sing in an expressive way in children of 2 ½-‐5 years who attend daily nursery schools where teachers regularly sing a certain number of songs almost daily; secondly, to compare these results with those shown by the children of the inCanto Project who have received an early music education. A corpus of songs performed by the children of several different schools, and recorded by the teachers, are analysed with the software Sonic Visualizer, with particular attention paid to the children’s use of agogics, dynamics, and other sound qualities. The results highlight the process of managing physical sound properties in order to produce an expressive performance. Particular problems are solved: 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 81 e.g. that of distinguishing expressive from other different motivations, or musical from verbal intentions in the analysis of sound properties. These results when compared with those obtained by children who received an early music education, give interesting indications on the role of an early musical experience. Speed Poster Session 18: Dock Six Hall, 11:00-‐11:40 Neuroscience studies Neural Oscillatory Responses to Binaural Beats: Differences Between Musicians and Non-‐musicians Christos Ioannou,* Joydeep Bhattacharya # * Institute of Music Physiology and Musicians’ Medicine, Hanover University of Music, Drama and Media, Germany; # Department of Psychology, Goldsmiths, University of London, United Kingdom In the present study, multivariate Electroencephalography (EEG) signals were recorded from thirty-‐two adult human participants while they listened to binaural beats (BBs) varying systematically in frequency from 1 to 48 Hz. Participants were classified as musicians or non-‐musicians, with sixteen in each group. Our results revealed that BB stimulation modulated the strength of large-‐scale neuronal oscillations, and steady state responses (SSRs) were larger in musicians than in non-‐musicians for BB stimulations in the gamma frequency band with a more frontal distribution. Musicians also showed higher spectral power in the delta and the gamma frequency bands at all BB stimulation frequencies. However, musicians showed less alpha band power for BB stimulations in the gamma band. Our results suggest that BBs at different frequencies (ranging from very low frequency delta to high frequency gamma) elicit SSRs recorded from the scalp. Musicians exhibited higher cortical excitations than non-‐musicians when stimulated by BB stimulation in the gamma band, which was reflected by lower alpha, and higher gamma band EEG power. The current study provides the first neurophysiological account of cortical responses to a range of BB stimulation frequencies and suggests that musical training could modulate such responses. MEG evidence for music training induced effects on multisensory plasticity Evangelos Paraskevopoulos*, Anja Kuchenbuch*, Sibylle C. Herholz#, Christo Pantev* *Institute for Biomagnetism and Biosignalanalysis, University of Münster, Münster, Germany # Montreal Neurological Institute, McGill University, Montreal, Quebec, Canada Multisensory learning and the resulting neuronal plastic changes have recently become a topic of renewed interest in human cognitive neuroscience. Playing an instrument from musical notation is an ideal situation to study multisensory learning, as it allows investigating the integration of visual, auditory and sensorimotor information processing. The present study aimed at answering whether multisensory learning alters unisensory structures, interconnections of those structures or specific multisensory areas in the human brain. In a short-‐term piano training procedure musically naive subjects were trained to play tone sequences from visually presented patterns in a music notation-‐like system [Auditory-‐ Visual-‐Somatosensory group (AVS)], while a control group received audio-‐visual training only that involved viewing the patterns and attentively listening to the recordings of the AVS training sessions [Auditory-‐Visual group (AV)]. Training-‐related changes in the corresponding cortical networks were assessed by pre-‐ and post-‐training magnetoencephalographic (MEG) recordings of an auditory, a visual and an integrated audio-‐visual mismatch negativity (MMN). The two groups (AVS and AV) were differently affected by the training in the integrated audio-‐visual MMN condition. Specifically, the AVS 82 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED group showed a training-‐related increase in audio-‐visual processing in the right superior temporal gyrus while the AV group did not reveal a training effect. The unisensory MMN measurements were not affected by training. The results suggest that multisensory training alters the function of specific multisensory structures, and not the unisensory ones along with their interconnections, and thus provide experimental data as response to an important question presented by cognitive models of multisensory training. EEG-‐based discrimination of music appraisal judgments using ZAM time-‐ frequency distribution Stelios Hadjidimitriou, Leontios Hadjileontiadis Department of Electrical and Computer Engineering, Aristotle University of Thessaloniki, Greece This work focuses on the binary classification of listeners’ EEG responses that relate to music liking or disliking judgments, by employing time-‐frequency-‐based feature extraction. Nine participants were engaged in an experiment during which they listened to several musical excerpts, while their EEG activity was recorded. Participants were prompted to rate their liking for each excerpt after its listening. Subsequent feature extraction from the acquired EEG signals was based on the Zhao-‐Atlas-‐Marks (ZAM) time-‐frequency distribution. For all EEG frequency bands (1-‐49Hz), different types of feature vectors (FVs) were produced, in order to take into consideration asymmetric brain activations that are linked to emotional responses. The classification procedure was performed using support vector machines (SVM) and k-‐nearest neighbors (k-‐NN). Highest classification accuracies (CAs) were achieved using FVs from all channels from the beta (74.56 ± 1.02%) and gamma (71.96 ± 0.87%) bands and k-‐NN. The fusion of FVs for the beta and gamma band yielded the best CA, i.e., 76.52 ± 1.37%. FVs derived from channel pairs that relate to hemispheric asymmetry only, led to lower CAs. Lower classification performance, achieved using the asymmetry-‐based features, might imply that the discrimination of music appraisal judgments may not depend solely on the valence of emotions induced by music. On the contrary, bilateral activity in beta and gamma bands led to a more efficient discrimination. This evidence may suggest that music appraisal has to be interpreted with respect to additional aspects of affective experiences, like emotional arousal that reflects the degree of excitation. Effects of Short-‐Term Experience on Music-‐Related ERAN Richard Randall,1 Gustavo Sudre,2 Yang Xu,3 Anto Bagic4 1 School of Music and Center for the Neural Basis for Cognition, Carnegie Mellon University, USA 2 Center for the Neural Basis for Cognition, Carnegie Mellon University, USA 3 Machine Learning Department, Carnegie Mellon University, USA 4 Brain Mapping Center, University of Pittsburgh Medical Center, USA This study investigates how short-‐term experience modulates the strength of the early-‐right anterior negativity (ERAN) response to implied harmonic-‐syntax violations. The ERAN is a negative-‐going event-‐related potential (ERP) that peaks between 150ms and 250ms after stimulus onset, has anterior scalp distribution, right-‐hemispheric weighting, and relies on schematic representations of musical regularities. Previous studies have shown that the ERAN can be modified by short-‐term musical experience. However, these studies rely on complex harmonic stimuli and experimental paradigms where music are presented simultaneously with visual images and written text. In an effort to better understand how habituation may effect the ERAN in musical contexts, we asked subjects to directly attend to simple melodies that are either syntactically well-‐formed, conforming to common-‐practice tonality, (M1) or end with an out-‐of-‐key pitch (M2). Even with simplified stimuli, our results 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 83 reliably replicate earlier findings based on more complex stimuli composed of literal harmonies. Both musicians and non-‐musicians listened to M1 and M2 numerous times and neural responses were recorded using magnetoencephalography (MEG). Whereas previous studies on short-‐term habituation of the ERAN only look at changes in the violation condition, we comparatively analyze how responses to both M1 and M2 change over time and how the relative relationship between M1 and M2 fluctuates. This effectively controls for fatigue and allows us to clearly show how the ERAN changes both independent of and in conjunction with normal responses. Entrainment of Premotor Cortex Activity by Ambiguity in Musical Metre Daniel Cameron,* Job Lindsen,# Marcus Pearce,+ Geraint Wiggins,+ Keith Potter,^ Joydeep Bhattacharya# *Brain and Mind Institute, University of Western Ontario, Canada; #Dept. of Psychology, Goldsmiths, University of London, UK; ^Dept. of Music, Goldsmiths, University of London, UK; +Centre for Digital Music, Queen Mary, University of London, UK Humans tend to synchronize movements, attention, and temporal expectations with the metric beat of auditory sequences, such as musical rhythms. Electroencephalographic (EEG) research has shown that the metric structure of rhythms can modulate brain activity in the gamma and beta frequency bands as well as at specific frequencies related to the endogenously generated metric beat of rhythms. We investigate the amplitude and inter-‐trial phase coherence (ITC) of EEG measured from 20 musicians while listening to a piece of rhythmic music that contains metrically ambiguous and unambiguous rhythms, Steve Reich’s Clapping Music. ITC is the consistency of frequency-‐specific phase over repetitions of individual rhythms and thus reflects the degree to which activity is locked to stimulus rhythms. For ambiguous rhythms, amplitude and ITC are greater at the frequencies specific to the metric beat of rhythms (1.33 Hz and 1.77 Hz). Source analysis suggests that differences at metre-‐specific frequencies may originate in left ventral premotor area and right inferior frontal gyrus, areas that have been linked to anticipatory processing of temporal sequences. Effects are also found in alpha (8-‐12 Hz) and gamma (24-‐60 Hz) bands and these are consistent with past EEG research showing modulation of gamma power by the metric structure of auditory rhythms and modulation of alpha activity due to temporal anticipation. Our study extends evidence of the electrophysiological processes related to rhythm and metre by using complex, ecologically valid music, and showing differences in amplitude and ITC at metre-‐specific frequencies in motor areas of the brain. Neuroscientific Measure of Consonance Adrian Foltyn Department of Composition, Conducting and Theory of Music, F. Chopin University of Music, Poland The article contains a proposition of new simplified model of neural discrimination of sensory consonance / dissonance at higher stages of auditory pathway. The model regards primarily complex harmonic sounds and is based on periodicity / pitch and its representation in neural discharges. The hypothesis relies on a process involving measuring concentration of neural excitation in inferior colliculus in time windows equal to period of sum of the incoming signals. The measure can accommodate pitch deviations via a further mechanism based on harmonic entropy and can be applied to any interval, including microtones and octave enhancements. For simple ratios an algebraic calculation method is available, accounting for several interval relations abstract mathematical consonance measures tended to struggle with. To examine plausibility of the model, a psychoacoustic experiment was carried out, using paired comparison of intervals. One of the resulting 84 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED dimensions can be clearly identified as consonance – dissonance axis. The proposed modelled consonance values together with 4 other well-‐known models have been related to experimental results. Logarithmic transformation of the postulated consonance measure displays the highest correlation with the consonance dimension obtained in the experiment out of all examined models (R2 ≈ 0.8). Higher degree of correlation versus roughness-‐based models suggests plausibility of certain pitch-‐related mechanism underlying basic consonance perception. Effects of musical training and standard probabilities on encoding of complex tone patterns Anja Kuchenbuch*, Evangelos Paraskevopoulos*, Sibylle C. Herholz#, Christo Pantev* *Institute for Biomagnetism and Biosignalanalysis, University of Münster, Münster, Germany. #Montreal Neurological Institute, McGill University, Montreal, Quebec, Canada The human auditory cortex automatically encodes acoustical input from the environment and differentiates regular sound patterns from noise in order to identify possibly important, irregular events. The Mismatch negativity (MMN) response is a marker for the detection of sounds that are unexpected based on the encoded regularities. It has been shown to be elicited by violations of simple acoustical features but also by violations of more complex regularities like tone patterns. By means of magnetoencephalography (MEG) we investigated the responsiveness of MMNm in a noisy environment by varying the standard probability (70%, 50% and 35%) of a pattern oddball paradigm. In addition we studied the effects of long term music training in the encoding of the patterns by comparing the responses of non-‐ musicians and musicians. A MMNm could still be observed in the noisy condition (35% standards) in response to violations of the predominant tone pattern for both groups. The amplitude of MMNm of the right hemisphere was influenced by the standard probability, and this result was mediated by long term musical. The results indicate a reduced but still present pattern violation detection processing within a noisy environment and while the left hemisphere is more stable, the standard probability has a strong impact on the auditory processing of the right hemisphere. Furthermore, non-‐musicians benefit more from a good signal to noise ratio while musicians auditory processing is dominated by their trained left hemisphere. Neural Correlates of Musical Timbre Perception in Williams Syndrome Miriam D. Lense,*# Reyna L. Gordon,* Alexandra P.F. Key,* Elisabeth M. Dykens*# *Vanderbilt Kennedy Center, Vanderbilt University, USA #Psychology and Human Development, Vanderbilt University, USA Williams syndrome (WS) is a rare, neurodevelopmental genetic disorder. Many individuals with WS exhibit auditory aversions and attractions and are extremely emotionally affected by and interested in music. Given their auditory sensitivities, including an apparent ability to discriminate amongst particular classes of sounds (e.g., vacuum cleaners), it has been hypothesized that individuals with WS may show superior timbre discrimination abilities. However, in contrast to this anecdotal evidence, recent research reveals that individuals with WS predominantly process the fundamental frequency in complex tones rather than the spectral information, which is important for distinguishing amongst different timbres. The present study aimed to clarify timbre perception abilities in WS. Participants included 18 adults with WS and 15 typically developing (TD) controls. Participants performed a timbre detection task while EEG was recorded. Participants heard sequences of 500-‐ms instrumental tones (trumpet: 42% of stimuli; cello: 42%; piano: 16%). The onset and decay of the tones was replaced with a 10-‐ms envelope. Participants were asked to respond to the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 85 piano tones. Event-‐related potential (ERP) analyses revealed robust P300 responses to the target piano tones in the WS and TD groups. Individuals with WS also demonstrated differences in P300 amplitude between the non-‐target cello and trumpet timbres. In the WS group only, there was early and sustained increased induced alpha-‐band (8-‐12 Hz) activity to the cello vs. trumpet timbre. Thus, results indicate greater attentional and sensory processing of instrumental timbres in WS compared with TD individuals. Implications will be discussed for auditory sensitivities and musicality in WS. Speed Poster Session 19: Timber I Hall, 11:00-‐11:40 Singing & Voice A comparison between subjective and objective methods for evaluating the vocal accuracy of a popular song Larrouy-‐Maestri, P. 1, Lévêque, Y.2, Giovanni, A.2, Schön, D.3, & Morsomme, D.1 1Logopédie de la Voix, Cognitive Psychology, University of Liège, Belgium 2Laboratoire Parole et Langage, CNRS and Aix-‐Marseille University, France 3Institut de Neurosciences Cognitives de la Méditerranée, CNRS and Aix-‐Marseille University, France Vocal accuracy of a sung performance can be evaluated by two methods: acoustic analyses and subjective judgments. For one decade, acoustic analyses have been presented as a more reliable solution to evaluate vocal accuracy, avoiding the limitation of experts’ perceptive system and their variability. This paper presents for the first time a direct comparison of these methods. 166 occasional singers were asked to sing the popular song « Happy Birthday ». Acoustic analyses were performed to quantify the pitch interval deviation, the number of contour errors and the number of tonality modulations for each recording. Additionally, eighteen experts in singing voice or music rated the global pitch accuracy of these performances. The results showed a high inter-‐rater concordance within the judges. In addition, a high correlation occurred between acoustic measurements and subjective rating. Their rating was influenced by both tonality modulations and interval deviations. The total model of acoustic analyses explained 81% of the variance of the judges’ scores. This study highlights the congruency between objective and subjective measurements of vocal accuracy when the assessment is done by music or singing voice experts. Our results confirm the relevance of the “pitch interval deviation” criterion in vocal accuracy assessment. Furthermore, the “number of tonality modulations” is a salient criterion in perceptive rating and should be taken into account in studies using acoustic analyses. Pitch Evaluations in Traditional Solo Singing: Comparison of Methods Rytis Ambrazevičius, Robertas Budrys Faculty of the Humanities, Kaunas University of Technology, Lithuania Problems of pitch evaluations from pitch tracks obtained from computer aided acoustical analysis are considered; case of monophonic vocal performance is examined. The importance of limited jnd on the adequate desirable precision of the evaluation is noted. Three methods of pitch evaluations were applied. First, pitches of one Lithuanian traditional vocal solo performance (six melostrophes) were independently evaluated manually from Praat-‐aided logf0 tracks by three subjects. From these data on individual pitches, evaluations of musical scales averaged across the entire performance were also derived. Second, the evaluations of musical scales were repeated based on logf0 histograms compiled from Praat readings. Third, software NoteView for automated pitch extraction and integral evaluation 86 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED was applied. NoteView was chosen since it is considered one of the best programs for this purpose. Evaluations of individual pitches by the three subjects (1st method) differed by 6.5 cents (here and hereafter averaged values are presented). However, for the degrees of musical scale, the difference dropped to 1.6–3.4 cents, depending on the range of sound durations (IOIs) considered. In comparison, the other two methods gave considerably inferior results (deviations from the semi-‐manual evaluations of the musical scale): 6.0–10.0 cents for histograms (2nd method) and 3.9–7.9 cents for NoteView (3rd method). The semi-‐ manual method of pitch evaluation, though time-‐consuming, is still more acceptable than the two automated methods considered; unless precision of 4.0–9.0 cents or worse is sufficient. The reasons (need for subjective decisions, e.g., on target pitch, etc.) are discussed. Musicians' Perception of Melodic Intonation in Performances with and without Vibrato John M. Geringer,* Rebecca B. MacLeod,# Clifford K. Madsen,* Jessica Napoles ^ *College of Music, Florida State University, USA #School of Music, University of North Carolina at Greensboro, USA ^School of Music, University of Utah, USA We compared discrimination of mistuned intervals in unaccompanied melodies performed by trumpet, violin, and voice, and examined whether there were differences between the three timbres in melodies performed with and without vibrato. Participants were 144 university music students. Digital recordings of a professional violinist, vocalist, and trumpet player performing the first four measures of Twinkle, Twinkle Little Star were edited to provide the designated intonation conditions. Listeners heard 18 examples: the three unaccompanied solo performers in two vibrato conditions (with and without vibrato), and three intonation conditions (melodic intervals were in-‐tune, sharp 25 cents, or flat 25 cents relative to equal temperament). In examples with mistuned intervals, scale degrees 2, 5, or 6 were altered. Listeners rated intonation accuracy on a 7-‐point scale. All three stimuli were perceived as more out-‐of-‐tune when there was no vibrato compared to vibrato. Across non-‐ vibrato stimuli, violin was judged as more out-‐of-‐tune than voice and trumpet across all three tuning conditions. Melodies performed with vibrato were judged differently: Violin was judged as least in-‐tune for intervals mistuned in the flat direction, trumpet was heard as least in-‐tune for intervals mistuned sharp, and voice was judged least in-‐tune when intervals were actually in-‐tune (relative to equal temperament). This study provides support for the idea that vibrato helps mask intonation inaccuracies. Differences in perception between timbres may be influenced by performance tendencies of the instruments and characteristics of the vibrato itself such as modulation width, rate, and type. The timbre of the voice as perceived by the singer him-‐/herself Allan Vurma Estonian Academy of Music and Theatre, Estonia This research is aimed at specifying with the help of perception tests how the vocalist perceives the timber of his/her own voice during singing. 15 professional singers as participants sung simple vocal exercises at different pitch ranges. They were asked to fix in their memory the timbre of their voice as it was perceived at singing. These sung excerpts were recorded, and as a next step, seven timbral modifications were created from each recording. The modifications corresponded to different hypotheses about the difference in the voice’s timbre in the vocalist’s own perception compared to the timbre of that voice in the perception of other persons at some distance. Then the modifications were played to the participant whose voice was used for the modifications and he/she had to estimate the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 87 similarity of those stimuli to the perception of his/her own voice that had been encountered during singing. Participants rated as most similar those stimuli that were modified by the filter which frequency characteristic resembled the shape of a trapezoid and at the creation of which were taken into account (1) the transfer function of the diffracting air conduction component form the mouth of the singer to his ear channel, (2) the transfer function of the bone conduction component, and (3) the influence of the stapedius reflex on the sensitivity of his/her hearing system.The frequency characteristics of cochlear microphonics as measured on cats were used as the available approximation about the impact of stapedius reflex on human hearing. Brain rhythm changes during singing voice perception Yohana Lévêque,* Daniele Schön# *Laboratoire Parole et Langage, CNRS & Aix-‐Marseille University, France #Institut de Neuroscience des Systèmes, CNRS & Aix-‐Marseille University, France A set of studies in humans have brought neuroimaging evidence of motor activations during speech listening, suggesting that humans may have an audio-‐visual mirror system matching articulatory sounds and motor representations. The goal of this study was to find out whether such a motor activity may be induced by the perception of a natural singing voice, in contrast with a computer-‐generated melody, and to determine the behavioral consequences of this possible “motor resonance”. Twenty participants were asked to listen to and vocally reproduce synthetic and sung melodies. We recorded both EEG (electroencephalography) and vocal productions. An acoustical analysis enabled us to get the mean vocal pitch accuracy of each participant. Then, we analyzed the evolution of beta-‐motor (20Hz) and mu (10Hz) brain rhythms during vocal production and perception periods, two rhythms that are typically suppressed during motor activity. Our results showed that mu and beta were suppressed during singing, but also during perception of sung melodies, indicating an early sensorimotor activity during listening to voice. No such sensorimotor activity was found for computer-‐generated melodies. This motor activity during sung melody perception – a hallmark of the mirror system, could reflect a mental simulation of the heard singing action, priming the motor areas for subsequent repetition. Finally, we found that motor resonance was inversely proportional to participants’ vocal accuracy. This result suggests that poor singers rely more strongly on biomechanical representations linked to voice production than good singers when encoding the target-‐melody. Effect of Augmented Auditory Feedback on Pitch Production Accuracy in Singing Dustin Wang, Nan Yan, Manwa L. Ng Division of Speech and Hearing Sciences, the University of Hong Kong, Hong Kong The effect of augmented (accompanying) auditory feedback on pitch production accuracy during singing is controversial. Yet, the lack of control of vocal range as well as the different criteria of grouping participants into poor and normal pitch singers might have contributed to the contradictory findings reported in the literature. In the present study, 7 poor pitch singers as well as 11 controls who had no formal training of singing were recruited to perform in both a single-‐note pitch-‐matching task and a song-‐singing task. All participants are native speakers of a tonal language. Absolute and relative pitch accuracy were compared between speaker groups for the two tasks. Acoustic analysis was carried out using PRAAT and the stimuli were generated using a music notation software (MUSESCORE) to better control the tempo of presenting the stimuli and the accompaniment. The objective of the current study is to investigate the effect of augmented auditory feedback on pitch accuracy 88 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED for both poor and good pitch singers and to compare the effect between two types of tasks. Data collection is still in progress, however, available data show that the effect of augmented feedback is positive for the moderately poor pitch singers but not the severely poor ones in the pitch-‐matching task, but its influence on the performance in the song-‐singing task is negative. Vocal tract dimensional characteristics of professional male singers with different singing voice types Nan Yan,* Manwa L. Ng *, Edith K. Chan *, Chengxia Liao# *Speech Science Laboratory, Division of Speech and Hearing Sciences, University of Hong Kong, China; #Vocality Department, Xinghai Conservatory of Music, China The present study examined the possible relationship between classification of professional singing voices and their vocal tract parameters including vocal tract length and volume. A total of 19 tenors, 10 baritones professional singers were participated in the study. Acoustic reflection technology (ART) was used to measure vocal tract length and volume from all participants and six vocal tract dimensions (oral length, pharyngeal length, total vocal tract length, oral volume, pharyngeal volume, and total vocal tract volume) were measured. The results show that no significant difference was found in all vocal tract dimensions between tenors and baritones. Our results failed to demonstrate any vocal tract measure that was specific to a particular classification. This appears to suggest that, in addition to vocal tract length, other factors may also affect singer types and the characteristic voice timbre of a professional singer. Vocal Fold Vibratory Differences in Different Registers of Professional Male Singers with Different Singing Voice Types Nan Yan,* Manwa L. Ng *, Edith K. Chan *, Dongning Wang *, Chengxia Liao# *Speech Science Laboratory, Division of Speech and Hearing Sciences, the University of Hong Kong, China; #Vocality Department, Xinghai Conservatory of Music, China Vocal register is an important concept of singing voices and have been related to vocal fold vibratory characteristics. This study examined the relationship between different singing voice types and the associated vocal fold vibratory characteristics. A total of 19 tenors, 10 baritones professional singers participated in the study. A total of 84 vowel sounds sung in chest, head and falsetto registers at a constant loudness and most comfortable pitch level were analyzed by using electroglottography (EGG). The open quotient (Oq) and fundamental frequency (F0) parameters were extracted and the gradient Oq/log(F0) were determined. Results showed that tenors had significantly higher Oq/log(F0) gradient than baritones in chest and head registers, while no significant difference was found in falsetto register between the baritones and tenors. Moreover, gradient Oq/log(F0) was significantly greater in falsetto register when compared with chest and head registers produced by baritone singers. The present results provide insights to the application of vocal fold vibratory characteristics in voice classification for male singers. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 89 Speed Poster Session 20: Timber II Hall, 11:00-‐11:40 Health & well-‐being Sonic Feedback to Movement – Learned Auditory-‐Proprioceptive Sensory Integration Regev Tamar,*#^ Duff Armin#, Jorda Sergi^ *ELSC -‐ Admond and Lily Safra Center for Brain Sciences, and ICNC -‐ Interdisciplinary Center for Neural Computation, The Hebrew University of Jerusalem, Israel; #SPECS -‐ Synthetic Perceptive Emotive and Cognitive Systems; ^MTG -‐ Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain Multisensory integration recently gained attention in a variety of disciplines, from cognitive psychology to neuroscience. We present an experimental study of auditory–proprioceptive sensory coupling by sonic feedback to movement, using advances interface technology for the experimental design and measurement. Our objective is to investigate sound-‐body perceptual interaction and suggest possible application for physical therapy. Sound is synthesized in real-‐time according to movement parameters captured by a wireless sensor attached to the arm. Specifically, the angle of arm elevation is dynamically translated to auditory pitch, forming a new perception-‐action cycle. Our general hypothesis is that after a short learning period, subjects develop ‘auditory proprioception’, such that auditory information affects proprioceptive performance. We operationalize our hypothesis using a motor reaching task, in which subjects lift their arm towards a target point. Continuous sonification of arm elevation angle is presented, or not (control condition), during movement trajectory. First, we show that after a short learning period with a fixed angle-‐to-‐pitch mapping, sonic feedback improves accuracy in the motor task, compared to no-‐feedback. Second, we distort the learned mapping without informing participants. Mean hand positions are significantly affected by the mapping manipulation, while most subjects do not report awareness of it. In conclusion, we show that sonic feedback of auditory pitch can be integrated efficiently into body perception. Distorting the learned movement-‐to-‐sound mapping results in a complex auditory-‐somatic competition. We propose that such distortions could be applied to amplify the range of movement in motor neuro-‐rehabilitation. Music use patterns and coping strategies as predictors of student anxiety levels Zhiwen Gao, Nikki Rickard Monash University, Australia University students are large consumers of music products, and are also under high anxiety levels due to a range of stressors (e.g. examination and assignments). Music listening is often claimed to be a useful method of emotion and mood regulation. The aim of this study was to explore the relationships between music listening habits, music-‐related coping strategies and anxiety levels in university level students. The potential moderators of emotion regulation capacity and self-‐efficacy were also explored, and general coping capacity was taken into account. An online survey obtained information from 193 participants (49 males and 144 females; mean age=21.25, SD=5.65). This sample was found to be quite anxious, with half the sample reporting severe anxiety levels. The majority (94.3%) indicated that they like listening to music when stressed or anxious, with most listening to it via a portable device (78.2%) and in the background (54.4%). A brief period of music listening (less than 30mins) was sufficient for the majority of the sample (74.1%) to feel less stressed. The most commonly used coping strategies involving music were for ‘emotion/cognitive self-‐ 90 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED regulation’ and ‘active/strategic self-‐regulation). Finally, when coping strategies and age were controlled, music coping was still a significant predictor of anxiety levels in this sample. However, the prediction was positive indicating that students experiencing higher anxiety levels also used music more to cope than did students with lower anxiety levels. These findings suggest that students who are unable to manage their anxiety with general coping strategies may find some outlet via music listening. Schizotypal Influences on Musical Imagery Experience Michael Wammes, Daniel Müllensiefen, Victoria Williamson Goldsmiths, University of London, UK There are currently few research studies that explore the nature of musical imagery in the minds of individuals of different and unique mental health populations. While there have been interview-‐based studies into the nature of musical imagery in non-‐clinical populations, little is known about how the quality of the musical imagery varies across individuals within clinical populations. The goal of this research is to better understand how individuals suffering from schizotypal illnesses and other forms of psychosis experience musical imagery, and to compare their musical imagery to the experience of auditory hallucinations. This study utilizes both interviews and quantitative measures in order to test hypotheses that these two phenomena are experientially similar for this population. In the first study, participants were asked to complete a questionnaire to assess the extent to which they experience musical imagery, as well as some qualities of that imagery (The Musical Imagery Questionnaire; MIQ), and the brief version of the Schizotypal Personality Questionnaire (SPQ-‐B). A revised version of the MIQ containing new items designed to assess musical hallucinations and unconscious phenomena was used. In the second study, semi-‐structured interviews were conducted with eight of the participants to conceptualise the phenomenology of the experiences from a personal perspective. Results showed partial support for the hypothesis. In the first experiment, correlations revealed that individuals who scored higher on the SPQ-‐B also tended to find their musical imagery more persistent and distracting, more worrisome, and more frequent. They also were more likely to score high on the hallucination items, and the extent to which they perceived their musical imagery to be out of their conscious control. Participants who scored high on the SPQ also reported that their musical imagery was less pleasant, consistent with their experiences of auditory hallucinations. Qualitative data gathered from the interviews supported these findings. Data from both experiments partially support the hypothesis that individuals suffering from hallucinations and psychosis experience musical imagery in a similar way to the positive symptoms of their illness (namely auditory hallucination), and were often incapable of distinguishing between the two. Music aids gait rehabilitation in Parkinson’s disease Charles-‐Etienne Benoit, Nicolas Farrugia, Sonja Kotz, Simone Dalla Bella Department of Cognitive Psychology, University of Finance and Management, Warsaw, Poland The presentation of temporally regular auditory stimuli as a cue to facilitate movement execution is a widespread tool in the gait rehabilitation of Parkinson's Disease (PD). This disorder is characterized by the malfunctioning of basal ganglia – cortical brain circuitry, leading to a failure to automatically maintain an appropriate amplitude and timing of sequential movements. Synchronizing steps with a temporally predictable stimulus (i.e., a metronome presented alone or embedded in a musical stimulus) has shown to improve gait kinematics in this patient population (with increased walking speed and reduced variability). The effects of auditory cueing are highly beneficial for the patients' mobility thereby enhancing their quality of life. Surprisingly, in spite of a great deal of clinical evidence on the benefits of auditory cueing, little is known about changes in brain plasticity underlying this 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 91 form of training. Here we summarize clinical and brain imaging evidence on the effects of auditory cueing on gait in patients with PD. Moreover, we propose that cueing effects are likely mediated by the activation of a general-‐purpose neuronal network involved in the synchronization of motor movement to temporally regular external stimuli (i.e., auditory-‐ motor coupling). This neural mechanisms, unaffected in PD, should facilitate movement execution. Cerebellar projections stimulate motor areas facilitating gait initiation and continuation when inducing externally generated movement. Extensive stimulation via auditory cueing is likely to foster brain plasticity in particularly at the level of the brain circuitry underpinning sensorimotor coupling (increasing connectivity in areas devoted to sensorimotor integration), thus supporting improvements positively affecting gait kinematics in PD. In addition, as mechanisms underlying auditory-‐motor coupling are likely to be domain general, the effects of auditory cueing may extend to other functions, such as regulation of fine motor movements or speech. Discrimination of slow rhythms mimics beat perception impairments observed in Parkinson’s disease Devin McAuley, Benjamin Syzek, Karli Nave, Benjamin Mastay, & Jonathan Walters Department of Psychology, Michigan State University, USA Research has demonstrated that rhythm discrimination shows a beat-‐based advantage (BBA) whereby simple rhythms with a beat are better discriminated than complex rhythms without a beat. Recently, Grahn & Brett (2009) showed that individuals with Parkinson Disease (PD) do not show a BBA. The present investigated rhythm discrimination using simple and complex rhythms that were presented at either the original tempo investigated by Grahn & Brett (2009) or at a slower tempo. We expected to replicate the BBA for the original tempo and to reduce or possibly eliminate the BBA at the slower tempo. Two experiments were conducted. On each trial, participants heard two successive presentations of a standard rhythm followed by a third presentation of the same rhythm or a slightly changed rhythm. Participants judged whether the third rhythm was the same or different than the standard. In both experiments, participants showed a reliable BBA. The magnitude of the BBA, however, was larger for rhythms marked by empty intervals (Experiment 1) than by filled intervals (Experiment 2). Slowing down the rhythms reduced discrimination performance. This reduction was greater for simple rhythms than for complex rhythms, thereby eliminating the BBA. Notably, the pattern of performance for the slowed rhythms was strikingly similar to the pattern previously observed for individuals with PD. Random delay boosts musical fine motor recovery after stroke van Vugt F. T.*, Kuhn W.*, Rollnik J. D.#, Altenmüller E.* *Institute of Music Physiology and Musicians' Medicine, University of Music, Drama and Media, Hannover, Germany; #BDH-‐Klinik, Hessisch Oldendorf, Germany Motor impairments are among the most common and most disabling results of stroke worldwide. Previous studies have revealed that learning to play the piano helps to improve motor function of these patients. It has been hypothesised that the effectiveness of this therapy relies on the fact that the patient's brain receives a time-‐locked auditory feedback (a musical tone) with each movement (keystroke). To test this hypothesis, 15 patients in early stroke rehabilitation with no previous musical background learned to play simple finger exercises and familiar children's songs on the piano. The participants were assigned to one of two groups: in the normal group, the keyboard emitted a tone immediately at keystroke, in the delay group, the tone was delayed by a random time interval between 100 and 600ms. To assess recovery, we performed standard clinical tests such as the nine-‐hole-‐pegboard test 92 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED and index finger tapping speed and regularity. Surprisingly, patients in the delay group improved strikingly in the nine-‐hole-‐pegboard test, whereas patients in the normal group did not. In finger tapping rate and regularity both groups showed similar marked improvements. The normal group showed reduced depression whereas the delay group did not. We conclude that, contrary to expectations, music therapy on a randomly delayed keyboard can significantly boost motor recovery after stroke. We hypothesise that the patients in the delayed feedback group implicitly learn to be independent of the auditory feedback and therefore outperform those in the normal condition. Proposal for Treatment of Focal Dystonia in a Guitar Player: A Case Study Rita de Cássia dos Reis Moura,* Graziela Bortz,# Patrícia Aguiar* *Department of Neurology, Federal University of São Paulo (Unifesp), Brazil #Music Department, State University of São Paulo (Unesp), Brazil Focal dystonia in musicians is classified as a task-‐specific movement disorder. It presents itself as a loss of voluntary motor control in extensively trained movements while musicians play the instrument. When such a disorder occurs in a professional life of a musician, it frequently leads to a definite interruption of his or her career after several frustrated attempts to recover. This paper presents a follow up of an individualized treatment and the evolution of focal dystonia in a diagnosed guitarist after three and six months of treatment. Instrumental practice conditions were registered before, during and after sessions of treatment. During the first phase, three techniques were applied: a) desensitization: rest, relaxation, and consciousness of muscular tension; b) sensory retraining: specific, repetitive, goal-‐oriented sensory activities; c) acupuncture: relaxation and balance of muscular tension. In the second phase, retraining was prioritized through: a) motor reprogramming/motor control; b) ergonomic adaptations: modifications of movements and instrument; c) use of ortheses: splints and gloves for restricting unwanted movements. At the last phase, easy technical methods were used in order to exercise arpeggios, scales, and, lately, chords with two or three notes. The follow up of the last six months shows decrease of trembling and improvement of muscular relaxation, and acquisition of good postural consciousness during guitar practice. A better perception of muscular tension was observed. It was possible to verify direct emotional interferences impairing instrumental practice. The treatment proposed here, built on multiple strategies, carried off positive and varied results after six months of treatment. The Reflexion of Psychiatric Semiology on Musical Improvisation: A case study of a patient diagnosed with Obsessive Compulsive Disorder Xanthoula Dakovanou,* Christina Anagnostopoulou,# Angeliki Triantafyllaki# *Ecole Doctorale de Recherches en Psychanalyse., University Paris VII, France #Department of Music Studies, University of Athens, Greece Several studies associate musical features with specific aspects of a patient's emotional states. Less work is carried out however in the association between musical discourse and structure, and the patient’s psychiatric signs and symptoms. This study aims to investigate the potential reflection of psychiatric semiology and symptomatology of a patient diagnosed with Obsessive Compulsive Disorder (OCD) onto her musical improvisation. We describe the case study of a 41-‐year old female patient diagnosed with OCD and also presenting other related psychotic symptoms. The patient had three interactive music sessions with the MIROR -‐ Impro prototype system, a machine learning based system which interacts with the user on improvisations, responding by using and rephrasing his/her own musical material and thus creating a musical dialogue. Data collection involved two clinical interviews with 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 93 the patient, access to her medical file, recording of musical sessions in order to analyse the musical improvisations and video recording to observe the patient's related behaviour. We compare findings from the music analysis of the improvisations, the corresponding behaviour, and the clinical data we obtained and analysed, using an analytical music therapy reflection. Our results show that aspects of the patient's pathology can be associated with musical attributes and structures found in the improvisations. In particular, the patient's logorrhea observed in the interviews is translated into non-‐stop playing, impulsivity becomes intensive playing, the fast tempo reflects anxiety, repeated musical clusters reflect fixation on ideas, and other musical features are related to aspects of the patient's mood. Speed Poster Session 21: Grand Pietra Hall, 11:40-‐12:10 Cognitive modeling & representation Evaluation of perceptual music features Anders Friberg, Anton Hedblad, Marco Fabiani KTH Royal Institute of Technology, Sweden The musical building blocks (here features) as perceived while listening is often assumed to be the notes and the well-‐known abstractions such as grouping, meter and harmony. However, is that really what we hear when we briefly listen to a new song on the radio? We can then perceive e.g. the genre and emotional expression just from the first few seconds. From an ecological viewpoint one can argue that features like distance, direction, speed, energy are important (see other abstract). From emotion research a number of qualitative features relating to general music theory aspects has been identified. These are e.g. rhythmic and harmonic complexity measured on a gradual scale ranging from simple to complex. From a computational viewpoint a large number of features ranging from low-‐level spectral properties to high-‐level aspects has been used within research in music information retrieval. The aim of the current study is to look at music perception from a number of different viewpoints, identify a subset of relevant features, evaluate these features in listening tests, and predict them from available computational audio features. A small set of nine features was selected. They were Speed, Rhythmic clarity, Rhythmic complexity, Articulation, Dynamics, Modality, Overall pitch, Harmonic complexity, and Brightness. All the features were rated on Likert scales in two listening experiments. In experiment one (N=20) the music examples consisted of 100 polyphonic ringtones generated from MIDI files. In this experiment they also rated Energy and Valence. In experiment two (N=21) the music examples were 110 film clips previously used in an emotion study (Eerola and Vuoskoski, 2010), thus, with available data regarding emotional ratings. In addition, all the perceptual features were modeled with audio features extracted by existing software such as the MIRToolbox. The agreement among the listeners varied depending on the feature as expected. While Speed had a large agreement, Harmonic complexity showed a rather modest agreement indicating a more difficult task. The feature inter-‐correlations were in general modest indicating an independent rating of all the features. The emotion ratings could be well predicted by the rated features using linear regression. In the first experiment the energy rating was predicted with an adj. R2 = 0.93 and the valence rating with an adj. R2 = 0.87. Many of the features could be predicted from audio features rather well with adj R2 up to approx. 0.80. The results were surprisingly consistent and indicate that rated perceptual features can indeed be used as an alternative to traditional features in music information retrieval tasks such as the prediction of emotional expression. 94 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Stability and Variation in Cadence Formulas in Oral and Semi-‐Oral Chant Traditions -‐ a Computational Approach Dániel Péter Biró1, Peter Van Kranenburg2, Steven Ness3, George Tzanetakis3, Anja Volk4 1University of Victoria, School of Music, 2Meertens Institute, Amsterdam, 3University of Victoria, Department of Information and Computing Sciences, 4Utrecht University This paper deals with current computational research into melodic stability and variation in cadences as they occur in oral and semi-‐oral traditions. A main aspect of recent computational investigations has been to explore the ways in which melodic contour defines melodic identities (Ness et al., 2010; Van Kranenburg et al., 2011). Creating a new framework for melodic transcription, we have quantized and compared cadences found in recorded examples of Torah trope, strophic melodies from the Dutch folk song collection Onder de groene linde and Qur’an recitation. Working within this new transcription framework, we have developed computational methods to analyze similarity and variation in melodic formulas in cadences as they occur in recorded examples of the before-‐mentioned oral and semi-‐oral traditions. Investigating stability and variation using histogram–based scales, melodic contours, and melodic outlines derived from recorded examples, we interpret our findings with regard to structural processes of oral transmission in these chant types. Through this research we hope to achieve a better sense of the relationship between melodic gesture and melodic formulae within these chant practices and possibly a new understanding of the relationship between improvisation and notation–based chant in and amongst these divergent oral and semi-‐oral chant traditions. Modeling Response Times in Tonal Priming Experiments Tom Collins,* Barbara Tillmann,# Charles Delbé,# Frederick S. Barrett,* Petr Janata* *Janata Lab, Center for Mind and Brain, University of California, Davis, USA #Universite de Lyon, and Centre National de la Recherche Scientifique, France In tonal priming experiments, participants make speeded judgments about target events in short excerpts of music, such as indicating whether a final target tone or chord is mistuned. By manipulating the tonal function of target events, it is possible to investigate how easily targets are processed and integrated into the tonal context. We investigate the psychological relevance of attributes of processed audio signals, by relating those attributes to response times for over three hundred tonal priming stimuli, gathered from seven reported experiments. To address whether adding a long-‐term, “cognitive,” representation of tonal hierarchy improves the ability to model response times, Leman’s “sensory” periodicity pitch (PP) model is compared with a “cognitive” model (projection of PP output to a tonal space (TS) representing learned knowledge about tonal hierarchies), which incorporates pitch probability distributions and key distance relationships. Results revealed that variables calculated from the TS model contributed more to explaining variation in response times than variables from PP, suggesting that a cognitive model of tonal hierarchy leads to an improvement over a purely sensory model. According to stepwise selection, however, a combination of sensory and cognitive attributes accounts better for response times than either variable category in isolation. Despite the relative success of the TS representation, not all response time trends were simulated adequately. The addition of attributes based on transition probabilities may lead to further improvements. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 95 Optimising short tests of beat perception and melodic memory Jason Musil*, Bruno Gingras#, Lauren Stewart*, Daniel Müllensiefen* *Department of Psychology, Goldsmiths, University of London, United Kingdom #Department of Cognitive Biology, University of Vienna, Austria Traditional tests of musical ability or achievement tend to assess performance-‐related aptitude and aural skills, often related to achievements and objectives defined by Western art music teaching/training curricula. Their use may cause underestimation of individual differences in musical cognition enhanced by musical engagement other than formal musical training. We aimed to create and optimise two short tests of fundamental musical skills to assess individual differences in non-‐specialist populations. We adapted Iversen and Patel's (2008) measure of beat perception (BAT), which is assumed to have little bias towards any musical style. The second task is a test of memory for unfamiliar melodies, which is only partially affected by formal musical training and can therefore measure both skill level arising from musical training and musical memory not affected by formal musical training. 162 participants identified whether 18 fifteen-‐ second musical clips (representing rock, jazz or pop/orchestral styles) were in time with overlaid beep tracks or slightly off. Beeps deviated either by phase or tempo and extracts had duple or triple meters. For the melodic memory task, participants listened to melody pairs, judging whether or not the second, transposed, version was melodically identical to the first. Variants differed by changes in interval structure, contour, and/or tonal variations. Test data were modelled using an Item Response Theory approach to identify item subsets with desired psychometric properties. BAT performance was high (proportion correct M=0.91, SD=0.11). Difficulty increased with triple meter and phase shifts, with a significant interaction (all p<.001). Response data were fitted to a one-‐parameter Rasch model relating item difficulty to person ability, and an optimal subset of items was identified. Melodic memory performance was also high (proportion correct M=0.71, SD=0.45), with differences significantly easier to detect when violating tonality (p<.001) and showing no main effect of contour (p=.115). Performance was best for contour plus tonality violations, and worst for contour without tonality violation (p<.001). Rasch modelling again identified an optimal stimulus subset. The influence of temporal regularities on the implicit learning of pitch structures Tatiana Selchenkova,*,# Mari Riess Jones *, Barbara Tillmann*,# *CNRS, UMR5292; INSERM, U1028; Lyon Neuroscience Research Center, Auditory Cognition and Psychoacoustics Team, Lyon, France; #University Lyon 1, Villeurbanne, France Implicit learning (IL) is the acquisition of complex information without intention to learn. The Dynamic Attending Theory proposed by Jones postulates internal oscillations that synchronize with external regularities, helping to guide attention to events and to develop expectations about future events. Our first study investigated how temporal expectations influence the development of perceptual expectations in tone sequences created by an artificial pitch grammar. In this behavioral study, two groups of participants were respectively exposed to an artificial pitch grammar presented with either a regular or irregular rhythm. Results showed that the artificial grammar was learned entirely when presented regularly, but only partially when presented irregularly. These findings suggest that regular rhythms help listeners develop perceptual expectations about future tones, thereby facilitating their learning of an artificial pitch grammar. A second study, which combines behavioral and electrophysiological methods, is currently under progress; it aims to ascertain which type of temporal presentation, strongly metrical or isochronous, leads to better IL of tone structures. 96 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED The effect of musical expertise on the representation of space Silvia Cucchi*, , Carlotta Lega*, #,, Zaira Cattaneo#, , Tomaso Vecchi*, * Cognition Psychology Neuroscience Lab, University of Pavia, Italy #Department of Psychology, University of Milano-‐Bicocca, Italy Il Musicatorio, Torino, Italy Brain Connectivity Center, IRCCS Mondino, Pavia, Italy Spatial abilities play an important role in the way we comprehend and process musical stimuli. It is thus not surprising that musical expertise affects the way musicians represent peripersonal space, as for instance suggested by the existence of a SPARC effect (Spatial Pitch Association Response codes; also referred as SMARC, Spatial Musical Association Response Codes). Interestingly, previous studies demonstrated that musicians have a more accurate performance in visual bisection tasks, and even show a small but consistent rightward bias (whereas non musicians usually show a leftward bias, reflecting the so-‐called “pseudoneglect”). Our study aims to investigate whether differences in the way space is represented in musicians extend also to non visual modalities. To this purpose, we compared a group of musicians and non musicians in a haptic bisection task, with rods to be bisected presented either horizontally and radially. Results indicate that musicians show indeed a different directional bias compared to non musicians in both the horizontal and radial plane. Moreover, there is evidence that bisection performance can be affected by the simultaneous presentation of cues that activate a spatial representation (for instance, numbers of different magnitude). Accordingly, in our study we also investigated whether pitch perception influences the representation of space. We found that musicians (but not non musicians’) bisection performance is significantly affected by the simultaneous listening of notes. Overall, our findings suggest that musical tones are spatially represented in musicians, and that musical spatial representation can interfere with a spatial perception task. Speed Poster Session 22: Crystal Hall, 11:40-‐12:10 Musical development & education II Sibling influences on musical development Franziska Olbertz University of Osnabrück, Germany Psychological research shows increasing interest in early social experiences among siblings; however very little is known about sibling relations’ effects on musical development. Thus the aims of the study are to precisely describe typical sibling influences in the field of music and to discover interacting environmental variables. 63 music students completed an open-‐ ended questionnaire about their memories of musical influences by siblings during childhood and adolescence. 394 statements were classified in 30 content categories generated by qualitative content analysis. Categories were assigned to four higher categories of relation context. Basic quantitative analyses suggest that musical sibling influences depend on period of life (childhood or adolescence), age difference and sex of respondents and siblings (p<.04). Sibling influences in the field of music are multifaceted. Whereas some respondents, for instance, started to play an instrument in order to become part of a music making sibling group, others preferred their music style to differ from a sibling. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 97 The Impact of Focused Instruction on Kindergarteners’ Singing Accuracy Bryan E. Nichols, Steven M. Demorest Music Education, University of Washington, USA The purpose of the study was to determine the effect of singing skills instruction on kindergarten children’s singing accuracy. Prior to instruction, all students (age 5-‐6 yrs) were recorded in a singing accuracy assessment that included pitch matching and song-‐singing tasks. Families of participating students completed a background questionnaire regarding student music participation, music in the home, and the expressed importance of music in home life. The treatment group (n= 41) is drawn from three different classes receiving 20 minutes per day of group music instruction with particular attention to the development of the singing voice in terms of tone, register and accuracy. The control group (n=38) comes from three different classes that receive no singing instruction in school. Following six months of instruction, post-‐test measurements were administered using the same form as in the pre-‐test. Pretest results indicate no significant differences between the experimental and control classes no difference in scores between boys and girls. For the three pitch matching tasks, students scored significantly higher on the interval tasks followed by pattern tasks followed by the single-‐pitch tasks. For the posttest, all groups showed significant improvement on the pitch matching tasks but no improvement on the song-‐singing task. The experimental group showed greater improvement, but the difference was not significant. There was a moderate but significant correlation (r=0.41) between total pitch matching scores and song-‐singing scores. Results will be discussed in terms of the role of instruction and approaches to measurement in singing accuracy research. Children’s Spontaneous Behaviors as Strategies for Meaningful Engagement Lori Custodero, Claudia Cali Teachers College Columbia University The function of music for young children is multi-‐faceted. It has been linked to communication and self-‐regulation in clinical studies of musical parenting involving infants. Once children become mobile and verbal, research tends to focus on musical skill exhibited in environments structured by adults for children such as the classroom, home, or playground. Perceiving children’s musical culture as different from that of adults, we seek to understand children’s spontaneous music-‐making in everyday life as exhibited in public spaces, specifically in the subway system in New York City. The current study is based on similar research (Custodero, 2006) which found a pervasiveness of movement; invented vocal material, most often in a solitary context; and a complex array of adult-‐child interactions. Specific aims were to document, interpret, and analyze a) children’s musical behaviors: broadly interpreted as singing, moving themselves rhythmically or expressively, or similarly moving objects as instruments; b) environmental, circumstantial, and personal characteristics that may influence these behaviors; and c) possible developmental functions of musical behaviors in public spaces. Data has been collected on 3 trains that run the length of Manhattan, on 3 specific Sundays over a period of 1 month. A team of 12 people travelled in pairs, 2 pair in 2 different cars on each line, for one round trip per day. Each team member filled out the Spontaneous Music Observational Protocol for each musical episode observed, and reported conditions in the train car at each stop before which no music making was observed. Duration, gender and estimated age of child, social context, sonic and social environmental triggers, musical material, type/s of behavior, possible developmental function, and more detailed description have been recorded. Interpretation was completed within 24 hours of documentation. Starting with paired descriptions and interpretations of same events, all team members reviewed all episodes to insure consensus. Specific focus on the categorization of musical behaviors and their functions for the child included comparison with findings of the pilot study concerning the role of movement, of singing as accompaniment, differences between episodes with social and solitary engagement. The study of children’s music making in an everyday context provides implications for resourcing educative environments, and brings about further questions about the relationship of listening to children and pedagogical practice. 98 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Para-‐language songs as alternative musical stimuli for devices and playthings to enhance caregiver interaction with babies and toddlers Idit Sulkin, Warren Brodsky Music Science Lab, Department of the Arts, Ben-‐Gurion University of the Negev, Israel The study explored the concurrent validity of Para-‐language versus other commercial available musical stimuli employed by parents of babies and toddlers. Although Musical communications and interactions are important to child development, modern day technology and the popularity of concepts such as the “Mozart Effect” have caused social modifications of musical engagement for parents and children, meaning in many cases music-‐based electronic devices are used to replace human musical interactions. In this study we developed an alternative musical stimuli based on pre-‐language sounds for live caregiver interactions, as well as for devices and playthings that can engage babies and toddlers more appropriately. Para-‐language songs are patterned on two factors: the use of syllables and consonants deemed as the initial utterances of children’s first verbal expressions; and the natural universal character of children’s songs. Three studies were conducted. In Study 1, parents of babies/toddlers in waiting rooms of Child Centers completed a Parents Preference Questionnaire (PPQ) after listening to different genres of musical stimuli – classical themes, popular folk tunes, and Para-‐language songs; In Study 2, parents under went the same procedure as Study 1 but within their own home setting; In Study 3, mothers completed PPQ subsequent to participation in group encounter that encouraged interactive caregiver-‐baby movement sequences as accompaniment to background music. The Para-‐language songs received higher/similar scores as did the more commercially available stimuli popular among parents, media, and products. Hence it can be concluded that parents are open to engage devices and playthings, which employ alternative musical genres. Precursors of Dancing and Singing to Music in Three-‐ to Four-‐Months-‐Old Infants Shinya Fujii,1, 2, 3 Hama Watanabe,2 Hiroki Oohashi,2 Masaya Hirashima,2 Daichi Nozaki, 2 Gentaro Taga2 1Department of Neurology, Beth Israel Deaconess Medical Center and Harvard Medical School, USA; 2Graduate School of Education, The University of Tokyo, Japan; 3Research Fellow of Japan Society for the Promotion of Science, Japan Dancing and singing involve auditory-‐motor coordination and have been essential to our human culture since ancient times, yet its developmental manifestation has not been fully explored. We aimed to examine whether three-‐ to four-‐months-‐old infants are able to synchronize movements of their limbs to musical beat and/or produce altered vocalizations in response to music. In the silent condition, there was no auditory stimulus, whereas in the music condition, one of two pop songs was played: “Everybody” by Backstreet Boys and/or “Go Trippy” by WANICO feat. Jake Smith. Limb movements and vocalizations of the infants in the spine position were recorded by a 3D motion capture system and the microphone of a digital video camera. First, we found a striking increase in the amount of limb movements and their significant phase synchronization to the musical beat in one individual. As a group, however, there was no significant increase in the amount of limb movements during the music compared to the silent condition. Second, we found a clear increase in the formant variability of vocalizations during the music compared to the silent condition in the group. The results suggest that our brains are already primed with our bodies to interact with music at these months of age via limb movements and vocalizations. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 99 Speed Poster Session 23: Dock Six Hall, 11:40-‐12:10 Rhythm & synchronization Tap-‐It: An iOS App for Sensori-‐Motor Synchronization Experiments Hyung-‐Suk Kim, Blair Kaneshiro, Jonathan Berger Center for Computer Research in Music and Acoustics, Stanford University, Stanford, CA, U.S.A. This paper describes Tap-‐It, an iOS application for sensori-‐motor synchronization (SMS) experiments. Tap-‐It plays an audio file while simultaneously collecting time-‐locked tapped responses to the audio. The main features of Tap-‐It compared to desktop-‐based SMS apparatuses are mobility, high-‐precision timing, a touchscreen interface, and online distribution. Tap-‐It records both the time stamp of the tap time from the touchscreen, as well as the sound of the tapping, recorded from the microphone of the device. We provide an overview of the use of the application, from setting up an experiment to collecting and analyzing the output data. We analyze the latencies of both types of output data and assess the errors of each. We also discuss implications of the application for mobile devices. The application is available free of charge through the Apple App Store, and the source code is also readily available. Anti-‐phase synchronisation: Does ‘error correction’ really occur? Jacques Launay, Roger T. Dean, Freya Bailes MARCS Institute, University of Western Sydney, Australia There is a large body of evidence relating to the ways that people synchronise with sounds, and perform error correction in order to do this. However, anti-‐phase movement is less well investigated than in-‐phase. While it has previously been suggested that error correction while moving in anti-‐phase may have similar mechanisms to moving in-‐phase, and may simply be a case of shifting the response by a regular period, there is some evidence that suggests there could be more substantial differences in the way that people engage in antiphase movement. In particular, it is known that antiphase synchronisation tends to become difficult, and break down, at a different stimulus interonset interval (IOI) from in-‐phase synchronisation. The current study uses an anisochronic stimulus sequence to look at people’s capacity to error correct when performing anti-‐phase synchronisation with a set of sounds. Participants were instructed to ‘tap between the tones’ but ‘try to maintain regularity’. Although these potentially contradictory instructions did not advise participants to perform any error correction on the basis of deviation in the stimuli, results initially suggest that participants did perform error correction, tapping with shortened intervals following a shorter stimulus interval, and lengthened intervals following a longer stimulus interval. However, using cross-‐sectional time series analysis it was possible to look at tapping data over a number of participants to demonstrate that the relationship between stimulus and response was not such a simple one, and that the ‘error correction’ response would be better explained by participants trying to maintain a regular asynchrony with the stimulus. Modelling confirmed that this strategy could better explain the data than error correction performed in a manner more similar to that of in-‐phase tapping. The idea that antiphase synchronisation is performed by attempting to maintain a regular asynchrony of half the stimulus IOI is in keeping with findings that antiphase synchronisation becomes difficult at around double the stimulus IOI that becomes difficult for in-‐phase synchronisation, and suggests that anti-‐phase movement might not share the same error correction mechanisms as in-‐phase movement. This may have more general implications for the way we understand temporal cognition, and contributes towards debates regarding ‘clock’ and ‘oscillator’ models of timing. 100 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED The Subjective Difficulty of Tapping to a Slow Beat Rasmus Bååth,* Guy Madison,# *Lund university Cognitive Science, Lund University, Sweden #Department of Psychology., Umeå university, Sweden The current study investigates the slower limit of rhythm perception and participants subjective difficulty when tapping to a slow beat. Thirty participants were asked to tap to metronome beats ranging in tempo from 600 ms to 3000 ms between each beat. After each tapping trial the participants rated the difficulty of keeping the beat on a seven point scale ranging from "very easy" to "very difficult". The participants generally used the whole rating scale and as expected there was a strong significant correlation between the inter onset interval (IOI) of the beats and rated difficulty (r=.89). The steepest increases in rated difficulty was between IOIs 1200 to 1800 ms (M=1.6) and 1800 to 2400 ms (M=1.2) and these were significantly larger than the increases between IOIs 600 to 1200 ms (M=.5) and 2400 to 3000 ms (M=0.9). This is in line with earlier reports on where tapping starts to feel difficult and supports the hypothesis that there is a qualitative difference between tapping to fast (IOI < 1200 ms) and slow (IOI > 2400) tempi. A mixed model analysis showed that tempo, tapping error and percentage of reactive responses all affected the participants rating of difficulty. Of these, tempo was by far the most influential factor, still participants were, to some degree, sensitive to their own tapping errors which then influenced their subsequent difficulty rating. Musicians and Non-‐musicians Adapting to Tempo Differences in Cooperative Tapping Tasks Neta Spiro,* Tommi Himberg# *Nordoff Robbins Music Therapy Centre, London, UK; #Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland A number of factors, including musical training, affect our entrainment to the musical pulse and to each other. Personality traits seem to correlate with some musical behaviours but it is not known whether this extends to entrainment. We investigate these effects in tapping tasks where people entrain or resist entrainment, and observe the patterns of interaction, and investigate whether these patterns or the tendency to entrain depend on musical training or personality traits of the participants. 74 musicians and non-‐musicians were finger-‐tapping in pairs under 3 conditions; solo, duet in the same tempo, and duet in different tempi. Participants completed questionnaires about their musical experience, the Big Five Inventory and the Interpersonal Reactivity Index. In duet tasks, entraining with the partner was often a yes-‐no question: the pair either locked in sync or stayed apart. Participants did not entrain in all same tempo trials, but often did so even in trials with maximum tempo difference (33 BPM). In general, participants kept their own tempo better in the solo trials than in the duet trials. Musicians were found to be more self-‐consistent than non-‐musicians. No clear effects of personality were found, even though in the second half of the study participants were paired together based on their personality scores. There was a considerable variability in performance across participants and even for the same pair across different conditions. This novel method of studying interpersonal interaction revealed a variety of strategies to cope with the "chaos". It is hoped that further analyses of these strategies and their links with psychological background factors will shed more light on social and communicative aspects of music performance. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 101 Difference in synchrony judgment accuracy of two pulses depending on musical experiences and its relation to the cochlear delays Eriko Aiba,* Koji Kazai,* Toshie Matsui,# Minoru Tsuzaki,+ Noriko Nagata* *Dept. of Human System Interaction, Kwansei Gakuin University, Japan; #Dept. of Otorhinolaryngology -‐ Head and neck surgery, Nara Medical University, Japan; +Faculty of Music, Kyoto City University of Arts, Japan Synchrony judgment is one of the most important abilities for musicians because just a few milliseconds of onset asynchrony can result in a significant difference in musical expression. However, even if all of the components physically begin exactly simultaneously, their temporal relation might not be preserved at the cochlear level. The purpose of this study is to investigate whether the cochlear delay significantly affects the synchrony judgment accuracy and whether there are any differences in its effects depending on musical experiences. A psychoacoustical experiment was performed to measure the synchrony judgment accuracy for professional musicians and non-‐musicians. Two types of chirps and a pulse were used as experimental stimuli to control an amount of the cochlear delay. The compensated delay chirp instantaneously increased its frequency to cancel out the cochlear delay. The enhanced delay chirp had the reversed temporal relation of the compensatory delay chirp. In addition, a pulse without delay was used. The experimental task was to detect a synchronous pair in the 2I2AFC procedure. As a result, synchrony judgment accuracy was significantly higher in case of professional musicians than that of non-‐musicians. For professional musicians, there are significant differences among all three types of sounds. However, for non-‐musicians, there was no significant difference between compensated chirps and enhanced chirps. This result suggests that the auditory system of professional musicians is more sensitive to the change of temporal relation on frequency components such as cochlear delay than that of non-‐musicians. Speed Poster Session 24: Timber I Hall, 11:40-‐12:10 Instruments & Motion A Motion Analysis Method for emotional performance on the snare drums Masanobu Miura,* Yuki Mito#, and Hiroshi Kawakami# * Dept. of Media Informatics, Ryukoku University, Japan; # Dept. of Music, Nihon University, Japan This study proposes a method for averaging several motions in order to analyze and synthesizing motions of musical performance. The averaged motion is expected to be useful for obtaining the feature of specified motions by just observing visually. Targeted motion here is the snare drum performance with emotion. This method is named "Motion-‐ Averaging-‐Method (MAM)". Motion data are recorded by a motion capture system for performances by trained percussionists expressing each of five basic emotions or non-‐ emotion. Recorded motion data have some deviations due to the variability of position and/or angle of each player when recording. Thus, the proposed method adjusts position and angle of the player in each recorded motion. Adjusts motion data are expanded or contracted based on impact time of drumstick obtained from acoustic waveform of recorded performance, and then an averaged motion is obtained by observing several motions adjusted. Quantitative features of averaged motion are extracted from stroke motions and their ratios of parameters of arm motions among emotions, as well as collecting up features of motion among emotions. A subjective experiment was conducted to evaluate the appropriateness of obtained features. Results showed the existence of motion related to a 102 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED 2D-‐emotional space. The results show that several motions are dependent to the 2D emotional space and emotional performance has several features of motion not related to musical sound. We found that professional percussionists are representing emotion on the motion of the performance dependent to the 2D space and independent to its acoustic signal. Embouchure-‐related muscular activity and accompanying skin movement for the production of tone on the French horn Takeshi Hirano,* Satoshi Obata,* Chie Ohsawa,* Kazutoshi Kudo,# Tatsuyuki Ohtsuki,# Hiroshi Kinoshita* *Graduate School of Medicine, Osaka University, Japan #Graduate School of Arts and Sciences, The University of Tokyo, Japan The present study investigated dynamics-‐ and pitch-‐related activity of selected five facial muscles (levator labii superioris, zygomaticus major, depressor anguli oris, depressor labii inferioris, and risorius (RIS)) using surface electromyogram (EMG), and accompanying skin movement using 3D motion capture system. Ten advanced French horn players produced 6-‐ sec long tones at 3 levels of dynamics (pp, mf, and ff) at 5 levels of pitch (Bb1, F3, F4, Bb4, and F5). For each muscle, mean EMG and kinematics (marker-‐to-‐marker distance) were computed for the pre-‐attack phase of 375 ms prior to the tone onset, and for the sustained phase of 750 ms starting from 3 s after the tone onset. EMG data were normalized by the data obtained from production of the sustained F5 (near maximum high pitch) tone at ff dynamics. Multivariate analysis of variance on all EMG data revealed that activity was greater at stronger dynamics and at a higher pitch. Dynamics x pitch interaction effect was non-‐significant. Pitch and dynamics did not influence the facial skin kinematics except for shortening of markers placed on RIS. No phase effect was observed for both EMG and kinematic data. The findings suggest that proper pre-‐setting as well as continuously maintaining the level of isometric contraction in the embouchure muscles is an essential mechanism for the control of lip and oral cavity wall tension, by which production of accurate pitch and dynamics is accomplished. Effect of short-‐term piano practice on fine control of finger movements Ayumi Nakamura*, Tatsushi Goda*, Hiroyoshi Miwa*, Noriko Nagata*, Shinichi Furuya# *School of Science and Technology, Kwansei Gakuin University, Japan; #Institute for Music Physiology and Musicians’ Medicine, Hannover University of Music, Drama, and Media, Germany A number of cross-‐sectional studies that compared pianists and non-‐musicians have demonstrated that extensive piano training elicits structural and functional changes in motor-‐ related brain regions, which enables fine control of finger movements. However, the causal relationship between piano practice and hand motor function has been understood poorly. The present longitudinal study aimed to assess effect of daily piano practice in terms of speed, accuracy, and independence of finger movements. Six adult participants with no history of piano playing were asked to play a short tone sequence consisting of twelve strokes with the left hand synchronized with a metronome (inter-‐keystroke interval = 500ms) for fifty trials per day over four successive days. MIDI information on each keypress was obtained from an electric piano. Before and after the practice, pretest and posttest were carried out to assess several fundamental hand motor functions. Following the practice, the participants exhibited a significant decrease in temporal variability of keystrokes, indicating improvement of movement consistency. When they were asked to play as fast and accurately as possible, the maximum rate of keystrokes also increased after the practice, indicating enhancement of finger movement speed. Concerning the untrained right hand, both accuracy and speed also improved following the left-‐hand practice, which suggests a transfer effect of uni-‐manual practice on the contra-‐lateral hand. To evaluate 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 103 independence of finger movements, each finger performed the fastest tapping task, which required repetitive keystrokes by one finger as fast as possible with keeping the remaining digits depressing the adjacent keys. Results showed that each of the index, middle, ring, and little fingers showed significant improvement in maximum movement rate following the practice, indicating enhancement of independent control of movements at individual finger. To further assess if visual feedback regarding temporal accuracy of keystrokes during the practice affects the training effect on the hand motor functions, we asked another six non-‐musicians to perform the same task with information on the variability of inter-‐keystroke interval being provided visually. Training-‐ dependent improvement of hand motor functions turned out to be not facilitated even with accuracy feedback. Piano practice with a particular tone sequence at a certain tempo had significant impacts on accuracy, speed, and independent control of finger movements. The transfer effect on both untrained hand and untrained tone sequence implies presence of shared motor primitive in piano playing. Expert-‐novice difference in string clamping force in violin playing Hiroshi Kinoshita,1 Satoshi Obata1, Takeshi Hirano1, Chie Ohsawa1, Taro Ito2 1 Biomechanics & Motor control lab, Graduate School of Medicine, Osaka University, Osaka, Japan; 2 Department of Health and Sports Science, Mukogawa Women’s University, Hyogo, Japan Difference in the nature of force for clamping the strings between expert (N = 8) and novice (N = 8) violin players was investigated using a violin installed with a 3D force-‐transducer, and produced sound. These players performed repetitive open A-‐ and D-‐tone (force measurement) production using the ring finger at tempi of 1, 2, 4, and 8 Hz at mezzo-‐forte. At 2-‐ and 8-‐Hz tempi, the same task was performed by the other fingers. At 1 and 2 Hz, the profiles were characterized by an initial attack force, followed by a leveled force during the finger contact period. The peak attack force for the experts exceeded 5 N, which was significantly larger than about 3.N for the novices. At 4 and 8 Hz, only attack force with a lower peak with no group difference was observed than at the faster tempi, but attack-‐to-‐ attack variability of force was significantly larger for the novices than the experts. Both the experts and novices had a lower attack force by the ring and little fingers than the other two fingers, but the finger difference was much less for the experts. The findings suggest that expert violinists use a strategy of trade-‐off between physiological cost of string clamping force and production of high quality sound. High consistency of attack force action is also an important Expert-‐novice difference in string clamping force when performing violin vibrato Satoshi Obata, Takeshi Hirano, Chie Ohsawa, and Hiroshi Kinoshita Biomechanics & Motor control lab, Graduate School of Medicine, Osaka University, Osaka, Japan The violin vibrato is considered a complex playing technique for novice players. Information on the left-‐finger force during vibrato of novices, as compared with that of experts, may help in unveiling hidden biomechanical problems of their technique. The aim of this study was to investigate the novice-‐expert difference in the nature of shaking and pressing forces during sustained vibrato tone production. The subjects were 10 novice and 10 expert players. A violin installed with a 3D force transducer was used for the measurement of fingerboard reaction force in three dimensions while performing successive A (open) and D (force measurement) vibrato tone production repetitively. The target rate of vibrato performed was 4.5 Hz, and the target level of loudness was between 75 and 77 dB (mf). The index, middle, ring, and little fingers were used to test the finger effect on generated force. The average, amplitude of oscillation, and peak-‐to-‐peak time of the shaking and pressing forces, 104 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED and their intra-‐subject variability were computed for each trial. It was found that the novices had significantly smaller average pressing force and amplitude of the shaking force than the experts. The intra-‐subject variability of shaking-‐force amplitude and peak-‐to-‐peak time was significantly larger for the novices. These were similarly common across all four fingers. It was concluded that the mechanism of string clamping force during the vibrato for novices were different from experts. The findings suggest that the parallel and synergistic production of sufficient pressing and shaking forces is one element of successful vibrato. The role of auditory and tactile modalities in violin quality evaluation Indiana Wollman,*# Claudia Fritz,* Stephen McAdams # *Lutherie-‐Acoustique-‐Musique, Institut Jean le Rond d'Alembert, UMR 7190, Université Pierre et Marie Curie-‐CNRS, France; #CIRMMT, Schulich School of Music, McGill University, Canada The long-‐term goal of this study is to investigate the differences that can be perceived in the “feel” of violins across a range of instruments. Indeed, many violinists consider that not only the sound but also the “feel” are really important, and it is not clear what is responsible for the latter. This study explores the role of auditory and tactile modalities involved in violin playing and aims to construct a hierarchy of evaluation criteria that are perceptually relevant to violinists. Twenty professional violinists participated in a perceptual experiment employing a blind violin evaluation task under different conditions. Participants were asked to evaluate a set of violins either: i) by holding the instruments, without producing sound ii) under normal playing conditions, iii) with auditory masking or iv) with vibrotactile masking. Under each playing condition, the violinists evaluated the violins according to criteria related to violin playing and sound characteristics and rated and ranked the overall quality of the violins. Results confirm that violin preference is highly individual. Intra-‐subject analyses reveal a consistent trend in violin rankings over the three playing conditions though more similarities are observed between the ratings under the normal playing and tactile masking conditions than for the auditory masking conditions. The lack of auditory feedback thus has greater impact on violinists' perceptual evaluation. However, ratings based only on the tactile modality preserve overall rating trends -‐ the most and least preferred violins are in particular weakly dependent on sensory masking -‐ suggesting the existence of "tactile-‐only" cues. Speed Poster Session 25: Timber II Hall, 11:40-‐12:10 Musical experience and communication Songs, words and music videos: Adolescent girls' responses Nicara Govindsamy, Cynthia J. Patel Discipline of Psychology, University of KwaZulu-‐Natal, South Africa Music plays a significant role in teenagers’ lives: they use music to regulate their emotions and girls have more emotional responses compared to boys. Exposure to music is generally in audio or music video form. Over the years song lyrics have become more explicit in reference to drugs, sex and violence. Fifty eight teenage girls’ emotional responses to three genres of music (RnB/Rap, Rock, Pop) in different formats: audio, music video and lyrics were measured. The Rap song had sexual connotations and objectified women, the Rock was about determination and inspiration while Pop was about falling in love. A semantic differential scale comprising bipolar adjectives (describing a range of emotions) was used to measure emotional response. Fifteen (15) word pairs were selected for the final scale. Respondents were required to choose from a continuum (between each word pair) the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 105 extent to which they experienced the emotion after listening to the song, watching the video and reading the lyrics. High scores indicated negative emotions. Rap lyrics elicited the most negative response followed by the Rock lyrics. The Pop genre had the lowest scores. The sample also reacted negatively to the Rap video. Overall their responses to the different songs were about the same, but responses to the video content and lyrics were markedly different with most negative responses to Rap. Since young girls tend to use music to manage their emotions, these findings are a cause for concern. Further research needs to done linking types of music and ways of coping. Specialist adolescent musicians’ role models: Whom do they admire and why? Antonia Ivaldi Department of Psychology, Aberystwyth University, Wales, UK Previous research into typical adolescents’ musical role models has shown that young people are more likely to identify a celebrity figure as their role model due to their image and perceived fame, than because of their perceived musical ability. This study builds on this previous work by looking at the role models of young talented musicians with the aim of exploring who they admire as a musician and the reasons why. It is anticipated that the adolescents will identify more elite performers and teachers (i.e., non-‐celebrities) as their role models. 107 young musicians, aged 13-‐19, took part in a questionnaire study, and were drawn from two specialist musical environments: Junior conservatoire students (n = 59) and county level students (n = 48, drawn from two local music services). The adolescents were asked questions about who they admired as a musician (i.e., someone famous, teacher) and the reasons why (i.e., they are talented, works hard). Adolescents also rated how much they wanted to become like their role model (aspirations), and how much they thought they could become like their role model (attainability). Results showed that both famous and non-‐ famous figures were identified, with more elite performers and teachers being chosen compared to previous research, thus indicating a specialist knowledge and level of exposure to relevant musical figures. Factor analysis generated three loadings (image, higher achievement, dedication) for the reasons for admiring the role models. The implications for the adolescents identifying more relevant figures for their attainability and aspiration beliefs are discussed. Typicality and its influence on adolescents’ musical appreciation Caroline Cohrdes, Reinhard Kopiez University of music, theater and media, Hanover, Germany Adolescents evaluate music with regard to their social identity (North & Hargreaves, 1999). An effective strategy to achieve social identity is the individual’s identification with subgroups (Hornsey & Jetten, 2004). Unconventional musical substyles provide adolescents opportunity to reach a level of “optimal distinctiveness” (Abrams, 2009). A musician’s personality and lifestyle is communicated by images (Borgstedt, 2008) and unconventional images further adolescents’ positive musical judgements (Cohrdes, Lehmann & Kopiez, 2012). Hence, both components become important when indicating a specific value of typicality. This study aims to determine indicators defining typicality on a continuous scale with conventionality and unconventionality as bipolar endings. First, items from the perspective of adolescents were collected. Subsequently, N = 232 adolescents (M = 15.51, SD = 1.132) rated different stimuli in an online survey. To assess essential items clarifying the two dimensions of typicality (music and image), we used methods of Classical Test Theory (CTT) and Item Response Theory (IRT). 12 selective items concerning the typicality of music and 6 concerning the musician’s image were detected. By means of these scales it is possible 106 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED to categorize stimuli and predict musical judgments of adolescents with the claim of optimal distinctiveness. As a main result, we present the typicality of a musician’s image standardized in terms of an iconographic scale. Positive Psychological and Interpersonal Effects by Karaoke Junko Matsumoto,1 Shiori Aoki,2 Manami Watanabe3 1Nagano College of Nursing, Japan; 2Nagoya University Hospital, Japan; 3Seirei Mikatahara General Hospital, Japan This report presents the findings of investigations of college students’ participation in karaoke, their subjective moods induced by singing karaoke, and the positive effects associated with participating in karaoke, but not actively singing. In Study 1, 186 college students completed a questionnaire about their participation in karaoke. Most respondents indicated that they go to karaoke with several friends occasionally for amusement or as a pastime and feel comfortably tired after. These findings suggest that singing karaoke has positive psychological effects on mood. In Study 2, 185 college students completed a questionnaire. Respondents were asked to answer the questions about their usual participation in karaoke and their participation in karaoke when they did not actively sing. When they participated in karaoke without actively singing, the aim was primarily to be sociable with not only their friends, but also acquaintances or superiors. With regard to their mood following karaoke, respondents reported feeling more depressed, anxious, and tired and less refreshed when not actively singing as compared to when they actively sing. These results suggest that when college students participate in karaoke without actively singing, they experience negative psychological effects. However, there seem to be positive interpersonal effects of maintaining social relations with others when not actively singing. Consequently there would be beneficial effects from both active and passive participation in karaoke. Hips don't lie: Multi-‐dimensional ratings of opposite sex dancers’ perceived attractiveness Geoff Luck, Suvi Saarikallio, Marc Thompson, Birgitta Burger, Petri Toiviainen Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland Previous work has shown that a number of factors can affect perceived attractiveness of opposite-‐sex dancers. For women watching men, body symmetry, perceived strength, vigor, skillfulness, and agility of movement, as well as greater variability and amplitude of the neck and trunk, are positively related to perceived attractiveness. For men watching women, b ody symmetry is also important, and femininity/masculinity of movement likely also plays a role for both sexes. Our aim here was to directly compare characteristics of attractive opposite-‐ sex dancers under the same conditions. Sixty-‐two heterosexual adult participants (mean age = 24.68 years, 34 females) were presented with 48 short (30 s) audio-‐visual point-‐light animations of adults dancing to music. Stimuli were comprised of eight females and eight males, each dancing to three songs representative of Techno, Pop, and Latin genres. For each stimulus, participants rated perceived femininity/ masculinity as appropriate, sensuality, sexiness, mood, and interestingness of the dancer. Seven kinematic and kinetic features – downforce, hip wiggle, shoulder vs. hip angle, hip-‐knee phase, shoulder-‐hip ratio, hip-‐body ratio, and body symmetry – were computationally extracted from the stimuli. Results indicated that, for men watching women, hip-‐knee phase angle was positively related to ratings of perceived interestingness and mood, and hip-‐body ratio was positively related to ratings of perceived sensuality. For women watching men, downforce was positively related to ratings of perceived sensuality. Our results partially support previous work, and highlight 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 107 some similarities and differences between male and female perceptions of attractiveness of opposite-‐sex dancers. Paper Session 10: Grand Pietra Hall, 14:30-‐15:30 Listener perspectives How was it for you? Obtaining artist-‐directed feedback from audiences at live musical events John Sloboda, Melissa Dobson Guildhall School of Music & Drama, UK Musicians generally have rather limited means of obtaining direct and detailed feedback from their live audiences. This is often limited to applause and “the feel of the room”. Although many research studies collect more detailed evaluative responses from music listeners, this is often done without reference to the specific concerns or interests of the musicians involved. It is rare for the musicians themselves to be directly involved in the formulation of the research questions, or the review of the data obtained. This research project aims to develop and pilot a means for audiences to provide responses to questions which are of direct interest and importance to the musicians involved in live performance events. Specifically we wish to evaluate whether such processes enhance (a) audience engagement, and (b) professional and artistic development of the musicians involved. The research team has worked with several artistic teams in a process which involves (a) discovering artistically relevant questions which can be validly posed to audience members, (b) collaboratively devising appropriate means of collecting this data (e.g. questionnaire, post-‐performance discussion), (c) jointly reviewing the outcomes of the event, and the audience data, (d) obtaining reflective feedback from those involved regarding the value of being involved in the exercise. We will illustrate the process with specific data from one or more live musical events which have taken place between July 2011 and May 2012. This includes the world premiere of a composition whose inspiration was a traditional day of celebration in the composer’s home town, characterised by distinctive rituals involving folk-‐music and dance. The composer was interested to know if audience knowledge of the programmatic background to the composition (provided by a programme note) was a significant factor in audience appreciation of the work. In this case, unexpected emergent features of the research experience yielded unanticipated benefits, with the composer perceiving heightened audience attention to the piece being researched, and experiencing consequent affirmation. Involvement of musicians in the design and implementation of research on audience response is a significant means of enhancing mutual understanding between musicians and audiences and of making research more directly relevant to practitioner concerns. Issues for discussion include the appropriate means of ensuring sufficient research rigour without distorting the artistic process. Everyday Listening Experiences Amanda E. Krause,1 Adrian C. North2 1Applied Psychology, Heriot-‐Watt University, United Kingdom 2School of Psychology and Speech Pathology, Curtin University, Australia Utilizing the Experience Sampling Method, this investigation aimed to update our understanding of everyday listening in situ. Self-‐reports regarding where, when, and how music was experienced, as well as ratings concerning affect before and after exposure to music and the perceived effects of what was heard were gathered over one week. Responding to two text messages sent at random times between 8:00 and 23:00 daily, 370 participants completed online responses concerning their experience with any music heard within a two-‐hour period prior to receiving each text message. Results from the 177 participants who completed at least 12 of 14 entries demonstrated that music was heard on 108 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED 46.31% of occasions overall. While heard throughout the day and more often in private than public spaces, detailed analyses revealed significant patterns based on time, location, device, selection method, mood, ratings of choice and attention, and the perceived effects of what was heard. Most importantly, the results suggest that it is the level of control that a person has over the auditory situation which greatly interacts with the other variables to influence how he or she will hear the music as well as how it is perceived. In contrast to North, Hargreaves, and Hargreaves (2004) proposition that the value of music has decreased in light of technological advancement, the current findings imply that with the greater control technology affords, the value has instead increased, when we consider individuals as actively consuming (thereby using) music rather than simply as passive listeners. Paper Session 11: Crystal Hall, 14:30-‐15:30 Communication & musical preference in childhood Playsongs and lullabies: features of emotional communication and developing mother-‐infant attachment Alison Liew Creighton,1 Michael Atherton,2 Christine Kitamura2 1College of Arts/MARCS institute, University of Western Sydney, Australia 2University of Western Sydney, Australia This paper presents findings from my current research which examines the features of mother-‐infant singing as emotional communication. It explores (1) the mother’s subjective experience of the live use of playsongs and lullabies, (2) how the subjective experience relates to attachment-‐specific mental constructs, (3) the quality of interaction during the live use of playsongs and lullabies and (4) the musical and behavioral features of optimal emotional communication. Effects of Structural and Personal Variables on Children’s Development of Music Preference Michael Schurig, Veronika Busch, and Julika Strauß Department of Musicology and Music Education, University of Bremen, Germany Hargreaves’ (1982) hypothesis of an age-‐related decline in children’s preference for unfamiliar music genres (“open-‐earedness”) forms the theoretical background of our longitudinal study with four points of measurement between grade one and four. Primary school children answered a sound questionnaire with 8 music examples on a 5-‐point iconic preference scale. Structural and personal data was collected using standardized questionnaires, and complementary interviews were conducted. We operationalized open-‐ earedness as a latent construct with “classic” and “ethnic/avant-‐garde” music preference (Louven, 2011) as distinguishable factors through exploratory factor analyses. The aim is to identify predictor variables (e.g. gender, personality, music experience, migration background, and socio-‐economic status) using structural equation modelling. This way we tried to assess a measurement model to be used for further investigation of our longitudinal data. So far, analyses of variance support the expected open-‐earedness for preference ratings of t1 (n1=617), but gender differences already show. Analyses of t2 (n2=1142) disclose the beginning decline of open-‐earedness, with t3 (n3=1132) supporting the trend furthermore. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 109 Paper Session 12: Dock Six Hall, 14:30-‐15:30 Rhythm analysis & perception Perception of Rhythmic Similarity in Reich’s Clapping Music: Factors and Models Daniel Cameron,1 Keith Potter,2 Geraint Wiggins,3 Marcus Pearce3 1Brain and Mind Institute, University of Western Ontario, Canada 2Dept. of Music, Goldsmiths, University of London, UK 3Centre for Digital Music, Queen Mary, University of London, UK Rhythm processing is a critical component of music perception and cognition. Investigating the influences on the perception of similarity is a useful way to explore processing underlying processing of perceptual phenomena. In this study, we investigate the perception of rhythmic similarity using rhythmic figures from Steve Reich’s Clapping Music, in 2 experiments. Musicians and non-‐musicians rated the similarity of rhythm-‐pairs when rhythms were heard in the context within the composition or in isolation, in two performance versions (MIDI or performance recording), and in different orders of presentation. These factors (musical training, expressive performance, musical context, and order of presentation) represent influences on the rhythmic information used in music cognition. Furthermore, computational models representing theoretically distinct perspectives on rhythmic information processing are compared in their predictions of perceived rhythmic similarity. Differences in perceived similarity reflect differences in information processing. Similarity ratings were analyzed for the effects and interactions of factors. Results suggest that musical training provides an advantage in processing rhythmic information, that both expressive performance and Clapping Music’s compositional process of rhythmic transformation provide additional information used by listeners to distinguish rhythms, and that the perceived similarity of rhythms depends on presentation order. These results are interpreted from, and consistent with, a general perspective of information theoretic processing. The predictions of all models correlate with participants’ ratings, shedding further light on the cognitive mechanisms involved in processing and comparing rhythms. The Pairwise Variability Index as a Tool in Musical Rhythm Analysis Godfried T. Toussaint Faculty of Science, New York University Abu Dhabi, United Arab Emirates The normalized pairwise variability index (nPVI) is a measure of the average variation (contrast) of durations that are obtained from successive pairs of events. It was originally conceived for measuring the rhythmic differences between languages on the basis of vowel length. More recently, it has also been employed successfully to compare rhythm in speech and music. London, J. & Jones, K. (2011) have suggested that the nPVI measure could become a useful general tool for musical rhythm analysis. One goal of this study is to determine how well the nPVI models various dimensions of musical rhythmic complexity, ranging from human performance and perceptual complexities to musical notions of syncopation, and mathematical measures of syncopation and rhythm complexity. A second goal is to determine whether the nPVI measure is capable of discriminating between short, symbolic, musical rhythms across meters, genres, and cultures. It is shown that the nPVI measure suffers from severe shortcomings, in the context of short symbolic rhythmic patterns such as African timelines. Nevertheless, comparisons with previous experimental results reveal that for some data the nPVI measure correlates mildly, but significantly, with performance 110 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED complexity. It is also able to discriminate between certain distinctive families of rhythms. However, no significant differences were found between binary and ternary musical rhythms, mirroring the findings by Patel, A. D. & Daniele, J. R. (2003) for language. Paper Session 13: Timber I Hall, 14:30-‐15:30 Visual cues in performance Audiovisual integration in music performer recognition: Do you need to see me to hear me? Helen Mitchell,1 Raymond MacDonald2 1Sydney Conservatorium of Music, University of Sydney, Australia 2Department of Psychology, Glasgow Caledonian University, UK Listeners take for granted not only their capacity to distinguish between musical instruments, but also their ability to discriminate between performers playing the same instrument by their sound alone. Sound perception is usually considered a purely auditory process but in speaker recognition, auditory and visual information are integrated, as each modality presents the same information, but in a different way. Listeners combine these cross-‐modal perceptions to recognise the person speaking and can reliably match talking faces to speaking voices. This phenomenon has profound implications for music performer recognition, if multimodal information is combined for listeners to perceive and identify an individual performer. Saxophonists (n=5) performed three jazz standards for an audio and video recording and we explored the integration of cross-‐modal sensory experiences (audio and visual) in saxophonist identification. Participants either watched a silent video clip of a saxophonist playing and matched it to an audio clip of the same performer, or heard an audio clip of a saxophonist and matched it to a silent video clip. Listener/viewers reliably identified their target saxophonists, and were able to use the information about a performer in one modality and match it to the same performer in another modality. Participants were more likely to recognise performers by ear after they had watched their performance. These results will be discussed with reference to musical identities and sound recognition and will provide insights into the way auditory experts, such as musicians, identify individual musicians’ sound. "The types of ViPES": A typology of musicians’ stage entrance behavior Friedrich Platz, Reinhard Kopiez Hanover University of Music, Drama and Media, Germany Music performance can best be described as an audio-‐visual communicative setting. This setting is based on the mutual exchange of music-‐related meaningful information between performer and audience. From the perspective of musical communication approach, there is a congruency between musically structure-‐related features and non-‐verbal forms of visual communication. Consequently bodily movements have often been reduced to a supportive function in musical communication processes. In contrast, in our meta-‐analysis of ratings of audio-‐visual music presentations we suggest that the audience’s appreciation is strongly influenced by visual components, which can be independent from the musical structure. As a consequence, we emphasize the approach of persuasion instead of communication. The theoretical framework comes from dual-‐process theories, in which different kinds of information processing depend on the audience’s attitude. Therefore, visual components in music performance could be better described as underlying functions of musical persuasion affecting audience’s attitude. From this perspective, the performer’s stage entrance as the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 111 first visible action for the audience can be regarded as the starting point of musical persuasion. Our aims are two-‐fold: First we will reveal a typology of performer's persuasive stage entrance behavior. Second, we would like to reveal the fundamental components underlying the audience’s construction of performer evaluations. We will present a first sketch of a typology of musician’s stage entrance behavior. Furthermore, we will offer a latent-‐structured framework of the audience’s attitude mechanism. Based on our performer typology, we will obtain a deeper understanding of the audience’s reaction and attitudes towards varieties of stage performances. Paper Session 14: Timber II Hall, 14:30-‐15:30 Tonal Cognition Analyzing Melodic Similarity Judgements in Flamenco a Cappella Singing Emilia Gómez,1 Catherine Guastavino,2 Fransisco Gómez,3 Jordi Bonada1 1Music Technology Group, Universitat Pompeu Fabra, Spain 2School of Information Studies, McGill University, Canada 3Applied Mathematics Department, School of Computer Science, Polytechnic University of Madrid, Spain This work has three main goals: first, to study the perception of melodic similarity in flamenco singing with both experts and novices; second, to contrast judgments for synthetic and recorded melodies; third, to evaluate musicological distances against human similarity judgments (Mora et al. 2010). We selected the melodic exposition from 12 recordings of the most representative singers in a particular style, martinete. Twenty-‐seven musicians (including three flamenco experts) were asked to listen to the melodies and sort them into categories based on perceived similarity. In one session, they sorted out synthetic melodies derived from the recordings; in the other session, they sorted out recorded melodies. They described their strategies in an open questionnaire after each session. We observed significant differences between the criteria used by non-‐expert musicians (pitch range, melodic contour, note duration, rests, vibrato and ornamentations) and the ones used by flamenco experts (prototypical structure of the style, ornamentations and reductions). We also observed significant correlations between judgements from non-‐expert musicians and flamenco experts, between judgements for synthetic and recorded melodies, and between musicological distances and human judgements. We also observed that the agreement amongst non-‐experts musicians was significantly lower than amongst flamenco experts. This study corroborates that humans have different strategies for comparing synthetic and real melodies, although their judgements are correlated. Our findings suggest that computational models should incorporate features other than energy and pitch when comparing two flamenco performances. Furthermore, judgments from flamenco experts also differed from novice listeners due to their implicit knowledge. Finally, novice listeners –even with a strong musical training-‐ did not substantially agree on their ratings of these unfamiliar melodies. Temporal multi-‐scale considerations in the modeling of tonal cognition from continuous rating experiments Agustín Martorell1, Petri Toiviainen2, Emilia Gómez1 1Music Technology Group, Universitat Pompeu Fabra, Spain 2Department of Music, University of Jyväskylä, Finland Modeling tonal induction dynamics from naturalistic music stimuli usually involves slide-‐ windowing the stimuli in analysis frames or leaky memory processing. In both cases, the appropriate selection of the time-‐scale or decay constant is critical, although rarely discussed 112 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED in a systematic way. This study shows the qualitative and quantitative impact that time-‐scale has in the evaluation of a simple tonal induction model, when the concurrent probe-‐tone method is used to capture continuous ratings of perceived relative stability of pitch-‐classes. Music stimulus is slide-‐windowed using many time-‐scales, ranging from fractions of second to the whole musical piece. Each frame is analysed to obtain a pitch-‐class profile and, for each temporal scale, the time series is compared with the empirical annotations. Two commonly used frame-‐to-‐frame metrics are tested: a) Correlation between the 12-‐D vectors from ratings and model. b) Correlation between the 24 key activation strengths, obtained by correlation of the 12-‐D vectors with the Krumhansl and Kessler's key profiles. We discuss the metric artifacts introduced by the second representation, and we show that the best performing time-‐scale, minimizing the root mean-‐square of the frame-‐to-‐frame distances along time, is far longer than short-‐time memory conventions. We propose a temporal multi-‐ scale analysis method as an interactive tool for exploring the effect of time-‐scale and different multidimensional representations in tonal cognition modeling. Speed Poster Session 26: Grand Pietra Hall, 15:30-‐16:00 Identity & personality Individual differences in inattentional deafness with music: An exploratory study Sabrina Koreimann, Oliver Vitouch Dept. of Psychology, University of Klagenfurt, Austria In contrast to inattentional blindness, there is few research on inattentional deafness (ID) phenomena, especially in the musical realm. By definition, ID in music describes the inability to consciously perceive an unexpected musical stimulus, due to the subjects attending a certain facet of the piece. We here try to reveal candidate factors for explaining individual differences in ID with music. To examine the possible roles of field dependence (visual and acoustic), concentration performance, and conscientiousness on ID, participants initially listened to the first 1’50” of Strauss’ Thus Spake Zarathustra. Subjects had the task of counting the number of tympani beats. An accompanying e-‐guitar interlude (20”) served as the unexpected stimulus. After listening, the participants were asked in a sequential procedure of questions if they had noticed the e-‐guitar. Visual field dependence was assessed with the Embedded Figures Test (EFT), concentration performance with an established concentration test (d2), and conscientiousness with the NEO-‐FFI. A pilot measure of acoustic field dependence was developed using the first 1’ of the C major fugue from Bach’s Well-‐ Tempered Clavier. The participants’ task was to identify each onset of the fugue’s theme by mouse-‐click. While results show no interaction between ID performance and acoustic field dependence, a significant interaction with visual field dependence was demonstrated. Participants who missed the e-‐guitar tend to score higher on concentration (p = .104) and conscientiousness (p = .052) than subjects who perceived the unexpected stimulus. Personality of Musicians: Age, Gender, and Instrumental Group Differences Blanka Bogunović Faculty of Music, University of Arts, Serbia The idiosyncratic complexity of cognitive abilities, motivation and personality structure gives a “personal mark” to the processes of perception, cognition and emotional arousal which take place during different musical activities, such as listening, performing, creating and learning music. The intention of this study was to gain new knowledge by using a newer theoretical approach and an instrument for personality assessment. Namely, to investigate 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 113 personality structure of musicians and to confirm specific personality profiles concerning age, gender and musical direction within in the framework of the Big-‐Five personality model (NEO-‐P-‐R Inventory). The sample consisted of 366 musicians of different age groups -‐ secondary music school pupils, Faculty of Music students and professionals. Findings (Oneway ANOVA) pointed out interesting differences in all age groups that have to do with developmental and/or professional phase, as well as with experiences in dealing with music. Namely, adolescent group had significantly higher scores on Neuroticism and Extraversion, students on Openness and adult musicians on Agreeableness and Conscientiousness. On the level of facets, age group attributes are confirmed, e.g. students developed Fantasy, Aesthetics, Feelings and Modesty, and professional musicians Values and Dutifulness. It could be concluded that the interrelated effect of developmental phase’s impact on the one hand and long-‐term educational and professional engagement in musical activities, on the other, exists and is reflected in the personality profiles of musicians. This means that a specific way of life and experiences influence the forming of structural layers of musicians’ individuality and that it certainly has an imprint on certain patterns of music perception and cognition. Personality Conditions of Pianists’ Achievements Malgorzata Chmurzynska Department of Music Psychology, Chopin University of Music The researchers indicate that personality is a significant factor determining the achievements both of the students during their music education process and the professional musicians in their musical career. The role of personality is considered more significant in the later stages of music education when the level of musical ability no longer differentiates between the students who have received their musical instruction. The personality traits particularly characteristic of musicians include the tendency to introversion (that makes them practice too much in isolation), emotional instability, sensitivity, perseverance, and openness (Kemp, 1996; Manturzewska, 1974). Among music students who receive higher marks at school there has been identified a higher level of self-‐efficacy (McPherson, McCormick, 2006) and lower level of neuroticism (Manturzewska, 1974). However, we are still seeking an answer to the question: which of the personality traits are conducive to a high level of musical performance? The aim of the present study was to examine the personality differences between the high achievers and average achievers among the pianists. The variables of gender and nationality were taken into account. The subjects were participants of the 16th International Fryderyk Chopin Piano Competition in Warsaw as well as other piano competitions (high achievers) and ordinary piano students (average achievers). The control group of non-‐musicians has been used for comparison, including the normalization samples of the employed tests. The respondents completed the NEO Five-‐ Factor Inventory (Costa and McCrae, 1992) and the General Self-‐Efficacy Scale (Schwarzer, 1998). Moreover, the Formal Characteristics of Behavior-‐Temperament Inventory (Zawadzki and Strelau, 1998)) was used to measure the temperamental traits specified by the Regulative Theory of Temperament (Strelau, 1996) which include briskness, perseverance, sensory sensitivity, emotional reactivity, endurance, and activity. The results are in the process of being analyzed. So far, the analyses of the NEO-‐FFI and GSES results have shown that the most distinctive aspects of pianists’ personalities are high level of Openness, Conscience (especially among females) and a very high level of self-‐efficacy in comparison to the control group. The study has revealed the differences between the pianists and non-‐musicians. So far hardly any differences has been found between the high achievers and average achievers among pianists. Possibly the analysis of the temperamental traits will bring new facts about associations between personality and high musical performance. 114 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Attitudes towards music piracy: The impact of positive anti-‐piracy messages and contribution of personality Steven C. Brown Psychology and Allied Health Sciences, Glasgow Caledonian University, Scotland Conventional anti-‐piracy strategies have been largely ineffective, with pirates adapting successfully to legal and technological changes. The present research aims to address the two principal areas of research – predictive factors and deterrents – in a novel way with personality being considered as a potential predictive factor and positive anti-‐piracy messages proposed as a potentially effective deterrent. 261 participants (45.6% male) with a mean age of 26.3 participated in an online questionnaire, outlining their music consumption preferences and completing the 60-‐item version of the Hexaco PI-‐R (Lee and Ashton, 2004) before being allocated to one of four conditions: legal sales of music encourage future live performances, legal sales of music allow fans greater access to exclusive content, legal sales of music will incorporate charitable donations and a control. Participants’ attitudes towards music piracy were then measured using an original construct (AMP-‐12). Condition had no effect on piracy attitudes where personality was a significant predictor, with participants scoring higher on the AMP-‐12 scoring lower on honesty-‐humility and conscientiousness and higher on openness. Openness emerged as a key individual difference, with participants scoring higher on this trait demonstrating a greater likelihood to favour vinyl, re-‐mastered versions of albums and listening to live recordings. Crucially, preference for digital music was a significant predictor of pro-‐piracy attitudes. Several demographic differences were also observed which point towards a gender-‐segmented approach in appeasing individuals engaging in music piracy as well as accommodating the increasing trend for digital music. Implications for future anti-‐piracy strategies are discussed. Speed Poster Session 27: Crystal Hall, 15:30-‐16:00 Music, language & learning The Effect of Background Music on Second Language Learning Hi Jee Kang,* Victoria J. Williamson * Department of Psychology, Goldsmiths, University of London, UK The present study aimed to determine the effect of background music on second language learning. Two experiments were prepared to investigate the role of background music on short-‐term and long-‐term memory for new language materials. Experiment 1 focused on short-‐term memory: participants with no previous knowledge of Arabic listened to a set of numbers in Arabic (1-‐10) with or without background music followed by two recognition phases interpolated by 5-‐minute delay. The results showed that the Music group performed better on both test phases when compared with the No Music group. Age showed a negative relationship with the results. In Experiment 2, monolingual English speakers chose to learn either Arabic (atonal language) or Mandarin Chinese (tonal language) as part of an ecologically valid two week language learning trial that utilized commercially available language learning CDs. Participants were randomly assigned to either a background Music group or a No Music group. The post learning test session comprised understanding and speaking tests in the new language, as well as tests of working memory, general intelligence task, and musical sophistication. Participants who learned Chinese with Music performed significantly better on both understanding and speaking tests compared to the Chinese No Music group. No significance was found between the two Arabic groups. Overall, the presence of music positively correlated with enjoyment and achievement levels in both 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 115 languages. The results indicate that background music can improve memory during second language learning tasks and also bring higher enjoyment, which could help build focus and promote future learning. Does Native Language Influence the Mother’s Interpretation of an Infant’s Musical and Linguistic Babblings? Mayumi Adachi,* Simone Falk# *Dept. of Psychology, Hokkaido University, Japan; #Ludwig-‐Maximilians-‐Universität München, Germany Adachi and Ando (2010) demonstrate that Japanese mothers can interpret a Japanese toddler’s linguistically ambiguous vocalizations as either talking or singing, depending on the context sampled. The present study explored whether the same response patterns were intact among mothers, who were unfamiliar with Japanese toddler’s vocalizations. Nineteen German mothers listened to the same 50 vocalizations used with Japanese mothers in the earlier study, evaluating whether each vocalization sounded as talking or singing. Results indicated that German mothers interpreted the Japanese toddler’s vocalizations taken from infant-‐directed speech contexts more as though it were talking than as singing and those taken from infant-‐directed song contexts more as singing than as talking. As a group, German mothers used seven vocal cues in interpreting the vocalizations. Focusing on the individual mother’s use of vocal cues, however, only one cue among the seven identified as a group— the number of syllables per s—was used consistently by more than three mothers: The lesser number of syllables per s (i.e., a longer syllable) guided German mother’s interpretation toward singing, as found in Japanese mothers. The number of vocal cues used consistently by three or more mothers was greater in Japanese (7 cues) than German (2 cues) samples. Perhaps, the unfamiliarity of the toddler’s native language interfered with German mother’s consistent use of vocal cues. Nonetheless, the equivalent number of vocalizations interpreted as talking or as singing by German and Japanese mothers may imply something unique in the mother’s interpretation of the toddler’s vocalization beyond native language. Teachers’ Opinions of Integrated Musical and Language Learning Activities Karen M. Ludke Institute for Music in Human and Social Development, Edinburgh College of Art, University of Edinburgh, United Kingdom There is increasing interest in the potential of music to support language learning and memory (Wallace, 1994; Schön et al., 2008). Listening, perceiving, imitating, and creating are basic skills in both language and music. The Comenius Lifelong Learning Project European Music Portfolio – A Creative Way into Languages (EMP-‐L) aims to support children’s learning in music and languages through a flexible, integrated approach. This study explored Scottish music teachers’ opinions of the music and language activities developed by the international EMP-‐L team. Special consideration was given to the Scottish Curriculum for Excellence (CfE), wherein music learning falls into the “expressive arts” curriculum area and modern language learning into the “languages” area. This qualitative study was conducted with 6 trainee primary music teachers and 2 experienced teachers who were trained to use the EMP-‐L activities to support musical and language learning outcomes. Pre-‐ and post-‐teaching questionnaires and focus groups asked teachers to comment on the applicability of the EMP-‐ L’s core activities to learning and progression. Pre-‐ and post-‐implementation survey data was analyzed together with teachers’ comments during the focus group sessions. Overall, teachers’ opinions of the EMP-‐L materials were positive and the lessons led to successful CfE 116 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED experiences and outcomes. However, some concerns were raised, particularly regarding progression and whether generalist primary teachers could use the activities without support from music and/or language specialists. The teachers’ opinions of the EMP-‐L activities have the potential to improve the materials and to inform holistic, integrated music education initiatives in Europe and elsewhere. Introducing ECOLE: a language – music bridging paradigm to study the role of Expectancy and COntext in social LEarning Laura Verga, Sonja A. Kotz Dept. Neuropsychology, Max Planck Institute for Human Cognitive and Brain Sciences, Germany Does music enhance memory and learning of verbal material? The evidence in support of this claim is inconsistent. Results from patients with AD or MS demonstrate a beneficial effect of music on memory; however, studies with healthy participants fail to replicate this effect. Yet, many studies in both populations did not consider two shared features of music and language. First, the building up of a context creates strong expectancies with respect of what is coming next. Second, both music and language are in essence social activities. However, there is paucity of research on the impact of social interaction on learning and music. We propose a novel paradigm to study the effect of music on verbal learning. Our approach relies on the two properties shared by music and language: social interaction and expectancies derived from contextual information. Our paradigm consists of a game-‐like set-‐ up mimicking a natural learning situation. Two people (a “teacher” and a “student”) cooperate in finding the matching final object of a sentence context building upon the combination of melodies and pictures. Each picture aligns to a musical unit, building up a context and parallel expectations towards a picture representing an object and its name in a language unknown to the players. Matching of expectancies could attentionally bind resources enhancing predictions towards the object. Results of this paradigm should have major implications for 1) our understanding of the impact of music on verbal learning, and 2) applications in language learning and relearning in clinical populations. Speed Poster Session 28: Dock Six Hall, 15:30-‐16:00 Temporality & rhythm II Fade-‐out in popular music and the Pulse Continuity Illusion Reinhard Kopiez, Friedrich Platz, Anna Wolf Hanover University of Music, Drama, and Media, Hanover Music Lab, Germany In popular music, “fading” as a gradual increase or decrease in the level of an audio signal is a commonly used technique for the beginning or ending of a recording. In popular music, the primary reason for this type of ending was the limited recording time of 3 min. for a 45 rpm record. The psychological effect of the fade-‐out remains speculative. The hitherto intuitive hypotheses on the psychological effect of fade-‐out, such as the “indefinite closure” (Huron, 2006) or “the song goes on forever” (Whynot, 2011) will be tested by experimental means. We predict a prolonged tap along behaviour in the fade-‐out condition (directional hypothesis: μTap along_fade-‐out > μTap along_cold end). We used two versions of a recently produced but unpublished pop song: Version one exhibited an arranged end (cold end) and version two a fade-‐out end. A two groups, between subjects design (N = 54, music undergraduates) was used in a lab setting. The Sentograph (Mark IV) developed by Manfred Clynes served as an interface for the measurement of the dependent variable “musical entrainment”. Subjects received the instruction to “feel the groove of the music and continue until you do not feel 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 117 any more entrainment”. A clear between groups difference was found: compared with the cold end group, subjects in the fade-‐out group continued pulsation about 3 s longer (t(52) = 2.87, p = .007, Cohen's d = 0.90). We call this effect the “Pulse Continuity Illusion” (PCI, say "Picky"). The influence of imposed meter on temporal order acuity in rhythmic sequences Brandon Paul,* Per B. Sederberg,# Lawrence L. Feth* *Department of Speech and Hearing Science, Ohio State University, USA #Department of Psychology, Ohio State University, USA Imagined meter is an imposed mental hierarchy of phenomenally strong and weak beats that listeners use to organize ambiguous sequences of sounds and generate temporal expectations. Here, we examine the possibility that improved auditory perception occurs at moments when events are most strongly anticipated (i.e., strong beats), and also examine the effect of long-‐term experience using a sample of musicians and non-‐musicians. While grouping sounds in binary and ternary meter, listeners heard equally-‐spaced sequences of click pulses and were asked to identify metric positions on which deviant clicks occurred. The electroencephalogram was recorded from all participants. Preliminary behavioral results from six subjects indicate that non-‐musicians outperformed musicians during this task. Binary meter was found to yield a better performance overall, consistent with previous findings that ternary meter is more difficult to impose on ambiguous rhythmic sequences. Finally, beat-‐based differences arose only in comparing weak beats of one metric condition to all other beats; although significant differences between strong and weak beats were not found overall, current results—consistent with our prediction of enhanced perception on strong beats—warrant further investigation. Preliminary analysis on EEG recordings suggest that endogenously-‐maintained meter gives rise to beat-‐based differences in amplitude of ERP waveforms, but vary considerably between individuals of both groups. Findings from the study are implicated in understanding the precise neural mechanisms behind perceiving and organizing large structures found in speech and music, as well as extending the knowledge of cognitive structuring of auditory perception. Pitch and time salience in metrical grouping Jon Prince School of Psychology, Murdoch University, Australia I report two experiments on the contribution of pitch and temporal cues to metrical grouping. Recent work on this question has revealed a dominance of pitch. Extending this work, a dimensional salience hypothesis predicts that the presence of tonality would influence the relative importance of pitch and time. Experiment 1 establishes baseline values of accents in pitch (pitch leaps) and time (duration accent) that result in equally strong percepts of metrical grouping. Pitch and temporal accents are recombined in Experiment 2 to see which dimension contributes more strongly to metrical grouping (and how). Both experiments test values in tonal and atonal contexts. Both dimensions had strong influences on perceived metric grouping, but pitch was clearly the more dominant. Furthermore, the relative strength of the two dimensions varied based on the tonality of the sequences. Pitch contributed more strongly in the tonal contexts than the atonal, whereas Time was stronger in the atonal contexts than the tonal. These findings are inconsistent with an interpretation that stimulus structure enhances the ability to extract, encode, and use information about an object. Instead, they imply that structure in one dimension can highlight that dimension at the expense of another (i.e., induce dimensional salience). 118 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED How is the Production of Rhythmic Timing Variations Influenced by the Use of Mensural Symbols and Spatial Positioning in Musical Notation? Lauren Hadley,* Michelle Phillips# *Department of Psychology, Goldsmiths College, University of London, England #Faculty of Music, University of Cambridge, England The vast majority of Western classical music performance employs the musical score as a means of communicating composer intention to performers. Within this score, the two most common methods of notational representation of rhythm include use of mensural symbols (e.g. crotchets, quavers), and use of spatial layout (proportional spaces after symbols). This study examined the effect of notational layout and style on the performer’s realisation of notational tempo and rhythm. Participants performed one rhythm in 4 different transcriptions using a MIDI drumpad, order being counterbalanced and distracter tasks separating each trial. 3 transcriptions employed mensural notation with different spacings (wide, narrow, or equidistant), and 1 transcription employed ‘block notation’ relying purely on space to indicate duration (similar to a piano-‐roll and common in avant-‐garde notations). Notational style (mensural symbols compared to block notation) was found to significantly affect both tempo choice and performance accuracy. Block notation was performed at a slower spontaneous tempo and less accurately than the mensural notations, with timings of different note lengths converging towards the mean. Furthermore, comparison of mensural transcriptions indicated that although spatial information was not enough to elicit rhythmic performance alone, it has a significant impact on performance of the mensural score. Eleven of fifty-‐one notes were played significantly differently between the three mensural notations, differing only on spatial layout. These findings suggest that rhythmic timing variations depend directly on the way in which notation is laid out on the page, and have significant implications for editors and composers alike. Speed Poster Session 29: Timber I Hall, 15:30-‐16:00 Visualization of sound Interplay of Tone and Color: Absolute Pitch and Synesthesia Milena Petrovic,* Mihailo Antovic# *Solfeggio and Music Education Dept., Faculty of Music University of Arts Belgrade, Serbia #English Dept., Faculty of Philosophy Nis, Serbia Absolute pitch is an ability to recognize and properly musically name a given pitch (Levitin, 1994). It is more prevalent among speakers of tonal languages, in which meaning may depend on the pitch (Deutsch, 2009). The emergence of absolute pitch depends on cultural experience and genetic heredity (Deutsch 2006), exposure to early music education and the tempered system (Braun, 2002), while today’s rare occurrence of this phenomenon might also be a consequence of transposition (Abraham 1901, Watt 1917). Musicians having absolute pitch have fewer capacities as compared with musicians with relative pitch: incessant naming of tones prevents them from fully enjoying music (Miyazaki, 1992). Absolute pitch may be integrated with other senses – synesthesia (Peacock, 1984). The sample has comprised 28 professional musicians with absolute pitch, aged 15 to 47 of both sexes. It was found that the most common synesthetic experience among professional musicians with absolute pitch is the association of sound and color – the so-‐called chromesthesia or color hearing (Sacks, 2007). The paper shows whether it occurs during the listening of: 1) an isolated tone played randomly in different register, 2) major and minor chords along the circle of fifths in the basic position on the piano, in the same octave, and 3) 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 119 Bach's themes of 24 preludes from the “Well-‐Tempered Clavier”. The study strives to find any regularities in the synesthetic experience, i.e. in the connection between sounds and colors in professional musicians with absolute pitch. The Role of Pitch and Timbre in the Synaesthetic Experience Konstantina Orlandatou Institute of Musicology, University of Hamburg, Germany Synaesthesia is a condition, an involuntary process which occurs, when a stimulus not only stimulates the appropriate sense, but also stimulates another modality at the same time. In order to examine if pitch and timbre influence the synaesthetic visual experience, induced by sound, an experiment with sound-‐colour synaesthetes (N=22) was conducted. It was found that a) high pitched sounds conclude to a presence of hue, b) low pitched sounds to an absence of hue, c) single frequencies cause a uni-‐colour sensation and d) multiple high pitched frequencies induce a multi-‐colour sensation. Variation of chromatic colour, which is present in the sensation, depends on the timbre of the sound. These findings suggest that the synaesthetic mechanism (in case of sound-‐colour synaesthesia) maps sound to visual sensations depending on the mechanisms underlying temporal and spectral auditory processing. Musical Synesthesia: the role of absolute pitch in different types of pitch tone synesthesia Lilach Akiva-‐Kabiri, Avishai Henik Department of Psychology, and the Zlotowski Center for Neuroscience Ben-‐Gurion University of the Negev, Beer-‐Sheva, Israel Synesthesia is a condition in which individuals experience two commonly independent perceptions as joined together. In tone color synesthesia (TCS), pitch chroma (e.g., Sol) elicits a color perception. In tone-‐space (TSS) synesthesia, musical tones are organized explicitly in a defined spatial array. These types of synesthesia are often associated with absolute pitch (AP). We tested the importance of AP in TCS and TSS. AP and non-‐AP TCS were presented with a visual and auditory Stroop-‐like tasks. Participants were asked to name a colored patch on a screen and ignore a musical tone. When the musical tone was auditory, AP possessors presented a congruency effect, whereas when the tone was presented visually, both groups presented a congruency effect. These results suggest that in TCS, additional color perception is impossible to suppress. Moreover, color association could be elicited both by auditory tones or musical notes, depending upon AP ability. In the second part of this work, we used a cue detection task and asked TSS without AP and non synesthetes to detect a visual cue while ignoring a simultaneous irrelevant auditory tone. Synesthetes only presented a significant validity effect. Hence, they were unable to suppress orienting of attention to the auditory tone space form. The present results demonstrate the automaticity of synesthetical associations. Furthermore, data suggest that AP modulates the effects of TCS but not of TSS. Results are interpreted considering the underlying characteristics of color perception -‐ which is essentially categorical in nature -‐ compared with the more ordinal nature of space. 120 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED Getting the shapes “right” at the expense of creativity? How musicians’ and non-‐musicians’ visualizations of sound differ Mats B. Küssner,* Helen M. Prior,* Nicolas E. Gold,# Daniel Leech-‐Wilkinson* *Department of Music, King’s College London, United Kingdom #Department of Computer Science, University College London, United Kingdom The study of visualizations of sound and music spans areas such as cross-‐modal perception, the development of musical understanding, and the influence of musical training on music cognition. This study aimed to reveal commonalities and differences between musicians and non-‐musicians in the representational strategies they adopted to visualize sound and music, as well as the accuracy with which they adhered to their self-‐reported strategies. To that end, forty-‐one musicians and thirty-‐two non-‐musicians were asked to represent visually, by means of an electronic graphics tablet, eighteen sequences of pure tones varying in pitch, loudness and tempo, as well as two short musical excerpts. Analytic tools consisted of a mixture of qualitative and quantitative methods, the latter involving correlations between drawing and sound characteristics. Results showed that the majority of musicians and non-‐ musicians used height on the tablet to represent pitch (higher on tablet referring to higher pitches), and thickness of the line to represent loudness (thicker lines for louder sounds). Non-‐musicians showed both a greater diversity of representational strategies and a tendency to neglect pitch information if unchanged over time. Musicians were overall more accurate than non-‐musicians in representing pitch and loudness but less imaginative. This was the first study comparing musicians’ and non-‐musicians’ visualizations of pure tones in a free drawing paradigm. It was shown that real-‐time drawings are a rich source of data, enabling valuable insights into cognitive as well as sensory-‐motor processes of sound and music. Speed Poster Session 30: Timber II Hall, 15:30-‐16:00 Experiencing new music New music for the Bionic Ear: An assessment of the enjoyment of six new works composed for cochlear implant recipients Hamish Innes-‐Brown,* Agnes Au,#* Catherine Stevens, χ Emery Schubert, § Jeremy Marozeau* * The Bionics Institute, Melbourne, Australia; # Department of Audiology and Speech Pathology, The University of Melbourne, Australia; χMARCS Institute, University of Western Sydney, Australia; §School of English, Media and Performing Arts, University of New South Wales, Australia The enjoyment of music is still difficult for many cochlear implant users. This study aimed to assess cognitive, engagement, and technical responses to new music composed specifically for CI users. From 407 concertgoers who completed a questionnaire, responses from groups of normally-‐hearing listeners (NH, n = 44) and CI users (n = 44), matched in age and musical ability, were compared to determine whether specially-‐commissioned works would elicit similar responses from both groups. No significant group differences were found on measures of interest, enjoyment and musicality, whereas ratings of understanding and instrument localization and recognition were significantly lower from CI users. Overall, ratings of the music were typically higher for percussion pieces. The concert successfully elicited similar responses from both groups in terms of interest, enjoyment and musicality, although technical aspects, such as understanding, localisation, and instrument identification continue to be problematic for CI users. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 121 How fun is this? A pilot questionnaire study to investigate visitors’ experience of an interactive sound installation PerMagnus Lindborg Nanyang Technological University (Sgp) / KTH Royal Institute of Technology (Swe) We present a pilot questionnaire study to investigate visitors’ experience of an interactive and immersive sound installation, The Canopy (Lindborg, Koh & Yong 2011), exhibited at ICMC in Huddersfield. The artwork consists of a 4.5m windsurfing mast suspended by strings, set up in a black-‐box space and illuminated in a dramatic fashion. The visitor can manipulate the pole with several degrees of control: 2 for floor position, 2 for pole direction, and one each for twist, grip height and squeeze. A real-‐time program in MaxMSP (Cycling 74) maps control data to sound synthesis and 3D diffusion over 8 loudspeakers. The concept of the installation was to “sail in a sonic storm of elementary particles”. 35 people responded to the questionnaire immediately after having visited the installation. The questions aimed to gauge various qualities of the interactive experience: the amount of time spent, the relative importance of visual, sculptural and sonic elements, the amount of fun, and the perceived quality of gestural control over spatial and timbral sound features. For the dependent variable ‘fun amount’, 6 graded sentences were given as response options. Visitors also completed forms for the Ten-‐Item Personality Index (TIPI; Gosling 2003) to estimate OCEAÑ scores, and for Ollen’s Musical Sophistication Index (OMSI; Ollen 2005), and gave free-‐form feedback. The aim of the questionnaire was to investigate if people with different musical sophistication and personality traits would value different aspects of the experience in systematic ways. On the OMSI, 24 respondents scored high (p>0.75) and 7 low (p<0.45). Thus divided, they were treated as two groups in the analysis. ANOVA revealed that the groups had similar OCEAÑ scores, except for Agreeableness where the high-‐OMSI group had a marginally higher mean. A stepwise regression of ‘fun’ on all the other variables and on OMSI group interaction with OCEAÑ revealed that people who felt they could act on the spatial control had more fun, and this was in particular the case for less musically sophisticated people who were more extrovert or less agreeable. With ‘time spent’ as dependent variable, a similar procedure indicated that people (particularly the more conscientious) who felt they could act on the spatial control stayed significantly longer in the installation. While these results would indicate that spatial control is primordial, most freeform feedback focussed on timbral control. We are currently investigating whether correlations are moderated by personality traits, and further results will be presented at the conference. The experience of sustained tone music Richard Glover Department of Music, University of Huddersfield, UK This study will discuss a cognitive approach to the experience of experimental music created entirely from sustained tones, in which there is an absence of typical perceptual cues for creating sectional boundaries thereby directing the listener’s focus towards surface phenomena within the aural environment. Source material for the study comprises recent compositions by American composers Phill Niblock and Alvin Lucier, as well as the author. The approaches to harmonic transformation in these pieces are outlined, alongside a detailed description of the activity within the surface layer of the sound, comprehensively surveying the myriad acoustic and psychoacoustic phenomena prevalent. The presentation draws upon gestalt grouping mechanisms to describe how this surface activity is interpreted by the cognitive process. The notion of resulting articulations within sections is explored, and consequently what this means in terms of stability and instability in experience for the 122 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED listener, including considerations of temporality. The manner in which this process feeds into the compositional procedure for these composers is also explored, looking specifically at pitch structures employed, how composed indeterminacy in sustained tone composition affects the cognition process and why these composers have a tendency towards writing for acoustic instruments rather than electronic sources. This study provides further strategies into how we might analyse sustained tone music, directing discussion towards the sounding experience and cognitive comprehension of the listener rather than solely from the score. This understanding can open up further avenues of research for composers, performers and interdisciplinary theorists. “Just Riff Off”: What determines the subjectively perceived quality of “hit riffs”? Barbara Sobe, Oliver Vitouch Dept. of Psychology, University of Klagenfurt, Austria A riff is “a short, repeated, memorable musical phrase, often pitched low on the guitar, which focuses much of the energy and excitement of a rock song” (Rooksby, 2002). Burns (1987) describes guitar riffs as “common contexts for melodic hooks”, being essential for catching the listeners’ attention. This study attempts to provide some empirical and analytical building blocks for answering a more narrowly defined sub-‐question of the hitherto unresolved “hit science” question: What makes an intersubjectively great guitar riff? Remotely similar to Sloboda’s (1991) classification of climactic moments in classical music, we aim to distill a repertoire of structural elements that successful riffs share. In order to have our findings based on new and unfamiliar music material, we chose a production & evaluation approach. Ten e-‐guitarists from unsigned bands were asked to invent new riffs in individual sessions. The resulting 55 riffs were assessed by 80 non-‐expert raters and 14 professional guitar players in terms of subjective liking. In a combination of inductive and deductive approaches, common features of those riffs that scored highest and lowest were explored and analyzed, and predictions from the “killer riff” handbook literature were tested against the data. Findings show revealing differences between the evaluations of experts and non-‐experts. Within each rater group, well-‐evaluated riffs do indeed share common structural elements, partly corresponding with advice from the handbook literature. In the overlapping subset of riffs pleasing both groups, particular musical effects such as syncopation, timing, and other rhythm effects play a prominent role. Paper Session 15: Grand Pietra Hall, 17:00-‐18:30 Group creativity & improvisation What Does One Know When One Knows How to Improvise? Andrew Goldman Centre for Music and Science, University of Cambridge, United Kingdom Cognitive models of improvisation align with pedagogical methods in suggesting improvisers’ need for both procedural and declarative knowledge. However, behavioral experiments do not directly address this division due to the difficulty of operationalizing improvisation. The present study seeks to experimentally demonstrate different types of knowledge involved in producing musical improvisations and to contribute an experimental paradigm. Ten jazz pianists improvised on a MIDI keyboard over backing tracks. They produced one-‐handed monophonic improvisations under a 2x2x2 fully factorial design. The conditions contrasted levels of motor familiarity by varying which hand (right vs. left) played 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 123 which musical function (melody vs. bass line) in which key (Bb vs. B). MIDI files were analyzed using MATLAB to determine the entropy, the proportion of diatonic pitch classes, the nPVI of a quantized version of the data, and the nPVI of a version left unquantized. Separate ANOVAs compared these values across conditions. Significant main effects were found between keys and hands. In the key of B, pianists produced improvisations with lower entropy and with more diatonic pitches than in Bb. The right hand had lower quantized nPVI values than the left hand. Several significant interactions were also found. This research reframes the distinction between theoretically proposed types of musical knowledge used in improvisation. In unfamiliar motor contexts, pianists improvised with less pitch class variability and more diatonic pitch classes, implying that in the absence of procedural knowledge, improvisers rely more on explicit knowledge of tonality. This suggests new ways to consider modes of improvising. Distributed creativity in Tongue of the Invisible Eric Clarke1, Mark Doffman1, Liza Lim2 1Faculty of Music, University of Oxford, UK 2School of Music, Humanities and Media, University of Huddersfield, UK Theoretical and empirical accounts of musical creativity have been dominated by individualistic and de-‐contextualised accounts of rather abstracted ‘creative processes’. More recently there has been increasing recognition of and interest in the distributed and situated nature of musical creativity – particularly in the interface between composition, improvisation and performance. This paper reports on the creation, rehearsal and performance of a 60-‐minute work (Tongue of the Invisible, by Liza Lim) that incorporates a variety of composed and more improvised elements. The aim of the project is to investigate and understand aspects of ownership (both in an affective sense, and in terms of creative property), creative control, and social and psychological components in distributed musical creativity. A large body of qualitative data has been gathered, including discussions with the composer (Lim), extensive audio and video recordings of the rehearsal processes that led to the first performances, and recorded interviews with many of the performers. Using ethnographic methods as well as direct input from the composer herself, this paper will present analyses of the distributed creative dynamics exemplified in a number of targeted moments in the work. These analyses expose the complex network of forces that characterize the creative dynamics of the piece and its genesis, involving institutional, social psychological, semiotic, cognitive and embodied components. Taken together they afford a rich and complex picture of collaborative creativity in the interface between composition-‐ improvisation-‐performance, contributing to the significant re-‐theorising of creativity that is going on from many disciplinary perspectives. Cognition and Segmentation in Collective Free Improvisation: An Exploratory Study Clément Canonne,1 Nicolas B. Garnier2 1Centre Georges Chevrier, UMR 5605, Université de Bourgogne, France 2Laboratoire de Physique de l’ENS de Lyon, CNRS UMR 5672, Université de Lyon, France Collective Free Improvisation (CFI) is a very challenging form of improvisation. In CFI, improvisers do not use any pre-‐existing structure (like the standard in straight-‐ahead jazz), but try anyway to produce together coherent music. This can be seen as a coordination problem: musicians' production must converge to collective sequences, defined as time frames during which each improviser achieves relative stability in his musical output while judging the overall result satisfying. In this paper, we report on an exploratory study made 124 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED with free improvisers in December 2011 in order to understand the cognition of musicians placed in a CFI context, in particular the role played by their representations of the improvisation under different type of sequences into the explanation of both their behaviors and the coordination success or failure. Paper Session 16: Crystal Hall, 17:00-‐18:30 Emotion perception Understanding Music-‐Related Emotion: Lessons from Ethology David Huron School of Music, Ohio State University, USA A number of musically-‐pertinent lessons are drawn from research on animal behavior (ethology). The ethological distinction between signals and cues is used to highlight the difference between felt and expressed emotion. Several ethologically-‐inspired studies are described – principally studies related to music and sadness. An ethologically-‐inspired model is proposed (the Acoustic Ethological Model). The question of how music induces emotion in a listener is addressed, and it is proposed that signaling represents a previously unidentified mechanism for inducing affect. An integrated theory of sadness/grief is offered, where sadness is characterized as a personal/covert affect, and grief is characterized as a social/overt affect. Sadness and grief tend to co-‐occur because they provide complementary strategies for addressing difficult circumstances. Emotion perception of dyads and triads in congenital amusia Manuela M. Marin,1 William F. Thompson,2 Lauren Stewart3 1Department of Basic Psychological Research and Research Methods, University of Vienna, Austria; 2Department of Psychology, Macquarie University, Australia; 3Department of Psychology, Goldsmiths, University of London, United Kingdom Congenital amusia is a neurodevelopmental disorder characterized by deficits in pitch processing. Emotional responses to music have rarely been studied in this clinical group. We asked whether amusics differ from controls in pleasantness judgements of isolated dyads and in happiness/sadness judgements of isolated major/minor chords. We also probed whether the spectrum of sounds in a dyad or triad (sine-‐tone vs. complex-‐tone) affects emotional sensitivity to consonance/dissonance and mode. Thirteen amusics and 13 controls were matched on a range of variables. Dyads or triads were sine-‐tones or complex sounds (piano timbre), 1.5 s length, and equated for loudness. Dyads comprised intervals from one to 12 semitones. Major and minor triads were played in root position. Participants rated the pleasantness of dyads and the happiness/sadness of triads on a 7-‐point scale. The profile of pleasantness ratings for sine-‐tone dyads was less differentiated in amusics. Compared to controls, amusics also assigned lower pleasantness ratings to consonant sine-‐tone and complex-‐tone dyads. Amusics did not differ from controls for ratings of dissonant sine-‐tone dyads, but assigned marginally significantly higher pleasantness ratings for dissonant complex-‐tone dyads. Happiness/sadness judgements by controls differed for major and minor triads, but amusics only differentiated between major and minor complex-‐tone chords. Major sine-‐tone and complex triads were rated as less happy by amusics compared to controls, but minor triads were rated similarly in both groups. Amusics differ from controls in their perception of the pleasantness of dyads and in the perception of happiness/sadness for major/minor triads. The implications of these data for models of congenital amusia are discussed. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 125 Rare pitch-‐classes are larger and stronger: implicit absolute pitch, exposure effects, and qualia of harmonic intervals Zohar Eitan,1 Moshe Shay Ben-‐Haim,2 Eran Chajut,3 1School of Music., Tel Aviv University, Israel; 2School of Psychology, Tel Aviv University, Israel 3Department of Psychology and Education., The Open University, Israel It is widely accepted that stimuli's frequency of occurrence affects perceptual processes. In western tonal repertory, some pitch classes are much more frequent than others. Given recent studies showing that long-‐term memory for pitch chroma is widespread, we hypothesized that common and rare pitches would generate different expressive experiences in listeners. We examined this hypothesis with regard to emotional and cross-‐ modal meanings of harmonic intervals, which were comprised of common or rarer pitch combinations. 96 non-‐musicians rated two harmonic intervals (sampled guitar sounds), each presented in 6 pitch transpositions, on 10 bi-‐polar expression scales (e.g., Weak-‐Strong, Happy-‐Sad). Ratings were significantly associated with interval type (3rd or 4th), pitch height, and occurrence frequency. In accordance with previous studies, Participants rated higher pitch intervals as happier, harder, brighter, smaller, sweeter, weaker, and more relaxed than lower ones (p<0.005). Most importantly, participants rated rare pitch combinations in both intervals as larger and stronger than their adjacent common counterparts (p<0.05, FDR corrected). Results suggest that rates of exposure to absolute pitches in music affect the way pitch combinations are experienced. Specifically, frequency of occurrence affected “potency” scales (Osgood et al., 1957), associated with power and magnitude, as rarer intervals were rated higher in potency (stronger, larger). This novel exposure effect suggests that implicit absolute pitch abilities are not only widespread among non-‐musicians, but partake significantly in the perception of the expressive qualities of musical sound. Paper Session 17: Dock Six Hall, 17:00-‐18:30 Popular music & music in the media Music in political commercials: A study of its use as affective priming Richard Ashley Program in Music Theory and Cognition, Northwestern University, USA This study investigates how music may influence viewers’ responses to political advertisements, looking specifically at the timecourse of affective responses. It builds on prior research dealing with affective and perceptual responses to brief stimuli. The primary hypothesis is that a listener’s very early response to a commercial’s music serves as an affective prime for processing the remainder of the commercial. This project involves both a corpus analysis and an experiment. The corpus used is the database of political advertisements maintained by the Washington Post; this study restricted itself to television and radio commercials from the year 2008, during the general US Presidential campaigns of Barack Obama and John McCain. The experiment collects affective valence and intensity responses to excerpts from the ads’ beginnings in three conditions: audio only, video only, and audio + video. Excerpts are of variable length (±33 msec. to 4200 msec.) and also include the entire commercial (most of which are 30 seconds in length). In results to date, it appears that music provides the fastest path to an emotional response on the part of a viewer. Music is typically employed from the very beginnings of advertisements; affective responses to audio excerpts of 100-‐250 msec. are frequently stronger than those found in the corresponding visual excerpts, depending on the ad’s contents. Although judgments of 126 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED the full commercials are more intense and more stable than judgments of the brief excerpts, the affective priming seen in responses to the music is borne out by the commercial as a whole. Do Opposites Attract? Personality and Seduction on the Dance Floor Geoff Luck, Suvi Saarikallio, Marc Thompson, Birgitta Burger, Petri Toiviainen Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland Some authors propose that we are more attracted to opposite-‐sex individuals with personalities similar to our own. Others propose that we prefer individuals with different personalities. We investigated this issue by examining personality and attraction on the dance floor. Specifically, we investigated how the personality of both observers and dancers affected the former’s attractiveness ratings of the latter. Sixty-‐two heterosexual adult participants (mean age = 24.68 years, 34 females) watched 48 short (30 s) audio-‐visual point-‐light animations of adults dancing to music. Stimuli were comprised of eight females and eight males, each dancing to three songs representing Techno, Pop, and Latin genres. For each stimulus, participants rated the perceived skill of the dancer, and the likelihood with which they would go on a date with them. Both dancers’ and observers’ personality were assessed using the 44-‐item version of the Big Five Inventory. Correlational analyses revealed that women rated men high in Openness to experience as better dancers, while men low in Openness gave higher ratings of female dancers. Women preferred more Conscientious men, but men preferred less Conscientious women. Women preferred less Extraverted men, while men preferred more Extraverted women, especially if they were more Extraverted themselves. Both women and men preferred less Agreeable opposite-‐sex dancers. Finally, both women and men preferred more Neurotic opposite-‐sex dancers. This study offers some fascinating insights into the ways in which personality shapes interpersonal attraction on the dance floor, and partially supports the idea that opposites sometimes do attract. Doubtful effects of background music in television news magazines Reinhard Kopiez, Friedrich Platz, Anna Wolf Hanover University of Music, Drama, and Media, Hanover Music Lab, Germany Experimental data on the effects of background music on cognition, affect or attitude are rare and ambiguous. Additionally, the music selection in these studies seems to be arbitrary. We used objectively selected background music and the Elaboration Likelihood Model was used to predict negative effects of music on the central route of processing (recall) but positive effects on the peripheral route (liking) of the ELM. A television report on toxic substances in energy saving lamps) served as the basic stimulus in 5 versions: (a) no music, and (b) 4 additional versions with high/low valence/arousal background music. A five group between subjects design (group size each n = 100, age range: 18-‐60 years, random selection of “consumers”) was used, and stimuli were rated in an online study. As the dependent variable, pre-‐post questionnaires on attitudes toward ESL were given. Additionally, subjects filled in a recall test with 10 items (5 correct, 5 false) each for auditive and visually presented information. The ANOVA showed no differences in recognition of items from the film or in liking between conditions. A pre-‐post shift of attitude toward a critical evaluation of ESL could be observed, regardless of the condition. No significant influence of background on recognition could be observed. Our study could not confirm the widespread assumption of a general positive or negative effect of background music on attitude or recognition. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 127 Paper Session 18: Timber I Hall, 17:00-‐18:30 Phenomenology & hermeneutics Mind the gap: Towards a phenomenological cognitive science of music Jenny Judge Centre for Music and Science, University of Cambridge, UK Cognitive Science is widely regarded as the best effort at studying the mind that has been made to date, paving the way for a truly rigorous account of cognition, using the methods and epistemic commitments of natural science. However, a large number of authors have expressed a worry that Cognitive Science fails to account for phenomenological data and is therefore not a full theory of cognition. As Joseph Levine (Levine 1983) put it, Cognitive Science is suffering from an ‘explanatory gap’. In other words, regardless of what paradigm is employed to explain and predict behavioural data, Cognitive Science fails to account fully for how the mental is subjectively experienced. This issue has been debated primarily in the philosophy of mind literature. However, insofar as it concerns Cognitive Science, I will argue that music cognition researchers should pay attention to this debate. I will outline the methodological and epistemological concerns highlighted by the explanatory gap argument, as well as indicating some concrete ways in which music cognition researchers m ay attempt to move beyond the explanatory gap (Gallagher and Brosted Sorensen 2006). I will address the issue of meaning in light of the naturalistic approaches of Cognitive Science, arguing that attention to the explanatory gap literature allows us to frame the issue of how musical meaning may survive in a naturalized picture of music cognition. I will discuss the project of ‘naturalizing phenomenology’ (Petitot 1999; Zahavi 2010), arguing for its in-‐principle possibility as well as the promise it holds for a more truly phenomenological and holistic approach to music cognition. Most of the literature on the interface between philosophy of mind and Cognitive Science to date has focused on research into visuo-‐motor perception; comparatively little attention has been paid to auditory or musical perception. I will address the issue of the visuocentrism of philosophy of mind, arguing that greater attention to musical cognition, as well as greater contact between philosophy of mind and Cognitive Science, is important for a more complete understanding of perception in general. A Nonrepresentationalist Argument for Music Patrick Hinds Music Dept., University of Surrey, United Kingdom Music is a universally accessible phenomenon that resists understanding. These conditions have prompted a considerable discourse on music’s transcendental properties, tied up with the notion of an exclusively musical meaning. Following a literature review, I reject this notion, favouring a leaner theory that takes music’s lack of objective meaning just as a lack of objective meaning. I argue that music is a self-‐directed practice, contingent on a perceiver’s prerogative to block the perceived objective significance of an object and engage with it for the sake of engaging itself. This subversion of meaning is, I suggest, a mechanism in virtue of which we may have consciousness of sound tout court: when the world is separated from the aspect of self that is affording the means of perception and the latter is taken as a subject of experience. Such an argument can make intelligible the concept of intrinsically cognitive operations-‐ those that do not refer outwardly. Emerging research in music psychology gives empirical grounding to this concept, accounting for music experience with psychological structures that are nonrepresentational and thus lack extrinsic content. The upshot is that music can exemplify nonrepresentational experience, where a ‘representation’ is an individuated (mental) object with semantic properties. There may be no specifiable object 128 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED true to the experience because music is partly constituted by that which is intrinsically cognitive. This framework could thus be wielded in a discussion of qualia, potentially elucidating the intuition that some qualities of experience are irreducibly mental in nature. Topical Interpretations of Production Music Erkki Huovinen,1 Anna-‐Kaisa Kaila2 1School of Music, University of Minnesota, USA 2University of Turku, Finland The present empirical study sought to chart the kinds of mood, environment, and agency associated with commercially targeted production music. An experiment with production music representing a “motivational” category involved questions about mood variables, free associative imagery, and questions about selected semantic properties of the associative images. The results suggested that producers demonstrate considerable success in engineering mood characters generally recognizable for listeners. Moreover, it was found that the associative imagery elicited by production music may show even more concrete commonalities between listeners in the kinds of agency and environments imagined. Associationally cohesive clusters of musical excerpts were then interpreted w ith reference to musical topos theory. Based on a hierarchical clustering of the results, tentative topical labels Idyll and Dynamism with respective associational qualities were identified, along with a subdivision of the latter into two sub-‐topoi, Brilliance and Nightlife. Notably, the topical clustering did not simply reproduce distinctions between musical genres, suggesting that similar semantic associations may be mapped onto different musical genres even within one and the same musical culture. Overall, the study confirms the ability of commercial music to function as an agent of rich meaning formation independently of the multimedia contexts it is typically conjoined with. Paper Session 19: Timber II Hall, 17:00-‐18:30 Learning and Skills assessment I The "Open-‐Earedness" After Primary School: Results of a New Approach Based on Voluntary Listening Durations Christoph Louven Institut für Musikwissenschaft und Musikpädagogik., Universität Osnabrück, Germany The assumption that younger children are more ‘open-‐eared’ than older children, i.e. that they are more open towards unconventional styles of music than older children, has been the subject of several studies in the last 10 years. Most of these studies are based on a design that derives open-‐earedness just from preference ratings of music examples with different styles. This leads to a intermixture of the concepts of preference and openness that we assume to be a serious problem. Therefore, we created a new approach with a computer-‐ based design that combines preference ratings with measuring voluntary listening durations and derived a numerical index of open-‐earedness. Results with primary school children showed that although preferences for different musical styles changed considerably during primary school the index of open-‐earedness did not. Since all previous studies on open-‐ earedness only dealt with primary school children it has not yet been established what happens to open-‐earedness in older populations. Therefore, this paper will present the results of two follow-‐up studies with Gymnasium (high school) pupils and university students, partly with special music education (pupils of a Gymnasium with a special music profile or university music students). This allows for the observation of both the 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 129 development of open-‐earedness after primary school and the influence of special musical training on this process. Music lessons, emotion comprehension, and IQ E. Glenn Schellenberg, Monika Mankarious University of Toronto, Canada Music training in childhood is known to be associated positively with many aspects of cognitive abilities. For example, enhanced performance for musically trained compared to untrained participants is evident on tests of listening, memory, verbal abilities, visuospatial abilities, nonverbal abilities, and IQ. Music training is also predictive of better grades in school. It is unclear, however, whether positive associations with music training extend to measures of social or emotional functioning. In fact, the available literature provides little evidence of such associations. The goal was to examine whether musically trained and untrained children differ in emotion understanding, and if so, whether any difference between groups could be explained as a by-‐product of higher IQs among the trained children. We recruited 60 7-‐ and 8-‐year-‐olds. The 30 musically trained children had at least one year of private music lessons (primarily individual lessons) taken outside of school. The 30 untrained children had no music training taken outside of school. All children completed standardized tests of emotion comprehension and IQ. Both tests are valid, reliable, designed for children, and widely used (i.e., translated into many different languages). As in previous research, music training was predictive of higher IQs even when demographic variables were held constant. Musically trained children also performed better than untrained children on the test of emotion comprehension. The difference in emotion comprehension between the two groups of children disappeared, however, when IQ was held constant. Nonmusical associations with music training appear to be limited to tests of cognitive abilities and their correlates. The quasi-‐experimental design of the present study precludes inferences of causation, but the findings are consistent with the idea that high-‐IQ children are more likely than other children to take music lessons and to perform well on many tests, including tests of emotion comprehension. More reliable positive associations between music training and social or emotional functioning may emerge among children who take music lessons in social contexts, such as choirs or bands. Introducing a new test battery and self-‐report inventory for measuring musical sophistication: The Goldsmiths Musical Sophistication Index Daniel Müllensiefen,1 Bruno Gingras,2 Jason Musil,1 Lauren Stewart1 1Department of Psychology, Goldsmiths, University of London, United Kingdom 2Department of Cognitive Biology, University of Vienna, Austria This talk presents the Goldsmiths Musical Sophistication Index (Gold-‐MSI) as a research tool to capture different levels of musical sophistication in the non-‐specialist population that may develop through sustained and in-‐depth engagement with music in various forms, such as listening, playing, or processing music in other cognitive or emotional ways. A self-‐report questionnaire as well as an initial set of four different tests of music perception and production abilities have been designed based on established findings from music cognition research: a) sorting very short music clips by timbral similarity, b) perceiving and c) producing a beat to a musical excerpt and d) detecting schematic and veridical changes in a melodic memory task. A version of the Gold-‐MSI has been implemented online by the BBC and has generated datasets from more than 140,000 participants. Analysis of the data from the self-‐report inventory generated a statistical model with a clear multi-‐dimensional structure for musical sophistication delineating e.g. musical training, emotional usage of 130 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 WED music, and perception and production abilities. Furthermore, these self-‐reported multidimensional profiles of musical sophistication are related to performance on the four perception and production tasks. The Gold-‐MSI, as a new tool to the research community, measures the level of musical sophistication in the non-‐specialist population on several distinct dimensions. The question inventory and the ability tests have been psychometrically optimized and come with data norms from a western sample of more than 120,000 individuals. The Gold-‐MSI is fully documented and free to use for research purposes. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 131 Thursday 26 July Symposium 2: Grand Pietra Hall, 09:00-‐11:00 Involuntary Musical Imagery: Exploring ‘earworms’ Convener: Victoria Williamson, Discussant: Andrea Halpern This symposium brings together interdisciplinary perspectives from institutions across three continents to discuss the phenomenon known as ’Involuntary Musical Imagery’ (INMI) or ‘earworms’. INMI describes the experience whereby a tune comes into the mind and repeats without conscious control. INMI is a ubiquitous occurrence with over 90% of people reporting it at least once a week (Liikkanen, 2011), yet it is one that has traditionally received minimal attention from empirical research. In the last five years however, it has emerged as a rapidly growing, multidisciplinary area of research (Williamson et al. 2011), the nature of which calls for a robust definition of the topic and scholarly debate on future paths for investigation. This symposium is the world’s first gathering of INMI scholars aimed at establishing INMI as a legitimate topic for study in cognitive musicology, experimental psychology and neuroscience. We aim to create an agenda for INMI studies and open up the discussion by probing several research questions identified thus far. We take in multiple perspectives, including musicologists studying the structural characteristics of ‘earworm’ tunes and psychologists studying the personal factors and situational antecedents that contribute to an INMI experience and its phenomenology. The symposium will tackle a number of important questions related to INMI including: (1) Is INMI a functional part of everyday cognition? If we assume that music has an evolutionary justification, what purpose would the recurrence of involuntary music serve? (2) Does the emotional rating or psychophysiological arousal associated with music facilitate its incidental learning and later occurrence as INMI? (3) Can musical structures within INMI experiences be systematically described and compared, leading to a formula for particularly ‘catchy’ tunes? (4) What methods are optimal for studying INMI in the lab? New Directions for Understanding Involuntary Musical Imagery Lassi A. Liikkanen Helsinki Institute for Information Technology, Aalto University, Finland Department of Communications, Stanford University, CA, USA This paper addresses the state of art in the studies of involuntary musical imagery (INMI), an emerging topic in psychology. We define INMI as a private, conscious experience of reliving a musical memory without a deliberate attempt. We review the empirical literature and draw guidelines for future research on the matter. As example of a new research direction, we provide a study of how INMI relates to social interactions in everyday life based on a corpus of over one thousand open-‐ended survey questions. The data shows that INMI can evoke overt behavior and have social consequences. Some people found it difficult to distinguish their overt spontaneous musical behavior from covert experiences. In response to an INMI inspired music act, many had experienced socially awkward situations or were consciously trying to avoid public musical expression. In the other end, some people choose expression and intentionally try to “pass on the earworm”, even if they expected reproach for doing so. These results suggest that INMI is an instance of “involuntary music”, sometimes associated with overt behaviors and social consequences. The next steps in the research on INMI should 132 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU be targeted to understanding the psychology underlying this phenomenon more deeply and socially. Instead of characterizing the phenomenology on different levels, we should seek the causal mechanisms related to INMI, possibly on neural level and to differentiate the different components of INMI from each other and related psychological and psychopathological phenomena. Earworms from Three Angles: Situational Antecedents, Personality Predisposition and a Musical Formula Victoria J. Williamson, Daniel Müllensiefen Department of Psychology, Goldsmiths University of London, London, UK Involuntary, spontaneous cognitions are common, everyday experiences that occur against a backdrop of deliberate goal-‐directed mentation (Christoff, Ream & Gabrieli, 2004). One such phenomenon may hold special promise for empirical investigation of this often elusive experience. Involuntary musical imagery (INMI) or ‘earworms’ are vivid, identifiable, and affect 91.7% of the population at least once a week (Liikkanen, 2012). Utilizing an online survey instrument (http://earwormery.com/) we collected several thousand reports of earworm episodes, in collaboration with the BBC. Study 1 employed a qualitative grounded theory analysis to explore themes relating to the situational antecedents of INMI experiences (Williamson et al., 2012). The analysis revealed four main trigger themes for INMI experiences and categorized the role of different music media. Study 2 used structural equation modeling (SEM) to relate individual differences in INMI characteristics and isolated an influence of obsessive compulsive traits. Study 3 comprised a computational analysis of the musical structure of several hundred earworm tunes and compared them to matched control tunes. A statistical classification model was employed to predict whether a tune could be classified as an earworm based on its melodic features. The use of INMI as a model of spontaneous cognition has generated findings regarding the phenomenological experience as well as the role of different behavioural and cognitive contributing factors. This body of work demonstrates the feasibility of studying spontaneous cognitions through musical imagery, which has the potential to enhance our understanding of the intricate relationships between cognitive control, involuntary memory, and the environment. Arousal, Valence and the Involuntary Musical Image Freya Bailes MARCS Institute, University of Western Sydney The study of the emotional qualities of imagined music is in its infancy. This paper reports results from a follow-‐up of Bailes (2006, 2007), with the aim of exploring the relationship between involuntary musical imagery (INMI) and emotion. Forty-‐seven respondents, aged 18 to 53 years, were contacted by SMS for a total of 42 times over a period of 7 days. At each contact they were required to fill in a form describing their mood, location and activity, as well as details of any current musical experience, imagined or heard. A multiple logistic regression analysis was performed with current musical state at the time of contact as the dependent variable (hearing music, imagining music, both hearing and imagining music, neither hearing nor imagining music) and ratings of mood as predictor variables. Preliminary evidence of a link between arousal and the propensity to experience INMI was found, showing that self-‐ratings as ‘drowsy’ or ‘neither alert nor drowsy’ at the time of contact were negatively associated with imagining music. In other words, participants who did not feel that they were alert were unlikely to be imagining music. Ratings for the mood pair Happy/Sad, which best exemplifies valence, were not significant predictors of INMI. Qualitative analyses of responses to an open question about possible reasons for imagining 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 133 music are expected to reveal information about the emotional characteristics of the music, context, and respondent. When an everyday-‐phenomenon becomes clinical: The case of long-‐term ‘earworms’ Jan Hemming,1 Eckart Altenmüller2 1Music Institute, University of Kassel, Germany, 2Institute for Music Physiology and Musician's Medicine, University for Music, Drama and Media Hannover, Germany Both Authors with a background in musicology respectively in neurology were individually contacted by a number of subjects suffering from long-‐term 'earworms' in the past. Taking a closer look at the subjects in question revealed partly clinical conditions (e.g. tinnitus, hearing loss, depression, hallucinations). Systematic case studies were set up to investigate the phenomena in detail. Current research on involuntary musical imagery has shown that music lovers and musicians actually have more 'earworms' than people who don't bother much about music. As such the frequency and intensity of 'earworms' might be an indication of a general affinity to music, which is confirmed by all of the subjects described in the case-‐ studies, and the frequent report of depression adds to the picture of general increased sensitivity in life. Also, sensory deprivation through hearing-‐loss seems to cause autonomous activity of musical networks in the brain. Existing definitions of hallucinations (subjects believe in the existence of a sound-‐source outside of themselves) as opposed to 'earworms' or involuntary musical imagery (subjects are aware there is no external sound-‐source as it is felt to be located inside the head) still need to be properly applied or clarified. With regard to tinnitus, it seems its sometimes very clear physical causation (dental and cervical spine disorders) have been overlooked in favor of neuroscientifc approaches. With regard to long-‐ term-‐'earworms', the application of anti-‐depressants seems promising since these have the potential of eliminating memory traces. Their combination with psychotherapeutic treatment can result in significant relief for the affected subject. Paper Session 20: Crystal Hall, 09:00-‐11:00 Applications & everyday contexts The influence of music on gambling: The role of arousal Stephanie Bramley1, Nicola Dibben2 and Richard Rowe3 1 & 2Department of Music, The University of Sheffield, United Kingdom 3Department of Psychology, The University of Sheffield, United Kingdom Drawing on research which has investigated music tempo's effect on behaviour in a number of domains we consider tempo as a factor which can influence gambling behaviour. We examine research which has investigated music tempo’s influence on gambling behaviour and consider whether arousal is a psychological mechanism responsible for tempo’s influence on gambling behaviour. This abstract provides the background to a study we have carried out investigating the influence of music tempo on virtual roulette behaviour which tests whether subjective and/or physiological arousal are responsible for music tempo’s effects on gambling behaviour. The findings of our study will be discussed in our conference presentation. To conclude we consider the implications of determining arousal as responsible for music tempo’s influence on gambling behaviour for gamblers, gambling operators and current gambling practice. 134 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU The influence of age and music on ergogenic outcomes, energy and affect in gym-‐based exercise sessions Rachel Hallett, Alexandra Lamont School of Psychological Research, Keele University, UK Music is frequently used to accompany group and individual exercise to help increase motivation and enjoyment. It has been suggested that to be motivating, exercise music should reflect the age of exercisers, but there is little empirical support for this in gym contexts. This study explores the area using mixed methods, with a qualitative study used to inform the design of a field-‐based within-‐participant quasi-‐experiment. Sixteen participants were interviewed about exercise preferences, motivations and media use during exercise and the data explored using thematic analysis. Results indicated that contemporary music was widely liked by a ‘worker’ group of exercisers into their late fifties, while a smaller ‘socialiser’ group, typically retired, were ambivalent towards music. Twenty-‐four participants undertook a treadmill protocol with measurements of distance covered, self-‐ perceived affect and energy and liking for each of the three music conditions: contemporary pop (80-‐100bpm), contemporary dance (~130bpm) and 1960s/1970s pop (~130bpm). Data was analyzed by participant age with an over-‐45 and under-‐45 group. Although 1960s/1970s music led to slightly superior outcomes for the older group, it was disliked by the younger group and produced inferior outcomes to the other styles; there was a significant interaction between age and music preference. The 1960s/1970s music offers only a modest benefit for older exercisers and appears to alienate younger exercisers. Dance music, however, appeals to a broad age range and is recommended for gym use, although it may be advisable to reduce volume when attendance by retired members is high. A Viable Alternative Music Background As Mediated Intervention For Increased Drivers Safety Warren Brodsky,1 Micha Kizner2 1Music Science Lab, Department of the Arts, Ben-‐Gurion University of the Negev, Israel 2Music Education Division, Ministry of Education, State of Israel In-‐car music listening requires drivers to process sounds and words, and most sing/tap along. While it may difficult to assess music as a risk-‐factor for distraction, previous studies have reported: momentary peak levels in loud-‐music disrupt vestibulo-‐ocular control; loud music causes a decrease in response time; arousing music impairs driving performance; and quick-‐paced music increases cruising speed and traffic violations. It is indeed worrying that drivers underestimate the effects of music, or perceive decreased vehicular performance due to in-‐car listening. In the current study we produced an alternative music background proposed to maintain aural stimuli at moderate levels of cognitive awareness – in an effort to decrease music-‐generated distraction. After a group of everyday listeners confirmed the background as suitable for driving in a car, we implemented two studies: 22 drivers each drove 4-‐trips while listening to driver-‐preferred music brought from home (2-‐trips) or to the alternative background (2-‐trips); 31 drivers each drove 10-‐trips while listening the alternative background. In Study1 we found criterion related validity, and the alternative background preoccupied less attention. In Study2 we found habituation effects, as well as increased feelings of driver safety and ever-‐increasing levels of positive mood. Music designed for driver safety is an important contribution in the war against traffic accidents and human fatality. One day, such applications might become a standard form of mediated intervention – especially among young drivers who often choose music that is highly energetic and aggressive, consisting of a fast-‐tempo accentuated beat, played at strong intensity levels of elevated volumes. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 135 Evaluating Crowdsourcing through Amazon Mechanical Turk as a Technique for Conducting Music Perception Experiments Jieun Oh, Ge Wang Center for Computer Research in Music and Acoustics, Department of Music, Stanford University, USA Online crowdsourcing marketplaces, such as the Amazon Mechanical Turk, provide an environment for cost-‐effective crowdsourcing on a massive scale, leveraging human intelligence, expertise, and judgment. While the Mechanical Turk is typically used by businesses to clean data, categorize items, and moderate content, the scientific community, too, has begun experimenting with it to conduct academic research. In this paper, we evaluate crowdsourcing as a technique for conducting music perception experiments by first describing how principles of experimental design can be implemented on the Mechanical Turk. Then, we discuss the pros and cons of online crowdsourcing with respect to subject demography, answer quality, recruitment cost, and ethical concerns. Finally, we address audio-‐specific factors relevant to researchers in the field of music perception and cognition. The goal of this review is to offer practical guidelines for designing experiments that best leverage the benefits and overcome the challenges of employing crowdsourcing as a research methodology. Paper Session 21: Dock Six Hall, 09:00-‐11:00 Learning and skills assessment II Effects of a class-‐room based music program on verbal memory of primary school children within a longitudinal design Ingo Roden,1 Stephan Bongard,2 Gunter Kreutz1 1Department of Music, School of Linguistics and Cultural Studies, Carl von Ossietzky University Oldenburg Germany, 2Department of Psychology, Goethe University Frankfurt, Germany Previous research showed beneficial influences of music training on verbal memory. We examined this assumption using a longitudinal study design. The hypothesis that musical tuition may improve verbal memory was tested in a total of 73 primary school children. Children either participated in a class-‐room based music program with weekly sessions of instrumental tuition (N=25, 14 female, 11 male, mean age 7.32 years) or received an extended natural science training (N=25, 11 female, 14 male, mean age 7.68 years) at school. A third group of children received no additional training (N=23, 11 female, 12 male, mean age 8.22 years). Each child completed a verbal memory test for three times over a period of 18 month. Socio-‐economic background and basic cognitive functions were assessed for each participant and used as covariates in subsequent analyses of variance (ANOVAs). Significant Group by Time interactions were found in the measures of verbal learning, verbal immediate and delayed recall. Children in the music group gained greater improvements in those measures than children in the control groups. These findings are consistent with previous research and suggest that children receiving music training may benefit from improvements in verbal memory. 136 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Assessing young children’s musical enculturation: A novel method for testing sensitivity to key membership, harmony, and musical metre Kathleen M. Einarson, Kathleen A. Corrigall, Laurel J. Trainor Department of Psychology, Neuroscience & Behaviour, McMaster University, Canada We have developed a novel, video-‐based paradigm to test Western children's perception of 1) Western tonality (key membership and harmony), and 2) beat alignment in music with simple or complex metric structure. In the tonal structure task, 4-‐ and 5-‐year-‐olds watched two videos, each of a puppet playing a melody or chord sequence, and gave a prize to the puppet that played the better song. One puppet played a standard sequence that ended according to rules of Western harmony, and the other played a deviant version that was either entirely atonal, or that ended out-‐of-‐key or on an unexpected harmony within the key. For the beat alignment sensitivity test, 5-‐year-‐olds judged which of two puppets was a better drummer, when one was in synchrony with the beat of a musical excerpt and one was either out of phase or out of tempo with the beat. In the tonal structure task, 5-‐year-‐olds selected the standard version significantly more often than chance for both melodies and chords when the deviant violated key structure, but not when it violated the expected harmony. 4-‐ year-‐olds performed at chance in all conditions. In the metrical task, 5-‐year-‐olds selected the synchronous drumming significantly more often for excerpts with simple metre than excerpts with complex metre, and their performance was at chance levels for complex metre excerpts in both the phase error and tempo error conditions. This paradigm shows great promise for testing other aspects of musical development in young children. Investigating the associations between musical abilities and precursors of literacy in preschool children Franziska Degé, Gudrun Schwarzer Department of Developmental Psychology, Justus-‐Liebig-‐University Giessen, Germany It was shown that specific music perception abilities are related to reading and phonological awareness, an important precursor of literacy. Anvari and colleagues (2002) demonstrated that only part of the association between music perception and reading was explained by phonological awareness. Therefore, the relationship between other precursors of literacy and musical abilities need further investigation. In addition, previous studies have not investigated the relation between music production abilities and precursors of literacy. Thus, the aim of our study was twofold. Firstly, we investigated the relation between four precursors of literacy and musical abilities. Secondly, we included not only music perception abilities but also music production abilities in our analyses. We tested 55 (28 girls) preschoolers. We assessed precursors of literacy with a well established test battery which comprises four subtests measuring phonological awareness, one subtest on working memory, one on selective attention, and one on rapid automatized naming. Musical abilities were tested with a music screening by Jungbluth and Hafen (2005) that contained comparisons of melody, pitch, rhythm, metre, and tone length as well as the reproduction of a given rhythm, metre, and song. As control variables intelligence and socioeconomic status measured by parents’ education were assessed. Partial correlations that controlled for gender, intelligence, and SES revealed a significant positive association between the aggregated score of phonological awareness and music perception and production abilities. Furthermore, significant positive associations were revealed between working memory and the overall scores of music perception and production. We conclude that phonological awareness and working memory, which are both precursors of literacy, are associated with musical abilities. Furthermore, we demonstrated that both music perception and music production abilities are related to phonological awareness and working memory. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 137 The cognition of Grouping Structure in real-‐time listening of music. A GTTM-‐ based empirical research on 6 and 8-‐year-‐old children Dimitra Koniari,1 Costas Tsougras2 1Department of Music Science and Art, University of Macedonia, Greece 2School of Music Studies, Aristotle University of Thessaloniki, Greece The aims of the present study are: a) to investigate how children of average ages 6 and 8 segment a musical piece during real-‐time listening, b) to compare children’s indicated segment boundaries with boundaries obtained by the segmentation of the piece by adults (musicians and nonmusicians), and c) to compare the adults’ and children’s segmentation profiles to the structural boundaries predicted in a previous study by a full analysis of the piece according to the principles of GTTM. 70 children participated in the empirical study, of average age 6 and 8 (n =35 individuals for each Grade), as well as 50 adults (25 musicians and 25 nonmusicians). The performed boundaries were placed into two categories, depending on whether or not they were predicted by the analysis of the piece using the Generative Theory of Tonal Music (GTTM). Participants indicated a maximum of 38 segment boundaries. 16 corresponded to the boundaries predicted by the analysis of the piece with the use of GTTM, and 22 were not. The deviations in the range of values obtained from the 38 segment boundaries are also justified by the theory's principle of hierarchy, by the GS and TSR preference rules, and by the idiomatic features of the selected piece. The results suggest that even by the age of 6, children can perceive the grouping structure of a piece in accordance to the general laws expressed by the GTTM and by the age of 8 year-‐old children are almost perfect ‘experienced listeners’ of their musical culture, in accordance to the GTTM’s principles. Paper Session 22: Timber I Hall, 09:00-‐11:00 Neuroscience Perspectives Abductive Reasoning, Brain Mechanisms and Creative Cognition: Three Perspectives Leading to the Assumption that Perception of Music Starts from the Insight of Listeners Sebastian Schmidt, Thomas A. Troge, Denis Lorrain Institute for Musicology and Music Informatics, University of Music Karlsruhe, Germany A theory of listening to music is proposed. It is suggested that, for listeners, the process of prediction is the starting point to experiencing music. Indications for this proposal are defined and discussed within perspectives of cognitive science, philosophy and experimental psychology, leading to a more structured thesis that the perception of music starts from the inside, through both, a pre-‐wired and an experienced extrapolation into the future (we call this a-‐priori listening). In a second step, we propose that a general a-‐priori listening is involved in processes of creative cognition, or, that is to say, that creative cognition is the necessary component of a-‐priori listening. Finally, based in the precondition that music should not be thoroughly expected, we outline a perspective of listening to music as a set of creative processes, which constantly interact. 138 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Interaction between melodic expectation and syntactical/semantic processes on evoked and oscillatory neural responses Elisa Carrus,1 Marcus Pearce,2 Joydeep Bhattacharya1 1Department of Psychology, Goldsmiths, University of London, UK 2Center for Digital Music, School of Electronic Engineering & Computer Science, Queen Mary’s, University of London, UK Electrophysiological studies have shown support for a neural overlap during structural processing of music and language (Patel, 1998; Koelsch et al, 2005; Carrus et al, 2011). Although previous studies have used harmonic stimuli, studying the effect of melodic expectation is fundamental for an understanding of the extent to which music and language share neural resources. This study aimed at investigating the neural interaction between these two domains by using stimuli constructed with a computational model (Pearce, 2005). Melodies ended with either a high-‐probability (expected) or a low-‐probability (unexpected) note (Pearce, 2005). Sentences ended with one of the following types of words: a correct word, a semantically incongruent word, a syntactically incorrect word, a word with a combined syntactic-‐semantic violation. Music and language were presented in synch and both consisted of five elements. Participants responded to the acceptability of sentences while the EEG was recorded. The analysis of event-‐related potentials and oscillations showed a neural interaction between music and language processing. This was reflected in a decrease of the LAN (Left Anterior Negativity) when syntactically incorrect sentences were presented with a low-‐probability note and in a decrease of low-‐frequency (1-‐7 Hz) oscillatory power soon after the simultaneous presence of violations in music and language but only for single syntactic and single semantic violations. This study provides the first evidence to show neural interactions between melodic processing and language processing. The results are interpreted in the context of the framework of shared neural resources between music and language advanced by Patel (2003). BAASTA: Battery for the Assessment of Auditory Sensorimotor and Timing Abilities Nicolas Farrugia, Charles-‐Etienne Benoit, Eleanor Harding, Sonja A. Kotz, Simone Dalla Bella Department of Cognitive Psychology, WSFiZ in Warsaw, Poland Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany EUROMOV, M2H Laboratory, Université de Montpellier I, France In this paper we describe the Battery for the Assessment of Auditory Sensorimotor and Timing Abilities (BAASTA), a new tool developed for assessing systematically rhythm perception and auditory-‐motor coupling. BAASTA includes perceptual tasks and Sensorimotor Synchronization (SMS) tasks. In the perceptual tasks, auditory thresholds in a duration discrimination task and anisochrony detection tasks (i.e., with an isochronous sequence and with music) are measured via the Maximum Likelihood Procedure (MLP). In addition, a customized version of the Beat Alignment Task (BAT) is performed to assess participants’ ability to perform beat extraction with musical stimuli. Tapping tasks are used to assess participants' SMS abilities, including hand tapping along with isochronous sequences and music, and tapping to sequences presenting a tempo change. The battery is validated in young expert musicians and age-‐matched non-‐musicians, as well as in aged participants. In addition, the results from 3 cases of patients with Parkinson’s Disease are presented. BAASTA is sensitive to differences linked to musical training ; moreover the battery can serve to characterize differences among individuals (e.g., patients with neurodegenerative disorders) in terms of sensorimotor and rhythm perception abilities. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 139 EEG-‐based emotion perception during music listening Konstantinos Trochidis,1 Emmanuel Bigand2 1Department of Music Research, McGill University, Canada 2Department of Cognitive Psychology, University of Burgundy, France In the present study correlations between electroencephalographic (EEG) activity and emotional responses during music listening were investigated. Carefully selected musical excerpts of classical music tested in previous studies were employed as stimuli. During the experiments EEG activity was recorded in different regions without a-‐priori defining regions of interest. The analysis of the data was performed in both alpha and theta bands. Consistent with existing findings, the results in alpha band confirm the hemispheric specialization hypothesis for emotional valence. Positively valenced emotions (happy and serene) elicited greater relative left EEG activity, whereas negatively valenced emotions (angry and sad) elicited greater relative right EEG activity. The results show interesting findings related to the affective dimension (arousal and valence) by electrodes in different brain regions that might be useful in extracting effective features for emotion recognition applications. Moreover, theta asymmetries observed between pleasant and unpleasant musical excerpts support the hypothesis that theta power may have a more important role in emotion processing than previously believed and should be more carefully considered in future studies. Paper Session 23: Timber II Hall, 09:00-‐11:00 Μotion and coordination in performance Examining finger-‐wrist joint-‐angle structure in piano playing with motion-‐ capture technology Werner Goebl,* Caroline Palmer# *Institute of Music Acoustics, University of Music and Performing Arts Vienna, Austria #Department of Psychology, McGill University, Canada Piano technique is acquired over decades of practice and piano educators disagree about the nature of a “good” technique and the way to achieve it. Particularly when performing very fast passages, movement efficiency seems to be an important factor. This study investigates the movement structure of highly skilled pianists performing simple passages faster and faster until they reach their individual limits. A 3D motion-‐capture system tracked small reflective markers placed on all finger joints, the hand and the forearm of twelve highly skilled pianists performing a simple isochronous melody at different tempi. The pianists started with a medium fast tempo (7 tones per second, TPS, timed by a metronome in a synchronization-‐continuation paradigm) that was increased after each trial until the pianists decided to stop. They performed on a digital piano recording the onset timing for subsequent analysis. Joint angle trajectories were computed from the three-‐dimensional marker position for all adjacent finger phalanges (DIP, PIP), and the hand (MCP) and the forearm (wrist angle and wrist rotation). We compare timing measures (CV and timing error of IOI patterns) with an efficiency measure of finger and wrist kinematics to identify motion features that are typical for successful fast performers. The rounded finger shape was stable and showed slight extension in “fast” pianists, but showed large variability in “slow” pianists. This study delivers detailed insights into the joint angle structure of skilled pianists performing at fast tempi, focusing on the individual differences between performers, and proposes kinematic markers of successful performers. 140 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Measuring tongue and finger coordination in saxophone performance Alex Hofmann,* Werner Goebl,* Michael Weilguni,# Alexander Mayer,* Walter Smetana# *Institute of Music Acoustics, University of Music and Performing Arts Vienna, Austria #Institute of Sensor and Actuator Systems, Vienna University of Technology, Austria When playing wind instruments the fingers of the two hands have to be coordinated together with the tongue. In this study, we aim to investigate the interaction between finger and tongue movements in portato playing. Saxophone students played on a sensor-‐equipped alto saxophone. Force sensors attached to 3 saxophone keys measured finger forces of the left hand; a strain gauge glued onto a synthetic saxophone reed measured the reed bending. Participants performed a 24-‐tone melody in three tempo conditions timed by a metronome in a synchronization-‐continuation paradigm. Distinct landmarks were identified in the sensor data: A tongue-‐reed contact (TRC) occurred when the reed vibration was stopped by the tongue, a tongue-‐reed release (TRR) at the beginning of next tone, and in the finger force data a key-‐bottom contact (KB) at the end of the key motion. The tongue-‐reed contact duration (from TRC to TRR) was 34.5 ms on average (SD = 5.84) independently of tempo condition. Timing accuracy and precision was determined from consecutive TRRs. We contrasted tones that required only tongue impulses for onset timing to those that required also finger movements. Timing accuracy was better for combined tongue-‐finger actions than for tongued timing only. This suggests that finger movements support timing accuracy in saxophone playing. Timing and synchronization of professional musicians: A comparison between orchestral brass and string players Jan Stoklasa, Christoph Liebermann & Timo Fischinger Institute of Music, University of Kassel, Germany Musicians have to coordinate complex rhythmic movements when playing their musical instruments. They need years of deliberate practice to learn how to adjust their timing behavior as good as possible to the acoustic characteristics of their own instrument as well as to the spatial position in the orchestra respectively. Since most research on sensorimotor synchronization behavior has mainly focused on the analysis of finger tapping tasks, we conducted an experiment using a novel experimental paradigm to investigate the timing skills of professional musicians by playing their own musical instruments. The aim was to examine whether orchestral brass and string players show differences in synchronization performance under varying conditions. 21 professional musicians from a professional orchestra in Germany were asked to participate in the study. In the first experiment subjects had to synchronize by playing their own instrument (violin, viola, trumpet, trombone) with a simple metronome sequence (in each case the stimulus sound was the same as the instrument sound) in varying trials with different interstimulus-‐onset intervals. In a second experiment, subjects had to perform the classical finger tapping synchronization task to metronome sequences on a drum pad (same IOI’s as in the first experiment). The results show considerable differences in synchronization performance: Subjects show a very low synchronization error in the first experiment, when they have to synchronize by playing their own instrument (-‐2.06 ms; SD = 10.92) compared to the second experiment with the classical tapping task (-‐12.60 ms; SD = 8.38). 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 141 Conveying Syncopation in Music Performance Dirk Moelants IPEM-‐Dept. of Musicology, Ghent University, Belgium This paper investigates if and how musicians can convey syncopation without the presence of a fixed metric framework. In a first experiment 20 professional musicians played a series of simple melodies in both a metrically regular version and a syncopated version. These were analyzed using a series of audio parameters. This analysis shows a series of methods used by musicians to convey syncopation, using timing, dynamics as well as articulation. A selection of the melodies was then presented to 16 subjects in a second experiment, both audio-‐only and with video, asking them to identify them as syncopated or regular. The results of this experiment show that, although some expressive cues seem to help the recognition of syncopation, it remains hard to communicate this ‘unnatural’ rhythmic structure without a metric framework. Analysis of the videos shows that when musicians do provide such a framework using their body, it influences the results positively. Paper Session 24: Grand Pietra Hall, 11:30-‐13:30 Performer perspectives An ecological approach to score-‐familiarity: representing a performer’s developing relationship with her score Vanessa Hawes Department of Music and Performing Arts, Canterbury Christ Church University, UK This paper aims to link qualitative, empirical approaches from performance analysis with analytical and musicological issues. An ecological approach to perception frames an exploration of experiential (performative) and structural (analytical) affordances. A singer’s developing relationship with songs IV and V from Schoenberg’s song cycle, Das Buch der Hängenden Gärten, Op.15 (1908-‐9) is recorded in two ways: videoing rehearsals from first contact with score to performance; and reflective comments about the songs and her learning process through interview and marked scores. As an atonal work, the cycle provides a subject for the study of the singer’s experience independent of tonality as an overwhelming structural affordance. Detailed analytical studies of the song cycle provide a rich source-‐set from which to draw in discussing structural affordances. Songs IV and V were chosen because they occur at a moment of dramatic importance, as the narrator realizes the extent of the love that drives the cycle (Song IV) and surrenders to it (Song V). Forte’s 1992 article about the Opus 15 cycle provides the analytical focus, an article that identifies linear motivic tetrachords in the cycle, revealing them in the fore-‐, middle-‐ and background of the songs’ structure. Analysis of the videoed rehearsals provides an alternate analytic reading of the songs based on performative affordances, and the analysis of interview data furnishes us with another. These two alternate readings adjust and enhance Forte’s analysis, a direction of analytic/interpretive influence from expression to structure, and the result is related back to issues about the songs’ meaning. 142 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Predicting expressive timing and perceived tension in performances of an unmeasured prelude using the IDyOM model Bruno Gingras*#, Meghan Goodchild#, Roger Dean†, Marcus Pearce+, Geraint Wiggins+, Stephen McAdams# * Department of Cognitive Biology, University of Vienna, Vienna, Austria # CIRMMT, Schulich School of Music, McGill University, Canada † MARCS Auditory Laboratories, University of Western Sydney, Australia +School of Electronic Engineering and Computer Science, Queen Mary, University of London, UK Studies comparing the influences of different performances of a piece on the listeners’ aesthetic responses are constrained by the fact that, in most pieces, the metrical and formal structure provided by the score limits the performer’s interpretative freedom. As a semi-‐ improvisatory genre which does not specify a rigid metrical structure, the unmeasured prelude provides an ideal repertoire for investigating the links between musical structure, expressive strategies in performance, and listener’s responses. Twelve professional harpsichordists recorded two interpretations of the Prélude non mesuré No. 7 by Louis Couperin on a harpsichord equipped with a MIDI console. The MIDI data was analyzed using a score-‐performance matching algorithm. Subsequently, 20 nonmusicians, 20 musicians, and 10 harpsichordists listened to these performances and rated the perceived tension in a continuous manner using a slider. Melodic expectation was assessed using a probabilistic model (IDyOM) whose expectations have been shown to match closely those of human listeners in previous research. Time series analysis techniques were used to investigate predictive relationships between melodic expectations and the performance and perceptual parameters. Results show that, in a semi-‐improvisatory genre such as the unmeasured prelude, predictability of expectation based on melodic structure has a measurable influence on local tempo variations. Effects of Melodic Structure and Meter on the Sight-‐reading Performances of Beginners and Advanced Pianists Mayumi Adachi,* Kazuma Takiuchi,* Haruka Shoda*,# *Dept. of Psychology, Hokkaido University, Japan #The Japan Society for the Promotion of Science, Japan We explored how the melodic structure (that can determine the fingering) and the meter would affect visual encoding (i.e., fixation measured by an eye tracking device), visuo-‐motor coordination (i.e., eye-‐hand span), and the execution (i.e, mistakes, stuttering) in the beginner’s sight-‐reading performances in comparison to the advanced pianist's. Eighteen students—9 beginners and 9 advanced pianists—sight-‐read simple melodic scores, consisting of the step-‐wise, the skip-‐wise, or the combined structure written in 3/4, 4/4, or 5/4. Results indicated that the melodic structure affected the beginner’s encoding and execution. The combined structure had the beginners spend more time in saccade (rather than in fixation) and stutter more often than the step-‐wise or the skip-‐wise structure. The meter, on the other hand, affected the advanced pianist’s visuo-‐motor coordination and execution. The complex meter (i.e., 5/4) resulted in the advanced pianist’s shorter eye-‐hand span than a simple meter (i.e., 3/4, 4/4), in line with Chang (1993), and more rhythm errors than 4/4 meter. The beginner’s sight-‐reading was less efficient than the advanced pianists in visual encoding, in visuo-‐motor coordination, and in execution. Nonetheless, the beginners could read 0.52 notes ahead of what was being played regardless of the meter or the melodic structure of the score. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 143 The Sound of Emotion: The Effect of Performers’ Emotions on Auditory Performance Characteristics Anemone G. W. van Zijl, Petri Toiviainen, Geoff Luck Department of Music, University of Jyväskylä, Finland Do performers who feel sad sound different compared to those who express sadness? Despite an extensive literature on the perception of musical emotions, little is known about the role of performers’ experienced emotions in the construction of an emotionally expressive performance. Here, we investigate the effect of performers’ experienced emotions on the auditory characteristics of their performances. Seventy-‐two audio recordings were made of four amateur and four professional violinists playing the same melodic phrase in response to three different instructions. Participants were first asked to focus on the technical aspects of their playing. Second, to give an expressive performance. Third, to focus on their experienced emotions, prior to which they were subjected to a sadness-‐inducing mood induction task. Performers were interviewed about their thoughts and feelings after each playing condition. Statistical and computational analyses of audio features revealed differences between the performance conditions. The Expressive performances revealed the highest values for playing tempo, dynamics, and articulatory features such as the attack slope. The Emotional performances, in contrast, revealed the lowest values for all of these features. In addition, clear differences were found between the performances of the amateur and professional performers. The present study provides concrete evidence that performers who feel sad do sound different compared to those who express sadness. Paper Session 25: Crystal Hall, 11:30-‐13:30 Music in the classroom Differences in Mental Strategies and Practice Behavior of Musically Average and Highly Gifted Adolescents in Germany Stella Kaczmarek Faculty of Music, University of Paderborn, Germany Amount of research on instrumental practice and demand for this topic has increased greatly in the last decade. More than half of all research concerns professional musicians, and there is relatively little research carried out with children or adolescents. Aim of this paper is to present a recent study on musically gifted adolescents in Germany. Research participants were young students who participated in a special study program at the music conservatories in Germany (Hannover, Cologne and Detmold). Participants of the control group were average music students from local music school in Paderborn. Two questionnaires were used in which young musicians were asked to reflect on their practice behavior, practice strategies, and strategies of mental rehearsal. Analysis suggests that highly gifted adolescents – in comparison to average music students -‐ have greater knowledge regarding the use of appropriate planning and evaluation strategies. We have only found significant differences in the use of mental strategies between those two groups in one scale, which means that “experts” do not always stand out in mental rehearsal than average music students. 144 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Competencies and model-‐based items in music theory and aural training in preparation for entrance exams Anna Wolf, Friedrich Platz, Reinhard Kopiez Hanover Music Lab, Hanover University of Music, Drama and Media, Germany The study of music theory is part of any musicology and music education degree in Germany. To enter such a study programme, every prospective student needs to pass an entrance exam in aural training and music theory. Although these tests decide on the professional future of young people, they lack a theoretical, model-‐based validation. A chord labelling task from an entrance exam (n = 124) has been analyzed. It consists of 15 chords each in both versions of the task. The items of the chord labelling task represent a too narrow range of difficulty (e.g. -‐1.2 to +1.3 logits) and five items even needed to be removed due to differential item functioning (Wolf, Platz & Kopiez, 2012). Subsequently, a questionnaire with music theory items will be prepared by music theory experts and will consist of approximately twenty items. These items will be filled in by students preparing for an entrance exam. The upcoming analysis using Item response theory is going to provide data about each of the items, which will result in its removal, revision or retention. In the latter case, item charateristics such as its difficulty allow for a classification of the item into the competency model. Ensuing these steps we will produce a competency model for music theory and aural training. As this model will be based on empirical data of students training in music theory and aural training, we can integrate both disciplines into music pedagogy and instrumental training and enable the understanding of music as a generalizable process. The influence of the visual representation of the notation system on the experience of time among young music players Tirtsa Yovel, Roni Y. Granot Hebrew University of Jerusalem, Israel Music notation embodies the metaphor of music as motion in time and space (Johnson & Larson, 2003). Notes can be viewed as analogous to objects along the route defined by the musical staff. As such, principles of motion may be used in the translation from the visual information of the notation (length and density) into realized time, creating possible biases related to our experience of motion in space. In the current study we measured the playing tempo of 61 children (aged 6.9-‐14.4) who performed and verbally responded to a set of musical examples presenting various manipulations on the length of the staff and the density of the written notes. In order to determine their developmental stage the children were also tested for weight conservation and time perception (Piaget, 1969). Results indicate a clear influence of the manipulated variables on playing tempo when manipulations were applied to the entire staff, but not when limited to a single measure. In general, short and/or dense visual information led to faster tempi. This was obtained despite an explicit understanding of the irrelevance of these variables to the temporal interpretation of the notation, and could not be explained by participants' developmental stage, or ability to maintain a steady beat. Moreover, even priming with a metronome did not abolish the effect. We discuss implications for our understanding the metaphor of time-‐space and motion in music, and implications for music pedagogy. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 145 When students are learning and when they are performing in instrumental lesson interactions: A conversational analysis approach Antonia Ivaldi Department of Psychology, Aberystwyth University, Wales, UK Within the growth of qualitative research in music psychology there has been an attempt to explore the interactions that take place between teachers and students in music lessons. This research, however, has yet to look at the turn by turn talk that takes place in pedagogical discourse, in addition to exploring how playing, singing and demonstrating are woven into the sequence of the interaction. The study’s aim is to examine how students indicate to the teacher when they are learning and when they are performing within the lesson, and how this is received, taken up, and orientated to by the teacher as a performance or as part of a more complex pedagogical process. 17 video recordings were made of UK conservatoire music lessons which lasted between 50 minutes and two hours. Relevant extracts were then selected and transcribed further using Jefferson system conventions. Employing conversation analysis (CA) techniques such as turn-‐taking, repair, overlap, pauses etc, the analysis will explore how the teacher orients to the students’ playing and talk as being either performance ready, or one that indicates that learning is still taking place. CA offers a unique opportunity for teachers and students to demonstrate more fully how the interaction within music lessons presents a complex interplay between talk and the playing and demonstration of instruments, which in turn results in the student and teacher continually moving between learning and performance within the lesson. The implications for instrumental teachers and their students will be discussed. Paper Session 26: Dock Six Hall, 11:30-‐13:30 Music -‐ Identity -‐ Community Music and Identity: The Effect of Background Music on Israeli Palestinians' Salience of Ethnic Identity Naomi Ziv,* Ahlam Rahal # *Psychology Dept., College of Management – Academic Studies, Israel #Education Dept., Max Stern Academic College, Israel The development of identity is an important aspect of adolescence. Music plays an important part in constructing identity at this age. Israeli Palestinians constitute an ethnic minority, whose sense of identity may be split between their civic identity, as Israeli citizens, and ethnic identity, as Palestinians. The aim of the present study was to examine the effect of background music on the salience of ethnic identity in Israeli Palestinian adolescents. 90 boys and 152 girls participated in the study. Participants were randomly assigned to four groups. Three groups heard either national, Arab love or English rock songs, and were asked to write associations to them. All participants completed an ethnic identity questionnaire. Results showed higher scores on ethnic identity with all types of music compared to no music. A significant effect of music type was found for affect associated to music type. Gender differences were found in the effect of music on ethnic identity, and in the relationship between associations and type of music. 146 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Identity Dimensions and Age as Predictors of Adult Music Preferences Richard Leadbeater Lancaster Institute for the Contemporary Arts, Lancaster University, England Recent empirical research in music psychology has established that personality trait profiling may provide a reliable prediction of music preferences. However, research on music preferences has largely focused on the adolescent age group. Whether adults similarly use music as a tool to construct and reconstruct identities following lifespan experiences is largely understudied. This paper presents the results of an on-‐line survey which was carried out at Lancaster University to expand recent empirical research on music preferences. The aim of the study was to explore the relationship between personality traits, age, estimated IQ and identity dimensions as predictors of music preferences. A large sample (n=768), ages ranging from 17-‐66 (X=23.9; SD=8.95) completed the survey. Music preference ratings were assessed using STOMP-‐R. The BFI and the EIPQ were used for personality trait and identity status measurement respectively. Results largely supported recent research except for one notable exception; there was almost zero correlation between Openness and the Upbeat and Conventional Dimension, as opposed to a significant negative correlation. Standard multiple regression analysis revealed highly significant effects of the Exploration identity dimension, Age and Openness to predict a preference for Rhythmic and Complex music. Interestingly, adjusted R2 scores would suggest that these variables only account for less than 20% of variance in music preferences. Consequently, further research on music preferences may adopt a more socially constructive methodology to identify how music preference selection reflects the evolving salient identities. Why not knitting? Amateur music-‐making across the lifespan Alexandra Lamont Centre for Psychological Research, Keele University, United Kingdom Musical identity lies at the core of understanding people’s motivations and patterns of engagement with music. Much research has explored this in relation to professional musicians and music teachers, but less attention has been given to amateurs. A growing body of work shows that involvement in musical activities, particularly in later life, has powerful effects on health and wellbeing. However, less is known about how involvement can be supported over long timeframes spanning many years. This study explores retrospective memories of music making and aims to uncover the features that prevent or support amateurs in developing and sustaining (and sometimes resuscitating) a musical identity. Data was gathered from online surveys (530 participants) and follow-‐up interviews with adult amateur musicians. Participants ranged in age from 21 to 83 and took part in a very diverse range of musical activities. Despite being actively involved in music, they did not all have a strong musical identity. Different patterns of motivation can be discerned, including the traditional pattern of a highly motivated child leading to continuous involvement in music, but also adults with far more patchy musical careers. While all participants had a guiding musical passion or a core musical identity, this sometimes takes time to find full expression, depending on circumstances and pressures of everyday life. General life crises and transitions (such as having a family, relocation or retirement) can create barriers to involvement but also opportunities to re-‐engage. Involvement in music also provides a way of managing life transitions and crises. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 147 Young People's Use and Subjective Experience of Music Outside School Ruth Herbert Music Dept., Open University, UK Few studies of everyday musical engagement have focused on the subjective 'feel' (phenomenology) of unfolding, lived experience. Additionally, the musical experiences of children and young adolescents are currently under-‐represented in the literature. This paper constitutes an in-‐progress report of the preliminary stage of a mixed method three year empirical enquiry, designed to explore psychological characteristics of the subjective experience of young people hearing music in everyday, 'real world’ scenarios in the UK. The aims were to identify varied modes of listening, to pinpoint whether these are age-‐related, to explore the extent to which young people use music as a form of escape (dissociation) from self, activity, or situation. 25 participants (aged 10-‐18) were interviewed and subsequently kept diaries of their music-‐listening experiences for two weeks. Data was subjected to Interpretative Phenomenological Analysis (IPA). Key themes identified include the use of music to create a sense of momentum, energy and excitement to mundane scenarios, to dissociate or 'zone out' from aspects of self and/or situation, to feel relaxed, to feel 'connected’, to articulate moods and emotions, to aid daydreams/imaginative fantasies and to provide a framework through which to explore emotions vicariously, using music as a template for modelling future emotional experience. Subjective experience was frequently characterised by a fusion of modalities. Symposium 3: Timber I Hall, 11:30-‐13:30 Emotion regulation through music: understanding the mechanisms, individual differences, and situational influences Convener: Suvi Saarikallio, Discussant: Daniel Västfjäll Emotion regulation is one of the very reasons why people engage with music in everyday life, and research on the topic has been growing rapidly. Recent studies have identified music-‐ related affect-‐regulatory strategies, emotion induction mechanisms, and proposed connections to personality, emotionality, and musical engagement. However, we still know little about the details of the underlying psychological and physiological mechanisms, individual differences, and contextual influences on this regulatory behaviour. This symposium brings together an international group of researchers approaching the topic of music and emotion regulation from five complementary perspectives: TanChyuan Chin provides a detailed look on the physiological mechanisms underlying music-‐related emotion regulation, and presents a study about the EEG parameters connected to emotion regulation through music. Annemieke VanDenTol focuses on the psychological mechanisms and processes that guide mood enhancement after listening to sad music when feeling sad. Marie Helsing brings in the topic of individual differences of music-‐related emotion regulation in the context of everyday life, and presents studies that investigated the effects of music on mood improvement and stress reduction in everyday life episodes. William Randall further elaborates the topic of contextual influences on music-‐related emotion regulation by presenting a study conducted through real time sampling methodology using current portable technology. Suvi Saarikallio discusses the perspective of individual differences over the course of lifespan and presents a study that demonstrates age-‐related differences in music-‐related emotion regulation across adolescence and adulthood. In conclusion of the symposium, Daniel Västfjäll brings the varying viewpoints together as discussant. 148 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU A self-‐regulatory perspective on choosing ‘sad’ music to enhance mood Annemieke J. M. Van den Tol, Jane Edwards Irish World Academy of Music and Dance, University of Limerick, Ireland Many people choose to listen to self-‐identified ‘sad’ music when they experience negative life circumstances. Music listening in such circumstances can serve a variety of important self-‐ regulatory goals (Saarikallio and Erkkilä, 2007; Van den Tol and Edwards, 2011). Listening to sad music can help people to cope with a problem in the long term through offering opportunities for reflection, learning, and reinterpreting the situation. In addition, after listening to sad music, adults report that they feel better in a range of ways (Van den Tol and Edwards. 2011). The aim of the current research is to get more insight in the psychological processes that guide mood enhancement after listening to sad music when feeling sad. To investigate the above aim a correlational study has been designed based on our previous insights in sad music listening (Van den Tol and Edwards, 2011). A total of 220 participants volunteered to rate statement in relation to their sad music listening experiences when feeling sad. Several distinct strategies are identified that people employ for selecting specific sad music, such as, the selection of sad music based on subjective high aesthetic value, or the selection of music based on momentary identification/connection with the affective sound of the music or lyrics of the song. These strategies are guided by several distinct self-‐regulatory goals that self-‐identified sad music can serve during listening. In an explanatory model we will give an overview of how different factors play a role in self-‐regulation and of how these can result in mood enhancement and affective change. These novel findings provide core insights into the dynamics and value of sad music in relation to coping with negative psychological circumstances and mood enhancement. Everyday music listening: The importance of individual and situational factors for musical emotions and stress reduction Marie Helsing Department of Psychology, University of Gothenburg, Sweden Music listening primarily evokes positive emotions in listeners. Research has shown that positive emotions may be fundamental for improving both psychological and physical aspects of well-‐being. Besides from the music itself it is essential to consider individual and situational factors when studying emotional experiences to music. The main aim with the three papers (Study I, II and III) in the doctoral thesis was to explore the effects of everyday music listening on emotions, stress and health. The Day Reconstruction Method was used in study I and II. In study III, an experiment group who listened to their self-‐chosen music on mp3-‐players when arriving home from work every day for 30 minutes for two weeks’ time was compared to a control group who relaxed without music and with a baseline week when the experiment group relaxed without music. Results from study I and II showed that music was related to more positive emotions, lower stress levels and higher health scores. Liking of the music affected the level of stress. Results from study III showed that the experiment group showed an increase in positive emotions and decrease in perceived stress and cortisol levels over time. The results from this thesis indicate that everyday music listening is an easy and effective way of improving well-‐being and health by its ability to evoke positive emotions and thereby reduce stress. But not just any music will do since the responses to music are influenced by individual and situational factors. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 149 Emotion Regulation Through Personal Music Listening: The MuPsych App William M. Randall, Nikki S. Rickard School of Psychology & Psychiatry, Monash University, Melbourne, Australia An extensive body of research supports music listening as a commonly used self-‐regulation strategy, including the series of studies by Saarikallio on adolescent music mood regulation. However, empirical evidence supporting emotion regulation through music use has been limited. The current study aimed to provide empirical and ecologically valid data on the frequency of specific music regulation strategies, and how successful they are in regulating emotion. A second aim of the current study was to determine if regulation through music use occurs in accordance with the Process Model of Emotion Regulation. To achieve these aims, a new event-‐sampling methodology was developed; a mobile-‐device application named MuPsych. Participants are asked to download MuPsych to their own portable device, and use it as their personal music player for a two-‐week data collection period. The app employs Experience Sampling Methodology to collect real-‐time subjective data on music and social context variables, regulatory strategies, and the emotional impact of music. In addition, MuPsych collects data through psychometric questionnaires on listener variables such as personality, well-‐being and musical experience. Preliminary results suggest that the frequency and efficacy of specific music regulation strategies are influenced by music, listener and social context variables. The app will remain available for participants to download for a period of 18 months, allowing for automatic and continuous collection of data. Results to be presented will reveal how young people use music in their everyday lives to self-‐regulate emotions, and the conditions under which this is successful. This study will also determine how emotion regulation through music use relates to established models of emotion regulation. Age differences in music-‐related emotion regulation Suvi Saarikallio,* Tuuli Vattulainen,# Mari Tervaniemi# *Department of Music, University of Jyväskylä, Finland #Department of Psychology, University of Jyväskylä, Finland Music is used for regulating emotions across the lifespan, but age-‐related comparisons of this behavior have not been conducted. We studied how people at different ages use music for emotion regulation, and particularly focused on differences in the regulatory strategies and related music preferences. Survey data was collected from volunteering passers-‐by during a literature, food, and science exhibition event. Participants (N=123, age range 13-‐71, 30 males) were divided into four age groups: 1) teenagers: 13-‐18-‐year-‐olds, 2) young adults: 19-‐35-‐year-‐olds, 3) adults 36-‐50-‐year-‐olds, and 4) old adults: 51-‐year-‐olds and older. Participants rated their use of seven music-‐related mood-‐regulatory strategies (entertainment, strong sensation, diversion, mental work, discharge, revival, and solace) and their liking of musical genres (classical, jazz, pop, Finnish traditional dance music, rock, heavy, rap, soul). Two regulatory strategies differed significantly differ between the groups: Discharge, release of negative emotion, was more used by teenagers than by adults and old adults. Mental work, contemplation of emotional experiences, was more used by young adults and old adults than by teenagers and adults. Furthermore, age differences were observed regarding how music preferences related to the regulatory strategies. For instance, the use of music for entertainment was related to preference for rap in teenagers, but to preference for Finnish traditional dance music in young and old adults. The use of music for strong sensations was related to preference for classical and heavy in young adults but preference for jazz in old adults. The results broaden our understanding of the age-‐related development and individual differences in music-‐related emotional self-‐regulation. 150 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU Paper Session 27: Timber II Hall, 11:30-‐13:30 Interpreting & predicting listener responses From Vivaldi to Beatles and back: predicting brain responses to music in real time Vinoo Alluri1, Petri Toiviainen1, Torben Lund2, Mikkel Wallentin2, Peter Vuust2,3, Elvira Brattico4 1Department of Music, Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland, 2Aarhus University Hospital, Aarhus University, Denmark, 3Royal Academy of Music, Aarhus/Aalborg, Denmark, 4Cognitive Brain Research Unit, Department of Psychology, University of Helsinki, Finland We aimed at predicting brain activity in relation to acoustic features extracted from musical pieces belonging to various genres and including lyrics via regression modeling. We assessed the robustness of the hence created models across stimuli via cross-‐validation. Participants were measured with functional magnetic resonance imaging (fMRI) while they listened to two sets of musical pieces, one comprising instrumental music representing compositions from various genres and the other a medley of pop songs with lyrics. Acoustic features were extracted from both stimulus sets. Principal component regression models were trained separately for each stimulus set by using the fMRI time-‐series as dependent, and acoustic feature time-‐series as independent variables. Then, we performed cross-‐validations of the models. To assess the generalizability of the models we further extended the cross-‐validation procedure by using the data obtained in a previous experiment that used a modern tango by Piazzolla as the stimulus. Despite differences between musical pieces with respect to genre and lyrics, results indicate that auditory and associative areas indeed are recruited for the processing of musical features independently of the content of the music. The right-‐ hemispheric dominance suggests that the presence of lyrics might confound the processing of musical features in the left hemisphere. Models based on purely instrumental music revealed that in addition to bilateral auditory areas, right-‐hemispheric somatomotor areas were recruited for musical feature processing. In sum, our novel approach reveals neural correlates of music feature processing during naturalistic listening across a large variety of musical contexts. I can read your mind: Inverse inference in musical neuroinformatics Petri Toiviainen1, Vinoo Alluri1, Elvira Brattico1,2, Andreas H. Nielsen3,4, Anders Dohn3,5, Mikkel Wallentin3,6, & Peter Vuust3,5 1Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland, 2Cognitive Brain Research Unit, Department of Psychology, University of Helsinki, Finland, 3Center of Functionally Integrative Neuroscience, Aarhus University Hospital, Nørrebrogade, 8000 Aarhus C, Denmark, 4Department of Anthropology, Archaeology and Linguistics, Aarhus University, Denmark, 5Royal Academy of Music, Aarhus/Aalborg, Denmark, 6Center for Semiotics, Aarhus University, Denmark In neuroinformatics, inverse inference refers to prediction of stimulus from observed neural activation. A potential benefit of this approach is a straightforward model evaluation because of easier performance characterization. We attempted to predict musical feature time series from brain activity and subsequently to recognize, which segments of music participants were listening to. Moreover, we investigated model parameters that yield optimal prediction performance. Participants (N = 15) were measured with functional magnetic resonance imaging (fMRI) while they were listening to two sets of musical pieces. Acoustic features 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 151 were computationally extracted from the stimuli. The fMRI data were subjected to dimensionality reduction via voxel selection and spatial subspace projection. For each stimulus set separately, the fMRI projections were subjected to multiple regression against the musical features. Following this, temporal segments were selected from the fMRI data, and a classifier comparing predicted and actual musical features was used to associate each fMRI data segment with one of the respective musical segments. To avoid overfitting, cross-‐ validation was utilized. Different voxel selection criteria and subspace projection dimensionalities were used. Best performance was obtained by including about 10-‐15% of the voxels with highest correlation between participants, and by projecting the fMRI data to less than 10 dimensions. Overall, timbral and rhythmic features were more accurately predicted than tonal ones. The excerpt being listened to could be predicted from brain activation well above chance level. Optimal model parameters suggest that a large proportion of the brain is involved in musical feature processing. Implicit Brain Responses During Fulfillment of Melodic Expectations Job P. Lindsen*, Marcus T. Pearce#, Marisa Doyne*, Geraint Wiggins#, Joydeep Bhattacharya* *Department of Psychology, Goldsmiths, University of London, UK #Centre for Digital Music, Queen Mary, University of London, UK Listening to music entails forming expectations about how the music unfolds in time, and the confirmation and violation of these expectations contribute to the experience of emotion and aesthetic effects of music. Our previous study on melodic expectations found that unexpected melodic pitches elicited a frontal ERP negativity. However, the role of attention was not explicitly manipulated in the previous study. In the current experiment we manipulated the degree to which participants could attend to the music. One group of participants just listened to the melodies, a second group had to additionally detect an oddball timbre, and a third group memorized a nine-‐digit sequence while listening. We used our statistical learning model to select from each melody a high and low probability note for the EEG analyses. Replicating previous results we found an early (~120 ms) frontal ERP negativity for unexpected notes. Initial analyses showed that this early ERP effect was unaffected by our attention manipulations. In contrast, analysis of the time-‐frequency representation indicated an interaction of expectedness and attentional load in theta band (5-‐7 Hz) amplitude during a later time-‐window (~300 ms). The expectedness of a melodic event seems to be extracted relatively quickly and automatically extracted irrespective of the attentional load, suggesting that early melodic processing is largely pre-‐attentive or implicit. Later stages of processing seem to be affected by attentional load, which might reflect differences in updating of the internal model used to generate melodic expectations. "...and I Fe e l Good!" Ratings, fMRI-‐recordings and motion-‐capture measurements of body-‐movements and pleasure in response to groove Maria A.G. Witek,* Eric F. Clarke,* Mikkel Wallentin,# Mads Hans,# Morten L. Kringelbach,^ Peter Vuust# *Music Faculty, Oxford University, United Kingdom ^Dept. of Psychiatry, Oxford University, United Kingdom #CFIN, Aarhus University, Denmark What is it about music that makes us want to move? And why does it feel so good? Few contexts of musical enjoyment make the pleasurable effect of music more obvious than in a dance club. A growing body of research demonstrates that music activates brain areas involved in the regulation of biological rewards, such as food and sex. However, the role of body-‐movement in pleasurable responses to groove-‐based music, such as funk, hip-‐hop and 152 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 THU electronic dance music, has been ignored. This paper reports results from a study in which the relationship between body-‐movement, pleasure and groove was investigated. In an online rating survey, an inverted U-‐shaped relationship was found between degree of syncopation in funk drum-‐breaks and ratings of wanting to move and experience of pleasure. This inverted U-‐curve was reflected in fMRI-‐recorded patterns of activity in the auditory cortex of 26 participants. Furthermore, there was a negative linear relationship between degree of syncopation and activation in the basal ganglia. After scanning, participants were asked to move freely to the drum breaks in a motion-‐capture lab. Early explorations of the data suggest similar trends with regards to degree of syncopation and kinetic force of movements. This triangulation of results provides unique insights into the rewarding and movement-‐eliciting properties of music. As few can resist the urge to tap their feet, bop their heads or get up and dance when they listen to groove-‐based music, such insights are a timely addition to theories of music-‐induced pleasure. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 153 Friday 27 July Keynote 5: Grand Pietra Hall, 09:00-‐10:00 David Temperley: Mode and emotion: Experimental, computational, and corpus perspectives David Temperley is Associate Professor of music theory at Eastman School of Music, University of Rochester, USA. He received his PhD from Columbia University (studying with Fred Lerdahl), did a post-‐ doctoral fellowship at Ohio State University (working with David Huron), and has been at Eastman since 2000. Temperley's primary research area has been computational modeling of music cognition; he has explored issues such as meter perception, key perception, harmonic analysis, and stream segregation. His first book, The Cognition of Basic Musical Structures (MIT, 2001) won the Society for Music Theory's Emerging Scholar Award; his second book, Music and Probability (MIT, 2007) explores computational music cognition from a probabilistic perspective. Other research has focused on harmony in rock, rhythm in traditional African music, and hypermeter in common-‐practice music. Temperley has also worked on a variety of linguistic issues, including parsing, syntactic choice, and linguistic rhythm. My starting point is a recent experiment in which participants heard melodies in different diatonic modes (Lydian, Ionian, Mixolydian, Dorian, Aeolian, and Phrygian) and judged their happiness. The experiment reveals a strong and robust pattern: Modes become "happier" as scale-‐degrees are raised (i.e. as sharps are added), with the exception of Lydian, which is higher in pitch than Ionian (major) but less happy. I consider various explanations for this pattern. The simplest explanation appeals to familiarity: major mode is the happiest because it is the most familiar. Several considerations argue against this explanation, including new corpus evidence from popular music. However, I argue that familiarity may explain the low happiness of modes at the extremes, namely Phrygian and Lydian. (Here I connect with recent computational work on key-‐finding.) Regarding the gradual increase in happiness of modes from Aeolian through Ionian, I consider two explanations: one posits an association between happiness and pitch height; the other involves a spatial cognitive model of scale-‐ degrees, the "line of fifths." I put forth several arguments in favor of the latter explanation. Young Researcher Award 2, Grand Pietra Hall, 10:00-‐10:30 Emotions Move Us: Basic Emotions in Music Influence People’s Movement to Music Birgitta Burger, Suvi Saarikallio, Geoff Luck, Marc R. Thompson, Petri Toiviainen Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland Listening to music makes us to move in various ways. Several factors can affect the characteristics of these movements, including individual factors and musical features. Additionally, music-‐induced movement may be shaped by the emotional content of the 154 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI music. Indeed, the reflection and embodiment of musical emotions through movement is a prevalent assumption within the embodied music cognition framework. This study investigates how music-‐induced, quasi-‐spontaneous movement is influenced by the emotional content of music. We recorded the movements of 60 participants (without professional dance background) to popular music using an optical motion capture system, and computationally extracted features from the movement data. Additionally, the emotional content (happiness, anger, sadness, and tenderness) of the stimuli was assessed in a perceptual experiment. A subsequent correlational analysis revealed that different movement features and combinations thereof were characteristic of each emotion, suggesting that body movements reflect perceived emotional qualities of music. Happy music was characterized by body rotation and complex movement, whereas angry music was found to be related to non-‐fluid movement without rotation. Sad music was embodied by simple movements and tender music by fluid movements of low acceleration and a forward bent torso. The results of this study show similarities to movements of professional musicians and dancers, to emotion-‐specific non-‐verbal behavior in general, and can be linked to notions of embodied music cognition. Speed Poster Session 31: Grand Pietra Hall, 11:00-‐11:40 Cognitive modeling & musical structure Long-‐term representations in melody cognition: Influences of musical expertise and tempo Niklas Büdenbender, Gunter Kreutz Department of Music, Carl von Ossietzky University Oldenburg, Germany We often only need a few tones from the beginning of a melody to anticipate its continuation. The less known a melody is, however, the more tones are required to decide upon its familiarity. Dalla Bella et al. (2003) investigated this idea in an experiment where participants with different musical backgrounds were asked to judge melody beginnings regarding their point of identification as familiar or unfamiliar. The results reveal expected influences of musical expertise but also show similarities in the cognitive representation of melodic material, regardless of musical expertise. In our experiment we replicated and extended this paradigm by focusing on musical tempo as another potential influence on the recognition process. Participants were assigned to either a musicians group or a non-‐ musicians group, according to their grade of musical expertise, and were asked to judge acoustically presented melody beginnings regarding the point of their identification as familiar or unfamiliar. Results support the findings of Dalla Bella with a highly significant difference between the identification points for familiar and unfamiliar melodies of approximately three tones more for the latter, and a significantly faster identification of approximately one tone for musicians compared to non-‐musicians. Deviations from the original tempo show a trend towards a delayed identification for familiar melodies, regardless of the direction of the deviation, and a significant correlation between the increase of tempo and the number of tones required for the identification of unfamiliar melodies. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 155 Why Elephants Are Less Surprised: On Context-‐free Contexts, Trees without Branches and Probabilistic Models of Long-‐distance Dependencies Martin Rohrmeier,* Thore Graepel# *Cluster Languages of Emotion, Freie Universität Berlin, Germany #Microsoft Research, Cambridge, United Kingdom Since Schenker's (1935) and Lerdahl & Jackendoff's (1983) theories, tree-‐shaped, nonlocal dependency structures have been proposed for tonal music. Empirical evidence for the perception or acquisition of nonlocal dependencies, however, is still debated. Regarding harmony, accounts based on local transition tables (Piston, 1978; Tymoczko, 2003) or recursive, generative context-‐free structures (eg. Steedman, 1984, 1996; Lerdahl, 2001; Rohrmeier, 2011) were proposed. This work explores whether long contexts have an effect for the prediction of realistic chord sequences. We use simple probabilistic Hidden Markov and n-‐gram models to motivate harmonic long-‐distance dependencies and their learning statistically using a corpus of Jazz chord progressions. For each chord of each test sequence, the prediction accuracy based on any contiguous shorter context up to only one chord was compared to the prediction accuracy for that chord given the full context of the entire piece so far. Results by HMMs in contrast to n-‐gram models indicate that long-‐distance dependencies up to large ranges (10 or more chords into the past) have a statistically measurable impact on the prediction accuracy of most, but not all chords in the test pieces. The results suggest that features of hierarchical, nonlocal harmonic structure are found in the data and can be detected by HMMs. This finding provides an empirical way to reveal traces of syntactic dependency structures consistent with theoretical accounts and to show that aspects of such dependencies can be acquired by mere statistical learning. Derivation of Pitch Constructs from the Principles of Tone Perception Zvonimir Nagy Mary Pappert School of Music, Duquesne University, Pittsburgh, United States Recent cross-‐cultural studies in psychoacoustics, cognitive music theory, and neuroscience of music suggest a direct correlation between the spectral content found in tones of musical instruments and the human voice on the origin and formation of musical scales. From an interdisciplinary point of view, the paper surveys important concepts that have contributed to the perception and understanding of the basic building blocks of musical harmony: intervals and scales. The theoretical model for pitch constructs derived from the perceptual attributes of musical tones – the patterns of tone intervals extracted from the harmonic series – builds on the hypothesis that fundamental assumptions of musical intervals and scales indicate physiological and psychological properties of the auditory and cognitive nervous systems. The model is based on the intrinsic hierarchy of vertical intervals and their relationships within the harmonic series. As a result, musical scales based on the perceptual and cognitive affinity of musical intervals are derived, their rapport with Western music theory suggested, and the model’s potential for use in music composition implied. This leads to a vertical aspect of musical harmony by bonding of the intervallic quality and its very structure embedded within the spectra of tones that produce it. The model’s application in the construction of tone systems puts forward a rich discourse between music acoustics, perception, and cognition on one end, and music theory, aesthetics, and music composition on the other. 156 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI Musical phrase extraction from performed blues solos Bruce Pennycook,1 Carlos Guedes2 1The University of Texas at Austin, USA 2Faculty of Engineering, University of Porto, Portugal The Music Phrase Segmenter software is an adaptation of Lerdahl & Jackendoff's Grouping Preference Rules based on earlier work by Pennycook and Stammen. The primary objective of MPS is to automatically extract, analyze and classify phrases from live performance, audio and/or midi files and scores to serve as input to a generative system. It has been shown that statistical combined with boundary-‐detection segmentation methods can outperform a single GPR in ground-‐truth tests, our intent was to extend the GPR approach by adding 1) style dependent weightings and 2) secondary rules which are dynamically invoked to improve results on ambiguous interval displacements. The target application for this system is an interactive generative blues player suitable for mobile applications which is part of an umbrella research project focusing on real-‐time interactive generative music production tools. To satisfy the requirements for this application, the MPS software is designed to provide continuous phrase-‐by-‐phrase output in real-‐time such that an input source (playing a keyboard or saxophone for example) could produce useful data with a minimal latency.In addition to the segment information – pitch, duration, amplitude – the MPS system produces for each detected phrase the following analyses: estimated bpm for the current phrase and estimated bpm from the beginning of the analysis to the current (using a new beat-‐tracking Max/MSP external object developed for the overall research project), estimated root, estimated tonality, estimated chord-‐scale, pitch and interval class collections (raw and weighted) plus a phrase contour value. The contours are determined using a new Max/MSP external implementation of a dynamic time-‐warp method to classify each phrase according to nine templates derived from Huron. The contour matching process also occurs on a phrase-‐by-‐phrase basis in real-‐time. These data sets are then passed to a classification system allows a user to cluster collections according to any of the analytical criteria. The paper demonstrates a) the results of the segmenter processes compared to ground-‐truth data b) the real-‐time operation of the analytical and contour procedures c) the clustering classification system and d) how the data is ultimately employed in the generative system. An Interactive Computational System for the Exploration of Music Voice/Stream Segregation Processes Andreas Katsiavalos, Emilios Cambouropoulos School of Music Studies, Aristotle University of Thessaloniki, Greece In recent years a number of computational models have been proposed that attempt to separate polyphonic music into perceptually pertinent musical voices or, more generally, musical streams, based on a number of auditory streaming principles (Bregman). The exact way such perceptual principles interact with each other in diverse musical textures has not yet been explored systematically. In this study, a computational system is developed that accepts as input a musical surface represented as a symbolic note file, and outputs a piano-‐ roll like representation depicting potential voices/streams. The user can change a set variables that affect the relative prominence of each streaming principle giving, thus, rise to potentially different voice/stream structures. For a certain setting of the model’s parameters, the algorithm is tested against a small but diverse set of musical excerpts (consisting of contrasting cases of voicing/streaming) for which voices or streams have been manually annotated by a music expert (this set acts as ground truth). Preliminary qualitative results are encouraging as streaming output is close to the ground truth dataset. However, it is acknowledged that it is difficult to find one stable set of parameters that works equally well in all cases. The proposed model enables the study of voice/stream separation processes per se, and, at the same time, is a useful tool for the development of more sophisticated computational applications. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 157 Timbral & Textural Evolution as Determinant Factors of Auditory Streaming Segregation in Christian Lauba's “Stan” Nicolaos Diminakis, Costas Tsougras School of Music Studies, Aristotle University of Thessaloniki, Greece Formal musical analysis does not typically involve the listener's cognition of the macro/micro structural levels of a composition. Auditory scene analysis provides a fundamental understanding of the way a listener perceives combined sounds and organizes them as separate elements of the musical texture. The aim of this paper is to show how a number of cognitive factors (auditory streaming principles) can provide an insight into the macro/microstructure of Christian Lauba's “Stan” for baritone saxophone and pre-‐recorded synthesizer. “Stan”, Lauba's 11th saxophone concert-‐study, is a “Study in virtuosity without rubato for well-‐tempered and well-‐quantized instruments” and an homage to Stan Getz, the renown jazz musician. In this piece, timbral and textural parameters, as well as their overlapping and interaction during the evolution of the composition, attain importance and constitute the main generators of auditory streams. The present study reveals the auditory streaming processes -‐based on the principles of Temporal Continuity, Minimum Masking, Tonal Fusion, Pitch Proximity, Pitch Co-‐modulation, Onset Synchrony, Limited Density and Timbral Differentiation-‐ that project the division of the piece into three parts (A-‐B-‐C) and explains the unfolding of the composition' s musical texture and the relation of the piece's structure to its title. Pc set analysis is also applied in order to enlighten important processes at the microstructural level. The study shows how two distinct methodologies can complement each other for the benefit of music analysis. The acknowledgment of both cognitive and theoretical results expands our understanding of musical structure and broadens our knowledge about the listener's experience. Understanding Ornamentation in Atonal Music Michael Buchler College of Music, Florida State University, U.S.A. In 1987, Joseph Straus convincingly argued that prolongational claims were unsupportable in post-‐tonal music. He also, intentionally or not, set the stage for a slippery slope argument whereby any small morsel of prolongationally conceived structure (passing tones, neighbor tones, suspensions, and the like) would seem just as problematic as longer-‐range harmonic or melodic enlargements. Prolongational structures are hierarchical, after all. This paper argues that large-‐scale prolongations are inherently different from small-‐scale ones in atonal (and possibly also tonal) music. It also suggests that we learn to trust our analytical instincts and perceptions with atonal music as much as we do with tonal music and that we not require every interpretive impulse to be grounded by strongly methodological constraints. Perceiving and categorizing atonal music: the role of redundancy and performance Maurizio Giorgio,1 Michel Imberty,2 Marta Olivetti-‐Belardinelli3 1"Sapienza" University of Rome, Université de Paris-‐Ouest-‐Nanterre La Défense, Italy 2Université de Paris-‐Ouest-‐Nanterre La Défense, France; 3ECoNA -‐ Interuniversity Centre for Research on Cognitive Processing in Natural and Artificial Systems, “Sapienza” University of Rome, Italy In order to verify if the performer interpretation has a role on the perceived segmentation of atonal music, we performed three experiments according to the ecological approach developed by Irène Deliège (1990). We hypothesize that musical structure affects grouping more than 158 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI performance and, moreover, that the main mechanism involved in the representation of musical structure is related to the detection of similarity and difference between phrases, that is, of their redundancy. For each experiment 30 subjects were invited to attentively listen to two different performances of an atonal piece, to understand its plan and to mark off the sections of the work pressing a computer key. The order of presentation of the two performances was balanced. In a first experiment we used two versions of Berio’s Sequenza VI performed respectively by Desjardins (1998) and Knox (2006). These variants are different in duration (12.13min. vs 13.14min.) and show differences in dynamics aspects (i.e.: velocity, intensity), accents distribution and gaps duration. The aim of this work was to isolate and analyze the role of variations in dynamic components, accents distribution, duration and the instrumentalists’ point of view in the representation of the musical surface, as perceived by the listeners. In the second experiment we focused on the role of performances duration by using two versions of Berio’s Sequenza III, recorded by the same singer, that differ exactly in duration. In order to better investigate the performers interpretation of the score, in the third experiment we asked to two musicians to record a performance of Berio’s Sequenza VIII by means of a score in which we had previously erased the dynamic instructions provided by the composer. Moreover, none of the two instrumentalists knew the Berio’s composition before our request. Then we used the obtained tracks as stimuli in the same paradigm of previous experiments. The results show a good number of coinciding segmentations in the two versions either for the first, the second and the last experiment, confirming our hypothesis and suggesting a main role of the texture in perceiving and representing the plan of the pieces. The results of the three experiments are discussed in relation to the role of same/different detection. Speed Poster Session 32: Crystal Hall, 11:00-‐11:40 Emotion & affect ‘What’s That Coming Over The Hill?’ The Role Of Music On Response Latency For Emotional Words Paul Atkinson Psychology, Goldsmiths University, England Music and words both have the potential to generate emotional states that may impaction concurrent task performance, but the extent of this interaction is rarely explored. A classic example of the effects of emotional words is seen in responses to the emotional Stroop test, Stroop (1935) whereby the presence of emotional words inhibits response times to a standard color naming task. Graham, Robinson and Mulhall (2009) combined the Stroop task with music and found an effect. The aim of this study was to explore whether music could affect performance on an emotional Stroop task: Specifically it was hypothesized that fearful music would inhibit responses on the reading task while happy music would decrease inhibition. Both conditions were measured against a silent control. The music samples for the present study were taken from a study by Eerola and Vuoskoski (2010). 60 undergraduates took part in the study and were comprised of 33 females and 24 males. The experiment involved participants responding to a colour naming Stroop task on a computer screen that contained both threat and neutral words, either in silence or while listening to music that was rated as happy or fearful. The dependent variable was the time taken for the participant to respond to the color of the word presented. The findings of the study supported the experimental hypotheses: fearful music significantly inhibited response times, while response times in the happy music condition were significantly facilitated. In the silence condition no significance difference was found between performance of words. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 159 Diabolus in musica: towards an understanding of the emotional perception of musical dissonance Kyriaki Zacharopoulou, Eleni Lapidaki School of Music Studies, Aristotle University of Thessaloniki, Greece Musical dissonance is considered to be a decisive factor in the emotional evaluation of a musical piece. However, previous research on the developmental perception of this musical phenomenon is characterized by lack of studies, which are usually low in ecological validity (extensive use of written/verbal self-‐reports of the emotional experience, artificially made musical stimuli, or isolated musical events). The purpose of this study was twofold. The first goal was to propose a web-‐based, multimedia enriched method, which provides a more natural research setting, assigning a task that people generally encounter in their everyday life, namely the pairing of music with images and videos. The second goal of the study was to assess the emotional connotations of musical dissonance in two different age groups. The study involved 29 pre-‐adolescents and 17 adults. The participants watched a set of images and videos combined with a consonant and a dissonant variation of three musical pieces. The images and videos were selected so that they would evoke extreme low or high levels of the emotional dimensions of valence and arousal. We confirmed the participants' tendency to choose the dissonant musical versions when they judged a visual stimulus as more arousing, and the consonant versions when they judged a visual stimulus as more positive or pleasant. The pre-‐adolescents generally agreed with the adults in evaluating the different musical pieces, which implies that the emotional responses to musical dissonance of children at the age of pre-‐adolescence have already begun to strongly resemble those of adults. Tonality and Affective Experience: What the Probe Tone Method Reveals Elizabeth Hellmuth Margulis,* Zohar Eitan# *Department of Music, University of Arkansas, United States #School of Music, Tel Aviv University, Israel Music theorists have long maintained that the tonal hierarchy is an important foundation for the affective experience of Western music. Tonal relationships are believed to engender expectancy, tension and surprise, and thus partake in diverse ways in music expression and meanings. This set of studies aims to use the well-‐established probe-‐tone technique (Krumhansl, 1990) to explore the relationship between perceptions of tonal hierarchy and aspects of musical expression. Specifically, we examine how listeners’ goodness-‐of-‐fit ratings of tonal scale degrees correlate with their ratings of expressive qualities conveyed by these scale degrees. In the experiments reported here, listeners with and without formal musical training performed two tasks in counterbalanced order: the original probe-‐tone task (based on Krumhansl & Kessler, 1982), and a replica of this task such that participants rated not how well the probe tone fit with the tonal context, but rather how tense they found it (Experiment 1) or how much they liked it (Experiment 2). Results provide basic information about the impact of tonality on affective experience. By making simple modifications to a well-‐established methodology in music perception, we hope to gain preliminary information about the relationship between tonality and multidimensional components of affective experience, as well as about the relationship between these dimensions themselves. 160 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI “Lower than average” spectral centroid and the subjective ability of a musical instrument to express sadness Joseph Plazak,* David Huron,# *School of Music, Illinois Wesleyan University, USA; #School of Music, Ohio State University, USA One of the known cues for a sad "tone of voice" in instrumental music is a relatively darker timbre. Previous research has determined that “spectral centroid” is a reliable indicator of the perceived brightness/darkness for a musical tone. This study sought to determine which tones, on various orchestral instruments, have a "lower than average" spectral centroid, and thus, which tones might be better suited for expressing musical sadness. Further, this study also sought to compare the average spectral centroid for a given instrument to the subjective capacity of that instrument to express musical sadness. Huron and Anderson collected this latter data in an unpublished study. A weak correlation (r= -‐.09) was found between an instrument’s average spectral centroid and the subjective capacity of that instrument to express musical sadness. These results are limited, but are consistent with the hypothesis that darker timbres, defined as tones with “lower than average” spectral centroid values, are correlated with an instrument’s subjective capacity to express musical sadness. Genre-‐related Dynamics of Affects in Music Pasi Saari, Tuomas Eerola Music Department, University of Jyväskylä, Finland Past research in the perception of affects in music has primarily been based on rather limited music materials both in terms of music genres covered and amount of examples used. Yet we are aware of large differences in functions, typical listener profiles and affective connotations of music across genres. The present study considers the contribution of music genre to the perception of affects in music and seeks to uncover systematic patterns of affects and their musical correlates across a variety of genres. Moreover, the aim of the study is to assess the congruence between affects inferred from social media tags and participant ratings of affect characteristics. Song-‐level tags related to genre and mood were retrieved for over a million songs from the Last.fm social music catalogue. Based on Latent Semantic Analysis of the tags, a set of 600 tracks, balanced in terms of 6 popular music genres and 9 affects were chosen for a listening experiment, where 29 participants rated the excerpts. Correlations between the listener ratings and corresponding inferred semantic representations were low (happy r=.42) to high (peaceful r=.69). Without respect to genre, correlations between mean ratings of each affect showed strong (e.g. energetic/relaxed r=-‐.95), but also unexpectedly weak (e.g. happiness/sadness r=-‐.46) relationships. However, within the genres, a complex pattern of relationships emerges, showing strongly negative correlation between happiness and sadness within folk and pop, but weak correlation within electronic and metal – due to non-‐ relevance of certain affects or shift in the relationship of the affect within the genre. Romantic changes: Exploring historical differences in the use of articulation rate in major and minor keys Matthew Poon, Michael Schutz McMaster Institute for Music and the Mind, McMaster University, Canada Music and speech are known to communicate emotion using acoustic cues such as timing and pitch. Previously we explored the use of these cues within a corpus of 24-‐prelude sets, quantifying these cues in each of the 12 major (nominally “happy”) and 12 minor (nominally “sad”) pieces. We found that the major-‐key pieces were both higher in pitch and faster in articulation rate than their minor-‐key counterparts (Poon & Schutz, 2011). However, we also 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 161 found differences in the way Bach and Chopin used the cues—differences consistent with previous work suggesting that the Romantic era practices for the use of articulation rate broke with those of previous eras (Post & Huron, 2009). To further explore this change, we expanded our survey to include seven additional 24-‐prelude sets written by Classical and Romantic composers. For the Classical-‐era sets, major key pieces were on average 25% faster than their the minor-‐key counterparts. However for the Romantic-‐era sets, major-‐key pieces were in fact 7.5% slower than their minor key counterparts. Our analysis of pitch height differences is still in progress, but through a rigorous methodology we document clear differences in acoustic cues between the Classical and Romantic eras, complementing and extending work by Post and Huron. Acoustic variables in the communication of composer emotional intent Don Knox, Gianna Cassidy School of Engineering and the Built Environment, Glasgow Caledonian University, UK Music emotion recognition algorithms automatically classify analysed music in terms of the emotion it expresses. Typically these approaches utilise acoustical features extracted from the digital music waveform. Research in this area concentrates on the perception of expressed emotion from the user perspective, and has received some criticism in that it is limited in terms of unpicking the many facets of emotional communication between the composer and the listener. Acoustical analysis and classification processes can be expanded to include aspects of the musical communication model, with the potential to shed light on how the composer conveys emotion, and how this is reflected in the acoustical characteristics of the music. The communication of music emotion is examined from the point of view of the composer’s actions which have a direct bearing on acoustical properties of the music being created. A pilot study was carried out in which a composer was tasked with composing music for a video game. The composer kept a diary of his thoughts and descriptions of his intentions as he composed music for the game. The music was analysed and a large number of structural features extracted which were analysed in relation to the qualitative descriptions provided by the composer. The results shed light on the links between the actions and intentions of the composer and the resulting acoustical characteristics of their music. Experienced emotional intensity when learning an atonal piece of music. A case study Arantza Almoguera1, Mari Jose Eguilaz1, Jose Antonio Ordoñana2, Ana Laucirica1 1Universidad Pública de Navarra, España 2Universidad País Vasco, España Different studies point out that music is one of the most effective inducers of intense emotional experiences. Nevertheless, almost all the studies found are focused on the listener’s emotion, being scarce the studies focused on the performer. Due to its characteristics, it’s more difficult that atonal music generates positive emotions, both in the audiences and among interpreters and students. In fact, several authors consider that atonal music is “emotionally” incomprehensible, and that’s the reason why atonal music is not very widespread in music education centers. The goal of our study is to investigate into the emotional intensity experienced by five Flute students when learning an atonal piece for Solo Flute. Results point out that the deeper knowledge of the music reached in the learning process and the successive listening to the piece entail more familiarity and a better understanding of the music played, and, therefore, students are able to find emotionally intense passages, as it happens with tonal music. Consequently, we don’t agree with all those 162 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI theories that suggest that atonal music is unexpressive and emotionally incomprehensible, and we confirm that cognition has a positive influence in the emotion felt when playing atonal music. This work is part of the Research National Project I+D 2008-‐2011, code EDU-‐ 2008-‐03401 “Audition, cognition and emotion in the atonal music performance by high level music students”, funded by the Ministry of Science and Innovation of Spain. Speed Poster Session 33: Dock Six Hall, 11:00-‐11:40 Learning & education Engaging Musical Expectation Research in Pedagogy of Musical Form and Phrase Structure Nancy Rogers College of Music, Florida State University, United States This paper aims to bridge the gulf between music cognition and mainstream music theory by describing ways to augment typical approaches to basic musical organization (form and phrase structure) in a traditional music theory class. Discussing principles of musical expectation, event segmentation, schema theory, and statistical learning is compatible with common pedagogical approaches to form. I also describe classroom activities and assignments that engage research in expectation and schema theory. Interactive Computer Simulation for Kinesthetic Learning to Perceive Unconventional Emergent Form-‐bearing Qualities in Music by Crawford Seeger, Carter, Ligeti, and Others Joshua Banks Mailman Dept. of Music, Columbia University, USA; Steinhardt School, New York University, USA Embracing the notion that metaphors influence reasoning about music, this study explores a computational-‐ phenomenological approach to perception of musical form driven by a dynamic metaphor. Specifically, rather than static metaphors (structure, architecture, design, boundary, section) instead, dynamic ones are emphasized (flow, process, growth, progression) as more appropriate for modeling musical form in some circumstances. Such models are called dynamic form. A pedagogical program for enhancing the perception of dynamic form is pursued, by exploiting embodied cognition through custom built simulation technology. Adopting an interdisciplinary approach, the presentation shows some computational models of qualities that convey such dynamic form in unconventional repertoire. Since such models are quantitative, it is plausible that, with appropriate technology, listeners who do not spontaneously attend to these could learn to do so, and then subsequently demonstrate perception and cognition of such form-‐bearing flux. Through simulation algorithms, the paper offers Max/MSP patches and iPhone apps that enable real-‐ time user manipulation of the intensity of such qualities, by moving sliders with a mouse or finger or by tilting the angle of an iPhone. Such hands-‐on control is intended to kinesthetically cultivate sharper perception, cognition, attention, and interest of listeners confronting unconventional music. The presentation also offers computer animations of some theorized unconventional emergent qualities, which indeed constitute vessels of musical form. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 163 Automatic Singing Assessment of Pupil Performance Christian Dittmar, Jakob Abeßer, Sascha Grollmisch,* Andreas Lehmann, Johannes Hasselhorn# *Semantic Music Technologies, Fraunhofer IDMT, Germany #Hochschule für Musik, Würzburg, Germany Assessing practical musical skills in educational settings is difficult and has usually been done using human raters. Therefore, projects measuring competencies such as the American NAEP (National Assessment of Educational Progress, 2008) or German KOMUS (Jordan et al., in press) rely on “responding” items rather than “performing” or “creating” items to measure what student know and can do in the field of music. This contribution is part of an attempt to measure practical singing skills among German secondary school students. This study contributes to the measurement of competencies in music by developing a methodology and proprietary software solution for administering “performing” items and a (semi-‐)automatic scoring procedure for evaluating different singing tasks. Voice recordings were made of 56 individual students (age 11) singing the German national anthem after being given a starting pitch and rhythm. Experts rated the recordings using a five-‐point scoring rubric pioneered by Hornbach and Taggart (2008). The experts’ averaged ratings served as ground truth data that were then modeled with automatic analysis tools from Music Information Retrieval research. Therefore, the singing voice recordings were subjected to an automatic melody transcription algorithm which outputs the discrete note sequence in MIDI notation and fundamental frequencies in Hz. A set of 3 performance assessment features were derived from these data: (1) the optimum Euclidean distance between the target melodies’ pitch class histogram and the transcribed melodies; (2) the variability of the sung fundamental frequency over the course of a note; (3) change in fundamental frequency over the length of a note. The correlation between the Hornbach & Taggart rubric and our features provided an indication of their effectiveness in capturing children’s vocal performance. In our ongoing analyses, the combination of all features was used to train a regression model, optimized with respect to the ground truth. The current regression method yields a significant correlation around 0.4. Our experiments show that the automatic modeling of human expert ratings is possible. More sophisticated features are still needed and are currently under development. Competences of piano teachers and the attitudes of their pupils Malgorzata Chmurzynska Department of Music Psychology, Chopin University of Music In the training of future piano teachers (as well as of other instrumental teachers) provided by the academies of music the strongest emphasis is put on their preparation in terms of specific musical competences, such as a high level of piano performance, an ability to build up pupils’ solid métier, to shape pupils’ playing apparatus, to develop their musical and technical skills. The teachers’ training involves also the psychological and educational knowledge and skills, which, however, are usually not taken too seriously, both by the musical students themselves and the music academies. The study aims at establishing whether there exists a relationship between the piano teachers’ sense of competence (musical, educational, and psychological) and the pupils’ attitudes towards their piano teachers and piano lessons. The subjects were pupils from the professional primary music schools (N=40) and their piano teachers (N=15). The pupils were administered the Pupil’s Questionnaire, designed to test their attitudes towards their piano teachers and the piano lessons. The teachers completed the Piano Teacher Self-‐Efficacy Questionnaire designed to measure their sense of competence. The data were compared for correspondence. The comparison revealed that the higher the teacher’s sense of psychological competences, the more positive their pupils’ attitudes – both towards the teacher him/herself and the piano lessons, the less often the pupils experience negative feelings during the lessons, the lower their level of anxiety and the higher sense of self-‐fulfillment. It has also been revealed that the higher teachers’ musical competences, the less often their pupils experience joy, self-‐realization, and the more often they experience anxiety. The results indicate clearly that neither the teacher’s good piano 164 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI playing, painstakingly achieved during the musical studies, nor his/her careful training in the remaining areas ensure good relationship between teacher and pupil. These factors, therefore, cannot be a predictor of the effectiveness of teaching, e.g. they do not result in developing pupils’ musical interest and motivation for piano playing. These findings once again point to the great significance of teacher’s psychological competences and their role in shaping pupil’s positive attitude towards piano playing and towards music in general. The Effect of Music Teaching Method on Music Reading Skills and Music Participation: An Online Study Ronniet Orlando, Craig Speelman School of Psychology and Social Science, Edith Cowan University, Australia Music reading skills are acknowledged as essential for musicians when learning new pieces, accompanying, or playing with others in ensembles. Approaches to teaching beginners may be divided into rote, with new pieces learnt by ear and / or finger positions, and note, where students learn to read from conventional music notation from the earliest lessons. This study set out to examine relationships between first methods of learning musical instruments and outcome measures of subsequent music reading skills, participation in music ensembles, and ability to play music by ear. A self-‐administered online questionnaire collected data regarding the musical background of volunteer adult participants, and included a two-‐part music reading task. This was comprised of 24 audio-‐visual matching tasks using sets of four 2-‐bar melodies requiring either matching the scored melody to one of four recorded melodies, or matching a recorded melody to one of four scored melodies. Over a period of 52 days, 155 responses to the questionnaire were recorded, of which 118 (76%) were analyzed using a series of one-‐way analyses of variance. Results supported the hypothesis that the first method of instruction affected subsequent music reading ability, with note methods resulting in higher reading abilities than rote. Furthermore, a significant relationship emerged between music reading ability and ensemble participation, and a significant effect was found for playing by ear on music reading ability. Music training, personality, and IQ E. Glenn Schellenberg, Kathleen A. Corrigall University of Toronto, Canada How do individuals who study and practice music for years on end differ from other individuals? We know that musically trained individuals tend to perform better on tests of cognitive abilities, including measures of listening, memory, verbal abilities, visuospatial abilities, nonverbal abilities, and IQ. Such advantages extend to school classrooms, where musically trained children and adolescents tend to get better grades than their untrained counterparts on all school subjects except for physical education (i.e., sports). One particularly provocative finding is that duration of music training is associated with average grades in school even when IQ is held constant. In other words, musically trained individuals are better students that one would predict based on their IQ, which implicates a contribution of individual-‐difference variables other than IQ. One possibility is that studying music is associated with individual differences in personality. So, the research's aim is to examine whether personality variables can help to explain individual differences in duration of music training. The sample included a large number of undergraduates who varied widely in terms of their music background. They were tested individually on measures of IQ (Wechsler Abbreviated Scale of Intelligence) and personality (Big Five Inventory). They also provided detailed demographic-‐background information. Music background was defined as the number of years of playing music regularly, which was highly correlated with years of music lessons but more strongly associated with the predictor variables. Playing music regularly was correlated positively with Performance (nonverbal) IQ and Openness-‐to-‐Experience, but negatively with 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 165 Conscientiousness. These associations remained evident when socio-‐economic status (i.e., parents’ education) was held constant. Even more compelling was the finding that duration of playing music could be predicted by a combination of these predictor variables using multiple regression, with each variable (i.e., IQ, Openness-‐to Experience, and Conscientiousness) making a significant unique contribution to the model’s predictive power. In fact, the regression model accounted for approximately 40% of the variance in years of playing music regularly. Duration of playing music regularly can be predicted by a combination of IQ and personality variables. Individuals who study and play music for years on end tend to score well on tests of intellectual ability. They also tend to be open to new ideas and experiences, but they score relatively low on a dimension of personality that subsumes qualities such as orderliness, responsibility, attentiveness, and thinking before acting. Music-‐Games: Supporting New Opportunities for Music Education Gianna Cassidy, Anna Paisley Glasgow Caledonian Univeristy, UK This paper presents Phase 1 of the EPSRC 24month project, “Music-‐Games: Supporting New Opportunities for Music Education”. While learners are increasingly engaged with digital music participation outside the classroom, evidence indicates learners are increasingly disengaged with formal music education. The challenge for music educators is to capitalise on the evident motivation for informal music-‐making with digital technology, as a tool to create authentic and inclusive opportunities to inspire and engage learners with music in educational contexts. Previous research highlights the power of music participation to enrich cognitive, social and emotional wellbeing, while a growing body of work highlights the educational potential of digital games to scaffold and enrich personalised learning across curriculum. This body of work addresses the neglected music-‐game synergy, investigating the potential of music games to support and enrich music education by identifying processes, opportunities and potential outcomes of participation. Phase 1 aimed to elucidate Educator, Learner and Industry attitudes, uses and requirements with music-‐games, the musical opportunities and experiences music-‐ games support, processes of participation in and outside the classroom, and constraints of use within existing practice in line with defined curriculum goals. Study 1 presents a comprehensive questionnaire investigation (n=2000) of Educators, Learners, and Games Industry uses and functions of music-‐games, and barriers to classroom employment. Study 2 presents a mixed method investigation of learner sessions (n=70) with RockBand, recording performance (e.g., score music choice, usability) and self-‐report measures (e.g., Profile of Mood States and Flow) and a thematic analysis of post-‐session reflective interviews. Study 3 presents a thematic analysis of educator and industry co-‐created scenarios of use for RockBand in the classroom in line with defined curriculum goals. Findings suggest music-‐games can engage and inspire us with music, potentially supporting and enriching key areas of music education, social, emotional and cognitive wellbeing in the classroom and wider musical world of the learner. Analysis was guided by the elements of the ‘new opportunities’ in music curriculum, and Hargreaves et al., (2003) models of ‘opportunities in music education’, and ‘potential outcomes of music education’. Findings are discussed through recommendations for effective and efficient employment of music technologies for Educators, and innovative and user-‐centred design of future music technologies for Industry. Attitudes Towards Game-‐Based Music Technologies in Education: A Survey Investigation Anna M.J.M. Paisley, Gianna Cassidy Department of Computer, Communication & Interactive Systems/Psychology & Allied Health Sciences; Glasgow Caledonian University, Scotland (UK) A growing body of literature has recently emerged extolling the virtues of incorporating digital-‐based games within formal education settings and in line with defined curriculum 166 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI goals. Yet, despite the widespread usage and relative accessibility of music-‐based digital games, coupled with the abundance of research that exists to support the cognitive, emotional and social benefits of musical participation, there remains a dearth of empirical research into the inclusion of such technologies within the realm of music education. In view of this and, as part of an ongoing EPSRC-‐funded project designed to evaluate the educational potential of music-‐based digital games, a large-‐scale survey investigation was primarily conducted as a means of ascertaining current uses, requirements with and attitudes towards music-‐based video games across three groups of relevant stakeholders, to include educators, learners and game industry experts. An initial pilot study was conducted as a means of assessing the reliability and validity of this scale across 250 participants. Following analytical proceedings, the questionnaire was subsequently refined before being administered across the 3 groups of relevant stakeholders. (n = 2000+). Results from a nested sub-‐sample of 300 cases from the overall participant pool shall be presented here with a specific focus on learners’ responses to the final version of the survey. These initial findings shall subsequently be discussed in light of the overarching aims of the project, and with regard to the effective and successful integration of music-‐based games within music education. Speed Poster Session 34: Timber I Hall, 11:00-‐11:40 Motion & gesture Interpersonal influence of nonverbal body-‐movement interaction in an ensemble situation Kenji Katahira Graduate school of Science and Technology, Kwansei Gakuin University, Japan Enhancing interpersonal relationships would be an important function of musical communication. Music may serve this function by affording participants the opportunity to interact nonverbally. The nature of the nonverbal channels contributing to the development of interpersonal relationships, often observed in everyday life, may be one of the factors underpinning relationship-‐enhancing function of music. The present study aimed to investigate whether nonverbal communication influenced the development of dyadic rapport, through a simple ensemble task. Body movement was focused as a typical nonverbal channel. Ensemble coordination, body movement, and self-‐rating rapport during the ensemble task were measured, and the relationships among them were analyzed by means of structural equation modeling (SEM). Eight unacquainted pairs of participants played isochronous patterns together on the electronic drums, synchronizing them as well as possible under a real-‐time point-‐light display environment. The following three measurements were carried out: a) ensemble coordination, b) explicitness and synchrony of body movements in dyads, and c) participants’ interaction rating, measured with a modified version of the rapport scale developed by Bernieri, et al. (1996). SEM results revealed that degree of communication through body movement in dyads contributed to ensemble coordination, but ensemble coordination had no significant effect on rapport rating. Most remarkable of all the results, communication through body movement showed a positive direct effect on the interaction ratings. The results in this study empirically demonstrated that nonverbal communication in a musical ensemble situation may have an interpersonal function similar to its function in everyday life. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 167 The Effect of Conductor Expressivity on Choral Ensemble Evaluation Steven J. Morrison, Jeremiah D. Selvey School of Music, University of Washington, USA Visual information can contribute significantly to the opinion one makes, the meaning one ascribes and the interpretation one derives from musical information. An ongoing series of studies has examined whether a conductor’s use of gesture in a manner considered either “expressive” or “inexpressive” affects listeners’ evaluations of an ensemble performance. Prior results have indicated that among university music students instrumental performances led by conductors deemed to be expressive were evaluated more positively than those led by inexpressive conductors even when the performances were actually identical. The purpose of the present study was (1) to determine whether a similar response pattern would be observed (a) among younger and less-‐experienced music students (b) using choral performance stimuli and (2) to compare responses against evaluations of performances presented in an audio-‐only condition. Students (N = 429) enrolled in secondary level music classes rated the expressivity of two pairs of two identical choral performance excerpts (four excerpts in all) using a 10-‐point Likert-‐type scale. One group (n = 274) watched a video performance of the four excerpts featuring conductors who demonstrated either high-‐expressivity (HE) or low-‐expressivity (LE) conducting techniques. There was a significant effect of conducting condition on both the conductor and choral performance evaluations. When compared with the evaluations of a second group of participants (n = 155) who heard the same excerpts presented in an audio-‐only format, LE performance ratings were significantly lower; there was no difference between HE and audio-‐only ratings. Effects of Observed Music-‐Gesture Synchronicity on Gaze and Memory Lauren Hadley,* Dan Tidhar,# Matthew Woolhouse† *Department of Psychology, Goldsmiths College, University of London, England; #Faculty of Music, University of Cambridge, England; †School of the Arts, McMaster University, Canada Following a previously undertaken dance experiment, which found that music-‐gesture synchronicity (as in dance) enhanced social memory (Woolhouse & Tidhar, 2010), this study examined the factors which could be seen to underlie this effect. Both gaze time and gaze quality were considered. The experiment involved two videos of a dancer presented beside each other, accompanied by an audio track in time with only one of the two visuals. The visual stimuli each involved the same dancer, clothed in two similar outfits of different colours. As participants viewed the stimulus their eye-‐movements were recorded using a webcam. Subsequently, the subjects’ memory of the dancer’s clothing was tested by them colouring-‐in two schematic diagrams of the dancer, one for each of her outfits. Two hypotheses were tested in this experiment: (1) that gaze would be directed more towards the video in which the dancer and audio were matched (‘synchronised dance video’ or SDV), and (2) that memory of clothing would be better for the synchronised dance video than for the ‘desynchronised dance video’ (or DDV), i.e. the video in which the dancer and audio were mismatched. The results indicated a tendency for participants to focus for longer on the SDV than the DDV, but did not show a correlation between music-‐dance synchronicity and memory of clothing. Post hoc analysis suggested that instead, size or area of clothing item correlated to its memorability. These findings are discussed in relation to various hypothesised modes of entrainment. 168 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI Extracting Action Symbols From Continuous Motion Data Kristian Nymoen,1 Arjun Chandra,1 Mariusz Kozak2, Rolf Inge Godøy3, Jim Tørresen1, Arve Voldsund3 1Dept. of Informatics, University of Oslo, Norway; 2Dept. of Music, University of Chicago, IL., USA; 3Dept. of Musicology, University of Oslo, Norway Human motion can be seen as a continuous phenomenon which can be measured as a series of positions of body limbs over time. However, motion is cognitively processed as discrete and holistic units, or chunks, ordered by goal-‐points with trajectories leading between these goal-‐points. We believe this is also the case for music-‐related motion. With the purpose of utilising such chunks for the control of musical parameters in mobile interactive systems, we see substantial challenges in developing a robust automated system for identification of motion chunks and extracting segments from the continuous data stream. This poster compares several automated segmentation techniques for motion data, applied to recordings of people moving to music. An experiment has been carried out, where 44 participants were given the task of moving their body to short musical excerpts. The motion was recorded by infrared motion capture, with markers on the right wrist, elbow, shoulder and the C7. In order to make the segmentation techniques easily transferable to mobile devices, the automated segmentation technique was only based on the data from the right wrist marker. A human observing 3D point light displays of the motion recordings of the whole arm (wrist, elbow, shoulder, neck) demarcated chunks by looking at perceptually salient moments in the recordings. The chunks demarcated by the human were used as a baseline for evaluating the precision and recall rates of the automated segmentation techniques. Embodied musical gestures as a game controller Charlie Williams University of Cambridge, UK With the increasing prevalence of portable electronic devices and the concomitant pervasiveness of casual gaming, interest in the potential musical effects of this growth has been growing. Michiel Kamp (2010) in particular surveys the gaming field looking for “ludic” music, ultimately calling for it more as a future goal than as an aspect of currently available games. I present a digital game-‐based model for music-‐making and musicianship-‐learning, grounded in embodied spontaneity and sociality rather than the extant music-‐theoretical, ear-‐training, or rote practice models. A series of four mobile-‐device “app” games in development is described, in which live musical gestures (singing or clapping) serve as the control mechanism. For example, in one game a group of pitch classes is represented by a row of gates, which close when a pitch is sung and then open slowly over time. In that game mechanic, the goal is to break bricks by bouncing the ball off of the closed gates; to do so a user must accurately self-‐represent the pitch internally, and then perform the pitch required, all within a timeframe bounded by the specifics of the game’s physics simulation. Other games focus variously on controlling the high-‐low/loud-‐soft distinction rather than producing specific pitch classes, and on rhythmic pattern-‐clapping. The rhythm-‐based games do not require a fixed tempo but rather include a mechanism for mutual tempo entrainment between player and device. Gameplay and demographic data are gathered in both laboratory and in vivo settings, and a preliminary analysis of this data will be presented at the conference. A hypothesis that musicality is at least partially constructed through increasingly sophisticated manipulation of a vocabulary of potential gestures will be evaluated in light of these findings. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 169 The Coupling of Gesture and Sound: The Kinematics of Cross-‐Modal Matching for Hand Conducting Gestures and Accompanying Vocal Sounds Aysu Erdemir,1 Erdem Erdemir,2 Emelyne Bingham,3 Sara Beck,1 John Rieser1 1Psychology and Human Development in Peabody College, Vanderbilt University, USA 2Electrical Engineering and Computer Science, Vanderbilt University, USA 3Blair School of Music, Vanderbilt University, USA Physical movement of musicians and conductors alike play important role in music perception. This study was designed to identify whether there was a predictable mathematical relationship between hand gestures performed by an expert conductor and vocal responses of a general adult sample with and without musical background. Our empirical work has found that adults systematically vary their utterance of the syllable /dah/ in a way that matches the motion characteristics of the hand gestures being observed, but the physical nature of this relationship remained unclear. The movements of the conductor were captured using a high-‐resolution motion capture system while she performed four different hand gestures, namely flicks, punches, floats and glides, at constant tempo. The kinematic features such as position and velocity were extracted from the motion data using a computational data quantification method. Similarly, an average RMS amplitude profile was computed from the repeated utterances of /dah/ given each gesture across all participants. The kinematic features were, then, compared to their amplitude counterparts in the audio tracks. A correlation analysis showed very strong relations among the velocity profiles of the movements and their accompanying sound-‐energy profiles. Deeper analysis showed that initial velocity in the motion data truly predicted the RMS amplitude in their auditory counterparts, i.e. faster initial speed caused louder responses. The observed structural similarity between the movement and sound data might be due to a direct mapping of the visual representation of observed action onto one’s own motor representation which is reflected in its resultant auditory effects. Intelligent dance moves: rhythmically complex and attractive dance movements are perceived to reflect higher intelligence Suvi Saarikallio, Geoff Luck, Birgitta Burger, Marc R. Thompson, Petri Toiviainen Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä, Finland Dance movement has been shown to reflect individual characteristics, such as personality of the dancer, and certain types of movements are generally being perceived as more attractive than others. We investigated whether particular dance movements would be perceived as illustrative of a dancer’s intelligence. As intelligence generally refers to ability to adapt to complexly changing conditions, we studied movement features indicating complexity, and because people generally co-‐associate different positive characteristics, we studied features typically perceived as attractive. The role of the observers’ mood and music preference was also studied. Sixty-‐two adults (28 males, mean age 24.68) were presented with 48 short (30s) audiovisual point-‐light animations of other adults dancing to music representing different genres of dance music (pop, latin, techno). The participants were instructed to rate the perceived intelligence of the dancer in each excerpt. In addition, they rated their mood and activity levels before, and their preference of the music after the experiment. Movement features expressive of complexity and attractiveness were computationally extracted from the stimuli. Men gave significantly higher intelligence ratings for female dancers with wider hips, greater hip-‐knee phase ratio, and greater movement complexity indicated by metrical irregularity. However, female observers’ ratings were not influenced by the movement characteristics. Moreover, while music preference did not influence the ratings, current positive mood and higher energy level biased male observers to give higher intelligence ratings for female dancers. The study shows that rhythmically complex and generally 170 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI attractive movement appears to be perceived indicative of intelligence, particularly for men rating female dancers. Overall, the study provides preliminary evidence that certain music-‐ related movements are perceived expressive of more inferred personal characteristics such as intelligence. The Impact of Induced Emotions on Free Movement Edith Van Dyck,* Pieter-‐Jan Maes,* Jonathan Hargreaves,# Micheline Lesaffre,* Marc Leman* *Department of Arts, Music and Theater Sciences, Ghent University, Belgium #Department of Music, Trinity Laban Conservatoire of Music and Dance, UK The goal of this study was to examine the effect of two basic emotions, happiness and sadness, on free movement. A total of 32 adult participants took part in the study. Following an emotion induction procedure intended to induce emotional states of happiness or sadness by means of music and guided imagery, participants moved to an emotionally neutral piece of music that was composed for the experiment. Full body movement was captured using motion caption. In order to explore whether differences in corporeal articulations between the two conditions existed, several movement cues were examined. The criteria for selection of these cues was based on Effort-‐Shape. Results revealed that in the happy condition, participants showed faster and more accelerated body movement. Moreover, movements proved to be more expanded and more impulsive in the happy condition. These findings provide evidence of the effect of emotion induction as related to body movement. Speed Poster Session 35: Timber II Hall, 11:00-‐11:40 Acoustics & timbre perception Beyond Helmholtz: 150 Years of Timbral Paradigms Kai Siedenburg,* Christoph Reuter,# * Austrian Research Institute for Artificial Intelligence, Austria # Musicological Institute of the University of Vienna, Austria This article locates Helmhotz's groundbreaking research on timbre and a few of its historical implications in terms of musical and mathematical coordinates. Through pinpointing on selected timbre-‐related examples it describes how music aesthetic ideals, mathematical theories and acoustics research systematically interdepend. After repositioning Helmholtz's work with respect to Fourier's theorem, two musical perspectives are considered, Schoenberg's vision of Klangfarbenmelodie and Xenakis's quest for sonic granularity. It is moreover suggested to regard the 1960 ANSI definition as a late echo of Helmholtz's reign. The evolution of the multi-‐dimensional-‐scaling-‐based timbre space model is briefly outlined before observing a plurality of mathematic approaches which seems to mark current research activities in acoustics. Ecological factors in timbre perception Jens Hjortkjær Department of Arts and Cultural Studies, University of Copenhagen, Denmark Recent meta-‐analyses of timbre perception studies have suggested that physical aspects of the instrument sources are picked up in timbre perception. In particular, continuous representations of perceived timbre similarities (timbre spaces) appear to reflect categorical information about the material composition of the instruments and about the actions 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 171 involved in playing them. To examine this experimentally, twenty listeners were asked to rate the similarity of impact sounds representing categorically different actions and materials. In a weighted multidimensional scaling analysis of the similarity ratings we found 2 latent dimensions relating to the materials and actions, respectively. In an acoustic analysis of the sound stimuli, we found the material related dimension to correlate with the centroid of the long-‐term spectrum, while the action related dimension was related to the temporal centroid of the amplitude envelope. The spectral centroid is also a well-‐known and robust descriptor across musical timbre studies, suggesting that the distribution of frequencies is perceptually salient because it carries information about the material of the sound source. More generally, the results suggest that listeners attend implicitly to particular aspects of the continuous sound stimulation that carry higher-‐order information about the sounding source. Establishing a spectral theory for perceptual timbre blending based on spectral-‐envelope characteristics Sven-‐Amin Lembke, Stephen McAdams CIRMMT, Schulich School of Music, McGill University, Canada A perceptual theory for timbre blending is established by correlating acoustical and perceptual factors between orchestral wind instruments, based on an acoustical description employing pitch-‐invariant spectral envelopes. Prominent spectral maxima (formants) derived from the spectral envelopes serve as the acoustical factors under investigation. Relevant perceptual correlates were determined through a behavioral experiment, which investigated perceptual performance across different instruments, pitches, intervals and stimulus contexts. The experimental task involved ratings of the relative degree of perceptual blend for a total of 5 sound dyads. The dyads comprised concurrent presentations of a constant recorded wind instrument sound paired with variable synthesized sounds, with each dyad employing a different parametric manipulation of synthesized spectral-‐envelope maxima. Relative frequency location and magnitude differences between formants can be shown to bear a pitch-‐invariant perceptual relevance to timbre blend for several instruments, with these findings contributing to a perceptual theory of orchestration and furthermore offering a possibility to predict perceptual blend based on acoustical spectral-‐ envelope descriptions. Comparative study of saxophone multiphonic tones. A possible perceptual categorization Martín Proscia, Pablo Riera, Manuel C. Eguia Laboratorio de Acústica y Percepción Sonora, Universidad Nacional de Quilmes, Argentina A number of studies have been devoted to the production of multiphonics in woodwinds, focusing on the possibilities and difficulties of intonation, fingering, pitch of components, and production of trills. However, most of them disregard the timbric and dynamic qualities of these tones, or are aimed to the detailed analysis of a few multiphonic examples. Recent research also served to unveil the physical principles that give rise to these complex tones, including the interaction with the vocal tract of the performer. In comparison, the psychophyisics of the multiphonic perception have received much less attention, and a complete picture of how these multiple sonorities are eventually grouped into perceptual classes is still missing. This work presents a comparative study of a comprehensive collection of multiphonics of the saxophone, from which a possible categorization into perceptual classes is derived. In order to do this a threefold analysis is performed: musical, psychoacoustical and spectral. Based on previous research from the musical perspective, an organization of the perceptual space for the multiphonics into four main classes was proposed. As a first step, a total of 120 multiphonic tones of the alto saxophone, spanning a 172 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI wide spectrum of possible sonorities, were analyzed using Schaeffer's concept of ‘sound object’. From this analysis, a representative subset of 15 multiphonic tones was selected, including samples for each of the four groups proposed. These representative tones were used in a psychoacoustical experiment (pair comparison test) in order to obtain a judgement of similarity between them. The results obtained were analyzed using multidimensional scaling. Finally, by means of a spectral analysis of the tones, possibles cues used by the listeners to evaluate similarity were obtanied. As a main result, multidimensional scaling shows a perceptual organization that closely resembles the classification proposed from the musical point of view, clustering the four main classes on a two dimensional space. From the spectral analysis, a possible correspondence of the two meaningful dimensions with the number of components and the pitch of the lower component was analyzed. A perceptual categorization for the multiphonics is of uttermost importance in musical composition. This works advances a possible organization of these tones for the alto saxophone that could be eventually extended to other woodwind instruments. Comparison of Factors Extracted from Power Fluctuations in Critical-‐Band-‐ Filtered Homophonic Choral Music Kazuo Ueda, Yoshitaka Nakajima Department of Human Science and Center for Applied Perceptual Research, Kyushu University, Japan A consistent pattern of three factors, which led to four common frequency bands with boundaries of about 540, 1720, and 3280 Hz, had been obtained from factor analyses of power fluctuations of critical-‐band-‐filtered spoken sentences in a variety of languages/dialects. The aim of the present investigation was to clarify whether the same factors and frequency bands could be found in homophonic choral music sung with texts in English, Japanese, or nonsense syllables, or with mono-‐vowel vocalization. Recordings of choral music were analyzed. Three factors and four frequency bands similar to those obtained from spoken sentences appeared in the analyses of music with ordinary texts in English and Japanese. However, no distinct structure was observed in the analysis of a tune, which was sung with no text but a mimicked buzz of bumblebees, and another tune, which was vocalized with a single vowel. Thus, it was suggested that the patterns of the first three factors could appear if there was a certain amount of syllable variety in choral music, and that basically the same frequency channels were utilized for conveying speech information both in spoken sentences and in choral music. Analysis of Musical Timbre Semantics through Metric and Non-‐Metric Data Reduction Techniques Asterios Zacharakis, Konstantinos Pastiadis, Joshua D. Reiss, George Papadelis Queen Mary University of London, Centre for Digital Music, London, U.K. School of Music Studies, Aristotle University of Thessaloniki, Greece This study investigated the underlying structure of musical timbre semantic description. Forty one musically trained subjects participated in a verbal attribute magnitude estimation listening test. The objective of the test was to rate the perceptual attributes of 23 musical tones using a predefined vocabulary of 30 English adjectives. The perceptual variables (i.e. adjectives) were then analyzed through Cluster and Factor Analysis techniques in order to achieve data reduction and to identify the salient semantic dimensions of timbre. The commonly employed metric approach was accompanied by a non-‐metric counterpart in order to relax the assumption of linear relationships between variables and to account for the presence of monotonic nonlinearities. This rank transformation into an ordinal scale has offered a more compact representation of the data and thus confirmed the existence of 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 173 nonlinearities. Three salient, relatively independent perceptual dimensions were identified for both approaches which can be categorized under the general conceptual labels: luminance, texture and mass. A physical modelling approach to estimate clarinet control parameters Vasileios Chatziioannou,* Maarten van Walstijn# *Institute of Musical Acoustics, University of Music and Performing Arts Vienna, Austria #School of Electronics, Electrical Engineering and Computer Science, Queen’s University Belfast, UK Using a physical model of a musical instrument, a set of physically meaningful parameters can be translated into audio. By varying several of the model parameters it is possible to establish how this affects the timbre and perception of the resulting sound. Working in the opposite direction, physics-‐based analysis aims to estimate the values of the physical model parameters from the oscillations of the instrument. Such an approach offers a method for estimating parameters that are difficult, if not impossible, to measure directly under real playing conditions. The (inverse) physical model formalises the causal relationship between the sound and the parameters, which facilitates investigating how the physical parameters that configure and drive the original sound generation process relate and map to the perception of that sound. Of particular interest is the possibility of feature extraction from a recorded sound on this basis. The presented physical model of a clarinet consists of a non-‐ linear lumped model of the reed-‐mouthpiece-‐lip system coupled to a linear approximation of a cylindrical bore. Starting form the pressure and flow signals in the mouthpiece, a two-‐step optimisation method is developed that estimates physical parameters of the lumped model (blowing pressure, initial reed opening, effective stiffness and further reed properties). The presented physical analysis approach reveals a possible methodology for extracting useful information about the actions of the player, and how the control of the instrument is achieved by modulating several of the model parameters. Investigating consistency in verbal descriptions of violin preference by experienced players Charalampos Saitis,1 Claudia Fritz,2 Catherine Guastavino,3 Bruno L. Giordano,4 Gary P. Scavone1 1Schulich School of Music, CIRMMT, McGill University, Montreal, Canada 2Lutheries-‐Acoustique-‐Musique, Université Pierre et Marie Curie, UMR CNRS 7190, Paris, France 3School of Information Sciences, CIRMMT, McGill University, Montreal, Canada 4Institute of Neuroscience and Psychology, University of Glasgow, Scotland, UK This paper reports content analyses on spontaneous verbal descriptions collected in a perceptual experiment investigating intra-‐individual consistency and inter-‐individual agreement in preference judgments by experienced violinists. In the experiment (in two identical sessions 3–7 days apart) 20 musicians played 8 violins of different make and age and were asked to rank them in order of preference (from least to most preferred), and provide rationale for their choices through a specially designed questionnaire. The responses were classified in semantic categories emerging from the free-‐format data and all occurrences in each category were counted. Results for self-‐consistency and inter-‐individual agreement in the preference criteria are in close agreement with previous observations concerning the preference rankings of the participants: violinists are quite self-‐consistent but there is an important lack of agreement between individuals. However, further analyses yielded no obvious relationship between verbal and nonverbal consistency within and across violin players. 174 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI Speed Poster Session 36: Grand Pietra Hall, 11:40-‐12:10 Social perspectives Dancing with death: music festivals, healthy and unhealthy behaviour Alexandra Lamont Centre for Psychological Research, Keele University, United Kingdom Popular music festivals are growing in popularity, and certain types of festival have become associated with different unhealthy behaviours such as alcohol and drug abuse. While research has highlighted the considerable wellbeing that festivals can provide, little is known about the unhealthier elements of music festivals. This project explores the choices festival-‐ goers make around healthy and unhealthy behaviour, and attitudes towards risk and pleasure in relation to music. The research uses ethnographic methods at a three-‐day residential (camping) electronic dance music festival, with observational data, an online survey of 76 festival-‐goers completed after the event, and follow-‐up telephone interviews. Across all ages, many participants reported an unhealthy set of behaviours (combining legal and illegal drugs) as their route towards wellbeing, in a setting which provides an alternative reality – the “giant bubble of happyness [sic]” – alongside a supportive social situation which minimizes the perceived risks of such unhealthy behaviour. Emerging themes included escape from reality, the importance of social connections, and a sense of control over use of illegal drugs. Memories of the event are somewhat hazy for many participants, and other behaviour is less planned (e.g. rarely is attention paid to set lists or attempts to hear particular DJs or artists). The results show that many festival-‐goers prioritise a direct route to pleasure through hedonism. The illusion of safety of the festival context leads to more risky behaviour than is typical in festival-‐goers’ everyday life, and this altered perception of risk poses concerns in terms of health and wellbeing. Deriving Musical Preference Profiles from Liked and Disliked Artists Rafael Ferrer, Tuomas Eerola Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland Music preferences are typically determined by asking participants to rate the degree of liking for music genres. These genre-‐based measures have certain pitfalls, since specific pieces of music in a genre might be liked more than the genre itself, and finding consensus in a definition of a genre is often a daunting task. We developed a tool that captures music preferences in an intuitive fashion and creates music preference profiles that are highly comparable across participants. The tool requires from the participant to give names of three liked and disliked artists. From these, the tool constructs a profile resembling those traditionally obtained with genre-‐based measures. In addition, the tool can also produce other items than genres, such as adjectives, affect constructs or music preference factors underlying the given artist names as the output. The underlying algorithm uses online resources (EchoNest and Last.fm) to provide definitions on the items targeted by the researcher. The effectiveness of the tool was evaluated with two surveys (N=346 and N=861) in which genre-‐based preferences and liked and disliked artists were obtained. The comparison between the two measures demonstrates highly similar results in over 70% of the cases. The remaining cases typically showed mismatches between artists and genres. The results underline how genres may not always reflect the actual choice of liked artists, because they represent a problematic notion for a music preferences measure. The tool is 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 175 presented as an alternative to common music preference instruments that assume a homogeneous musical knowledge in their sampled population. You get what you pay for: pitch and tempo alterations in user-‐posted YouTube videos Joseph Plazak School of Music, Illinois Wesleyan University, USA Despite the widespread availability of free streaming music hosted by YouTube.com, many YouTube videos contain music that has been altered from the original recording in some way, including alterations of pitch, tempo, or timbre. The factors and motivations guiding these alterations remain unknown. The aims of this study were to determine the prevalence of pitch and tempo alterations in user-‐posted YouTube videos, and also to determine the direction and magnitude of these pitch and tempo alterations. In an initial study, 75% of 100 collected YouTube recordings contained a nominal alteration of pitch and/or tempo (+/-‐ 1Hz; +/-‐ 3bpm). Thirty-‐four of these recordings contained a pitch alteration equal to or larger than a half step (m2). Further analysis of the data revealed that pitch levels of the sample set were equally likely to be higher or lower, but decreasing the tempo of a recording was more prevalent than increasing the tempo. Additional studies may consider investigating if specific characteristics of the music are influencing the direction and magnitude of YouTube users’ alterations. Such characteristics may include: the type/style of music, the vocalist’s gender in the music being altered, the release date of the recording, etc. The attribution of agency to sound can affect social engagement Jacques Launay, Roger T. Dean, Freya Bailes MARCS Institute, University of Western Sydney, Australia The purpose of music, or the reasons behind its spread and development amongst human cultures, is a contentious topic. One explanation put forward, that music can enhance the social relationships of people who engage with it communally, has a potential flaw that has become striking in the last century: people enjoy engaging with music alone – perhaps the majority of time people spend listening to music is in isolation. Does this mean ‘social cohesion’ arguments about music are untenable? The set of experiments presented aim to test whether sound attributed with agency is able to engage people in a more social way than sounds that are not attributed with agency. Two experiments instructed participants to synchronise with sounds in the absence of interpersonal contact, and demonstrated that when sounds are attributed with agency they can affect subsequent social behaviour, similarly to synchronisation with observed movement of another person. Experiment 1 showed that participants place greater trust in a partner when they report better synchronisation with that partner, even in the absence of interpersonal contact. Experiment 2 demonstrated that synchronisation with sounds that are attributed to another person could affect ratings of likeability of that person. We conclude that people engage differently with sounds that are attributed with agency, compared with those that are not. As sounds with agency appear to have a greater capacity for affecting subsequent social interaction, musical sounds, by virtue of being sounds with agency, may also have some ‘social’ quality, even when listened to alone. 176 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI Surveying attitudes towards singing and their impact on engagement with this musical activity Rita Bento Allpress,* Jesse Allpress,# *Sidney De Haan Research Centre for Arts and Health, Canterbury Christ Church University, England; #School of Psychology, University of Sussex, England Singing is the most natural of all musical activities and one that is readily accessible to most individuals. It can be used on our own or in a group, in different cultural settings, on different occasions, and for the most diverse purposes (entertainment, grieving, religious rituals, alliance rituals). A recent, yet growing body of literature highlights the potential benefits of singing on well-‐being and health. This evidence shows singing as an activity with several psychological, physical and social components that can interact and contribute to feelings of well-‐being and impact on the immune system. However, Bailey and Davidson (2002, 2005), highlight an elitist view of music-‐making that is predominant in Western world. According to those authors, this musical elitism present in the westernized societies, not only views musical ability as being limited to a talented minority, it also restricts the majority of the population to being procurers rather than producers of music. If this musical elitism is present in our society, than it is possible that it influences our engagement with singing activities. If this is indeed the case, then it is possible that a majority of individuals in the western world are missing out on an activity that can potentially benefit their well-‐being and even health. This study aimed to explore how our attitudes towards singing influence our engagement with this musical activity. Specifically, we hoped to see how people's opinions on their own voices, their own singing, singing in general and the general singing voice influenced their likelihood of singing in public or private, in formal or informal settings and in group or on their own. We suggest that the majority of our respondents share an elitist attitude towards singing. We expected this attitude to impact negatively on their engagement with singing and this impact to be more pronounced when asked about public, formal and solo singing. A survey was developed and made available online. Data was collected until the Spring of 2012 and suggested that a majority of our respondents share an elitist attitude towards singing. For those who believe they are not part of the singing elite, singing is something they do in private or informal settings. Approaches to research and promotion of singing for well-‐ being may have to start taking these attitudes into account. Work attitudes, Role Stress and Health among Professional Singers and Call Center Employees Maria Sandgren Department of Culture and Communication, Södertörn University, Sweden In the literature on artists and health problems, there is a lack of studies taking work conditions and their impact on well-‐being and health into account. The specific work conditions for artists can be summarized under the concept of boundaryless work, where the individual is facing short term employment, increased demands on flexibility and personal responsibility. Research on for example short-‐term employment and health show inconsistent results. Professional classical singers might constitute a very selected group of individuals who have been very successful in coping with complex work circumstances. Yet, singers do not appear indifferent to work load, not even in a familiar situation such as a singing lesson with their regular vocal coach. They are also at increased risk of developing voice disorders. The aim of the study was to compare professional singers in the classical genre with another group of professional voice users, call centre employees, on variables such as work conditions, job satisfaction, health and vocal behaviour. Professional classical singers (n=61, women n=33, men n=28) and call centre employees filled in a questionnaire covering validated variables; qualitative and quantitative work load, perceived performance, job satisfaction, work involvement, job autonomy, mental health and physical health and vocal behaviour. Results indicated that qualitative work load and perceived performance showed significant positive associations with impaired mental and physical health among singers. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 177 Vocal behavior showed significant positive associations with job induced tension, perceived external demands and quantitative work load. Job satisfaction showed significant positive associations with work involvement, job autonomy and perceived performance. Effects of work load were manifested both in vocal behaviour and mental health. Singers seemed to be positively influenced, and not distressed, by the achievement-‐oriented nature of their work in that job satisfaction was associated with a strong commitment and their personal contribution of high artistry. Speed Poster Session 37: Crystal Hall, 11:40-‐12:10 Emotional responses & affective experiences II From ‘Wanting’ to ‘Liking’: Listeners’ Emotional Responses to Musical Cadences as Revealed by Skin Conductance Responses Chen-‐Gia Tsai Graduate Institute of Musicology, National Taiwan University, Taiwan Research on the emotional responses and brain activations evoked by music has been a topic of great academic and public interest. A recent brain-‐imaging study by Salimpoor and colleagues suggests the involvement of mechanisms for 'wanting' and 'liking' when subjects listened to intensely pleasurable music. Their paper elaborates the functions of the reward system during music listening. Inspired by their paper, the present study aims to explore the listening behavior of authentic cadences through combining music analysis and listeners' physiological measures. We hypothesize that cognition of the dominant chord and the following tonic chord may engage mechanisms for 'wanting' and 'liking', respectively. The associated experiences of peak emotion may be detected by measuring skin conductance. Participants' skin conductance was measured during music listening. In Experiment 1, we used long music stimuli, including complete Taiwanese popular songs (3-‐5 min) and excerpts of German art songs (50-‐100 sec). In Experiment 2, we used 48 short music stimuli (<30 sec). A moving window of 2 sec was used to detect significant increases of skin conductance within this window, i.e., skin conductance responses. In Experiment 1, we observed that some authentic cadences tend to induce listeners' skin conductance responses. Cadences combining with changes in tempo/loudness or the recurrence of a theme tend to evoke large skin conductance responses. In Experiment 2, among 12 musical events that evoked significant skin conductance responses, only one event may be related to an authentic cadence. An isolated musical cadence may be unable to evoke listeners' experience of peak emotion. Regarding ecological validity, longer music excerpts are more appropriate for investigating listeners' emotional responses to cadences. If an authentic cadence combines with changes in tempo/loudness or the recurrence of a theme, listeners would have higher probability to experience intense emotion of 'wanting' and 'liking'. We suggest that skin conductance measures and brain-‐imaging techniques may be important tools for future research on the 'art' of elaborating musical cadences. Limits on the Application of Statistical Correlations to Continuous Response Data Finn Upham Music and Audio Research Lab, Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, USA How can we compare different listeners' experiences of the same music? For decades, experimenters have collected continuous ratings of tension and emotion to capture the moment-‐by-‐moment experiences of music listeners. Over that time, Pearson correlations have routinely been applied to evaluate the similarity between response A and response B, between the time series averages of responses, and between responses and continuous 178 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI descriptors of the stimulating music. Some researchers have criticized the misapplication and misinterpretation of this class of statistics, but alternatives have not gained wide acceptance. This paper looks critically at the applicability of correlations to continuous responses to music, the assumptions required to estimate their significance, and what is left of the responses when these assumptions are satisfied. This paper also explores an alternative measure of cohesiveness between responses to the same music, and discusses how it can be employed as a measure of reliability and similarity with empirical estimates of significance. Towards Three-‐Dimensional Model of Affective Experience of Music Marija Trkulja, Dragan Janković Department of Psychology, Faculty of Philosophy, University of Belgrade, Serbia Number of studies suggested that the two-‐dimensional valence-‐arousal model is not able to account for all the variance in music elicited affective experiences. The goal of this study is further elaboration of the underlying dimensions of affective experiences of music. Specifically, the aim of the first study was to empirically collect a set of attributes that represents subjective, evaluative experience of music. Participants were asked to produce attributes that can describe their subjective experience of presented 64 musical excerpts, selected to cover wide spectrum of music genres, themes and instruments. The aim of the second study was to establish the underlying structure of affective experience of music through factor analytic study. Participants assessed 72 musical excerpts on the instrument that consisted of 43 bipolar seven-‐point scales. The principal component analysis showed that the underlying structure of affective experience of music consisted of three basic dimension, interpreted as affective valence, arousal and cognitive evaluation. Congruence analysis indicated robustness of three obtained dimensions across different music stimuli and participants. How music can brighten our world: emotions induced by music affect brightness perception Job P. Lindsen, Joydeep Bhattacharya Department of Psychology, Goldsmiths, University of London, UK Can musical primes influence low level processing of visual target stimuli, which is classically conceptualized as bottom-‐up perceptual processing immune from influences of top-‐down processing? In three experiments, musical primes were used that were pre-‐rated as either high or low along the dimensions of arousal and valence. In Experiment 1 and 2, a grey square was presented before each prime and after its evaluation, and participants were asked to judge whether the second square was brighter or darker than the first. Participants were told that the changes in brightness were small but detectable, while in actuality a square with identical brightness was presented twice. Exp. 2 was similar to Exp. 1 but without active affective evaluations of the primes in order to investigate the automaticity in musical affective evaluations. Exp. 3 was designed to control for potential memory effects; only one grey square was presented on each trial after each musical excerpt, and participants rated its absolute brightness on a grey scale. Exp. 1 showed that perception was biased in a brighter direction following positively (vs. negatively) valenced music, and Exp. 2 showed that this bias is automatic. A similar, effect was observed in Exp. 1 for high arousal as compared to low arousal musical primes. Exp. 3 showed that such biases were not caused by memory effects, and absolute judgment of brightness was mostly modulated by happy musical primes. These results suggest that general affective disposition of musical stimuli can systematically induce perceptual bias across modality. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 179 Speed Poster Session 38: Dock Six Hall, 11:40-‐12:10 Music Therapy Psychosomatic patient’s satisfaction from the music therapy treatment Stella Kaczmarek,* Norbert Kieslich# *Faculty of Music, University of Paderborn, Germany #Dept of Psychosomatic, Klinik Rosenberg, Bad Driburg, Germany In the last few years, patient satisfaction has gained more and more important, both in health-‐policy, economic terms, in scientific clinical investigation, as well as in music therapy treatment. Within the treatment psychosomatic patients it is important to separate the pure patient satisfaction with the treatment from the attitude towards the music therapy. With the aim to split these two aspects, we have developed a questionnaire and used questions about the general satisfaction from the music therapy, the attitude to the music therapy before the treatment with comparison to the attitude after the end of the treatment as well as individual profits from the music therapy and some personal characteristics. 100 adult psychosomatic patients were surveyed in the psychosomatic clinic in Bad Driburg (Germany). Our results confirmed the hypothesis, that the patient satisfaction from music therapy is connected with their attitude to the treatment and previous musical activity. Promoting Social Engagement for Young Children with Autism: a Music Therapy Approach Potheini Vaiouli Indiana University, USA Joint attention is a foundational non-‐verbal social-‐communication milestone that fails to develop naturally in children with autism. This study used improvisational music therapy for three young children identified with autism in a kindergarten classroom. The three participants receive individual, weekly music therapy sessions at their school. The study employs a mixed method design that uses improvisational music therapy to enable joint attention, verbal or non-‐verbal communication, and social interaction for the three participants. Also, a complimentary qualitative analysis explored the teachers’ and the parents’ perspectives and variables that may have influenced the intervention outcomes. Music Therapy enhances perceptive and cognitive development in people with disabilities. A quantitative research Dora Psaltopoulou, Maria Micheli School of Music Studies, Aristotle University of Thessaloniki, Greece General Hospital Thessaloniki, “Agios Paulos”, Greece A statistic research, designed to unravel the effectiveness of Music Therapy to children and adults with disabilities in Greece, shows that, Music Therapy enhances perceptive and cognitive development. The main assumptions were related with the types of populations and the characteristics of their pathologies, as well as, the role that is played by the combination of different therapy modalities to them, so as to show the effectiveness of Music Therapy in Greece. The key objective was to assess the effectiveness of music-‐therapy through the personal evaluations made by the parents of the subjects. The subjects’ characteristics and parental environments were documented as populations who participate 180 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI in the practice of music therapy in Greece. Quantitative research was conducted upon 149 subjects with disabilities. Questionnaires were used as research instruments, which were answered by the subjects’ parents. The data was processed with the statistical instrument SPSS v.12 with hypothesis validity set at a=0,05 and twofold crosschecking. Music Therapy is effective regardless the pathology of the subjects or the co-‐practice of other therapies such as Occupation Therapy, Speech Therapy and Psychotherapy. The subjects participating in Music Therapy sessions in Greece, children and young adults with disabilities, showed improvement in listening ability, in the psychosocial function, in the intellectual ability and the emotional growth. Finding the right tone for right words? Music therapy EEG and fronto-‐temporal processing in depressed clients Jörg Fachner, Jaakko Erkkilä Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä, Finland Fronto-‐temporal areas process shared elements of speech and music. Improvisational psychodynamic music therapy (MT) utilizes verbal and musical reflection on emotions and images arising from clinical improvisation. Music listening is shifting frontal alpha asymmetries (FAA) in depression, and increases frontal midline theta (FMT). The purpose of this study is to test whether or not MT has an impact on anterior resting state alpha and theta oscillations of depressed clients with comorbid anxiety. In a two-‐armed randomized controlled trial (RCT) with 79 clients, we compared standard care (SC) versus MT added to SC at intake and after 3 months. Correlations between anterior EEG, Montgomery-‐Åsberg Depression Rating Scale (MADRS) and the Hospital Anxiety and Depression Scale – Anxiety Subscale (HADS-‐A), power spectral analysis (topography, means, asymmetry) and normative EEG database comparisons were explored. After 3 month of MT, lasting changes in resting EEG were observed, i.e., significant absolute power increases at left fronto-‐temporal alpha, but most distinct for theta (also at left fronto-‐central and right temporoparietal leads). MT differed to SC at F7-‐F8 (z-‐scored FAA, p<.03) and T3-‐T4 (theta, p<.005) asymmetry scores, pointing towards decreased relative left-‐sided brain activity after MT; pre/post increased FMT and decreased HADS-‐A scores (r = .42, p < .05) indicate reduced anxiety after MT. Verbal reflection and improvising on emotions in MT may induce neural reorganization in fronto-‐temporal areas. Alpha and theta changes in fronto-‐temporal and temporoparietal areas indicate MT action and treatment effects on cortical activity in depression, suggesting an impact of MT on anxiety reduction. Speed Poster Session 39: Timber I Hall, 11:40-‐12:10 Listening & Meaning Towards a Cognitive Music Aesthetics Ludger Hofmann-‐Engl Department of Music, Coulsdon College Following the ideas by Kurt Blaukopf, who pointed out that a thinking in symmetries was not only confined to Baroque composing but could be found elsewhere such as landscaping, this paper introduces the concept of cognitive categories as to be found within different music aesthetical approaches. Additionally, it claims that isomorph cognitive categories can be found in other areas of human activity such as philosophy, mathematics and politics. In order to demonstrate the validity of this approach the concept of cognitive categories has been 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 181 applied to different time periods of the Western Civilization commencing with the medieval ages and leading up to the avant-‐garde. Here, for instance, the paper makes the claim that the cognitive category of force and counter force is instrumental for the classical period and can be found within the Sonata Form, Newton's Laws of Motion as well as within the concept of thesis, anti-‐thesis and synthesis in the works of Hegel. The paper does not claim to be comprehensive but to open up an area for research which has received little attention so far. Music listening from an ecological perspective Anders Friberg KTH Royal Institute of Technology, Sweden It is evident that we normally analyze sounds in our environment regarding the source properties rather than the quality of the sound itself. This is natural in everyday listening considering that the human perceptual system always tries to understand and categorize sensory input. We can from the sound estimate physical properties of the objects, such as size and material. This ecological approach can also be extended to human communication. From a person’s voice we can estimate identity, distance, effort, and emotion. From footstep sounds we can estimate gender and other properties. This type of source perception is thus evident for environmental and human sounds but is the same mechanism also active in music listening? It seems plausible if we consider music as a human to human communication. Also, as pointed out by Clarke (2005) it is hard to make any distinction between everyday listening and music listening. Thus, we may assume that both kinds of listening involve the same perceptual processing. We will present a broad spectrum of perceptual features related to source properties that can be motivated from an ecological/survival point-‐of-‐view and discuss their potential relevance in music listening. A variety of different aspects are potentially important during music listening. Many of them are self-‐evident and empirically validated, while some others still lack empirical evidence. Basic object properties not related to human communication includes Source separation -‐ obviously active in music listening; Source localization -‐ an important aspect in music reproduction; Size/Material -‐ related to musical instruments and timbre; Classification/Identification -‐ related to objects, humans or instruments; Deviation from expectation -‐ considered a major mechanism for creating meaning in music. There are several human properties that are relevant. Human movement is related to music on a number of different levels as evidenced by a current research. Energy relates to the physical effort used to produce the sound. Other human aspects include intention, emotion, skill, and authenticity/sincerity. By analyzing music listening using an ecological perspective we can provide an alternative viewpoint that provide an explanation and motivation of the musical meaning for many different musical aspects ranging from instrument sounds and melody to motion and emotion. On musical intentionality: Motor knowledge and the development of musical expertise Andrea Schiavio Department of Music., The University of Sheffield, UK According to previous literature skilled musicians develop a cross-‐modal expertise using different modalities and categories to understand a musical object. My hypothesis is that this ability is based on the sensory motor integration provided by the Mirror Mechanism, implicitly assuming the existence a musical repertoire of acts that musicians develop throughout their life. In this behavioral experiment, participants (musicians and non musicians) are asked to familiarize with four piano melodies under different conditions (playing the melodies on the piano, seeing someone playing and imagining them through a silent-‐tapping task). Afterwards, the subjects will be asked to recognize these melodies among a series of other similar auditory stimuli. I predict that non musicians will firstly rely 182 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI on a motor-‐based experience recognizing more efficiently the pieces they have actually played (hence constituting a musical vocabulary of acts) while musicians will not show a great mismatch, despite the diverse modalities used to familiarize with the musical excerpts. So, this study has two aims: (i) to consolidate the hypothesis that skilled musicians have a cross-‐ modal intentional relationship with a musical object, independently from the modalities used to intend it and (ii) to show that this kind of intentionality is motor in its roots. Transported to Narrative Worlds: The Effects of A Narrative Mode of Listening on Music Perception Thijs Vroegh Media and Culture Studies, University of Utrecht, the Netherlands The tendency to ascribe ‘agency’ to musical features and interpreting a series of musical events as a type of story represent, besides musical emotions, a vital part of our capacity for music understanding and our ability to find music meaningful. Indeed, a "narrative mode of thought" may be significant in music listening. However, although the domain of music psychology is involved with many conceptualizations of music experience such as music absorption, imaginative involvement, deep listening, or strong experiences, scholars so far refrained from thinking of listening to music as a narrative experience, or from drawing on the extensive literature concerning the reception of narrative in other domains (e.g., literature, film). It may therefore be useful to investigate these musical responses in precisely those terms; that is, of actually being a narrative experience equivalent to those of readers feeling ‘transported’ in the fictional world created by the book. Music imbued with narrative meaning (e.g., personality-‐driven associations and autobiographical memories) that leads to the experience of transportation shares important aspects with the pleasurable engagement with an immersive story in a book or film. It features transformations in consciousness that demonstrate changes in attentional focus, arousal, altered experience of time, thought processes and mental imagery. This suggests that the engagement with stories and a narrative mode of thought triggered by music might share a number of deeper psychological mechanisms. What is the Sound of Citrus? Research on the Correspondences between the Perception of Sound and Flavour Kai Bronner*, Klaus Frieler†, Herbert Bruhn#, Rainer Hirt*, Dag Piper§ *audity, Germany; #University of Flensburg, Germany; †University of Hamburg, Germany; §Mars, Germany This study investigates systematic relationships between the perception of flavour and sound with regard to underlying inter-‐modal attributes and recognisability. The research was inspired by the question, if it is possible to express a flavour acoustically, which might be of practical interest, e.g., for audio branding applications. One preliminary and two main experiments were conducted, in which participants tasted or imagined two flavours (“orange” and “vanilla”), and had to perform several association and matching tasks. For the second main experiment, short audio logos and sound moods were specially designed to yield different citrus-‐like sounds. A wide range of significant differences between the two flavour conditions were found, from which musical parameters could be extracted that are suitable to represent the flavours of “orange” and “vanilla”. Furthermore, a few significant differences between imagined and tasted stimuli showed up as well, hinting at an interference of visual associations. In the second experiment, subjects were reliably able to identify the principal flavour attributes from sound stimuli alone and to distinguish different degrees of citrus-‐sounds. 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 183 Speed Poster Session 40: Timber II Hall, 11:40-‐12:10 Performance studies II Unexpected Melodic Events during Music Reading: Exploring the Eye-‐ Movement Approach Marjaana Penttinen,* Erkki Huovinen,# Anna-‐Kaisa Ylitalo¤ *Department of Teacher Education & Centre for Learning Research, University of Turku, Finland #School of Music, University of Minnesota, USA ¤Department of Mathematics and Statistics, University of Jyväskylä, Finland Two studies examined the eye-‐movement effects of unexpected melodic events during music reading. Simple melodic variants of a familiar tune were performed in a temporally controlled setting. In a pilot study with five university students, unexpected alterations of the familiar melody were found to increase the number of incoming saccades to the altered bar and the bar immediately before the alteration. The main experiment with 34 music students, incorporating several improvements to the experimental design, again showed an increase in the number of incoming saccades to the bar before the alteration, but no effects in the altered bar itself. In addition, the bar following the alteration showed decrease in relative fixation time and incoming saccades. These results are discussed with a view to future studies in eye-‐ movements in music reading, emphasizing the need for more systematic research on truly prima vista performance and, in general, temporally controlled music reading. Mutual Gaze Facilitates Synchronization during Piano Duo Performances Satoshi Kawase Graduate School of Human Sciences, Osaka University, Japan This study investigated the roles of gazing behaviour (specifically eye contact) during music performances by focusing on coordination among performers. Experiment 1 was conducted under four different visual-‐contact conditions: invisible, only the body visible, only the head visible, and face-‐to-‐face. Experiment 2 was conducted under three different visual-‐contact conditions: invisible, only the movable-‐head visible, and only the fixed-‐head visible; the condition was implemented by using a chin rest. The results of experiment 1 showed that the timing lag between performers did not vary significantly among the three conditions in which visual cues were available. Performers looked toward each other just before changes of tempo during which two performers need to coordinate timing in both experiments. Under these three conditions, when performers looked toward each other at points of coordination, it significantly improved synchronization accuracy. The results of experiment 2 showed that the timing lag was significantly shorter under the fixed-‐head condition than the invisible condition, and significantly longer under the fixed-‐head condition than the movable-‐head condition. Regardless of whether or not the head was fixed, the timing lag decreased when performers made eye contact just before the beginning of the sound. On the basis of two experiments, we conclude that mutual gaze is important for reducing timing lag during a performance and that performers may utilize movements (body or head) as visual cues for coordination since they can coordinate only loosely through eye contact alone (without movement). 184 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI The Embodied Effect of Facial Expressions on Pianists’ Performance Interpretation Hila Tamir-‐Ostrover,* Zohar Eitan,** Eric F. Clarke*** *Department of Music, Graduate School of Art and Science, New York University, USA **Buchmann-‐Mehta School of Music, Tel-‐Aviv University, Israel ***Faculty of Music, University of Oxford, UK Facial expression has been shown to affect emotional and cognitive processes, such that smile facilitates positively valenced emotion and related cognition. Here we examine whether performers’ interpretation is influenced by their facial expressions in a similar way. 16 professional pianists played two newly composed musical miniatures, each in a Major and Minor version. The pieces were conventionally notated, but lacked tempo, dynamics and articulation markings; performers were instructed to make use of these expressive dimensions as they wished. Each piece was performed in 3 conditions. In two embodied conditions, participants were asked to hold a wooden stick in their mouth in ways that either facilitated or inhibited smile-‐like expression. In the control condition, participants played with nothing in their mouth. Performances were audio recorded and analysed, focusing on quantifiable parameters associated with valence or intensity in music, such as tempo (mean, SD), note duration (articulation), and intensity (mean, SD). Both participants and 15 independent referees rated performances on evaluative and expressive scales. Results will be reported at the conference. This is the first empirical examination of the effects of facial expression on musical performance, examining the hypothesis that the bodily and emotional aspects of performance influence each other bi-‐directionally. Furthermore, the study investigates whether the embodied effect is transitive (i.e., conveyed from performer to listener), thus examining whether embodied aspects of music-‐making are shared by different musical activities such as listening and performance. Recorded interpretations of Chopin Preludes: Performer’s choice of score events for emphasis and emotional communication Erica Bisesi,* Jennifer MacRitchie#, Richard Parncutt* *Center for Systematic Musicology, University of Graz, Austria #Conservatorio della Svizzera Italiana, Lugano, Switzerland What structural features characterize individual performers’ styles? To what extent do eminent pianists agree on segmentation and rendering of musical phrases? How much do they agree on selection of score events (accents) for local emphasis, and how to emphasize them? How do these choices influence the emotional responses of listeners? How musical expertise and cognitive style of listening influences listeners’ responses? Our hypothesis is that the location of the particular points emphasized by performers by mean of expressive deviations in timing and dynamics can provide some clues as to a performer’s interpretation and communication of emotions. By asking 24 expert musicians to listen to 16 eminent interpretations of two Chopin Preludes op. 28 (no. 7 and no. 11), and provide information about perceived segmentation and emphasis on local events, as well as on the main emotions associated to these pieces, we extract similarities in the segmentation and emphasis on local events (phrases’ climaxes and accents), and discuss striking differences across the performances. We group performances by cluster analysis and consider each cluster as an interpretative style. We also correlate interpretative styles with intended emotion. Finally, we discuss results in the light of participants’ musical expertise and cognitive style of listening. This work is supported by the Stand-‐Alone Project P 24336-‐G21 (“Expression, Emotion and Imagery in Music Performance”), sponsored by the Austrian Fonds zur Förderung der wissenschaftlichen Forschung (FWF). 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 185 Coping Strategies for Music Performance Anxiety: a Study on Flute Players Andre Sinico,* Fernando Gualda,*# Leonardo Winter,* *Music Department, Federal University of Rio Grande do Sul, Brazil #Sonic Arts Research Centre, Queen's University Belfast, Northern Ireland This research focuses on identifying differences in trait and state anxiety levels in flute players. The participants of this survey were members of Brazilian Flute Association (ABRAF). In total, 142 flute players answered an online questionnaire. Eight of twenty questions are reported in this paper. The participants reported on gender, age, years of flute practice, proficiency level (professional, student, and amateur), and their most anxiety-‐ inducing situation (masterclass, recital, and competition). According to the literature, some musical factors can lead to decrease in music performance anxiety. Some musical factors that can be considered as coping strategies are familiarity with repertoire, sight-‐reading skills, deliberate practice, musical expression, and memorization. Results suggest that male flute players exhibited higher incidence of music performance anxiety (MPA), professional flute players may cope better with MPA, and the most stressful performance situation did not correlate with MPA in those 142 flute players. Paper Session 28: Grand Pietra Hall, 14:30-‐15:30 Cross-‐cultural studies The Effect of Context on Cross-‐Cultural Music Memory Performance Steven M. Demorest,* Steven J. Morrison,* Vu Q. Nguyen,# Erin Bodnar,* *Laboratory for Music Cognition Culture and Learning, School of Music, University of Washington, USA #School of Music, Washington University, USA Previous research has shown that both expert and novice listeners demonstrate an “enculturation effect” where they have more difficulty processing and remembering music that is culturally unfamiliar. The purpose of this study was to explore the effect of contextual variables like texture, timbre, tuning, rhythm and complexity on listeners’ ability to process and retain culturally unfamiliar music. We also sought to determine if there was a direct relationship between preference for a piece of music and listener’s memory of it. US born participants were randomly assigned to one of two conditions, contextualized (recordings from both cultures) or decontextualized (single line melodies transcribed from the originals). Removing the stimuli from their cultural texture, timbre and tuning had no impact on cross-‐cultural memory performance when compared to the original examples. Listeners preferred Western examples in general to Turkish examples, but when we correlated preference responses with memory performance on each individual piece across the two cultures there was no significant association. This experiment demonstrates that removing surface aspects of the music like timbre, instrumentation and tuning does not alter the effect of enculturation suggesting that cultural differences are more structural. Poorer memory performance cannot be explained by a decrease in preference for out-‐of-‐culture music. These results have implications for a theory of cross-‐cultural music cognition that centers on statistical properties of expectancy formation for pitch and rhythm patterns. A second experiment is currently underway to explore whether the removal of rhythmic variability might affect cross-‐cultural memory performance. 186 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 FRI Cross-‐Cultural Emotional and Psychophysiological Responses to Music: Comparing Western Listeners to Congolese Pygmies Hauke Egermann,*# Nathalie Fernando,+ Lorraine Chuen,** Stephen McAdams * *CIRMMT, Schulich School of Music, McGill University, Montréal, Québec, Canada #Audio Communication Group, Berlin Institute of Technology, Berlin, Germany +Laboratoire de Musicologie Comparée et Anthropologie de la Musique, Faculté de Musique, Université de Montréal, Montréal, Québec, Canada **Department of Psychology, McGill University, Montréal, Québec, Canada Previous research has indicated that emotion recognition in Western and Indian music might be based on universal features. However, whether a similar cross-‐cultural comparison can reveal universal emotion induction remains unexplored. The study compared subjective and psychophysiological emotional responses to music from two different cultures within two different cultures. Two similar experiments were conducted, the first in the Congolese rainforest with an isolated population of Mbenzele Pygmies without any exposure to Western music and culture; the second with a group of Western music listeners, with no experience with Congolese music. 40 Pygmies (age in yrs.: M=35, SD=14, 22 males), and 39 Western listeners (age in yrs.: M=22, SD=6, 22 males) listened in pairs of two to 19 music excerpts of 29 to 99 seconds in duration in random order (8 from the Pygmy population and 11 western instrumental excerpts). For both groups, emotional responses were continuously measured on the dimensions of subjective feeling, (using a two dimensional rating interface which measures arousal and valence), as well as psychophysiological response (GSR, HR, Respiration Rate, facial EMG). Results suggest that the dimension of valence might be mediated by cultural learning, whereas changes in arousal might involve a more basic, universal response to implicit characteristics of music (with universal reactions in GSR and HR measurements). Paper Session 29: Crystal Hall, 14:30-‐15:30 Music style & schemata A Diachronic Analysis of Harmonic Schemata in Jazz Daniel Shanahan, Yuri Broze School of Music, Ohio State University, USA Jazz harmony relies heavily on a set of well-‐defined harmonic patterns that evolved gradually throughout the 20th century. While certain tonally-‐oriented progressions such as the “ii-‐V-‐I” appear to be nearly ubiquitous across time-‐periods, the jazz tradition also includes a notable departure from tonal harmony: the rise of modal jazz in the late 1950s. We aimed to systematically investigate the history of jazz composition by describing the evolution of chordal syntax, as well as the sort of organizational frameworks that might be described as harmonic schemata. In this study, we empirically describe the most common chords and chord motions of the jazz canon, and trace their evolution over time. Additionally, we describe an attempt to account for one particularly well-‐known compositional schema: the so-‐called “rhythm changes.” In so doing, we make use of a recently compiled database of harmonic progressions for more than 1,160 jazz standards, encoded into the Humdrum “kern” format (Huron 1995). The present study provides details of corpus validation, and presents an initial descriptive characterization of the data set. Furthermore, we present evidence consistent with the hypothesis that chord sequences using tonal harmonic syntax became progressively less common from 1925 to 1970. Finally, 12th ICMPC -‐ 8th ESCOM Joint Conference, Aristotle University of Thessaloniki, 23-‐28 July 2012 187 we characterize the decline in popularity of one harmonic schema: the so-‐called “rhythm changes.” Optimising a short test of musical style grouping Jason Musil*, Bruno Gingras#, Lauren Stewart*, Daniel Müllensiefen* *Department of Psychology, Goldsmiths, University of London, United Kingdom #Department of Cognitive Biology, University of Vienna, Austria Extremely short musical clips can cue correct genre schemas and also knowledge of particular artists and recordings, most probably through timbral cues. The extent to which individuals acquire and are able to use such timbre-‐based knowledge may vary with their breadth and degree of engagement with the many different styles of music available to modern listeners. We aimed to create and optimise a short and implicit musical clip sorting task, which would be an ecologically valid test of musical perception skills necessary for discriminating between musical styles in a general Western population. We were also interested in comparing the performance of self-‐ recruiting online and laboratory tested participants. 26 laboratory and 91 online participants grouped sets of 16 short musical clips into four equal sized bins. They were told to group by similarity and 'genre' was not mentioned explicitly. Four representative stimulus songs were chosen from each of Jazz, Rock, Pop and Hiphop. Two vocal-‐free regions were extracted from each song and 400ms and 800ms clips created from each. Each participant sorted two sets of stimuli, the second set always having a different clip duration and region from the first. Population parameter estimates from test-‐wise scores did not differ significantly between online and offline participants (variance: p=.1; mean: p=.57). Low item-‐wise scores (M=1.14, SD=.95, out of 3) suggest high task difficulty, with longer clips being significantly easier to pair (p<.001). Complete linkage agglomerative hierarchical clustering cluster analyses of pairwise clip distances from the sampled solutions showed a suitable 4 cluster solution by genre for 800ms clips but 400ms Pop clips showed a high confusion rate with the other genres. Piloting with derived shorter sets favours a 3 item by 3 genre 400ms set with Pop excluded, which is easier to solve than
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