Creativity and tradition: Music and bifocal stance theory.

We argue that music can serve as a time-sensitive lens into the interplay between instrumental and ritual stances in cultural evolution. Over various timescales, music can switch between pursuing an end goal or not, and between presenting a causal opacity that is resolvable, or not. With these fluctuations come changes in the motivational structures that drive innovation versus copying.

Using music to probe how perception shapes imagination.

Recent work using music highlights how past experiences and the immediate perceptual environment can shape imagination. Given that aspects of past experiences can be shared, depending on culture, as can the immediate perceptual environment, imaginings that might appear idiosyncratic or entirely subjective can in fact be broadly shared.

When did that happen? The dynamic unfolding of perceived musical narrative.

People readily imagine narratives in response to instrumental music. Although previous work has established that these narratives show broad intersubjectivity, it remains unclear whether these imagined stories are atemporal, or unfold systematically over the temporal extent of a musical excerpt. To investigate the dynamics of perceived musical narrative, we had participants first listen to 16 instrumental musical excerpts, which had previously been normed for factors of interest.

The psychological basis of music appreciation: Structure, self, source.

Research has investigated psychological processes in an attempt to explain how and why people appreciate music. Three programs of research have shed light on these processes. The first focuses on the appreciation of musical structure.

Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity.

The scientific literature sometimes considers music an abstract stimulus, devoid of explicit meaning, and at other times considers it a universal language. Here, individuals in three geographically distinct locations spanning two cultures performed a highly unconstrained task: they provided free-response descriptions of stories they imagined while listening to instrumental music. Tools from natural language processing revealed that listeners provide highly similar stories to the same musical excerpts when they share an underlying culture, but when they do not, the generated stories show limited overlap.

High-Order Areas and Auditory Cortex Both Represent the High-Level Event Structure of Music.

Recent fMRI studies of event segmentation have found that default mode regions represent high-level event structure during movie watching. In these regions, neural patterns are relatively stable during events and shift at event boundaries. Music, like narratives, contains hierarchical event structure (e.

Pluralism provides the best chance for addressing big questions about music.

Studying a complex cultural phenomenon like music requires many kinds of expertise. Savage et al. adopt a pluralistic approach, considering multiple forms of evidence and perspectives from multiple fields.

Do you hear what I hear? Perceived narrative constitutes a semantic dimension for music.

Music has attracted longstanding debate surrounding its capacity to communicate without words, but little empirical work has addressed the topic. Here, 534 participants in the US and a remote region of China participated in two experiments using a novel paradigm to investigate narrative perceptions as a semantic dimension of music. Participants listened to wordless musical excerpts and determined which of two presented stories was the correct match.

Cross-Cultural Work in Music Cognition: Challenges, Insights, and Recommendations.

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

Song and infant-directed speech facilitate word learning.

Two separate lines of research have examined the influence of song and infant-directed speech (IDS-a speech register that includes some melodic features) on language learning, suggesting that the use of musical attributes in speech input can enhance language learning. However, the benefits of these two types of stimuli have never been directly compared. In this investigation, we compared the effects of song and IDS for immediate word learning and long-term memory of the learned words.

Music synchronizes brainwaves across listeners with strong effects of repetition, familiarity and training.

Music tends to be highly repetitive, both in terms of musical structure and in terms of listening behavior, yet little is known about how engagement changes with repeated exposure. Here we postulate that engagement with music affects the inter-subject correlation of brain responses during listening. We predict that repeated exposure to music will affect engagement and thus inter-subject correlation.

Author Correction: Overcoming Bias: Cognitive Control Reduces Susceptibility to Framing Effects in Evaluating Musical Performance.

A correction to this article has been published and is linked from the HTML and PDF versions of this paper. The error has not been fixed in the paper.

Overcoming Bias: Cognitive Control Reduces Susceptibility to Framing Effects in Evaluating Musical Performance.

Prior expectations can bias evaluative judgments of sensory information. We show that information about a performer's status can bias the evaluation of musical stimuli, reflected by differential activity of the ventromedial prefrontal cortex (vmPFC). Moreover, we demonstrate that decreased susceptibility to this confirmation bias is (a) accompanied by the recruitment of and (b) correlated with the white-matter structure of the executive control network, particularly related to the dorsolateral prefrontal cortex (dlPFC).

Musical and linguistic listening modes in the speech-to-song illusion bias timing perception and absolute pitch memory.

The speech-to-song (STS) illusion is a phenomenon in which some spoken utterances perceptually transform to song after repetition [Deutsch, Henthorn, and Lapidis (2011). J. Acoust.

Expectation, information processing, and subjective duration.

In research on psychological time, it is important to examine the subjective duration of entire stimulus sequences, such as those produced by music (Teki, Frontiers in Neuroscience, 10, 2016). Yet research on the temporal oddball illusion (according to which oddball stimuli seem longer than standard stimuli of the same duration) has examined only the subjective duration of single events contained within sequences, not the subjective duration of sequences themselves. Does the finding that oddballs seem longer than standards translate to entire sequences, such that entire sequences that contain oddballs seem longer than those that do not? Is this potential translation influenced by the mode of information processing-whether people are engaged in direct or indirect temporal processing? Two experiments aimed to answer both questions using different manipulations of information processing.

Expressive intent, ambiguity, and aesthetic experiences of music and poetry.

A growing number of studies are investigating the way that aesthetic experiences are generated across different media. Empathy with a perceived human artist has been suggested as a common mechanism [1]. In this study, people heard 30 s excerpts of ambiguous music and poetry preceded by neutral, positively valenced, or negatively valenced information about the composer's or author's intent.

Pronunciation difficulty, temporal regularity, and the speech-to-song illusion.

The speech-to-song illusion (Deutsch et al., 2011) tracks the perceptual transformation from speech to song across repetitions of a brief spoken utterance. Because it involves no change in the stimulus itself, but a dramatic change in its perceived affiliation to speech or to music, it presents a unique opportunity to comparatively investigate the processing of language and music.

Repetition and emotive communication in music versus speech.

Music and speech are often placed alongside one another as comparative cases. Their relative overlaps and disassociations have been well explored (e.g.

Effects of mono- and bicultural experiences on auditory perception.

The auditory system functions in the context of everyday life and the cultural environment in which we live. Although cultural-invariant, universal principles certainly contribute to sound processing, cultural factors play a role as well. In this review paper, we discuss two potential sources of cultural influence on auditory perception.

Implicit memory in music and language.

Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, and their associated neural structures in the acquisition of linguistic or musical grammar.

The bimusical brain is not two monomusical brains in one: evidence from musical affective processing.

Complex auditory exposures in ambient environments include systems of not only linguistic but also musical sounds. Because musical exposure is often passive, consisting of listening rather than performing, examining listeners without formal musical training allows for the investigation of the effects of passive exposure on our nervous system without active use. Additionally, studying listeners who have exposure to more than one musical system allows for an evaluation of how the brain acquires multiple symbolic and communicative systems.