音乐训练与抑制控制的关系：来自ERPs的证据

抑制控制是人类非常重要的认知功能之一, 它对个体适应环境具有重要的意义。本研究将抑制控制细分为反应抑制和冲突控制, 采用Go/No-go和Stroop任务从行为和脑电层面, 考察了音乐训练与抑制控制能力的关系及其认知神经机制。结果发现：在行为指标上, 音乐训练组比控制组的Stroop干扰效应更小, 但两组被试在Go/No-go任务表现上没有差异。在脑电指标上, 在Go/No-go任务中音乐训练组的N2差异波和P3差异波波幅(No-go减Go条件)显著大于控制组, 在Stroop任务中音乐训练组的N450差异波波幅(不一致减一致条件)也显著大于控制组, 但两组被试的SP差异波波幅(不一致减一致条件)无显著差异。结果表明：音乐训练组被试在反应抑制任务中可能具有更强的冲突监控和运动抑制能力, 在冲突控制任务中也具有更强的冲突监控能力。本研究从电生理的层面反映了音乐训练与抑制控制能力的提升具有一定的关联。     

声乐与器乐情绪加工的ERP研究

借助跨通道情绪启动范式考察声乐与器乐情绪加工的电生理差异。启动刺激是声乐和器乐曲(小提琴演奏), 目标刺激是与音乐情绪一致或不一致的面孔表情图片。结果显示, 与一致条件相比, 与面孔情绪不一致的器乐曲诱发了N400, 而与面孔情绪不一致的声乐曲诱发了LPC。这些结果表明, 声乐与器乐情绪加工的电生理反应存在差异。     

生活方式对大学生在线音乐购买意向的影响：有调节的中介模型

探讨生活方式对大学生在线音乐购买意向的影响机制。采用生活方式量表、在线音乐感知价值量表、神经质量表以及在线音乐购买意向量表对2011名大学生进行调查。结果表明：（1）时尚品味、完美主义和崇尚自由正向预测大学生在线音乐购买意向;（2）在线音乐感知价值在时尚品味与大学生在线音乐购买意向之间起部分中介作用,在线音乐感知价值在崇尚自由与大学生在线音乐购买意向之间起完全中介作用,在线音乐感知价值在中庸内敛、积极进取与大学生在线音乐购买意向之间起遮掩效应;（3）神经质调节了在线音乐感知价值对大学生在线音乐购买意向的影响。     

Church Attendance,Religious Activities,and the Life Satisfaction of Older Adults in Middletown,U.S.A.

ABSTRACT

The central focus of this study is to examine the patterns and relationships which may or may not exist between religious attendance and activity, sex, health, income, and age with regard to the sense of subjective well-being as expressed by older Middletowners. Based on a random sample of 400 persons, 60 years of age and older, a multiple regression analysis reveals that three variables account for the vast majority of variance in life satisfaction. Those variables are: SUBJECTIVE HEALTH STATUS, SATISFACTION WITH INCOME, and CHURCH ATTENDANCE. For those three variables R = .4780; R² = .2284. When all seven independent variables were included R = .4851; R² = .2351. In addition, further analysis was undertaken to examine the interrelationships between the seven independent variables.     

音乐与情绪诱发的机制模型

音乐与情绪关系的讨论正处于行为层面描述向认知及神经机制研究的初探阶段.线索一致性模型、音乐期待模型、协同化理论和多重机制模型分别从音乐线索、听者认知、音乐与听者互动关系及多重整合角度对音乐诱发情绪的过程做出了解释.当前分歧集中于三方面:(1)音乐诱发情绪是否必须以认知为中介;(2)诱发过程是一般领域还是特殊领域;(3)诱发情绪的机制是多元还是单一.文章提出确定概念同质、借助多指标测量和思考机制关系等解决思路,并阐明了此领域的研究趋势.     

Projective identification in Othello and Verdi's Otello

In this paper I explore how projective identification is depicted in Shakespeare's Othello (1603–4 [2006]) and in Verdi's Otello (1887). Both the play and the opera can be seen as studies in projection – in the evacuation into others of feelings that the subject finds unbearable, such as envious and jealous exclusion or unbearable sexual excitement. The essential issue is the same in both the play and the opera, which is that the very sight of love between Othello and Desdemona, or of contentment in anyone's mind, drives Iago mad with envy and jealousy, which he has to expel and project into others, particularly into Othello, who is susceptible to this attack because of his own narcissistic vulnerability. I take two episodes, which appear in both the play and the opera, to explore in detail how projective identification is represented both verbally and musically. I suggest that music, and words used musically, are particularly suited to conveying complex inter‐ and intra‐personal processes such as projective identification.     

On the Complexity of Classical Guitar Playing: Functional Adaptations to Task Constraints

The authors performed a behavioral study of the complexity of left-hand finger movements in classical guitar playing. Six professional guitarists played movement sequences in a fixed tempo. Left-hand finger movements were recorded in 3 dimensions, and the guitar sound was recorded synchronously. Assuming that performers prefer to avoid extreme joint angles when moving, the authors hypothesized 3 complexity factors. The results showed differential effects of the complexity factors on the performance measures and on participants' judgments of complexity. The results demonstrated that keeping the joints in the middle of their range is an important principle in guitar playing, and players exploit the available tolerance in timing and placement of the left-hand fingers to control the acoustic output variability.     

Enhancing positive affect and divergent thinking abilities: Play some music and dance

This study compares the effect of dance on affect and cognition to music or exercise, in a young, non-clinical population. Participants were asked to complete tests of mood and creativity before and after spending 5 min either listening to music, dancing, cycling or sitting quietly. Both dancing and passively listening to music enhanced positive affect, decreased negative affect and reduced feelings of fatigue. Cycling and sitting quietly had no effect on positive mood or feelings of fatigue. Moreover, dancing and passively listening to music had dissociable effects on different aspects of creativity, with greater change in positive affect being associated with greater enhancement in measures of verbal and non-verbal creativity, respectively. We suggest that these findings support the use of either short duration dancing or passively listening to music as potentially powerful tools in enhancing emotional well-being and different aspects of divergent thinking in non-clinical settings.     

On the stability and relevance of the exercise heart rate–music-tempo preference relationship

ObjectivesTo examine the stability of the cubic (two points of inflection) exercise heart rate–music-tempo preference relationship found by Karageorghis et al. (2011) in cycle ergometry using a different exercise modality (treadmill exercise). To advance previous related studies through the inclusion of psychological outcome variables (e.g., state attention and intrinsic motivation) and post-experiment interviews.DesignA mixed-model experimental design was employed with two within-subject factors (exercise intensity and music tempo) and a between-subjects factor (gender). The experiment was supplemented by qualitative data that were analyzed using inductive content analysis.MethodsParticipants (n = 22) exercised at six intensities (40–90% maxHRR) during which they were exposed to music tracks at four tempi and a no-music control. Music preference, affective valence, and perceived activation were assessed during the task. Immediately afterwards, an attentional focus item, the short Flow State Scale-2 and items from the Intrinsic Motivation Inventory were administered. A subsample of participants (n = 8) was interviewed using a schedule of open-ended questions.ResultsResults did not support a cubic relationship but rather a quadratic one (one point of inflection), and there was a weak association between the optimal choice of music tempo and positive psychological outcomes.ConclusionsThe range of preferred tempi for treadmill exercise (123–131 bpm) was narrower than that for cycle ergometry (125–140 bpm). Regardless of its tempo, music reduced the number of associative thoughts by ∼10% across all exercise intensities.     

On the role of lyrics in the music–exercise performance relationship

ObjectivesTo examine the role of lyrics on a range of psychological, psychophysical, and physiological variables during submaximal cycling ergometry.DesignWithin-subject counterbalanced design.MethodTwenty-five participants performed three 6-min cycling trials at a power output corresponding to 75% of their maximum heart rate under conditions of music with lyrics, same music without lyrics, and a no-music control. Cycling cadence, heart rate, and perceived exertion were recorded at 2-min intervals during each trial. Positive and negative affect was assessed before and after each trial.ResultsParticipants cycled at a higher cadence towards the end of the cycling trials under music with lyrics. Main effects were found for perceived exertion and heart rate, both of which increased from min 2 through to min 6, and for affect: positive affect increased and negative affect decreased from pre- to post-trials.ConclusionsParticipants pedalled faster in both music conditions (with and without lyrics) while perceived exertion and heart rate did not differ. The inclusion of lyrics influenced cycling cadence only at min 6 and had no effect on the remaining dependent variables throughout the duration of the cycling trials. The impact of lyrical content in the music–exercise performance relationship warrants further attention in order for us to better understand its role.