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  • 1
    Book
    Book
    Music and mental imagery (2023)
    London : Routledge
    Details
    UID:
    b3kat_BV048578300
    Format: 318 Seiten , Illustrationen
    ISBN: 9780367352165
    Series Statement: SEMPRE studies in the psychology of music
    Note: Forthcoming publication
    Additional Edition: Erscheint auch als Online-Ausgabe ISBN 978-0-429-33007-0
    Language: English
    Subjects: Musicology
    RVK:
    LR 56650
    Keywords: Aufsatzsammlung
    URL: Cover
    Author information: Taruffi, Liila
    Library Location Call Number Volume/Issue/Year Availability
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    Book
    HU Berlin get availability status
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  • 2
    Online Resource
    Online Resource
    Chapter Introduction and Overview (2023)
    [Erscheinungsort nicht ermittelbar] : Taylor & Francis
    Details
    UID:
    gbv_1832238784
    Format: 1 Online-Ressource (19 p.)
    ISBN: 9780367352165 , 9781032376073
    Content: Drawing on perspectives from music psychology, cognitive neuroscience, philosophy, musicology, clinical psychology, and music education, Music and Mental Imagery provides a critical overview of cutting-edge research on the various types of mental imagery associated with music. The four main parts cover an introduction to the different types of mental imagery associated with music such as auditory/musical, visual, kinaesthetic, and multimodal mental imagery; a critical assessment of established and novel ways to measure mental imagery in various musical contexts; coverage of different states of consciousness, all of which are relevant for, and often associated with, mental imagery in music, and a critical overview of applications of mental imagery in health, educational ,and performance settings. By both critically reviewing up-to-date scientific research and offering new empirical results, this book provides a unique overview of the different types and origins of mental imagery in musical contexts, various ways to measure them, and intriguing insights into related mental phenomena such as mind-wandering and synaesthesia. This will be of particular interest for scholars and researchers of music psychology and music education. It will also be useful for practitioners working with music in applied health and educational contexts
    Note: English
    Language: Undetermined
    URL: kostenfrei
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    Stabi Berlin
    UB Potsdam
  • 3
    Online Resource
    Online Resource
    Taqsim as a creative musical process in Arabic music (2021)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    b3kat_BV047241991
    Format: 1 Online-Ressource
    Language: English
    DOI: 10.18452/23316
    URN: urn:nbn:de:kobv:11-110-18452/23921-8
    URL: Volltext  (kostenfrei)
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    Online Resource
    Fulltext
    HU Berlin
  • 4
    Online Resource
    Online Resource
    The experience of music in aphantasia : emotion, reward, and everyday functions (2024)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    b3kat_BV049421139
    Format: 1 Online-Ressource (18 Seiten)
    Edition: [Zweitveröffentlichung]
    Language: English
    DOI: 10.18452/28289
    URN: urn:nbn:de:kobv:11-110-18452/28941-8
    URL: Volltext  (kostenfrei)
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    Online Resource
    Fulltext
    HU Berlin
  • 5
    Online Resource
    Online Resource
    Music Teachers’ Perspectives and Experiences of Ensemble and Learning Skills (2020)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    edochu_18452_22712
    Format: 1 Online-Ressource (11 Seiten)
    Content: In this article, we report data from two survey studies administered to expert music teachers. Both questionnaires aimed to explore teachers’ pedagogical and performative practice and included open questions elucidating musical skills emerging in groups. The first study focuses on collective teaching settings offered to amateurs, jazz musicians, and university students with various levels of musical expertise. The second reports data from teachers based at the Royal College of Music, London, where the main emphasis is on Western classical repertoire. We integrate both studies and discuss overlapping findings. Despite intrinsic differences concerning the general goals of their teaching and the educational systems in which they operate, our data indicate the ability to “listen and respond to others” as the most important ensemble skill, whereas “time management,” “comparing yourself to the class,” and the “development of responsible ways of learning” emerged as main learning skills. We discuss results and suggestions for future research in teaching and learning music in different contexts in the light of recent theoretical research in the cognitive sciences, considering implications for educators interested in diverse skill levels.
    Content: Peer Reviewed
    In: Frontiers in Psychology, Lausanne : Frontiers Media S.A., 11,2020
    Language: English
    DOI: 10.3389/fpsyg.2020.00291
    DOI: 10.18452/22033
    URN: urn:nbn:de:kobv:11-110-18452/22712-8
    URL: Volltext  (kostenfrei)
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    Online Resource
    Fulltext
    HU Berlin
  • 6
    Online Resource
    Online Resource
    Music and Mental Imagery (2023)
    [Erscheinungsort nicht ermittelbar] : Taylor & Francis
    Details
    UID:
    gbv_183223780X
    Format: 1 Online-Ressource
    ISBN: 9780429330070 , 9780367352165 , 9781032376073
    Content: Drawing on perspectives from music psychology, cognitive neuroscience, philosophy, musicology, clinical psychology, and music education, Music and Mental Imagery provides a critical overview of cutting-edge research on the various types of mental imagery associated with music. The four main parts cover an introduction to the different types of mental imagery associated with music such as auditory/musical, visual, kinaesthetic, and multimodal mental imagery; a critical assessment of established and novel ways to measure mental imagery in various musical contexts; coverage of different states of consciousness, all of which are relevant for, and often associated with, mental imagery in music, and a critical overview of applications of mental imagery in health, educational ,and performance settings. By both critically reviewing up-to-date scientific research and offering new empirical results, this book provides a unique overview of the different types and origins of mental imagery in musical contexts, various ways to measure them, and intriguing insights into related mental phenomena such as mind-wandering and synaesthesia. This will be of particular interest for scholars and researchers of music psychology and music education. It will also be useful for practitioners working with music in applied health and educational contexts
    Note: English
    Language: Undetermined
    URL: teilw. kostenfrei
    Library Location Call Number Volume/Issue/Year Availability
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    Online Resource
    UB Potsdam
  • 7
    Online Resource
    Online Resource
    Taqsīm as a Creative Musical Process in Arabic Music (2021)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    edochu_18452_23921
    Format: 1 Online-Ressource (11 Seiten)
    Content: Creativity plays a major role in various musical contexts including composition, performance and education. Although numerous studies have revealed how creativity is involved in processes of listening, improvising and composing, relatively little is known about the particularities of transcultural creative processes in music. In this article, we aim to shed light on the creative musical processes underlying taqsīm performance in Arabic music. To that end, qualitative interviews have been conducted with three Berlin-based oud players from Syria. Results of a thematic content analysis show that taqsīm encompasses multiple components (e.g., a flexible form and dependency on maqam as well as tonal music) and serves various functions such as developing artistic individuality. Moreover, taqsīm is affected by interactions between tradition and novelty. We discuss the interview data within the cross-cultural experiential model of musical creativity developed by Hill (2018), offering a fresh approach to studying taqsīm which goes beyond established concepts such as the improvisation-composition continuum.
    Content: Peer Reviewed
    Note: This article was supported by the German Research Foundation (DFG) and the Open Access Publication Fund of Humboldt-Universität zu Berlin
    In: Frontiers in psychology, Lausanne : Frontiers Research Foundation, 12,2021
    Language: English
    DOI: 10.3389/fpsyg.2021.640409
    DOI: 10.18452/23316
    URN: urn:nbn:de:kobv:11-110-18452/23921-8
    URL: Volltext  (kostenfrei)
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    Online Resource
    Fulltext
    HU Berlin
  • 8
    Online Resource
    Online Resource
    The Experience of Music in Aphantasia: Emotion, Reward, and Everyday Functions (2024)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    edochu_18452_28941
    Format: 1 Online-Ressource (18 Seiten)
    Content: Visual imagery has been proposed to be one of eight mechanisms by which music induces emotion in listeners. Initial research into aphantasia, a condition referring to individuals who do not (or only minimally) form visual imagery in their mind's eye, suggests that aphantasics may experience reduced emotional experiences in response to imagined stimuli. In this two-part online investigation, we sought to explore the emotional experiences of aphantasics within the context of music listening. In Survey 1, we compared 51 aphantasics to 51 control individuals in terms of their experiences of visual imagery, liking, and felt emotional intensity when listening to three film music excerpts. We found significant group differences in terms of visual imagery and felt emotional intensity, but not liking. In Survey 2, we examined aphantasics’ ability to recognize emotions conveyed by music, and their patterns of experience of, and engagement with, music in everyday life by comparing the responses of 29 aphantasics with 29 matched controls. We found no differences in terms of emotion discrimination ability. However, aphantasics generally experienced less Reminiscence (dimension from the Adaptive Functions of Music Listening scale) to music, as well as fewer Episodic Memories (dimension from the MecScale). Aphantasics and control listeners did not exhibit differences in terms of sensitivity to musical reward (measured using the BMRQ) or in terms of musical sophistication (measured using the Gold-MSI). Finally, our findings suggest nuanced differences between controls and those with pure and minimal aphantasia. In all, we reveal the influence that aphantasia can have on emotional responses to music and thus provide further evidence for the relationship between visual imagery and music-induced emotion.
    Content: Peer Reviewed
    In: Sage : Sage Publications, 7
    Language: English
    DOI: 10.18452/28289
    DOI: 10.1177/20592043231216259
    URN: urn:nbn:de:kobv:11-110-18452/28941-8
    URL: Volltext  (kostenfrei)
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    Online Resource
    Fulltext
    HU Berlin
  • 9
    Online Resource
    Online Resource
    Eysenck's Theory of Personality and the Role of Background Music in Cognitive Task Performance: A Mini-Review of Conflicting Findings and a New Perspective (2017)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    edochu_18452_21721
    Format: 1 Online-Ressource (6 Seiten)
    Content: The question of whether background music is able to enhance cognitive task performance is of interest to scholars, educators, and stakeholders in business alike. Studies have shown that background music can have beneficial, detrimental or no effects on cognitive task performance. Extraversion—and its postulated underlying cause, cortical arousal—is regarded as an important factor influencing the outcome of such studies. According to Eysenck's theory of personality, extraverts' cortical arousal at rest is lower compared to that of introverts. Scholars have thus hypothesized that extraverts should benefit from background music in cognitive tasks, whereas introverts' performance should decline with music in the background. Reviewing studies that have considered extraversion as a mediator of the effect of background music on cognitive task performance, it is demonstrated that there is as much evidence in favor as there is against Eysenck's theory of personality. Further, revisiting Eysenck's concept of cortical arousal—which has traditionally been assessed by activity in the EEG alpha band—and reviewing literature on the link between extraversion and cortical arousal, it is revealed that there is conflicting evidence. Due to Eysenck's focus on alpha power, scholars have largely neglected higher frequency bands in the EEG signal as indicators of cortical arousal. Based on recent findings, it is suggested that beta power might not only be an indicator of alertness and attention but also a predictor of cognitive task performance. In conclusion, it is proposed that focused music listening prior to cognitive tasks might be a more efficient way to boost performance than listening to background music during cognitive tasks.
    Content: Peer Reviewed
    In: Lausanne : Frontiers Media S.A., 8
    Language: English
    DOI: 10.3389/fpsyg.2017.01991
    DOI: 10.18452/20970
    URN: urn:nbn:de:kobv:11-110-18452/21721-2
    URL: Volltext  (kostenfrei)
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    Fulltext
    HU Berlin
  • 10
    Online Resource
    Online Resource
    Mind-wandering during contemporary live music: An exploratory study (2022)
    Berlin : Humboldt-Universität zu Berlin
    Details
    UID:
    edochu_18452_27992
    Format: 1 Online-Ressource (21 Seiten)
    ISSN: 1029-8649 , 1029-8649
    Content: During a live concert, the mind can wander to unrelated thoughts such as personal concerns or past memories or to vivid images that are inspired by the music. This is an omnipresent phenomenon commonly referred to as mind-wandering. Psychological research on mind-wandering has explored its main characteristics, such as frequency, phenomenology, and impact on mood, both in the laboratory and in daily life contexts. This study aimed to harness the ecological setting of a live music concert to examine the occurrence and content of mind-wandering, as well as visual mental imagery as a mode through which mind-wandering occurs, and its relationship with the concertgoers’ moods before and after the music event. A self-report questionnaire ( n = 43) was used to collect data at two concerts of ambient music given as part of the CTM Festival. Findings suggest that mind-wandering occurs extensively in a concert environment. While mind-wandering episodes feature negative themes and moods—in the form of dark content of the visual mental imagery associated with the program’s musical tone—the concert environment still contributes to participants feeling more inspired afterward. Overall, this study points to the potential of live music contexts to stimulate a beneficial style of mind-wandering (i.e., one that leads to a positive impact on mood and imagery), and its findings are in line with those of previous research showing that live concerts lead to increased well-being of concertgoers. Implications for well-being and a call for more systematic research on this subject are discussed.
    Content: Peer Reviewed
    In: London [u.a.] : Sage Publ., 27,3, Seiten 616-636, 1029-8649
    Language: English
    DOI: 10.1177/10298649221103210
    DOI: 10.18452/27327
    URN: urn:nbn:de:kobv:11-110-18452/27992-0
    URL: Volltext  (kostenfrei)
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    Fulltext
    HU Berlin
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