Tempo and intensity of pre-task music modulate neural activity during reactive task performance

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2013 The Authors.Research has shown that not only do young athletes purposively use music to manage their emotional state (Bishop, Karageorghis, & Loizou, 2007), but also that brief periods of music listening may facilitate their subsequent reactive performance (Bishop, Karageorghis, & Kinrade, 2009). We report an fMRI study in which young athletes lay in an MRI scanner and listened to a popular music track immediately prior to performance of a three-choice reaction time task; intensity and tempo were modified such that six excerpts (2 intensities × 3 tempi) were created. Neural activity was measured throughout. Faster tempi and higher intensity collectively yielded activation in structures integral to visual perception (inferior temporal gyrus), allocation of attention (cuneus, inferior parietal lobule, supramarginal gyrus), and motor control (putamen), during reactive performance. The implications for music listening as a pre-competition strategy in sport are discussed

Relative Convex Hull Determination from Convex Hulls in the Plane

A new algorithm for the determination of the relative convex hull in the plane of a simple polygon A with respect to another simple polygon B which contains A, is proposed. The relative convex hull is also known as geodesic convex hull, and the problem of its determination in the plane is equivalent to find the shortest curve among all Jordan curves lying in the difference set of B and A and encircling A. Algorithms solving this problem known from Computational Geometry are based on the triangulation or similar decomposition of that difference set. The algorithm presented here does not use such decomposition, but it supposes that A and B are given as ordered sequences of vertices. The algorithm is based on convex hull calculations of A and B and of smaller polygons and polylines, it produces the output list of vertices of the relative convex hull from the sequence of vertices of the convex hull of A.Comment: 15 pages, 4 figures, Conference paper published. We corrected two typing errors in Definition 2: $I_S$ has to be defined based on $O_S$, and $I_E$ has to be defined based on $O_E$ (not just using $O$). These errors appeared in the text of the original conference paper, which also contained the pseudocode of an algorithm where $I_S$ and $I_E$ appeared as correctly define

The Wow Factor? A Comparative Study of the Development of Student Music Teachers' Talents in Scotland and Australia

For some time there has been debate about differing perspectives on musical gift and musical intelligence. One view is that musical gift is innate: that it is present in certain individuals from birth and that the task of the teacher is to develop the potential which is there. A second view is that musical gift is a complex concept which includes responses from individuals to different environments and communities (Howe and Sloboda, 1997). This then raises the possibility that musical excellence can be taught. We have already explored this idea with practising musicians (Stollery and McPhee, 2002). Our research has now expanded to include music teachers in formation, and, in this paper, we look at the influences in their musical development which have either 'crystallised' or 'paralysed' the musical talent which they possess. Our research has a comparative dimension, being carried out in Scotland and in Australia. We conclude that there are several key influences in the musical development of the individual, including home and community support, school opportunities and teaching styles and that there may be education and culture-specific elements to these influences

Pleasure, arousal, dominance, and judgments about music in everyday life

The aim of the present research was to consider what particular features are significant predictors of whether music is present in a given situation, as well as what factors influence a person’s judgments about the music. Applying Mehrabian and Russell’s (1974) Pleasure-Arousal-Dominance model to everyday experiences of music, 569 people reported on their activity for the previous day via the Day Reconstruction Method (Kahneman, Krueger, Schkade, Schwarz, & Stone, 2004). Data concerning each event included the activity and location, and characterization of the experience using the Pleasure–Arousal–Dominance measure. Moreover, for those events where music was present, participants also indicated how they heard the music and made four judgments about the music. Results indicated that the location, activity, and the person’s perception of dominance were significant predictors of the presence of music during everyday activities and that person’s judgments about the music. Contrary to prior research that has considered predominantly situational pleasure and arousal variables, the present results demonstrate that dominance is arguably the important variable in contextualized music listening

The role of parental influences in the development of musical performance

Interviews were conducted with 257 children and their parents; all of the children had studied a musical instrument but differed in the extent of their mastery. The purpose of the study was to investigate the role of parents in the development of musical ability. It was discovered that the most successful children had parents who were the most highly involved in lessons and practice in the earliest stages of learning. These successful music learners often had parents who were involved with music themselves. Parental involvement in music typically took the form of listening to music rather than performing it, and tended to increase over the child's learning period. The children who failed to continue with lessons had parents who were, on average, less interested in music and who did not change their own degree of involvement with music over their child's learning period. Overall, the most musically able children had the highest levels of parental support

myTunes: Digital music library users and their self-images

This investigation explored the relationships between individuals’ self-images and their interactions with their digital music collections via the commercially predominant program iTunes. Sixty-nine university students completed an internet-based Musical Self-Images Questionnaire (MSIQ) along with a series of questions concerning their iTunes collections. The majority of participants were highly engaged with music, regardless of their varied musical backgrounds. Factor analysis of the MSIQ data revealed two distinct self-image groups, which we label as ‘musical practitioner’ (linking ‘overall musician’, ‘performer’, ‘composer’, ‘teacher’, and ‘listener’) and ‘music consumer’ (linking ‘listener’, ‘fan’, and ‘technology user’). Participants used an average of seven attributes to categorize their music, and most consistently used one in particular to sort their collections. Those who rated themselves as higher level performers and fans used the playlist function (which involves compiling sequences of selected tracks) more often than those with lower self-ratings on those scales

Processes and experiences of creative cognition in seven Western classical composers

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 ( the act of composing and establishing relationships). 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

Memory for pitch in congenital amusia: Beyond a fine-grained pitch discrimination problem

Congenital amusia is a disorder that affects the perception and production of music. While amusia has been associated with deficits in pitch discrimination, several reports suggest that memory deficits also play a role. The present study investigated short-term memory span for pitch-based and verbal information in 14 individuals with amusia and matched controls. Analogous adaptive-tracking procedures were used to generate tone and digit spans using stimuli that exceeded psychophysically measured pitch perception thresholds. Individuals with amusia had significantly smaller tone spans, whereas their digits spans were a similar size to those of controls. An automated operation span task was used to determine working memory capacity. Working memory deficits were seen in only a small subgroup of individuals with amusia. These findings support the existence of a pitch-specific component within short-term memory and suggest that congenital amusia is more than a disorder of fine-grained pitch discrimination