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This research, carried out between 2020 and 2021, involves an online questionnaire and individual interviews with undergraduate music students at universities and conservatoires in the UK, to examine student experiences of receiving and delivering instrumental and singing tuition. There is no regulation of instrumental teaching in the UK, and individuals are able to teach without formal training or qualification. Existing literature suggests that musicians often begin teaching while still in education, though there is limited research concerning the experience of this process. This research confirms that students are involved in delivering instrumental and singing lessons before and during their undergraduate studies, often beginning with peer learning initiatives in school or 'helping' family and friends. The study identifies positive perceptions of the role of teaching in portfolio careers in music and highlights the influence of both instrumental teachers and classroom music teachers in shaping understandings and providing guidance and opportunities for students. [ABSTRACT FROM AUTHOR]

Spontaneous rhythmic movements are part of everyday life, e.g., in walking, clapping or music making. Humans perform such spontaneous motor actions at different rates that reflect specific biomechanical constraints of the effector system in use. However, there is some evidence for intra-individual consistency of specific spontaneous rates arguably resulting from common underlying processes. Additionally, individual and contextual factors such as musicianship and circadian rhythms have been suggested to influence spontaneous rates. This study investigated the relative contributions of these factors and provides a comprehensive picture of rates among different spontaneous motor behaviors, i.e., melody production, walking, clapping, tapping with and without sound production, the latter measured online before and in the lab. Participants (n = 60) exhibited high intra-individual stability across tasks. Task-related influences included faster tempi for spontaneous production rates of music and wider ranges of spontaneous motor tempi (SMT) and clapping rates compared to walking and music making rates. Moreover, musicians exhibited slower spontaneous rates across tasks, yet we found no influence of time of day on SMT as measured online in pre-lab sessions. Tapping behavior was similar in pre-lab and in-lab sessions, validating the use of online SMT assessments. Together, the prominent role of individual factors and high stability across domains support the idea that different spontaneous motor behaviors are influenced by common underlying processes. [ABSTRACT FROM AUTHOR]

Musical engagement can be conceptualized through various activities, modes of listening and listener states. Recent research has reported that a state of focused engagement can be indexed by the inter‐subject correlation (ISC) of audience responses to a shared naturalistic stimulus. While statistically significant ISC has been reported during music listening, we lack insight into the temporal dynamics of engagement over the course of musical works—such as those composed in the Western classical style—which involve the formulation of expectations that are realized or derailed at subsequent points of arrival. Here, we use the ISC of electroencephalographic (EEG) and continuous behavioural (CB) responses to investigate the time‐varying dynamics of engagement with functional tonal music. From a sample of adult musicians who listened to a complete cello concerto movement, we found that ISC varied throughout the excerpt for both measures. In particular, significant EEG ISC was observed during periods of musical tension that built to climactic highpoints, while significant CB ISC corresponded more to declarative entrances and points of arrival. Moreover, we found that a control stimulus retaining envelope characteristics of the intact music, but little other temporal structure, also elicited significantly correlated EEG and CB responses, though to lesser extents than the original version. In sum, these findings shed light on the temporal dynamics of engagement during music listening and clarify specific aspects of musical engagement that may be indexed by each measure. [ABSTRACT FROM AUTHOR]

DIFFERENT MUSICAL INSTRUMENTS HAVE DIFFERENT pitch processing demands. However, correlational studies have seldom considered the role of musical instruments in music-to-language transfer. Addressing this research gap could contribute to a nuanced understanding of music-to-language transfer. To this end, we investigated whether pitched musicians had a unique musical advantage in lexical tone perception relative to unpitched musicians and nonmusicians. Specifically, we compared Cantonese pitched musicians, unpitched musicians, and nonmusicians on Thai tone discrimination and sequence recall. In the Thai tone discrimination task, the pitched musicians outperformed the unpitched musicians and the nonmusicians. Moreover, the unpitched musicians and the nonmusicians performed similarly. In the Thai tone sequence recall task, both pitched and unpitched musicians recalled level tone sequences more accurately than the nonmusicians, but the pitched musicians showed the largest musical advantage. However, the three groups recalled contour tone sequences with similar accuracy. Collectively, the pitched musicians had a unique musical advantage in lexical tone discrimination and the largest musical advantage in level tone sequence recall. From a theoretical perspective, this study offers correlational evidence for the Precision element of the OPERA hypothesis. The choice of musical instrumental may matter for musicto- language transfer in lexical tone discrimination and level tone sequence recall. [ABSTRACT FROM AUTHOR]

This paper calls for a recalibration of how cultural geography engages with music, lyrics, motion, and emotion. Within existing geographical work on music, research on the music itself remains scarce, with reflection on lyrics rarer still. This paper addresses this via a close reading of the work of the Glaswegian group, The Blue Nile. It examines how the trio – and especially their principal songwriter, Paul Buchanan – used lyrics as a means for articulating distinctive conceptions of movement and stillness. The significance of song-words themselves is considered, but so too is their mode of delivery, and their relationship to the enveloping musical settings they are embedded in. The importance of time, space and place in The Blue Nile's work is analysed and the methods by which they are evoked is investigated. The paper moves discussion on from well-covered terrain regarding music as a conduit for expressing youth focussed tropes, such as rebellion and speed, focusing instead on music's facility for voicing ideas of slowness and immobility, particularly in urban settings. In doing so, it demonstrates popular music's value for articulating sensations that are now being encountered with ever greater frequency, including those of stasis, drift, and disconnection. [ABSTRACT FROM AUTHOR]

Prosodic aspects of cross-linguistic contact are under-researched, especially past contact that has subsequently ceased. In this paper, we investigate declarative and polar question tunes of contemporary Cretan Greek, a regional variety of Greek whose speakers were in contact with Venetian speakers during the four and half centuries of Venetian rule on the island, from 1204 to 1669. The F0 contours of the Cretan tunes and alignment of peaks and troughs of interest with the nuclear vowel are compared to the corresponding tunes in Venetian dialect and Venetian Italian and to those in Athenian (Standard) Greek, which are used as control. The data (1610 declarative utterances and 698 polar questions) were drawn from natural speech corpora based on pragmatic criteria: broad focus for declaratives, broad focus, and information-seeking interpretation for polar questions. The pitch contour shapes of the tunes are modeled using polynomial basis functions, and the F0 alignment points are determined analytically. The results show the robustness of contact effects almost three and a half centuries after regular contact ceased and indicate that the shapes of the F0 contours of Cretan and Venetian declarative and polar question tunes are similar. In addition, Cretan alignment patterns are similar to Venetian and significantly different from Athenian. Insights are gained from research into how long prosodic characteristics may persist in a recipient language—decades or even centuries after the cessation of contact. [ABSTRACT FROM AUTHOR]

This paper presents the investigation and analysis of speech accommodation effects in data obtained from Spanish learners of German with varying proficiency levels. The production data were recorded during a collaborative map task of the Spanish learners of German among each other and with a native speaker of German. The map task was designed to target words and phrases with specific segmental and suprasegmental characteristics. These characteristics were derived from contrastive analyses of Spanish and German. The main objectives of the paper were to investigate whether segmental and suprasegmental characteristics of the target language German are affected by phonetic accommodation to varying degrees and whether these differences depend on the proficiency level of the speaker or the interlocutor. The statistical analysis, using regression analyses, revealed inconsistent accommodation effects across learners of different proficiency levels as well as different linguistic phenomena. In line with previous findings the results can best be accounted for by an adaptation of a dynamic system approach. [ABSTRACT FROM AUTHOR]

Purpose: The present study examined whether participants respond to unperturbed parameters while experiencing specific perturbations in auditory feedback. For instance, we aim to determine if speakers adjust voice loudness when only pitch is artificially altered in auditory feedback. This phenomenon is referred to as the “accompanying effect” in the present study. Method: Thirty native Mandarin speakers were asked to sustain the vowel /ɛ/ for 3 s while their auditory feedback underwent single shifts in one of the three distinct ways: pitch shift (±100 cents; coded as PT), loudness shift (±6 dB; coded as LD), or first formant (F1) shift (±100 Hz; coded as FM). Participants were instructed to ignore the perturbations in their auditory feedback. Response types were categorized based on pitch, loudness, and F1 for each individual trial, such as Popp_Lopp_Fopp indicating opposing responses in all three domains. Results: The accompanying effect appeared 93% of the time. Bayesian Poisson regression models indicate that opposing responses in all three domains (Popp_Lopp_Fopp) were the most prevalent response type across the conditions (PT, LD, and FM). The more frequently used response types exhibited opposing responses and significantly larger response curves than the less frequently used response types. Following responses became more prevalent only when the perturbed stimuli were perceived as voices from someone else (external references), particularly in the FM condition. In terms of isotropy, loudness and F1 tended to change in the same direction rather than loudness and pitch. Conclusion: The presence of the accompanying effect suggests that the motor systems responsible for regulating pitch, loudness, and formants are not entirely independent but rather interconnected to some degree. [ABSTRACT FROM AUTHOR]

Purpose: Pitch variations (tone productions) have been reported as a measure to differentiate Cantonese-speaking children with and without childhood apraxia of speech (CAS). This study aims to examine fundamental frequency (F0) changes within syllables and the effects of syllable structure, lexical status, and syllable positions on F0 in Cantonese-speaking preschool children with and without CAS. Method: Six children with CAS, six children with non-CAS speech sound disorder plus language disorder (S&LD), 22 children with speech sound disorder only (SSD), and 63 children with typical speech-language development (TD) performed the tone sequencing task (TST). Growth curve analysis was employed to analyze and compare the F0 values within syllables with three Cantonese tones (high level, high rising, and low falling). The analysis considered the effects of syllable structure (vowel and consonant–vowel), lexical status (word and nonword), and syllable position (initial, medial, and final) on F0, as well as comparisons within and between groups. Results: Within each group, the effects of syllable structure and position on F0 values were found with different patterns. Between-group comparisons showed that the CAS group had reduced F0 contrasts. The CAS group could be differentiated from the control groups based on interactions of F0 with syllable structure and position, but not lexical status. The dissimilarity of F0 values detected between the CAS and SSD/TD groups was more prominent than that observed between the CAS and S&LD groups. Conclusions: This study demonstrated that Cantonese-speaking children with CAS had difficulty in varying F0 within syllables as compared to those without CAS, suggesting pitch variation difficulty and language-specific impairment profiles in CAS. Future investigations of objective measures for identifying Cantonese speakers with CAS and cross-linguistic investigations using growth curve analysis and the TST are suggested. [ABSTRACT FROM AUTHOR]

Time discrimination, a critical aspect of auditory perception, is influenced by numerous factors. Previous research has suggested that musical experience can restructure the brain, thereby enhancing time discrimination. However, this phenomenon remains underexplored. In this study, we seek to elucidate the enhancing effect of musical experience on time discrimination, utilizing both behavioral and electroencephalogram methodologies. Additionally, we aim to explore, through brain connectivity analysis, the role of increased connectivity in brain regions associated with auditory perception as a potential contributory factor to time discrimination induced by musical experience. The results show that the music‐experienced group demonstrated higher behavioral accuracy, shorter reaction time, and shorter P3 and mismatch response latencies as compared to the control group. Furthermore, the music‐experienced group had higher connectivity in the left temporal lobe. In summary, our research underscores the positive impact of musical experience on time discrimination and suggests that enhanced connectivity in brain regions linked to auditory perception may be responsible for this enhancement. [ABSTRACT FROM AUTHOR]

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Background: Frequency discrimination underlies more complicated auditory activities like speech comprehension and interpretation. However, intensity differences indicate how far apart noises are. This study aimed to evaluate and compare results of frequency modulation and difference limen for intensity in children with cochlear Implants (CI) as well as normal hearing children. Results: This case–control work was performed on 40 children, aged from 5–18 years, divided into two equal groups: a study group with unilateral CI and a control group with normal peripheral hearing. All patients were subjected to otological examination, audiological evaluation, frequency modulation difference limen (FMDL) and difference limen for intensity (DLI) tests. Patients with CI, as compared to normal hearing (NH) subjects, required significantly higher frequencies to discriminate FMDL and DLI respectively (P value = 0.001). At 2000 and 4000 Hz: FMDL had a significant diagnostic power for patients with CI (AUC = 0.980, 0.998 respectively, P < 0.001), at cut off 1.5, with 100% sensitivity and 100% specificity. While, at 4000 Hz: DLI had a significant diagnostic power for patients with CI (AUC = 0.999, P < 0.001), at cut off 1.5, with 100% sensitivity and 100% specificity. Conclusion: A statistically substantial variation was observed among CI and NH children in FMDL and DLI at all frequencies tested. Patients with CI required significantly higher frequencies to discriminate as compared to NH subjects. Frequencies at 2000 Hz and 4000 Hz possess the best specificity and sensitivity of FMDL. While frequency 4000 Hz possess the best specificity and sensitivity of DLI. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet International Journal of Education is the property of Cumhuriyet University, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Simple Summary: For humans, music is a powerful tool of emotional communication, conveying affective states and modulating physiological states in ways that can influence well-being. Understanding that emotionality is not an exclusively human trait, as it is also recognized in non-human species, it is natural to assume that the intrinsic power of music to modulate the psychophysiological state may be trans-specific. In this way, music can be a powerful tool for enriching the environment and improving the welfare of captive animals, especially farm animals. As there is very limited information on non-human animals, the aim is to review what is known from a human comparative perspective, arguments that support its use, and the potential to use music in non-human species. The effects of sound stimulation as a sensorial environmental enrichment for captive animals have been studied. When appropriately implemented for farm animals, it can improve welfare, health, and productivity. Furthermore, there are indications that music can induce positive emotions in non-human animals, similar to humans. Emotion is a functional state of the organism involving both physiological processes, mediated by neuroendocrine regulation, and changes in behavior, affecting various aspects, including contextual perception and welfare. As there is very limited information on non-human animals, the objective of this review is to highlight what is known about these processes from human biological and comparative perspectives and stimulate future research on using music to improve animal welfare. [ABSTRACT FROM AUTHOR]

Music information retrieval (MIR) is an interdisciplinary research field that focuses on the extraction, processing, and knowledge discovery of information contained in music. While previous studies have utilized Spotify audio features and Last.fm tags as input values for classification tasks, such as music genre recognition, their potential as target values has remained unexplored. In this article, we address this notable gap in the research landscape by proposing a novel approach to predict Spotify audio features based on a set of Last.fm tags. By predicting audio features, we aim to explore the relationship between subjective perception and concrete musical features, shedding light on patterns and hidden correlations between how music is perceived, consumed, and discovered. Additionally, the predicted audio features can be leveraged in recommendation systems to provide users with explainable recommendations, bridging the gap between algorithmic suggestions and user understanding. Our experiments involve training models such as GPT-2, XGBRegressor, and Bayesian Ridge regressor to predict Spotify audio features from Last.fm tags. Through our findings, we contribute to the advancement of MIR research by demonstrating the potential of Last.fm tags as target values and paving the way for future research on the connection between subjective and objective music characterization. Our approach holds promise for both listeners and researchers, offering new insights into the intricate relationship between perception and audio signal in music. Our study aims to explore the feasibility and efficacy of this unique approach, where we intentionally refrain from using traditional audio-based or metadata-driven methods. [ABSTRACT FROM AUTHOR]

Background and aims: Fascinations for or aversions to particular sounds are a familiar feature of autism, as is an ability to reproduce another person's utterances, precisely copying the other person's prosody as well as their words. Such observations seem to indicate not only that autistic people can pay close attention to what they hear, but also that they have the ability to perceive the finer details of auditory stimuli. This is consistent with the previously reported consensus that absolute pitch is more common in autistic individuals than in neurotypicals. We take this to suggest that autistic people have perception that allows them to pay attention to fine details. It is important to establish whether or not this is so as autism is often presented as a deficit rather than a difference. We therefore undertook a narrative literature review of studies of auditory perception, in autistic and nonautistic individuals, focussing on any differences in processing linguistic and nonlinguistic sounds. Main contributions: We find persuasive evidence that nonlinguistic auditory perception in autistic children differs from that of nonautistic children. This is supported by the additional finding of a higher prevalence of absolute pitch and enhanced pitch discriminating abilities in autistic children compared to neurotypical children. Such abilities appear to stem from atypical perception, which is biased toward local-level information necessary for processing pitch and other prosodic features. Enhanced pitch discriminating abilities tend to be found in autistic individuals with a history of language delay, suggesting possible reciprocity. Research on various aspects of language development in autism also supports the hypothesis that atypical pitch perception may be accountable for observed differences in language development in autism. Conclusions: The results of our review of previously published studies are consistent with the hypothesis that auditory perception, and particularly pitch perception, in autism are different from the norm but not always impaired. Detail-oriented pitch perception may be an advantage given the right environment. We speculate that unusually heightened sensitivity to pitch differences may be at the cost of the normal development of the perception of the sounds that contribute most to early language development. Implications: The acquisition of speech and language may be a process that normally involves an enhanced perception of speech sounds at the expense of the processing of nonlinguistic sounds, but autistic children may not give speech sounds this same priority. [ABSTRACT FROM AUTHOR]

Musical training has been linked to changes in early attentional and perceptual processing. Thus, such an altered attentional and perceptual processing has enabled musicians to judge the duration differently than non-musicians. Although these claims seem intriguing, there are many questions that are not addressed yet, for example, how would the performance of musically-trained differ from that of untrained on visual and auditory temporal judgments? Is there any advantage to musically-trained person in temporal processing? To understand these questions, we thus conducted a series of Auditory and Visual Temporal Bisection Tasks on 32 musically-trained and 32 musically-untrained participants. We hypothesized that if music training modulates general sensitivity to temporal dimensions, then the temporal judgments of musically-trained participants would differ from those of untrained participants in both visual and auditory tasks. Each participant performed a total of 140 trials (70 visual and 70 auditory) in two different blocks. For each participant, a Point of Subjective Equality (PSE) was obtained for visual and auditory conditions. The findings revealed a significant modality effect on time perception, with auditory stimuli being consistently overestimated compared to visual stimuli. Surprisingly, the musically-trained group exhibited a tendency to underestimate duration relative to the musically-untrained participants. Although these results may appear counterintuitive at first glance, a detailed analysis indicates that the length of musical training plays a significant role in modulating temporal processing within the musically-trained group. [ABSTRACT FROM AUTHOR]

The article reports the results of a study on the perception of reduced forms by non-native users of English. It tests three hypotheses: (i) reduced forms with context are recognized more accurately and faster than reduced forms without context; (ii) gradient reduction is perceived less robustly than the categorical one; and (iii) subjects with musical background perceive reduced forms better than those without. An E-Prime study on 102 Polish learners of English was implemented, comparing participants’ accuracy and reaction times with a control group of 14 native speakers. The study was corpus-based and used 287 reduced forms from a corpus of Lancashire. The results indicate that (i) lexical context and phone density significantly affect perception, (ii) the category of reduction process (gradient or categorical) is irrelevant, and (iii) musical background only partially impacts non-native perception. [ABSTRACT FROM AUTHOR]

Music training is associated with better beat processing in the auditory modality. However, it is unknown how rhythmic training that emphasizes visual rhythms, such as dance training, might affect beat processing, nor whether training effects in general are modality specific. Here we examined how music and dance training interacted with modality during audiovisual integration and synchronization to auditory and visual isochronous sequences. In two experiments, musicians, dancers, and controls completed an audiovisual integration task and an audiovisual target-distractor synchronization task using dynamic visual stimuli (a bouncing figure). The groups performed similarly on the audiovisual integration tasks (Experiments 1 and 2). However, in the finger-tapping synchronization task (Experiment 1), musicians were more influenced by auditory distractors when synchronizing to visual sequences, while dancers were more influenced by visual distractors when synchronizing to auditory sequences. When participants synchronized with whole-body movements instead of finger-tapping (Experiment 2), all groups were more influenced by the visual distractor than the auditory distractor. Taken together, this study highlights how training is associated with audiovisual processing, and how different types of visual rhythmic stimuli and different movements alter beat perception and production outcome measures. Implications for the modality appropriateness hypothesis are discussed. [ABSTRACT FROM AUTHOR]

The global ageing of populations calls for effective, ecologically valid methods to support brain health across adult life. Previous evidence suggests that music can promote white matter (WM) microstructure and grey matter (GM) volume while supporting auditory and cognitive functioning and emotional well‐being as well as counteracting age‐related cognitive decline. Adding a social component to music training, choir singing is a popular leisure activity among older adults, but a systematic account of its potential to support healthy brain structure, especially with regard to ageing, is currently missing. The present study used quantitative anisotropy (QA)‐based diffusion MRI connectometry and voxel‐based morphometry to explore the relationship of lifetime choir singing experience and brain structure at the whole‐brain level. Cross‐sectional multiple regression analyses were carried out in a large, balanced sample (N = 95; age range 21–88) of healthy adults with varying levels of choir singing experience across the whole age range and within subgroups defined by age (young, middle‐aged, and older adults). Independent of age, choir singing experience was associated with extensive increases in WM QA in commissural, association, and projection tracts across the brain. Corroborating previous work, these overlapped with language and limbic networks. Enhanced corpus callosum microstructure was associated with choir singing experience across all subgroups. In addition, choir singing experience was selectively associated with enhanced QA in the fornix in older participants. No associations between GM volume and choir singing were found. The present study offers the first systematic account of amateur‐level choir singing on brain structure. While no evidence for counteracting GM atrophy was found, the present evidence of enhanced structural connectivity coheres well with age‐typical structural changes. Corroborating previous behavioural studies, the present results suggest that regular choir singing holds great promise for supporting brain health across the adult life span. [ABSTRACT FROM AUTHOR]

Purpose: According to the interpersonal synergy model of spoken dialogue, interlocutors modify their communicative behaviors to meet the contextual demands of a given conversation. Although a growing body of research supports this postulation for linguistic behaviors (e.g., semantics, syntax), little is understood about how this model applies to speech behaviors (e.g., speech rate, pitch). The purpose of this study is to test the hypothesis that interlocutors adjust their speech behaviors across different conversational tasks with different conversational goals. Method: In this study, 28 participants each engaged in two different types of conversations (i.e., relational and informational) with two partners (i.e., Partner 1 and Partner 2), yielding a total of 112 conversations. We compared six acoustic measures of participant speech behavior across conversational task and partner. Results: Linear mixed-effects models demonstrated significant differences between speech feature measures in informational and relational conversations. Furthermore, these findings were generally robust across conversations with different partners. Conclusions: Results suggest that contextual demands influence speech behaviors. These findings provide empirical support for the interpersonal synergy model and highlight important considerations for assessing speech behaviors in individuals with communication disorders. [ABSTRACT FROM AUTHOR]

This paper presents interdisciplinary research exploring the development of inclusive multisensory science books, communicating immunology data for blind, low‐vision and diverse‐needs audiences. The research adopted an inductive theory‐building approach, practice‐based art methods and music and design methods, leveraging the lived experience of a legally blind artist. The research also involved designers and scientists in a cocreation process, producing books that incorporate tactile artworks, Braille‐inspired protein models, image sonification and interaction. Two multisensory book titles, "The Heroes Within You: A Multisensory Exploration of Infection and Immunity" and "My Goodness: A Multisensory Exploration of Nutrition and Immunity", were developed for the Monash Sensory Science 2023 Exhibition Day. The books offer an innovative way to make science and art more accessible and engaging, addressing the limitations of traditional museum methods. Feedback from audiences has been positive, emphasizing the fascination, sensory engagement and ease of understanding. This paper highlights the potential for an interdisciplinary and inclusive approach to science and art, demonstrating the value of multisensory books as tools for science communication. The findings highlight the positive reception of this novel approach and suggest its potential for broader applications, promoting inclusivity and accessibility. [ABSTRACT FROM AUTHOR]

The proposed material examines issues related to the influence and impact of the art of music on children of preschool and primary school age, through the musical activity Perception. The thoughts shared focus on the need, benefit and importance of developing children's fantasy, imagination, sensitivity, emotionality, culture, taste and aesthetics, through the invisible but tangible suggestion and education of music. Preparing the future musical audience from an early age is a responsible and expedient task, the meaning and solution of which would help the creative prospects of Bulgarian education. [ABSTRACT FROM AUTHOR]

Music making is linked to improved cognition and related neuroanatomical changes in children and adults; however, this has been relatively under-studied in aging. The purpose of this study was to assess neural, cognitive, and physical correlates of music making in aging using a dual-task walking (DTW) paradigm. Study participants (N = 415) were healthy adults aged 65 years or older, including musicians (n = 70) who were identified by current weekly engagement in musical activity. A DTW paradigm consisting of single- and dual-task conditions, as well as portable neuroimaging (functional near-infrared spectroscopy), was administered. Outcome measures included neural activation in the prefrontal cortex assessed across task conditions by recording changes in oxygenated hemoglobin, cognitive performance, and gait velocity. Linear mixed effects models examined the impact of music making on outcome measures in addition to moderating their change between task conditions. Across participants (53.3% women; 76 ± 6.55 years), neural activation increased from single- to dual-task conditions (p < 0.001); however, musicians demonstrated attenuated activation between a single cognitive interference task and dual-task walking (p = 0.014). Musicians also displayed significantly smaller decline in behavioral performance (p < 0.001) from single- to dual-task conditions and faster gait overall (p = 0.014). Given evidence of lower prefrontal cortex activation in the context of similar or improved behavioral performance, results indicate the presence of enhanced neural efficiency in older adult musicians. Furthermore, improved dual-task performance in older adult musicians was observed. Results have important clinical implications for healthy aging, as executive functioning plays an essential role in maintaining functional ability in older adulthood. [ABSTRACT FROM AUTHOR]

Registration in singing has long been considered to have its basis in adjustments of the intrinsic laryngeal musculature, but most pedagogues also agree that there is an acoustic or resonance component to the production or perception of vocal registers. Shifts in thinking about register adjustment may have led some pedagogues to concentrate on resonance adjustments to produce a particular quality, sometimes without adequate attention to balanced muscle use. This article provides some context for pedagogic consideration of pitch/register adjustment and examples of what can happen if muscular balance is not optimized in singing training for all genres. [ABSTRACT FROM AUTHOR]

Music therapy is a therapeutic strategy that uses the natural mood enhancing feature of music to help patients improve their mental health. The music therapist employs a variety of therapies, which can be grouped into two main groups: active interventions and passive interventions. Passive music therapy strategies allow the patient to listen live or recorded music, while active methods engage the patient to sing, compose, or play an instrument. Natural sounds, classical music, or Western music can help patients feel less anxious by lowering cortisol levels, blood pressure, and heart rate. The frequency and length of each music therapy session might vary greatly depending on the desired result, the patient's preferences, and the environment in which the therapy is provided. This paper provides the frequencies for swaras of both classical music and western music to carefully study the frequency difference between the music. Also, it studies the Indian Classical Ragas Structure and its Influence on Human Body for Music Therapy. This investigation has explicitly demonstrated that different ragas can generate different emotions and examined the significance of various music for metabolic syndrome. Finally, it identifies the need for AI to provide valuable information and recommendations for patients. This study can be used to increase the understanding ability of researchers regarding music therapy and its effects related to different diseases. [ABSTRACT FROM AUTHOR]

Music classification has achieved great progress due to the development of Convolutional Neural Networks (CNNs), which is important for music retrieval and recommendation. However, CNN cannot capture temporal information from music audio, which restricts the prediction performance of the model. To address the issue, we propose a Convolutional Neural Network-Long Short Term Memory (CNN-LSTM) model to learn local spatial features by CNN and learn temporal dependencies by LSTM. In addition, the traditional softmax loss function commonly lacks sufficient discrimination in music classification. Therefore, we propose an additive angular margin and cosine margin softmax (AACM-Softmax) loss function to improve classification results, which minimizes intra-class variances and maximizes inter-class variances simultaneously by enforcing combined margin penalties. Furthermore, we combine the CNN-LSTM model with AACM-Softmax loss function to comprehensively improve the classification performance by learning temporal-dependencies-included discriminative essential features. Extensive experiments on music genre datasets and music emotion datasets show that the proposed model consistently outperforms other models. [ABSTRACT FROM AUTHOR]

With the recent advent of research focusing on the body's significance in music, the integration of physiological sensors in the context of empirical methodologies for music has also gained momentum. Given the recognition of covert muscular activity as a strong indicator of musical intentionality and the previously ascertained link between physical effort and various musical aspects, electromyography (EMG)—signals representing muscle activity—has also experienced a noticeable surge. While EMG technologies appear to hold good promise for sensing, capturing, and interpreting the dynamic properties of movement in music, which are considered innately linked to artistic expressive power, they also come with certain challenges, misconceptions, and predispositions. The paper engages in a critical examination regarding the utilisation of muscle force values from EMG sensors as indicators of physical effort and musical activity, particularly focusing on (the intuitively expected link to) sound levels. For this, it resides upon empirical work, namely practical insights drawn from a case study of music performance (Persian instrumental music) in the context of a music class. The findings indicate that muscle force can be explained by a small set of (six) statistically significant acoustic and movement features, the latter captured by a state-of-the-art (full-body inertial) motion capture system. However, no straightforward link to sound levels is evident. [ABSTRACT FROM AUTHOR]

Background: This study investigated whether music training led to better length estimation and/or rightward bias by comparing the performance of musicians (pianists) and non-musicians on performance of line sections and line extensions. Methods: One hundred and sixteen participants, among them 62 musicians and 54 non-musicians, participated in the present study, completed line section and line extension task under three conditions: 1/2, 1/3 and 2/3. Results: The mixed repeated measures ANOVA analysis revealed a significant group × condition interaction, that the musicians were more accurate than non-musicians in all the line section tasks and showed no obvious pseudoneglect, while their overall performance on the line extension tasks was comparable to the non-musicians, and only performed more accurately in the 1/2 line extension condition. Conclusion: These findings indicated that there was a dissociation between the effects of music training on line section and line extension. This dissociation does not support the view that music training has a general beneficial effect on line estimation, and provides insight into a potentially important limit on the effects of music training on spatial cognition. [ABSTRACT FROM AUTHOR]

With the introduction of ChatGPT, the public's perception of AI-generated content has begun to reshape. Artificial intelligence has significantly reduced the barrier to entry for non-professionals in creative endeavors, enhancing the efficiency of content creation. Recent advancements have seen significant improvements in the quality of symbolic music generation, which is enabled by the use of modern generative algorithms to extract patterns implicit in a piece of music based on rule constraints or a musical corpus. Nevertheless, existing literature reviews tend to present a conventional and conservative perspective on future development trajectories, with a notable absence of thorough benchmarking of generative models. This paper provides a survey and analysis of recent intelligent music generation techniques, outlining their respective characteristics and discussing existing methods for evaluation. Additionally, the paper compares the different characteristics of music generation techniques in the East and West as well as analysing the field's development prospects. [ABSTRACT FROM AUTHOR]

Groove, or the pleasurable urge to move to music, offers unique insight into the relationship between emotion and action. The predictive coding of music model posits that groove is linked to predictions of music formed over time, with stimuli of moderate complexity rated as most pleasurable and likely to engender movement. At the same time, listeners vary in the pleasure they derive from music listening: individuals with musical anhedonia report reduced pleasure during music listening despite no impairments in music perception and no general anhedonia. Little is known about musical anhedonics' subjective experience of groove. Here we examined the relationship between groove and music reward sensitivity. Participants (n = 287) heard drum-breaks that varied in perceived complexity, and rated each for pleasure and wanting to move. Musical anhedonics (n = 13) had significantly lower ratings compared to controls (n = 13) matched on music perception abilities and general anhedonia. However, both groups demonstrated the classic inverted-U relationship between ratings of pleasure & move and stimulus complexity, with ratings peaking for intermediately complex stimuli. Across our entire sample, pleasure ratings were most strongly related with music reward sensitivity for highly complex stimuli (i.e., there was an interaction between music reward sensitivity and stimulus complexity). Finally, the sensorimotor subscale of music reward was uniquely associated with move, but not pleasure, ratings above and beyond the five other dimensions of musical reward. Results highlight the multidimensional nature of reward sensitivity and suggest that pleasure and wanting to move are driven by overlapping but separable mechanisms. [ABSTRACT FROM AUTHOR]

Introduction: Musical roundness perception relies on consonance/dissonance within a rule-based harmonic context, but also on individual characteristics of the listener. The present work tackles these aspects in a combined psychoacoustic and neurophysiological study, taking into account participant's musical aptitude. Methods: Our paradigm employed cadence-like four-chord progressions, based on Western music theory. Chord progressions comprised naturalistic and artificial sounds; moreover, their single chords varied regarding consonance/dissonance and harmonic function. Thirty participants listened to the chord progressions while their cortical activity was measured with magnetoencephalography; afterwards, they rated the individual chord progressions with respect to their perceived roundness. Results: Roundness ratings differed according to the degree of dissonance in the dominant chord at the progression's third position; this effect was pronounced in listeners with high musical aptitude. Interestingly, a corresponding pattern occurred in the neuromagnetic N1m response to the fourth chord (i.e., at the progression's resolution), again with somewhat stronger differentiation among musical listeners. The N1m magnitude seemed to increase during chord progressions that were considered particularly round, with the maximum difference after the final chord; here, however, the musical aptitude effect just missed significance. Discussion: The roundness of chord progressions is reflected in participant's psychoacoustic ratings and in their transient cortical activity, with stronger differentiation among listeners with high musical aptitude. The concept of roundness might help to reframe consonance/dissonance to a more holistic, gestalt-like understanding that covers chord relations in Western music. [ABSTRACT FROM AUTHOR]

Music is a universal human attribute. The study of amusia, a neurologic music processing deficit, has increasingly elaborated our view on the neural organization of the musical brain. However, lesions causing amusia occur in multiple brain locations and often also cause aphasia, leaving the distinct neural networks for amusia unclear. Here, we utilized lesion network mapping to identify these networks. A systematic literature search was carried out to identify all published case reports of lesion-induced amusia. The reproducibility and specificity of the identified amusia network were then tested in an independent prospective cohort of 97 stroke patients (46 female and 51 male) with repeated structural brain imaging, specifically assessed for both music perception and language abilities. Lesion locations in the case reports were heterogeneous but connected to common brain regions, including bilateral temporoparietal and insular cortices, precentral gyrus, and cingulum. In the prospective cohort, lesions causing amusia mapped to a common brain network, centering on the right superior temporal cortex and clearly distinct from the network causally associated with aphasia. Lesion-induced longitudinal structural effects in the amusia circuit were confirmed as reduction of both gray and white matter volume, which correlated with the severity of amusia. We demonstrate that despite the heterogeneity of lesion locations disrupting music processing, there is a common brain network that is distinct from the language network. These results provide evidence for the distinct neural substrate of music processing, differentiating music-related functions from language, providing a testable target for noninvasive brain stimulation to treat amusia. [ABSTRACT FROM AUTHOR]

In order to explore the application of neural networks in the intelligent protection of digital music copyrights, this paper initially investigates the key aspects of digital music-related supply chain management (SCM). Subsequently, this paper introduces a fuzzy, comprehensive evaluation-based method for authenticating digital music infringement. Furthermore, it employs a convolutional neural network to analyze digital music's source components. Within this context, an attention mechanism and an adaptive gate model are meticulously designed. Moreover, a selective adaptive cascade is implemented to optimize the structure of the multi-resolution coder–decoder. Through fuzzy authentication, it becomes feasible to accurately and reliably track and verify copyright information pertaining to digital music, thus providing an effective protective mechanism for the digital music industry. Experimental results reveal that in comparison with the SHN-4 series models, the network model embedded with the channel space (CS) attention module achieves improvements of up to 0.04 dB in terms of performance metrics for human voice and accompaniment sources. Furthermore, it outperforms these models by up to 0.19 dB in music source separation metrics. The incorporation of the adaptive attention mechanism profoundly enhances the model's performance in audio source separation tasks, benefiting both vocal and accompaniment sources. This improvement is evident in the form of a 0.44 SDR enhancement for vocal sources and a 0.18 SDR enhancement for accompaniment sources. Additionally, the proposed two-stage music separation-gate self-attention model surpasses the two-stage music separation-gate model in metrics associated with human voice and accompaniment sources. This outcome convincingly underscores the enhanced effectiveness achieved by integrating CS, self-attention, and adaptive connection in network performance, as well as the adaptive gate structure for music copyright protection. This approach heightens the model's autonomous selectivity, minimizes outliers, stabilizes waveform characteristics, and significantly contributes to the safeguarding of digital content. [ABSTRACT FROM AUTHOR]

Music education has a rich historical background. Nevertheless, the introduction of modern teaching methods is relatively delayed. In recent years, there has been a remarkable acceleration in the advancement of music education. A promising tool that has emerged to revolutionize education as a whole is Virtual Reality (VR) technology, which offers immersive and interactive experiences across various disciplines. At the university level, integrating VR technology into music education opens up exciting opportunities to enhance practical teaching methods and provide students with enriched musical experiences. Virtual Reality together with Internet of Things (IoT) demonstrates its capabilities in various tasks, but its widespread availability in online learning remainders a pressing challenge that needs to be addressed. In pre-processing, it removes noise data using Dynamic Context-Sensitive Filtering (DCSF). VR technology creates an unparalleled learning environment, it transporting students to virtual concert halls, recording studios, or historical music venues. Hence the Multiscale deep bidirectional gated recurrent neural Network (MDBGNN) improves the practical teaching of music course concept, like Music theory, harmony, and rhythm can be visualized and experienced in VR. Finally, Dung Beetle Optimization Algorithm (DBOA) is employed to optimize the weight parameters of MDBGNN. The proposed MDBGNN-DBO-UMC-VRT is implemented in Python. The proposed method is analysed with the help of performance metrics, like precision, accuracy, F1-score, Recall (Sensitivity), Specificity, Error rate, Computation time and RoC. The proposed MDBGNN-DBO-UMC-VRT method attains 13.11%, 18.12% and 18.73% high specificity, 11.13%, 11.04% and 19.51% lower computation Time, 15.29%, 15.365% and 14.551% higher ROC and 13.65%, 15.98%, and 17.15% higher Accuracy compared with existing methods, such as Enhancing Vocal Music Teaching through the Fusion of Artificial Intelligence Algorithms and VR Technology (CNN-UMC-VRT), Exploring the Efficacy of VR Technology in Augmenting Music Art Teaching (BPNN-UMC-VRT) and Implementing an Interactive Music-Assisted Teaching System Using VR Technology (DNN-UMC-VRT) respectively. [ABSTRACT FROM AUTHOR]

The article discusses the relationship between music theory, musicology, and racism. It argues that musicology has been racist in its exclusion of American Black idioms and its failure to acknowledge the dominance of these genres in Western music history. The article also examines the racist ideologies embedded in the concepts of tonality and its development by figures like François-Joseph Fétis and Heinrich Schenker. It suggests that tonality's hierarchical orientation and demands for eradicating dissonant elements resonate with a racist agenda. The author advocates for a reevaluation of tonality and the adoption of approaches that consider other aspects of music, such as time, affect, and bodily experience. [Extracted from the article]

This article examines the concept of tonality in music theory and its potential connection to systemic racism. The author, a music psychology researcher and immigrant, questions the racial implications of tonality and explores its definition as both an institution and a set of organizing principles. The article suggests alternative approaches to studying diverse musical systems and proposes the use of artificial tonal systems and grammars for future research. It also discusses the Bohlen-Pierce scale, a 13-step scale that challenges traditional Western tonality, and emphasizes the importance of curiosity, humility, and interdisciplinary collaboration in music-theoretical development. The author advocates for a more inclusive and forward-thinking approach to music studies. [Extracted from the article]

Many autistic children show musical interests and good musical skills including pitch and melodic memory. Autistic children may also perceive temporal regularities in music such as the primary beat underlying the rhythmic structure of music given some work showing preserved rhythm processing in the context of basic, nonverbal auditory stimuli. The temporal regularity and prediction of musical beats can potentially serve as an excellent framework for building skills in non-musical areas of growth for autistic children. We examine if autistic children are perceptually sensitive to the primary beat of music by comparing the musical beat perception skills of autistic and neurotypical children. Twenty-three autistic children and 23 neurotypical children aged 6–13 years with no group differences in chronological age and verbal and nonverbal mental ages completed a musical beat perception task where they identified whether beeps superimposed on musical excerpts were on or off the musical beat. Overall task performance was above the theoretical chance threshold of 50% but not the statistical chance threshold of 70% across groups. On-beat (versus off-beat) accuracy was higher for the autistic group but not the neurotypical group. The autistic group was just as accurate at detecting beat alignments (on-beat) but less precise at detecting beat misalignments (off-beat) compared to the neurotypical group. Perceptual sensitivity to beat alignments provides support for spared music processing among autistic children and informs on the accessibility of using musical beats and rhythm for cultivating related skills and behaviours (e.g., language and motor abilities). [ABSTRACT FROM AUTHOR]

Aphantasia is characterised by the inability to create mental images in one's mind. Studies investigating impairments in imagery typically focus on the visual domain. However, it is possible to generate many different forms of imagery including imagined auditory, kinesthetic, tactile, motor, taste and other experiences. Recent studies show that individuals with aphantasia report a lack of imagery in modalities, other than vision, including audition. However, to date, no research has examined whether these reductions in self-reported auditory imagery are associated with decrements in tasks that require auditory imagery. Understanding the extent to which visual and auditory imagery deficits co-occur can help to better characterise the core deficits of aphantasia and provide an alternative perspective on theoretical debates on the extent to which imagery draws on modality-specific or modality-general processes. In the current study, individuals that self-identified as being aphantasic and matched control participants with typical imagery performed two tasks: a musical pitch-based imagery and voice-based categorisation task. The majority of participants with aphantasia self-reported significant deficits in both auditory and visual imagery. However, we did not find a concomitant decrease in performance on tasks which require auditory imagery, either in the full sample or only when considering those participants that reported significant deficits in both domains. These findings are discussed in relation to the mechanisms that might obscure observation of imagery deficits in auditory imagery tasks in people that report reduced auditory imagery. [ABSTRACT FROM AUTHOR]

The article discusses the influence of native language on musical working memory by comparing Finnish and Chinese speakers, both musicians and nonmusicians. It mentions the report which contributes to understanding language-to-music transfer effects and highlights cross-cultural differences in music cognition, reinforcing the strong links between music and language evidenced by shared cognitive processes and neural correlates.

Objectives: Aging is a natural process and is often associated with an increased incidence of cognitive impairment. Physical exercise, diet, and leisure activities (music, dance, and art) are some of the lifestyle factors that contribute to healthy aging. The present study aims to explore the differences in cognitive functioning between aging individuals involved in musical activity throughout their lifetime and the ones who were not. Materials and Methods: Fifty-one healthy elderly individuals (50-80 years of age) residing in an urban locality were selected for the study from the Tata Longitudinal Study of Aging cohort. Participants were divided into two groups: Active musicians trained in Carnatic music for more than five years (n = 18) and age-matched non-musicians (n = 33). Addenbrooke cognitive examination-III, Hindi mental status examination, and trail-making test-B (TMT-B) were used to assess cognitive functioning. A Generalized Linear Regression Model was performed including covariates such as gender, age, and years of education. We also looked at the available brain magnetic resonance imaging data of a subset of our study population to inspect the volumetric differences between musicians and non-musicians. Results: Our results showed that musicians had significantly better visuospatial abilities as compared to non-musicians (P = 0.043). Musicians (130.89 ± 45.16 s) also took less time to complete the TMT-B task than non-musicians (148.73 ± 39.65 s), although it was not a statistically significant difference (P =0.150). In addition, brain imaging data suggested that musicians had increased gray matter volumes in the right precuneus, right postcentral gyrus, right medial and superior frontal gyrus, right orbital gyrus, left middle temporal gyrus, left cuneus, left fusiform gyrus, and bilateral cingulate gyrus. Conclusion: Our findings are indicative of music being an important attribute in improving cognitive reserve and predicting cognitive resilience. These findings pave the way to explore the utility of non-pharmacological interventions, such as Music Therapy (especially Carnatic music in the Indian context), as a potential factor for improving cognitive reserve in elderly individuals. [ABSTRACT FROM AUTHOR]

Objective: Music has a complex structure consisting of auditory elements such as sound, rhythm and melody. The ability to perceive, understand and evaluate music is among the auditory skills. This study aims to investigate the effects of musical interest on temporal pattern recognition, auditory processing, and cognitive skills in young adults with normal hearing. Material and Methods: The study included sixty volunteer young adults with normal hearing between the ages of 18-30 ages. Young adults were divided into two groups, below (n=30) and above (n=30) average, according to their "Music Interest Scale" scores. "Frequency and Duration Pattern Tests" were applied to evaluate the participants' temporal pattern recognition skills. "STROOP Test" was used to evaluate selective attention, disruptive effect and memory skills among cognitive skills. The findings were analyzed statistically with the SPSS program, and the type 1 error level was determined as 0.05. Results: There were significant differences in STROOP subtests in terms of attention skills (p < 0.05). On the other hand, no statistically significant difference was obtained between the groups in terms of frequency and duration pattern recognition skills (p > 0.05). Conclusion: Young adults who were interested in music completed tests of selective attention, interference, and short-term memory in less time and performed better. The current study revealed that musical interest in young adults may provide positive effects on these cognitive skills. [ABSTRACT FROM AUTHOR]

Exploring non-linguistic predictors of phonological awareness, such as musical beat perception, is valuable for children who present with language difficulties and diverse support needs. Studies on the musical abilities of children on the autism spectrum show that they have average or above-average musical production and auditory processing abilities. This study aimed to explore the relationship between musical beat perception and phonological awareness skills of children on the autism spectrum with a wide range of cognitive abilities. A total of 21 autistic children between the ages of 6 to 11 years old (M = 8.9, SD = 1.5) with full scale IQs ranging from 52 to 105 (M = 74, SD = 16) completed a beat perception and a phonological awareness task. Results revealed that phonological awareness and beat perception are positively correlated for children on the autism spectrum. Findings lend support to the potential use of beat and rhythm perception as a screening tool for early literacy skills, specifically for phonological awareness, for children with diverse support needs as an alternative to traditional verbal tasks that tend to underestimate the potential of children on the autism spectrum. [ABSTRACT FROM AUTHOR]

In certain contexts, processes of perception, action and skill development and those related to aesthetic experiences can have mutual influence upon each other. Concepts from the domains of ecological psychology and aesthetics may therefore be distinct but entangled. These entanglements are explored here through observations from an experiment in which musicians' behaviours and experiences were recorded while they interacted with a computer music controller instrument operating different modes of sound synthesis. Processes of action-perception exploration and enacting the instrument's various affordances had an impact upon the musicians' aesthetic judgements about the instrument, and their imagining its virtual potential for application in music cultural practices. Conversely, musicians' prior experience in different aesthetic cultures constrained the affordances of the instrument that were discovered and taken up by them. These insights are used to expand upon the different ways that perceptual-motor and social aesthetic processes can constrain and shape each other. Ongoing and further directions for both theoretical and empirical research are highlighted. [ABSTRACT FROM AUTHOR]

Music is omnipresent among human cultures and moves us both physically and emotionally. The perception of emotions in music is influenced by both psychophysical and cultural factors. Chinese traditional instrumental music differs significantly from Western music in cultural origin and music elements. However, previous studies on music emotion perception are based almost exclusively on Western music. Therefore, the construction of a dataset of Chinese traditional instrumental music is important for exploring the perception of music emotions in the context of Chinese culture. The present dataset included 273 10-second naturalistic music excerpts. We provided rating data for each excerpt on ten variables: familiarity, dimensional emotions (valence and arousal), and discrete emotions (anger, gentleness, happiness, peacefulness, sadness, solemnness, and transcendence). The excerpts were rated by a total of 168 participants on a seven-point Likert scale for the ten variables. Three labels for the excerpts were obtained: familiarity, discrete emotion, and cluster. Our dataset demonstrates good reliability, and we believe it could contribute to cross-cultural studies on emotional responses to music. [ABSTRACT FROM AUTHOR]

Musical notation is one thing that needs to be learned to play music. This notation has an important role in music because it can help in visualizing instructions for playing musical instruments and singing. Unfortunately, musical symbols that are commonly written in musical notation are difficult for beginners who have just started learning music. This research proposed a solution to create an optical music recognition (OMR) using a deep learning model to classify musical notes more accurately with some of the latest convolutional neural network (CNN) architectures. The research was carried out by implementing vision transformer (ViT), CoAtNet-0, and ConvNeXt-Tiny architecture. The training process was also combined with data augmentation to provide more information for the model to learn. Then the accuracy results of each model were compared to find out the best model for the OMR solution in this research. This experiment uses the Andrea dataset and Attwenger dataset which both get the best result by using the augmentation method and ConvNeXt-Tiny as the model. The best accuracy for the Andrea dataset is 98.15% and for the Attwenger dataset is 98.43%. [ABSTRACT FROM AUTHOR]

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