The Headphone and Loudspeaker Test-Part II: A comprehensive method for playback device screening in Internet experiments.

HALT (The Headphone and Loudspeaker Test) Part II is a continuation of HALT Part I. The main goals of this study (HALT Part II) were (a) to develop screening tests and strategies to discriminate headphones from loudspeakers, (b) to come up with a methodological approach to combine more than two screening tests, and (c) to estimate data quality and required sample sizes for the application of screening tests. Screening Tests A and B were developed based on psychoacoustic effects. In a first laboratory study (N = 40), the two tests were evaluated with four different playback devices (circumaural and intra-aural headphones; external and laptop loudspeakers). In a final step, the two screening tests A and B and a previously established test C were validated in an Internet-based study (N = 211). Test B showed the best single-test performance (sensitivity = 80.0%, specificity = 83.2%, AUC = .844). Following an epidemiological approach, the headphone prevalence (17.67%) was determined to calculate positive and negative predictive values. For a user-oriented, parameter-based selection of suitable screening tests and the simple application of screening strategies, an online tool was programmed. HALT Part II is assumed to be a reliable procedure for planning and executing screenings to detect headphone and loudspeaker playback. Our methodological approach can be used as a generic technique for optimizing the application of any screening tests in psychological research. HALT Part I and II complement each other to form a comprehensive overall concept to control for playback conditions in Internet experiments.

Singing Ability Assessment: Development and validation of a singing test based on item response theory and a general open-source software environment for singing data.

We describe the development of the Singing Ability Assessment (SAA) open-source test environment. The SAA captures and scores different aspects of human singing ability and melodic memory in the context of item response theory. Taking perspectives from both melodic recall and singing accuracy literature, we present results from two online experiments (N = 247; N = 910). On-the-fly audio transcription is produced via a probabilistic algorithm and scored via latent variable approaches. Measures of the ability to sing long notes indicate a three-dimensional principal components analysis solution representing pitch accuracy, pitch volatility and changes in pitch stability (proportion variance explained: 35%; 33%; 32%). For melody singing, a mixed-effects model uses features of melodic structure (e.g., tonality, melody length) to predict overall sung melodic recall performance via a composite score [R2c = .42; R2m = .16]. Additionally, two separate mixed-effects models were constructed to explain performance in singing back melodies in a rhythmic [R2c = .42; R2m = .13] and an arhythmic [R2c = .38; R2m = .11] condition. Results showed that the yielded SAA melodic scores are significantly associated with previously described measures of singing accuracy, the long note singing accuracy measures, demographic variables, and features of participants' hardware setup. Consequently, we release five R packages which facilitate deploying melodic stimuli online and in laboratory contexts, constructing audio production tests, transcribing audio in the R environment, and deploying the test elements and their supporting models. These are published as open-source, easy to access, and flexible to adapt.

The Headphone and Loudspeaker Test - Part I: Suggestions for controlling characteristics of playback devices in internet experiments.

In internet experiments on auditory perception, playback devices may be a confounding variable reducing internal validity. A procedure to remotely test multiple characteristics of playback devices does not currently exist. Thus, the main goals of this study were to (i) develop and (ii) evaluate a comprehensive, efficient, and easy-to-handle test procedure for the reliable control and identification of playback device characteristics in online experiments. Based on a counting task paradigm, the first part of the Headphone and Loudspeaker Test (HALT-Part I) was developed with which researchers can standardize sound level adjustments, detect stereo/mono playback, and assess lower frequency limits. In a laboratory study (N = 40), HALT-Part I was evaluated with four playback devices (circumaural and intra-aural headphones; external and laptop loudspeakers). Beforehand, the acoustical properties of all playback devices had been measured (e.g., sound pressure level, frequency response, total harmonic distortion). The analysis suggested that HALT-Part I has high test-retest reliability (rtt = .90 for level adjustment and rtt = .79 for stereo/mono detection) and is an efficient (3.5 minutes for completion) method to remotely test playback devices and listening conditions (sound level, stereo/mono playback). The procedure can help improve data quality in internet experiments.

The paired A-Not A design within signal detection theory: Description, differentiation, power analysis and application.

Signal detection theory gives a framework for determining how well participants can discriminate between two types of stimuli. This article first examines similarities and differences of forced-choice and A-Not A designs (also known as the yes-no or one-interval). Then it focuses on the latter, in which participants have to classify stimuli, presented to them one at a time, as belonging to one of two possible response categories. The A-Not A task can be, on a first level, replicated or non-replicated, and the sub-design for each can be, on a second level, either a monadic, a mixed, or a paired design. These combinations are explained, and the present article then focuses on the both the non-replicated and replicated paired A-Not A task. Data structure, descriptive statistics, inference statistics, and effect sizes are explained in general and based on example data (Düvel et al., 2020). Documents for the data analysis are given in an extensive online supplement. Furthermore, the important question of statistical power and required sample size is addressed, and several means for the calculation are explained. The authors suggest a standardized procedure for planning, conducting, and evaluating a study employing an A-Not A design.

Wrapped into sound: Development of the Immersive Music Experience Inventory (IMEI).

Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound (including front, rear, and height channels), it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion (from mono to stereo, 5.1, and 3D). The development of the Immersive Music Experience Inventory (IMEI) could close this gap. An initial item list (N = 25) was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study (N = 222 valid cases). The N = 222 Participants (female = 112, mean age = 38.6) were recruited via mailing lists (n = 34) and via a panel provider (n = 188). Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct "immersive listening experience" was determined by probabilistic test theory (item response theory, IRT) and by means of the many-facet Rasch measurement (MFRM). As a result, the specified MFRM model showed good model fit (62.69% of explained variance). The final one-dimensional inventory consists of 10 items and will be made available in English and German.

The relation between lateralisation, early start of training, and amount of practice in musicians: a contribution to the problem of handedness classification.

This study investigates the influence of extensive bimanual training in professional musicians on the incidence of handedness in the most basic form of right-handedness (RH) and non-right-handedness (NRH), according to Annett's "right shift theory". The lateralisation coefficients (LCs) of a total sample of 128 bimanually performing music students were calculated for speed, regularity, and fatigue of tapping by using the speed tapping paradigm. Additionally, the accumulated amount of practice was recorded by means of retrospective interviews. The proportion of designated right-handers (dRH) and non-right-handers (dNRH) in hand performance was identified by binary logistic regression from LCs. A proportion of 30.8% designated NRH in the group of musicians was found, while in the control group of non-musicians (matched for age range) a proportion of 21.7% designated NRH was observed. Incidence of dNRH was higher in string players (35.6%) than in pianists (27.1%). As an effect of the extensive training of the left hand, tapping regularity increased and tapping fatigue decreased among those participants who evidenced an increased amount of accumulated practice time on the instrument. However, speed difference between hands (as indicated by LCs) remained uninfluenced by bimanual training. This finding is in contrast to those of Jancke, Schlaug, and Steinmetz (1997). Finally, our study provides a more reliable (statistical) classification as an external criterion for future genetic analyses of handedness.

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music.

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.

Neuromyths in Music Education: Prevalence and Predictors of Misconceptions among Teachers and Students.

In the last decade, educational neuroscience has become increasingly important in the context of instruction, and its applications have been transformed into new teaching methods. Although teachers are interested in educational neuroscience, communication between scientists and teachers is not always straightforward. Thus, misunderstandings of neuroscientific research results can evolve into so-called neuromyths. The aim of the present study was to investigate the prevalence of such music-related neuromyths among music teachers and music students. Based on an extensive literature research, 26 theses were compiled and subsequently evaluated by four experts. Fourteen theses were selected, of which seven were designated as scientifically substantiated and seven as scientifically unsubstantiated (hereafter labeled as "neuromyths"). One group of adult music teachers (n = 91) and one group of music education students (n = 125) evaluated the theses (forced-choice discrimination task) in two separate online surveys. Additionally, in both surveys person-characteristic variables were gathered to determine possible predictors for the discrimination performance. As a result, identification rates of the seven scientifically substantiated theses were similar for teachers (76%) and students (78%). Teachers and students correctly rejected 60 and 59%, respectively, of the seven neuromyths as scientifically unsubstantiated statements. Sensitivity analysis by signal detection theory revealed a discrimination performance of d' = 1.25 (SD = 1.12) for the group of teachers and d' = 1.48 (SD = 1.22) for the students. Both groups showed a general tendency to evaluate the theses as scientifically substantiated (teachers: c = -0.35, students: c = -0.41). Specifically, buzz words such as "brain hemisphere" or "cognitive enhancement" were often classified as correct. For the group of teachers, the best predictor of discrimination performance was having read a large number of media about educational neuroscience and related topics (R2 = 0.06). For the group of students, the best predictors for discrimination performance were a high number of read media and the hitherto completed number of semesters (R2 = 0.14). Our findings make clear that both teachers and students are far from being experts on topics related to educational neuroscience in music and would therefore benefit from current education-related research in psychology and neuroscience.

The advantage of a decreasing right-hand superiority: the influence of laterality on a selected musical skill (sight reading achievement).

In this study, the unrehearsed performance of music, known as 'sight reading', is used as a model to examine the influence of motoric laterality on highly challenging musical performance skills. As expertise research has shown, differences in this skill can be partially explained by factors such as accumulated practise and an early start to training. However, up until now, neurobiological factors that may influence highly demanding instrumental performance have been widely neglected. In an experiment with 52 piano students at a German university music department, we could show that the most challenging musical skill, sight reading (which is characterized by extreme demands on the performer's real time information processing), is positively correlated with decreasing right-hand superiority of performers. Laterality was measured by the differences between left and right-hand performance in a speed tapping task. SR achievement was measured using an accompanying task paradigm. An overall superiority of 22% for non-right-handed pianists was found. This effect is gender-related and stronger in non-right-handed males (r(24) = -0.49, p<0.05) than in non-right-handed females (r(28) = -0.16, p>0.05). We conclude that non-right-handed motoric laterality is associated with neurobiological advantages required for sight reading, an extremely demanding musical subskill.

Replacing the Orchestra? - The Discernibility of Sample Library and Live Orchestra Sounds.

Recently, musical sounds from pre-recorded orchestra sample libraries (OSL) have become indispensable in music production for the stage or popular charts. Surprisingly, it is unknown whether human listeners can identify sounds as stemming from real orchestras or OSLs. Thus, an internet-based experiment was conducted to investigate whether a classic orchestral work, produced with sounds from a state-of-the-art OSL, could be reliably discerned from a live orchestra recording of the piece. It could be shown that the entire sample of listeners (N = 602) on average identified the correct sound source at 72.5%. This rate slightly exceeded Alan Turing's well-known upper threshold of 70% for a convincing, simulated performance. However, while sound experts tended to correctly identify the sound source, participants with lower listening expertise, who resembled the majority of music consumers, only achieved 68.6%. As non-expert listeners in the experiment were virtually unable to tell the real-life and OSL sounds apart, it is assumed that OSLs will become more common in music production for economic reasons.

Correction: Replacing the Orchestra? - The Discernibility of Sample Library and Live Orchestra Sounds.

[This corrects the article DOI: 10.1371/journal.pone.0158324.].

How does music arouse "chills"? Investigating strong emotions, combining psychological, physiological, and psychoacoustical methods.

Music can arouse ecstatic "chill" experiences defined as "goose pimples" and as "shivers down the spine." We recorded chills both via subjects' self-reports and physiological reactions, finding that they do not occur in a reflex-like manner, but as a result of attentive, experienced, and conscious musical enjoyment.

The influence of deliberate practice on musical achievement: a meta-analysis.

Deliberate practice (DP) is a task-specific structured training activity that plays a key role in understanding skill acquisition and explaining individual differences in expert performance. Relevant activities that qualify as DP have to be identified in every domain. For example, for training in classical music, solitary practice is a typical training activity during skill acquisition. To date, no meta-analysis on the quantifiable effect size of deliberate practice on attained performance in music has been conducted. Yet the identification of a quantifiable effect size could be relevant for the current discussion on the role of various factors on individual difference in musical achievement. Furthermore, a research synthesis might enable new computational approaches to musical development. Here we present the first meta-analysis on the role of deliberate practice in the domain of musical performance. A final sample size of 13 studies (total N = 788) was carefully extracted to satisfy the following criteria: reported durations of task-specific accumulated practice as predictor variables and objectively assessed musical achievement as the target variable. We identified an aggregated effect size of r c = 0.61; 95% CI [0.54, 0.67] for the relationship between task-relevant practice (which by definition includes DP) and musical achievement. Our results corroborate the central role of long-term (deliberate) practice for explaining expert performance in music.

Suffering for her art: the chronic pain syndrome of pianist Clara Wieck-Schumann.

Clara Schumann was an outstanding pianist, systematically trained as a child prodigy by her father Friedrich Wieck. Married to the composer Robert Schumann she gave birth to 8 children, however, was able to continue performing regularly in public. After the mental breakdown of her husband, she had to increase her public performance activities due to the need to earn a living for her large family. In this time, the first pains in the right arm occurred, which at the beginning were of shorter duration, however increasingly required prolonged periods of rest. Later, when attempting to work on the highly demanding piano works of Johannes Brahms, especially on his first piano concerto, she developed chronic pain, which forced her to interrupt any concert activities for more than 1 year. Obviously, Brahms' modern treatment of the piano in an almost orchestral way imposed technical difficulties which Clara Schumann was not properly prepared to deal with. Finally, she underwent a multimodal pain therapy in the private sanatorium of Dr. Esmarch, which consisted of an integrated interdisciplinary approach comprising pain medication, psychotherapy, physiotherapy and modification of playing habits. She fully recovered and successfully continued her career as an internationally renowned concert pianist. The case report impressively demonstrates the stressors an outstanding female elite musician had to cope with in the 19th century. Furthermore, it is a convincing example of how the intuition and mere experience of a sensitive and understanding doctor lead to the right conclusions and to a modern multimodal pain therapy in chronic overuse injury. Furthermore the case report demonstrates the important role of prevention, including physical exercises, self-awareness, and reasonable practice schedules.

Chills as an indicator of individual emotional peaks.

Chills (goose bumps) have been repeatedly associated with positive emotional peaks. Chills seem to be related to distinct musical structures and the reward system in the brain. A new approach that uses chills as indicators of individual emotional peaks is discussed. Chill reactions of 95 participants in response to seven music pieces were recorded. Subjective intensity as well as physiological arousal (skin conductance response, heart rate) revealed peaks during chill episodes. This review suggests that chills are a reliable indicator of individual emotional peaks, combining reports of subjective feelings with physiological arousal.

Social feedback influences musically induced emotions.

Numerous studies have shown that music is a powerful means to induce emotions. The present study investigates whether these emotional effects can be manipulated by social feedback. In an Internet-based study, 3315 participants were randomly assigned to two groups and they listened to different music excerpts. After each excerpt, participants rated emotions according to arousal and valence dimensions. Additionally, those in group 2 received feedback allegedly based on the emotional ratings of preceding participants. Results show that feedback significantly influenced participants' ratings of group 2 in the manipulated direction compared to the group without feedback.

The influence of practice on the development of motor skills in pianists: a longitudinal study in a selected motor task.

A longitudinal study was conducted to investigate the influence of practice on the long-term development of expert pianists' motor skills in a relevant musical context. Temporal evenness in standardized scale playing was assessed twice in 19 pianists within an average time interval of 27 months. Questionnaires were used for retrospective assessment of practice quantity and several qualitative parameters related to practicing of scales. The development of temporal evenness in scale playing over the follow-up period correlated with the practice time accumulated during that period and with the average daily practice time. Expert pianists with an average daily practice time of 3.75h or more showed an improvement of performance in this selected motor skill. No significant association was observed between motor skill development during the follow-up period and the content of practice. Stepwise linear regression revealed a model predicting 43% of the variance of motor skill development, with practice time accumulated during the follow-up period as the only predictor. It was concluded that, in expert pianists, maintenance of motor skills in the selected motor task was strongly influenced by practice quantity.

The influence of social situations on music listening.

The aim of this study was to investigate whether listening to music in a group setting influenced the emotion felt by the listeners. We hypothesized that individuals hearing music in a group would experience more intense emotions than the same individuals hearing the same music on their own. The emotional reactions to 10 musical excerpts (previously shown to contain chill-inducing psychoacoustic parameters) were measured in a within-subjects design. We found, contrary to our hypothesis, that the participants (all musicians) did not experience more chills when listening to music in a group than when listening alone. These findings may be explained by a lesser degree of concentration on the music in the group condition.

EMuJoy: software for continuous measurement of perceived emotions in music.

An adequate study of emotions in music and film should be based on the real-time measurement of self-reported data using a continuous-response method. The recording system discussed in this article reflects two important aspects of such research: First, for a better comparison of results, experimental and technical standards for continuous measurement should be taken into account, and second, the recording system should be open to the inclusion of multimodal stimuli. In light of these two considerations, our article addresses four basic principles of the continuous measurement of emotions: (1) the dimensionality of the emotion space, (2) data acquisition (e.g., the synchronization of media and the self-reported data), (3) interface construction for emotional responses, and (4) the use of multiple stimulus modalities. Researcher-developed software (EMuJoy) is presented as a freeware solution for the continuous measurement of responses to different media, along with empirical data from the self-reports of 38 subjects listening to emotional music and viewing affective pictures.

The Institute for Music Physiology and Musicians' Medicine.

The Institute of Music Physiology and Musicians' Medicine of the University of Music and Drama in Hannover, Germany, is a unique Institution in Europe whose scope includes teaching the basics of music physiology and musicians' medicine and research into the physiological and neurobiological principles of professional music performance and music perception. Furthermore, the institute conducts research into the causes of occupational injuries in musicians and provides means for prevention, diagnosis and treatment of such injuries.