Hi everyone! My name is CJ Arnce and I am a student at Pacific University looking for participants on how people perceive consonance and dissonance differently. I would greatly appreciate your participation, the survey should take no longer than 10 minutes to complete :) The link is posted below.

https://pacificu.co1.qualtrics.com/jfe/form/SV_06P2WM3uhaa2FBY

Do you listen to music while working, studying, or doing daily tasks? I’m researching how background music impacts different tasks, and your input would be immensely helpful!

The survey takes just 6 minutes to fill, and your responses will make a huge difference in my research.

👉 https://forms.gle/7vDcSxms2NbLMNvx7

Thank you so much for your help!

Hi there! I'm doing a PhD in music neuroscience. I'm curious if there are people in this sub that work in the industry, or in gouvernemental agencies? What is your job? Where do you work? :)

Edit: So far I found MedRhythms (USA), NaturalPad (France), Feel and Play (Finland), BeatHealth (France), Musicare (France), brain.fm (USA) and Moodytunes (Australie).

All of the hockets I have listened to, both vocal and contemporary instrumental, are in a constant, stable, fixed tempo from medieval recordings to some of Reich's works.

Indeed Grove defines hocket as 'The medieval term for a contrapuntal technique of manipulating silence as a precise mensural value in the 13th and 14th centuries.'

However, an article (p.10, under the section 'Quality: Expressive Timi...') I am reading basing the experiment with the assumption that the tempo is fluctuating in hocket.

Isn't tempo in hocket fixed? If so, what is the reason that these authors thinking that it is non-fixed in hocked?

Thank you.

Hello,

I was reading a chapter on pitch perception from Oxford Handbook of Music Psychology. It is stated that ''Most sounds we hear are mixtures of components with many diferent frequencies, yet our auditory system generally combines these into a single percept of one overall pitch''. I am a music major and am informed about harmonic series and partials but, I had been reading on masking from Huron's book Voice Leading and I wonder if the way humans hear these combination of frequencies as a single overall pitch is an outcome of masking.

Does auditory masking has a role in perceiving a combination of different frequencies as a single pitch? If yes, what is the role?

Thank you

I encountered these two word pairs in the article 'The role of the basal ganglia in beat perception':

''Basal ganglia activity is greater when participants listen to rhythms in which internal generation of the beat is required, as opposed to rhythms with strongly externally cued beats.''

I have no idea what they mean and the article itself is not explanatory. What do they mean, please?

Thank you.

How do researchers manipulate audio that contains speech and partly eliminate or disturb spectral cues to see if speech recognition is still successful by relying mostly on temporal cues? Is it by adding another sound-layer onto the speech audio clip or something?

​

Exemplary study: https://pubmed.ncbi.nlm.nih.gov/7569981/

​

Thank you so much

Hello,

I found the definition on 'spectrotemporal modulation' online but can not find 'temporal' and 'spectral' in the context of neuroscience and also their pair with the word 'modulation'. What do these terms refer to, please?

The question arises from the excerpt below:

''Recent studies show that degradation of spectral modulation impairs melody perception but not speech content, whereas degradation of temporal modulation has the opposite effect. Neural responses in the right and left auditory cortex in those studies are linked to processing of spectral and temporal modulations, respectively.''

Thank you

I read from a reliable paper that it is the subglottal pressure that determines loudness perception; however, I wonder isn't it in the end SPL as the effect anyway but subglottal pressure is just the cause of the loudness.

Great tutorial on counterpoint that I just discovered. I believe that formal study of music theory, harmony and counterpoint tells the student a lot about how their mind works. It also helps us understand our emotional reaction to music as after the study is finished there are words available to talk about our feelings that are generated by the active listening experience.

Hi there!

Im currently conducting an experiment related to music-evoked nostalgia which will be used within a university dissertation. The idea it to find out which specific components within music (for example vocals, drums, synths) evoke the most nostalgia. If this sounds interesting to you then it would be greatly appreciated if you could help take part! The results will be collected via a survey which I have linked at the bottom.

I am hoping to collect as many participants as possible within the time frame I have so please consider having a look as it would be extremely helpful.

Thank you:)

Link to survey:

https://docs.google.com/forms/d/e/1FAIpQLSd467freATCtS164aSThpECKEnGWEJU5Z8SM_lj2PaNUzf5OA/viewform?usp=sf_link

Do you remember the epic strings of the Game of Thrones or the punchy synthesizer from Seinfeld? Do you have an outstanding musical memory? If so, the #TeleTunes game might be a real challenge to you (and your parents ;-) ! Link: https://app.amsterdammusiclab.nl/teletunes

​

QR code for Hooked on TeleTunes

​

https://preview.redd.it/4izpwslqedcc1.png?width=750&format=png&auto=webp&s=dc74eb905491d300c248b9af754e74c8e599bd6a

​

https://preview.redd.it/362t8mqsedcc1.png?width=687&format=png&auto=webp&s=4e096f72d8259b52f2f69f468f8a832342704f78

On paper it makes perfect sense to me that the soprano D on the third beat of measure two connects the first and the penultimate bar melodic motion E-(D)-C as a passing tone. However, when the music on paper is realised with an instrument, I really doubt that an experienced listener comprehend the melodic motion or the all measures at large, that way, by, almost disregarding anything between these two spotted measures.

​

I guess it's more of music cognition then music theory after that moment. What's the approach of music cognition to my question, please?

​

Thank you

Hello,

I'm a graduate composer (mostly contemporary classical). I've been reading Huron's essay 'What is a Musical Feature?' with great joy, to be honest, as a part of my current research for the final project and as it was suggested by one of the non-composition professors.

Then, however, I started thinking about that sentence and the related reference:

'The concept of “melodic interval” relies on the assumption of anunderlying “voice” or “part” and deciphering voicing sometimes entails remarkably sophisticated interpretations. On whatbasis, then, can one defend the assumption ofvoice?Those theorists who have contemplated such matters typically rely onone of two appeals. One might appeal to notational conventions such as the use of separate staves or differentiation via stemdirection. A more common appeal is to the perceptual experiences that affirm the subjective phenomenon of “musical line”and hence of “melodic interval.'3*

3*: 'The assumption that lines-of-sound are psychological “real”rather than “reified” is supported by a wealth of perceptualresearch. As theorists are well aware, not all pitch successions evoke intervals. For an extensive review of the pertinentperceptual evidence see Albert Bregman,Auditory Scene Analysis'

I got the book Auditory Scene Analysis it is really large, and I don't have enough knowledge to comprehend it I believe. I'm not sure if it is appropriate asking such question here but I'd really be glad if someone from the field of music cognition could explain me what is 'psychological real' in that context, and what does it mean that not all pitch successions evoke intervals?

​

Thank you,

Sincerely

Orhan T.

​

I want to apply for university to study Music Cognition (or anything close to it). For universities that don't offer it as a direct course in undergraduate, should I do a Major in Cognitive Science and a Minor in Music or a Major in Music and a Minor in Cognitive Science?

Any other advice is appreciated

I am pursuing a Master's degree in counselling and educational neuroscience in Australia with a strong interest in exploring the links between music and mental health/trauma recovery. My background is in classical voice performance and piano, and I am fascinated by the interplay between music, emotions, learning/memory, and well-being. In my counselling and neuroscience studies, I have been drawn to concepts like music therapy and the impact of music on the brain. I love immersing myself in music daily, both as a listener and performer. Music can be a powerful tool for self-expression, coping with stress, and working through trauma. As I look ahead in my career, I am keen to find roles, further study, or research opportunities that tap into this passion for music cognition - how it impacts our brains, bodies and overall state. I envision myself potentially counselling clients, studying music's role in trauma and healing, teaching at the university level, or conducting academic research. I would greatly appreciate any advice this community can offer on possible career paths, companies, university programs, or other directions worth exploring in Australia. My priority is finding meaningful work, interweaving my love of music and my desire to help others heal and thrive. Please share any insights you may have!

I'm doing research about new media and have made a survey that's targeted towards people who have experienced ASMR or similar relaxing audio/video experiences. This is my gratitude for you to do this survey. It takes about 7 minutes to answer the survey!

Link to the survey: https://link.webropolsurveys.com/S/4894C6A8AA2A214B

Hello @ all, I am not sure how active this subreddit really is, but I will shoot my shot.

I am brainstorming ideas for a Bachelor thesis that I will start writing in 1-2 months time, remotely, I already found my professors. At this stage I am just exploring. My major is Bachelor of Science in Cognitive Science.

The TLDR of my degree is surface-scratching everything (CompSci, Linguistics, Neuroscience, etc.) but I have no real strengths. I have a strong background in music though (through years of classical training).

This is the potential topics I can think of right now:

- ASMR just because it's interesting to me, but idk how I can write a thesis on this

- Misophonia, but there is so much research about this topic that I don't know what I could possibly contribute

I cannot think of much that I can do remotely and probably without any subjects or study with participants. I think it's dumb or not significant to write a thesis based on a 'dumb' online survey. Idk. I want to do something more significant.

Can someone give me some tips or show me prior bachelor thesis on music cognition? I just want to see what other students have done. It's a huge huge huge huge field that requires so much expertise in so many different disciplines. I don't even know if I should learn / revise statistics or maths or my music theory skills or neuroscience. I don't konw. thank you!