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Investigating the effect of long-term musical experience on the auditory processing skills of young Maltese adults
Learning and practising a musical instrument has
recently been thought to ‘train’ the brain into processing sound
in a more refined manner.As a result, musicians experiencing
consistent exposure to musical practice have been suspected
to have superior auditory processing skills. This study aimed
to investigate this phenomenon within the Maltese context,
by testing two cohorts of young Maltese adults. Participants
in the musician cohort experienced consistent musical training
throughout their lifetime, while those in the non-musician
cohort did not have a history of musical training. A total of
24 Maltese speakers (14 musicians and 10 non-musicians) of
ages ranging between 19 and 31 years were tested for Frequency
Discrimination (FD), Duration Discrimination (DD), Temporal
Resolution (TR) and speech-in-noise recognition. The main
outcomes yielded by each cohort were compared and analysed
statistically. In comparison to the non-musician cohort, the
musicians performed in a slightly better manner throughout
testing. Statistical superiority was surprisingly only present in
the FD test. Although musicians displayed a degree of superiority
in performance on the other tests, differences in mean scores
were not statistically significant. The results yielded by this investigation
are to a degree coherent with implications of previous
research, in that the effect of long-term musical experience on
the trained cohort manifested itself in a slight superiority in performance
on auditory processing tasks. However, this difference
in scoring was not prominent enough to be statistically significant.peer-reviewe
The cognitive organization of music knowledge: a clinical analysis
Despite much recent interest in the clinical neuroscience of music processing, the cognitive organization of music as a domain of non-verbal knowledge has been little studied. Here we addressed this issue systematically in two expert musicians with clinical diagnoses of semantic dementia and Alzheimer’s disease, in comparison with a control group of healthy expert musicians. In a series of neuropsychological experiments, we investigated associative knowledge of musical compositions (musical objects), musical emotions, musical instruments (musical sources) and music notation (musical symbols). These aspects of music knowledge were assessed in relation to musical perceptual abilities and extra-musical neuropsychological functions. The patient with semantic dementia showed relatively preserved recognition of musical compositions and musical symbols despite severely impaired recognition of musical emotions and musical instruments from sound. In contrast, the patient with Alzheimer’s disease showed impaired recognition of compositions, with somewhat better recognition of composer and musical era, and impaired comprehension of musical symbols, but normal recognition of musical emotions and musical instruments from sound. The findings suggest that music knowledge is fractionated, and superordinate musical knowledge is relatively more robust than knowledge of particular music. We propose that music constitutes a distinct domain of non-verbal knowledge but shares certain cognitive organizational features with other brain knowledge systems. Within the domain of music knowledge, dissociable cognitive mechanisms process knowledge derived from physical sources and the knowledge of abstract musical entities
Predictive uncertainty in auditory sequence processing
Copyright © 2014 Hansen and Pearce. This is an open-access article distributed under
the terms of the Creative Commons Attribution License (CC BY). The use, distribution
or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance
with accepted academic practice. No use, distribution or reproduction is permitted
which does not comply with these terms
Lisp, Jazz, Aikido -- Three Expressions of a Single Essence
The relation between Science (what we can explain) and Art (what we can't)
has long been acknowledged and while every science contains an artistic part,
every art form also needs a bit of science. Among all scientific disciplines,
programming holds a special place for two reasons. First, the artistic part is
not only undeniable but also essential. Second, and much like in a purely
artistic discipline, the act of programming is driven partly by the notion of
aesthetics: the pleasure we have in creating beautiful things. Even though the
importance of aesthetics in the act of programming is now unquestioned, more
could still be written on the subject. The field called "psychology of
programming" focuses on the cognitive aspects of the activity, with the goal of
improving the productivity of programmers. While many scientists have
emphasized their concern for aesthetics and the impact it has on their
activity, few computer scientists have actually written about their thought
process while programming. What makes us like or dislike such and such language
or paradigm? Why do we shape our programs the way we do? By answering these
questions from the angle of aesthetics, we may be able to shed some new light
on the art of programming. Starting from the assumption that aesthetics is an
inherently transversal dimension, it should be possible for every programmer to
find the same aesthetic driving force in every creative activity they
undertake, not just programming, and in doing so, get deeper insight on why and
how they do things the way they do. On the other hand, because our aesthetic
sensitivities are so personal, all we can really do is relate our own
experiences and share it with others, in the hope that it will inspire them to
do the same. My personal life has been revolving around three major creative
activities, of equal importance: programming in Lisp, playing Jazz music, and
practicing Aikido. But why so many of them, why so different ones, and why
these specifically? By introspecting my personal aesthetic sensitivities, I
eventually realized that my tastes in the scientific, artistic, and physical
domains are all motivated by the same driving forces, hence unifying Lisp,
Jazz, and Aikido as three expressions of a single essence, not so different
after all. Lisp, Jazz, and Aikido are governed by a limited set of rules which
remain simple and unobtrusive. Conforming to them is a pleasure. Because Lisp,
Jazz, and Aikido are inherently introspective disciplines, they also invite you
to transgress the rules in order to find your own. Breaking the rules is fun.
Finally, if Lisp, Jazz, and Aikido unify so many paradigms, styles, or
techniques, it is not by mere accumulation but because they live at the
meta-level and let you reinvent them. Working at the meta-level is an
enlightening experience. Understand your aesthetic sensitivities and you may
gain considerable insight on your own psychology of programming. Mine is
perhaps common to most lispers. Perhaps also common to other programming
communities, but that, is for the reader to decide..
Brain lateralization and neural plasticity for musical and cognitive abilities in an epileptic musician
The use of intracarotid propofol procedure (IPP) when assessing musical lateralization has not been reported in literature up to now. This procedure (similar to Wada Test) has provided the opportunity to investigate not only lateralization of language and memory functions on epileptic patients but also offers a functional mapping approach with superior spatial and temporal resolution to analyze the lateralization of musical abilities. Findings in literature suggest that musical training modifies functional and structural brain organization. We studied hemispheric lateralization in a professional musician, a 33 years old woman with refractory left medial temporal lobe (MTL) epilepsy (TLE). A longitudinal neuropsychological study was performed over a period of 21 months. Before epilepsy surgery, musical abilities, language and memory were tested during IPP by means of a novel and exhaustive neuropsychological battery focusing on the processing of music. We used a selection of stimuli to analyze listening, score reading, and tempo discrimination. Our results suggested that IPP is an excellent method to determine not only language, semantic, and episodic memory, but also musical dominance in a professional musician who may be candidate for epilepsy surgery. Neuropsychological testing revealed that right hemisphere's patient is involved in semantic and episodic musical memory processes, whereas her score reading and tempo processing require contribution from both hemispheres. At one-year follow-up, outcome was excellent with respect to seizures and professional skills, meanwhile cognitive abilities improved. These findings indicate that IPP helps to predict who might be at risk for postoperative musical, language, and memory deficits after epilepsy surgery. Our research suggests that musical expertise and epilepsy critically modifies long-term memory processes and induces brain structural and functional plasticity
Audio Features Affected by Music Expressiveness
Within a Music Information Retrieval perspective, the goal of the study
presented here is to investigate the impact on sound features of the musician's
affective intention, namely when trying to intentionally convey emotional
contents via expressiveness. A preliminary experiment has been performed
involving tuba players. The recordings have been analysed by extracting a
variety of features, which have been subsequently evaluated by combining both
classic and machine learning statistical techniques. Results are reported and
discussed.Comment: Submitted to ACM SIGIR Conference on Research and Development in
Information Retrieval (SIGIR 2016), Pisa, Italy, July 17-21, 201
Screen-based musical instruments as semiotic machines
The ixi software project started in 2000 with the intention to explore new interactive patterns and virtual interfaces in computer music software. The aim of this paper is not to describe these programs, as they have been described elsewhere, but rather explicate the theoretical background that underlies the design of these screen-based instruments. After an analysis of the similarities and differences in the design of acoustic and screen-based instruments, the paper describes how the creation of an interface is essentially the creation of a semiotic system that affects and influences the musician and the composer. Finally the terminology of this semiotics is explained as an interaction model
Auditory and cognitive performance in elderly musicians and nonmusicians
Musicians represent a model for examining brain and behavioral plasticity in terms of cognitive and auditory profile, but few studies have investigated whether elderly musicians have better auditory and cognitive abilities than nonmusicians. The aim of the present study was to examine whether being a professional musician attenuates the normal age-related changes in hearing and cognition. Elderly musicians still active in their profession were compared with nonmusicians on auditory performance (absolute threshold, frequency intensity, duration and spectral shape discrimination, gap and sinusoidal amplitude-modulation detection), and on simple (short-term memory) and more complex and higher-order (working memory [WM] and visuospatial abilities) cognitive tasks. The sample consisted of adults at least 65 years of age. The results showed that older musicians had similar absolute thresholds but better supra-threshold discrimination abilities than nonmusicians in four of the six auditory tasks administered. They also had a better WM performance, and stronger visuospatial abilities than nonmusicians. No differences were found between the two groups\u2019 short-term memory. Frequency discrimination and gap detection for the auditory measures, and WM complex span tasks and one of the visuospatial tasks for the cognitive ones proved to be very good classifiers of the musicians. These findings suggest that life-long music training may be associated with enhanced auditory and cognitive performance, including complex cognitive skills, in advanced age. However, whether this music training represents a protective factor or not needs further investigation
The acoustic, the digital and the body: a survey on musical instruments
This paper reports on a survey conducted in the autumn of 2006 with the objective to understand people's relationship to their musical tools. The survey focused on the question of embodiment and its different modalities in the fields of acoustic and digital instruments. The questions of control, instrumental entropy, limitations and creativity were addressed in relation to people's activities of playing, creating or modifying their instruments. The approach used in the survey was phenomenological, i.e. we were concerned with the experience of playing, composing for and designing digital or acoustic instruments. At the time of analysis, we had 209 replies from musicians, composers, engineers, designers, artists and others interested in this topic. The survey was mainly aimed at instrumentalists and people who create their own instruments or compositions in flexible audio programming environments such as SuperCollider, Pure Data, ChucK, Max/MSP, CSound, etc
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