Timbre has been identified as a potential component in the communication of affect in music. Although its function as a carrier of perceptually useful information about sound source mechanics has been established, less is understood about whether and how it functions as a carrier of information for communicating affect in music. To investigate these issues, listeners trained in Chinese and Western musical traditions were presented with Phrases, Measures, and Notes of recorded excerpts interpreted with a variety of affective intentions by performers on instruments from the two cultures. Results showed greater accuracy and more extreme responses in Chinese musician listeners and lowest accuracy in nonmusicians suggesting that musical training plays a role in listeners' decoding of affective intention. Responses were more differentiated and more accurate with more musical information. Excerpts were also analyzed to determine acoustic features that are correlated with timbre characteristics. Temporal, spectral, and spectrotemporal attributes were consistently used in judging affective intent in music, suggesting purposeful use of these properties by listeners. Comparison between listeners' use of acoustic features reveals a greater number of shared features between Western musicians and nonmusicians compared to Chinese musicians for valence, although the three groups shared more features for arousal. How timbre is utilized in musical communication appears to be different across musical traditions, and valence responses seem to be more culture-specific and arousal responses more similar across cultures.

In this preliminary study, we explored the relationship between auditory imagery ability and the maintenance of tonal and temporal accuracy when singing and audiating with altered auditory feedback (AAF). Actively performing participants sang and audiated (sang mentally but not aloud) a self-selected piece in AAF conditions, including upward pitch-shifts and delayed auditory feedback (DAF), and with speech distraction. Participants with higher self-reported scores on the Bucknell Auditory Imagery Scale (BAIS) produced a tonal reference that was less disrupted by pitch shifts and speech distraction than musicians with lower scores. However, there was no observed effect of BAIS score on temporal deviation when singing with DAF. Auditory imagery ability was not related to the experience of having studied music theory formally, but was significantly related to the experience of performing. The significant effect of auditory imagery ability on tonal reference deviation remained even after partialling out the effect of experience of performing. The results indicate that auditory imagery ability plays a key role in maintaining an internal tonal center during singing but has at most a weak effect on temporal consistency. In this article, we outline future directions in understanding the multifaceted role of auditory imagery ability in singers' accuracy and expression.

Although remote music training has its limitations, the use of technology can lower barriers to its accessibility. This exploratory study compared the effects of remote and in-person percussion training on motor performance, performance quality, and students' enjoyment. The training involved the motor aspects of playing legato on percussion instruments. Twenty percussionists received the training either remotely from an instructor using videoconferencing technology or in person from the same instructor who was in the training room. Motor behavior, legato expressivity, performance quality, and participants' self-rated enjoyment were compared to determine potential advantages and disadvantages of training in the two formats. Furthermore, participants rated their interest in continuing to receive training in the same way they had experienced it, remote or in person. Regardless of whether the instructor was remote or in person, participants lifted their mallets to a greater height above the drums post-training, perhaps because there was more spatial and velocity variability in the movements of their elbows and wrists. Changes in their patterns of post-training movements were paralleled by higher ratings for expressivity of legato and performance quality. Critically, participants who received training from the remote instructor expressed greater interest in continuing training than those who received training from the instructor who was physically present, in both the short and long term. These findings may suggest that remote and in-person instruction yielded comparable changes on motor behavior, as demonstrated by the altered speed at which movements of the elbow and wrist were executed, which in turn may influence the perception of expressivity in legato playing. The results may support the use of remote training as an adjunct to physical practice to lower some barriers to music education.

In an opera performance, singers must perform difficult musical repertoire at a high level while dealing with the stress of standing before a large audience. Previous literature suggests that individuals with better cognitive functions experience less stress. During a music performance such functions, especially attention, memory, and executive function, are in high demand, suggesting that cognitive functions may play a role in music performance. This study used physiological and cognitive measures to examine this phenomenon in opera performance. Cardiac activity data were collected from 24 opera trainees during a resting-state period before and during a real-life performance. Heart-rate variability (HRV) was used as an indicator of physiological stress, such that higher HRV indicates lower stress. Standardized neuropsychological tests were used to measure attention (IVA-2), memory (CVLT-3, WMS-IV), and executive function (Trail Making Test). Results showed cognitive function- and state-specific relationships between HRV and cognitive function: HRV during the resting state had a positive correlation with attention, while HRV during a performance had a positive correlation with executive function. These results suggest that greater cognitive function is related to lower stress during opera performance. The findings of this study provide initial evidence for a relationship between cognitive functions and music performance stress in opera trainees.

Although temporally nonadjacent key relationships (e.g., Key X →Key Y→ Key X) are ubiquitous within tonal music, the full extent to which they are perceived is uncertain. Previous research suggests that memory for an initial key remains active up to 20 s after modulation; however, homophonic textures were used in these studies, leaving open the possibility that surface features such as figuration may contribute to nonadjacency effects. In two experiments, we investigated this issue by measuring goodness of completion ratings for stimuli in which musical surface features were manipulated. Two types of surface feature were tested: figuration and activity (total number of notes per stimulus). Stimuli were composed of three parts: (1) nonadjacent section (in either the same or a different key to the probe); (2) intervening section (in a different key to the probe); and (3) probe (a cadence in either the same or different key as the nonadjacent section). In Experiment 1, we tested whether the presence of surface features resulted in higher goodness of completion ratings for the probe; in Experiment 2, we manipulated nonadjacent key relationships to ascertain the effect of surface features on global perception of key. Results showed that figuration and activity contributed to goodness of completion ratings, particularly in stimuli where these features matched each other in the nonadjacent sections. Moreover, the presence of surface features strengthened the perceived relationships between the keys of nonadjacent sections, thereby appearing to contribute to the global perception of phrase. In sum, although from an analytical perspective surface features are often considered to be less important hierarchically, our results indicate that they contribute significantly to the perception of nonadjacent key relationships.

In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of and . These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.

In a qualitative study, we explored the range of reflections and experiences involved in the composition of score-based music by administering a 15-item, open-ended, questionnaire to seven professional composers from Europe and North America. Adopting a grounded theory approach, we organized six different codes emerging from our data into two higher-order categories ( and ). Our content analysis, inspired by the theoretical resources of 4E cognitive science, points to three overlapping characteristics of creative cognition in music composition: it is largely exploratory, it is grounded in bodily experience, and it emerges from the recursive dialogue of agents and their environment. More generally, such preliminary findings suggest that musical creativity may be advantageously understood as a process of constant adaptation - one in which composers enact their musical styles and identities by exploring novel interactivities hidden in their contingent and historical milieux.

Music training has been found to be beneficial for young and healthy participants but the associations between musical training and the cognitive functioning of elderly participants have not been reported consistently. We examined whether lifetime musical training is associated with neuropsychological performance in a memory clinic population of older patients.

This article reports a two-part study into the prosocial impacts of third sector cultural activities with children and adolescents in impoverished and violence-stricken urban neighbourhoods in Cali, Colombia. First, a year-long field study set out to compare a pre-existing music-training programme with a dance-training programme and a football-training programme with 9-14 year olds, to determine the extent to which each affords the development of empathic attitudes and prosocial behaviours. The music and dance programmes produced few significant changes in participants' empathy or prosociality, and there were few significant differences between the empathy and prosociality of the participants in the two groups. Participant dropout prevented comparison with the football-training programme. Second, an interview study was used to understand the place of prosociality in the aims and work of policymakers, funders and third-sector practitioners running cultural activities for social impacts in the Cali region. The study revealed that the organisations aimed to achieve individual and social transformation by creating the conditions for transformation, evidenced as positive outcomes. Neither the measures used by the organisations themselves nor the psychosocial constructs of prosociality and empathy used by the researchers adequately evidenced some of the intended outcomes, such as enabling individuals to build a , practising and sustaining social inclusion and transforming communities, nor a path from individual to social transformation. Differences between the structure of cultural activities and their associated values meant that different activities were believed to lend themselves to social transformation more or less well. This highlights the need for critically reflective, co-constructed research using a fuller range of constructs that can capture the outcomes of these programmes for both individuals and groups.

Previous research suggests that singing in a choir as an older adult is associated with better quality of life (QOL). However, the degree to which sociodemographic variables and level of engagement in hobbies contribute to this relationship is largely unknown. The aim of the study was to compare quality of life (QOL) of older adult choir singers with a matched sample of older adults from the general population in Finland, taking into consideration sociodemographic, satisfaction with health, and level of engagement in hobbies (active, inactive). Case-control methods were used to match a sample of 109 older adult singers with a sample of 307 older adults from the general population. Tobit regression analysis with sociodemographic covariates was used to explore observed group differences in QOL as measured by two WHOQOL-Bref domains (psychological and physical). Probit regression analysis was used to examine the effect of sociodemographic variables and engagement in hobbies and on overall QOL and satisfaction with health. As expected, sociodemographic variables were strongly associated with physical and psychological QOL. After controlling for sociodemographic variables, the older choir singers reported significantly higher ratings on physical QOL, but not psychological QOL, compared to matched controls. Additional adjustment for satisfaction for health attenuated the results. When considering level of engagement in hobbies, older adult choir singers reported significantly higher overall QOL and satisfaction with health when compared to either controls who were either actively engaged in hobbies or not active in hobbies. These results suggest that singing in a choir as an older adult may promote well-being, even after accounting for sociodemographic and level of engagement in hobbies.

Nonverbal auditory and visual communication helps ensemble musicians predict each other's intentions and coordinate their actions. When structural characteristics of the music make predicting co-performers' intentions difficult (e.g., following long pauses or during ritardandi), reliance on incoming auditory and visual signals may change. This study tested whether attention to visual cues during piano-piano and piano-violin duet performance increases in such situations. Pianists performed the secondo part to three duets, synchronizing with recordings of violinists or pianists playing the primo parts. Secondos' access to incoming audio and visual signals and to their own auditory feedback was manipulated. Synchronization was most successful when primo audio was available, deteriorating when primo audio was removed and only cues from primo visual signals were available. Visual cues were used effectively following long pauses in the music, however, even in the absence of primo audio. Synchronization was unaffected by the removal of secondos' own auditory feedback. Differences were observed in how successfully piano-piano and piano-violin duos synchronized, but these effects of instrument pairing were not consistent across pieces. Pianists' success at synchronizing with violinists and other pianists is likely moderated by piece characteristics and individual differences in the clarity of cueing gestures used.

We report an investigation of humans' musical learning ability using a novel musical system. We designed an artificial musical system based on the Bohlen-Pierce scale, a scale very different from Western music. Melodies were composed from chord progressions in the new scale by applying the rules of a finite-state grammar. After exposing participants to sets of melodies, we conducted listening tests to assess learning, including recognition tests, generalization tests, and subjective preference ratings. In Experiment 1, participants were presented with 15 melodies 27 times each. Forced choice results showed that participants were able to recognize previously encountered melodies and generalize their knowledge to new melodies, suggesting internalization of the musical grammar.Preference ratings showed no differentiation among familiar, new, and ungrammatical melodies. In Experiment 2, participants were given 10 melodies 40 times each. Results showed superior recognition but unsuccessful generalization. Additionally, preference ratings were significantly higher for familiar melodies. Results from the two experiments suggest that humans can internalize the grammatical structure of a new musical system following exposure to a sufficiently large set size of melodies, but musical preference results from repeated exposure to a small number of items. This dissociation between grammar learning and preference will be further discussed.