The effects of music on time perception and performance of a driving game

Cassidy, G.G. & MacDonald, R.A.R. (2010). The effects of music on time perception and performance of a driving game. Scandinavian Journal of Psychology 51, 455–464. There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains ( Miell, MacDonald, & Hargreaves 2005 ). One area of interest is the monitoring of “internal timing mechanisms”, with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important ( North & Hargreaves, 2008 ). The current study addresses these issues by comparing the effects of self‐selected and experimenter‐selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self‐selected music, and car sounds with experimenter‐selected music; (4) high‐arousal (70 bpm); (5) high‐arousal (130 bpm); (6) low‐arousal (70 bpm); and (7) low‐arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self‐selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter‐selected music resulted in poorest performance and experience. Increasing the tempo of experimenter‐selected music resulted in faster performance and increased inaccuracy for high‐arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self‐selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter‐selected music.     

Neural mechanisms involved in the oral representation of percussion music: An fMRI study

Numerous music cultures use nonsense syllables to represent percussive sounds. Covert reciting of these syllable sequences along with percussion music aids active listeners in keeping track of music. Owing to the acoustic dissimilarity between the representative syllables and the referent percussive sounds, associative learning is necessary for the oral representation of percussion music. We used functional magnetic resonance imaging (fMRI) to explore the neural processes underlying oral rehearsals of music. There were four music conditions in the experiment: (1) passive listening to unlearned percussion music, (2) active listening to learned percussion music, (3) active listening to the syllable representation of (2), and (4) active listening to learned melodic music. Our results specified two neural substrates of the association mechanisms involved in the oral representation of percussion music. First, information integration of heard sounds and the auditory consequences of subvocal rehearsals may engage the right planum temporale during active listening to percussion music. Second, mapping heard sounds to articulatory and laryngeal gestures may engage the left middle premotor cortex.     

Algorithmic modeling of the irrelevant sound effect (ISE) by the hearing sensation fluctuation strength

Background sounds, such as narration, music with prominent staccato passages, and office noise impair verbal short-term memory even when these sounds are irrelevant. This irrelevant sound effect (ISE) is evoked by so-called changing-state sounds that are characterized by a distinct temporal structure with varying successive auditory-perceptive tokens. However, because of the absence of an appropriate psychoacoustically based instrumental measure, the disturbing impact of a given speech or nonspeech sound could not be predicted until now, but necessitated behavioral testing. Our database for parametric modeling of the ISE included approximately 40 background sounds (e.g., speech, music, tone sequences, office noise, traffic noise) and corresponding performance data that was collected from 70 behavioral measurements of verbal short-term memory. The hearing sensation fluctuation strength was chosen to model the ISE and describes the percept of fluctuations when listening to slowly modulated sounds (f(mod) < 20?Hz). On the basis of the fluctuation strength of background sounds, the algorithm estimated behavioral performance data in 63 of 70 cases within the interquartile ranges. In particular, all real-world sounds were modeled adequately, whereas the algorithm overestimated the (non-)disturbance impact of synthetic steady-state sounds that were constituted by a repeated vowel or tone. Implications of the algorithm's strengths and prediction errors are discussed.     

The aesthetic appeal of auditory-visual synaesthetic perceptions in people without synaesthesia

The term 'visual music' refers to works of art in which both hearing and vision are directly or indirectly stimulated. Our ability to create, perceive, and appreciate visual music is hypothesised to rely on the same multisensory processes that support auditory visual (AV) integration in other contexts. Whilst these mechanisms have been extensively studied, there has been little research on how these processes affect aesthetic judgments (of liking or preference). Studies of synaesthesia in which sound evokes vision and studies of cross-modal biases in non-synaesthetes have revealed non-arbitrary mappings between visual and auditory properties (eg high-pitch sounds being smaller and brighter). In three experiments, we presented members of the general population with animated AV clips derived from synaesthetic experiences and contrasted them with a number of control conditions. The control conditions consisted of the same clips rotated or with the colour changed, random AV pairings, or animated clips generated by non-synaesthetes. Synaesthetic AV animations were generally preferred over the control conditions. The results suggest that non-arbitrary AV mappings, present in the experiences of synaesthetes, can be readily appreciated by others and may underpin our tendency to engage with certain forms of art.     

The Aesthetic Preference for Nature Sounds Depends on Sound Object Recognition

People across the world seek out beautiful sounds in nature, such as a babbling brook or a nightingale song, for positive human experiences. However, it is unclear whether this positive aesthetic response is driven by a preference for the perceptual features typical of nature sounds versus a higher‐order association of nature with beauty. To test these hypotheses, participants provided aesthetic judgments for nature and urban soundscapes that varied on ease of recognition. Results demonstrated that the aesthetic preference for nature soundscapes was eliminated for the sounds hardest to recognize, and moreover the relationship between aesthetic ratings and several measured acoustic features significantly changed as a function of recognition. In a follow‐up experiment, requiring participants to classify these difficult‐to‐identify sounds into nature or urban categories resulted in a robust preference for nature sounds and a relationship between aesthetic ratings and our measured acoustic features that was more typical of easy‐to‐identify sounds. This pattern of results was replicated with computer‐generated artificial noises, which acoustically shared properties with the nature and urban soundscapes but by definition did not come from these environments. Taken together, these results support the conclusion that the recognition of a sound as either natural or urban dynamically organizes the relationship between aesthetic preference and perceptual features and that these preferences are not inherent to the acoustic features. Implications for nature's role in cognitive and affective restoration are discussed.     

偏差声音干扰刺激对视觉注意网络系统的影响

结合注意网络测量工具和听视ODDBALL干扰范式,考察偏差声音干扰刺激的出现对注意网络系统不同功能的影响。结果发现,声音刺激序列下,视觉线索唤醒效应均消失; 标准声音刺激下,不存在线索的脱离和转移效应; 偏差声音刺激下,出现线索脱离和转移效应。研究表明,注意网络中的警觉功能具有超通道加工机制,偏差刺激下视觉注意系统中注意定向和线索转移效应的出现表明偏差干扰效应主要由偏差刺激引起的注意脱离和注意转移损耗部分引起。     

Auditory color constancy: Calibration to reliable spectral properties across nonspeech context and targets

Brief experience with reliable spectral characteristics of a listening context can markedly alter perception of subsequent speech sounds, and parallels have been drawn between auditory compensation for listening context and visual color constancy. In order to better evaluate such an analogy, the generality of acoustic context effects for sounds with spectral-temporal compositions distinct from speech was investigated. Listeners identified nonspeech sounds—extensively edited samples produced by a French horn and a tenor saxophone—following either resynthesized speech or a short passage of music. Preceding contexts were “colored” by spectral envelope difference filters, which were created to emphasize differences between French horn and saxophone spectra. Listeners were more likely to report hearing a saxophone when the stimulus followed a context filtered to emphasize spectral characteristics of the French horn, and vice versa. Despite clear changes in apparent acoustic source, the auditory system calibrated to relatively predictable spectral characteristics of filtered context, differentially affecting perception of subsequent target nonspeech sounds. This calibration to listening context and relative indifference to acoustic sources operates much like visual color constancy, for which reliable properties of the spectrum of illumination are factored out of perception of color.     

Sound attenuation and preferred music in the treatment of problem behavior maintained by escape from noise

We examined the extent to which different sounds functioned as motivating operations (MO) that evoked problem behavior during a functional analysis for two participants. Results suggested that escape from loud noises reinforced the problem behavior for one participant and escape from arguing reinforced problem behavior for the other participant. Noncontingent delivery of preferred music through sound‐attenuating headphones decreased problem behavior without the use of extinction for both participants. We discuss the results in terms of the abolishing effects of the intervention.     

Improving left spatial neglect through music scale playing

The study assessed whether the auditory reference provided by a music scale could improve spatial exploration of a standard musical instrument keyboard in right‐brain‐damaged patients with left spatial neglect. As performing music scales involves the production of predictable successive pitches, the expectation of the subsequent note may facilitate patients to explore a larger extension of space in the left affected side, during the production of music scales from right to left. Eleven right‐brain‐damaged stroke patients with left spatial neglect, 12 patients without neglect, and 12 age‐matched healthy participants played descending scales on a music keyboard. In a counterbalanced design, the participants' exploratory performance was assessed while producing scales in three feedback conditions: With congruent sound, no‐sound, or random sound feedback provided by the keyboard. The number of keys played and the timing of key press were recorded. Spatial exploration by patients with left neglect was superior with congruent sound feedback, compared to both Silence and Random sound conditions. Both the congruent and incongruent sound conditions were associated with a greater deceleration in all groups. The frame provided by the music scale improves exploration of the left side of space, contralateral to the right hemisphere, damaged in patients with left neglect. Performing a scale with congruent sounds may trigger at some extent preserved auditory and spatial multisensory representations of successive sounds, thus influencing the time course of space scanning, and ultimately resulting in a more extensive spatial exploration. These findings offer new perspectives also for the rehabilitation of the disorder.     

声音影响饮食行为:实证进展与理论构思

饮食行为包含个体对饮食的风味感知、口感评价、情绪感受、个人饮食偏好以及外显的进饮动作等一系列心理与行为过程。研究相继表明:声音主要通过影响人们对饮食的感官感受性与喜好程度来影响饮食行为。饮食行为中的声音信息包括内感受性线索(Interoceptive cues),即个体与饮食的交互音(如咀嚼食物声、吞咽饮品声,制作与准备饮食过程中的声音等);外感受性线索(exteroceptive cues),即环境音(主要指噪音)与背景音乐。行为研究结果普遍强调认知因素在声音与饮食间所起的作用,如注意的分散与转移、跨通道联结(匹配性效应)、期望与回避(潜在的音画效应)等。而神经科学则以"听-嗅-味"为突破口,从"多通道整合"的角度为理论间的争议寻求更为清晰的证据与潜在的内部机制;与此同时,情绪唤醒、躯体标示(内隐联结)与具身认知视角有望成为新的理论整合点。     

THE BIAS OF “MUSIC‐INFECTED CONSCIOUSNESS”: THE AESTHETICS OF LISTENING IN THE LABORATORY AND ON THE CITY STREETS OF FIN‐DE‐SIÈCLE BERLIN AND VIENNA

Shifts in the psychophysical study of sound sensation reinforced the changing status of musical expertise in the nineteenth century. The Carl Stumpf‐Wilhelm Wundt debate about tone‐differentiation experimentation narrowed the conception of hearing. For Stumpf, “music consciousness” ( M usikbewusstsein) granted the experimental subjects exceptional insight into sound sensation. This belief reflected a cultural reevaluation of listening, exemplified in music critic Eduard Hanslick decrying the scourge of the city: the piano playing of the neighbors. Stumpf and Hanslick's defenses of subjective musical expertise both inside the laboratory and on the city streets reveal the increasingly divergent conceptions of hearing and listening.     

Stimulus expectancy modulates inferior frontal gyrus and premotor cortex activity in auditory perception

In studies on auditory speech perception, participants are often asked to perform active tasks, e.g. decide whether the perceived sound is a speech sound or not. However, information about the stimulus, inherent in such tasks, may induce expectations that cause altered activations not only in the auditory cortex, but also in frontal areas such as inferior frontal gyrus (IFG) and motor cortices, even in the absence of an explicit task. To investigate this, we applied spectral mixes of a flute sound and either vowels or specific music instrument sounds (e.g. trumpet) in an fMRI study, in combination with three different instructions. The instructions either revealed no information about stimulus features, or explicit information about either the music instrument or the vowel features. The results demonstrated that, besides an involvement of posterior temporal areas, stimulus expectancy modulated in particular a network comprising IFG and premotor cortices during this passive listening task.     

Can preference for background music mediate the irrelevant sound effect?

Research suggests that listening to background music prior to task performance increases cognitive processes, such as attention and memory, through the mechanism of increasing arousal and positive mood. However, music preference has not been explored with regard to a more common and realistic scenario of concurrent music and cognition, namely the ‘irrelevant sound effect’ (ISE). To examine this, serial recall was tested under quiet, liked and disliked music sound conditions as well as steady‐state (repetition of ‘3’) and changing‐state speech (random digits 1–9). Results revealed performance to be poorer for both music conditions and the changing‐state speech compared to quiet and steady‐state speech conditions. The lack of difference between both music conditions suggests that preference does not affect serial recall performance. These findings are discussed within the music and cognition and auditory distraction literatures. Copyright © 2010 JohnWiley & Sons, Ltd.     

Vocal Imitations and the Identification of Sound Events

It is commonly observed that a speaker vocally imitates a sound that she or he intends to communicate to an interlocutor. We report on an experiment that examined the assumption that vocal imitations can effectively communicate a referent sound and that they do so by conveying the features necessary for the identification of the referent sound event. Participants were required to sort a set of vocal imitations of everyday sounds. The resulting clusters corresponded in most of the cases to the categories of the referent sound events, indicating that the imitations enabled the listeners to recover what was imitated. Furthermore, a binary decision tree analysis showed that a few characteristic acoustic features predicted the clusters. These features also predicted the classification of the referent sounds but did not generalize to the categorization of other sounds. This showed that, for the speaker, vocally imitating a sound consists of conveying the acoustic features important for recognition, within the constraints of human vocal production. As such vocal imitations prove to be a phenomenon potentially useful to study sound identification.     

Sound induces perceptual reorganization of an ambiguous motion display in human infants

Adults who watch an ambiguous visual event consisting of two identical objects moving toward, through, and away from each other and hear a brief sound when the objects overlap report seeing visual bouncing. We conducted three experiments in which we used the habituation/test method to determine whether these illusory effects might emerge early in development. In Experiments 1 and 3 we tested 4‐, 6‐ and 8‐month‐old infants’ discrimination between an ambiguous visual display presented together with a sound synchronized with the objects’ spatial coincidence and the identical visual display presented together with a sound no longer synchronized with coincidence. Consistent with illusory perception, the 6‐ and 8‐month‐old, but not the 4‐month‐old, infants responded to these events as different. In Experiment 2 infants were habituated to the ambiguous visual display together with a sound synchronized with the objects’ coincidence and tested with a physically bouncing object accompanied by the sound at the bounce. Consistent with illusory perception again, infants treated these two events as equivalent by not exhibiting response recovery. The developmental emergence of this intersensory illusion at 6 months of age is hypothesized to reflect developmental changes in object knowledge and attentional mechanisms.     

How do location and control over the music influence listeners’ responses?

This study uses Mehrabian and Russell's ( 1974 ) Pleasure‐Arousal‐Dominance (PAD) model to consider how responses to both the music heard and overall in‐situ listening experience are influenced by the listener's degree of control over music selected for a particular listening episode and the location in which the listening takes place. Following recruitment via campus advertisements and a university research participation program, 216 individuals completed a background questionnaire and music listening task in a 3 (location) × 2 (experimenter‐ or participant‐selected music) design. After the listening task, participants completed a short questionnaire concerning the music they heard and the overall in‐situ listening experience. Results demonstrated that there was a positive relationship between control and liking for the music and episode, whether the former was considered in terms of: (1) whether the music was self‐selected or experimenter‐selected or (2) overt ratings of perceived control. Furthermore, the location and liking for the music were related to people's judgments of their enjoyment of the overall experience. This research indicates that the PAD model is a useful framework for understanding everyday music listening and supports the contention that, in a musical context, dominance may be operationalized as control over the music.     

Sound source location modulates the irrelevant-sound effect

Participants memorized lists of visually presented digits in silence or while ignoring distractor sounds that either came from the front and thus from the direction in which participants' attention was oriented, or from behind. Distractor sounds impaired recall performance, but the largest impairment was observed when the sound source was directionally close to the frontal visual target display. The results are consistent with the assumption of cross-modal attentional links in models of attention, and they are problematic for explanations of the irrelevant-sound effect within working memory models that do not specify an explicit role of attention in the maintenance of information for immediate serial recall.     

Sad Songs Say So Much: The Paradoxical Pleasures of Sad Music

In this article I revisit the question of why people like to listen to sad music. If music can induce genuine sadness in listeners, why would we deliberately seek out such negative experiences? Drawing from work in both the philosophy and psychology of music, as well as work in the philosophy and science of affect, I argue to shift the focus of the question to music‐induced moods, not emotions. This reframes the debate but does not dissolve the puzzle. To understand what is appealing about the affective experience of listening to sad music, I suggest we take into account the unique features of music‐induced sad mood. I argue that sad mood and a certain sort of focused music listening are mutually reinforcing in ways that differ from other mood/music interactions. Sad mood and sad music are, in a sense, made for each other.     

Personality and aesthetic preference in Spain and England: two studies relating sensation seeking and openness to experience to liking for paintings and music

In two studies, one employing Spanish students and the other English students, questionnaire measures of Sensation Seeking and Openness to Experience were correlated with liking for major music types, several short music excerpts, and eight categories of painting (presented as slides). Inter‐correlations between music preference measures, painting preference, and personality are reported. In both samples, the Sensation Seeking Scale (Form V) and, particularly, the Experience Seeking sub‐scale were associated with a factor contrasting liking for ‘hard rock’ music and ‘violent–abstract’ art with liking for ‘neutral–realistic’ art and ‘easy listening’ music. Several substantial relationships between aesthetics measures and Openness to Experience (from the NEO‐PI‐R) were also found, though mostly in the English sample. The results reinforce the view that personality dimensions such as Sensation Seeking and Openness are important influences on aesthetic judgment. Copyright © 2000 John Wiley & Sons, Ltd.     

Sound escapes: images of spirituality from music teachers and students

This on-going piece of research seeks to identify what music teachers, performers and students from high school through to university understand by the word spirituality in relation to music. From this it is hoped to be able to look at the relevance of the term spirituality in the music classroom. In this paper, data are presented from qualitative research gained in the form of interviews with 37 respondents and four focus groups of children, and quantitative research from questionnaires completed by 38 trainee music teachers. From these data, we identified five themes relating to the respondents’ understanding of the term ‘spirituality’ in relation to music. These were: to what extent spirituality is seen as a religious concept; whether spirituality is an inner or outer experience; to what extent words are relevant to spiritual experiences; the role that knowledge and emotion play and whether musicians experience a sense of spirituality more when listening or performing. From these data we go on to identify implications for the music classroom.