What Determines the Perception of Segmentation in Contemporary Music?
Identifieur interne : 000099 ( Main/Exploration ); précédent : 000098; suivant : 000100What Determines the Perception of Segmentation in Contemporary Music?
Auteurs : Michelle Phillips [Royaume-Uni] ; Andrew J. Stewart [Royaume-Uni] ; J Matthew Wilcoxson [Royaume-Uni] ; Luke A. Jones [Royaume-Uni] ; Emily Howard [Royaume-Uni] ; Pip Willcox [Royaume-Uni] ; Marcus Du Sautoy [Royaume-Uni] ; David De Roure [Royaume-Uni]Source :
- Frontiers in psychology [ 1664-1078 ] ; 2020.
Abstract
Background
This study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g., Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music).
Aims
The current study aimed to examine the listeners' segmentation decisions in a piece of contemporary music, Ligeti's "Fanfares"?
Methods
Data were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to "tap" when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants.
Results
The audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses-the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small.
Conclusion
Whether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.
DOI: 10.3389/fpsyg.2020.01001
PubMed: 32547450
PubMed Central: PMC7270279
Affiliations:
- Royaume-Uni
- Angleterre, Grand Londres, Grand Manchester, Oxfordshire
- Londres, Manchester, Oxford
- Université d'Oxford, Université de Manchester
Links toward previous steps (curation, corpus...)
Le document en format XML
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Jones</name><affiliation wicri:level="4"><nlm:affiliation>Division of Neuroscience and Experimental Psychology, Faculty of Biology, Medicine and Health, Manchester Academic Health Science Centre, The University of Manchester, Manchester, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Division of Neuroscience and Experimental Psychology, Faculty of Biology, Medicine and Health, Manchester Academic Health Science Centre, The University of Manchester, Manchester</wicri:regionArea><placeName><settlement type="city">Manchester</settlement><region type="country">Angleterre</region><region type="région" nuts="1">Grand Manchester</region></placeName><orgName type="university">Université de Manchester</orgName></affiliation></author><author><name sortKey="Howard, Emily" sort="Howard, Emily" uniqKey="Howard E" first="Emily" last="Howard">Emily Howard</name><affiliation wicri:level="3"><nlm:affiliation>The Royal Northern College of Music, Manchester, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>The Royal Northern College of Music, Manchester</wicri:regionArea><placeName><settlement type="city">Manchester</settlement><region type="country">Angleterre</region><region type="région" nuts="1">Grand Manchester</region></placeName></affiliation></author><author><name sortKey="Willcox, Pip" sort="Willcox, Pip" uniqKey="Willcox P" first="Pip" last="Willcox">Pip Willcox</name><affiliation wicri:level="4"><nlm:affiliation>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford</wicri:regionArea><placeName><settlement type="city">Oxford</settlement><region type="country">Angleterre</region><region type="comté" nuts="2">Oxfordshire</region></placeName><orgName type="university">Université d'Oxford</orgName></affiliation></author><author><name sortKey="Du Sautoy, Marcus" sort="Du Sautoy, Marcus" uniqKey="Du Sautoy M" first="Marcus" last="Du Sautoy">Marcus Du Sautoy</name><affiliation wicri:level="4"><nlm:affiliation>Mathematical Institute, University of Oxford, Oxford, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Mathematical Institute, University of Oxford, Oxford</wicri:regionArea><placeName><settlement type="city">Oxford</settlement><region type="country">Angleterre</region><region type="comté" nuts="2">Oxfordshire</region></placeName><orgName type="university">Université d'Oxford</orgName></affiliation></author><author><name sortKey="De Roure, David" sort="De Roure, David" uniqKey="De Roure D" first="David" last="De Roure">David De Roure</name><affiliation wicri:level="4"><nlm:affiliation>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford</wicri:regionArea><placeName><settlement type="city">Oxford</settlement><region type="country">Angleterre</region><region type="comté" nuts="2">Oxfordshire</region></placeName><orgName type="university">Université d'Oxford</orgName></affiliation><affiliation wicri:level="3"><nlm:affiliation>The Alan Turing Institute, London, United Kingdom.</nlm:affiliation><country xml:lang="fr">Royaume-Uni</country><wicri:regionArea>The Alan Turing Institute, London</wicri:regionArea><placeName><settlement type="city">Londres</settlement><region type="country">Angleterre</region><region type="région" nuts="1">Grand Londres</region></placeName></affiliation></author></analytic><series><title level="j">Frontiers in psychology</title><idno type="ISSN">1664-1078</idno><imprint><date when="2020" type="published">2020</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p><b>Background</b></p><p>This study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g., Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music).</p></div><div type="abstract" xml:lang="en"><p><b>Aims</b></p><p>The current study aimed to examine the listeners' segmentation decisions in a piece of contemporary music, Ligeti's "Fanfares"?</p></div><div type="abstract" xml:lang="en"><p><b>Methods</b></p><p>Data were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to "tap" when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants.</p></div><div type="abstract" xml:lang="en"><p><b>Results</b></p><p>The audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses-the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small.</p></div><div type="abstract" xml:lang="en"><p><b>Conclusion</b></p><p>Whether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.</p></div></front></TEI><pubmed><MedlineCitation Status="PubMed-not-MEDLINE" Owner="NLM"><PMID Version="1">32547450</PMID><DateRevised><Year>2020</Year><Month>09</Month><Day>28</Day></DateRevised><Article PubModel="Electronic-eCollection"><Journal><ISSN IssnType="Print">1664-1078</ISSN><JournalIssue CitedMedium="Print"><Volume>11</Volume><PubDate><Year>2020</Year></PubDate></JournalIssue><Title>Frontiers in psychology</Title><ISOAbbreviation>Front Psychol</ISOAbbreviation></Journal><ArticleTitle>What Determines the Perception of Segmentation in Contemporary Music?</ArticleTitle><Pagination><MedlinePgn>1001</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.3389/fpsyg.2020.01001</ELocationID><Abstract><AbstractText Label="Background" NlmCategory="UNASSIGNED">This study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g., Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music).</AbstractText><AbstractText Label="Aims" NlmCategory="UNASSIGNED">The current study aimed to examine the listeners' segmentation decisions in a piece of contemporary music, Ligeti's "Fanfares"?</AbstractText><AbstractText Label="Methods" NlmCategory="UNASSIGNED">Data were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to "tap" when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants.</AbstractText><AbstractText Label="Results" NlmCategory="UNASSIGNED">The audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses-the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small.</AbstractText><AbstractText Label="Conclusion" NlmCategory="UNASSIGNED">Whether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.</AbstractText><CopyrightInformation>Copyright © 2020 Phillips, Stewart, Wilcoxson, Jones, Howard, Willcox, du Sautoy and De Roure.</CopyrightInformation></Abstract><AuthorList CompleteYN="Y"><Author ValidYN="Y"><LastName>Phillips</LastName><ForeName>Michelle</ForeName><Initials>M</Initials><AffiliationInfo><Affiliation>The Royal Northern College of Music, Manchester, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Stewart</LastName><ForeName>Andrew J</ForeName><Initials>AJ</Initials><AffiliationInfo><Affiliation>Division of Neuroscience and Experimental Psychology, Faculty of Biology, Medicine and Health, Manchester Academic Health Science Centre, The University of Manchester, Manchester, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Wilcoxson</LastName><ForeName>J Matthew</ForeName><Initials>JM</Initials><AffiliationInfo><Affiliation>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Jones</LastName><ForeName>Luke A</ForeName><Initials>LA</Initials><AffiliationInfo><Affiliation>Division of Neuroscience and Experimental Psychology, Faculty of Biology, Medicine and Health, Manchester Academic Health Science Centre, The University of Manchester, Manchester, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Howard</LastName><ForeName>Emily</ForeName><Initials>E</Initials><AffiliationInfo><Affiliation>The Royal Northern College of Music, Manchester, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>Willcox</LastName><ForeName>Pip</ForeName><Initials>P</Initials><AffiliationInfo><Affiliation>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>du Sautoy</LastName><ForeName>Marcus</ForeName><Initials>M</Initials><AffiliationInfo><Affiliation>Mathematical Institute, University of Oxford, Oxford, United Kingdom.</Affiliation></AffiliationInfo></Author><Author ValidYN="Y"><LastName>De Roure</LastName><ForeName>David</ForeName><Initials>D</Initials><AffiliationInfo><Affiliation>Oxford e-Research Centre, Mathematical, Physical and Life Sciences Division, University of Oxford, Oxford, United Kingdom.</Affiliation></AffiliationInfo><AffiliationInfo><Affiliation>The Alan Turing Institute, London, United Kingdom.</Affiliation></AffiliationInfo></Author></AuthorList><Language>eng</Language><PublicationTypeList><PublicationType UI="D016428">Journal Article</PublicationType></PublicationTypeList><ArticleDate DateType="Electronic"><Year>2020</Year><Month>05</Month><Day>28</Day></ArticleDate></Article><MedlineJournalInfo><Country>Switzerland</Country><MedlineTA>Front Psychol</MedlineTA><NlmUniqueID>101550902</NlmUniqueID><ISSNLinking>1664-1078</ISSNLinking></MedlineJournalInfo><KeywordList Owner="NOTNLM"><Keyword MajorTopicYN="N">Ligeti</Keyword><Keyword MajorTopicYN="N">contemporary music</Keyword><Keyword MajorTopicYN="N">large-scale form</Keyword><Keyword MajorTopicYN="N">live music</Keyword><Keyword MajorTopicYN="N">music perception</Keyword><Keyword MajorTopicYN="N">segmentation</Keyword></KeywordList></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="received"><Year>2019</Year><Month>11</Month><Day>22</Day></PubMedPubDate><PubMedPubDate PubStatus="accepted"><Year>2020</Year><Month>04</Month><Day>22</Day></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2020</Year><Month>6</Month><Day>18</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2020</Year><Month>6</Month><Day>18</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2020</Year><Month>6</Month><Day>18</Day><Hour>6</Hour><Minute>1</Minute></PubMedPubDate></History><PublicationStatus>epublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">32547450</ArticleId><ArticleId IdType="doi">10.3389/fpsyg.2020.01001</ArticleId><ArticleId IdType="pmc">PMC7270279</ArticleId></ArticleIdList><ReferenceList><Reference><Citation>Ann N Y Acad Sci. 2003 Nov;999:304-12</Citation><ArticleIdList><ArticleId IdType="pubmed">14681154</ArticleId></ArticleIdList></Reference><Reference><Citation>Psychol Rev. 1956 Mar;63(2):81-97</Citation><ArticleIdList><ArticleId IdType="pubmed">13310704</ArticleId></ArticleIdList></Reference><Reference><Citation>Ann N Y Acad Sci. 2001 Jun;930:17-27</Citation><ArticleIdList><ArticleId IdType="pubmed">11458828</ArticleId></ArticleIdList></Reference><Reference><Citation>Conscious Cogn. 2011 Jun;20(2):214-22</Citation><ArticleIdList><ArticleId IdType="pubmed">20832338</ArticleId></ArticleIdList></Reference><Reference><Citation>Cogn Affect Behav Neurosci. 2013 Sep;13(3):533-53</Citation><ArticleIdList><ArticleId IdType="pubmed">23605956</ArticleId></ArticleIdList></Reference><Reference><Citation>Cognition. 2006 May;100(1):100-30</Citation><ArticleIdList><ArticleId IdType="pubmed">16412412</ArticleId></ArticleIdList></Reference><Reference><Citation>Psychol Rev. 1982 Jul;89(4):334-68</Citation><ArticleIdList><ArticleId IdType="pubmed">7134332</ArticleId></ArticleIdList></Reference><Reference><Citation>Front Psychol. 2013 Nov 07;4:789</Citation><ArticleIdList><ArticleId IdType="pubmed">24223562</ArticleId></ArticleIdList></Reference><Reference><Citation>Music Percept. 2010 Jun 1;27(5):377-388</Citation><ArticleIdList><ArticleId IdType="pubmed">20740059</ArticleId></ArticleIdList></Reference></ReferenceList></PubmedData></pubmed><affiliations><list><country><li>Royaume-Uni</li></country><region><li>Angleterre</li><li>Grand Londres</li><li>Grand Manchester</li><li>Oxfordshire</li></region><settlement><li>Londres</li><li>Manchester</li><li>Oxford</li></settlement><orgName><li>Université d'Oxford</li><li>Université de Manchester</li></orgName></list><tree><country name="Royaume-Uni"><region name="Angleterre"><name sortKey="Phillips, Michelle" sort="Phillips, Michelle" uniqKey="Phillips M" first="Michelle" last="Phillips">Michelle Phillips</name></region><name sortKey="De Roure, David" sort="De Roure, David" uniqKey="De Roure D" first="David" last="De Roure">David De Roure</name><name sortKey="De Roure, David" sort="De Roure, David" uniqKey="De Roure D" first="David" last="De Roure">David De Roure</name><name sortKey="Du Sautoy, Marcus" sort="Du Sautoy, Marcus" uniqKey="Du Sautoy M" first="Marcus" last="Du Sautoy">Marcus Du Sautoy</name><name sortKey="Howard, Emily" sort="Howard, Emily" uniqKey="Howard E" first="Emily" last="Howard">Emily Howard</name><name sortKey="Jones, Luke A" sort="Jones, Luke A" uniqKey="Jones L" first="Luke A" last="Jones">Luke A. Jones</name><name sortKey="Stewart, Andrew J" sort="Stewart, Andrew J" uniqKey="Stewart A" first="Andrew J" last="Stewart">Andrew J. Stewart</name><name sortKey="Wilcoxson, J Matthew" sort="Wilcoxson, J Matthew" uniqKey="Wilcoxson J" first="J Matthew" last="Wilcoxson">J Matthew Wilcoxson</name><name sortKey="Willcox, Pip" sort="Willcox, Pip" uniqKey="Willcox P" first="Pip" last="Willcox">Pip Willcox</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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HfdIndexSelect -h $EXPLOR_AREA/Data/Main/Exploration/RBID.i -Sk "pubmed:32547450" \
| HfdSelect -Kh $EXPLOR_AREA/Data/Main/Exploration/biblio.hfd \
| NlmPubMed2Wicri -a SanteMusiqueV1
| This area was generated with Dilib version V0.6.38. |  |