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Globally, songs and instrumental melodies are slower and higher and use more stable pitches than speech: A Registered Report.
Ozaki, Yuto; Tierney, Adam; Pfordresher, Peter Q; McBride, John M; Benetos, Emmanouil; Proutskova, Polina; Chiba, Gakuto; Liu, Fang; Jacoby, Nori; Purdy, Suzanne C; Opondo, Patricia; Fitch, W Tecumseh; Hegde, Shantala; Rocamora, Martín; Thorne, Rob; Nweke, Florence; Sadaphal, Dhwani P; Sadaphal, Parimal M; Hadavi, Shafagh; Fujii, Shinya; Choo, Sangbuem; Naruse, Marin; Ehara, Utae; Sy, Latyr; Parselelo, Mark Lenini; Anglada-Tort, Manuel; Hansen, Niels Chr; Haiduk, Felix; Færøvik, Ulvhild; Magalhães, Violeta; Krzyzanowski, Wojciech; Shcherbakova, Olena; Hereld, Diana; Barbosa, Brenda Suyanne; Varella, Marco Antonio Correa; van Tongeren, Mark; Dessiatnitchenko, Polina; Zar, Su Zar; El Kahla, Iyadh; Muslu, Olcay; Troy, Jakelin; Lomsadze, Teona; Kurdova, Dilyana; Tsope, Cristiano; Fredriksson, Daniel; Arabadjiev, Aleksandar; Sarbah, Jehoshaphat Philip; Arhine, Adwoa; Meachair, Tadhg Ó; Silva-Zurita, Javier.
Afiliación
  • Ozaki Y; Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan.
  • Tierney A; Department of Psychological Sciences, Birkbeck, University of London, London, UK.
  • Pfordresher PQ; Department of Psychology, University at Buffalo, State University of New York, Buffalo, NY, USA.
  • McBride JM; Center for Algorithmic and Robotized Synthesis, Institute for Basic Science, Ulsan, South Korea.
  • Benetos E; School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK.
  • Proutskova P; School of Electronic Engineering and Computer Science, Queen Mary University of London, London, UK.
  • Chiba G; Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan.
  • Liu F; School of Psychology and Clinical Language Sciences, University of Reading, Reading, UK.
  • Jacoby N; Computational Auditory Perception Group, Max-Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.
  • Purdy SC; School of Psychology, University of Auckland, Auckland, New Zealand.
  • Opondo P; Centre for Brain Research and Eisdell Moore Centre for Hearing and Balance Research, University of Auckland, Auckland, New Zealand.
  • Fitch WT; School of Arts, Music Discipline, University of KwaZulu Natal, Durban, South Africa.
  • Hegde S; Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria.
  • Rocamora M; Music Cognition Lab, Department of Clinical Psychology, National Institute of Mental Health and Neuro Sciences, Bangalore, Karnataka, India.
  • Thorne R; Universidad de la República, Montevideo, Uruguay.
  • Nweke F; Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain.
  • Sadaphal DP; School of Music, Victoria University of Wellington, Wellington, New Zealand.
  • Sadaphal PM; Department of Creative Arts, University of Lagos, Lagos, Nigeria.
  • Hadavi S; Department of Music, Mountain Top University, Ogun, Nigeria.
  • Fujii S; Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria.
  • Choo S; Independent Researcher, New Delhi, India.
  • Naruse M; Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan.
  • Ehara U; Faculty of Environment and Information Studies, Keio University, Fujisawa, Kanagawa, Japan.
  • Sy L; Graduate School of Media and Governance, Keio University, Fujisawa, Kanagawa, Japan.
  • Parselelo ML; Faculty of Policy Management, Keio University, Fujisawa, Kanagawa, Japan.
  • Anglada-Tort M; Haponetay, Shimizu-cho, Hokkaido, Japan.
  • Hansen NC; Independent researcher, Tokyo, Japan.
  • Haiduk F; Independent researcher, Dakar, Sénégal.
  • Færøvik U; Memorial University of Newfoundland, St. John's, NL, Canada.
  • Magalhães V; Department of Music and Dance, Kenyatta University, Nairobi, Kenya.
  • Krzyzanowski W; Department of Psychology, Goldsmiths, University of London, London, UK.
  • Shcherbakova O; Aarhus Institute of Advanced Studies, Aarhus University, Aarhus, Denmark.
  • Hereld D; Centre of Excellence in Music, Mind, Body and Brain, University of Jyväskylä, Jyväskylä, Finland.
  • Barbosa BS; Interacting Minds Centre, School of Culture and Society, Aarhus University, Aarhus, Denmark.
  • Varella MAC; Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark.
  • van Tongeren M; Department of Behavioral and Cognitive Biology, University of Vienna, Vienna, Austria.
  • Dessiatnitchenko P; Department of General Psychology, University of Padua, Padua, Italy.
  • Zar SZ; Institute of Biological and Medical Psychology, Department of Psychology, University of Bergen, Bergen, Norway.
  • El Kahla I; Centre of Linguistics of the University of Porto (CLUP), Porto, Portugal.
  • Muslu O; Faculty of Arts and Humanities of the University of Porto (FLUP), Porto, Portugal.
  • Troy J; School of Education of the Polytechnic of Porto (ESE IPP), Porto, Portugal.
  • Lomsadze T; Adam Mickiewicz University, Faculty of Art Studies, Musicology Institute, Poznan, Poland.
  • Kurdova D; Max Planck Institute for Evolutionary Anthropology, Leipzig, Germany.
  • Tsope C; Department of Psychiatry, UCLA Semel Institute for Neuroscience and Human Behavior, Los Angeles, CA, USA.
  • Fredriksson D; Department of Musicology, University of Vienna, Vienna, Austria.
  • Arabadjiev A; Department of Experimental Psychology, Institute of Psychology, University of São Paulo, São Paulo, Brazil.
  • Sarbah JP; Independent researcher, Taoyuan City, Taiwan.
  • Arhine A; School of International Liberal Studies, Waseda University, Tokyo, Japan.
  • Meachair TÓ; Headmistress, The Royal Music Academy, Yangon, Myanmar.
  • Silva-Zurita J; Department of Cultural Policy, University of Hildesheim, Hildesheim, Germany.
Sci Adv ; 10(20): eadm9797, 2024 May 17.
Article en En | MEDLINE | ID: mdl-38748798
ABSTRACT
Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of cross-cultural regularities in music and speech.
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Texto completo: 1 Colección: 01-internacional Base de datos: MEDLINE Asunto principal: Habla / Lenguaje / Música Límite: Adult / Female / Humans / Male Idioma: En Revista: Sci Adv Año: 2024 Tipo del documento: Article País de afiliación: Japón Pais de publicación: Estados Unidos
Texto completo
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Texto completo: 1 Colección: 01-internacional Base de datos: MEDLINE Asunto principal: Habla / Lenguaje / Música Límite: Adult / Female / Humans / Male Idioma: En Revista: Sci Adv Año: 2024 Tipo del documento: Article País de afiliación: Japón Pais de publicación: Estados Unidos