Parallelisms and deviations: two fundamentals of an aesthetics of poetic diction.

Poetic diction routinely involves two complementary classes of features: (i) parallelisms, i.e. repetitive patterns (rhyme, metre, alliteration, etc.) that enhance the predictability of upcoming words, and (ii) poetic deviations that challenge standard expectations/predictions regarding regular word form and order. The present study investigated how these two prediction-modulating fundamentals of poetic diction affect the cognitive processing and aesthetic evaluation of poems, humoristic couplets and proverbs. We developed quantitative measures of these two groups of text features. Across the three text genres, higher deviation scores reduced both comprehensibility and aesthetic liking whereas higher parallelism scores enhanced these. The positive effects of parallelism are significantly stronger than the concurrent negative effects of the features of deviation. These results are in accord with the hypothesis that art reception involves an interplay of prediction errors and prediction error minimization, with the latter paving the way for processing fluency and aesthetic liking. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Musical development during adolescence: Perceptual skills, cognitive resources, and musical training.

Longitudinal studies on musical development can provide very valuable insights and potentially evidence for causal mechanisms driving the development of musical skills and cognitive resources, such as working memory and intelligence. Nonetheless, quantitative longitudinal studies on musical and cognitive development are very rare in the published literature. Hence, the aim of this paper is to document available longitudinal evidence on musical development from three different sources. In part I, data from a systematic literature review are presented in a graphical format, making developmental trends from five previous longitudinal studies comparable. Part II presents a model of musical development derived from music-related variables that are part of the British Millennium Cohort Study. In part III, data from the ongoing LongGold project are analyzed answering five questions on the change of musical skills and cognitive resources across adolescence and on the role that musical training and activities might play in these developmental processes. Results provide evidence for substantial near transfer effects (from musical training to musical skills) and weaker evidence for far-transfer to cognitive variables. But results also show evidence of cognitive profiles of high intelligence and working memory capacity that are conducive to strong subsequent growth rates of musical development.

Learning to play a musical instrument in the middle school is associated with superior audiovisual working memory and fluid intelligence: A cross-sectional behavioral study.

Music training, in all its forms, is known to have an impact on behavior both in childhood and even in aging. In the delicate life period of transition from childhood to adulthood, music training might have a special role for behavioral and cognitive maturation. Among the several kinds of music training programs implemented in the educational communities, we focused on instrumental training incorporated in the public middle school curriculum in Italy that includes both individual, group and collective (orchestral) lessons several times a week. At three middle schools, we tested 285 preadolescent children (aged 10-14 years) with a test and questionnaire battery including adaptive tests for visuo-spatial working memory skills (with the Jack and Jill test), fluid intelligence (with a matrix reasoning test) and music-related perceptual and memory abilities (with listening tests). Of these children, 163 belonged to a music curriculum within the school and 122 to a standard curriculum. Significant differences between students of the music and standard curricula were found in both perceptual and cognitive domains, even when controlling for pre-existing individual differences in musical sophistication. The music children attending the third and last grade of middle school had better performance and showed the largest advantage compared to the control group on both audiovisual working memory and fluid intelligence. Furthermore, some gender differences were found for several tests and across groups in favor of females. The present results indicate that learning to play a musical instrument as part of the middle school curriculum represents a resource for preadolescent education. Even though the current evidence is not sufficient to establish the causality of the found effects, it can still guide future research evaluation with longitudinal data.

The Jack and Jill Adaptive Working Memory Task: Construction, Calibration and Validation.

Visuospatial working memory (VSWM) is essential to human cognitive abilities and is associated with important life outcomes such as academic performance. Recently, a number of reliable measures of VSWM have been developed to help understand psychological processes and for practical use in education. We sought to extend this work using Item Response Theory (IRT) and Computerised Adaptive Testing (CAT) frameworks to construct, calibrate and validate a new adaptive, computerised, and open-source VSWM test. We aimed to overcome the limitations of previous instruments and provide researchers with a valid and freely available VSWM measurement tool. The Jack and Jill (JaJ) VSWM task was constructed using explanatory item response modelling of data from a sample of the general adult population (Study 1, N = 244) in the UK and US. Subsequently, a static version of the task was tested for validity and reliability using a sample of adults from the UK and Australia (Study 2, N = 148) and a sample of Russian adolescents (Study 3, N = 263). Finally, the adaptive version of the JaJ task was implemented on the basis of the underlying IRT model and evaluated with another sample of Russian adolescents (Study 4, N = 239). JaJ showed sufficient internal consistency and concurrent validity as indicated by significant and substantial correlations with established measures of working memory, spatial ability, non-verbal intelligence, and academic achievement. The findings suggest that JaJ is an efficient and reliable measure of VSWM from adolescent to adult age.

Expert musical improvisations contain sequencing biases seen in language production.

Language production involves action sequencing to produce fluent speech in real time, placing a computational burden on working memory that leads to sequencing biases in production. Here we examine whether these biases extend beyond language to constrain one of the most complex human behaviors: music improvisation. Using a large corpus of improvised solos from eminent jazz musicians, we test for a production bias observed in language termed easy first-a tendency for more accessible sequences to occur at the beginning of a phrase, allowing incremental planning later in the same phrase. Our analysis shows consistent evidence of easy first in improvised music, with the beginning of musical phrases containing both more frequent and less complex sequences. The findings indicate that expert jazz musicians, known for spontaneous creative performance, reliably retrieve easily accessed melodic sequences before creating more complex sequences, suggesting that a domain-general sequencing system may support multiple forms of complex human behavior, from language production to music improvisation. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Spontaneous Motor Tempo: Investigating Psychological, Chronobiological, and Demographic Factors in a Large-Scale Online Tapping Experiment.

The spontaneous motor tempo (SMT) describes the pace of regular and repeated movements such as hand clapping or walking. It is typically measured by letting people tap with their index finger at a pace that feels most natural and comfortable to them. A number of factors have been suggested to influence the SMT, such as age, time of the day, arousal, and potentially musical experience. This study aimed at investigating the effects of these factors in a combined and out-of-the-lab context by implementing the finger-tapping paradigm in an online experiment using a self-developed web application. Due to statistical multimodality in the distribution of participants' SMT (N = 3,576), showing peaks at modes of around 250 ms, a Gaussian mixture model was applied that grouped participants into six clusters, ranging from Very Fast (M = 265 ms, SD = 74) to Very Slow (M = 1,757 ms, SD = 166). These SMT clusters differed in terms of age, suggesting that older participants had a slower SMT, and time of the day, showing that the earlier it was, the slower participants' SMT. While arousal did not differ between the SMT clusters, more aroused participants showed faster SMTs across all normalized SMT clusters. Effects of musical experience were inconclusive. With a large international sample, these results provide insights into factors influencing the SMT irrespective of cultural background, which can be seen as a window into human timing processes.

Musical Sophistication and Speech Auditory-Motor Coupling: Easy Tests for Quick Answers.

Musical training enhances auditory-motor cortex coupling, which in turn facilitates music and speech perception. How tightly the temporal processing of music and speech are intertwined is a topic of current research. We investigated the relationship between musical sophistication (Goldsmiths Musical Sophistication index, Gold-MSI) and spontaneous speech-to-speech synchronization behavior as an indirect measure of speech auditory-motor cortex coupling strength. In a group of participants (n = 196), we tested whether the outcome of the spontaneous speech-to-speech synchronization test (SSS-test) can be inferred from self-reported musical sophistication. Participants were classified as high (HIGHs) or low (LOWs) synchronizers according to the SSS-test. HIGHs scored higher than LOWs on all Gold-MSI subscales (General Score, Active Engagement, Musical Perception, Musical Training, Singing Skills), but the Emotional Attachment scale. More specifically, compared to a previously reported German-speaking sample, HIGHs overall scored higher and LOWs lower. Compared to an estimated distribution of the English-speaking general population, our sample overall scored lower, with the scores of LOWs significantly differing from the normal distribution, with scores in the ∼30th percentile. While HIGHs more often reported musical training compared to LOWs, the distribution of training instruments did not vary across groups. Importantly, even after the highly correlated subscores of the Gold-MSI were decorrelated, particularly the subscales Musical Perception and Musical Training allowed to infer the speech-to-speech synchronization behavior. The differential effects of musical perception and training were observed, with training predicting audio-motor synchronization in both groups, but perception only in the HIGHs. Our findings suggest that speech auditory-motor cortex coupling strength can be inferred from training and perceptual aspects of musical sophistication, suggesting shared mechanisms involved in speech and music perception.

Decoding emotions in expressive music performances: A multi-lab replication and extension study.

With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g. happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e. violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalised Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.

Intonation in unaccompanied singing: accuracy, drift, and a model of reference pitch memory.

This paper presents a study on intonation and intonation drift in unaccompanied singing, and proposes a simple model of reference pitch memory that accounts for many of the effects observed. Singing experiments were conducted with 24 singers of varying ability under three conditions (Normal, Masked, Imagined). Over the duration of a recording, ∼50 s, a median absolute intonation drift of 11 cents was observed. While smaller than the median note error (19 cents), drift was significant in 22% of recordings. Drift magnitude did not correlate with other measures of singing accuracy, singing experience, or the presence of conditions tested. Furthermore, it is shown that neither a static intonation memory model nor a memoryless interval-based intonation model can account for the accuracy and drift behavior observed. The proposed causal model provides a better explanation as it treats the reference pitch as a changing latent variable.