Music communicates social emotions: Evidence from 750 music excerpts.

Humans perceive a range of basic emotional connotations from music, such as joy, sadness, and fear, which can be decoded from structural characteristics of music, such as rhythm, harmony, and timbre. However, despite theory and evidence that music has multiple social functions, little research has examined whether music conveys emotions specifically associated with social status and social connection. This investigation aimed to determine whether the social emotions of dominance and affiliation are perceived in music and whether structural features of music predict social emotions, just as they predict basic emotions.

Music, Pleasure, and Meaning: The Hedonic and Eudaimonic Motivations for Music (HEMM) Scale.

Many people listen to music that conveys challenging emotions such as sadness and anger, despite the commonly assumed purpose of media being to elicit pleasure. We propose that eudaimonic motivation, the desire to engage with aesthetic experiences to be challenged and facilitate meaningful experiences, can explain why people listen to music containing such emotions. However, it is unknown whether music containing violent themes can facilitate such meaningful experiences.

Rich Intercultural Music Engagement Enhances Cultural Understanding: The Impact of Learning a Musical Instrument Outside of One's Lived Experience.

Rich intercultural music engagement (RIME) is an embodied form of engagement whereby individuals immerse themselves in foreign musical practice, for example, by learning a traditional instrument from that culture. The present investigation evaluated whether RIME with Chinese or Middle Eastern music can nurture intercultural understanding. White Australian participants were randomly assigned to one of two plucked-string groups: Chinese ( = 29) or Middle Eastern ( = 29).

Virtual reality lifeguarding scenarios as a potential training solution for pool lifeguards.

Background: Ensuring that pool lifeguards develop the skills necessary to detect drowning victims is challenging given that these situations are relatively rare, unpredictable and are difficult to simulate accurately and safely. Virtual reality potentially provides a safe and ecologically valid approach to training since it offers a near-to-real visual experience, together with the opportunity to practice task-related skills and receive feedback. As a prelude to the development of a training intervention, the aim of this research was to establish the construct validity of virtual reality drowning detection tasks.

Passion for Violently Themed Music and Psychological Well-Being: A Survey Analysis.

While the benefits to mood and well-being from passionate engagement with music are well-established, far less is known about the relationship between passion for explicitly violently themed music and psychological well-being. The present study employed the Dualistic Model of Passion to investigate whether harmonious passion (i.e.

Investigating the Role of the Primary Motor Cortex in Musical Creativity: A Transcranial Direct Current Stimulation Study.

Neuroscientific research has revealed interconnected brain networks implicated in musical creativity, such as the executive control network, the default mode network, and premotor cortices. The present study employed brain stimulation to evaluate the role of the primary motor cortex (M1) in creative and technically fluent jazz piano improvisations. We implemented transcranial direct current stimulation (tDCS) to alter the neural activation patterns of the left hemispheric M1 whilst pianists performed improvisations with their right hand.

Memory for melodies in unfamiliar tuning systems: Investigating effects of recency and number of intervening items.

In a continuous recognition paradigm, most stimuli elicit superior recognition performance when the item to be recognized is the most recent stimulus (a recency-in-memory effect). Furthermore, increasing the number of intervening items cumulatively disrupts memory in most domains. Memory for melodies composed in familiar tuning systems also shows superior recognition for the most recent melody, but no disruptive effects from the number of intervening melodies.

Memory for melodies in unfamiliar tuning systems: Investigating effects of recency and number of intervening items.

In a continuous recognition paradigm, most stimuli elicit superior recognition performance when the item to be recognised is the most recent stimulus (a recency-in-memory effect). Furthermore, increasing the number of intervening items cumulatively disrupts memory in most domains. Memory for melodies composed in familiar tuning systems also shows superior recognition for the most recent melody, but no disruptive effects from the number of intervening melodies.

Resilient memory for melodies: The number of intervening melodies does not influence novel melody recognition.

In many memory domains, a decrease in recognition performance between the first and second presentation of an object is observed as the number of intervening items increases. However, this effect is not universal. Within the auditory domain, this form of interference has been demonstrated in word and single-note recognition, but has yet to be substantiated using relatively complex musical material such as a melody.

What Constitutes a Phrase in Sound-Based Music? A Mixed-Methods Investigation of Perception and Acoustics.

Phrasing facilitates the organization of auditory information and is central to speech and music. Not surprisingly, aspects of changing intensity, rhythm, and pitch are key determinants of musical phrases and their boundaries in instrumental note-based music. Different kinds of speech (such as tone- vs.

A "looming bias" in spatial hearing? Effects of acoustic intensity and spectrum on categorical sound source localization.

Continuous increases of acoustic intensity (up-ramps) can indicate a looming (approaching) sound source in the environment, whereas continuous decreases of intensity (down-ramps) can indicate a receding sound source. From psychoacoustic experiments, an "adaptive perceptual bias" for up-ramp looming tonal stimuli has been proposed (Neuhoff, 1998). This theory postulates that (1) up-ramps are perceptually salient because of their association with looming and potentially threatening stimuli in the environment; (2) tonal stimuli are perceptually salient because of an association with single and potentially threatening biological sound sources in the environment, relative to white noise, which is more likely to arise from dispersed signals and nonthreatening/nonbiological sources (wind/ocean).

Transforming an embodied conversational agent into an efficient talking head: from keyframe-based animation to multimodal concatenation synthesis.

Background: Virtual humans have become part of our everyday life (movies, internet, and computer games). Even though they are becoming more and more realistic, their speech capabilities are, most of the time, limited and not coherent and/or not synchronous with the corresponding acoustic signal.

Methods: We describe a method to convert a virtual human avatar (animated through key frames and interpolation) into a more naturalistic talking head.

Continuous loudness response to acoustic intensity dynamics in melodies: effects of melodic contour, tempo, and tonality.

The aim of this work was to investigate perceived loudness change in response to melodies that increase (up-ramp) or decrease (down-ramp) in acoustic intensity, and the interaction with other musical factors such as melodic contour, tempo, and tonality (tonal/atonal). A within-subjects design manipulated direction of linear intensity change (up-ramp, down-ramp), melodic contour (ascending, descending), tempo, and tonality, using single ramp trials and paired ramp trials, where single up-ramps and down-ramps were assembled to create continuous up-ramp/down-ramp or down-ramp/up-ramp pairs. Twenty-nine (Exp 1) and thirty-six (Exp 2) participants rated loudness continuously in response to trials with monophonic 13-note piano melodies lasting either 6.

Forward masking of dynamic acoustic intensity: effects of intensity region and end-level.

Overestimation of loudness change typically occurs in response to up-ramp auditory stimuli (increasing intensity) relative to down-ramps (decreasing intensity) matched on frequency, duration, and end-level. In the experiment reported, forward masking is used to investigate a sensory component of up-ramp overestimation: persistence of excitation after stimulus presentation. White-noise and synthetic vowel 3.

The effect of intensity on relative pitch.

In two experiments, we examined the effect of intensity and intensity change on judgements of pitch differences or interval size. In Experiment 1, 39 musically untrained participants rated the size of the interval spanned by two pitches within individual gliding tones. Tones were presented at high intensity, low intensity, looming intensity (up-ramp), and fading intensity (down-ramp) and glided between two pitches spanning either 6 or 7 semitones (a tritone or a perfect fifth interval).

Loudness change in response to dynamic acoustic intensity.

Three experiments investigate psychological, methodological, and domain-specific characteristics of loudness change in response to sounds that continuously increase in intensity (up-ramps), relative to sounds that decrease (down-ramps). Timbre (vowel, violin), layer (monotone, chord), and duration (1.8 s, 3.

Perceptual overestimation of rising intensity: is stimulus continuity necessary?

A "perceptual bias for rising intensity" (Neuhoff 1998, Nature 395 123-124) is not dependent on the continuous change of a dynamic, looming sound source. Thirty participants were presented with pairs of 500 ms steady-state sounds corresponding to onset and offset levels of previously used dynamic increasing- and decreasing-intensity stimuli. Independent variables, intensity-change direction (increasing, decreasing), intensity region (high: 70-90 dB SPL, low: 50-70 dB SPL), interstimulus interval (ISI) (0 s, 1.

Scalar timing varies with response magnitude in classical conditioning of the nictitating membrane response of the rabbit (Oryctolagus cuniculus).

The present experiment was aimed at characterizing the timing of conditioned nictitating membrane (NM) movements as function of the interstimulus interval (ISI) in delay conditioning for rabbits (Oryctolagus cuniculus). Onset latency and peak latency were approximately, but not strictly, scalar for all but the smallest movements (<.10 mm).

Time-specific extinction and recovery of the rabbit's (Oryctolagus cuniculus) conditioned nictitating membrane response using mixed interstimulus intervals.

Extinguishing a conditioned response (CR) has entailed separating the conditioned stimulus (CS) from the unconditioned stimulus (US). This research reveals that elimination of the rabbit nictitating membrane response occurred during continuous CS-US pairings. Initial training contained a mixture of 2 CS-US interstimulus intervals (ISIs), 150 ms and 500 ms.