Musical Imagery

Jakubowski, Kelly

doi:10.1017/9781108580298.013

Cited by 10 publications

(7 citation statements)

References 90 publications

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“…Given the empirical similarity between imagined third-person narratives and recalled first-person episodic memories, these two lines of research considered in parallel can shed new light on how music shapes the imagination (see ref. 2 ). One way that music might be uniquely capable of engendering particularly vivid and dynamic imagined scenes—whether episodes of autobiographical memory or fictional stories—is that it features a series of time-fluctuating characteristics such that changes can dynamically guide and support the contents of the imagination.…”

Section: Discussionmentioning

confidence: 99%

“…Music listening rarely involves exclusive focus on the sounds themselves. Instead, listeners often experience a kind of “distributed attentional focus” ( 1 ) where the sounds are heard but attention rests more on an associated set of multisensory imaginings, including visual imagery, autobiographical memories, or kinesthetic sensations ( 2 ). One such mode of listening that has been recently well documented involves hearing instrumental music narratively—i.e., imagining a story as the music unfolds in time ( 3 , 4 ).…”

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confidence: 99%

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Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity

Margulis

Wong

Turnbull

et al. 2022

Proc. Natl. Acad. Sci. U.S.A.

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The scientific literature sometimes considers music an abstract stimulus, devoid of explicit meaning, and at other times considers it a universal language. Here, individuals in three geographically distinct locations spanning two cultures performed a highly unconstrained task: they provided free-response descriptions of stories they imagined while listening to instrumental music. Tools from natural language processing revealed that listeners provide highly similar stories to the same musical excerpts when they share an underlying culture, but when they do not, the generated stories show limited overlap. These results paint a more complex picture of music’s power: music can generate remarkably similar stories in listeners’ minds, but the degree to which these imagined narratives are shared depends on the degree to which culture is shared across listeners. Thus, music is neither an abstract stimulus nor a universal language but has semantic affordances shaped by culture, requiring more sustained attention from psychology.

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Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity

Margulis

Wong

Turnbull

et al. 2022

Proc. Natl. Acad. Sci. U.S.A.

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“…Music evokes imagery of many different forms by itself. Dancers can use imagery of auditory features (e.g., loudness or quiet), verbal imagery (words, dialog, interior monolog), nonverbal sounds imagery (e.g., musical melodies), and so on ( Jakubowski, 2020 ). Imagined sounds, and other auditory events activate the same brain systems as if the sounds or events were really there ( Hubbard, 2010 ).…”

Section: A Wheel Of Dancementioning

confidence: 99%

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

et al. 2021

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“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

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“…These phenomena can be emerged both intentionally (thinking about the performance before going on stage, rehearsing music ideas, composing the new music idea in mind, practising the music mentally without physical movement ) and appearing involuntarily (thinking about the "happy birthday" songs ). [1][2] [3] Researchers from Western music have discovered the positive efficacy of employing musical imagery in music performance. For example, in one of the first empirical investigations, Rubin-Rabson (1937) [4] discovered that by incorporating imagery alongside physical practice, elite pianists demonstrated improvements in the memorisation of more notes and better performance.…”

Section: Introductionmentioning

confidence: 99%

Investigation of the Understanding and Application of Musical Imagery in China University Music Students

2023

appep

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This study compared the recognition and the usage of imagery among China university music students with different majors (i.e. instrument and vocal) to explore whether the different learning pathways may provide various influences on musicians' imagery creation. Eighty-six music students from Shandong University of Science and Technology were recruited as participants. Analysis of the questionnaires revealed that the term "musical imagery" had been commonly introduced to students mainly by their teachers rather than from books or the internet. In addition, instrumental students (both Western and Chinese styles) demonstrated more familiarity in recognizing and applying imagery within their practice and daily life than vocal students. In contrast, the Chinese traditional vocal students received the lowest scores among all questions within the questionnaires and presented less interest in employing imagery within their daily practice. Conclusively, this small-scale research provided a glance at the understanding of musical imagery among Chinese university students. It is expected to stimulate the China music psychology research community to pay closer attention to music imagery study for empirically exploring practical strategies and pedagogy for further benefiting music students and their studies.

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Musical Imagery

Cited by 10 publications

References 90 publications

Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity

Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

Investigation of the Understanding and Application of Musical Imagery in China University Music Students

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