音乐绝对音高行为研究述评

音乐绝对音高(musical absolute pitch,AP)能力是一种敏锐的乐音音高知觉分类和记忆能力,表现为在没有任何其它音高参照的情况下,能够对所听到乐音音高进行准确命名或分类。本文从音乐绝对音高甄别方法、基因遗传、早期音乐训练、语言环境对音乐绝对音高能力形成的影响,以及绝对音高与音乐能力、音乐记忆和空间能力方面的研究进行了介绍,提出研究音乐绝对音高的重要性。最后展望了音乐绝对音高领域未来可能的四个研究方向。     

Musical documents

The development of the filmmaker's approach to producing films about traditional music is presented biographically and chronologically. Experiences that have shaped his approach, along with some formulations and conceptual issues that have emerged during the making of the films are discussed. The article explores the relationships between production values of film and the considerations of anthropology, ethnomusicology, and folklore.’     

先天性音乐障碍者音乐加工障碍及其特异性争议

人群中存在少量先天性音乐障碍(congenital amusia)个体,表现出音乐感知和表达方面有选择性障碍。本文总结了前人甄别先天性音乐障碍个体的工具,述评了先天性音乐障碍者对音乐加工时的障碍表现,以及先天性音乐障碍者其障碍领域特异性争议,并从行为遗传学和音乐加工脑机制角度,综述了先天性音乐障碍者可能的原因,最后对先天性音乐障碍未来可能的研究方向做了四个方面的展望。     

Genome-Wide Copy Number Variation Analysis in Extended Families and Unrelated Individuals Characterized for Musical Aptitude and Creativity in Music

Music perception and practice represent complex cognitive functions of the human brain. Recently, evidence for the molecular genetic background of music related phenotypes has been obtained. In order to further elucidate the molecular background of musical phenotypes we analyzed genome wide copy number variations (CNVs) in five extended pedigrees and in 172 unrelated subjects characterized for musical aptitude and creative functions in music. Musical aptitude was defined by combination of the scores of three music tests (COMB scores): auditory structuring ability, Seashores test for pitch and for time. Data on creativity in music (herein composing, improvising and/or arranging music) was surveyed using a web-based questionnaire.Several CNVRs containing genes that affect neurodevelopment, learning and memory were detected. A deletion at 5q31.1 covering the protocadherin-α gene cluster (Pcdha 1-9) was found co-segregating with low music test scores (COMB) in both sample sets. Pcdha is involved in neural migration, differentiation and synaptogenesis. Creativity in music was found to co-segregate with a duplication covering glucose mutarotase gene (GALM) at 2p22. GALM has influence on serotonin release and membrane trafficking of the human serotonin transporter. Interestingly, genes related to serotonergic systems have been shown to associate not only with psychiatric disorders but also with creativity and music perception. Both, Pcdha and GALM, are related to the serotonergic systems influencing cognitive and motor functions, important for music perception and practice. Finally, a 1.3 Mb duplication was identified in a subject with low COMB scores in the region previously linked with absolute pitch (AP) at 8q24. No differences in the CNV burden was detected among the high/low music test scores or creative/non-creative groups. In summary, CNVs and genes found in this study are related to cognitive functions. Our result suggests new candidate genes for music perception related traits and supports the previous results from AP study.     

Experiencing of Music as the Basis of the Effectiveness of Music Therapy

In transposing the discussion of L.S. Vygotsky’s ideas to the cross-cultural area of science, the authors summarize the contexts and positions regarding the contribution of the Russian psychological school to the substantiation of musical therapeutic theory and practice. The analysis by Dr. Mastnak of European and American academic periodicals in psychology and music therapy showed that Western science does not have access to all of the content and achievements of Russian and Russian-language psychology. Reading Vygotsky’s works from a musical therapeutic perspective and, in addition, in a cross-cultural interpretation, the authors discuss the abundance of the psychological scientist’s methodological ideas that could provide a theoretical substantiation of effective music therapy.     

When Music and Long-Term Memory Interact: Effects of Musical Expertise on Functional and Structural Plasticity in the Hippocampus

The development of musical skills by musicians results in specific structural and functional modifications in the brain. Surprisingly, no functional magnetic resonance imaging (fMRI) study has investigated the impact of musical training on brain function during long-term memory retrieval, a faculty particularly important in music. Thus, using fMRI, we examined for the first time this process during a musical familiarity task (i.e., semantic memory for music). Musical expertise induced supplementary activations in the hippocampus, medial frontal gyrus, and superior temporal areas on both sides, suggesting a constant interaction between episodic and semantic memory during this task in musicians. In addition, a voxel-based morphometry (VBM) investigation was performed within these areas and revealed that gray matter density of the hippocampus was higher in musicians than in nonmusicians. Our data indicate that musical expertise critically modifies long-term memory processes and induces structural and functional plasticity in the hippocampus.     

Assessing Musical Abilities Objectively: Construction and Validation of the Profile of Music Perception Skills

A common approach for determining musical competence is to rely on information about individuals’ extent of musical training, but relying on musicianship status fails to identify musically untrained individuals with musical skill, as well as those who, despite extensive musical training, may not be as skilled. To counteract this limitation, we developed a new test battery (Profile of Music Perception Skills; PROMS) that measures perceptual musical skills across multiple domains: tonal (melody, pitch), qualitative (timbre, tuning), temporal (rhythm, rhythm-to-melody, accent, tempo), and dynamic (loudness). The PROMS has satisfactory psychometric properties for the composite score (internal consistency and test-retest r>.85) and fair to good coefficients for the individual subtests (.56 to.85). Convergent validity was established with the relevant dimensions of Gordon’s Advanced Measures of Music Audiation and Musical Aptitude Profile (melody, rhythm, tempo), the Musical Ear Test (rhythm), and sample instrumental sounds (timbre). Criterion validity was evidenced by consistently sizeable and significant relationships between test performance and external musical proficiency indicators in all three studies (.38 to.62, p<.05 to p<.01). An absence of correlations between test scores and a nonmusical auditory discrimination task supports the battery’s discriminant validity (−.05, ns). The interrelationships among the various subtests could be accounted for by two higher order factors, sequential and sensory music processing. A brief version of the full PROMS is introduced as a time-efficient approximation of the full version of the battery.     

The Interdiction of Music in Islam

There is no authorisation in the Qur'an for the interdiction on music. That interdiction, when it is voiced, is the product of a conviction among some Muslims, supported by hadith (just as it is opposed with hadith) that Islam does not countenance music. In a country such as Pakistan, with a strong tradition of devotional music which (taken with the poetry, with which it is always associated) has become entwined with the identity politics of the provinces or sub‐‘nations’ which make up the vaster nation, a comprehensive ban on music would be impossible to enforce, though there are ‘ulamā’ and sectarian parties who desire it. This paper focuses on an instance where music is even harder to extricate from an accompanying text: the recitation of the Qur'ān. In the eyes of Muslims, Qur'anic recitation is not music. This denial raises further questions about the nature of music and, in particular, its involvement with the ‘extramusical’. Adorno's observations on the relation of music to language, and the anthropologist Friedson's complaint that ethnographers focus on text, at the expense of music, are examined in the light of the circumstance that the world over, music is associated with texts of one kind or another. Even when, as in the case of the ‘curing’ ritual described by Friedson, words are unimportant, or missing, music is seldom a phenomenological whole. Music ‘leans’, or is ‘leant on’: it lends its unrivalled ‘eloquence’ to many a cause, from commodity marketing to the structured working out of ritual, or, among lovers, to the remembered quality of experience. All these potentialities of music are relevant to the question of its interdiction and to the Muslim denial that the recitation of the Qur'ān is music.     

Fourteen-month-old infants use interpersonal synchrony as a cue to direct helpfulness

Musical behaviours such as dancing, singing and music production, which require the ability to entrain to a rhythmic beat, encourage high levels of interpersonal coordination. Such coordination has been associated with increased group cohesion and social bonding between group members. Previously, we demonstrated that this association influences even the social behaviour of 14-month-old infants. Infants were significantly more likely to display helpfulness towards an adult experimenter following synchronous bouncing compared with asynchronous bouncing to music. The present experiment was designed to determine whether interpersonal synchrony acts as a cue for 14-month-olds to direct their prosocial behaviours to specific individuals with whom they have experienced synchronous movement, or whether it acts as a social prime, increasing prosocial behaviour in general. Consistent with the previous results, infants were significantly more likely to help an experimenter following synchronous versus asynchronous movement with this person. Furthermore, this manipulation did not affect infant''s behaviour towards a neutral stranger, who was not involved in any movement experience. This indicates that synchronous bouncing acts as a social cue for directing prosociality. These results have implications for how musical engagement and rhythmic synchrony affect social behaviour very early in development.     

Experience Drives Synchronization: The phase and Amplitude Dynamics of Neural Oscillations to Musical Chords Are Differentially Modulated by Musical Expertise

Musical expertise is associated with structural and functional changes in the brain that underlie facilitated auditory perception. We investigated whether the phase locking (PL) and amplitude modulations (AM) of neuronal oscillations in response to musical chords are correlated with musical expertise and whether they reflect the prototypicality of chords in Western tonal music. To this aim, we recorded magnetoencephalography (MEG) while musicians and non-musicians were presented with common prototypical major and minor chords, and with uncommon, non-prototypical dissonant and mistuned chords, while watching a silenced movie. We then analyzed the PL and AM of ongoing oscillations in the theta (4–8 Hz) alpha (8–14 Hz), beta- (14–30 Hz) and gamma- (30–80 Hz) bands to these chords. We found that musical expertise was associated with strengthened PL of ongoing oscillations to chords over a wide frequency range during the first 300 ms from stimulus onset, as opposed to increased alpha-band AM to chords over temporal MEG channels. In musicians, the gamma-band PL was strongest to non-prototypical compared to other chords, while in non-musicians PL was strongest to minor chords. In both musicians and non-musicians the long-latency (> 200 ms) gamma-band PL was also sensitive to chord identity, and particularly to the amplitude modulations (beats) of the dissonant chord. These findings suggest that musical expertise modulates oscillation PL to musical chords and that the strength of these modulations is dependent on chord prototypicality.     

Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music

Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.     

Menstrual cycle phase alters women's sexual preferences for composers of more complex music

Over 140 years ago Charles Darwin first argued that birdsong and human music, having no clear survival benefit, were obvious candidates for sexual selection. Whereas the first contention is now universally accepted, his theory that music is a product of sexual selection through mate choice has largely been neglected. Here, I provide the first, to my knowledge, empirical support for the sexual selection hypothesis of music evolution by showing that women have sexual preferences during peak conception times for men that are able to create more complex music. Two-alternative forced-choice experiments revealed that woman only preferred composers of more complex music as short-term sexual partners when conception risk was highest. No preferences were displayed when women chose which composer they would prefer as a long-term partner in a committed relationship, and control experiments failed to reveal an effect of conception risk on women''s preferences for visual artists. These results suggest that women may acquire genetic benefits for offspring by selecting musicians able to create more complex music as sexual partners, and provide compelling support for Darwin''s assertion ‘that musical notes and rhythm were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex’.     

Bach Is the Father of Harmony: Revealed by a 1/f Fluctuation Analysis across Musical Genres

Harmony is a fundamental attribute of music. Close connections exist between music and mathematics since both pursue harmony and unity. In music, the consonance of notes played simultaneously partly determines our perception of harmony; associates with aesthetic responses; and influences the emotion expression. The consonance could be considered as a window to understand and analyze harmony. Here for the first time we used a 1/f fluctuation analysis to investigate whether the consonance fluctuation structure in music with a wide range of composers and genres followed the scale free pattern that has been found for pitch, melody, rhythm, human body movements, brain activity, natural images and geographical features. We then used a network graph approach to investigate which composers were the most influential both within and across genres. Our results showed that patterns of consonance in music did follow scale-free characteristics, suggesting that this feature is a universally evolved one in both music and the living world. Furthermore, our network analysis revealed that Bach’s harmony patterns were having the most influence on those used by other composers, followed closely by Mozart.     

Musical Expertise and the Ability to Imagine Loudness

Most perceived parameters of sound (e.g. pitch, duration, timbre) can also be imagined in the absence of sound. These parameters are imagined more veridically by expert musicians than non-experts. Evidence for whether loudness is imagined, however, is conflicting. In music, the question of whether loudness is imagined is particularly relevant due to its role as a principal parameter of performance expression. This study addressed the hypothesis that the veridicality of imagined loudness improves with increasing musical expertise. Experts, novices and non-musicians imagined short passages of well-known classical music under two counterbalanced conditions: 1) while adjusting a slider to indicate imagined loudness of the music and 2) while tapping out the rhythm to indicate imagined timing. Subtests assessed music listening abilities and working memory span to determine whether these factors, also hypothesised to improve with increasing musical expertise, could account for imagery task performance. Similarity between each participant’s imagined and listening loudness profiles and reference recording intensity profiles was assessed using time series analysis and dynamic time warping. The results suggest a widespread ability to imagine the loudness of familiar music. The veridicality of imagined loudness tended to be greatest for the expert musicians, supporting the predicted relationship between musical expertise and musical imagery ability.     

Musical improvisation skill in a prospective partner is associated with mate value and preferences,consistent with sexual selection and parental investment theory: Implications for the origin of music

Music is a human universal, which suggests a biological adaptation. Several evolutionary explanations have been proposed, covering the entire spectrum of natural, sexual, and group selection. Here we consider the hypothesis that musical behaviour constitutes a reliable or even costly signal of fitness, and thus may have evolved as a human trait through sexual selection. We experimentally tested how musical performance quality (MPQ), in improvisations on the drums, saxophone, and violin, affects mate values and mate preferences perceived by a prospective partner. Swedish student participants (27 of each sex) saw a face of a person of the opposite sex and heard a piece of improvised music being played. The music occurred in three levels of MPQ and the faces in three levels of facial attractiveness (FA). For each parametric combination of MPG and FA, the participants rated four mate value scales (intelligence, health, social status, and parenting skill) and four mate preference scales (date, intercourse, and short- and long term relationship). Consistent with sexual selection theory, mate value ratings were generally increased by MPQ for raters of both sexes. Consistent with more specific hypotheses that follow from combining sexual selection and parental investment theory, women’s but not men’s preference for a long-term, but not short-term, relationship was significantly increased by MPQ, MPQ generally affected women’s ratings more than men’s, FA generally affected men’s ratings more than women’s, and women’s ratings of intelligence were even more influenced by MPQ than by FA.     

Behavioural responses of piglets to different types of music

Music or other background sounds are often played in barns as environmental enrichment for animals on farms or to mask sudden disruptive noises. Previous studies looking at the effects of this practice on non-human animal well-being and productivity have found contradictory results. However, there is still a lack of discussion on whether piglets have the ability to distinguish different types of music. In this study, we exposed piglets to different music conditions to investigate whether the piglets preferred certain music types, in which case those types would have the potential to be used as environmental enrichment. In total, 30 piglets were tested for music type preference to determine whether growing pigs respond differently to different types of music. We used music from two families of instruments (S: string, W: wind) and with two tempos (S: slow, 65 beats/min (bpm); F: fast, 200 bpm), providing four music-type combinations (SS: string-slow; SF: string-fast; WS: wind-slow; WF: wind-fast). The piglets were given a choice between two chambers, one with no music and the other with one of the four types of music, and their behaviour was observed. The results showed that SS and WF music significantly increased residence time (P<0.01) compared with the other music conditions. Compared with the control group (with no music), the different music conditions led to different behavioural responses, where SS music significantly increased lying (P<0.01) and exploration behaviour (P<0.01); SF music significantly increased tail-wagging behaviour (P<0.01); WS music significantly increased exploration (P<0.01); and WF music significantly increased walking, lying, standing and exploration (all P<0.01). The results also showed that musical instruments and tempo had little effect on most of the behaviours. Fast-tempo music significantly increased walking (P=0.02), standing (P<0.01) and tail wagging (P=0.04) compared with slow-tempo music. In conclusion, the results of this experiment show that piglets are more sensitive to tempo than to musical instruments in their response to musical stimulation and seem to prefer SS and WF music to the other two types. The results also suggest a need for further research on the effect of music types on animals.     

Effect of music on the latency of recognition of even and odd numbers

The influence of music of a specified intensity on the latency of recognition of even and odd numbers with the involvement of the left and the right hands, respectively, has been studied. Musical accompaniment decreases the latency of recognition to a greater extent if the left hand is involved. Apparently, this is related to the activating influence of music on the right hemisphere in persons who are not professional musicians. The increase in the efficiency of recognition caused by musical accompaniment is considered to be an expression of the dominant principle.     

Musical melody and speech intonation: singing a different tune

Music and speech are often cited as characteristically human forms of communication. Both share the features of hierarchical structure, complex sound systems, and sensorimotor sequencing demands, and both are used to convey and influence emotions, among other functions [1]. Both music and speech also prominently use acoustical frequency modulations, perceived as variations in pitch, as part of their communicative repertoire. Given these similarities, and the fact that pitch perception and production involve the same peripheral transduction system (cochlea) and the same production mechanism (vocal tract), it might be natural to assume that pitch processing in speech and music would also depend on the same underlying cognitive and neural mechanisms. In this essay we argue that the processing of pitch information differs significantly for speech and music; specifically, we suggest that there are two pitch-related processing systems, one for more coarse-grained, approximate analysis and one for more fine-grained accurate representation, and that the latter is unique to music. More broadly, this dissociation offers clues about the interface between sensory and motor systems, and highlights the idea that multiple processing streams are a ubiquitous feature of neuro-cognitive architectures.     

Differences in Mismatch Responses to Vowels and Musical Intervals: MEG Evidence

We investigated the electrophysiological response to matched two-formant vowels and two-note musical intervals, with the goal of examining whether music is processed differently from language in early cortical responses. Using magnetoencephalography (MEG), we compared the mismatch-response (MMN/MMF, an early, pre-attentive difference-detector occurring approximately 200 ms post-onset) to musical intervals and vowels composed of matched frequencies. Participants heard blocks of two stimuli in a passive oddball paradigm in one of three conditions: sine waves, piano tones and vowels. In each condition, participants heard two-formant vowels or musical intervals whose frequencies were 11, 12, or 24 semitones apart. In music, 12 semitones and 24 semitones are perceived as highly similar intervals (one and two octaves, respectively), while in speech 12 semitones and 11 semitones formant separations are perceived as highly similar (both variants of the vowel in ‘cut’). Our results indicate that the MMN response mirrors the perceptual one: larger MMNs were elicited for the 12–11 pairing in the music conditions than in the language condition; conversely, larger MMNs were elicited to the 12–24 pairing in the language condition that in the music conditions, suggesting that within 250 ms of hearing complex auditory stimuli, the neural computation of similarity, just as the behavioral one, differs significantly depending on whether the context is music or speech.     

Seize the Dance! BaAka Musical Life and the Ethnography of Performance

Seize the Dance! BaAka Musical Life and the Ethnography of Performance. Michelle Kisliuk. New York: Oxford University Press, 1998. 241 pp.