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This document is an editorial titled "The adaptive role of musicality in human evolution" published in the journal Frontiers in Psychology. The editorial discusses the renewed interest in the topic of human musical behavior and its evolution. It aims to encourage exploration of human aural perception and its role in music and language, with a focus on how musical abilities are acquired and transmitted through vocal learning. The editorial presents various studies examining the evolution of musical abilities from different perspectives, including animal behavior, cultural evolution, and human musicality. The document also acknowledges the diverse interpretations and approaches within the field and highlights the need for further research to clarify the nature and practice of human musical behavior. [Extracted from the article]

Rhythm and motor function are intrinsically linked to each other and to music, but the rhythm-motor interplay during music training, and the corresponding brain mechanisms, are underexplored. In a longitudinal training study with children, we examined the role of rhythm predisposition in the fine motor improvements arising from music training, and which brain regions would be implicated. Fifty-seven 8-year-olds were assigned to either a 6-month music training (n = 21), sports training (n = 18), or a control group (n = 18). They performed rhythm and motor tasks, and structural brain scans before and after training were collected. Better ability to perceive rhythm before training was related to less gray matter volume in regions of the cerebellum, fusiform gyrus, supramarginal gyrus, ventral diencephalon, amygdala, and inferior/middle temporal gyri. Music training improved motor performance, and greater improvements correlated with better pre-training rhythm discrimination. Music training also induced a loss of gray matter volume in the left cerebellum and fusiform gyrus, and volume loss correlated with higher motor gains. No such effects were found in the sports and control groups. In summary, children with finer-tuned rhythm perception abilities were prone to finer motor improvements through music training, and this rhythm-motor link was to some extent subserved by the left cerebellum and fusiform gyrus. These findings have implications for models on music-related plasticity and rhythm cognition, and for programs targeting motor function. [ABSTRACT FROM AUTHOR]

Simple Summary: Harmonic tones are known to be more detectable in noise than inharmonic tones, providing an ecological advantage to periodic sounds, such as voiced speech and many animal vocalizations, over aperiodic sounds. Little is known about the extent to which this harmonic advantage extends to other auditory tasks beyond simple detection. Here, we tested young adults with and without musical training on the detection of harmonic and inharmonic tones in noise, as well as on other tasks that are important for auditory perception, including pitch discrimination, frequency-modulation detection, and amplitude-modulation detection. Consistent with earlier results, detection in noise was superior for harmonic over inharmonic tones, and an additional benefit beyond detection was found for pitch discrimination. However, neither amplitude- nor frequency-modulation detection was improved in harmonic conditions, beyond the predicted effects of audibility. Listeners with musical training performed better in pitch-related tasks (pitch discrimination and frequency-modulation detection), but evidence for a musician benefit of harmonicity was weak. The results show that harmonicity aids tone detection and pitch perception in noise, but that the harmonicity advantage does not extend to other important auditory domains, such as modulation detection, beyond the improvements accounted for by greater audibility in noise. Harmonic complex tones are easier to detect in noise than inharmonic complex tones, providing a potential perceptual advantage in complex auditory environments. Here, we explored whether the harmonic advantage extends to other auditory tasks that are important for navigating a noisy auditory environment, such as amplitude- and frequency-modulation detection. Sixty young normal-hearing listeners were tested, divided into two equal groups with and without musical training. Consistent with earlier studies, harmonic tones were easier to detect in noise than inharmonic tones, with a signal-to-noise ratio (SNR) advantage of about 2.5 dB, and the pitch discrimination of the harmonic tones was more accurate than that of inharmonic tones, even after differences in audibility were accounted for. In contrast, neither amplitude- nor frequency-modulation detection was superior with harmonic tones once differences in audibility were accounted for. Musical training was associated with better performance only in pitch-discrimination and frequency-modulation-detection tasks. The results confirm a detection and pitch-perception advantage for harmonic tones but reveal that the harmonic benefits do not extend to suprathreshold tasks that do not rely on extracting the fundamental frequency. A general theory is proposed that may account for the effects of both noise and memory on pitch-discrimination differences between harmonic and inharmonic tones. [ABSTRACT FROM AUTHOR]

This study used the categorical perception (CP) paradigm, a fine-grained perceptual method, to investigate the perceptual performance of lexical tones in Chinese people with post-stroke aphasia (PWA). Twenty patients with post-stroke aphasia (10 Broca's and 10 Wernicke's) and ten neurologically intact age-matched control participants were recruited to complete both identification and discrimination tasks of the Mandarin Tone 1–2 continuum. In addition, all participants completed tests on their auditory comprehension ability and working memory. The results showed that both Broca's and Wernicke's patients exhibited reduced sensitivity to within-category and between-category information but preserved CP of lexical tones. The degree of CP of lexical tones related to working memory in aphasic patients. Furthermore, lower-level acoustic processing underpinned higher-level phonological processing on the CP of lexical tones since both patient groups' unbalanced pitch processing ability extended to their CP of lexical tones. These findings are significant for researchers and clinicians in speech-language rehabilitation, clinical psychology, and cognitive communication. [ABSTRACT FROM AUTHOR]

An attempt is made to comprehend the latest developments in such a field of neuroscience as neuroethics, music through the perception of the human brain. Yes, for example, the key ideas of neuroethics are generally in line with the spirit of Kantian apriorism, reinterpreted in the current terms of cognitive neuroscience. Today, more and more arguments are found that "music excites such internal physiological programs that contribute to the restoration of the homeostatic equilibrium of the organism .... This means that music plays a role in human evolution. The article proposes the concept of a musical module, which correlates with a cognitive neurostructure. The theoretical and methodological features of the formation of today's classical music are investigated. The methods of analysis, synthesis, explanatory, research and scientific methods have been applied to conduct an effective research. Priority directions of modern music development in the context of neurophysiological development have been determined. Formed the results of the study, which were the basis for determining aspects of prospective musical development. Scientific research in the field of music and the field of psychology is investigated, which is the basis for the development of neuroscience. The relevance of the article is determined by the need to adapt music to the challenges of information and communication society and to determine the prospects for further development of today's classical music. [ABSTRACT FROM AUTHOR]

The cognitive preparation of an operation without overt motor execution is referred to as imagery (of any kind). Over the last two decades of progress in brain timing studies, the timing of imagery has received little focus. This study compared the time perception of ten professional violinists' actual and imagery performances to see if such an analysis could offer a different model of timing in musicians' imagery skills. When comparing the timing profiles of the musicians between the two situations (actual and imagery), we found a significant correlation in overestimation of time in the imagery. In our fMRI analysis, we found high activation in the left cerebellum. This finding seems consistent with dedicated models of timing such as the cerebellar timing hypothesis, which assigns a "specialized clock" for tasks. In addition, the present findings might provide empirical data concerning imagery, creativity, and time. Maintaining imagery over time is one of the foundations of creativity, and understanding the underlying temporal neuronal mechanism might help us to apprehend the machinery of creativity per se. [ABSTRACT FROM AUTHOR]

Introduction: The pitch pattern test (PPT) is a test of temporal ordering in which a subject needs to correctly repeat a sequence of three auditory stimuli comprised of high and low frequencies. Traditionally, tones are used, but here the aim was to develop a PPT using vowels. The tests were done in young adults and a comparison was made between the two methods. Material and methods: The study involved 40 young adults with normal hearing sensitivity and was done in two phases. Phase I involved the development of a PPT using the vowel /a/, and in Phase II the test was administered. A comparison was made with the PPT based on tones. In both tests, stimuli were delivered monaurally. Results: All participants were able to do the PPT using either vowels or tones. No ear or gender effects were observed. However, the mean scores for PPT using tones were notably better than those obtained using vowels. Conclusions: The present study has developed a PPT using the vowel /a/ and has compared scores with the tonal pitch pattern test. The absence of a ceiling effect in the PPT using a vowel gives it an advantage in terms of potential clinical utility. The strong positive correlation between the PPT using a vowel and the PPT using a tone shows a significant relationship between the two tests in the specific domain of temporal ordering. [ABSTRACT FROM AUTHOR]

Lexical tones are known to be a challenging aspect of speech to acquire in a second language, but several factors are known to affect tone learning facility, such as L1 tonal status (whether a learner's L1 is tonal or not), tone type (the shape of the tones to be acquired), and individual extralinguistic factors (such as musicianship, pitch aptitude, and working memory). Crucially, most of our knowledge of the effect of these factors is based on evidence from perception. The production side of tone learning and the origins of individual variability in learning facility remain relatively understudied. To this end, this study investigated non-native tone production—both in terms of phonetic accuracy in a pseudoword imitation task and in terms of phono-lexical accuracy in a picture-naming task—by English-L1 and Mandarin-L1 speakers. Results show that L1 tonal status and tone type dynamically affected both imitation and picture-naming accuracy, as there were specific accuracy patterns for the English and Mandarin groups. Production accuracy was further facilitated by individual musical experience, working memory, and pitch aptitude. This study's findings add to the currently limited literature on how both language-specific and individual extralinguistic factors modulate non-native tone processing in the speaking modality. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the effect of vocalic behavior in resolving high-conflict situations. A quantitative study was employed using 277 university students from California and Florida. We experimentally tested a vocal coding system using passive, aggressive, and assertive audio clips presented to research subjects, which included volume, pitch, rate, pausing, and vocal variety. Participants rated these audio clips based on vocal qualities, relational outcomes, appropriateness, and resolving conflict. Results revealed that the assertive vocal style was associated with higher ratings to resolve conflict and perceptions of verbal assertiveness and appropriateness than were passive or aggressive vocal styles. Implications and applications are discussed to stimulate future research among researchers and practitioners when addressing conflict situations. Public Significance Statement: This study tested the effects of different vocal qualities on perceptions of conflict. The results found that the assertive vocal style (as opposed to aggressive or passive) was most conducive to resolving conflict and wanting to work with a partner in the future. [ABSTRACT FROM AUTHOR]

Development of vocal exercises with visual art and interactive tools might contribute to development of students' musical skills and enhance learning effectiveness. This paper gets an insight into the effectiveness of the vocal exercises developed with visual art tools and a vocal training app. The survey was conducted among 110 students from a music school in China. Students from small groups B who used MOOC and the developed vocal exercises performed 8.6% better compared to the control group, suggesting the programme's effectiveness for teaching vocal performance. Group B post-assessment of the special factors showed increased scores on the three assessment criteria after the intervention. This study has practical value and is important for further research because it demonstrates the developed vocal exercises' effect on musical skills. Research findings may be applied in educational institutions that are interested in finding ways to develop musical skills and improve the effectiveness of vocal training. The results are important for teachers, education officials and everyone interested in the introduction of interactive environments. [ABSTRACT FROM AUTHOR]

From 2012 to 2023, the American Psychological Association served as publisher of Psychomusicology: Music, Mind, and Brain. Annabel Cohen and Mark Schmuckler were the successive editors-in-chiefs during this time. As the journal is ceasing publication, the two editors reflect on the development and progress of the journal in the context of the history of psychology and publication trends. They present their review in 10 short movements each with a unique musical emotional expressivity: overture, amabile, vivace, elegy doloroso, sforzando, capriccio, con brio, pendolo, agilmente, and finale risonante, ending on a very upbeat note! Early on, Psychomusicology offered a much-needed research forum for the psychology of music. More recently, the recognized importance of music psychology to almost all areas of psychology has led to increasing numbers of outlets for publication. During the 12 recent years under APA's stewardship, the journalmore than doubled the number of articles published since the journal's inception in 1981. The entire corpus of almost 600 articles represents foundational and well-cited contributions to such current research areas as musical expectancy, performance excellence, musical development, neuroscience, emotion, preference, and film music, among others. Cohen and Schmuckler express deep gratitude to the authors, past editorial board members, and reviewers for their contributions to this corpus, and to the American Psychological Association Publications office and staff both for support and, importantly, for holding and making accessible in perpetuity the outstanding scholarship within the archives of Psychomusicology: MusicMind & Brain and Psychomusicology: A Journal of Music Cognition. [ABSTRACT FROM AUTHOR]

Playing music can be a form of symbolization and helpful in processing emotions. Research shows that therapists use music in clinical settings both as music therapy and as an adjunct therapy to talk therapy. However, unlike other forms of art, music is an objectless form of art, which makes it strikingly similar to inner subjective experiences. This means that the role musical instruments play to connect the two objectless sides is important but is difficult to define causation between the two. The purpose of this phenomenological qualitative research was to understand the role of the musical instrument and the role it plays as the transitional object for adults; the instrument was used as the breast object, in line with Klein's Object Relations Theory. There were 20 interviews with musicians of different ages, instruments, and skill levels to understand the experiences alongside the breast object. The results from the research reveal that participants anthropomorphized their musical instruments and subjectively perceived them as possessing parental attributes and the ones associated with romantic partners. The result can help inform therapists working with patients who have some musical skills to instill an endopsychic structure and repair the impacts of insecure attachment styles. [ABSTRACT FROM AUTHOR]

Music listening is a dynamic process that entails complex interactions between sensory, cognitive, and emotional processes. The naturalistic paradigm provides a means to investigate these processes in an ecologically valid manner by allowing experimental settings that mimic real‐life musical experiences. In this paper, we highlight the importance of the naturalistic paradigm in studying dynamic music processing and discuss how it allows for investigating both the segregation and integration of brain processes using model‐based and model‐free methods. We further suggest that studying individual difference‐modulated music processing in this paradigm can provide insights into the mechanisms of brain plasticity, which can have implications for the development of interventions and therapies in a personalized way. Finally, despite the challenges that the naturalistic paradigm poses, we end with a discussion on future prospects of music and neuroscience research, especially with the continued development and refinement of naturalistic paradigms and the adoption of open science practices. [ABSTRACT FROM AUTHOR]

This work reviews the growing body of interdisciplinary research on music cognition, using biomechanical, kinesiological, clinical, psychosocial, and sociological methods. The review primarily examines the relationship between temporal elements in music and motor responses under varying contexts, with considerable relevance for clinical rehabilitation. After providing an overview of the terminology and approaches pertinent to theories of rhythm and meter from the musical‐theoretical and cognitive fields, this review focuses on studies on the effects of rhythmic sensory stimulation on gait, rhythmic cues' effect on the motor system, reactions to rhythmic stimuli attempting to synchronize mobility (i.e., musical embodiment), and the application of rhythm for motor rehabilitation for individuals with Parkinson's disease, stroke, mild cognitive impairment, Alzheimer's disease, and other neurodegenerative or neurotraumatic diseases. This work ultimately bridges the gap between the musical‐theoretical and cognitive science fields to facilitate innovative research in which each discipline informs the other. [ABSTRACT FROM AUTHOR]

Does it make sense to refer to musical sounds as "animated beings"? What does it mean to treat music as an essential part of our sonic reality? How do Sciarrino's music and his general aesthetic, both of which he describes as organic or ecological, respond to theories of organicism, ecological approaches to musical perception, and ties between the human and nonhuman worlds? In this article, I attempt to weave together a framework that facilitates fruitful answers to these questions. The starting points for this theorization of Sciarrino's organicism are Holly Watkins's (2017, 2018) biotic aesthetics of music and Eric Clarke's (2005) ecological approach to the perception of musical meaning, which emphasize the role of the listener and question the stance that separates meaning from form, culture from nature, and the human from the non-human. Through analyses of examples from works including Lohengrin, Azione invisibile (1982-84), Il cerchio tagliato dei suoni (1997), and Studi per l'intonazione del mare (2000), I argue that Sciarrino's music and thinking venture into a holistic reinvention of organicism. A key aspect of this organicism is its formal affinity with behaviors characteristic of systems of chaos, including self-similarity, circularity, and turbulence. In addition, I illustrate how the wide-ranging analogies that Sciarrino's music draws to the world of animate and inanimate beings involve both formal issues and the bodily, performative, and societal dimensions of music-making. [ABSTRACT FROM AUTHOR]

As robots have become more pervasive in our everyday life, social aspects of robots have attracted researchers' attention. Because emotions play a crucial role in social interactions, research has been conducted on conveying emotions via speech. Our study sought to investigate the synchronization of multimodal interaction in human-robot interaction (HRI). We conducted a within-subjects exploratory study with 40 participants to investigate the effects of non-speech sounds (natural voice, synthesized voice, musical sound, and no sound) and basic emotions (anger, fear, happiness, sadness, and surprise) on user perception with emotional body gestures of an anthropomorphic robot (Pepper). While listening to a fairytale with the participant, a humanoid robot responded to the story with recorded emotional non-speech sounds and gestures. Participants showed significantly higher emotion recognition accuracy from the natural voice than from other sounds. The confusion matrix showed that happiness and sadness had the highest emotion recognition accuracy, which is in line with previous research. The natural voice also induced higher trust, naturalness, and preference compared to other sounds. Interestingly, the musical sound mostly showed lower perception ratings, even compared to no sound. Results are discussed with design guidelines for emotional cues from social robots and future research directions. [ABSTRACT FROM AUTHOR]

During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental training and a solid musical education, typical of their Bildungsbuürgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and "in context" approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions. [ABSTRACT FROM AUTHOR]

With the advancement of machine learning, Neural Networks are utilized in various fields like music, writing and pictures. Music generation is a troublesome undertaking and has been effectively investigated since decades. In this paper we are proposing a system through which we can generate music automatically using Recurrent Neural Networks. The existing system like the markov model or graph-based minimization methods lack thematic structures and they are usually repetitive sequences of the same nodes. They typically overlook the data in the negative time heading, which is non-minor in the music expectation task, so we propose a bidirectional LSTM model to create the note succession. The system which we are proposing would produce unique and coherent compositions. We used a Long Short-Term Memory (LSTM) network. They are a kind of Recurrent Neural Network that can proficiently learn through inclination plunge. Utilizing a gating instrument, LSTMs can perceive and encode long haul designs. LSTMs are very helpful to take care of issues where the network needs to recall data for an extensive stretch of time similar to the case in music and text age. [ABSTRACT FROM AUTHOR]

The book review discusses "Maßgebendsein" by Anabel Recker, which explores the poetology of early master singing in medieval German poetry. The author analyzes a selection of masterful songs from the 15th and 16th centuries, examining their aesthetic principles, self-perception, and use of musical and poetic terminology. The book provides valuable insights into the artistic practices and cultural context of medieval German poetry. However, there are some inconsistencies and errors in the editing process, and the text suggests the need for further theoretical development and more editions in the future. [Extracted from the article]

Musical abilities and the possibilities of measuring them have drawn the attention of both music educators and music psychologists for decades. Due to parallel development of these disciplines, the assessment of musical abilities can be categorized into two main types – evaluation by music educators (primarily based on reproduction assessment) and the measurement of perceptual abilities through tests. Although the majority of standardized psychological tests for musical abilities emerged during the 20th century, it is evident that this issue continues to inspire researchers in more recent times. Consequently, there is a considerable number of newer tests for assessing musical abilities. The aim of this study is to present the characteristics of tests published after the year 2000, highlighting their potential applications in educational practice and within the scope of research on musical abilities across different disciplines. The following instruments have been analyzed: Goldsmiths Musical Sophistication Index (Gold-MSI), Montreal Battery of Evaluation of Amusia (MBEA), University of Washington Clinical Assessment of Music Perception Test, The Montreal Battery of Evaluation of Musical Abilities (MBEMA), MBEMA on tablet, Implicit Tonal Ability Test (ITAT), Musical Aptitude Test (MAT), Musical Ear Test (MET), Profile of Music Perception Skills (PROMS), Brief PROMS, PROMS-S, Mini-PROMS, and Micro-PROMS. The results of the research reveal evident differences in the content and purpose of the tests. Some tests can be applied as early as the age of 4 to 6 years (MBEMA on tablet), from 6 to 8 years (MBEMA), and from 6 to 12 years (ITAT), while others are intended solely for adult participants. Variations also exist in the content of the tests, determining which types of musical abilities will be measured. While MET includes only two subtests (Melody and Rhythm), others incorporate tasks such as Harmony, Dynamics (MAT), Tuning, or Loudness (PROMS). Another significant variable is the duration of the assessment, ranging from as little as 10 minutes for implementation (Micro-PROMS) to as much as 90 minutes (MBEA). Depending on the research needs, the manner of expressing results should be considered, as most tests calculate a total score, whereas MAT presents results in the form of a five-dimensional profile. In conclusion, there is a solid selection of tests for musical abilities published after the year 2000, accessible to researchers. Some of them are adapted for online use, enabling a broader range of participants in research in the field of music pedagogy and other disciplines. We hope that the test overview presented in this study will aid researchers in selecting suitable instruments for their investigations, taking into account different types of abilities in relation to research needs, participant age, or planned assessment time. [ABSTRACT FROM AUTHOR]

The ability of music to induce emotions has been arousing a lot of interest in recent years, especially due to the boom in music streaming platforms and the use of automatic music recommenders. Music Emotion Recognition approaches are based on combining multiple audio features extracted from digital audio samples and different machine learning techniques. In these approaches, neuroscience results on musical emotion perception are not considered. The main goal of this research is to facilitate the automatic subtitling of music. The authors approached the problem of automatic musical emotion detection in movie soundtracks considering these characteristics and using scientific musical databases, which have become a reference in neuroscience research. In the experiments, the Constant-Q-Transform spectrograms, the ones that best represent the relationships between musical tones from the point of view of human perception, are combined with Convolutional Neural Networks. Results show an efficient emotion classification model for 2-second musical audio fragments representative of intense basic feelings of happiness, sadness, and fear. Those emotions are the most interesting to be identified in the case of movie music captioning. The quality metrics have demonstrated that the results of the different models differ significantly and show no homogeneity. Finally, these results pave the way for an accessible and automatic captioning of music, which could automatically identify the emotional intent of the different segments of the movie soundtrack. [ABSTRACT FROM AUTHOR]

Predictability plays an important role in the experience of musical pleasure. By leveraging expectations, music induces pleasure through tension and surprise. However, musical predictions draw on both prior knowledge and immediate context. Similarly, musical pleasure, which has been shown to depend on predictability, may also vary relative to the individual and context. Although research has demonstrated the influence of both long-term knowledge and stimulus features in influencing expectations, it is unclear how perceptions of a melody are influenced by comparisons to other music pieces heard in the same context. To examine the effects of context we compared how listeners' judgments of two distinct sets of stimuli differed when they were presented alone or in combination. Stimuli were excerpts from a repertoire of Western music and a set of experimenter created melodies. Separate groups of participants rated liking and predictability for each set of stimuli alone and in combination. We found that when heard together, the Repertoire stimuli were more liked and rated as less predictable than if they were heard alone, with the opposite pattern being observed for the Experimental stimuli. This effect was driven by a change in ratings between the Alone and Combined conditions for each stimulus set. These findings demonstrate a context-based shift of predictability ratings and derived pleasure, suggesting that judgments stem not only from the physical properties of the stimulus, but also vary relative to other options available in the immediate context. [ABSTRACT FROM AUTHOR]

Background: The negative impacts of the COVID-19 pandemic on public health have affected people socially, psychologically, and physically. Young people particularly are having to adjust many aspects of their personal lives: including transitions to work, college, and independent living. Personal resources are important in mitigating stress and improve mental well-being during pandemic. Sense of coherence—an orientation to life—could be considered as a personal resource. Currently, a number of interventions have been developed to target the reduction of stress in young people. Little emphasis has been placed on developing sense of coherence to reduce stress and promote mental well-being among young people. Young people consider music as a preferred leisure activity and an important means of stress relief in their daily lives. However, little research concerning music therapy and sense of coherence exists. Methods: In the proposed randomized controlled trial, a sample of 290 young people (aged 18–30) will be recruited and allocated randomly into one of two groups: the experimental group and the control group. Participants in the experimental group will participate in a 6-week Music Breathing program that will include music listening and mindful breathing guided by a certified music therapist. Participants in the control group will receive a control condition for 6 weeks Mental Health Education Programme. The primary outcome of the study will be measured using Sense of Coherence Scale. The secondary outcomes will be measured using the Coping Self-Efficacy Scale, Difficulties in Emotion Regulation Scale, Mindful Attention Awareness Scale, Depression Anxiety Stress Scales, BBC Subjective Well-being scale, and salivary cortisol levels. Repeated measures analysis will be used to compare the outcomes between the two groups. Discussion: The results will inform practice in coping with stress through promoting sense of coherence. Individuals will benefit from the long-term effect of this intervention to enhance their sense of coherence to cope with stressful events and promote better mental well-being. Trial registration: ClinicalTrials.gov Identifier: NCT05655234. Registered on December 8, 2022. [ABSTRACT FROM AUTHOR]

A study of 132 audience members of three classical public concerts (all three staged the same chamber music pieces by Ludwig van Beethoven, Brett Dean, and Johannes Brahms) had the goal of analyzing the physiological and motor responses of audiences. It was assumed that the music would induce synchronous physiology and movement in listeners (induction synchrony). In addition to hypothesizing that such synchronies would be present, we expected that they were linked to participants' aesthetic experiences, their affect and personality traits, which were assessed by questionnaires before and after the concerts. Clear evidence was found of physiological synchrony (heart rate, respiration rate, skin conductance response) as well as movement synchrony of the audiences, whereas breathing behavior was not synchronized. Thus the audiences of the three concerts resonated with the music, their music perception was embodied. There were links between the bodily synchrony and aesthetic experiences: synchrony, especially heart-rate synchrony, was higher when listeners felt moved emotionally and inspired by a piece, and were immersed in the music. Personality traits were also associated with the individual contributions to induction synchrony. [ABSTRACT FROM AUTHOR]

Background: The motivational climate within a course has been shown to be an important predictor of students' engagement and course ratings. Because little is known about how students' perceptions of the motivational climate in a computer science (CS) course vary by sex, race/ethnicity, and academic major, we investigated these questions: (1) To what extent do students' achievement and perceptions of motivational climate, cost, ease, and effort vary by sex, race/ethnicity, or major? and (2) To what extent do the relationships between students' achievement and perceptions of motivational climate, cost, and effort vary by sex, race/ethnicity, and major? Participants were enrolled in a large CS course at a large public university in the southeastern U.S. A survey was administered to 981 students in the course over three years. Path analyses and one-way MANOVAs and ANOVAs were conducted to examine differences between groups. Results: Students' perceptions of empowerment, usefulness, interest, and caring were similar across sexes and races/ethnicities. However, women and Asian students reported lower success expectancies. Students in the same academic major as the course topic (i.e., CS) generally reported higher perceptions of the motivational climate than students who did not major or minor in the course topic. Final grades in the course did not vary by sex or race/ethnicity, except that the White and Asian students obtained higher grades than the Black students. Across sex, race/ethnicity, and major, students' perceptions of the motivational climate were positively related to effort, which was positively related to achievement. Conclusions: One implication is that females, Asian students, and non-CS students may need more support, or different types of support, to help them believe that they can succeed in computer science courses. On average, these students were less confident in their abilities to succeed in the course and were more likely to report that they did not have the time needed to do well in the course. A second implication for instructors is that it may be possible to increase students' effort and achievement by increasing students' perceptions of the five key constructs in the MUSIC Model of Motivation: eMpowerment, Usefulness, Success, Interest, and Caring. [ABSTRACT FROM AUTHOR]

Musicians outperform non-musicians in vocal emotion recognition, but the underlying mechanisms are still debated. Behavioral measures highlight the importance of auditory sensitivity towards emotional voice cues. However, it remains unclear whether and how this group difference is reflected at the brain level. Here, we compared event-related potentials (ERPs) to acoustically manipulated voices between musicians (n = 39) and non-musicians (n = 39). We used parameter-specific voice morphing to create and present vocal stimuli that conveyed happiness, fear, pleasure, or sadness, either in all acoustic cues or selectively in either pitch contour (F0) or timbre. Although the fronto-central P200 (150–250 ms) and N400 (300–500 ms) components were modulated by pitch and timbre, differences between musicians and non-musicians appeared only for a centro-parietal late positive potential (500–1000 ms). Thus, this study does not support an early auditory specialization in musicians but suggests instead that musicality affects the manner in which listeners use acoustic voice cues during later, controlled aspects of emotion evaluation. [ABSTRACT FROM AUTHOR]

Most listeners can determine when a familiar recording of music has been shifted in musical key by as little as one semitone (e.g., from B to C major). These findings appear to suggest that absolute pitch memory is widespread in the general population. However, the use of familiar recordings makes it unclear whether these findings genuinely reflect absolute melody-key associations for at least two reasons. First, listeners may be able to use spectral cues from the familiar instrumentation of the recordings to determine when a familiar recording has been shifted in pitch. Second, listeners may be able to rely solely on pitch height cues (e.g., relying on a feeling that an incorrect recording sounds "too high" or "too low"). Neither of these strategies would require an understanding of pitch chroma or musical key. The present experiments thus assessed whether listeners could make accurate absolute melody-key judgments when listening to novel versions of these melodies, differing from the iconic recording in timbre (Experiment 1) or timbre and octave (Experiment 2). Listeners in both experiments were able to select the correct-key version of the familiar melody at rates that were well above chance. These results fit within a growing body of research supporting the idea that most listeners, regardless of formal musical training, have robust representations of absolute pitch – based on pitch chroma – that generalize to novel listening situations. Implications for theories of auditory pitch memory are discussed. [ABSTRACT FROM AUTHOR]

Purpose: The practice of removing “following” responses from speech perturbation analyses is increasingly common, despite no clear evidence as to whether these responses represent a unique response type. This study aimed to determine if the distribution of responses to auditory perturbation paradigms represents a bimodal distribution, consisting of two distinct response types, or a unimodal distribution. Method: This mega-analysis pooled data from 22 previous studies to examine the distribution and magnitude of responses to auditory perturbations across four tasks: adaptive pitch, adaptive formant, reflexive pitch, and reflexive formant. Data included at least 150 unique participants for each task, with studies comprising younger adult, older adult, and Parkinson’s disease populations. A Silverman’s unimodality test followed by a smoothed bootstrap resampling technique was performed for each task to evaluate the number of modes in each distribution. Wilcoxon signed-ranks tests were also performed for each distribution to confirm significant compensation in response to the perturbation. Results: Modality analyses were not significant (p > .05) for any group or task, indicating unimodal distributions. Our analyses also confirmed compensatory reflexive responses to pitch and formant perturbations across all groups, as well as adaptive responses to sustained formant perturbations. However, analyses of sustained pitch perturbations only revealed evidence of adaptation in studies with younger adults. Conclusion: The demonstration of a clear unimodal distribution across all tasks suggests that following responses do not represent a distinct response pattern, but rather the tail of a unimodal distribution. [ABSTRACT FROM AUTHOR]

Making music together relies, among other things, on the mutual hearing amongst co-performers and on the visual monitoring of each other's actions and gestures. This is better facilitated when musicians share a mutual visual space where hearing and seeing play a primary role. However, drawing from workplace studies, linguistic anthropology, anthropology of the senses and multimodal interactional studies of sensoriality, we observed how mutual visibility was (tacitly) more important for coordination among musicians than they themselves were willing to admit. Thanks to the video recording of trio rehearsals, by experimentally suspending the sense of hearing, often regarded as a predominant sense in the playing of a musical instrument and to make music together, we realized that mutual visibility not only enables musicians to notice pertinent/relevant visual cues and professional gestures, but also to make sound visible and then audible, activating what we call visual hearing, a specific hybrid sense, that we captured in action. [ABSTRACT FROM AUTHOR]

Motor interactions require observing and monitoring a partner's performance as the interaction unfolds. Studies in monkeys suggest that this form of social monitoring might be mediated by the activity of the ventral premotor cortex (vPMc), a critical brain region in action observation and motor planning. Our previous fMRI studies in humans showed that the left vPMc is indeed recruited during social monitoring, but its causal role is unexplored. In three experiments, we applied online anodal or cathodal transcranial direct current stimulation over the left lateral frontal cortex during a music-like interactive task to test the hypothesis that neuromodulation of the left vPMc affects participants' performance when a partner violates the agent's expectations. Participants played short musical sequences together with a virtual partner by playing one note each in turn-taking. In 50% of the trials, the partner violated the participant's expectations by generating the correct note through an unexpected movement. During sham stimulation, the partner's unexpected behavior led to a slowdown in the participant's performance (observation-induced posterror slowing). A significant interaction with the stimulation type showed that cathodal and anodal transcranial direct current stimulation induced modulation of the observation-induced posterror slowing in opposite directions by reducing or enhancing it, respectively. Cathodal stimulation significantly reduced the effect compared to sham stimulation. No effect of neuromodulation was found when the partner behaved as expected or when the observed violation occurred within a context that was perceptually matched but noninteractive in nature. These results provide evidence for the critical causal role that the left vPMc might play in social monitoring during motor interactions, possibly through the interplay with other brain regions in the posterior medial frontal cortex. [ABSTRACT FROM AUTHOR]

Background: Atypical speech prosody has been commonly found among autistic children. Yet it remains unknown whether prosody impairment originates from poor pitch ability in general or whether it is the result of the difficulty in understanding and using prosody for communicative purposes. Aims: To investigate whether native Mandarin Chinese‐speaking autistic children with intellectual impairment were able to accurately produce native lexical tones, which are pitch patterns that distinguish word meaning lexically and serve little social purpose. Methods & Procedures: Using a picture‐naming task, thirteen 8–13‐year‐old Mandarin Chinese‐speaking autistic children with intellectual impairment were tested on their production of Chinese lexical tones. Chronical age‐matched typically developing (TD) children were included as the control group. Perceptual assessment and phonetic analyses were conducted with the produced lexical tones. Outcomes & Results: The majority of the lexical tones produced by the autistic children were perceived as accurate by adult judges. Phonetic analysis of the pitch contours found no significant difference between the two groups, and the autistic children and TD children used the phonetic features in comparable ways when differentiating the lexical tones. However, the lexical tone accuracy rate was lower among the autistic children than among the TDs, and the larger individual difference was observed among the autistic children than the TD children. Conclusions & Implications: These results indicate that autistic children are able to produce the global contours of the lexical tones, and pitch deficits do not seem to qualify as a core feature of autism. What this paper adds: What is already known on the subject: Atypical prosody has been considered a maker of the speech of autistic children, and meta‐analysis found a significant difference in mean pitch and pitch range between TD children and autistic children. Yet it remains unknown whether the pitch deficits are the result of impaired perceptual–motoric ability or if they reflect failure in learning sentential prosody, which requires an understanding of the interlocutors' mind. In addition, research on pitch ability of autistic children with intellectual disabilities has been scarce, and whether these children are able to produce pitch variation is largely unknown. What this paper adds to existing knowledge: We tested native Mandarin Chinese autistic children with intellectual impairment on their production of native lexical tones. The lexical tones in Chinese are pitch variations realized on individual syllables that distinguish lexical meaning, but they do not serve social pragmatic purposes. We found that although these autistic children had only developed limited spoken language, the majority of their lexical tones were perceived as accurate. They were able to use the phonetic features in comparable ways with the TD children when distinguishing the lexical tones. What are the potential or actual clinical implications of this work?: It seems unlikely that pitch processing at the lexical level is fundamentally impaired in autistic children, and pitch deficits do not seem to qualify for a core feature of their speech. Practitioners should be cautious when using pitch production as a clinical marker for autistic children. [ABSTRACT FROM AUTHOR]

INTRODUCTION: In the new era of information society, the knowledge reform of school music education is getting more and more attention. Traditional teaching methods need to make full use of information technology. They cannot meet the current learning needs because the learning of information technology teaching is an essential means to realize modern learning., therefore, the application of information technology in music education meets the requirements of the times. OBJECTIVES: To improve traditional teaching methods by utilizing modern teaching techniques so that students can gain more knowledge. With the help of modern technology and information technology, secondary music education can change the students' audiovisual experience, enrich their musical experience, and deepen their understanding and memorization of knowledge. METHODS: In this paper, use a neural network algorithm to explore the integration mechanism of music teaching design and education information technology, optimize the traditional information technology teaching platform, improve the stability of the music teaching platform, and further improve the level of network teaching from the feedback of students and teachers. RESULTS: This study's results found that this experiment's educational platform could motivate students to manage teaching and actively participate in music teaching and lessons. However, due to the real-time nature of information technology, it removes doubts between the parties and facilitates communication between teachers and students. The primary goal of music education is to perceive the attraction of music in terms of sight and sound, to relax the mind and body, and to develop a musical personality. From this perspective, it is also necessary to utilize modern information technology to change teachers' traditional teaching methods in classical performance and singing. CONCLUSION: With the help of modern technology and information technology, secondary music education can change the audiovisual experience of students, enrich their musical experience, and deepen their understanding and memorization of knowledge. The information system can motivate students to manage teaching and actively participate in music teaching. [ABSTRACT FROM AUTHOR]

Keyboard instruments play a significant role in the music teaching process, providing students with an enjoyable musical experience while enhancing their music literacy. This study aims to investigate the current state of keyboard instrument teaching in preschool education, identify existing challenges, and propose potential solutions using the literature review method. In response to identified shortcomings, this paper proposes integrating intelligent technology and subject teaching through the application of teaching robots in keyboard instrument education. Specifically, a Convolutional Neural Network model of Deep Learning is employed for system debugging, enabling the teaching robot to analyze students' images and movements during musical instrument play and deliver targeted teaching. Feedback from students who participated in keyboard instrument teaching with the robot indicates high satisfaction levels. This paper aims to diversify keyboard instruments' teaching mode, introduce the practical application of robots in classroom teaching, and facilitate personalized teaching catering to individual students' aptitudes. [ABSTRACT FROM AUTHOR]

Arranging and orchestration are critical aspects of music composition and production. Traditional accompaniment arranging is time-consuming and requires expertise in music theory. In this work, we utilize a deep learning model, the flow model, to generate music accompaniment including drums, guitar, bass, and strings based on the input piano melody, which can assist musicians in creating popular music. The main contributions of this paper are as follows: 1) We propose a new pianoroll representation that solves the problem of recognizing the onset of a musical note and saves space. 2) We introduce the MuseFlow accompaniment generation model, which can generate multi-track, polyphonic music accompaniment. To the best of our knowledge, MuseFlow is the first flow-based music generation model. 3) We incorporate a sliding window into the model to enable long sequence music generation, breaking the length limitation. Comparisons on datasets such as LDP, FreeMidi, and GPMD verify the effectiveness of the model. MuseFlow produces better results in accompaniment quality and inter-track harmony. Additionally, the note pitch and duration distributions of the generated accompaniment are much closer to the real data. [ABSTRACT FROM AUTHOR]

Introduction: In the context of evolving societal preferences for deeper emotional connections in art, this paper explores the emergence of multimodal robot music performance art. It investigates the fusion of music and motion in robot performances to enhance expressiveness and emotional impact. The study employs Transformermodels to combine audio and video signals, enabling robots to better understand music's rhythm, melody, and emotional content. Generative Adversarial Networks (GANs) are utilized to create lifelike visual performances synchronized with music, bridging auditory and visual perception. Multimodal reinforcement learning is employed to achieve harmonious alignment between sound and motion. Methods: The study leverages Transformer models to process audio and video signals in robot performances. Generative Adversarial Networks are employed to generate visually appealing performances that align with the musical input. Multimodal reinforcement learning is used to synchronize robot actions with music. Diverse music styles and emotions are considered in the experiments. Performance evaluation metrics include accuracy, recall rate, and F1 score. Results: The proposed approach yields promising results across various music styles and emotional contexts. Performance smoothness scores exceed 94 points, demonstrating the fluidity of robot actions. An accuracy rate of 95% highlights the precision of the system in aligning robot actions with music. Notably, there is a substantial 33% enhancement in performance recall rate compared to baseline modules. The collective improvement in F1 score emphasizes the advantages of the proposed approach in the realm of robot music performance art. Discussion: The study's findings demonstrate the potential of multimodal robot music performance art in achieving heightened emotional impact. By combining audio and visual cues, robots can better interpret and respond to music, resulting in smoother and more precise performances. The substantial improvement in recall rate suggests that the proposed approach enhances the robots' ability to accurately mirror the emotional nuances of the music. These results signify the potential of this approach to transformthe landscape of artistic expression through robotics, opening new avenues for emotionally resonant performances. [ABSTRACT FROM AUTHOR]

Background: Movement sonification, the use of real-time auditory feedback linked to movement parameters, have been proposed to support rehabilitation. Nevertheless, if promising results have been reported, the effect of the type of sound used has not been studied systematically. The aim of this study was to investigate in a single session the effect of different types of sonification both quantitatively and qualitatively on patients with acquired brain lesions and healthy participants. Methods: An experimental setup enabling arm sonification was developed using three different categories of sonification (direct sound modulation, musical interaction, and soundscape). Simple moving forward movements performed while sliding on a table with both arms were investigated with all participants. Quantitative analysis on the movement timing were performed considering various parameters (sound condition, affected arm and dominance, sonification categories). Qualitative analysis of semi-structured interviews were also conducted, as well as neuropsychological evaluation of music perception. Results: For both the patient and healthy groups (15 participants each), average duration for performing the arm movement is significantly longer with sonification compared to the no-sound condition (p < 0.001). Qualitative analysis of semi-structured interviews revealed different aspects of motivational and affective aspects of sonification. Most participants of both groups preferred to complete the task with sound (29 of 30 participants), and described the experience as playful (22 of 30 participants). More precisely, the soundscape (nature sounds) was the most constantly preferred (selected first by 14 of 30 participants). Conclusion: Overall, our results confirm that the sonification has an effect on the temporal execution of the movement during a single-session. Globally, sonification is welcomed by the participants, and we found convergent and differentiated appreciations of the different sonification types. [ABSTRACT FROM AUTHOR]

Recent research suggests that speaking a tone language confers benefits in processing pitch in nonlinguistic contexts such as music. This research largely compares speakers of nontone European languages (English, French) with speakers of tone languages in East Asia (Mandarin, Cantonese, Vietnamese, Thai). However, tone languages exist on multiple continents—notably, languages indigenous to Africa and the Americas. With one exception (Bradley, Psychomusicology, 26(4), 337–345, 2016), no research has assessed whether these tone languages also confer pitch processing advantages. Two studies presented a melody change detection task, using quasirandom note sequences drawn from Western major scale tone probabilities. Listeners were speakers of Akan, a tone language of Ghana, plus speakers from previously tested populations (nontone language speakers and East Asian tone language speakers). In both cases, East Asian tone language speakers showed the strongest musical pitch processing, but Akan speakers did not exceed nontone speakers, despite comparable or better instrument change detection. Results suggest more nuanced effects of tone languages on pitch processing. Greater numbers of tones, presence of contour tones in a language's tone inventory, or possibly greater functional load of tone may be more likely to confer pitch processing benefits than mere presence of tone contrasts. [ABSTRACT FROM AUTHOR]

In daily life, failure to perceive emotional expressions can result in maladjusted behaviour. For cochlear implant users, perceiving emotional cues in sounds remains challenging, and the factors explaining the variability in patients' sensitivity to emotions are currently poorly understood. Understanding how these factors relate to auditory proficiency is a major challenge of cochlear implant research and is critical in addressing patients' limitations. To fill this gap, we evaluated different auditory perception aspects in implant users (pitch discrimination, music processing and speech intelligibility) and correlated them to their performance in an emotion recognition task. Eighty-four adults (18–76 years old) participated in our investigation; 42 cochlear implant users and 42 controls. Cochlear implant users performed worse than their controls on all tasks, and emotion perception abilities were correlated to their age and their clinical outcome as measured in the speech intelligibility task. As previously observed, emotion perception abilities declined with age (here by about 2–3% in a decade). Interestingly, even when emotional stimuli were musical, CI users' skills relied more on processes underlying speech intelligibility. These results suggest that speech processing remains a clinical priority even when one is interested in affective skills. [ABSTRACT FROM AUTHOR]

We sought to validate our proposed tool for estimating channel discrimination of cochlear implant (CI) users along the full electrode array and to assess associations between place-pitch discrimination and speech perception. In two tests, participants identified one stimulus (probe) as the odd-one-out compared with two reference stimuli. Probe stimuli were evoked using dual electrode stimulation characterised by the current steering coefficient α. The first test measured psychometric functions (PFs) on pre-defined contacts, with just a noticeable difference (JNDα) as the outcome variable. The second test estimated channel discrimination on the full electrode array, yielding a discrimination score of Dα. We measured speech perception as free-field consonant-vowel-consonant phoneme recognition scores. We included 25 adults with at least 6 months of CI experience. JNDα and Dα scores measured on the same contact correlated significantly (rs = 0.64, p < 0.001). Mean JNDα and speech perception scores showed significant relationships in quiet and in noise. Dα correlated strongly with JNDα scores obtained with the PFs. For poor performers, the full-array test may underestimate JNDα. The full-array pitch discrimination test could be a helpful clinical tool, such as for fitting regions of lesser pitch discrimination ability. [ABSTRACT FROM AUTHOR]

Listeners show perceptual benefits (faster and/or more accurate responses) when perceiving speech spoken by a single talker versus multiple talkers, known as talker adaptation. While near-exclusively studied in speech and with talkers, some aspects of talker adaptation might reflect domain-general processes. Music, like speech, is a sound class replete with acoustic variation, such as a multitude of pitch and instrument possibilities. Thus, it was hypothesized that perceptual benefits from structure in the acoustic signal (i.e., hearing the same sound source on every trial) are not specific to speech but rather a general auditory response. Forty nonmusician participants completed a simple musical task that mirrored talker adaptation paradigms. Low- or high-pitched notes were presented in single- and mixed-instrument blocks. Reflecting both music research on pitch and timbre interdependence and mirroring traditional "talker" adaptation paradigms, listeners were faster to make their pitch judgments when presented with a single instrument timbre relative to when the timbre was selected from one of four instruments from trial to trial. A second experiment ruled out the possibility that participants were responding faster to the specific instrument chosen as the single-instrument timbre. Consistent with general theoretical approaches to perception, perceptual benefits from signal structure are not limited to speech. [ABSTRACT FROM AUTHOR]

Musical stimuli are widely used in emotion research and intervention studies. However, reviews have repeatedly noted that a lack of pre‐evaluated musical stimuli is stalling progress in our understanding of specific effects of varying music. Musical stimuli vary along a plethora of dimensions. Of particular interest are emotional valence and tempo. Thus, we aimed to evaluate the emotional valence of a set of slow and fast musical stimuli. N = 102 (mean age: 39.95, SD: 13.60, 61% female) participants rated the perceived emotional valence in 20 fast (>110 beats per minute [bmp]) and 20 slow (<90 bpm) stimuli. Moreover, we collected reports on subjective arousal for each stimulus to explore arousal's association with tempo and valence. Finally, participants completed questionnaires on demographics, mood (profile of mood states), personality (10‐item personality index), musical sophistication (Gold‐music sophistication index), and sound preferences and hearing habits (sound preference and hearing habits questionnaire). Using mixed‐effect model estimates, we identified 19 stimuli that participants rated to have positive valence and 16 stimuli that they rated to have negative valence. Higher age predicted more positive valence ratings across stimuli. Higher tempo and more extreme valence ratings were each associated with higher arousal. Higher educational attainment was also associated with higher arousal reports. Pre‐evaluated stimuli can be used in future musical research. [ABSTRACT FROM AUTHOR]

The article discusses the undervaluation of silence in academic film analysis and theories, emphasizing the significance of audiovisual silence as a lever for change and transition in filmmaking. It also highlights the role of audiovisual silence in conveying meaning, rhythm, and communicative alternation in narratives, contributing to a theoretical framework for understanding its importance.

The octave illusion (Deutsch, 1974) is a well-known auditory illusion elicited by presenting a dichotic sequence of two tones separated by an octave during which the high and low tones alternate between both ears. This illusion engages an important mechanism of auditory perception, which is pitch perception. Previous studies used central frequencies of the useful musical spectrum to elicit the illusion. However, these studies did not cover part of that spectrum where musical pitch perception decreases (below 200 and above 1600 Hz). The present study aimed to investigate how the relative frequency distribution of percepts changes across a greater proportion of the musical scale to better understand the influence of pitch on illusion perception. Participants were presented with 7 pairs of frequencies from 40–80 Hz to 2000–4000 Hz and had to select a choice (octave, simple, complex) corresponding to their perception. When using pairs of stimuli towards the upper and lower boundaries of the selected range: (1) distributions of percepts significantly differ from the classic 400–800 Hz, (2) the octave percept was reported less frequently, particularly at very low frequencies. Results from this study revealed that the illusion perception differs significantly at the low and high limits of the musical spectrum where reduced accuracy of pitch perception is known to occur. These results support past studies who investigated pitch perception. Furthermore, these results support the model proposed by Deutsch where pitch perception is one of the central frameworks of illusion perception. [ABSTRACT FROM AUTHOR]

Purpose: Communication is as much persuasion as it is the transfer of information. This creates a tension between the interests of the speaker and those of the listener, as dishonest speakers naturally attempt to hide deceptive speech and listeners are faced with the challenge of sorting truths from lies. Listeners with hearing impairment in particular may have differing levels of access to the acoustical cues that give away deceptive speech. A greater tendency toward speech pauses has been hypothesized to result from the cognitive demands of lying convincingly. Higher vocal pitch has also been hypothesized to mark the increased anxiety of a dishonest speaker. Method: Listeners with or without hearing impairments heard short utterances from natural conversations, some of which had been digitally manipulated to contain either increased pausing or raised vocal pitch. Listeners were asked to guess whether each statement was a lie in a two-alternative forced-choice task. Participants were also asked explicitly which cues they believed had influenced their decisions. Results: Statements were more likely to be perceived as a lie when they contained pauses, but not when vocal pitch was raised. This pattern held regardless of hearing ability. In contrast, both groups of listeners self-reported using vocal pitch cues to identify deceptive statements, though at lower rates than pauses. Conclusions: Listeners may have only partial awareness of the cues that influence their impression of dishonesty. Listeners with hearing impairment may place greater weight on acoustical cues according to the differing degrees of access provided by hearing aids. [ABSTRACT FROM AUTHOR]

The study aims to investigate the impact of a specially designed intervention programme on middle school students' creative thinking and musical experience. The study was conducted among 120 students (SD = 13.4) at middle music schools in the PRC. The instruments included the Creative Personality Scale (CPS) and the Scale of Musical Experience (SME). On the CPS post-test, the control group demonstrated the same creativity, suggesting the impossibility of independent development of creative abilities within an educational institution. The influence group demonstrated increased medium creativity (10.0%) and strong creativity (11.1%). SME post-test in the control group suggests that poor musical experience fell by 11.4%, medium experience increased by 6.4% and strong musical experience increased by 5.0%. The influence secured the dominance of the medium musical experience, with poor musical experience reduced by 22.3% and strong experience increased by 15.7%. The present findings can enhance scientific knowledge about classical music practices and their adoption within educational institutions. The practical significance of the study lies in the fact that creativity-oriented practices can be integrated into music schools. [ABSTRACT FROM AUTHOR]

This study examined how toddler looking to a discourse referent is mediated by the information status of the referent and the pitch contour of the referring expression. Eighteen-month-olds saw a short discourse of three sets of images with the proportion of looking time to a target analyzed during the final image. At test, the information status of the referent was either new or given and the referring expression was presented with one of three pitch contours (flat f0, monotonal (~H*), or bitonal (~L+H*)). In Experiment 1, toddlers looked reliably longer to a target referent when it was either new to the discourse or carried a non-flat pitch contour. In Experiment 2, the referring expression was removed to observe effects of information status alone on looking to a target referent. Toddlers looked significantly longer to a target when it was new versus given. More fine-grained time course analyses of eye movements revealed differences in the speed and duration of fixation to a target. Overall, the experiments show that discourse reference in toddlers is mediated by the presence of newness and pitch contours, even in the case of given information. [ABSTRACT FROM AUTHOR]