Culture and Evolution

Cross, Ian; Fitch, T; Aboitiz, Francisco D.; Iriki, Atsushi; Jarvis, Edward; Lewis, Josephine Edwardine; Liebal, Katja; Merker, Barbara; Stout, David E.; Trehub, Sandra E.

doi:10.7551/mitpress/9780262018104.003.0021

Cited by 17 publications

(21 citation statements)

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“…Although an isochronous, external pulse affording entrainment of motor behaviour and inter-individual synchronization may be considered a specialization of music (Cross et al, 2013;Cross & Woodruff, 2009) Expected results concerning incidental memory, similarity to, and prosocial behaviours towards the SP were not replicated. Differently from previous studies, there were no parallel conditions with no-synchronization because the present experiment aimed to address novel dimensions (rather than reproduce the synchrony/no-synchrony effects).…”

Section: Discussionmentioning

confidence: 94%

“…In addition to the more nuanced music-user profile reported in the above literature, women's ancestral background is deeply rooted in species-specific behaviours such as infant-directed speech and music more broadly associated with caring experiences (Cross et al, 2013;Falk, 2004;Lewis, 2009Lewis, , 2013Trehub, Becker & Morley, 2015). Cross and Woodruff (2009) The naturalistic ambition of the present study was limited by the use of…”

Section: Discussionmentioning

confidence: 99%

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Emotion-related musical variables affect person perception

Franco

Angelova²

2016

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This study investigated person perception in respect of variables associated with affect in music (tempo and mode) following motor synchronization to music. Participants (n = 128, 50% female) were tested in a task involving stepping with a researcher to the beat of slow or fast music in major or minor mode, following which measures concerning the synchronised partner were collected (incidental memory, likeability of, similarity to and prosocial attitude towards). Significant effects were found only for the ‘likeability’ measure, modulated by gender, suggesting that variables associated with affect perception in music, such as mode and tempo appear relevant for person perception in a synchronization task in ways that differ for men and women. The results of this ‘proof of concept’ study indicate the need for further research on the effect of motor synchronization based on ecologically valid musical interaction tasks.

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Section: Discussionmentioning

confidence: 94%

Section: Discussionmentioning

confidence: 99%

Emotion-related musical variables affect person perception

Franco

Angelova²

2016

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“…If vocal phrases were remembered better when produced with discretised pitches, why do humans not sing all the time? Focusing just on pitch in speech and song, one could argue that speech prosody functions primarily in a context of temporal proximity, for example in a turn-taking context that is more typical of speech than music (Cross et al, 2013 ). This might make exact reproduction of pitch unnecessary.…”

Section: Discussionmentioning

confidence: 99%

Song Is More Memorable Than Speech Prosody: Discrete Pitches Aid Auditory Working Memory

2020

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Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory.

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“…Music and speech reflect fundamental aspects of human capacities (Juslin and Laukka, 2003 ; Patel, 2008 ). The parallels between music and speech have been attracting scholarly interest for a long period (Fonagy and Magdics, 1963 ; Sundberg, 1982 ; Scherer, 1995 ), with attempts to compare the two from a wide range of perspectives: prosody (Scherer, 1995 ), semantics (Seifert et al, 2013 ), syntax (Lerdahl, 2013 ), evolution (Cross et al, 2013 ), neurocognitive mechanisms (Steinbeis and Koelsch, 2008 ), and facial expressions (Carlo and Guaitella, 2004 ; Livingstone et al, in press ). Particularly, an increasing amount of attention has been given to using perceptual tests for acoustic comparisons between affective music and speech, as they are two important means of emotion communication (Buck, 1984 ; Wilson, 1994 ; Juslin and Laukka, 2003 ) which is crucial for maintaining social bonds in human society (Ekman, 1992 ).…”

Section: Introductionmentioning

confidence: 99%

Relations between affective music and speech: evidence from dynamics of affective piano performance and speech production

Liu

2015

Front. Psychol.

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This study compares affective piano performance with speech production from the perspective of dynamics: unlike previous research, this study uses finger force and articulatory effort as indexes reflecting the dynamics of affective piano performance and speech production respectively. Moreover, for the first time physical constraints such as piano fingerings and speech articulatory constraints are included due to their potential contribution to different patterns of dynamics. A piano performance experiment and speech production experiment were conducted in four emotions: anger, fear, happiness and sadness. The results show that in both piano performance and speech production, anger and happiness generally have high dynamics while sadness has the lowest dynamics. Fingerings interact with fear in the piano experiment and articulatory constraints interact with anger in the speech experiment, i.e., large physical constraints produce significantly higher dynamics than small physical constraints in piano performance under the condition of fear and in speech production under the condition of anger. Using production experiments, this study firstly supports previous perception studies on relations between affective music and speech. Moreover, this is the first study to show quantitative evidence for the importance of considering motor aspects such as dynamics in comparing music performance and speech production in which motor mechanisms play a crucial role.

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Culture and Evolution

Cited by 17 publications

References 0 publications

Emotion-related musical variables affect person perception

Emotion-related musical variables affect person perception

Song Is More Memorable Than Speech Prosody: Discrete Pitches Aid Auditory Working Memory

Relations between affective music and speech: evidence from dynamics of affective piano performance and speech production

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