Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects of performance reliably influence perceptions (...) of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)

The present study investigates shared representations of syntactic knowledge in music and action. We examined whether expectancy violations in musical harmonic sequences are also perceived as violations of the movement sequences necessary to produce them. Pianists imitated silent videos showing one hand playing chord sequences on a muted keyboard. Results indicate that, despite the absence of auditory feedback, imitation of a chord is fastest when it is congruent with the preceding harmonic context. This suggests that the harmonic rules implied by (...) observed actions induce expectations that influence action execution. As evidence that these predictions are derived at a high representational level, imitation was more accurate for harmonically incongruent chords than for congruent chords executed with unconventional fingering. The magnitude of the effects of context and goal prioritization increased with musical training. Thus, musical training may lead to a domain-general representation of musical grammar, i.e., to a grammar of action. (shrink)

In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...) to go about the practical task of actually increasing our level of wellbeing, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of wellbeing. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I’m of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of wellbeing. (shrink)

In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...) go about the practical task of actually increasing our level of well-being, we ought to do so by focusing on practically increasing the levels of the five factors that are characteristic of well-being. If, for instance, an activity such as musical engagement can be shown to positively influence each or all of these five factors, this would be compelling evidence that an activity such as musical engagement can positively contribute to one’s living a flourishing life. I am of the belief that psychological research can and should be used, not only to identify and diagnose maladaptive psychological states, but identify and promote adaptive psychological states as well. In this article I advance the hypothesis and provide supporting evidence for the claim that musical engagement can positively contribute to one’s living a flourishing life. Since there has not yet been a substantive and up-to-date investigation of the possible role of music in contributing to one’s living a flourishing life, the purpose of this article is to conduct this investigation, thereby bridging the gap and stimulating discussion between the psychology of music and the psychology of well-being. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising Mind' (...) these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

What constitutes enjoyment of life? Optimal Experience: Psychological Studies of Flow in Consciousness offers a comprehensive survey of theoretical and empirical investigations of the "flow" experience, a desirable or optimal state of consciousness that enhances a person's psychic state. "Flow" can be said to occur when people are able to meet the challenges of their environment with appropriate skills, and accordingly feel a sense of well-being, a sense of mastery, and a heightened sense of self-esteem. The authors show the diverse (...) contexts and circumstances in which flow is reported in different cultures (e.g. Japan, Korea, Australia, Italy), and describe its positive emotional impacts. They reflect on the concept of flow vis-à-vis modern social structures, historical phenomena, and evolutionary biocultural selection. The ways in which the ability to experience flow affects work satisfaction, academic success, and the overall quality of life are suggested; and the childrearing practices that result in the ability to derive enjoyment from life, considered. (shrink)

This journal's well-intentioned consideration of the arts has turned out to be quite the Pandora's box. As soon as we broach the subject of aesthetics, we are already in the realm of ideology; as soon as we impose the frame of scientific inquiry upon any subject, we invoke another kind of ideology. The previous issues in this series have depicted the unfolding of an ideological clash of cultures between sciences and the humanities, enough to make C.P. Snow blush. For the (...) time being, this is an unavoidable condition; yet the more we remain aware of it, the further we may push our insights. (shrink)