The effects of operating a touch screen smartphone and other common activities performed while bicycling on cycling behaviour

Although it has been shown that making phone calls or sending text messages while riding a bicycle can have a negative impact on bicyclist’s behaviour, in countries such as the Netherlands the operation of a mobile phone while cycling on a bicycle is not illegal and is actually quite common. In recent years conventional mobile phones with a physical keypad are increasingly being replaced by smartphones with a touch screen. The operation of a touch screen phone ironically cannot be done purely ‘by touch’ due to the lack of tactile feedback, and instead requires fixations on a relatively small screen. The question therefore can be asked whether the operation of touch screen telephones deteriorates cycling behaviour more than operation of a conventional mobile phone.Twenty-four participants completed a track on their own bicycle while sending a text message from a conventional and a touch screen mobile phone. In addition the effects of other common activities that can accompany bicycling were studied, including texting at the same time as listening to music, talking on a mobile phone or cycling next to someone and speaking with this companion, and playing a game on a touch screen phone while bicycling. The impacts of all the above conditions on cycling performance and visual detection performance were compared with control conditions in which participants cycled with either one or two hands on the handlebars and were not required to perform any secondary tasks.Bicycle speed was reduced in all telephone conditions and in the condition when cycling next to someone. Lateral position variation increased in all telephone conditions. Use of the touch screen led to a more central position in the cycle lane and resulted in worse visual detection performance compared with the operation of a conventional mobile phone. The main effect of listening to music was that an auditory signal to stop cycling was missed by 83% of the participants. In conclusion, while all investigated types of phone deteriorated cycling performance, the use of a touch phone has a larger negative effect on cycling performance than a conventional mobile phone. With touch screen smartphones taking the place of conventional mobile phones and being used for other purposes than verbal communication, these effects on cycling performance pose a threat to traffic safety.     

The influences of listening and speaking on pedestrians' assessments of approaching vehicles

Research suggests a relationship between auditory distraction (such as environmental noises or a vocal cell phone conversation) and a decreased ability to detect and localize approaching vehicles. What is unclear is whether auditory vehicle perception is impacted more by distractions reliant on listening or distractions reliant on speaking (analogous to the two components of a vocal cell phone conversation). In two experiments, adult participants listened for approaching vehicle noises and while performing listening- and speaking-based secondary tasks. Participants were tasked with identifying when they first detect an approaching vehicle and when they no longer felt safe to cross in front of the approaching vehicle. For both experiments, the speaking task resulted in significantly later detection of approaching vehicles and riskier crossing thresholds than in the no-distraction and listening conditions. The listening secondary task significantly differed from the control condition in experiment 1, but not experiment 2. Overall, our results suggest auditory distractions, particularly those reliant on speaking, negatively impact pedestrian safety in situations where visual information is minimal. Results may provide guidance for future research and policy about the safety impacts of secondary tasks.     

Liked Music Increases Spatial Rotation Performance Regardless of Tempo

Performance on spatial rotation tasks has been shown to improve following listening to music that one likes with the explanation that the fast tempo, and the major mode associated with it, increases arousal and mood. However, given that research also shows that people sometimes like slow-tempo music as much as fast-tempo music it seems remiss that this preference effect has not been explored for slow-tempo music. We extend previous findings by using a more ecologically-valid method and explore whether the tempo effect was independent of the preference for the music, especially when the music is of a slow tempo. Participants listened to both liked and disliked music, in either a fast or slow tempo, prior to completing a series of spatial rotation tasks. In both tempos, liked music was associated with significantly better spatial rotation performance than disliked music. Interestingly, disliked, fast-tempo music was no better than liked, slow-tempo music. Results are discussed with respect to the arousal and mood literature.     

Effects of stop signal modality, stop signal intensity and tracking method on inhibitory performance as determined by use of the stop signal paradigm

In Experiment 1, the effects of stop signal modality on the speed and efficiency of the inhibition process were examined. Stop signal reaction time (SSRT) and inhibition function slope in an auditory stop signal condition were compared to SSRT and inhibition function slope in a visual stop signal condition. It was found that auditory stop signals compared to visual stop signals enhanced both the speed and efficiency of stopping. The modality effects were attributed to differences in the neurophysiological processes underlying perception. However, Experiment 2 demonstrated that the modality difference was larger for 80 dB(A) auditory stop signals than 60 dB(A) auditory stop signals. This effect was reconciled with the suggestion that loud tones are more capable of eliciting immediate arousing effects on motor processes than weak tones and visual stimuli. The second purpose of the present investigation was to explore the utility (and potential advantages) of an alternative way of setting stop signal delay relative to mean reaction time (MRT). The method that was suggested compensates for inter-individual differences in primary task reaction speed by setting stop signal delays as proportions of the subjects' MRT.     

The role of overt head movement and attention in persuasion

This study examined the effect of overt head movement on attitudes toward a product. In a headphones test, participants were required to listen to music and to either nod or shake their heads. Some participants listened to a CD of music; other participants listened to a CD of the same music and a persuasive message about the headphones. Overt head movement affected participants' product choice and price perception when they were presented with the music and a persuasive message. The findings are interpreted to suggest that head movement can be instrumental in participants' product evaluation if the head movement is directed or focused on the attitude object.     

Trying to be happier really can work: Two experimental studies

Does the explicit attempt to be happier facilitate or obstruct the actual experience of happiness? Two experiments investigated this question using listening to positive music as a happiness-inducing activity. Study 1 showed that participants assigned to try to boost their mood while listening to 12?min of music reported higher positive mood compared to participants who simply listened to music without attempting to alter mood. However, this effect was qualified by the predicted interaction: the music had to be positively valenced (i.e. Copland, not Stravinsky). In Study 2, participants who were instructed to intentionally try to become happier (vs. not trying) reported higher increases in subjective happiness after listening to positively valenced music during five separate lab visits over a two-week period. These studies demonstrate that listening to positive music may be an effective way to improve happiness, particularly when it is combined with an intention to become happier.     

Mobile phone use while driving in Finland

Mobile phones represent one of the most common distractions for drivers and phone use while driving is particularly problematic in Finland. The aim of this research was to explore the Finnish sample of responses from ESRA2 (E-Survey of Road users' Attitudes) with a specific focus on the distracting behaviours related to mobile phone usage while driving. ESRA2 data is derived from online surveys amongst a representative sample of the adult populations in each participating country. In total a sample of 994 responses were collected in Finland for ESRA2, which included 703 responses from participants who held a driver’s licence and reported driving a car in the 30 days prior to the survey.The results provide evidence of the problematic usage of mobile phones while driving in Finland. Mobile phone use was considered across three specific types of usage: (1) handheld phone calls while driving; (2) handsfree phone calls while driving; (3) texting, emailing or social media use while driving. Almost half (49.4 %) of the sample reported using a handheld mobile phone to make a call while driving at least once in the 30 days prior to the survey. A similar percentage (41.4 %) of the sample had used a phone hands-free and 35.6 % had texted, emailed, or used social media.The study highlights how mobile phone usage is a complex and multifaceted issue and that there are a broad range of underlying factors that influence mobile phone usage depending on the way in which people engage with their mobile phone while driving. The findings suggest that a systematic approach to reducing mobile phone distraction is needed that addresses the issue through a combination of legislation, enforcement, and education.     

Multidimensional scaling of musical time estimations

The aim of this study was to identify the psycho-musical factors that govern time evaluation in Western music from baroque, classic, romantic, and modern repertoires. The excerpts were previously found to represent variability in musical properties and to induce four main categories of emotions. 48 participants (musicians and nonmusicians) freely listened to 16 musical excerpts (lasting 20 sec. each) and grouped those that seemed to have the same duration. Then, participants associated each group of excerpts to one of a set of sine wave tones varying in duration from 16 to 24 sec. Multidimensional scaling analysis generated a two-dimensional solution for these time judgments. Musical excerpts with high arousal produced an overestimation of time, and affective valence had little influence on time perception. The duration was also overestimated when tempo and loudness were higher, and to a lesser extent, timbre density. In contrast, musical tension had little influence.     

When music tempo affects the temporal congruence between physical practice and motor imagery

When people listen to music, they hear beat and a metrical structure in the rhythm; these perceived patterns enable coordination with the music. A clear correspondence between the tempo of actual movement (e.g., walking) and that of music has been demonstrated, but whether similar coordination occurs during motor imagery is unknown. Twenty participants walked naturally for 8 m, either physically or mentally, while listening to slow and fast music, or not listening to anything at all (control condition). Executed and imagined walking times were recorded to assess the temporal congruence between physical practice (PP) and motor imagery (MI). Results showed a difference when comparing slow and fast time conditions, but each of these durations did not differ from soundless condition times, hence showing that body movement may not necessarily change in order to synchronize with music. However, the main finding revealed that the ability to achieve temporal congruence between PP and MI times was altered when listening to either slow or fast music. These data suggest that when physical movement is modulated with respect to the musical tempo, the MI efficacy of the corresponding movement may be affected by the rhythm of the music. Practical applications in sport are discussed as athletes frequently listen to music before competing while they mentally practice their movements to be performed.     

Reexamination of mood-mediation hypothesis of background-music-dependent effects in free recall

The present study reexamined the mood-mediation hypothesis for explaining background-music-dependent effects in free recall. Experiments 1 and 2 respectively examined tempo- and tonality-dependent effects in free recall, which had been used as evidence for the mood-mediation hypothesis. In Experiments 1 and 2, undergraduates (n?=?75 per experiment) incidentally learned a list of 20 unrelated words presented one by one at a rate of 5 s per word and then received a 30-s delayed oral free-recall test. Throughout the study and test sessions, a piece of music was played. At the time of test, one third of the participants received the same piece of music with the same tempo or tonality as at study, one third heard a different piece with the same tempo or tonality, and one third heard a different piece with a different tempo or tonality. Note that the condition of the same piece with a different tempo or tonality was excluded. Furthermore, the number of sampled pieces of background music was increased compared with previous studies. The results showed neither tempo- nor tonality-dependent effects, but only a background-music-dependent effect. Experiment 3 (n?=?40) compared the effects of background music with a verbal association task and focal music (only listening to musical selections) on the participants’ moods. The results showed that both the music tempo and tonality influenced the corresponding mood dimensions (arousal and pleasantness). These results are taken as evidence against the mood-mediation hypothesis. Theoretical implications are discussed.     

How distraction affects pedestrian response: Evidence from behavior patterns and cortex oxyhemoglobin changes

ObjectivesDistracted walking is a major cause of pedestrian road traffic injuries, but little is known about how distraction affects pedestrian safety. The study was designed to explore how visual and auditory distraction might influence pedestrian safety.MethodsThree experiments were conducted to explore causal mechanisms from two theoretical perspectives, increased cognitive load from the distraction task and resource competition in the same sensory modality. Pedestrians’ behavior patterns and cortex oxyhemoglobin changes were recorded while they performed a series of dual tasks.ResultsFour primary results emerged: (a) participants responded more slowly to both visual and auditory stimuli in traffic, as well as walked more slowly, while talking on the phone or text messaging compared to when undistracted or listening to music; (b) when participants completed pedestrian response tasks while distracted with a high cognitive load, their response was significantly slower and poorer than when they carried out a lower cognitive load distraction task, (c) participants had higher levels of oxy-Hb change in cortices related to visual processing and executive function while distracted with a higher cognitive load; and (d) participants' responses to traffic lights were slower and resulted in a higher activation in prefrontal cortex and occipital areas when distracted by a visual distraction task compared to when distracted with an auditory task; similarly, brain activation increased significantly in temporal areas when participants responded to an auditory car horn task compared to when they responded to visual traffic lights.ConclusionsBoth distracting cognitive load demands and the type of distraction task significantly affect young adult pedestrian performance and threaten pedestrian safety. Pedestrian injury prevention efforts should consider the effects of the type of distracting task and its cognitive demands on pedestrian safety.     

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.     

Introversion-extraversion,tempo, and guided imagery

This research tested the hypotheses that (a) introverts would produce more vivid imagery than would extraverts, and (b) introverts would produce better mental imagery if the background auditory tempo was slow, and extraverts would produce better mental imagery of the background auditory tempo was fast. Participants (N=240) were classified as introverts or extraverts and were randomly assigned one of three tempo conditions: slow, fast, or none. They were instructed to form mental images while listening individually to one of two stories. Clicks (slow or fast) sounded in the background during the stories. All participants then completed detailed questionnaires about the vividness of their mental imagery. Analysis showed that introverts reported significantly more vividness in their imagery than did extraverts. The hypothesized interaction between personality and tempo was not found. Implications were drawn for therapeutic applications of mental imagery.     

Walking and talking: dual-task effects on street crossing behavior in older adults

The ability to perform multiple tasks simultaneously has become increasingly important as technologies such as cell phones and portable music players have become more common. In the current study, we examined dual-task costs in older and younger adults using a simulated street crossing task constructed in an immersive virtual environment with an integrated treadmill so that participants could walk as they would in the real world. Participants were asked to cross simulated streets of varying difficulty while either undistracted, listening to music, or conversing on a cell phone. Older adults were more vulnerable to dual-task impairments than younger adults when the crossing task was difficult; dual-task costs were largely absent in the younger adult group. Performance costs in older adults were primarily reflected in timeout rates. When conversing on a cell phone, older adults were less likely to complete their crossing compared with when listening to music or undistracted. Analysis of time spent next to the street prior to each crossing, where participants were presumably analyzing traffic patterns and making decisions regarding when to cross, revealed that older adults took longer than younger adults to initiate their crossing, and that this difference was exacerbated during cell phone conversation, suggesting impairments in cognitive planning processes. Our data suggest that multitasking costs may be particularly dangerous for older adults even during everyday activities such as crossing the street.     

Sad and happy emotion discrimination in music by children with cochlear implants

Children using cochlear implants (CIs) develop speech perception but have difficulty perceiving complex acoustic signals. Mode and tempo are the two components used to recognize emotion in music. Based on CI limitations, we hypothesized children using CIs would have impaired perception of mode cues relative to their normal hearing peers and would rely more heavily on tempo cues to distinguish happy from sad music. Study participants were children with 13 right CIs and 3 left CIs (M = 12.7, SD = 2.6 years) and 16 normal hearing peers. Participants judged 96 brief piano excerpts from the classical genre as happy or sad in a forced-choice task. Music was randomly presented with alterations of transposed mode, tempo, or both. When music was presented in original form, children using CIs discriminated between happy and sad music with accuracy well above chance levels (87.5%) but significantly below those with normal hearing (98%). The CI group primarily used tempo cues, whereas normal hearing children relied more on mode cues. Transposing both mode and tempo cues in the same musical excerpt obliterated cues to emotion for both groups. Children using CIs showed significantly slower response times across all conditions. Children using CIs use tempo cues to discriminate happy versus sad music reflecting a very different hearing strategy than their normal hearing peers. Slower reaction times by children using CIs indicate that they found the task more difficult and support the possibility that they require different strategies to process emotion in music than normal.     

Effects of Music on Physiological Arousal: Explorations into Tempo and Genre

Two experiments explore the validity of conceptualizing musical beats as auditory structural features and the potential for increases in tempo to lead to greater sympathetic arousal, measured using skin conductance. In the first experiment, fast- and slow-paced rock and classical music excerpts were compared to silence. As expected, skin conductance response (SCR) frequency was greater during music processing than during silence. Skin conductance level (SCL) data showed that fast-paced music elicits greater activation than slow-paced music. Genre significantly interacted with tempo in SCR frequency, with faster tempo increasing activation for classical music and decreasing it for rock music. A second experiment was conducted to explore the possibility that the presumed familiarity of the genre led to this interaction. Although further evidence was found for conceptualizing musical beat onsets as auditory structure, the familiarity explanation was not supported.     

The Effect of Music‐Induced Mood on Aggressive Affect,Cognition, and Behavior1

Two studies explored the role of pleasant music in buffering the adverse effects of provocation. In the first study, 111 participants listened to aversive, pleasant, or no music before receiving a provocation and completing a measure of aggressive behavior. Participants exposed to pleasant music reported more positive mood. Those in the aversive music condition reported more negative mood than did those in the no‐music control condition. The more positive the music‐induced mood, the less anger was experienced and aggressive behavior was shown after provocation. In Study 2 (N = 142), listening to pleasant music reduced anger following provocation, compared to aversive music and a no‐music control condition. Pleasant music also increased response latencies in recognizing aggressive words after provocation.     

Metacognitive illusions for auditory information: Effects on monitoring and control

Prior work has demonstrated that the perceptual features of visually presented stimuli can have a strong influence on predictions of memory performance, even when those features are unrelated to recall (Rhodes & Castel, 2008). The present study examined whether this finding would hold in an auditory domain and influence study-choice allocation. Participants listened to words that varied in volume, made judgments of learning (JOLs) for each item, and were then administered a test of free recall. In Experiment 1, we showed that JOLs were influenced by volume, with loud words given higher JOLs than quiet words, and that volume had no influence on recall, illustrating a metacognitive illusion based on auditory information. In Experiment 2, we extended these findings to control processes and showed that participants were more likely to choose to restudy quiet words than loud words. These findings indicate that highly accessible auditory information is integrated into JOLs and restudy choices, even when this information does not influence actual memory performance.     

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

The aim of this work was to investigate perceived loudness change in response to melodies that increase (up-ramp) or decrease (down-ramp) in acoustic intensity, and the interaction with other musical factors such as melodic contour, tempo, and tonality (tonal/atonal). A within-subjects design manipulated direction of linear intensity change (up-ramp, down-ramp), melodic contour (ascending, descending), tempo, and tonality, using single ramp trials and paired ramp trials, where single up-ramps and down-ramps were assembled to create continuous up-ramp/down-ramp or down-ramp/up-ramp pairs. Twenty-nine (Exp 1) and thirty-six (Exp 2) participants rated loudness continuously in response to trials with monophonic 13-note piano melodies lasting either 6.4 s or 12 s. Linear correlation coefficients > .89 between loudness and time show that time-series loudness responses to dynamic up-ramp and down-ramp melodies are essentially linear across all melodies. Therefore, ‘indirect’ loudness change derived from the difference in loudness at the beginning and end points of the continuous response was calculated. Down-ramps were perceived to change significantly more in loudness than up-ramps in both tonalities and at a relatively slow tempo. Loudness change was also greater for down-ramps presented with a congruent descending melodic contour, relative to an incongruent pairing (down-ramp and ascending melodic contour). No differential effect of intensity ramp/melodic contour congruency was observed for up-ramps. In paired ramp trials assessing the possible impact of ramp context, loudness change in response to up-ramps was significantly greater when preceded by down-ramps, than when not preceded by another ramp. Ramp context did not affect down-ramp perception. The contribution to the fields of music perception and psychoacoustics are discussed in the context of real-time perception of music, principles of music composition, and performance of musical dynamics.