We investigate the dynamics of sensory integration for perceiving musical performance, a complex natural behavior. Thirty musically trained participants saw, heard, or both saw and heard, performances by two clarinetists. All participants used a sliding potentiometer to make continuous judgments of tension (a measure correlated with emotional response) and continuous judgments of phrasing (a measure correlated with perceived musical structure) as performances were presented. The data analysis sought to reveal relations between the sensory modalities (vision and audition) and to quantify (...) the effect of seeing the performances on participants' overall subjective experience of the music. In addition to traditional statistics, functional data analysis techniques were employed to analyze time-varying aspects of the data. The auditory and visual channels were found to convey similar experiences of phrasing but different experiences of tension through much of the performances. We found that visual information served both to augment and to reduce the experience of tension at different points in the musical piece (as revealed by functional linear modeling and functional significance testing). In addition, the musicians' movements served to extend the sense of phrasing, to cue the beginning of new phrases, to indicate musical interpretation, and to anticipate changes in emotional content. Evidence for an interaction effect suggests that there may exist an emergent quality when musical performances are both seen and heard. The investigation augments knowledge of human communicative processes spanning language and music, and involving multiple modalities of emotion and information transfer. (shrink)

The term “listening niche” refers to the contexts in which people listen to music including what music they are listening to, with whom, when, where, and with what media. The first experiment investigates undergraduate students’ music listening niches in the initial COVID-19 lockdown period, 4 weeks immediately after the campus shut down abruptly. The second experiment explores how returning to a hybrid semester, the “new normal,” further affected these listening habits. In both experiments, the participants provided a list of their (...) most frequently listened-to songs during the respective period of time. From these, they identified one song that seemed most associated with this period, their “signature song,” and stated why this song seemed relevant. These reasons were coded on nine underlying themes. Three clusters were found to underlie the themes: emotional responses memory associations, and discovery of new music. We identified songs and reasons for selecting them that represented the three clusters and related these to the lyrical content. Compared to before the pandemic, participants in both experiments report listening more in general and on Spotify, but there were no differences in listening between lockdown and the new normal. Whom they were listening with shifted overtime from family members to significant others and finally to other friends and roommates. These results demonstrate how students listen to and find new music that is meaningful to them during this unprecedented pandemic. (shrink)

When examining how emotions are evoked through music, the role of musical expectancy is often surprisingly under-credited. This mechanism, however, is most strongly tied to the actual structure of the music, and thus is important when considering how music elicits emotions. We briefly summarize Leonard Meyer's theoretical framework on musical expectancy and emotion and cite relevant research in the area.