402 research outputs found
Reviews
No full textRita Aiello &John A.Sloboda (Hg.): Musical Perceptions (Gunter Kreutz); Behne, Klaus-Ernst: Gehört - Gedacht - Gesehen. Zehn Aufsätze zum visuellen, kreativen und theoretischen Umgang mit Musik (Christian Allesch); Eberlein, Roland / Pricke, Jobst P.: Kadenzwahrnehmung und Kadenzgeschichte - ein Beitrag zur Grammatik der Musik (Herbert Bruhn); Fassbender, Christoph: Auditory Grouping and Segregation Processes in Infoncy (Gabriele Schellberg); Gratzki, Bettina: Die reine Intonation im Chorgesang (Klaus-Ernst Behne); Grießmeier, B./Bossinger, W.: Musiktherapie mit krebskranken Kindern (Ruth Grümme); Harnischmacher, Christian: Instrumentales Üben und Aspekte der Persönlichkeit (Andreas C. Lehmann); Howell, P./ West, R & Cross, 1.: Representing Musical Structure (Andreas C. Lehmann); Langen, Annette / Piel, Walter (Hg.): Musik und Heilpädagogik. Festschrift für Helmut Moog zum 65. Geburtstag (Herbert Bruhn); Lantermann, Ernst D.: Bildwechsel und Einbildung. Eine Psychologie der Kunst (Barbara Barthelmes); Lehmann, Andreas C.: Habituelle und situative Rezeptionsweisen beim Musikhören (Maria Luise Schulten); McAdams, Stephen / Bigand, Emmanuel (Eds.): Thinking in Sound. The Cognitive Psychology of Human Audition (Jörg Langner); Schulze, Gerhard: Die Erlebnisgesellschaft. Kultursoziologie der Gegenwart (Klaus-Ernst Behne); Smeijsters, Henk: Musiktherapie als Psychotherapie (Ruth Grümme). Spintge, Ralph/Droh, Roland (Eds.): MusicMedicine (Stefan Evers); Vogl, Mona: Instrumentenpräferenz und Persönlichkeitsentwicklung. Eine musik- und entwicklungspsychologische Forschungsarbeit zum Phänomen der Instrumentenpräferenz bei Musikern und Musikerinnen (Reinhard Kopiez); Wagner, Michael J.: lntroductory Musical Acoustics (Johannes Barkowsky).notReviewedpublishedVersio
Origins of the human pointing gesture: A training study
No full textDespite its importance in the development of children’s skills of social cognition and communication, very little is known about the ontogenetic origins of the pointing gesture. We report a training study in which mothers gave children one month of extra daily experience with pointing as compared with a control group who had extra experience with musical activities. One hundred and two infants of 9, 10, or 11 months of age were seen at the beginning, middle, and end of this one-month period and tested for declarative pointing and gaze following. Infants’ ability to point with the index finger at the end of the study was not affected by the training but was instead predicted by infants’ prior ability to follow the gaze direction of an adult. The frequency with which infants pointed indexically was also affected by infant gaze following ability and, in addition, by maternal pointing frequency in free play, but not by training. In contrast, infants’ ability to monitor their partner’s gaze when pointing, and the frequency with which they did so, was affected by both training and maternal pointing frequency in free play. These results suggest that prior social cognitive advances, rather than adult socialization of pointing per se, determine the developmental onset of indexical pointing, but socialization processes such as imitation and adult shaping subsequently affect both infants’ ability to monitor their interlocutor’s gaze while they point and how frequently infants choose to point
Reviews
No full textK. Adamek: Singen als Lebenshilfe (Klaus-Ernst Behne); Akademie für Lehrerfortbildung Dillingen in Zusammenarbeit mit H. Bruhn und H. Rösing (Hrsg.): Musikpsychologie in der Schule (Helga de la Motte-Haber); J. Barkowsky: Das Fourier-Theorem in musikalischer Akustik und Tonpsychologie (Lothar Scholz); R. Eberlein: Die Entstehung der tonalen Klangsyntax (Herbert Bruhn); H. E. Fiske: Music Cognition and Aesthetic Attitudes (Helga de la Motte-Haber); H. Gembris, R. D. Kramer & G. Maas (Hrsg.): Musikpädagogische Forschungsberichte 1994; D. Epstein: Shaping Time (Reinhard Kopiez); A. E. Kemp: Tue Musical Temperament. Psychology and Personality of Musicians (Melanie Uerlings); R. Th. Krampe: Maintaining excellence (Reinhard Kopiez); H. de la Motte-Haber & R. Kopiez (Hrsg.): Der Hörer als Interpret (Barbara Tillmann); M. Leman: Music and Schema Theory (Wolfgang Auhagen); M. Lenz: Musik und Kontakt. Grundlagen und Modelle musik-sozial therapeutischer Gruppenimprovisation (Egle Marcinkeviciute); P. Linzenkirchner & G. Eger-Harsch: Gute Noten mit kritischen Anmerkungen (Reinhard Kopiez); M. Manturzewska, K. Miklaszewski & A. Bialkowski (Hrsg.): Psychology of Music Today (Helga de la Motte-Haber); G. Möhlenkamp: Physiologische und psychologische Reaktionen auf unterschiedliche musiktherapeutische Interventionen im Vergleich zu einer Entspannungsübung (Heiner Gembris); P. Ohler: Kognitive Filmpsychologie (Helga de la Motte-Haber); Chr. Reuter: Der Einschwingvorgang nichtperkussiver Musikinstrumente (Lothar Scholz); E. Sehadel: Musik als Trinitätssymbol (Herbert Bruhn); G. Welch & T. Murao (Hrsg.): Onchi and Singing Development (Klaus-Ernst Behne); St. Wolf: Beethovens Neffenkonflikt. Eine psychologisch-biographischeStudie (Isolde Vetter)notReviewedpublishedVersio
The use of music [Translated with www.DeepL.com]
No full textIn dieser Studie wurden 391 Schülerinnen und Schüler (im Alter von 13 bis 16 Jahren) gebeten, sich eine hochemotionale Situation vorzustellen (z.B. Freude, Zufriedenheit, Ärger, Trauer) und in einem semantischen Differential anzugeben, welche Art von Musik sie in einer solchen Situation hören möchten. Eine Staubwedelanalyse ergab extreme Unterschiede in der Musikauswahl, insbesondere in den negativen Situationen (Wut und Trauer), was darauf hinweist, dass Musik verschiedene Funktionen haben kann. Der Autor kommt zu dem Schluss, dass Studien über die Beziehungen zwischen Persönlichkeit und Musikpräferenzen bisher eher erfolglos waren, weil die große Vielfalt der Möglichkeiten, mit Musik einen emotionalen Zustand zu beeinflussen, nicht ausreichend berücksichtigt wurde. [Translated with www.DeepL.com]In this study 391 students (aged 13 to 16) were asked to imagine a highly emotional situation (such as joy, contentment, anger, grief) and to state on a semantic differential, what kind of music they would wish to listen to in such a situation. A duster analysis revealed extreme diff erences of musical choices, especially in the negative situations ( anger and grief), which indicates that music can have various different functions. The author comes to the conclusion that studies on the relations between personality and music preferences have been so far rather unsuccessful because the great variety of possibilities in using music to influence an emotional state has not been adequately considered.notReviewedpublishedVersio
Musical Expertise Affects Audiovisual Speech Perception: Findings From Event-Related Potentials and Inter-trial Phase Coherence
No full textIn audiovisual speech perception, visual information from a talker’s face during mouth articulation is available before the onset of the corresponding audio speech, and thereby allows the perceiver to use visual information to predict the upcoming audio. This prediction from phonetically congruent visual information modulates audiovisual speech perception and leads to a decrease in N1 and P2 amplitudes and latencies compared to the perception of audio speech alone. Whether audiovisual experience, such as with musical training, influences this prediction is unclear, but if so, may explain some of the variations observed in previous research. The current study addresses whether audiovisual speech perception is affected by musical training, first assessing N1 and P2 event-related potentials (ERPs) and in addition, inter-trial phase coherence (ITPC). Musicians and non-musicians are presented the syllable, /ba/ in audio only (AO), video only (VO), and audiovisual (AV) conditions. With the predictory effect of mouth movement isolated from the AV speech (AV−VO), results showed that, compared to audio speech, both groups have a lower N1 latency and P2 amplitude and latency. Moreover, they also showed lower ITPCs in the delta, theta, and beta bands in audiovisual speech perception. However, musicians showed significant suppression of N1 amplitude and desynchronization in the alpha band in audiovisual speech, not present for nonmusicians. Collectively, the current findings indicate that early sensory processing can be modified by musical experience, which in turn can explain some of the variations in previous AV speech perception research.publishedVersionCopyright © 2019 Sorati and Behne. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms
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2-D Tomography With Bolometry in DIII-D
No full textWe have installed a 48-channel platinum-foil bolometer system on DIII-D achieve better spatial and temporal resolution of the radiated power in diverted discharges. Two 24-channel arrays provide complete plasma coverage with optimized views of the divertor. We have measured the divertor radiation profile for a series of radiative divertor and power balance experiments. We observe a rapid change in the magnitude and distribution of divertor radiation with heavy gas puffing. Unfolding the radiation profile with only two views requires us to treat the core and divertor radiation separately. The core radiation is fitted to a function of magnetic flux and is then subtracted from the divertor viewing chords. The divertor profile is then fit to a 2-D spline as a function of magnetic flux and poloidal angle
Audiovisual Modulation in Music Perception for Musicians and Non-musicians
No full textIn audiovisual music perception, visual information from a musical instrument being played is available prior to the onset of the corresponding musical sound and consequently allows a perceiver to form a prediction about the upcoming audio music. This prediction in audiovisual music perception, compared to auditory music perception, leads to lower N1 and P2 amplitudes and latencies. Although previous research suggests that audiovisual experience, such as previous musical experience may enhance this prediction, a remaining question is to what extent musical experience modifies N1 and P2 amplitudes and latencies. Furthermore, corresponding event-related phase modulations quantified as inter-trial phase coherence (ITPC) have not previously been reported for audiovisual music perception. In the current study, audio video recordings of a keyboard key being played were presented to musicians and non-musicians in audio only (AO), video only (VO), and audiovisual (AV) conditions. With predictive movements from playing the keyboard isolated from AV music perception (AV-VO), the current findings demonstrated that, compared to the AO condition, both groups had a similar decrease in N1 amplitude and latency, and P2 amplitude, along with correspondingly lower ITPC values in the delta, theta, and alpha frequency bands. However, while musicians showed lower ITPC values in the beta-band in AV-VO compared to the AO, non-musicians did not show this pattern. Findings indicate that AV perception may be broadly correlated with auditory perception, and differences between musicians and non-musicians further indicate musical experience to be a specific factor influencing AV perception. Predicting an upcoming sound in AV music perception may involve visual predictory processes, as well as beta-band oscillations, which may be influenced by years of musical training. This study highlights possible interconnectivity in AV perception as well as potential modulation with experience.publishedVersionCopyright © 2020 Sorati and Behne. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms
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