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Icmpc 11 Abstracts Program ICMPC 11 ABSTRACTS Edited by Steven M. Demorest, Steven J. Morrison & Patricia S. Campbell Copyright © 2010 ICMPC11 Copyright of the content of an individual abstract is held by the first named (primary) author of that abstract. All rights reserved. Abstract Master: Causal Productions 39 Table of Contents Page Monday 23 August 2010 42 Welcome / Keynote Address 42 Invited Symposium: Effects of Musical Experience on Development During Infancy 42 Music Therapy 1 43 Social Psychology 1 44 Tonal Perception 1 44 Invited Symposium: Perspectives on the Development of Expertise 45 Emotion 1 46 Timbre 1 47 Tonal Perception 2 48 Workshop 48 Cognitive Skills 49 Emotion 2 49 Timbre 2 50 Rhythmic Modeling Tuesday 24 August 2010 51 Invited Symposium: Cross-species Studies of Music Cognition 52 Personality 52 Emotion 3 53 Auditory Perception 1 54 Evolution 55 Music Therapy 2 55 Performance 1 56 Rhythmic Synchronization 57 Invited Symposium: How The Hypothesis Lost its Spots 57 Music Therapy 3 58 Emotion 4 59 Memory 1 60 Amusia 61 Music Therapy 4 61 Improvisation 62 Memory 2 Wednesday 25 August 2010 63 Audio Visual 63 Cross-Cultural 64 Cognitive Modeling 65 Social Psychology 2 66 Symposium: Scalable Analytical Approaches and Performative Affordance 67 Education 1 68 Gesture 68 Social Psychology 3 69 Young Researcher Award 40 Page Thursday 26 August 2010 70 Symposium: Music Health and Wellbeing: Therapy, Education and Communication 70 Education 2 71 Performance 2 72 Auditory Perception 2 73 Social Psychology 4 74 Development 74 Music & Language 1 75 Auditory Perception 3 76 Symposium: Music Health and Wellbeing: Clinical and Applied Contexts 76 Infant Development 1 77 Music & Language 2 78 Rhythm & Timing 1 79 Performance 3 80 Infant Development 2 80 Music & Language 3 81 Rhythm & Timing 2 Friday 27 August 2010 82 Invited Symposium: Motivating Music in Cultural Context: Interdisciplinary Perspectives on Participation and Learning 83 Neuroscience 1 84 Movement in Performance 85 Health 86 Symposium: Music as a Social Integrative Tool 87 Neuroscience 2 87 Movement 88 Auditory Perception 4 89 Symposium: Music as Affect Regulation in Everyday Life 90 Aesthetic Perception 90 Performance 4 91 Auditory Perception 5 92 Keynote Address Posters 93 Poster Session 1 105 Poster Session 2 118 Poster Session 3 41 ICMPC 11 Monday 23 Aug 2010 infants — simple melodies or tone sequences in one experiment and Welcome / Keynote Address simple melodies with chord accompaniment in another. Infants were KANE 130, 09:00 – 10:30, Monday 23 Aug 2010 tested with the headturn preference procedure. In Experiment 1, 16 6-month-olds and 16 12-month-olds heard a tonal melody with Singing: When It Helps, When It Hurts, and When It musically consonant intervals and an atonal melody with dissonant intervals. In Experiment 2, both age groups (16 per group) heard Changes Brains these tonal and atonal melodies with accompanying chords that were Gottfried Schlaug; Beth Israel Deaconess Medical Center, consistent with the tonal melody (i.e., consonant harmony for the USA tonal melody and dissonant harmony for the atonal melody). Neither age group showed any preference in Experiment 1. In Experiment 2, Opening, Time: 09:00 12-month-olds showed a preference for the music that was moder- Singing, or making music with your own vocal apparatus, is a ately dissonant or discrepant from music ordinarily heard in their multimodal activity that involves the integration of auditory and environment. Our findings are inconsistent with an innate preference sensorimotor processes. The ability to sing in humans is evident for consonant music, either for sequential tone relations or for from infancy, and does not depend on formal vocal training but melodies accompanied by chords. Instead, they suggest that infants’ can be enhanced by training. Nevertheless, there are individuals apparent preference for consonance stems from properties unique who are unable to sing in tune, i.e. tone-deaf people, providing to simultaneous tone combinations. Our results are consistent with an interesting model to study a disordered auditory-motor brain variations in standards of dissonance across historical periods and network including its feedback components that facilitate singing. cultures and with aesthetic preferences that arise from moderate Given the behavioral similarities between singing and speaking, pattern complexity. They also highlight the effects of early exposure. as well as the shared and distinct neural correlates of both, work has also begun to examine whether singing can be used to treat Active Participation in Infant Music Classes: some of the speech-motor abnormalities associated with various Perceptual, Cognitive and Social Benefits neurological conditions. I will present the anatomical and functional components of an auditory-motor network that supports singing, Laurel J. Trainor, David Gerry, Elaine Whiskin, Kristen show evidence that this network adapts and changes as a function Tonus, Adrienne Cheung, Andrea Unrau; McMaster of intense training, and reveal how singing and components of this University, Canada auditory-motor network can be used to ameliorate some of the SYM033, Time: 12:00 speech deficits associated with conditions such as acquired focal brain lesions and developmental disorders such as autism. Compared to those not training musically, children taking formal music lessons show advanced brain organization, musical perception, Invited Symposium: Effects of Musical and executive functioning. Here we test whether structured musical training between 6 and 12 months of age affects musical acquisition, Experience on Development During Infancy brain development, language, social interaction, and joint attention. KANE 110, 11:00 – 12:30, Monday 23 Aug 2010 Infants (n = 30) were randomly assigned to either 6 months of a Suzuki early childhood music program or a passive music listening Beat Induction as a Fundamental Musical Skill control program. In the former, infants and parents learned songs, Henkjan Honing; University of Amsterdam, The played xylophones, and moved to rhythms. In the latter, “Baby Einstein” CDs were played while infants and parents played at ball, Netherlands book, block, art, and stacking-cup stations. Compared to the control SYM031, Time: 11:00 group, infants in the Suzuki group showed advanced brain responses In order to understand how humans can learn to understand music, at 12 months. Specifically, they showed significantly larger and we need to discover what perceptual capabilities infants are born earlier event-related potentials to melody notes and larger responses with. In this paper we address beat induction: the ability to sense beat to pitch changes. In terms of musical acquisition, Suzuki infants (a regular pulse in an auditory signal; termed ‘tactus’ in music theory) preferred to listen to tonal compared to atonal music whereas control that helps individuals to synchronize their movements with each infants had no preference. Additionally, infants in the Suzuki group other, such as necessary for dancing or producing music together. showed greater positive changes pre- compared to post-training on A recent study tested beat induction in sleeping newborn babies gesture measures of early communication, and on the smiling, dis- (Honing et al., 2009; Winkler et al., 2009), by assessing whether or not tress to limitations, distress/latency to approach novel stimuli, and the neonate auditory system forms expectation for the onset (down- soothability scales of the Infant Behavior Questionnaire. The random beat) of the cycle in a regular rhythmic sound sequence. The results assignment allows us to conclude that participation in an active demonstrated that violating the beat of a rhythmic sound sequence Suzuki early childhood music program advances brain development, is detected by the brain of newborn infants (showing a MMN). Ap- musical acquisition, communication and social/emotional develop- parently newborn infants develop an expectation for the ‘downbeat’, ment compared to participation in a passive listening program. We even when it is not marked by stress or other distinguishing spectral conclude that musical training can have benefits in infancy. features. Omitting the downbeat elicits brain activity associated with violating sensory expectations. It appears that the capability of detecting a regular pulse in rhythmic sound sequences is already Music Therapy 1 functional at birth. The potential consequences of these findings GOWEN 201, 11:00 – 12:30, Monday 23 Aug 2010 for musical development, biology of music, and the origins of music will be discussed (This research was supported by the European A Theory of Music and Sadness: A Role for Prolactin? Commission. For credits see: www.musiccognition.nl./newborns/). David Huron; Ohio State University, USA New Perspectives on Consonance and Dissonance PA025, Time: 11:00 Judy Plantinga, Sandra E. Trehub; University of Toronto A theory of music and sadness is proposed. It is suggested that, for some listeners, nominally sad music actually evokes sad affect Mississauga, Canada through a combination of empathetic responses to sad acoustic cues, SYM032, Time: 11:30 through learned associations, and through cognitive rumination. The prevailing belief is that the human preference for consonant Levels of the hormone prolactin increase when sad, producing a con- music and distaste for dissonant music are innate. The evidence soling psychological effect suggestive of a homeostatic function. It is is based largely on sequences
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