Musical Expertise and the Ability to Imagine Loudness

PLoS ONE

Volumn 8, Issue 2, 2013, Pages

  Bishop, Laura ^a   Bailes, Freya ^a,b   Dean, Roger T ^a  

^a WESTERN SYDNEY UNIVERSITY   (Australia)

^b UNIVERSITY OF HULL   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

ADULT; ARTICLE; AUDITORY STIMULATION; CONTROLLED STUDY; HUMAN; HUMAN EXPERIMENT; IMAGERY; IMAGINATION; LOUDNESS; MUSIC; NORMAL HUMAN; STIMULUS RESPONSE; TASK PERFORMANCE; WORKING MEMORY;

ACOUSTIC STIMULATION; ADULT; HUMANS; IMAGERY (PSYCHOTHERAPY); IMAGINATION; MUSIC; NOISE; TASK PERFORMANCE AND ANALYSIS;

EID: 84874530909     PISSN: None     EISSN: 19326203     Source Type: Journal    
DOI: 10.1371/journal.pone.0056052     Document Type: Article

References (82)

1. Dean RT, Bailes F, (2010) A rise-fall temporal asymmetry of intensity in composed and improvised electroacoustic music. Organised Sound 15: 147-158.
2. Dean RT, Bailes F, Schubert E, (2011) Acoustic intensity causes perceived changes in arousal levels in music: An experimental investigation. PLoS ONE 6: e18591.
3. Geringer JM, (1995) Continuous loudness judgements of dynamics in recorded music excerpts. Journal of Research in Music Education 43: 22-35.
4. Neuhoff JG, McBeath MK, Wanzie WC, (1999) Dynamic frequency change influences loudness perception: A central, analytic process. J Exp Psychol Hum Percept Perform 25: 1050-1059.
5. Olsen KN, Stevens CJ, (2010) Perceptual overestimation of rising intensity: Is stimulus continuity necessary? Perception 39: 695-704.
6. Huron D, (1991) The ramp archetype: A score-based study of musical dynamics in 14 piano composers. Psychology of Music 19: 33-45.
7. Wu J, Yu Z, Mai X, Wei J, Luo Y, (2011) Pitch and loudness information encoded in auditory imagery as revealed by event related potentials. Psychophysiology 48: 415-419.
8. Juslin P, Laukka P, (2003) Communication of emotions in vocal expression and music performance: Different channels, same code? Psychol Bull 129: 770-814.
9. Palmer C, (1997) Music Performance. Annu Rev Psychol 48: 115-138.
10. Sloboda J, Lehmann A, (2001) Tracking performance correlates of changes in perceived intensity of emotion during different interpretations of a Chopin piano prelude. Music Percept 19: 87-120.
11. Madison G, (2000) Properties of expressive variability patterns in music performances. Journal of New Music Research 29: 335-356.
12. Ericsson K, Lehmann A, (1996) Expert and exceptional performance: Evidence of maximal adaptation to task constraints. Annu Rev Psychol 47: 273-305.
13. Williamon A, Valentine E, (2002) The role of retrieval structures in memorizing music. Cogn Psychol 44: 1-32.
14. Weber W, Brown S, (1986) Musical imagery. Music Percept 3: 411-426.
15. Brodsky W, Henik A, Rubinstein B, Zorman M, (2003) Auditory imagery from musical notation in expert musicians. Percept Psychophys 65: 602-612.
16. Janata P, Paroo K, (2006) Acuity of auditory images in pitch and time. Percept Psychophys 68: 829-844.
17. Halpern A, (1988) Mental scanning in auditory imagery for songs. J Exp Psychol Learn Mem Cogn 14: 434-443.
18. Pecenka N, Keller P, (2009) Auditory pitch imagery and its relationship to musical synchronization. Ann N Y Acad Sci 1169: 282-286.
19. Aleman A, Nieuwenstein M, Bocker K, de Haan E, (2000) Music training and mental imagery ability. Neuropsychologia 38: 1664-1668.
20. Gordon E, (1979) Developmental music aptitude as measured by the Primary Measures of Music Audiation. Psychology of Music 7: 42-49.
21. Pitt M, Crowder R, (1992) The role of spectral and dynamic cues in imagery for musical timbre. J Exp Psychol Hum Percept Perform 18: 728-738.
22. Bailes F, (2007) Timbre as an elusive component of imagery for music. Empir Musicol Rev 2: 21-34.
23. Repp B, (1999) Effects of auditory feedback deprivation on expressive piano performance. Music Percept 16: 409-438.
24. Intons-Peterson M, (1980) The role of loudness in auditory imagery. Mem Cognit 8: 385-393.
25. Pylyshyn Z, (1981) The imagery debate: Analogue media versus tacit knowledge. Psychol Rev 88: 16-45.
26. Thompson WL, Kosslyn SM, Hoffman MS, Van der Kooij K, (2008) Inspecting visual mental images: Can people "see" implicit properties as easily in imagery and perception? Mem Cognit 36: 1024-1032.
27. Hubbard T, (2010) Auditory imagery: Empirical findings. Psychol Bull 136: 302-329.
28. Lucas BJ, Schubert E, Halpern AR, (2010) Perception of emotion in sounded and imagined music. Music Percept 27: 399-412.
29. Kamenetsky S, Hill D, Trehub S, (1997) Effect of tempo and dynamics on the perception of emotion in music. Psychology of Music 25: 149.
30. Thompson WF, Illie G, (2006) A comparison of acoustic cues in music and speech for three dimensions of affect. Music Percept 23: 319-330.
31. Levitin D, Cook PR, (1996) Memory for musical tempo: Additional evidence that auditory memory is absolute. Percept Psychophys 58: 927-935.
32. Levitin D, (1994) Absolute memory for musical pitch: Evidence from the production of learned melodies. Percept Psychophys 56: 414-423.
33. Hill NM, Schneider W (2006) Brain changes in the development of expertise: Neuroanatomical and neurophysiological evidence about skill-based adaptations. In: Ericsson K, Charness N, Feltovich PJ, Hoffman RR, editors. The Cambridge Handbook of Expertise and Expert Performance. New York: Cambridge University. 653-682.
34. Sloboda J, (2000) Individual differences in music performance. Trends in Cognitive Science 4: 397-403.
35. Repp B, (1997) Expressive timing in a Debussy Prelude: A comparison of student and expert pianists. Music Sci 1: 257-268.
36. Juslin P, (2003) Five facets of musical expression: a psychologist's perspective on music performance. Psychology of Music 31: 273-302.
37. Penel A, Drake C, (2004) Timing variations in music performance: Musical communication, perceptual compensation, and/or motor control? Percept Psychophys 66: 545-562.
38. Chase W, Simon H, (1973) Perception in Chess. Cogn Psychol 4: 55-61.
39. Bailes F, Bigand E (2004) A tracking study of mental imagery for popular classical music. In: Lipscomb S, Ashley, R, Gjerdingen, R and Webster, P., editors. Paper presented at the 8th International Conference on Music Perception & Cognition: Evanston, Illinois.
40. Bigand E, Poulin-Charronnat B, (2006) Are we "experienced listeners"? A review of the musical capacities that do not depend on formal musical training. Cognition 100: 100-130.
41. Strait DL, Kraus N, Parbery-Clark A, Ashley R, (2010) Musical experience shapes top-down auditory mechanisms: Evidence from masking and auditory attention performance. Hear Res 261: 22-29.
42. Tervaniemi M, Just V, Koelsch S, Widmann A, Schröger E, (2005) Pitch discrimination accuracy in musicians vs nonmusicians: An event-related potential and behavioral study. Exp Brain Res 161: 1-10.
43. Rammsayer T, Altenmüller E, (2006) Temporal information processing in musicians and nonmusicians. Music Percept 24: 37-48.
44. McAdams S, Winsberg S, Donnadieu S, Soete G, Krimphoff J, (1995) Perceptual scaling of synthesized musical timbres: Common dimensions, specificities, and latent subject classes. Psychol Res 58: 177-192.
45. Aleman A, Wout M, (2004) Subvocalization in auditory-verbal imagery: just a form of motor imagery? Cogn Process 5: 228-231.
46. Baddeley AD, Andrade J, (2000) Working memory and the vividness of imagery. J Exp Psychol Gen 129: 126-145.
47. Franklin M, Moore S, Yip C, Jonides J, Rattray K, et al. (2008) The effects of musical training on verbal memory. Psychology of Music 36: 353-365.
48. Giovagnoli AR, Raglio A, (2011) Cognitive abilities of musicians. Percept Mot Skills 113: 563-569.
49. Helmbold N, Rammsayer T, Altenmüller E, (2005) Differences in primary mental abilities between musicians and nonmusicians. Journal of Individual Differences 26: 74-85.
50. Shiffrin R, Schneider W, (1977) Controlled and automatic human information processing: II. Perceptual learning, automatic attending, and a general theory. Psychol Rev 84: 127-190.
51. Rosenberg HS, Trusheim W (1990) Creative transformations: How visual artists, musicians and dancers use mental imagery in their work. In: Shorr JE, editor. Imagery: Current Perspectives. New York: Plenum. 55-75.
52. Highben Z, Palmer C, (2004) Effects of auditory and motor mental practice in memorised piano performance. Bulletin of the Council for Research in Music Education 156: 58-65.
53. Wöllner C, Williamon A, (2007) An exploratory study of the role of performance feedback and musical imagery in piano playing. Research Studies in Music Education 29: 39-54.
54. Keller P, Dalla Bella S, Koch I, (2010) Auditory imagery shapes movement timing and kinematics: Evidence from a musical task. J Exp Psychol Hum Percept Perform 36: 508-513.
55. Ollen J (2006) A criterion-related validity test of selected indicators of musical sophistication using expert ratings. [doctoral dissertation]. The Ohio State University.
56. Ollen J (2009) Cross-validation of a model for classifying musical sophistication. Paper presented at the Society for Music Perception and Cognition Conference: Indianapolis, Indiana.
57. Halpern A, Bower GH, (1982) Musical expertise and melodic structure in memory for musical notation. Am J Psychol 95: 31-50.
58. Knecht MG, (2003) Music expertise and memory: The relationship between music expertise and memory of music patterns, within various degrees of contextual constraint. Music Education Research 5: 227-242.
59. Turner ML, Engle RW, (1989) Is working memory capacity task dependent? J Mem Lang 28: 127-154.
60. Gower J, (1975) Generalized procrustes analysis. Psychometrika 40: 33-51.
61. Livingstone S, Schubert E, Loehr J, Palmer C (2009) Emotional arousal and the automatic detection of musical phrase boundaries. Paper presented at the International Symposium on Performance Science: Auckland, New Zealand. 445-450.
62. Conway A, Kane M, Bunting M, Hambrick D, Wilhelm O, et al. (2005) Working memory span tasks: A methodological review and user's guide. Psychon Bull Rev 12: 769-786.
63. Besson M, Schön D, Moreno S, Santos A, Magne C, (2007) Influence of musical expertise and musical training on pitch processing in music and language. Restor Neurol Neurosci 25: 399-410.
64. Schubert E, (2004) Modeling perceived emotion with continuous musical features. Music Percept 21: 561-585.
65. Dean RT, Bailes F, (2010) Time series analysis as a method to examine acoustical influences on real-time perception of music. Empir Musicol Rev 5: 152-175.
66. Dyson BJ, Quinlan PT, (2010) Decomposing the Garner interference paradigm: Evidence for dissociations between macrolevel and microlevel performance. Atten Percept Psychophys 72: 1676-1691.
67. Quinn GP, Keough MJ (2002) Experimental Design and Data Analysis for Biologists Cambridge: Cambridge University.
68. Halpern A, Zatorre R, Bouffard M, Johnson J, (2004) Behavioral and neural correlates of perceived and imagined musical timbre. Neuropsychologia 42: 1281-1292.
69. Halpern A, (2012) Dynamic aspects of musical imagery. Ann N Y Acad Sci 1252: 200-205.
70. Snyder JS, Krumhansl C, (2001) Tapping to ragtime: Cues to pulse finding. Music Percept 18: 455-489.
71. Gingras B, Lagrandeur-Ponce T, Giordano BL, McAdams S, (2011) Perceiving musical individuality: Performer identification is dependent on performer expertise and expressiveness, but not on listener expertise. Perception 40: 1206-1220.
72. Chaffin R, Logan T, (2006) Practicing perfection: How concert soloists prepare for performance. Adv Cogn Psychol 2: 113-130.
73. Chaffin R, Lisboa T, Logan T, Begosh KT, (2010) Preparing for memorized cello performance: The role of performance cues. Psychology of Music 38: 3-30.
74. Palmer C, Pfordresher P, (2003) Incremental planning in sequence production. Psychol Rev 110: 683-711.
75. Clark T, Williamon A (2011) Imaging the music: A context-specific method for assessing imagery ability. Psychology of Music.
76. Snyder JS, Hannon EE, Large EW, Christiansen MH, (2006) Synchronization and continuation tapping to complex meters. Music Percept 24: 135-146.
77. Drake C, Penel A, Bigand E, (2000) Tapping in time with mechanically and expressively performed music. Music Percept 18: 1-23.
78. Grahn JA, Brett M, (2007) Rhythm and beat perception in motor areas of the brain. J Cogn Neurosci 19: 893-906.
79. Kosslyn SM (1980) Image and Mind. Cambridge: Harvard University.
80. Zatorre R, Halpern A, (2005) Mental concepts: Musical imagery and auditory cortex. Neuron 47: 9-12.
81. Bailes F, Bishop L, Stevens CJ, Dean RT (2012) Mental imagery for musical dynamics: Verbal, auditory, or motor? Frontiers in Perception Science 3.
82. Bishop L, Bailes F, Dean RT (under revision) Musical imagery and the planning of dynamics and articulation during performance.