tag:blogger.com,1999:blog-23566650885516959822024-03-16T23:11:57.162+01:00Music Matters | A blog on music cognitionwww.mcg.uva.nl/blog/ | www.henkjanhoning.nl/blog/Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.comBlogger462125tag:blogger.com,1999:blog-2356665088551695982.post-2374768402655998522024-03-16T17:50:00.010+01:002024-03-16T23:11:22.587+01:00Interested in the origins of musicality? <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNk5uzTpQkIPvt5Ga5gtxI6fxNY-XXjAmvOAkIkwV1D7DQD7dpGdaFkoblA_osPfOA98b44bkaLWiQvEbFt9HoX-LS1xTKQBhXXIvwgSe-N1a6o_vmp7ufxxb6h3YZzPj22w3B2vmn9vflVjgaxpGkVWigBup1O0gjZhI55HksETI-CFlRpUXwxfQJX8/s302/Prof.%20Aniruddh%20Patel.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="278" data-original-width="302" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizNk5uzTpQkIPvt5Ga5gtxI6fxNY-XXjAmvOAkIkwV1D7DQD7dpGdaFkoblA_osPfOA98b44bkaLWiQvEbFt9HoX-LS1xTKQBhXXIvwgSe-N1a6o_vmp7ufxxb6h3YZzPj22w3B2vmn9vflVjgaxpGkVWigBup1O0gjZhI55HksETI-CFlRpUXwxfQJX8/w200-h184/Prof.%20Aniruddh%20Patel.jpg" width="200" /></a></div><p>Next week prof. <a href="https://as.tufts.edu/psychology/people/faculty/aniruddh-patel" target="_blank">Aniruddh D. Patel</a> will visit the Netherlands to discuss his work on the origins and evolution of musicality, with a public talk at the <a href="https://www.mpi.nl/events/mpi-colloquium-prof-aniruddh-d-patel" target="_blank">MPI Colloquium Series</a> in Nijmegen on Tuesday 19 March 2024 and a scientific (invitation-only) workshop on Friday 22 March 2024 in Amsterdam. </p><p>N.B. The public talk can be viewed via MPI's <a href="https://www.mpi.nl/livestream-auditorium">live stream</a>. </p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-12356263969916590882024-03-09T10:12:00.012+01:002024-03-10T10:44:58.003+01:00Heb jij ritmegevoel? [Dutch]<div class="separator" style="clear: both;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvQqtyv8it2xL1FgBcnRXvYyHEq26fgnh6EuQQLiuwjZavKf5QiZWGaNsfmqIsVkYmFrrkuU2TvH8Qsn7kj4IODrc6d4p_vdNLUwFWeqga4rGAna1f_ZBaOCRn5CMUwNxkFcAB6tqBGhWJZto9ZT-2l3S-BwCtq7yZ3NgtGGaN3-x4BjZhWlW6OGuMPZo/s637/uvn.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="637" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvQqtyv8it2xL1FgBcnRXvYyHEq26fgnh6EuQQLiuwjZavKf5QiZWGaNsfmqIsVkYmFrrkuU2TvH8Qsn7kj4IODrc6d4p_vdNLUwFWeqga4rGAna1f_ZBaOCRn5CMUwNxkFcAB6tqBGhWJZto9ZT-2l3S-BwCtq7yZ3NgtGGaN3-x4BjZhWlW6OGuMPZo/w320-h178/uvn.jpg" width="440" /></a></div>Videopodcast van de <a href="https://www.youtube.com/watch?v=hnBZIERB8dM." target="_blank">Universiteit van Nedererland</a>:<i> </i><p><i></i></p><blockquote><i>"Ritmegevoel, je denkt misschien dat je het niet hebt. Maar er is
wereldwijd maar bij 6 mensen vastgesteld dat ze het verschil tussen
ritmes écht niet kunnen horen. Je hebt dus wel degelijk ritmegevoel.
Sterker nog... uit het onderzoek van Henkjan Honing (onderzoeker
muziekcognitie aan de Universiteit van Amsterdam) blijkt dat dit niet
alleen is aangeleerd, maar aangeboren. Zelfs baby's van een paar dagen
oud hebben het door als je iets aan de regelmaat van muziek verandert.
En ook sommige apen gaan spontaan bewegen op muziek. Hoe Henkjan
hierachter kwam, en waarom we überhaupt ritmegevoel hebben, leer je in
<a href="https://www.youtube.com/watch?v=hnBZIERB8dM" target="_blank">deze video</a>."</i></blockquote><p></p><p>Meer lezen? Hieronder enkele van de studies die genoemd worden in <i><a href="https://www.youtube.com/watch?v=hnBZIERB8dM" target="_blank">de video</a></i>:</p><ul style="text-align: left;"><li>Baby's : <a aria-label="Persistent link using digital object identifier" class="anchor doi anchor-default" href="https://doi.org/10.1016/j.cognition.2023.105670" rel="noreferrer noopener" target="_blank" title="Persistent link using digital object identifier"><span class="anchor-text">https://doi.org/10.1016/j.cognition.2023.105670</span></a></li><li><span class="anchor-text">Makaken : </span> <a class="ArticleLayoutHeader__info__doi" href="https://doi.org/10.3389/fnins.2018.00475">
https://doi.org/10.3389/fnins.2018.00475
</a><span class="anchor-text"> </span></li><li><span class="anchor-text">Chimpansees : </span><a href="https://doi.org/10.1073/pnas.1910318116">https://doi.org/10.1073/pnas.1910318116</a></li><li>Hersenen : <a href="https://doi.org/10.3389/fnins.2013.00274">https://doi.org/10.3389/fnins.2013.00274</a></li><li>Boek : <a href="https://henkjanhoning.nl/x/aap-slaat-maat.html" target="_blank">Aap slaat maat: Op zoek naar de oorsprong van muzikaliteit bij mens en dier</a> <br /></li></ul><p> </p></div>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-90661094222023380272023-12-31T17:50:00.003+01:002023-12-31T17:50:55.188+01:00Feel like a musical memory challenge?<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLH3L_TldUXs6WWAWXSBju0QVTX97_UkU_yuQ-ApgTsbj4OuyRM3ScEOl8zo6GGJVidkYqdBuxN3bBKJNje0evNJXPrljrn2Peapjs6KtbKO5_E5Pj79k4qYcNq1ksxOORuHweTEoqlKz8ldI1TYUb806MNZbUudpZq5ZR5uRBOrW49Wy4lbPx5jEiZs4/s1272/teletunes.jpg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="473" data-original-width="1272" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLH3L_TldUXs6WWAWXSBju0QVTX97_UkU_yuQ-ApgTsbj4OuyRM3ScEOl8zo6GGJVidkYqdBuxN3bBKJNje0evNJXPrljrn2Peapjs6KtbKO5_E5Pj79k4qYcNq1ksxOORuHweTEoqlKz8ldI1TYUb806MNZbUudpZq5ZR5uRBOrW49Wy4lbPx5jEiZs4/w400-h149/teletunes.jpg" width="440" /></a></div><p>[Blog by <a href="https://www.mcg.uva.nl/people/jli/" target="_blank">Jiaxin Li</a> on TeleTunes] </p><p>Think about your favorite TV show. Can you hear the theme music already starting to play in your mind? Maybe it’s the epic sounding strings from Game of Thrones or the punchy synthesizer from Seinfeld? You’ve probably heard the music from that show so many times it’s now encrypted in your memory. As music cognition researchers, we are eager to find out what makes some TV tunes more memorable than the others. </p><p>The TeleTunes game is designed for exactly this reason. It is a game that allows us to study the catchiness of TV themes. Unlike the Christmas or Eurovision versions of our Hooked-on Music game series, this game invites you to test your memory with clips from the most iconic TV themes, curated from IMDB’s 100 most watched shows and The Rolling Stone’s esteemed “Greatest” TV show lists spanning the past 40 years. Your challenge? If you recognise a tune, quickly click the button, sing along in your mind and judge whether after a few seconds it continues in the right spot. </p><p>Through engaging in this game, you are contributing to music science, enriching our understanding of musical memory. By investigating the familiarity of these TV tunes, we are building a corpus consisting of well-known music. In the near future, we will use the results for yet another game – TuneTwins – continuing our quest to investigate questions like “what makes music memorable” or even “how do we as human beings remember music”. </p><p>We hope you will enjoy this game. Each game takes only a few minutes, and you can play it as many times as you like. Listen carefully! The fewer mistake you make, the more points you’ll earn! Finally, feel free to share the link with your friends and family and see who can get the highest score. The more you play, the more you contribute to science! </p><p>TeleTunes can be found at: <a href="https://app.amsterdammusiclab.nl/teletunes">https://app.amsterdammusiclab.nl/teletunes</a>.</p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-85100200030287930902023-12-21T11:13:00.005+01:002023-12-22T14:59:50.833+01:00Interested in a one-year postdoc position?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Du2R4sIhyphenhyphenyzCgPKGx6VnJm7GT2feyg7YuKlg5vCRWtFcGzr4UC31EiQxXGqO3VPgOdTOqZxHoEIOFfzhL7-vzAUnZaWNp1-n8flCfumcZgnahhfMZWlU7kXzilZSzF5d7SVj8Z2xSdHQaIdj8gx2Cgi1gVQzyKgGLqsccd9Re6q2N8FOfs5_KEhP414/s1024/MCG-2023.jpeg" style="clear: left; margin-bottom: 1em; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="1024" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_Du2R4sIhyphenhyphenyzCgPKGx6VnJm7GT2feyg7YuKlg5vCRWtFcGzr4UC31EiQxXGqO3VPgOdTOqZxHoEIOFfzhL7-vzAUnZaWNp1-n8flCfumcZgnahhfMZWlU7kXzilZSzF5d7SVj8Z2xSdHQaIdj8gx2Cgi1gVQzyKgGLqsccd9Re6q2N8FOfs5_KEhP414/w200-h103/MCG-2023.jpeg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">MCG, November 2023</span><br /></td></tr></tbody></table><p>
We are looking for a postdoc researcher that likes to work on the intersection of music cognition, psychometrics, and the cognitive sciences. If you are excited about doing this kind of research in an interdisciplinary environment, with a team of smart and friendly colleagues, then you may want to join us. </p><p>More information, including details on how to apply, can be found at the <a href="https://vacatures.uva.nl/UvA/job/Postdoc-Researcher-in-Music-Cognition/784950002/" target="_blank">UvA website</a>.<br /></p><p>Deadline for applications :<b><span style="color: #e69138;"> 15 January 2024.
</span></b></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-55535109295938926692023-12-10T16:00:00.003+01:002024-01-12T09:39:19.235+01:00Why did we decide to revisit and overhaul our earlier beat perception studies? <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img alt="" class="attachment-large size-large wp-post-image" height="280" src="https://thereader.mitpress.mit.edu/wp-content/uploads/2023/12/baby-lead-700x420.jpg" style="margin-left: auto; margin-right: auto;" width="440" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Newborn baby participating in listening experiment <br />(courtesy Eszter Rozgonyiné Lányi).</span></td></tr></tbody></table><div style="text-align: center;"></div>
<p class="has-drop-cap">[Published in <a href="https://www.scientificamerican.com/article/it-turns-out-we-were-born-to-groove/" target="_blank">Scientific American</a> and <a href="https://thereader.mitpress.mit.edu/it-turns-out-we-were-born-to-groove/" target="_blank">MIT Press Reader</a>]</p><p class="has-drop-cap">In 2009, we
found that newborns possess the ability to discern a regular pulse –
the beat – in music. It’s a skill that might seem trivial to most of us
but that’s fundamental to the creation and appreciation of music. The
discovery sparked a profound curiosity in me, leading to an exploration of the biological underpinnings of our innate capacity for music, commonly referred to as “musicality.”</p>
<p>In a nutshell, the experiment
involved playing drum rhythms, occasionally omitting a beat, and
observing the newborns’ responses. Astonishingly, these tiny
participants displayed an anticipation of the missing beat, as their
brains exhibited a distinct spike, signaling a violation of their
expectations when a note was omitted. This discovery not only unveiled
the musical prowess of newborns but also helped lay the foundation for a
burgeoning field dedicated to studying the origins of musicality.</p><p>Yet, as with any discovery, skepticism emerged (as it should). Some
colleagues challenged our interpretation of the results, suggesting
alternate explanations rooted in the acoustic nature of the stimuli we
employed. Others argued that the observed reactions were a result of
statistical learning, questioning the validity of beat perception being a
separate mechanism essential to our musical capacity. Infants actively
engage in statistical learning as they acquire a new language, enabling
them to grasp elements such as word order and common accent structures
in their native language. Why would music perception be any different?</p><p>To address these challenges, in 2015, our group decided to revisit
and overhaul our earlier beat perception study, expanding its scope,
method and scale, and, once more, decided to include, next to newborns,
adults (musicians and non-musicians) and macaque monkeys.</p>
<p> [...]<i> Continue reading in <a href="https://thereader.mitpress.mit.edu/it-turns-out-we-were-born-to-groove/" target="_blank">The MIT Press Reader</a>.</i><br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-29477445168668675402023-11-27T11:43:00.009+01:002023-12-09T21:34:08.048+01:00Do babies have a natural affinity for ‘the beat’ ?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img alt="" border="0" data-original-height="1149" data-original-width="1280" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTR32HgkgoLBXXF2Ln9YEnIG7eFSDH8UG-Sb0ojTQYbRxRVIV8_taFPCKg-Qwgsgg_z67kxcykcVhPAnFSwxQp27GZpEkopXz-Bgl6CxqtqFyspblylzQA3W7_hx7wHXVjpnf4PLD49goXuQMmEExJmfWszW1wQd6gzLc5T5LnmOSJ7CsXkXwJovxF_E/w400-h360/2%20Newborn-participating-in-listening-experiment-Haden-et-al-2023.jpg" style="margin-left: auto; margin-right: auto;" width="420" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Newborn baby participating in listening experiment <br />(courtesy Eszter Rozgonyiné Lányi).</td></tr></tbody></table><div class="separator" style="clear: both;">Today a new study, carried out by a team of scientists from the University of Amsterdam and the HUN-REN Research Centre for Natural Sciences (TTK) in Hungary, shows that the ability to recognize a beat is not simply due to the statistical learning ability of newborns, but that beat perception is actually a separate cognitive mechanism that is already active at birth. The study was published in the scientific journal <a href="https://doi.org/10.1016/j.cognition.2023.105670"><i>Cognition</i></a>. </div><p>
‘There is still a lot we don't know about how newborn babies perceive, remember and process music,’ says author Henkjan Honing, professor of Music Cognition at the UvA. 'But, in <a href="https://doi.org/10.1073/pnas.0809035106">2009</a>, we found clear indications that babies of just a few days old have the ability to hear a regular pulse in music – the beat – a characteristic that is considered essential for making and appreciating music.’
<br /><br />
<b>27 babies</b><br />
Because the <a href="http://musiccognition.blogspot.com/search?q=newborn">previous research</a> from Honing and his colleagues had so far remained unreplicated and they still had many questions, the UvA and TTK joined forces once again – this time using a new paradigm. In an experiment with 27 newborn babies, researchers manipulated the timing of drum rhythms to see whether babies make a distinction between learning the order of sounds in a drum rhythm (<i>statistical learning</i>) and being able to recognize a beat (<i>beat-induction</i>).
<br /><br />
<b>Manipulated timing</b><br />
The babies were presented with two versions of one drum rhythm through headphones. In the first version, the timing was isochronous: the distance between the sounds was always the same. This allows you to hear a pulse or beat in the rhythm. In the other version, the same drum pattern was presented, but with random timing (jittered). As a result, beat perception was not possible, but the sequence of sounds could be learned. This allowed the researchers to distinguish between beat perception and statistical learning.
<br /><br />
Because behavioral responses in newborn babies cannot be observed, the research was done with brain wave measurements (EEG) while the babies were sleeping. This way, the researchers were able to view the brain responses of the babies. These responses showed that the babies heard the beat when the time interval between the beats was always the same. But when the researchers played the same pattern at irregular time intervals, the babies didn't hear a beat.
<br /><br />
<b>Not a trivial skil</b>l<br />
‘This crucial difference confirms that being able to hear the beat is innate and not simply the result of learned sound sequences,’ said co-author <a href="https://www.ttk.hu/en/phonebook/istvan-winkler" target="_blank">István Winkler</a>, professor at the Institute of Cognitive Neuroscience and Psychology at TTK. 'Our findings suggest that it is a specific skill of newborns and make clear how important baby and nursery rhymes are for the auditory development of young children. More insight into early perception is of great importance for learning more about infant cognition and the role that musical skills may play in early development.'
<br /><br />Honing adds: 'Most people can easily pick up the beat in music and judge whether the music is getting faster or slower – it seems like an inconsequential skill. However, since perceiving regularity in music is what allows us to dance and make music together, it is not a trivial phenomenon. In fact, beat perception can be considered a fundamental human trait that must have played a crucial role in the evolution of our capacity for music.’</p><p><span style="font-size: small;"><b>Publication details<br /></b>Gábor P. Háden, Fleur L. Bouwer, Henkjan Honing and István Winkler. Beat processing in newborn infants cannot be explained by statistical learning based on transition probabilities, <i>Cognition</i>, DOI </span><span style="font-size: small;"><a aria-label="Persistent link using digital object identifier" class="anchor doi anchor-default" href="https://doi.org/10.1016/j.cognition.2023.105670" rel="noreferrer noopener" target="_blank" title="Persistent link using digital object identifier"><span class="anchor-text">10.1016/j.cognition.2023.105670</span></a><span class="anchor-text">.</span></span></p><p><span style="font-size: small;"><span class="anchor-text"> </span></span><span style="font-size: small;"><i>[Source UvA Press Office</i>: <a href="https://www.uva.nl/en/content/news/press-releases/2023/11/newborn-babies-have-natural-affinity-for-the-beat.html" target="_blank">English version</a>; <a href="https://www.uva.nl/content/nieuws/persberichten/2023/11/pasgeboren-baby-heeft-natuurlijk-talent-voor-beat-in-muziek.html" target="_blank">Dutch version</a>.]</span><span style="font-size: x-small;"><a aria-label="Persistent link using digital object identifier" class="anchor doi anchor-default" href="https://doi.org/10.1016/j.cognition.2023.105670" rel="noreferrer noopener" target="_blank" title="Persistent link using digital object identifier"><svg aria-label="Opens in new window" class="icon icon-arrow-up-right arrow-external-link" height="1em" viewbox="0 0 78 128" width="1em"></svg></a></span>
</p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-82973143382183239862023-11-13T17:06:00.005+01:002023-11-14T17:35:24.852+01:00Interested in doing a PhD in Music Cognition?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWY70C0LkCD4-KKfNZRHJRu3yUsj5lepMX2i9DlO64I0B6l0jz8hGA_9ImsQLLEZbCmzzF_9o3_kIgZMjAEVCZ3wP1h9i3nzCd9N89D-pdFvPqmTYK2no1acYIxqh7lhXLQryydn2U9MOsOB4gp_xgkCqxvHJdayosu1dFUPbk2aikr-g1fKwPOFPpYzc/s240/mcg-logo-square.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="240" height="100" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWY70C0LkCD4-KKfNZRHJRu3yUsj5lepMX2i9DlO64I0B6l0jz8hGA_9ImsQLLEZbCmzzF_9o3_kIgZMjAEVCZ3wP1h9i3nzCd9N89D-pdFvPqmTYK2no1acYIxqh7lhXLQryydn2U9MOsOB4gp_xgkCqxvHJdayosu1dFUPbk2aikr-g1fKwPOFPpYzc/w200-h200/mcg-logo-square.jpg" width="100" /></a></div><p>Master students of the UvA (or excellent external candidates) are
invited to submit a short proposal to be seleted as candidate for NWO's <a href="https://www.nwo.nl/en/researchprogrammes/phds-humanities" target="_blank">PhD in the Humanities</a> programme. </p><div style="text-align: left;">At
the ILLC there will be a pre-selection procedure based on a short
proposal and cv. More information for internal candidates is available <a href="https://www.mcg.uva.nl/jobs/" target="_blank">here</a>. </div><div style="text-align: left;"> </div><div style="text-align: left;">Deadline for pre-proposals:<b> <span style="color: #e69138;">03 December 2023</span>.</b></div><div style="text-align: left;"><b> </b></div><div style="text-align: left;">The aim of the <i>PhDs in the Humanities</i>
funding instrument is to increase the number of young talented
researchers in the humanities, and to facilitate their progression on
the academic career ladder. See <a href="https://www.nwo.nl/en/researchprogrammes/phds-humanities" target="_blank">NWO website</a> for more information. <b> <br /></b></div>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-76579260693155966952023-11-07T16:40:00.010+01:002023-11-14T17:34:40.082+01:00How to keep a forest happy?
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhU-kS4t93qLRC__XxUuEqinFalIB5tgZayJR7gCdEgUFYzdDkhAdvtNj4LdbrNj4eDKSycazePiX6VG76uIYa0WsfsIZBGtH7pNpbtPwuAOfopC5Vyy6MErKBi5Tn-fmrtjSMYUJ9XMQiadr8KUJ44XQAsWMjkEsWcYmdg2V0wmSjy-lOCaCw1jW_YI/s1595/BaYaka.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1116" data-original-width="1595" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhU-kS4t93qLRC__XxUuEqinFalIB5tgZayJR7gCdEgUFYzdDkhAdvtNj4LdbrNj4eDKSycazePiX6VG76uIYa0WsfsIZBGtH7pNpbtPwuAOfopC5Vyy6MErKBi5Tn-fmrtjSMYUJ9XMQiadr8KUJ44XQAsWMjkEsWcYmdg2V0wmSjy-lOCaCw1jW_YI/w400-h280/BaYaka.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: x-small;">A BaYaka group of women and girls singing and clapping enthusiastically while resting during a hectic day's work in the forest (Courtesy: K. R.L. Janmaat, 2018).</span></i></td></tr></tbody></table><p><b style="color: #ffa400;">A new study on the possible evolutionary origins of music </b><span style="color: #ffa400;">[Press Release]</span><b style="color: #ffa400;"><br /></b></p><p>[Newspaper article in <a href="https://www.nrc.nl/nieuws/2023/11/14/bayaka-vrouwen-in-congo-zingen-als-ze-samenwerken-en-dat-maakt-het-bos-blij-a4180831" target="_blank">Dutch</a>]</p><p>Why is music so prevalent and universal in human societies? Does music serve an adaptive function, or it is just “auditory cheesecake”, as cognitive psychologist Steven Pinker infamously claimed: a delightful dessert but, from an evolutionary perspective, no more than a by-product of language?
<br /><br />
The debate on the origins of music has intrigued scientists for centuries. The hypotheses range from music being a mating display in order to woo females, to a means to increase social bonding in group contexts. For the first time, a group of international and interdisciplinary researchers led by Karline <a href="https://www.uva.nl/profiel/j/a/k.r.l.janmaat/k.r.l.janmaat.html" target="_blank">Janmaat</a> and her former MSc Student Chirag Chittar, have tested several hypotheses on music simultaneously in a modern foraging society during their daily search for food. They found that women during tuber finding events were more likely to sing in large groups of strangers and less likely to sing in large groups of individuals they knew. The study was part of an elaborate longitudinal study spanning 2 years and has now been published in <i><a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2023.1218394/full" target="_blank">Frontiers in Psychology</a></i>.
<br /><br />
<b><span style="color: #ffa400;">Music makes the forest happy </span></b> </p><p>“We know from their communication about music that the BaYaka sing to “please the forest” so that it provides them with more food. What they dislike most is conflict, as they believe it would make the forest spirits angry. What intrigues me the most is that our behavioral observations nicely complement their verbal communication about music. The women sing more frequently when they search for food in groups that are large and contain fewer “friends”, in which conflicts about food are more likely to arise. To me, our study reveals that these foragers appear to use music as a tool to avoid potential future conflict. How amazing is that?!”, Janmaat says.
<br /><br />
“This study gives important empirical insights in the possible origins of music, a topic that for long had to be mere speculation”, says coauthor Henkjan Honing, professor of Music Cognition at UvA. “It made us decide to intensify our interdisciplinary collaboration and to further study the role of music with the BaYaka in a project aiming to unravel the human capacity for music. We are excited to announce our plans to return to this captivating society next year, where music appears to occupy a central role that transcends language.”
<br /><span style="font-size: x-small;"><br />
Chittar, C., Jang, H., Samuni, L, Lewis, J, Honing, H., Van Loon, E.E., Janmaat, K.R.L. (2023). Music and its role in signaling coalition during foraging contexts in a hunter-gatherer society. <i>Frontiers in Psychology</i>. doi <a href=" https://doi.org/10.3389/fpsyg.2023.1218394" target="_blank">10.3389/fpsyg.2023.1218394</a>.
</span></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-89902763438647497722023-10-11T23:26:00.005+02:002023-10-11T23:43:36.173+02:00Interested in contributing to our web-based music science platform?<p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj4L0fcsBnSGCamLypb-BsB8sPa_4f7hKNSJY1TI2_pp5SC1CCDgyZaz1_ys-9lU1VO4DVA6VIsaqtEer2Bl9hu-WdQIZcM1LIviaUZdcSozfKSZFPA9wZZ30G6V9mHDt6ntjzljVv54TuwO2jS9idTkGl_eQpmjK5NE5LFOUljuBKIK8V01_PIdGAQ=s2500" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="2500" height="64" src="https://blogger.googleusercontent.com/img/a/AVvXsEj4L0fcsBnSGCamLypb-BsB8sPa_4f7hKNSJY1TI2_pp5SC1CCDgyZaz1_ys-9lU1VO4DVA6VIsaqtEer2Bl9hu-WdQIZcM1LIviaUZdcSozfKSZFPA9wZZ30G6V9mHDt6ntjzljVv54TuwO2jS9idTkGl_eQpmjK5NE5LFOUljuBKIK8V01_PIdGAQ=w200-h64" width="200" /></a></div>Are you looking for a challenging job in a dynamic interdisciplinary team? The Institute for Logic, Language and Computation (ILLC) is looking for an enthusiastic and experienced front-end developer, contributing to the development of a flexible and sustainable infrastructure for MUSic-related Citizen Science Listening Experiments (MUSCLE). The project is funded by a PDI-SSH grant awarded to the Music Cognition Group (MCG) at the ILLC. <p></p><p style="text-align: left;">More information on how to apply can be found <a href="https://vacatures.uva.nl/UvA/job/Front-End-Developer-for-Audio-and-Music-on-the-Web/779867302">here</a>. </p><p style="text-align: left;">Deadline for applications is <span style="color: #ffa400;"><b>31 October 2023</b></span>.</p><p style="text-align: left;"> </p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-81884880049600287882023-07-05T14:18:00.005+02:002023-07-06T10:44:57.673+02:00Did you enjoy playing the game Memory?<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh300XWVZsP7HQgftrO0afkDp7Wzntu7nqLJUq2est51s7gVyDSIV4khvZ2yvM6ELdBX1Oa5KkzatIh-OaZKDQLVZf59LtUkdd6-52d-HwfdrCIpKAesq4LaVnQbDHQ0i-aD0NfXT_lm8Fe1ml_pQcoWTWgQFShC-UJ3Oi5hUnLPvGMp8p1KlwJ0SWakQ/s1200/2023-07-04-tunetwins.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh300XWVZsP7HQgftrO0afkDp7Wzntu7nqLJUq2est51s7gVyDSIV4khvZ2yvM6ELdBX1Oa5KkzatIh-OaZKDQLVZf59LtUkdd6-52d-HwfdrCIpKAesq4LaVnQbDHQ0i-aD0NfXT_lm8Fe1ml_pQcoWTWgQFShC-UJ3Oi5hUnLPvGMp8p1KlwJ0SWakQ/s320/2023-07-04-tunetwins.jpeg" width="420" /></a></div><p>Did you enjoy playing the game Memory as a child? You can now play the game with music instead of pictures! Say hello to the <i>TuneTwins</i>! </p><p>Researchers from the <a href="https://www.mcg.uva.nl/">Music Cognition Group</a> at the University of Amsterdam developed this game to answer important scientific questions about our perception and memory of music. </p><p>In <i>TuneTwins</i>, you are challenged to match identical or similar tune pairs. These are taken from the 100 most popular TV themes according to IMDB and The Rolling Stone!
<br /></p><p>
Each game would only take a few minutes and you are welcome to play it as many times as you want. The more you play, the more you contribute to science! </p><p>You can find a tutorial and a link to the game <a href="https://www.amsterdammusiclab.nl/blog/tunetwins/">here</a>.
</p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-47043103773213224472023-04-30T20:07:00.001+02:002023-04-30T20:08:03.107+02:00What is the use of the comparative approach in studying the origins of language and music?<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5aeEKP_pq3sWEgewx4kcNnkKZRiWayKbfnOp4pqwsDxYGIBmy73Nkl5cO_C66QKZGVcmv3PwcZ0GIBvFYWResNxu1BORD0PzPKi8LeGoZPtl9lDQ_ck5WDArHMYlDSyAOnmO6djm0bZsA7phipS9h1a3sSL0LJoFQ68oAfneVml1NfdUWD8dE85NR/s1500/Figure-29.1-Comparative-Research-WHITE.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1306" data-original-width="1500" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5aeEKP_pq3sWEgewx4kcNnkKZRiWayKbfnOp4pqwsDxYGIBmy73Nkl5cO_C66QKZGVcmv3PwcZ0GIBvFYWResNxu1BORD0PzPKi8LeGoZPtl9lDQ_ck5WDArHMYlDSyAOnmO6djm0bZsA7phipS9h1a3sSL0LJoFQ68oAfneVml1NfdUWD8dE85NR/w200-h174/Figure-29.1-Comparative-Research-WHITE.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i><span>Diagrammatic
representation of the comparative <br />approach (as discussed in ten Cate & Honing, <a href="https://psyarxiv.com/4zxtr" target="_blank">2022</a>)</span></i></span></td></tr></tbody></table>Comparative studies can be done in several ways. One approach is to examine the sounds made by
animals and look for shared features or parallels with language or music. To study these, one can, for
example, examine how the structure of a sequence of sounds compares to syntactic structures in
language or rhythmic structures in music, or whether harmonic sounds are recognized by their pitch
(like in music) or by their spectral structure (like in speech). The presence of such features can
indicate that similar sensory or cognitive mechanisms may underlie their perception and production
and those needed for language and music in humans. However, one needs to be cautious with
drawing such conclusions. That a sound produced by an animal has certain features in common with
language or music may be incidental and a result of human interpretation, rather than indicating
shared mechanisms per se. Animal sounds showing, for example, a specific rhythmic pattern (e.g., in
the call of the <i>indri</i>, a lemur species; De Gregorio et al., 2021) or that contain tones based on a
harmonic series (e.g., in the hermit thrush; Doolittle et al., 2014), need not indicate an ability of the
animal to perceive or produce rhythms or harmonic sounds in general, as is common in humans. To
show this, it is necessary to demonstrate the perception or production of such patterns outside and
beyond what is realized in the species-specific sound patterns. This requires a
second approach: using controlled experiments to address whether animals can (learn to) distinguish
and generalize artificially constructed sounds that differ in specific linguistic or musical features. The
two approaches, observational-analytical and experimental, are complementary: the first one may
hint at presence of a certain ability, while the second one can test its existence and the limits of the
capacity (Adapted from: <a href="https://psyarxiv.com/4zxtr" target="_blank">ten Cate & Honing</a>).<p></p><p><span style="font-size: x-small;">De Gregorio, C., Valente, D., Raimondi, T., Torti, V., Miaretsoa, L., Friard, O., Giacoma, C., Ravignani, A. & Gamba, M. (2021). Categorical rhythms in a singing primate. <i>Current Biology</i>, <i>31</i>(20), R1379–R1380. <a href="https://doi.org/10.1016/j.cub.2021.09.032">https://doi.org/10.1016/j.cub.2021.09.032</a> </span></p><p><span style="font-size: x-small;">Doolittle, E. L., Gingras, B., Endres, D. M. & Fitch, W. T. (2014). Overtone-based pitch selection in hermit thrush song: Unexpected convergence with scale construction in human music. <i>Proceedings of the National Academy of Sciences</i>, <i>11</i>(46), 1–6. <a href="https://doi.org/10.1073/pnas.1406023111">https://doi.org/10.1073/pnas.1406023111</a></span></p><p><span style="font-size: x-small;">Ten Cate, C. & & Honing, H. (2023, in press). Precursors of Music and Language in Animals. Sammler, D.
(ed.) <i> Oxford Handbook of Language and Music</i> Oxford: Oxford University Press. Preprint: <a href="https://psyarxiv.com/4zxtr" target="_blank">psyarxiv.com/4zxtr</a>.</span> <br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-677706158252502972023-02-24T10:58:00.011+01:002023-11-13T15:58:55.313+01:00What is your position on the possible origins of music/ality?<p style="text-align: left;">This blog-entry adds several new analyses and visualizations related to the topic of the origins of music/ality, as discussed in a recent issue of<i> <a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/volume/754CEA3F64D634A7B205A922E359BA7C" target="_blank">Behavioral and Brain Sciences</a></i> (BBS<i>; cf. </i> Mehr <i>et al</i>., <a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/origins-of-music-in-credible-signaling/82D36C04DA04D96AD9A77EEAF4BBFB34" target="_blank">2021</a>; Savage <i>et al</i>., <a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/music-as-a-coevolved-system-for-social-bonding/F1ACB3586FD3DD5965E56021F506BC4F" target="_blank">2021</a>). </p><p style="text-align: left;"><b> N.B.</b> An <a href="https://bacor.github.io/bbs-commentaries/" target="_blank">interactive app</a>, linking to the two target articles, the 60 commentaries, as well as the commentaries' position in this debate, can be found on <a href="https://bacor.github.io/bbs-commentaries/" target="_blank">GitHub</a>. <br /></p><p style="text-align: left;">The analyses presented below are based on a questionnaire that was send to the 60 commentary writers in 2021. </p><p style="text-align: left;">Fig. 1 shows the outcome of that questionnaire asking to rate one's own position w.r.t. the two target articles on a five point scale from <i>Strongly Critical</i> to <i>Strongly Supportive</i> (N.B. We received 49 responses):</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVmJuT88fXmRbXsFU58s_YnIKA3CbD1IW9aPYqaV50axY6e5k1juagwSSxGSpR1w8CqEyEI3IrLmV8KrC-m1Kdmwh1FR4D1W0vus_oeE4KaSKDPwFkGclCvZz9Ta9mS9kXgngo_ykj7LM/s750/count-plot-2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVmJuT88fXmRbXsFU58s_YnIKA3CbD1IW9aPYqaV50axY6e5k1juagwSSxGSpR1w8CqEyEI3IrLmV8KrC-m1Kdmwh1FR4D1W0vus_oeE4KaSKDPwFkGclCvZz9Ta9mS9kXgngo_ykj7LM/w400-h400/count-plot-2.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Fig. 1a</b>: Individual ratings from the BBS Commentary Authors (<i>N=49</i>). <span>Numbers/size show the amount of votes. </span>N.B. An <a href="https://bacor.github.io/bbs-commentaries/" target="_blank">interactive version</a>, linking the individual ratings to the Commentaries, is shown below.<i></i></td></tr></tbody></table><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://bacor.github.io/bbs-commentaries/" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="750" src="https://www.mcg.uva.nl/mcg-2023/images/poll-newer.png" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Fig. 1b</b>: <span>Individual ratings from the BBS Commentary Authors (<i>N=49</i>). <br />Numbers/size: amount of votes; Color: support for one or the other position. <br />N.B. Click on the figure to run the <a href="https://bacor.github.io/bbs-commentaries/" target="_blank">interactive version</a></span><span>, linking the individual ratings to the Commentaries<i>. </i>[Alternative figures, data, and source code at <a href="https://github.com/bacor/bbs-commentaries" target="_blank">GitHub</a>]</span></td></tr></tbody></table>
<p style="text-align: left;">Fig. 2 below shows the rating provided by Savage <i>et al</i>. (<a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/toward-inclusive-theories-of-the-evolution-of-musicality/FE8CEC6D9777CD0CDCEAD25751808DCD#s36_fig01" target="_blank">2021</a>), where two raters judged the positions of all commentaries on the same two dimensions (but on a continuous scale): <br /></p><p style="text-align: left;"></p>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUo_m8XHBdbL50NyP_KmN64tshyphenhyphenI1rQPMHCFZvobGggJbiS9QrJNQU-EqEs8kdA48hW-nYNXrqt0Ap28gppofWLK1irBk3lCt0_UJzU7ysNqOeeEOv-NCI4Z1dCpGhXn-7OFzEXNKcrDQ/s931/savage.png" style="clear: left; display: block; margin-left: auto; margin-right: auto; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="621" data-original-width="931" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUo_m8XHBdbL50NyP_KmN64tshyphenhyphenI1rQPMHCFZvobGggJbiS9QrJNQU-EqEs8kdA48hW-nYNXrqt0Ap28gppofWLK1irBk3lCt0_UJzU7ysNqOeeEOv-NCI4Z1dCpGhXn-7OFzEXNKcrDQ/w400-h267/savage.png" width="440" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Fig. 2:</b> Ratings from Savage <i>et al</i>. (<a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/toward-inclusive-theories-of-the-evolution-of-musicality/FE8CEC6D9777CD0CDCEAD25751808DCD#s36_fig01" target="_blank">2021</a><a href="https://www.cambridge.org/core/journals/behavioral-and-brain-sciences/article/toward-inclusive-theories-of-the-evolution-of-musicality/FE8CEC6D9777CD0CDCEAD25751808DCD#s36_fig01" target="_blank">: Figure R1</a>).<br />[Source code and data at <a href="https://github.com/comp-music-lab/social-bonding" target="_blank">GitHub</a>]<br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>
<p style="text-align: left;">Furthermore, we also did some simple numerical comparisons between the data presented in Fig. 1 and 2. The main observations are: <br /></p><ol style="text-align: left;"><li>
For the Social Bonding hypothesis there is an agreement* between ratings shown in Fig. 1 and those of Fig.2 of <b>.62</b> (Rater 1/Authors) and <b>.69</b> (Rater 2/Authors). As such, the raters did a relatively good job in estimating the authors positions. </li><li>For the Credible Signalling hypothesis the agreement* was <b>.51</b> (Rater 1/Authors) and <b>.56</b> (Rater 2/Authors), suggesting the raters did less well in estimating the authors positions.<br /></li></ol><p style="text-align: left;">
<span style="font-size: x-small;">*Intraclass Correlation Coefficient (ICC). Note that resolution of both ratings (Fig. 1 and 2) differ, which could affect the results. </span></p>
<p style="text-align: left;">Fig 3. shows the results on the question whether this two-dimensional representation was considered adequate by the commentary authors: <br /></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_zr_pZKF20ACHQod1EjBtLxWeAbtLOZ_wZJZIwKMxTR6hRFjmtLMiWa7GKSBQyhocNv439Ah1Bp2ds2_Kllueo_Y_ZB4f8S9xEXEJh8rSjP05sNl6EoXs8nN6Z6h1MUGgB6pDLHTQmzg/s900/sufficiency-3.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="900" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_zr_pZKF20ACHQod1EjBtLxWeAbtLOZ_wZJZIwKMxTR6hRFjmtLMiWa7GKSBQyhocNv439Ah1Bp2ds2_Kllueo_Y_ZB4f8S9xEXEJh8rSjP05sNl6EoXs8nN6Z6h1MUGgB6pDLHTQmzg/w400-h266/sufficiency-3.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Fig. 3: </b>In how far are the two dimensions sufficient to capture your position (<i>N=49</i>)? <span>[Alternative figures, data, and source code at <a href="https://github.com/bacor/bbs-commentaries" target="_blank">GitHub</a>]</span></td></tr></tbody></table><br /><p></p><div style="text-align: center;"><br /></div><p><span style="font-size: small;">[Credits: Visualizations by <a href="https://bascornelissen.nl/" target="_blank">Bas Cornelissen</a>; Stats by <a href="https://www.illc.uva.nl/People/person/5211/Dr-Atser-Damsma" target="_blank">Atser Damsma</a>]<i> <br /></i></span></p><p></p><p></p><p></p>
<p></p><p></p>
<p></p><span style="font-size: small;">Mehr, S., Krasnow, M., Bryant, G., & Hagen, E. (2021). Origins of music in credible signaling. <i>Behavioral and Brain Sciences,</i> <i>44</i>, E60. doi:<a href="https://doi.org/10.1017/S0140525X20000345">10.1017/S0140525X20000345</a></span><br /><p>Savage, P., Loui, P., Tarr, B., Schachner, A., Glowacki, L., Mithen, S.,
& Fitch, W. (2021). Music as a coevolved system for social bonding.
<i>Behavioral and Brain Sciences,</i> <i>44</i>, E59. doi:<a href="http://doi.org/10.1017/S0140525X20000333">10.1017/S0140525X20000333</a></p><p>Honing, H. (2021). Unravelling the origins of musicality: Beyond music as an epiphenomenon of language. <i>Behavioral and Brain Sciences,</i> <i>44</i>, E78. doi:<a href="http://dx.doi.org/10.1017/S0140525X20001211" rel="nofollow" target="_blank">10.1017/S0140525X20001211</a> <br /></p><p></p><p></p><p></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com1tag:blogger.com,1999:blog-2356665088551695982.post-48779485196566555832022-12-28T14:48:00.000+01:002022-12-28T14:48:29.686+01:00Interested in becoming Assistant Professor in Generative AI in Amsterdam?<p></p><span data-careersite-propertyid="description" itemprop="description" lang="nl-NL"><span class="jobdescription"><p><span style="font-size: 16px;"><span style="font-family: Times New Roman, Times, serif;"></span></span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRIcFdAb6pXS4nNf9i__hJFm-MCzj17ea1XCACx9qCKpFxIMFpLEDVzp_zWnBg2v9prVDK7DASs8BLGQnEyZQJnCBiMkFz0SncU3CmRjLwC3sO5dD39GSXyrJbB0EufDrYgMmPNeUfU0T8twt4IDrTuA2vfZNpT5JO1dP8AVIRy2eBrXylgk7yRbl4/s1141/lab42.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="909" data-original-width="1141" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRIcFdAb6pXS4nNf9i__hJFm-MCzj17ea1XCACx9qCKpFxIMFpLEDVzp_zWnBg2v9prVDK7DASs8BLGQnEyZQJnCBiMkFz0SncU3CmRjLwC3sO5dD39GSXyrJbB0EufDrYgMmPNeUfU0T8twt4IDrTuA2vfZNpT5JO1dP8AVIRy2eBrXylgk7yRbl4/w200-h159/lab42.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>Generative
AI in the past decade has changed the field of artistic creativity,
making us ask new questions that are relevant not only for scientific
research but also for musicians and artists of all kinds. With this
position, we are seeking to broaden our profile with respect to
AI-assisted music generation and how AI-generated art can be positioned
within the humanities and cognitive science more generally. The
explosive growth of creative AI has also brought new ethical and
epistemological dimensions to reflect upon, and we are looking for a
colleague who can translate this reflection into both teaching and
research. The ideal candidate will be somebody comfortable engaging in
the ethics and implications of using AI in artistic processes regardless
of medium, with more specific expertise in how AI is (and can be) used
to make music. <p></p><p>See <a href="https://vacatures.uva.nl/UvA/job/Assistant-Professor-in-Generative-AI-in-the-Arts/758827502/" target="_blank">here</a> for all information on how to apply.<br /></p></span></span><p></p><p>Deadline for applications: <span style="color: #ffa400;"><b>12</b></span><span style="color: #ffa400;"><b> January 2023</b></span>.<br /></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPr27GzCwdyRXtW8lZ5d4oWuoF36ZLmfJqWfZfnwiyYUii4caZcjXvNwTHXamVpnjkAAlQWr70c00pg2exXOzvGqnyVOO0lMSrjjXlf_bYzIlKz7EGlQOPwsQPc-I2ViXV8lfwUG-QQrPWejZZHvZQ5GVLLTPqRx8lpdHGx2HR0CBUW1cdLVp4anZ/s2390/lab42.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="2390" height="36" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPr27GzCwdyRXtW8lZ5d4oWuoF36ZLmfJqWfZfnwiyYUii4caZcjXvNwTHXamVpnjkAAlQWr70c00pg2exXOzvGqnyVOO0lMSrjjXlf_bYzIlKz7EGlQOPwsQPc-I2ViXV8lfwUG-QQrPWejZZHvZQ5GVLLTPqRx8lpdHGx2HR0CBUW1cdLVp4anZ/w400-h36/lab42.jpg" width="420" /></a></div>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-21003370116760618092022-12-02T10:02:00.004+01:002022-12-02T10:10:29.077+01:00Wat is een absoluut gehoor en is het erfelijk? [Dutch]<p>Niet zo lang geleden verscheen op het internet een video [zie hieronder een nwe versie] met de tekst: ‘Kijk eens wat deze hond kan. Hij is muzikaler dan ik!’ </p><p> <iframe allow="accelerometer; autoplay" frameborder="0" height="285" src="https://www.youtube.com/embed/5KQhTqmgszI" title="YouTube video player" width="420"></iframe></p><p>De video laat een golden retriever zien die geconcentreerd naar zijn baas kijkt die tegenover hem zit. Als zij een toon laat horen reageert de hond door met zijn poot een toets in te drukken op een fors pianotoetsenbord dat voor hem op de grond ligt. Welke toon het baasje ook speelt, de hond herhaalt zonder aarzeling precies dezelfde toon op de piano.
‘Hij heeft absoluut gehoor!’ voegt een lezer al snel als commentaar aan de video toe. En dat klopt. De meeste dieren hebben absoluut gehoor, in de zin dat zij klanken onthouden en herkennen aan de absolute frequentie (het trillingsgetal) van het geluid, en niet zozeer aan het melodische verloop of de intervalstructuur, zoals wij mensen dat doen. Wij vinden absoluut gehoor daarom bijzonder.
Als je aan musici vraagt een voorbeeld te noemen van een bijzondere muzikale vaardigheid dan noemen velen als eerste ‘absoluut gehoor’. Iemand met een absoluut gehoor kan een willekeurig aangeslagen pianotoon benoemen zonder gezien te hebben welke toets er werd ingedrukt. Vooral voor conservatoriumstudenten is dat handig, omdat zij dan minder moeite hebben met de muzikale dictees die ze regelmatig krijgen: het in notenschrift opschrijven van wat de docent voorspeelt of zingt. </p>
<p>
Maar terug naar de golden retriever. Ik denk dat hij inderdaad de pianotonen aan hun frequentie kan herkennen. Maar ik vermoed ook dat als er een gordijn tussen hem en zijn baasje gehangen wordt, hij deze ingewikkelde taak niet meer vlekkeloos uitvoert. Deze hond doet immers meer dan alleen een toon herkennen aan zijn trillingsgetal. De term absoluut gehoor is wat dat betreft te beperkt. De hond moet namelijk behalve een toon horen, herkennen en herinneren, deze ook classificeren (is het een c of een cis?), bepalen welke toets daarbij hoort en deze vervolgens aanslaan op het grote toetsenbord dat voor hem ligt.
Op de video zijn de ogen van de golden retriever en die van zijn eigenaar niet te zien, maar het zou me niet verbazen als de hond vooral haar blik volgt om te weten welke toets hij verwacht wordt aan te slaan, in plaats van zijn absolute gehoor. Het zou heel goed kunnen dat het klassieke Pavlov-effect – als ik doe wat baasje van mij verlangt, krijg ik een beloning – hier sterker is. (Dit is eenvoudig te testen door een gordijn tussen hond en baas te hangen. Voorspelling: de hond kan de taak niet meer vlekkeloos uitvoeren.) </p><p>Absoluut gehoor is dus niet zo zeer een gehoorvaardigheid, zoals de term suggereert, als wel een cognitieve vaardigheid. Het bestaat uit zeker twee aspecten: je moet je een toon kunnen herinneren en vervolgens een naam geven. Daarnaast moet je voor dat laatste een toon – of hij nou door een piano, viool, stem of fluit wordt voortgebracht – kunnen classificeren als behorende tot eenzelfde categorie en hem vervolgens benoemen.
Het eerste is een wijdverspreide vaardigheid die je eenvoudig kan testen. Stel je een bekend liedje voor, bijvoorbeeld <i>Stayin’ alive</i> van de Beegees, en zing het vervolgens. Grote kans dat de toonhoogte precies overeenkomt met het origineel. Wij mensen kunnen (net als veel andere dieren) heel goed de toonhoogte onthouden van bijvoorbeeld popliedjes of tv-tunes die we goed kennen. Maar een enkele toon horen en vervolgens weten of het een c is of een cis is een bijzondere vaardigheid die bij minder dan 1 op de 10.000 mensen voorkomt.
Er zijn goede reden om absoluut gehoor te zien als het resultaat van een genetisch bepaalde aanleg. Diverse studies laten zien dat bepaalde chromosomen betrokken zijn bij het wel of niet hebben van de vaardigheid (zoals chromosoom 8q24.21). Daarnaast zijn er neurowetenschappelijke studies die anatomische verschillen tussen mensen met en zonder absoluut gehoor laten zien, met name in de temporaalkwab en diverse corticale gebieden.
Niet alleen lijkt absoluut gehoor een genetische component te hebben en dus erfelijk te zijn, het ontwikkelen ervan is hoogstwaarschijnlijk het resultaat van blootstelling aan muziek op jonge leeftijd en intensieve muzikale training. In een land als Japan komt absoluut gehoor veel vaker voor dan elders. Bij Japanse conservatoriumstudenten loopt het percentage soms op tot wel 70 procent. Dat zou verklaard kunnen worden door het feit dat het een land is waar muziek een belangrijke plaats heeft in het onderwijs aan jonge kinderen.
Maar voor zover we weten heeft absoluut gehoor niet zo veel met muzikaliteit te maken heeft. Mensen met absoluut gehoor zijn over het algemeen niet muzikaler dan andere mensen. Sterker nog: de overgrote meerderheid van de westerse professionele musici heeft helemaal geen absoluut gehoor. </p><p>Ivan Pavlov ontdekte al in het begin van de vorige eeuw dat honden een enkele toon konden onthouden en associëren met bijvoorbeeld eten. Ook van wolven, en ratten, is bekend dat zij soortgenoten herkennen aan de absolute toonhoogte van hun roep, en dus onderscheid kunnen maken tussen de ene en de andere toon. En voor spreeuwen en resusapen, is dat niet anders, zo suggereren verschillende studies.
Een veel muzikaler vaardigheid is ‘relatief gehoor’ – het herkennen van een melodie, los van de precieze toonhoogte waarop die klinkt of gezongen wordt. De meeste mensen luisteren niet naar de afzonderlijke tonen en hun trillingsgetal, maar naar de melodie als geheel. Of we <i>Altijd is Kortjakje ziek</i> nou lager of hoger gezongen horen worden, we herkennen het liedje toch wel.
Het horen van verbanden en relaties tussen de tonen, in zowel melodische als harmonische zin, is deel van het plezier van het luisteren naar muziek. Het maakt de vraag of we relatief gehoor met andere diersoorten delen, inclusief honden, een van de centrale vragen in het onderzoek naar de biologische basis van de menselijke muzikaliteit. </p><p><span style="font-size: x-small;">Uit: Honing, H. (2017). Wat is een absoluut gehoor en is het erfelijk? In Rinnooy Kan & de Graaf (eds.), <i>Hoe zwaar is licht? </i> (pp. 74-76). Amsterdam: Uitgeverij Balans.
</span></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-30721457167898024642022-12-01T11:18:00.004+01:002022-12-07T12:11:50.281+01:00Wil je ontdekken hoe het zit met je absoluut en relatief gehoor? [Dutch]<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-XfgdkxCm4s2-_VyCRNiPsahse9Gofxr6gyFlQWg6J2cwcyj12vvkUIy2n08tzs-Wez-7edDJhGUbkyX095UNXWzXHx6jsKgD4Xb7Ucp3SBtUEdtZQCFUx-xgLcMANh84RJckfgSPNwIiK7gmlLb_5vtMNPjPgAZp_buDfVMP7UFDlXI2H1qcX6-7/s2304/atlas.jpeg" style="clear: left; display: block; float: left; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1307" data-original-width="2304" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-XfgdkxCm4s2-_VyCRNiPsahse9Gofxr6gyFlQWg6J2cwcyj12vvkUIy2n08tzs-Wez-7edDJhGUbkyX095UNXWzXHx6jsKgD4Xb7Ucp3SBtUEdtZQCFUx-xgLcMANh84RJckfgSPNwIiK7gmlLb_5vtMNPjPgAZp_buDfVMP7UFDlXI2H1qcX6-7/w400-h227/atlas.jpeg" width="440" /></a>
<p>Kun jij horen welke versie van de intro van <i>Wie de mol?</i> of <i>The Walking Dead</i> de juiste toonhoogte heeft? En lukt het je om van een superkort fragment de titel en artiest van een nummer herkennen? Ontdek hoe het zit met je absoluut en relatief gehoor, je gevoel voor ritme en timing, en je geheugen voor muziek. Je bent waarschijnlijk muzikaler dan je denkt. Speel de mini-games op <a href="https://www.mcg.uva.nl/toontjehoger" target="_blank">ToontjeHoger</a> en leer tegelijkertijd meer over muzikaliteit. </p><p>ToontjeHoger is ontwikkeld door de muziekcognitiegroep van de Universiteit van Amsterdam. Speel de minigames <a href="https://www.mcg.uva.nl/toontjehoger" target="_blank">hier</a>.<br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com2tag:blogger.com,1999:blog-2356665088551695982.post-51066708120602643082022-11-17T10:53:00.009+01:002022-11-17T10:55:54.856+01:00Can you do better than a songbird?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWXmaDpwQwlWV1Dp84glszend8LIXA7hxjhvrdph1Zy9h3ohnTniih8CJ-EwLYTxTfwGh82vQPCu9cWXRMMzXdbpagjluwcnH4GMSj2maMO48wVCJw7gtEAywuEZDIYUUgBSR75R5LNxrQTBZaozII7z7OyiKzj5uYAlbsZ9fNPCl4WPEDEb3YSHA/s356/zebrafinch.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="356" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWXmaDpwQwlWV1Dp84glszend8LIXA7hxjhvrdph1Zy9h3ohnTniih8CJ-EwLYTxTfwGh82vQPCu9cWXRMMzXdbpagjluwcnH4GMSj2maMO48wVCJw7gtEAywuEZDIYUUgBSR75R5LNxrQTBZaozII7z7OyiKzj5uYAlbsZ9fNPCl4WPEDEb3YSHA/w200-h150/zebrafinch.jpg" width="200" /></a></div>You are invited to participate in a scientific experiment that compares
the auditory perceptions of humans & songbirds (zebra finches). You
will be asked to complete an acoustic task that takes ca. 10 minutes. <br /><p></p><p>
Note that –like the zebra finches– you will get <i>no</i> explicit instruction, just some simple feedback on whether your answer is correct (<i>smiley</i>), incorrect (<i>sad face</i>), or not in time (<i>question mark</i>).
After this you will enter the main phase of the experiment in which you
are asked to simply continue responding to the sound sequences as you
did before. Note that, in this final phase, you will only occasionally
receive feedback.
<br /> <br />
Can you do as well, or even better than a songbird? </p><p>The online experiment can be found <a href="https://app.amsterdammusiclab.nl/cat" target="_blank">here</a>.<a href="https://www.mcg.uva.nl/humansvszebrafinches/ "></a><br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-30077141416925469692022-10-23T13:28:00.004+02:002022-10-23T13:28:50.197+02:00Interested in doing a PhD in music cognition?<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3-EohelWL8w3ZAw-dndcGg4M9Ea61zNLDP2d11yWTherXz-_WAj_LMhtiUpSrNwLhhVIwQM1tvciGFIt8cnKVkSHeEtMlI5HCFePypSJZKvo4ndeSsg-cI5uJiCTknkqsJ8VfwQk-v2fXCLkHiYj9LWCBREjYobtuW_JRVKfy7QgDAs5jmYLCjA0/s522/MCG-Teams-Icon.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="522" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3-EohelWL8w3ZAw-dndcGg4M9Ea61zNLDP2d11yWTherXz-_WAj_LMhtiUpSrNwLhhVIwQM1tvciGFIt8cnKVkSHeEtMlI5HCFePypSJZKvo4ndeSsg-cI5uJiCTknkqsJ8VfwQk-v2fXCLkHiYj9LWCBREjYobtuW_JRVKfy7QgDAs5jmYLCjA0/w97-h97/MCG-Teams-Icon.jpg" width="97" /></a></div>
Master students of the UvA (or excellent external candidates) are invited to submit a short proposal to be seleced as candidate for NWO's <a href="https://www.nwo.nl/en/researchprogrammes/phds-humanities" target="_blank">PhD in the Humanities</a> programme. The aim of the <i>PhDs in the Humanities</i> funding instrument is to increase the number of young talented researchers in the humanities, and to facilitate their progression on the academic career ladder. See <a href="https://www.nwo.nl/en/researchprogrammes/phds-humanities" target="_blank">NWO website</a> for more information. </div><div style="text-align: left;"> </div><div style="text-align: left;">At the ILLC there will be a pre-selection procedure based on a short proposal and cv. More information for internal candidates is available <a href="https://www.mcg.uva.nl/vacancies/PhD-H-ILLC.html" target="_blank">here</a>. </div><div style="text-align: left;"> </div><div style="text-align: left;">Deadline for pre-proposals:<b> 2 December 2022.</b></div>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-90461658074069840622022-10-20T15:59:00.004+02:002022-10-23T13:30:36.789+02:00Are we born to be musical?<div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzwiNU9ltexrJ8myeG1BdUMbmW2LpjCw5j-sxSkwQbJ3pI6JfMrOazopHkm32sArs9bBv-qV8_maMOvZTDHaw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>'From the beat we hear while still in our mother’s stomachs [sic], to the
teenage anthems we blare out of speakers, to the songs that make and
break our hearts, music is a fundamental part of being human. But why do
we move to a rhythm, are we actually born to be musical, and how does
music really shape who we are?'<p></p>
<p>This is the <a href="https://www.bbc.com/reel/video/p0d6k19w/can-music-shape-us-in-the-womb-" target="_blank">first episode</a> of <i>The Rhythm of Life</i>, a series from <a href="https://www.bbc.com/reel/video/p0d6k19w/can-music-shape-us-in-the-womb-" target="_blank">BBC Reel</a> exploring the power of music.</p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-51177394276595707292022-10-20T15:53:00.001+02:002022-10-20T15:53:38.506+02:00Waarom kunnen sommige mensen niet dansen? [Dutch]<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JKp0zwwDt5VLSsbasLHTeQ-A6bpG8NNhuUvMcUwL_nZDrEGWv3IzOO5kas41Y9t-sCTLeaTztkKso4ozOh0x6s0XEXvabLNRjHuJqrF59nzYslLOO55BRUN3-k30gjpNvqF6F96joKgrxju5FsuSAmxCjHltS0jB-jGivFv0rSsnSnxTOCIJs7Kn/s972/FB.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="972" height="113" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JKp0zwwDt5VLSsbasLHTeQ-A6bpG8NNhuUvMcUwL_nZDrEGWv3IzOO5kas41Y9t-sCTLeaTztkKso4ozOh0x6s0XEXvabLNRjHuJqrF59nzYslLOO55BRUN3-k30gjpNvqF6F96joKgrxju5FsuSAmxCjHltS0jB-jGivFv0rSsnSnxTOCIJs7Kn/w200-h113/FB.jpg" width="200" /></a></div><p>Het Amsterdam Dance Event is begonnen. Waarom kunnen sommige mensen niet dansen? </p><p>Een gesprek met neurowetenschapper Fleur Bouwer van de Universiteit van Amsterdam. De aflevering is <a href="https://www.npostart.nl/VPWON_1340578" target="_blank">hier</a> te vinden. </p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-28596247790265286972022-08-29T11:56:00.000+02:002022-08-29T11:56:01.634+02:00Wanneer is muziek raar? [Dutch]<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp-rQUjYZrDG-dZZqefXoqU6R8uDkmfKPfiOftoL4u5MaKVhDZaesYPF3OqMTgEO490MDSavXTN57txdOljMl0tytj-agVYn7ngLpQqWqdmpJfnol8Nv8f86spGW6WD-0ruKS5jGRGCkuKLx0EkNG_1dzLZv2xCmXstHaaLRX6YKA-nezvqnY8hon/s640/3kih8pvmkoak-kn-de-nacht-livetegel-def.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKp-rQUjYZrDG-dZZqefXoqU6R8uDkmfKPfiOftoL4u5MaKVhDZaesYPF3OqMTgEO490MDSavXTN57txdOljMl0tytj-agVYn7ngLpQqWqdmpJfnol8Nv8f86spGW6WD-0ruKS5jGRGCkuKLx0EkNG_1dzLZv2xCmXstHaaLRX6YKA-nezvqnY8hon/w200-h200/3kih8pvmkoak-kn-de-nacht-livetegel-def.jpg" width="200" /></a></div>De één houdt van klassiek… de ander van rock. Over smaak valt niet te twisten als het op muziek aankomt. Alhoewel, sommige muziek iets experimenteler is dan de ander.
<br /><p></p><p>Voor wie graag naar unieke klanken luistert is 24 augusutus de ideale dag. Deze dag staat namelijk in het teken van 'Strange Music'. Het idee hierachter? Mensen kennis laten maken met klanken en melodieën die net buiten de gebaande paden treden.
<br /></p><p>Maar wat is nu eigenlijk strange music? Kunnen we bepaalde muziek wel globaal bestempelen als raar? Of schuilt hier toch meer achter?
<br /></p><p>Presentator Benji Heerschop <a href="https://www.nporadio1.nl/fragmenten/de-nacht-van/c1c6bb24-88d5-443b-9fc9-d68470279973/2022-08-26-hoogleraar-muziekcognitie-henkjan-honing-over-rare-muziek" target="_blank">spreekt</a> hierover met hoogleraar muziekcognitie Henkjan Honing.
<br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-87096110030085230312022-08-11T11:53:00.012+02:002022-08-11T11:58:36.633+02:00Is muziek niet grotendeels cultureel bepaald? [Dutch]<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3CSxE8zePPUOrFGo7nzdQVndUrfEp5vZjvq38JHNHwOeiIIx__CuseyfFxxOqAfFGrgBuW1_q83IVvwUo4JY2tFEGMeowYhGU2nTcJbGDqErL06SNRTBYPRdphbvQKlRi-uiOO1BaEMsZva3i78pF9LfQ9EE4rxZ28_ylzvkrwqiJdOKhA6C6Sfo/s763/D5CAE501-FBB2-4E46-A255-1B143F265B6C_1_102_o.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="479" data-original-width="763" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3CSxE8zePPUOrFGo7nzdQVndUrfEp5vZjvq38JHNHwOeiIIx__CuseyfFxxOqAfFGrgBuW1_q83IVvwUo4JY2tFEGMeowYhGU2nTcJbGDqErL06SNRTBYPRdphbvQKlRi-uiOO1BaEMsZva3i78pF9LfQ9EE4rxZ28_ylzvkrwqiJdOKhA6C6Sfo/w320-h202/D5CAE501-FBB2-4E46-A255-1B143F265B6C_1_102_o.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Illustratie: Hanneke Rozemuller</span><br /></td></tr></tbody></table><p>Interview met <a href="https://henkjanhoning.nl/x/henkjan-honing.html" target="_blank">Henkjan Honing</a> in de <a href="https://www.volkskrant.nl/mensen/muziek-is-niet-alleen-een-compositie-de-luisteraar-doet-zeker-de-helft-van-het-werk~b816f225/" target="_blank">Volkskrant</a> door Cécile Koekkoek:<br /></p><div style="text-align: left;"><blockquote>"Voor de onregelmatige reeks over intuïtie, waarvoor V spreekt met
deskundigen uit verschillende vakgebieden, schakelt hoogleraar
muziekwetenschap Henkjan Honing (63) in via zoom vanuit zijn
vakantieadres in Frankrijk. ‘Ik heb niks voorbereid, dus ik antwoord op
intuïtie’, zegt hij lachend. Hij komt meteen <i>to the point</i>. ‘Er
zijn twee vormen van weten. Het ene weten gaat uit van ervaring en het
andere weten van rationele kennis. Oftewel: van impliciete en expliciete
kennis. Als wetenschapper laveer je voortdurend tussen die twee."</blockquote></div><div style="text-align: left;">Zie het volledige interview <a href="https://www.volkskrant.nl/mensen/muziek-is-niet-alleen-een-compositie-de-luisteraar-doet-zeker-de-helft-van-het-werk~b816f225/" target="_blank">hier</a>. <br /></div>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-88790015933510222862022-07-06T12:38:00.016+02:002022-07-16T15:56:45.636+02:00Interested in doing a PhD in Amsterdam?<div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3-EohelWL8w3ZAw-dndcGg4M9Ea61zNLDP2d11yWTherXz-_WAj_LMhtiUpSrNwLhhVIwQM1tvciGFIt8cnKVkSHeEtMlI5HCFePypSJZKvo4ndeSsg-cI5uJiCTknkqsJ8VfwQk-v2fXCLkHiYj9LWCBREjYobtuW_JRVKfy7QgDAs5jmYLCjA0/s522/MCG-Teams-Icon.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="522" data-original-width="522" height="97" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3-EohelWL8w3ZAw-dndcGg4M9Ea61zNLDP2d11yWTherXz-_WAj_LMhtiUpSrNwLhhVIwQM1tvciGFIt8cnKVkSHeEtMlI5HCFePypSJZKvo4ndeSsg-cI5uJiCTknkqsJ8VfwQk-v2fXCLkHiYj9LWCBREjYobtuW_JRVKfy7QgDAs5jmYLCjA0/w97-h97/MCG-Teams-Icon.jpg" width="97" /></a></div>We are seeking a PhD candidate for the project <i>Deep: Interpreting Deep Learning Models for Text and Sound Methods and Applications</i>. This project is funded by an NWO Dutch Research Agenda grant to a
consortium led by Dr. Willem Zuidema of the Institute for Logic,
Language, and Computation (<a href="https://www.illc.uva.nl/" target="_blank">ILLC</a>) at the University of Amsterdam (UvA).</div><div style="text-align: left;"> </div><div style="text-align: left;">This ambitious project aims to develop, apply, and fine-tune techniques to make modern deep learning models for text, speech, and music more transparent. </div><div style="text-align: left;"> </div><div style="text-align: left;">In this PhD position you can combine insights from audio analysis and deep learning to help musicians play what they love. If you are excited about doing this kind of research in an interdisciplinary environment with smart and friendly colleagues and a strong industrial collaboration, then you may want to join us.</div><p style="text-align: left;">All information on how to apply can be found <a href="https://www.mcg.uva.nl/jobs.html" rel="nofollow" target="_blank">here.</a> </p><p style="text-align: left;">Deadline for applications is <span style="color: #ffa400;"><b>21 July 2022</b></span>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPr27GzCwdyRXtW8lZ5d4oWuoF36ZLmfJqWfZfnwiyYUii4caZcjXvNwTHXamVpnjkAAlQWr70c00pg2exXOzvGqnyVOO0lMSrjjXlf_bYzIlKz7EGlQOPwsQPc-I2ViXV8lfwUG-QQrPWejZZHvZQ5GVLLTPqRx8lpdHGx2HR0CBUW1cdLVp4anZ/s2390/lab42.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="216" data-original-width="2390" height="36" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrPr27GzCwdyRXtW8lZ5d4oWuoF36ZLmfJqWfZfnwiyYUii4caZcjXvNwTHXamVpnjkAAlQWr70c00pg2exXOzvGqnyVOO0lMSrjjXlf_bYzIlKz7EGlQOPwsQPc-I2ViXV8lfwUG-QQrPWejZZHvZQ5GVLLTPqRx8lpdHGx2HR0CBUW1cdLVp4anZ/w400-h36/lab42.jpg" width="420" /></a></div><br /><p style="text-align: left;"><br /></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-15314722666000096072022-04-27T20:10:00.014+02:002022-04-30T14:05:12.171+02:00Was Darwin right? (New book, translated in German and Italian)<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZE3gPFpeyxSqcmgPanEQVFDVhjxI9drzezu7aEMmzuMgQn50zTo2hLsoFRjQOiI0yTZLfZjFzSU2nimHyyJ7fRkMMiVlV5dnYFP266sDl-3RixTPkqYm-dV7c9i5sXxut7ZJ6QGL4b5aAz5c_ifr8OI378jdynwLHzlLLZELKPEdMhiHhDgARScUz/s907/covers.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="323" data-original-width="907" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZE3gPFpeyxSqcmgPanEQVFDVhjxI9drzezu7aEMmzuMgQn50zTo2hLsoFRjQOiI0yTZLfZjFzSU2nimHyyJ7fRkMMiVlV5dnYFP266sDl-3RixTPkqYm-dV7c9i5sXxut7ZJ6QGL4b5aAz5c_ifr8OI378jdynwLHzlLLZELKPEdMhiHhDgARScUz/w400-h143/covers.jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Aap slaat maat</i> (<a href="https://iedereenismuzikaal.nl/x/aap-slaat-maat.html" target="_blank">Nieuw Amsterdam</a>), translated as <i>The Evolving Animal Orchestra</i> (<a href="https://mitpress.mit.edu/books/evolving-animal-orchestra" target="_blank">MIT Press</a>), <i>Der Affe schlägt den Takt</i> (<a href="http://www.seemann-henschel.de/Buch/9783894878108-Der-Affe-schlaegt-den-Takt" target="_blank">Henschel Verlag</a>), and <i>Il scimmia batte il tempo (<a href="http://www.carocci.it/index.php?option=com_carocci&task=schedalibro&Itemid=72&isbn=9788843099542" target="_blank">Carocci editore</a>).</i></td></tr></tbody></table><br />Appraisal of <a href="https://mitpress.mit.edu/books/evolving-animal-orchestra" target="_blank">The Evolving Animal Orchestra</a><i> (MIT Press)</i>:<p>"In 1871 Charles Darwin argued : <br />
</p><blockquote class="tr_bq">
<i>The perception, if not the enjoyment, of musical cadences and of rhythm is probably common to all animals.</i></blockquote><p>
Henkjan Honing has tested this eminent reasonable idea, and in his bookhe reports back. He details his disappointment, frustration and downright failure with such wit, humility and a love of the chase that any young person reading it will surely want to run away to become a cognitive scientist." </p><p>–– <span class="author font-sans-serif-xxs--bold"><a href="http://simonings.com/?p=2645" target="_blank">Simon Ings</a> </span>in <a href="https://www.newscientist.com/article/mg24232240-600-most-animals-cant-keep-a-beat-despite-what-darwin-believed/" target="_blank">NewScientist</a>.<br />
<br />
"Honing’s new
book provides a succinct, informal though rigorous overview of what we know of cross-species musicality. [..] Most science happens as a tiresome journey, and what the public sees is only the splendidness of arrival – that's not the case of this book. This is a popular science book, intriguing and entertaining." </p><p>–– Andrea Ravignani in <a href="https://www.henkjanhoning.nl/x/ewExternalFiles/Humans%20and%20other%20musical%20animals.pdf" target="_blank">Current Biology</a>. </p><p>"Originally published in 2018 in the Netherlands, the new English
translation by Sherry MacDonald has been eagerly awaited by students and
scholars who are curious about music’s place beyond the strictly human.
I believe they will not be disappointed, for Honing’s book offers a
number of insights for both the amateur and the scientist in a readable
prose style." </p><p>–– Rachel Mundy in <a href="https://journals.sagepub.com/doi/10.1177/03057356211051775" target="_blank">Psychology of Music</a>.<br />
<br />
<span style="font-size: small;">For more endorsements, see <a href="https://mitpress.mit.edu/books/evolving-animal-orchestra" target="_blank">here</a>.</span><br />
<span style="font-size: small;">For related podcasts, see <a href="https://www.podularity.com/thehedgehogandthefox/2019/04/29/evolving-animal-orchestra/" target="_blank">HedgehogandtheFox</a> and <a href="https://www.bigbiology.org/season-4#episode76" target="_blank">BigBiology</a>.<br />
<span style="font-size: small;">For related documentaries, see </span></span><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><a href="https://www.cbc.ca/natureofthings/episodes/the-musical-animal" target="_blank">CBC</a>,</span></span> <a href="https://www.chrispackham.co.uk/news/the-animal-symphony" target="_blank">Sky Tv</a> and here.</span> </span><br />
<span style="font-size: small;">For links to all the books, see <a href="https://henkjanhoning.nl/x/books.html" target="_blank">here</a>. </span><br />
<span style="font-size: small;"><br /></span>
</p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-33336040072025847262022-04-26T11:54:00.001+02:002022-04-27T20:27:06.127+02:00Do language and music share one precursor?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCmxLUpac4Fjs7TJzxHjc9FQa8nD0D17Gr4PPrs5-ypuyqpO4VyfrlWDH-OOwSeSJz4dhFY3riG4dN2Ya6a8hxr7vgVRbY4d6urnkQG03H93dH7rKRNTo8sWODW-z0sRlfXbw0VywU7Wxsr4rwmZ0fwni0C8E6SA8XL3I3ALGSk-cQeNeiYCzPA5K/s992/mit.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="992" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKCmxLUpac4Fjs7TJzxHjc9FQa8nD0D17Gr4PPrs5-ypuyqpO4VyfrlWDH-OOwSeSJz4dhFY3riG4dN2Ya6a8hxr7vgVRbY4d6urnkQG03H93dH7rKRNTo8sWODW-z0sRlfXbw0VywU7Wxsr4rwmZ0fwni0C8E6SA8XL3I3ALGSk-cQeNeiYCzPA5K/w200-h164/mit.jpg" width="200" /></a></div><p>One way of categorizing the sensitivities of animals to the building blocks of language and music is to group these sensitivities along the frequency/spectral and temporal dimensions of sound. Although speech and music share many acoustic features, music appears to take advantage of a different set of acoustic features than speech. In humans the frequency dimension is central to music/melody perception, while for understanding speech the temporal dimension appears to be most fundamental (Albouy<i> et al</i>., 2020; Shannon<i> et al</i>., 1995). With respect to the frequency dimension of speech, humans attend primarily to the spectral structure (which enables the distinction between
the different vowels and consonants), while for music the attention appears to be less on a spectral quality (<i>e.g.,</i> the sound of a guitar versus that of a flute), but instead on the melodic and rhythmic patterns. As such, it might well be that humans are an exception in that they can interpret the same sound signal in (at least) two distinct ways: as speech or as music (<i>cf.</i> speech-to-song illusion). In other animals such distinction is not observed (as yet). In humans, melody and speech are processed along specific and distinct neural pathways (Albouy <i>et al</i>., 2020; Norman-Haignere <i>et al.</i>, 2022) and it could be that brain networks that support musicality are partly recycled for language (Peretz <i>et al</i>., 2018). This could imply that both language and music share one precursor. In fact, it is one possible route to test the Darwin-inspired conjecture that musicality precedes music and language (Honing, 2021). In a recent preprint (<a href="https://psyarxiv.com/4zxtr" target="_blank">ten Cate & Honing, 2022</a>) we discuss the potential components of such a precursor.<br /><br />
<span style="font-size: x-small;">Albouy, P., Benjamin1, L., Morillon, B., & Zatorre, R. J. (2020). Distinct sensitivity to spectrotemporal modulation supports brain asymmetry for speech and melody. Science, 367(6481), 1043–1047. <a href="https://doi.org/10.1126/science.aaz3468">https://doi.org/10.1126/science.aaz3468</a>.<br /></span></p><p><span style="font-size: x-small;">Honing, H. (2021). Unravelling the origins of musicality: Beyond music as an epiphenomenon of language. Behavioral and Brain Sciences, 44(E78), 66–69. <a href="https://doi.org/10.1017/S0140525X20001211">https://doi.org/10.1017/S0140525X20001211</a>.<br /></span></p><p><span style="font-size: x-small;">Norman-Haignere, S. V., Feather, J., Boebinger, D., Brunner, P., Ritaccio, A., McDermott, J. H., … Kanwisher, N. (2022). A neural population selective for song in human auditory cortex. Current Biology, 1–15. <a href="https://doi.org/10.1016/j.cub.2022.01.069">https://doi.org/10.1016/j.cub.2022.01.069</a>.</span></p><p><span style="font-size: x-small;">Peretz, I., Vuvan, D. T., Armony, J. L., Lagrois, M.-É., & Armony, J. L. (2018). Neural overlap in processing music and speech. In H. Honing (Ed.), The Origins of Musicality (Vol. 370, pp. 205–220). Cambridge, Mass.: The MIT Press. <a href="http://dx.doi.org/10.1098/rstb.2014.0090">http://dx.doi.org/10.1098/rstb.2014.0090</a>.</span></p><p><span style="font-size: x-small;">Shannon, R. V., Zeng, F. G., Kamath, V., Wygonski, J., & Ekelid, M. (1995). Speech recognition with primarily temporal cues. Science, 270(5234), 303–304. <a href="https://doi.org/10.1126/science.270.5234.303">https://doi.org/10.1126/science.270.5234.303</a><span style="font-size: x-small;"> </span></span></p><p><span style="font-size: x-small;"><span style="font-size: x-small;">Ten Cate, C., & Honing, H. (2022). Precursors of music and language in animals. PsyArXiv Preprint. Retrieved from <a href="http://psyarxiv.com/4zxtr">psyarxiv.com/4zxtr</a>.<br /> </span><br /></span></p><p></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0tag:blogger.com,1999:blog-2356665088551695982.post-75312836888446482452022-04-15T13:06:00.015+02:002022-04-22T10:00:06.768+02:00Precursors of music and language?<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEV3iaxx-y_CgtcyCKiA70KONLV8_ONpelNx3TxVxTB62u4WAd8XxpgDSiQ7KI9565WuxDe7aWLDMxlNoFJZnHgw8a16iXQB1teALRqIkhgFyysWFDbhsUq_AEvXVYd0kJK4qqG30IAqj8bEEPrUTSZHycJY7k4Tosnnx6UuZ8_htXZlfKjcvoGw5G/s1500/Figure-29.1-Comparative-Research.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1306" data-original-width="1500" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEV3iaxx-y_CgtcyCKiA70KONLV8_ONpelNx3TxVxTB62u4WAd8XxpgDSiQ7KI9565WuxDe7aWLDMxlNoFJZnHgw8a16iXQB1teALRqIkhgFyysWFDbhsUq_AEvXVYd0kJK4qqG30IAqj8bEEPrUTSZHycJY7k4Tosnnx6UuZ8_htXZlfKjcvoGw5G/w400-h348/Figure-29.1-Comparative-Research.jpg" width="420" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span lang="EN-GB" style="color: black; line-height: 107%;"><span style="font-size: xx-small;">
</span><span style="color: #f3f3f3;"><b>Diagrammatic representation of the comparative approach</b>. It shows a hypothetical phylogenetic tree that illustrates the evolution
of several traits that humans may share with monkeys and birds. Filled shapes
represent a hypothetical trait (such as vocal learning or beat perception);
open shapes indicate the absence of that trait. The position on the
phylogenetic tree dates the possible evolutionary origin of such a trait. N.B. Circle:
homologous trait, present in human and monkeys, originating from a shared
ancestor; Square: an independently evolved trait, similar in humans and birds
by convergence.</span></span></span></td></tr></tbody></table>Language and music are universal human traits, raising the question for their evolutionary origin. In a recent review, co-authored with <a href="https://www.universiteitleiden.nl/en/staffmembers/carel-ten-cate#tab-1" target="_blank">Carel ten Cate</a> (LU), we take a comparative perspective to address that question. <p></p><p>In the chapter (<a href="https://psyarxiv.com/4zxtr" target="_blank">ten Cate & Honing, in press</a>) we examine similarities and differences between humans and non-human animals (mammals and birds) by addressing whether and which constituent cognitive components that underlie the human ability for language and music can be found in non-human animals.
It first provides an introduction to the nature and meaning of vocalizations and non-vocal communicative sounds in non-human animals. Next it reviews experimental and observational evidence of animal perception of various frequency and temporal dimensions of sounds. Many animal species show perceptual and cognitive abilities to distinguish between or to generalize auditory stimuli. This includes evidence of the presence of one or more of the constituent cognitive components on which the human abilities for language and music are based, or that may have served as precursors for these components. At the same time, there are also important differences among animal species in their abilities. Hence contrasts are not limited to those between humans and other animal species. </p><p>We conclude that the differences between humans and other species, as well as those among non-human species, might result from specific biases and the weight or priority certain species give to attending to certain features of an acoustic signal, or because different species use particular mechanisms to different degree. </p><p><span style="font-size: x-small;">ten Cate, C. & Honing.H. (2023, in press). Precursors of music and language in animals. In Sammler, D. (ed.), Oxford <i>Handbook of Language and Music.</i> Oxford: Oxford University Press. doi: <a href="http://psyarxiv.com/4zxtr">psyarxiv.com/4zxtr</a></span></p>Henkjan Honinghttp://www.blogger.com/profile/09492535292861909192noreply@blogger.com0