RESUMEN
This study presents a method to estimate the complexity of popular music drum patterns based on a core idea from predictive coding. Specifically, it postulates that the complexity of a drum pattern depends on the quantity of surprisal it causes in the listener. Surprisal, according to predictive coding theory, is a numerical measure that takes large values when the perceiver's internal model of the surrounding world fails to predict the actual stream of sensory data (i.e. when the perception surprises the perceiver), and low values if model predictions and sensory data agree. The proposed new method first approximates a listener's internal model of a popular music drum pattern (using ideas on enculturation and a Bayesian learning process). It then quantifies the listener's surprisal evaluating the discrepancies between the predictions of the internal model and the actual drum pattern. It finally estimates drum pattern complexity from surprisal. The method was optimised and tested using a set of forty popular music drum patterns, for which empirical perceived complexity measurements are available. The new method provided complexity estimates that had a good fit with the empirical measurements ( R 2 = . 852 ). The method was implemented as an R script that can be used to estimate the complexity of popular music drum patterns in the future. Simulations indicate that we can expect the method to predict perceived complexity with a good fit ( R 2 ≥ . 709 ) in 99% of drum pattern sets randomly drawn from the Western popular music repertoire. These results suggest that surprisal indeed captures essential aspects of complexity, and that it may serve as a basis for a general theory of perceived complexity.
RESUMEN
In music psychology, the experience of wanting to move in response to music is commonly known as feeling the groove. According to the psychological model of musical groove by Senn et al., the causes for the urge to move are linked to the properties of the music itself, to the personal background of the listener, to the listening situation, and to feedback loops between body movement and cognition. The model formulates eight hypotheses stating that the music affects a listener's urge to move mediated through a variety of cognitive processes. This study develops a method based on structural equation modeling (SEM) to empirically test the model hypotheses. It evaluates five of the model hypotheses using data from an online listening experiment with 135 participants and 16 stylistically diverse musical stimuli (n = 2,160 observations). The SEM model had a good fit with the data (CFI = 0.958, RMSEA = 0.051) and explained a large proportion of the variance in the latent urge to move variable (R² = .737). Results show that music affects the urge to move mediated through listeners' experiences of energetic arousal, listening pleasure, and temporal regularity. The stimuli themselves showed direct effects on the urge to move that were not mediated through the hypothesized mediation pathways. This suggests that the model is incomplete. The current study demonstrates that the mediation structure of the psychological groove model can successfully be implemented using an SEM approach. The methodology may be adapted to investigate different repertoires, populations, and hypotheses in the future. (PsycInfo Database Record (c) 2023 APA, all rights reserved).
Asunto(s)
Música , Humanos , Música/psicología , Análisis de Clases Latentes , Percepción Auditiva/fisiología , Emociones , Modelos PsicológicosRESUMEN
Perceptual attack time (PAT) is defined as the moment when the most salient rhythmical feature of a sound is perceived. This paper focuses on the PAT of saxophone sounds, investigating how the location of this point in time changes when a note is played with different characteristics. Nine saxophone sounds that differ in articulation and dynamics were examined. Ground truth for PAT was determined in a synchronization judgment experiment with 40 participants. Articulation (p < 0.001, η2 = 0.316), dynamics (p < 0.001, η2 = 0.098), and their interaction (p < 0.001, η2 = 0.094) affected the placement of the PAT. The onset rise time, which has been used as a predictor for PAT in earlier studies, was only weakly correlated with PAT (r = 0.143, p = 0.006).
RESUMEN
Music psychology defines groove as humans' pleasureable urge to move their body in synchrony with music. Past research has found that rhythmic syncopation, event density, beat salience, and rhythmic variability are positively associated with groove. This exploratory study investigates the groove effect of 248 reconstructed drum patterns from different popular music styles (pop, rock, funk, heavy metal, rock'n'roll, hip hop, soul, R&B). It aims at identifying factors that might be relevant for groove and worth investigating in a controlled setting in the future. Drum patterns of eight bars duration, chosen from 248 popular music tracks, have been transcribed and audio reconstructions have been created on the basis of sound samples. During an online listening experiment, 665 participants rated the reconstructions a total of 8,329 times using a groove questionnaire. Results show that, among 15 tested variables, syncopation (R2 = 0.010) and event density (R2 = 0.011) were positively associated with the groove ratings. These effects were stronger in participants who were music professionals, compared to amateur musicians or mere listeners. A categorisation of the stimuli according to structural aspects was also associated with groove (R2 = 0.018). Beat salience, residual microtiming and rhythmic variability showed no effect on the groove ratings. Participants' familiarity with a drum pattern had a positive influence on the groove ratings (η2 = 0.051). The largest isolated effect was measured for participants' style bias (R2 = 0.123): groove ratings tended to be high if participants had the impression that the drum pattern belonged to a style they liked. Combined, the effects of style bias and familiarity (R2 = 0.152) exceeded the other effects as predictors for groove by a wide margin. We conclude that listeners' taste, musical biographies and expertise have a strong effect on their groove experience. This motivates groove research not to focus on the music alone, but to take the listeners into account as well.
Asunto(s)
Actitud , Percepción Auditiva , Baile/psicología , Música/psicología , Periodicidad , Placer , Adolescente , Adulto , Anciano , Femenino , Humanos , Masculino , Persona de Mediana Edad , Motivación , Actividad Motora , Competencia Profesional , Reconocimiento en Psicología , Adulto JovenRESUMEN
Microtiming has been assumed to be vital for the experience of groove, but past research presented conflicting results: some studies found that microtiming is irrelevant for groove, others reported that microtiming has a detrimental effect on the groove experience, yet others described circumstances under which microtiming has no negative impact on groove. The three studies in this paper aim at explaining some of these discrepancies by clarifying to what extent listeners' emotional responses to microtiming depend on the distribution of microtiming deviations across instrumental parts (voicing) or other moderating factors like tempo or rhythmic density. The studies use data from two listening experiments involving expert bass and drums duo recordings in swing and funk style. - Study A investigates the effect of fixed time displacements within and between the parts played by different musicians. Listeners (n = 160) reacted negatively to irregularities within the drum track, but the mutual displacement of bass vs. drums did not have an effect.- Study B develops three metrics to calculate the average microtiming magnitude in a musical excerpt. The experiment showed that listeners' (n = 160) emotional responses to expert performance microtiming aligned with each other across styles, when microtiming magnitude was adjusted for rhythmic density. This indicates that rhythmic density is a unifying moderator for listeners' emotional response to microtiming in swing and funk.- Study C used the data from both experiments in order to compare the effect of fixed microtiming displacements (from Study A) with scaled versions of the originally performed microtiming patterns (from Study B). It showed that fixed snare drum displacements irritated expert listeners more than the more flexible deviations occurring in the original performances. This provides some evidence that listeners' emotional response to microtiming deviations not only depends on the magnitude of the deviations, but also on the kind and origin of the microtiming patterns (fixed lab displacements vs. flexible performance microtiming).
RESUMEN
This study tested the influence of expert performance microtiming on listeners' experience of groove. Two professional rhythm section performances (bass/drums) in swing and funk style were recorded, and the performances' original microtemporal deviations from a regular metronomic grid were scaled to several levels of magnitude. Music expert (n = 79) and non-expert (n = 81) listeners rated the groove qualities of stimuli using a newly developed questionnaire that measures three dimensions of the groove experience (Entrainment, Enjoyment, and the absence of Irritation). Findings show that music expert listeners were more sensitive to microtiming manipulations than non-experts. Across both expertise groups and for both styles, groove ratings were high for microtiming magnitudes equal or smaller than those originally performed and decreased for exaggerated microtiming magnitudes. In particular, both the fully quantized music and the music with the originally performed microtiming pattern were rated equally high on groove. This means that neither the claims of PD theory (that microtiming deviations are necessary for groove) nor the opposing exactitude hypothesis (that microtiming deviations are detrimental to groove) were supported by the data.
RESUMEN
The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the "groove" experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to 12 music clips in either Funk or Swing style. These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners' beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design Four-Factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners' entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only.
RESUMEN
STUDY OBJECTIVES: Transtracheal insufflation of oxygen-enriched air at a high flow rate has been proposed to support ventilation. The purpose of this study was to investigate the physiologic effects of high-flow insufflation unobtrusively with a respiratory inductive plethysmograph in patients with chronic respiratory failure. Using a respiratory inductive plethysmograph also permitted monitoring of end-expiratory lung volume, and respiratory variables could be quantified independently of the tracheal bias flow. DESIGN: Prospective randomized comparison of low-flow vs high-flow transtracheal insufflation. SETTING: Pulmonary division of a tertiary teaching hospital. PATIENTS: Fourteen spontaneously breathing outpatients with chronic hypoxemic respiratory failure carrying a transtracheal catheter for long-term oxygen therapy. INTERVENTIONS AND MEASUREMENTS: Oxygen-enriched air (fraction of inspired oxygen, 0.37) at 15 L/min and oxygen at 1.5 L/min were transtracheally administered for 1 h each. The breathing pattern and the end-expiratory lung volume were monitored by inductive plethysmography along with pulse oximetry and transcutaneous PCO2. Arterial blood gases were also analyzed at the end of the hour of both low-flow and high-flow insufflation. RESULTS: High-flow insufflation decreased the mean (+/- SEM) minute ventilation (Ve) by 20% from 8.37 +/- 0.49 to 6.66 +/- 0.57 L/min, the mean respiratory rate from 19.2 +/- 0.9 to 15.7 +/- 1.0 breaths/min, while mean expiratory time increased from 2.0 +/- 0.1 to 2.8 +/- 0.2 s, and end-expiratory lung volume decreased by 0.55 +/- 0.15 L compared to low-flow oxygen insufflation (p < 0.05 for all comparisons). Mean arterial and transcutaneous PCO2 decreased from 45 +/- 1 to 43 +/- 1 mm Hg and from 54 +/- 2 to 53 +/- 2 mm Hg, respectively (p < 0.05 in both instances), while arterial PaO2 and oxygen saturation did not change. CONCLUSIONS: High-flow transtracheal insufflation of oxygen-enriched air assists ventilation by reducing Ve without compromising gas exchange and by reducing end-expiratory lung volume, possibly through the reversal of dynamic hyperinflation.