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Anecdotal evidence has suggested that musical notation can trigger auditory images. Expert musicians silently read scores containing well-known themes embedded into the notation of an embellished phrase and judged if a tune heard aloud thereafter was the original theme (i.e., melodic target) or not (i.e., melodic lure). Three experiments were conducted employing four score-reading conditions: normal nondistracted reading, concurrent rhythmic distraction, phonatory interference, and obstruction by auditory stimuli. The findings demonstrate that phonatory interference impaired recognition of original themes more than did the other conditions. We propose that notational audiation is the silent reading of musical notation resulting in auditory imagery. The research suggests that it also elicits kinesthetic-like phonatory processes.

This study investigated the mental representation of music notation. Notational audiation is the ability to internally "hear" the music one is reading before physically hearing it performed on an instrument. In earlier studies, the authors claimed that this process engages music imagery contingent on subvocal silent singing. This study refines the previously developed embedded melody task and further explores the phonatory nature of notational audiation with throat-audio and larynx-electromyography measurement. Experiment 1 corroborates previous findings and confirms that notational audiation is a process engaging kinesthetic-like covert excitation of the vocal folds linked to phonatory resources. Experiment 2 explores whether covert rehearsal with the mind's voice also involves actual motor processing systems and suggests that the mental representation of music notation cues manual motor imagery. Experiment 3 verifies findings of both Experiments 1 and 2 with a sample of professional drummers. The study points to the profound reliance on phonatory and manual motor processing-a dual-route stratagem-used during music reading. Further implications concern the integration of auditory and motor imagery in the brain and cross-modal encoding of a unisensory input.

An orchestral career has often been looked upon with awe by the public. A contract position with a well‐known orchestra is highly regarded, and often the target of competitive auditions. Yet, orchestral life‐style is easily misconceived by outsiders. Only a few researchers have been able to penetrate group barriers and gain the confidence of orchestra members, and none of these have reported emotions and cognitions pertinent to occupational development, career aspirations, vocational motivations and performance experiences. In this study, 54 British symphony orchestra musicians from 14 performance organizations were interviewed 8 times over a 10‐month period at four major concert halls across north‐west England. The interviews each followed mood‐induction procedures consisting of abbreviated progressive muscle relaxation training, guided affective imagery and music exposure applied via the Somatron® Acoustic Massage™ Power Recliner. The descriptive narratives were examined using qualitative approaches including content analysis. On the one hand, the musicians viewed membership of a symphony orchestra as representing the final surrender of the ambition to join the ranks of celebrated world‐class soloists. On the other hand, they viewed their orchestral career as the essential means by which they could socialize with like‐minded people, and experience camaraderie, teamwork, solidarity and friendship. Contrary to what has been previously reported in the literature, the current study provides a view of symphony orchestra players' motivations and commitments to the music profession as based on a lifelong passion for music and music performance.

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