Young people's topography of musical functions: personal, social and cultural experiences with music across genders and six societies.

How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners' gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT-music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism-collectivism and secularism-traditionalism, can help explain cross-cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners' gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.

Effects of accenting and regularity on the detection of temporal deviations: does regularity facilitate performance?

In an experiment on the effect of intensity accents on the perception of time intervals between tones, H. G. Tekman (2001) found that the regular placement of deviant time intervals in short sequences of tones reduced detection, especially if intensity accents marked the deviant time intervals. That was the opposite of what one would have expected on the basis of the dynamic attending theory of M. R. Jones (1976). The effect might have occurred because temporally deviant tones create cumulative onset shifts that affect all the subsequent tones. If the deviations were randomly placed, then they could follow each other in close succession and change the local tempo. In the present study, the changes of local tempo, which might have acted as a cue for the detection of temporal deviations in the random sequences, were eliminated by compensating for deviant time intervals with equal deviations in the opposite direction in the interval that followed. That change in the stimuli eliminated the negative main effect of regularity, and the accenting interacted with regularity in favor of detection in the regular sequences. However, a simple advantage of regular over random sequences was not observed. The author discusses possible reasons for the lack of a facilitatory effect of regularity.

Perceptual integration of timing and intensity variations in the perception of musical accents.

The author investigated the detection of timing and intensity variations in tone sequences within the framework of perceptual independence or integration. The participants listened to sequences of tones that contained variations in timing, intensity, or both. Each participant tried to detect variations in the dimension that was declared relevant, which was either timing or intensity. The irrelevant dimension was held constant, or varied in a manner uncorrelated with the relevant dimension, or varied in a correlated manner. When the variations in the 2 dimensions were correlated, the correlation could be either positive (i.e., timing and intensity created accents in the same sequences) or negative (i.e., timing and intensity created accents in different sequences). Uncorrelated variation in the irrelevant dimension interfered with the detection of variations in the relevant dimension. In the case of a positive correlation between the 2 dimensions, the detection of variations was better than it was with the absence of variation in the irrelevant dimension only for participants who attended to timing. In the case of a negative correlation, the effect was the opposite. The results showed that timing and intensity accents were not processed by completely independent channels. Rather, information from the 2 dimensions combined at a late stage of processing.