Shifting Listening Niches: Effects of the COVID-19 Pandemic.

The term "listening niche" refers to the contexts in which people listen to music including what music they are listening to, with whom, when, where, and with what media. The first experiment investigates undergraduate students' music listening niches in the initial COVID-19 lockdown period, 4 weeks immediately after the campus shut down abruptly. The second experiment explores how returning to a hybrid semester, the "new normal," further affected these listening habits.

Listening Niches across a Century of Popular Music.

This article investigates the contexts, or "listening niches", in which people hear popular music. The study spanned a century of popular music, divided into 10 decades, with participants born between 1940 and 1999. It asks about whether they know and like the music in each decade, and their emotional reactions.

Cascading reminiscence bumps in popular music.

Autobiographical memories are disproportionately recalled for events in late adolescence and early adulthood, a phenomenon called the reminiscence bump. Previous studies on music have found autobiographical memories and life-long preferences for music from this period. In the present study, we probed young adults' personal memories associated with top hits over 5-and-a-half decades, as well as the context of their memories and their recognition of, preference for, quality judgments of, and emotional reactions to that music.

Music to my eyes: cross-modal interactions in the perception of emotions in musical performance.

We investigate non-verbal communication through expressive body movement and musical sound, to reveal higher cognitive processes involved in the integration of emotion from multiple sensory modalities. Participants heard, saw, or both heard and saw recordings of a Stravinsky solo clarinet piece, performed with three distinct expressive styles: restrained, standard, and exaggerated intention. Participants used a 5-point Likert scale to rate each performance on 19 different emotional qualities.

Compatibility of motion facilitates visuomotor synchronization.

Prior research indicates that synchronized tapping performance is very poor with flashing visual stimuli compared with auditory stimuli. Three finger-tapping experiments compared flashing visual metronomes with visual metronomes containing a spatial component, either compatible, incompatible, or orthogonal to the tapping action. In Experiment 1, synchronization success rates increased dramatically for spatiotemporal sequences of both geometric and biological forms over flashing sequences.

Ethnicity effects in relative pitch.

Absolute pitch (AP), the rare ability to identify a musical pitch, occurs at a higher rate among East Asian musicians. This has stimulated considerable research on the comparative contributions of genetic and environmental factors. Two studies examined whether a similar ethnicity effect is found for relative pitch (RP), identifying the distance or interval between two tones.

Sensorimotor synchronization with chords containing tone-onset asynchronies.

Musical ensemble performance requires the synchronization of multiple performers, resulting in sequences of chords containing multiple tones with multiple onsets. Experiments 1 and 2 investigate whether sensorimotor synchronization with chord sequences containing tone-onset asynchronies is affected by (1) the magnitude of these asynchronies (25, 30, or 50 msec) and (2) the pitch of the leading tone (high vs. low).

Dimensions of emotion in expressive musical performance.

This paper explores the dimensions of emotion conveyed by music. Participants rated emotion terms after seeing and/or hearing recordings of clarinet performances that varied in expressive content. A factor analysis revealed four independent dimensions of emotion.

Cross-modal interactions in the perception of musical performance.

We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented.

The role of melodic and temporal cues in perceiving musical meter.

A number of different cues allow listeners to perceive musical meter. Three experiments examined effects of melodic and temporal accents on perceived meter in excerpts from folk songs scored in 6/8 or 3/4 meter. Participants matched excerpts with 1 of 2 metrical drum accompaniments.

Experimental strategies for understanding the role of experience in music cognition.

Research in music cognition has assessed the role of experience by investigating the effects of development, training, and cross-cultural differences. A fourth approach is to apply statistical techniques to identify patterns that are relatively frequent in the listeners' musical experience. As an example of this approach, a functional magnetic resonance imaging (fMRI) study was conducted on melodic expectancy.

Measuring and modeling real-time responses to music: the dynamics of tonality induction.

We examined a variety of real-time responses evoked by a single piece of music, the organ Duetto BWV 805 by J S Bach. The primary data came from a concurrent probe-tone method in which the probe tone is sounded continuously with the music. Listeners judged how well the probe tone fit with the music at each point in time.