The COVID-19 pandemic has brought the live music industry to an abrupt halt; subsequently, musicians are looking for ways to replicate the live concert experience virtually. The present study sought to investigate differences in aesthetic judgments of a live concert vs. a recorded concert, and whether these responses vary based on congruence between musical artist and piece. Participants made continuous ratings of their felt pleasure either during a live concert or while viewing an audiovisual recorded version of the same joint (...) concert given by a university band and a United States Army band. Each band played two pieces: a United States patriotic piece and a non-patriotic piece. Results indicate that, on average, participants reported more pleasure while listening to pieces that were congruent, which did not vary based on live vs. lab listening context: listeners preferred patriotic music when played by the army band and non-patriotic music when played by the university band. Overall, these results indicate that felt pleasure in response to music may vary based on listener expectations of the musical artist, such that listeners prefer musical pieces that “fit” with the particular artist. When considering implications for concerts during the COVID-19 pandemic, our results indicate that listeners may experience similar degrees of pleasure even while viewing a recorded concert, suggesting that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. (shrink)

Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical studies, we unfold this theory for one (...) such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. (shrink)

When multiple individuals interact in a conversation or as part of a large crowd, emergent structures and dynamics arise that are behavioral properties of the interacting group rather than of any individual member of that group. Recent work using traditional signal processing techniques and machine learning has demonstrated that global acoustic data recorded from a crowd at a basketball game can be used to classify emergent crowd behavior in terms of the crowd's purported emotional state. We propose that the description (...) of crowd behavior from such global acoustic data could benefit from nonlinear analysis methods derived from dynamical systems theory. Such methods have been used in recent research applying nonlinear methods to audio data extracted from music and group musical interactions. In this work, we used nonlinear analyses to extract features that are relevant to the behavioral interactions that underlie acoustic signals produced by a crowd attending a sporting event. We propose that recurrence dynamics measured from these audio signals via recurrence quantification analysis (RQA) reflect information about the behavioral dynamics of the crowd itself. We analyze these dynamics from acoustic signals recorded from crowds attending basketball games, and that were manually labeled according to the crowds' emotional state across six categories: angry noise, applause, cheer, distraction noise, positive chant, and negative chant. We show that RQA measures are useful to differentiate the emergent acoustic behavioral dynamics between these categories, and can provide insight into the recurrence patterns that underlie crowd interactions. (shrink)

Despite a long history of researchers who combine phenomenology with qualitative or quantitative methods, there are only few examples of working with a phenomenological mixed method—a method where phenomenology informs both qualitative and quantitative data generation, analysis, and interpretation. Researchers have argued that in working with a phenomenological mixed method, there should be mutual constraint and enlightenment between the qualitative and quantitative methods for studying consciousness. In this article, we discuss what a framework for phenomenological mixed methods could look like (...) and we aim to provide guidance of how to work within such framework. We are inspired by resources coming from research in mixed methods and existing examples of phenomenological mixed-method research. We also present three cases of phenomenological mixed methods where we study complex social phenomena and discuss the process of how we conducted the studies. From both the research inspiration and our own studies, we depict the landscape of possibilities available for those interested in mixing phenomenology with qualitative and quantitative methods, as well as the challenges and common pitfalls that researchers face. To navigate in this landscape, we develop a three-fold structure, focusing on the phenomenological frame, the phenomenologically informed generation of qualitative and quantitative data, and the phenomenologically informed analysis and interpretation of data. (shrink)

“Music As a Coevolved System for Social Bonding” is a brilliant synthesis and appealing hypothesis offering insights into the evolution and social bonding of musicality, but is so broad and sweeping it will be challenging to test, prove or falsify in the Popperian sense. After general comments, I focus my critique on underlying neurobiological mechanisms, and offer some suggestions for experimental tests of MSB.