245 research outputs found
sj-pdf-1-msx-10.1177_10298649211046979 – Supplemental material for Is music listening an effective intervention for reducing anxiety? A systematic review and meta-analysis of controlled studies
No full textSupplemental material, sj-pdf-1-msx-10.1177_10298649211046979 for Is music listening an effective intervention for reducing anxiety? A systematic review and meta-analysis of controlled studies by Cristina Harney, Judith Johnson, Freya Bailes and Jelena Havelka in Musicae Scientiae</p
A Response to Andrea R. Halpern's Commentary
No full textThe author responds to points raised in Andrea Halpern’s commentary, which appeared in Vol. 2, No. 1 of Empirical Musicology Review. Discussion focuses on the apparent contradiction between self-reports of veridical mental imagery of musical timbre, and cognitive constraints on temporal memory for multidimensional sound
Comparing real-time and retrospective perceptions of sepmentation in computer-generated music
No full textWe confirm our earlier observations (Bailes & Dean, 2005) that listeners can efficiently detect segmentation in computer-generated music which is primarily timbral and textural, atonal and non-metrical. We show that contextual aspects influence this detection, such as those in force in the ramp effect whereby an addition or increase of sound is more readily detected than an equivalent removal or reduction. Listeners are less efficient in detecting a change of segment after a short than after a long segment. They are more efficient in detecting change in real-time when allowed to repeat the detection task. Real-time and retrospective perceptions correlate well
Episode 18: Professor Matthew Bailes: A Cosmic Journey with the The Swinburne Professional Staff Podcast
No full textWelcome to Podcast Professionals with Kristy and Ash! In our latest episode and first for 2024, we explore the world of astrophysics with Professor Matthew Bailes.
Matthew is an astrophysicist specialising in radio astronomy and gravitational waves with a focus on relativistic astrophysics. A former ARC Laureate Fellow, he is a member of the Australian Academy of Sciences and was honoured as a 2023 Shaw Laureate for the discovery of Fast Radio Bursts.
His contributions extend to leadership roles at Swinburne University of Technology, where he has served as Pro-Vice Chancellor (Research) and acted as DVC (Research) on two occasions. Notably, Professor Bailes has played pivotal roles in securing success in three ARC Centre of Excellence bids. As a Theme Leader for CAASTRO and Director of OzGrav, the ARC Centre of Excellence for Gravitational Wave Discovery, he continues to shape groundbreaking research in the field.
Also joining us is Diana Haikal, Senior Communications and Engagement Advisor, for OzGrav and not to mention an amazing professional staff member and also a children's author!
We learn about the upcoming brand refresh at OzGrav which is a significant event slated for April and funding has just been secured for another 7 years. Additionally, Matthew discusses the yet to be launched Digital Experience Room, an innovative initiative poised to transform our engagement with astrophysics. We'll also touch on the launch of OzGrav 2.0 and the UIIN Symposium at Swinburne, happening April 17th to 19th, generating buzz within the astrophysics community.
Join us for an enlightening conversation as we delve into Professor Bailes' impactful journey, the latest developments at OzGrav, plus, learn about Professor Bailes' passion for cycling and the Three Peaks One Day Cycling Challenge in Victorian High Country and stay tuned for the launch of the new Podcast Rating System "SIGMA"
Thanks for listening
A Response to Cross & Rohrmeier's 'Comments on Facilitation and Coherence Between the Dynamic and Retrospective Perception of Segmentation in Computer-Generated Music'
No full textThe commentary by Cross and Rohrmeier (2007) attempts to locate our paper (Bailes and Dean, 2007a) as a study of timbre, and points out the ongoing development of research in this area, including attempts to define psychoacoustic thresholds of perception. However, our work is directed to understanding broader psychological phenomena such as the impact of sound duration on the perception of structure in computer music, and the concordance between real-time and retrospective measures. We discuss further our identification of an asymmetrical detection of sound segmentation, questioning the conceptual distinctions of timbre perception that Cross and Rohrmeier propose
Studying musical imagery: Context and intentionality
No full textThe phenomenon of a conscious 'inner hearing' of music, when this music is not actually present, is known as musi- cal imagery. Of interest to music cognition are when, where, why, what and how particular music is imaged. Given the methodological difficulties of imagery research, these questions have only just begun to be addressed. The research to date has begun to suggest fruitful areas to ex- plore and useful methods to achieve this. This paper re- views converging evidence of musical imagery experience from a sampling study, interviews, and laboratory experi- ments. Relevant findings from a study that sampled the everyday occurrence of having a 'tune on the brain' are presented (Bailes, in press) as an introduction to some of the prob- able factors linked to the occurrence of an involuntary mu- sical image. Analyses highlight the influence of recent ex- posure to particular music on what is subsequently imaged. Following this, an experimental study is described which measured the point of recognition (POR) of 120 melodies by 32 participants, with the goal of predicting POR as a function of different subjective measures of familiarity with the stimuli, and melodic distinctiveness. Results point to the complementary roles of perceptual exposure and memory when participants intentionally generate a mental image of music. Although musical imagery is an intangible phe- nomenon, this paper argues that by examining converging evidence it is possible to discern commonalities worthy of further study. This overview also underlines the changing nature of imagery experience dependent on the contextual factors of the intention to image music and musical task
Comparing real-time and retrospective perceptions of segmentation in computer-generated music
No full textWe confirm our earlier observations (Bailes & Dean, 2005) that listeners can efficiently detect segmentation in computer-generated music which is primarily timbral and textural, atonal and non-metrical. We show that contextual aspects influence this detection, such as those in force in the ramp effect whereby an addition or increase of sound is more readily detected than an equivalent removal or reduction. Listeners are less efficient in detecting a change of segment after a short than after a long segment. They are more efficient in detecting change in real-time when allowed to repeat the detection task. Real-time and retrospective perceptions correlate well
A response to Cross and Rohrmeier's 'Comments on facilitation and coherence between the dynamic and retrospective perception of segmentation in computer-generated music'
No full textThe commentary by Cross and Rohrmeier (2007) attempts to locate our paper (Bailes and Dean, 2007a) as a study of timbre, and points out the ongoing development of research in this area, including attempts to define psychoacoustic thresholds of perception. However, our work is directed to understanding broader psychological phenomena such as the impact of sound duration on the perception of structure in computer music, and the concordance between real-time and retrospective measures. We discuss further our identification of an asymmetrical detection of sound segmentation, questioning the conceptual distinctions of timbre perception that Cross and Rohrmeier propose
Together in music: embodiment, multidimensionality, and musical-social interaction
No full textLooking back at the diverse chapters of the “Together in music” volume, three main themes are identified that reoccur. These relate to the relevance of embodied in-the-moment interaction between musicians for the creative processes to develop, the rich multi-dimensionality of the group music-making experience at a micro-, meso-, and macro-level, and the close relationships between social and musical coordination. These themes highlight the need to advance research by investigating ensemble performance and creativity at multiple analytical levels, e.g. taking microtiming, social coordination, and identity into account, and by explicitly considering developments and emergence over time. Furthermore, these themes promote the advancement of methods and techniques to investigate ensemble music-making processes, several of which are identified and illustrated in the book, including pattern detection in behavioral interaction, visualization of relationships between musicians, and innovations in the measurement and analysis of entrainment behavior in timing and intonation
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