Auditory imagery from musical notation in expert musicians

Brodsky, Warren; Henik, Avishai; Rubinstein, Bat Sheva; Zorman, Moshe

doi:10.3758/bf03194586

Cited by 101 publications

(135 citation statements)

References 35 publications

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“…This result, similar to the findings of Brodsky et al (1998Brodsky et al ( , 1999Brodsky et al ( , 2003, suggests that our previous results did not occur because of qualitative differences between targets and lures. Moreover, the results show no significant differences between the stimulus types for overall PC.…”

Section: Discussionsupporting

confidence: 82%

“…The criteria for referral were demonstrable high-level abilities in general music skills relating to performance, literature, theory, and analysis, as well as specific music skills relating to dictation and sight singing. Out of the 74 musicians tested, 26 (35%) passed a prerequisite threshold inclusion criterion demonstrating notational audiation ability; the criterion adopted for inclusion in the study (from Brodsky et al, 1998Brodsky et al, , 1999Brodsky et al, , 2003 represents a significant task performance ( p Ͻ .05 using a sign test) during nondistracted sight reading, reflecting a 75% success rate in a block of 12 items. Hence, this subset (N ϭ 26) represents the full sample participating in Experiment 1.…”

Section: Methodsmentioning

confidence: 99%

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The mental representation of music notation: Notational audiation.

Brodsky¹,

Kessler²,

Rubinstein³

et al. 2008

Journal of Experimental Psychology: Human Perception and Perfor

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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.

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Section: Discussionsupporting

confidence: 82%

Section: Methodsmentioning

confidence: 99%

The mental representation of music notation: Notational audiation.

Brodsky¹,

Kessler²,

Rubinstein³

et al. 2008

Journal of Experimental Psychology: Human Perception and Perfor

Self Cite

View full text Add to dashboard Cite

show abstract

“…In addition, improved auditory imagery ability has been observed in musically trained subjects (Aleman, Nieuwenstein, Bocker, & de Haan, 2000). Musical imagery can even be triggered by music notation symbols whose decoding is dependent on musical training (Brodsky, Henik, Rubinstein, & Zorman, 2003).…”

Section: The Knowledge Basementioning

confidence: 99%

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Norgaard

2011

Journal of Research in Music Education

107

147

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.

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“…In fact, during the SCT, humans show smaller temporal variability and better accuracy with auditory rather than visual interval markers [54][55][56]. It has been suggested that the human perceptual system abstracts the rhythmic-temporal structure of visual stimuli into an auditory representation that is automatic and obligatory [118,119]. Thus, it is quite possible that the human auditory system has a privileged access to the temporal and sequential mechanisms working inside the mCBGT circuit in order to determine the exquisite rhythmic abilities of the Homo sapiens [7,21].…”

Section: Neurophysiology Of Rhythmic Behaviour In Monkeysmentioning

confidence: 99%

Finding the beat: a neural perspective across humans and non-human primates

Merchant¹,

Grahn

Trainor

et al. 2015

Phil. Trans. R. Soc. B

359

262

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One contribution of 12 to a theme Issue 'Biology, cognition and origins of musicality'. Humans possess an ability to perceive and synchronize movements to the beat in music ('beat perception and synchronization'), and recent neuroscientific data have offered new insights into this beat-finding capacity at multiple neural levels. Here, we review and compare behavioural and neural data on temporal and sequential processing during beat perception and entrainment tasks in macaques (including direct neural recording and local field potential (LFP)) and humans (including fMRI, EEG and MEG). These abilities rest upon a distributed set of circuits that include the motor cortico-basalganglia-thalamo-cortical (mCBGT) circuit, where the supplementary motor cortex (SMA) and the putamen are critical cortical and subcortical nodes, respectively. In addition, a cortical loop between motor and auditory areas, connected through delta and beta oscillatory activity, is deeply involved in these behaviours, with motor regions providing the predictive timing needed for the perception of, and entrainment to, musical rhythms. The neural discharge rate and the LFP oscillatory activity in the gamma-and beta-bands in the putamen and SMA of monkeys are tuned to the duration of intervals produced during a beat synchronization-continuation task (SCT). Hence, the tempo during beat synchronization is represented by different interval-tuned cells that are activated depending on the produced interval. In addition, cells in these areas are tuned to the serial-order elements of the SCT. Thus, the underpinnings of beat synchronization are intrinsically linked to the dynamics of cell populations tuned for duration and serial order throughout the mCBGT. We suggest that a cross-species comparison of behaviours and the neural circuits supporting them sets the stage for a new generation of neurally grounded computational models for beat perception and synchronization.

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Auditory imagery from musical notation in expert musicians

Cited by 101 publications

References 35 publications

The mental representation of music notation: Notational audiation.

The mental representation of music notation: Notational audiation.

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Finding the beat: a neural perspective across humans and non-human primates

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