音乐知觉期待的特征研究

音乐知觉期待是音乐存在的奉质特征,主要的表现是：知觉期待是构成音乐基本元素的心理基础,知觉期待是影响音乐记忆的薅要原因,音乐知觉的心理机制是由“传输激活”引起的期待,知觉期待影响音乐时间操作的心理过程。     

音乐信息加工中的时间知觉(上)

<正>事物不仅存在于空间中,而且存在于时间中,具有自己的过去、现在和未来,开始、进行和终结。众所周知,音乐是在时间维度中展开的音声运动。近年来,对音乐信息加工的时间性感知探索越来越受到研究者的关注,成果亦逐渐涌现。本文从时间知觉基本属性的论述开始,切入音乐时间知觉的特殊体现;结合现有相关研究成果和具体音乐实例分析,从节拍和节奏知觉两个方面,对音乐信息加工中的时间知觉特征及其与人体运动、经验背景、社会文化等互动关联进行阐述。     

情绪对时间知觉的影响

研究了情绪唤醒度和愉悦度对时间知觉的影响及其机制.以53名大学生为被试,采用中国情绪图片系统为情绪诱发材料,使用时间两分法和泛化法考察唤醒和注意机制对时间知觉的影响.结果表明:在短时距下,(1)唤醒度和愉悦度对时间知觉的影响可能是独立的,两个实验中交互作用都不显著;(2)情绪主要通过唤醒机制影响时间知觉,被试在高唤醒情绪下知觉到的时间显著长于在低唤醒情绪下知觉到的时间.     

时间知觉在老年人跨期选择中的作用

随着人口老龄化速度的加快,老年人的跨期选择问题受到越来越多的关注。时间知觉是影响跨期选择的重要因素之一。然而,目前从时间知觉的角度来探讨老年人跨期选择的研究比较有限。本文在总结国内外相关研究的基础之上,试图分析时间知觉的随龄变化如何影响老年人的跨期选择。具体而言,本文从时间长度知觉、时间成本知觉以及时间知觉相关心理动机三个方面进行探讨,并指出了时间知觉视角的局限性及今后的研究方向。     

自闭症者对音乐和言语音高的加工

自闭症是一种神经发展障碍,主要表现为社会互动障碍,语言交流困难以及刻板行为等症状。已有研究表明,在音乐方面,自闭症者不仅表现出较强的音乐音高知觉能力,而且在音乐表演方面也体现出某些优势。然而,在言语方面,自闭症者除了在言语音高轮廓分辨任务中得分较高外,对言语语调的知觉能力明显比正常人更差,同时,他们对言语语调的产生也存在障碍。本研究不仅可以推进音乐和言语对比研究,而且也为自闭症者言语康复提供借鉴。     

音乐知觉的神经基础研究

音乐知觉涉及基于声音分析、听觉记忆、听觉场景分析、以及音乐的句法和语义加工的复杂的脑神经活动。同时,音乐知觉还潜在的影响情绪、自主神经系统、荷尔蒙以及免疫系统,并激活(前)运动表象。在过去的几年里,音乐加工及其神经关联方面的研究已取得了飞速的进展,主要体现为音乐知觉的神经认知模型、音乐的句法和语义加工、音乐和机体反应等领域的研究。     

时间心理学的新探索

时间是心理过程的存在方式,也是人格特征的存在方式。本文在综述国内外有关研究成果的基础上,对时间心理学研究的最新领域和热点问题进行了探索,主要包括三个方面：（1）时间知觉与意识,主要研究时间知觉和意识过程的关系,特别是探讨意识过程的时限和时间整合问题;（2）时间认知的脑机制,主要利用事件相关电位和脑成像技术探索时间信息加工的时程和功能定位问题;（3）时间人格研究,主要探讨时间洞察力的内涵和时间管理倾向的理论及其应用。     

网络词语与非网络词语的知觉差异:时间知觉、空间距离知觉与知觉范围

根据具身认知理论,人们的认知会受到身体活动的影响。网络环境下人的身体活动受到限制,因而其认知活动与非网络环境存在很大的差异。本研究目的在于考察人们对网络词语与非网络的日常词语的时间知觉,空间距离知觉与知觉范围是否有差异。结果发现被试对网络词语的时间知觉更长;网络词语的空间距离感与日常词语没有显著差异;在启动网络词语之后,被试的知觉范围缩小,对中心刺激的反应显著快于边缘刺激。本研究发现了网络词语加工在时间知觉和知觉范围上的变化。     

客体工作记忆的保持对时距知觉的影响

初步探讨毫秒范围内,客体信息保持对时间知觉的影响。实验一发现,知觉到的时间不受记忆负荷的影响,但当保持时间短时,低负荷的反应时低于高负荷的反应时;实验二仅要求被试完成时间知觉任务,发现知觉负荷异于记忆负荷对时间知觉的影响。结果说明,客体工作记忆保持对时间知觉的影响受到工作记忆资源的调节。     

音乐张力的研究进展

音乐张力是指在倾听音乐的过程中,由听众的期待引起的放松或紧张感。音乐张力具有激发情绪的功能。音乐张力包括内在张力和演凑张力两种。影响音乐张力的因素有音乐期待、音乐结构、唤醒和激活等。音乐张力的理论主要有申克式分析理论、调性音乐生成理论、旋律期待模型和信息理论。最后探讨了音乐张力的发展特点、音乐张力的生理反映以及研究方法。     

The role of expectation and probabilistic learning in auditory boundary perception: a model comparison

Grouping and boundary perception are central to many aspects of sensory processing in cognition. We present a comparative study of recently published computational models of boundary perception in music. In doing so, we make three contributions. First, we hypothesise a relationship between expectation and grouping in auditory perception, and introduce a novel information-theoretic model of perceptual segmentation to test the hypothesis. Although we apply the model to musical melody, it is applicable in principle to sequential grouping in other areas of cognition. Second, we address a methodological consideration in the analysis of ambiguous stimuli that produce different percepts between individuals. We propose and demonstrate a solution to this problem, based on clustering of participants prior to analysis. Third, we conduct the first comparative analysis of probabilistic-learning and rule-based models of perceptual grouping in music. In spite of having only unsupervised exposure to music, the model performs comparably to rule-based models based on expert musical knowledge, supporting a role for probabilistic learning in perceptual segmentation of music.     

Sequence Memory in Music Performance

Abstract— How do people remember and produce complex sequences like music or speech? Music provides an example of excellent sequence memory under fast performance conditions; novices as well as skilled musicians can perform memorized music rapidly, without making mistakes. In addition, musical pitches repeat often within a melodic sequence in different orders, yet people do not confuse the sequential ordering; temporal properties of musical pitches aid sequence memory. I describe a contextual model of sequence memory that is sensitive to the rate at which musical sequences are produced and to individual differences among performers. Age and musical experience differentiate adults' and children's memory for musical sequences during performance. Performers' memory for the sequential structure of one melody transfers or generalizes to other melodies in terms of the sequence of pitch events, their temporal properties, and their movements. Motion-analysis techniques provide further views of the time course of the cognitive processes that make sequence memory for music so accurate.     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.     

When I grow down – music,spirituality and memory loss: A performative lecture on aging

This article uses a postmodern methodology to set out a model of life which consists of a time of growing up and learning to speak, and of growing down when the power of speech and cognition gradually disintegrates. It describes how this was presented at a conference partly by means of drama (including movement and music) at the beginning and ending of a lecture which was designed to show the important role of music at the beginning and end of life. The centre of the presentation sets out the research into the role of music in personhood, wellbeing and health. It examines the role of music in connectedness, community and identity. There is much evidence for the relationship between music and health which is leading to the possibility of doctors prescribing music. The growth of community choirs has seen the growth of a musical aesthetic which values wellbeing highly. A phenomenography of the musical experience clarifies the relationship between music and wellbeing and the potentially transformative effects of the liminal space created by the four domains of musicking – Materials, Expression, Construction and Values. It also sets out a way of presenting research that engages the mind, body, emotions and spirituality of the audience.     

Perceptual grouping affects pitch judgments across time and frequency

Pitch, the perceptual correlate of fundamental frequency (F0), plays an important role in speech, music, and animal vocalizations. Changes in F0 over time help define musical melodies and speech prosody, while comparisons of simultaneous F0 are important for musical harmony, and for segregating competing sound sources. This study compared listeners' ability to detect differences in F0 between pairs of sequential or simultaneous tones that were filtered into separate, nonoverlapping spectral regions. The timbre differences induced by filtering led to poor F0 discrimination in the sequential, but not the simultaneous, conditions. Temporal overlap of the two tones was not sufficient to produce good performance; instead performance appeared to depend on the two tones being integrated into the same perceptual object. The results confirm the difficulty of comparing the pitches of sequential sounds with different timbres and suggest that, for simultaneous sounds, pitch differences may be detected through a decrease in perceptual fusion rather than an explicit coding and comparison of the underlying F0s.     

Rhythm and pitch in music cognition

Rhythm and pitch are the 2 primary dimensions of music. They are interesting psychologically because simple, well-defined units combine to form highly complex and varied patterns. This article brings together the major developments in research on how these dimensions are perceived and remembered, beginning with psychophysical results on time and pitch perception. Progressively larger units are considered, moving from basic psychological categories of temporal and frequency ratios, to pulse and scale, to metrical and tonal hierarchies, to the formation of musical rhythms and melodies, and finally to the cognitive representation of large-scale musical form. Interactions between the dimensions are considered, and major theoretical proposals are described. The article identifies various links between musical structure and perceptual and cognitive processes, suggesting psychological influences on how sounds are patterned in music.     

Timing variations in music performance: musical communication, perceptual compensation, and/or motor control?

A perceptual performance paradigm was designed to disentangle the timing variations in music performance that are due to perceptual compensation, motor control, and musical communication. First, pianists perceptually adjusted the interonset intervals of three excerpts so that they sounded regular. These adjustments deviated systematically from regularity, highlighting two sources of perceptual biases in time perception: rhythmic grouping and a psychoacoustic intensity effect. Then the participants performed the excerpts on the piano in the same regular way. The intensity effect disappeared, and some variations due to motor constraints were observed in relation to rhythmic groups. Finally, the participants performed the excerpts musically. Variations due to musical communication involved additional group-final lengthening that reflected the hierarchical grouping structure of the excerpts. These results underline the nuclear role of grouping in musical time perception and production.     

音乐句法加工的影响因素

音乐句法是指将离散的音符元素组合成序列的规则。音乐句法加工受到音乐结构特征和听众自身特征两个方面的影响。针对每个方面,本文聚焦于近年来进展迅速的几个因素进行评述,分别是依存距离和音乐时间结构,听者的年龄和音乐训练程度。未来研究应进一步比较不同距离的句法加工,澄清音乐时间结构何时并且如何影响句法加工,考察音乐句法加工中遗传和环境的作用以及发展的敏感期,并对这些因素之间的共同影响展开研究。