Showing posts with label web-based research. Show all posts
Showing posts with label web-based research. Show all posts

Wednesday, November 11, 2020

Ben jij de nieuwe webprogrammeur van het spraak- en muzieklab?


Hou je van het ontwerpen en implementeren van interactieve websites voor verschillende platforms (desktop, smartphone, tablet)? Zou je graag in een spannende academische omgeving willen werken? Ben je iemand die goed overzicht kan houden en goed kan samenwerken? De Faculteit der Geesteswetenschappen van de Universiteit van Amsterdam (UvA) heeft per 1 februari een vacature voor een webprogrammeur voor het spraak- en muzieklab. Deadline voor sollicitaties: 15 december 2020.

Voor uitgebreide informatie zie: 20-694-webprogrammeur-spraak-en-muzieklab

Friday, March 06, 2020

Musical IQ?



Several people send me a link to this video in the last week. In it Adam Neely addresses some real issues and, in fact, shows how difficult it is to design an unbiased test that probes musicality - our capacity for music (see [1] for some cross-cultural concerns).

Although I’m not too fond of the title of the test (I'm doubting whether IQ or g research is a good role model for this kind of enterprise)*, it is an important attempt to probe our capacity for music. And despite all the foreseen and unforeseen criticism, I continue to believe this is a project worth working on ánd thinking about.

Recently, an international consortium started to work on relatively unbiased and scalable tests that can reveal individual differences within and across societies. However, this research program is still in its early stages [2,3].

Samuel Mehr, Daniel Müllensiefen and colleagues –who made the test [4])– are also members of the consortium and currently running web-based tests on a large scale. The first progress will be reported at two symposia at the NMVII in Aarhus, DK coming June.

And lastly, this is a research project that, I suspect, will take quite a few years to come to a result: slow science!

[1] https://mp.ucpress.edu/content/37/3/185
[2] https://mcg.uva.nl/musicality2019/
[3] https://mitpress.mit.edu/books/origins-musicality
[4] https://www.themusiclab.org/quizzes/miq

*See, e.g., Maas et al. for a potential way out.

Tuesday, November 25, 2014

What is the most instantly recognisable song?


Everyone knows a hook when they hear one, but scientists don’t know why. By playing the Hooked on Music game you are exploring the science of songs and helping us to unlock what makes music catchy.

Last weekend the preliminary outcome of the online game was announced in Manchester, UK at the MOSI [1], answering the question: What is the most instantly recognisable song? Interestingly, numerous media started to report on this. A small media hype? (see UvA News).



#HookedonMusic is a citizen science experiment involving the Manchester Science festival, produced by the MOSI in association with the University of Amsterdam. The project is a spin-off of a larger consortium (including the University of Utrecht, Sound & Vision and Meertens Institute) that collaborates on developping a web-based environment, so-called ITCH environment (Identification, Tagging and Characterisation of Hooks; See CogItch).

In devising an online game for all to enjoy, we try to harness the wisdom of the crowd to understand and quantify the effect of catchiness on musical memory.

Explore the online game here or download the app here.




ResearchBlogging.orgJ.A. Burgoyne, D. Bountouridis, J. van Balen, & H. Honing (2013). Hooked: A Game for Discovering What Makes Music Catchy. Proceedings of the 14th International Society for Music Information Retrieval Conference, 245-250. Curitiba, Brazil.

[1] See MOSI Press release.

Thursday, October 09, 2014

Can you do better?

When I played the #HookedOnMusic game the other day, I recognized 10 songs (from the nineties) and scored 90 points. Most of you must be able to do better :-)

Play the game here.

Monday, September 08, 2014

Hooked on music: What makes music catchy?

Presentation of hooked-game at the Science Museum in August 2014.

Everyone knows a hook when they hear one, but scientists don’t know why. By playing the Hooked on Music game you are exploring the science of songs and helping us to unlock what makes music catchy.

#HookedonMusic is a citizen science experiment involving the Manchester Science festival, produced by the Museum of Science & Industry in association with the University of Amsterdam. In devising an online game for all to enjoy, we try to harness the wisdom of the crowd to understand and quantify the effect of catchiness on musical memory. Explore the game here.

Presentation of hooked-game at the Science Museum in August 2014.

For more information on #HookedonMusic see the About on www.hookedonmusic.org.uk.
For more online experiments see MCG website.

ResearchBlogging.orgJ.A. Burgoyne, D. Bountouridis, J. van Balen, & H. Honing (2013). Hooked: A Game for Discovering What Makes Music Catchy. Proceedings of the 14th International Society for Music Information Retrieval Conference, 245-250. Curitiba, Brazil.

Friday, December 13, 2013

Waarom blijft dat liedje in je hoofd hangen? [Dutch]

Waaraan herken je dat bekende nummer onmiddellijk? Waarom blijft het ene muziekfragment in je hoofd hangen en het andere niet? Om dat te achterhalen ontwikkelden onderzoekers van de Universiteit van Amsterdam, Universiteit Utrecht en het Nederlands Instituut voor Beeld en Geluid ‘Hooked!’, een game voor de iPhone en andere iOS apparaten met muziek uit de Radio 2 Top 2000 (voor de wetenschap achter Hooked!, zie Burgoyne et al., 2013). De game is vanaf vandaag gratis te downloaden in de iTunes App store voor iedereen met een Spotify Premium Account. 

Voor meer informatie zie de Hooked! website.



‘Hooked!’, een game voor de iPhone en andere iOS apparaten.


ResearchBlogging.orgJ.A. Burgoyne et al. (2013). Hooked: A game for discovering what makes music catchy. Proceedings ISMIR.

Saturday, October 19, 2013

Can't get it out of your head?

Imagine listening to a catchy tune. When do you nod your head and sing along? That's the hook, the most memorable part of the song, crafted by songwriters to stick in your head and exploited by DJs to get people onto the dance floor. Everyone knows a hook when they hear it, but scientists don't know why.

#Hooked was launched this week at Manchester Science Festival and will run until September 2014. During the Festival people can contribute their catchiest songs and stories to build the playlist and scientists will debate the science of what makes music catchy, from hooks, to earworms and hit songs. There will be a silent disco and shows about music with ‘Captain Hooked’ (see website for more details). Nominations for the playlist (which runs across all musical genres) will continue in the run up to the launch of the #Hooked game in early 2014.



#Hooked is an ambitious initiative of Dr Erinma Ochu, funded by a Wellcome Trust Engagement Fellowship. She did an amazing job in bringing lots of people together as well as initiating a series of activities at the Manchester Science Museum around the simple idea of finding out what makes music catchy, an idea with a potential outreach far beyond that of basic music cognition research. The hooked-game will be launched in the Spring of 2014. And, if you can't wait, you can do the Hooked questionaire here or nominate your favorite song here.

Why does this matter? Well, the experiment is all about musical memory and as such might provide insights into long term memory and even failing memory, which could contribute to future Alzheimer's disease research. See video below for further motivation:



Click here to Participate!

Friday, July 26, 2013

Interested in music gaming and software development?

We are looking for a researcher with experience in iOS development who can help us explore the question of 'what makes music catchy?' with an innovative music quiz game. For more information and detailed instructions on how to apply see here. Deadline for applications is 15 August 2013.

ResearchBlogging.orgBurgoyne, J. A., Bountouridis. D., Balen, J. van, & Honing, H. (in press). Hooked: A game for discovering what makes music catchy. Proceedings of ISMIR. Curitiba, Brasil.

Sunday, July 22, 2012

Is replication an issue in music cognition?

This week the 12th International Conference on Music Perception and Cognition (ICMPC) is being held in Thessaloniki, Greece. A week long hunderds of researchers will present their latest work in a dense program with five parallel sessions and four keynotes. Slightly overdone perhaps, but it shows the still growing and international interest in music cognition as a research topic.

On the first day there will be a symposium on 'Replication'. By way of introduction below a blog entry that was originally published in May 2010:

"In the last few years Web-based experiments have become an attractive alternative to lab-based experiments. Next to the advantages of versatility and the ecological validity of the results, Web-based experiments can potentially reach a much larger, more varied and intrinsically motivated participant pool. Especially in the domain of music perception and cognition it is important to probe a wide variety of participants, with different levels of training and cultural backgrounds.

Nevertheless, to get research published that takes advantage of the Internet is not straightforward. An important reason for the conservatism held by some journals in publishing results obtained with Web-based experiments is the issue of replicability. Especially in the fields of experimental psychology and psychophysics there are serious concerns about the (apparent) lack of control one has in Web experiments as opposed to those performed in the laboratory. Where in the lab most relevant factors, including all technical issues, are under control of the experimenter (i.e. have a high internal validity) it is argued that Web experiments lack this important foundation of experimental psychology. As a result of the first issue, it often proves to be problematic to convince University Review Panels to give permission when there is little insight in the environment in which participants tend to do these experiments. As a result of the second issue, some high-impact journals made it a policy decision not to publish Web-based studies, as such discouraging Web experiments to be performed (cf. Honing & Reips, 2008). Nevertheless, it is important to stress that if an effect is found - despite the limited control in Web-based experiments over the home environment and the technological variance caused by the Internet - then the argument for that effect and its generalizability is even stronger.

The latter issue was recently discussed in an issue of Nature Methods by researchers from the Universities of Giessen and Münster, Germany (see reference below and [modified] figure above). In fact, the authors make the opposite argument! They argue that standardization should be seen as a cause of, rather than a cure for, poor reproducibility of experimental outcomes. Their study showed that environmental standardization can contribute to spurious and conflicting findings in the literature. Würbel and colleagues conclude that to generate results that are most likely going to be reproducible in other laboratories, the strategies to standardize environmental conditions in an experiment should be minimized.

As such the variance caused by Web-based setups (as discussed above) might actually amount to experimental results with a much higher external validity than thought before."

ResearchBlogging.orgRichter, S., Garner, J., Auer, C., Kunert, J., & Würbel, H. (2010). Systematic variation improves reproducibility of animal experiments. Nature Methods, 7 (3), 167-168. 10.1038/nmeth0310-167

ResearchBlogging.org Honing, H., & Reips, U.-D. (2008). Web-based versus lab-based studies: a response to Kendall (2008). Empirical Musicology Review, 3 (2), 73-77.

ResearchBlogging.orgSimmons, Joseph P., Nelson, Leif D., & Simonsohn, Uri (2011). False-Positive Psychology: Undisclosed Flexibility in Data Collection and Analysis Allows Presenting Anything as Significant Psychological Science DOI: 10.1177/0956797611417632

Monday, April 23, 2012

Too catchy a tune? (Earworms revisited)

A spontaneously popping up melody?
It’s a well-known phenomenon in the media: once you've contributed to a radio or tv program on a compelling, general interest question, journalists will return to you with the same question over and over again, and, basically, wanting you to redo the same answer.

It happened to me a few years ago when I was asked to contribute to a Dutch TV item on the question why some melodies stick in your mind. My first answer was: we do not know. Simply because if we knew, an ‘earworm’-generating computer program would exist that can generate melodies that are guaranteed to stick in people’s mind for days. In this case I’m sure nobody would mind.

But unfortunately for science, now —five years later— we still do not know what is the nature of this phenomenon.

What we do know —mainly from questionnaire-style research— is that most people suffer from the ‘earworm’ phenomenon (also referred to as brainworm, cognitive itch, or musical imagery repetition), females slightly more than males. And that the tunes that spontaneously pop-up in one’s mind are generally not the most striking compositions. Actually, they are commonly reported as being simply irritating.

Why does this happen? And what does it tells us about our cognition? And why does it happen with music, and significantly less with text or images? What is in the musical structure of that particular fragment that makes it spontaneously pop-up from memory?

We simply do not know.

Vicky Williamson
Luckily some researchers have been successful in convincing their funding agencies that these are interesting and pressing questions. A recent example is Vicky Williamson, who, in collaboration with Lauren Stewart from Goldsmiths, University of London, succeeded in securing a grant to seriously look into this phenomenon. See a recent radio interview below. And if you are interested in contributing to their research: they still look for PhD candidates.



(Alternative link.)

N.B. In Amsterdam we will start investigating earworms as well, in a project named COGITCH* — a collaboration between Utrecht University, University of Amsterdam, Sound & Vision, Radio 5 and Meertens Institute. We will be developing a web-based environment, so-called ITCH environment (Identification, Tagging and Characterization of Hooks) to obtain large amounts of judgments from the lay audience on what makes a fragment of music easy recognizable and/or stick in one’s mind. More on this later this year.

* A cognitive itch refers to an ‘earworm’, a fragment of music that you can’t get out of your head.

ResearchBlogging.orgHoning, H. (2010). Lure(d) into listening: The potential of cognition-based music information retrieval. Empirical Musicology Review, 5(4), 121-126.

Thursday, April 07, 2011

Familiar with popmusic?

This week a short entry to promote a PopQuiz made by MSc student Tom Aizenberg to understand more about music and memory. Feel free to share it with your Facebook friends...

Click here to do the listening test (just 10 questions).

Monday, July 05, 2010

Standardization cause of poor reproducibility?

In the last few years Web-based experiments have become an attractive alternative to lab-based experiments. Next to the advantages of versatility and the ecological validity of the results, Web-based experiments can potentially reach a much larger, more varied and intrinsically motivated participant pool. Especially in the domain of music perception and cognition it is important to probe a wide variety of participants, with different levels of training and cultural backgrounds.

Nevertheless, to get research published that takes advantage of the Internet is not straightforward. An important reason for the conservatism held by some journals in publishing results obtained with Web-based experiments is the issue of replicability. Especially in the fields of experimental psychology and psychophysics there are serious concerns about the (apparent) lack of control one has in Web experiments as opposed to those performed in the laboratory. Where in the lab most relevant factors, including all technical issues, are under control of the experimenter (i.e. have a high internal validity) it is argued that Web experiments lack this important foundation of experimental psychology. As a result of the first issue, it often proves to be problematic to convince University Review Panels to give permission when there is little insight in the environment in which participants tend to do these experiments. As a result of the second issue, some high-impact journals made it a policy decision not to publish Web-based studies, as such discouraging Web experiments to be performed (cf. Honing & Ladinig, 2008; Honing & Reips, 2008). Nevertheless, it is important to stress that if an effect is found - despite the limited control in Web-based experiments over the home environment and the technological variance caused by the Internet - then the argument for that effect and its generalizability is even stronger.

The latter issue was recently discussed in an issue of Nature Methods by researchers from the Universities of Giessen and Münster, Germany (see reference below and [modified] figure above). In fact, the authors make the opposite argument! They argue that standardization should be seen as a cause of, rather than a cure for, poor reproducibility of experimental outcomes. Their study showed that environmental standardization can contribute to spurious and conflicting findings in the literature. Würbel and colleagues conclude that to generate results that are most likely going to be reproducible in other laboratories, the strategies to standardize environmental conditions in an experiment should be minimized.

As such the variance caused by Web-based setups (as discussed above) might actually amount to experimental results with a much higher external validity than thought before.

ResearchBlogging.org Richter, S., Garner, J., Auer, C., Kunert, J., & Würbel, H. (2010). Systematic variation improves reproducibility of animal experiments. Nature Methods, 7 (3), 167-168. 10.1038/nmeth0310-167


ResearchBlogging.org Honing, H., & Reips, U.-D. (2008). Web-based versus lab-based studies: a response to Kendall (2008). Empirical Musicology Review, 3 (2), 73-77.


ResearchBlogging.org Honing, H., & Ladinig, O. (2008). The potential of the Internet for music perception research: A comment on lab-based versus Web-based studies. Empirical Musicology Review, 3 (1), 4-7.

Saturday, October 11, 2008

Can you point at it?

This week an extra entry with a (repeated) poll related to a research project on older and newer internet technologies that support sharing musical taste and exchange of musical listening experiences.

Before explaining more: would you like to do this informal poll?




(If you like, you can use the Comments option below to mention which piece it actually is.)

The project (in preparation) aims not only to analyze and explicate these existing listening communities (e.g. Last.fm, YouTube, Pandora, Spotify) but also to actively experiment with Web 2.0 technologies by designing and constructing virtual listening spaces that will allow participants to share their listening experiences (LISTEN), make other listeners enthusiastic for a certain musical fragment (LURE), and mark a specific location in an actual recording (LOCATE) - a specific point in the music where a particular listener experienced something special or that s/he considers musically striking or intriguing.

The LOCATE-component of the project was inspired by some early work of John Sloboda (Keele University). He found that a large portion of music listeners could locate (in the score or a recording) specific musical passages that reliably evoked, e.g., shivers down the spine, laughter, tears or a lump in the throat (Sloboda, 1991).

ResearchBlogging.orgJ. A. Sloboda (1991). Music Structure and Emotional Response: Some Empirical Findings Psychology of Music, 19 (2), 110-120 DOI: 10.1177/0305735691192002

Wednesday, August 15, 2007

Is it a male or female performer?

This week an interesting new web-based experiment was launched by the International Music Education Research Centre. They address the question: Can listeners determine the gender of the performer on the basis of a recording? Do the experiment by clicking here, and help in finding out ...

Nowadays more and more music cognition researchers are making use of the internet. Next to becoming a serious alternative to some types of lab-based experiments, web-based data collection might even avoid some of the pitfalls of lab-based studies, such as the typical psychology-students-pool biased results, by potentially being able the reach a much larger, more varied and motivated participant pool, as well as having participants doing the experiment in a more natural environment as compared to the lab.

Nevertheless, the real challenge in web-based experiments is how to control for attention. And interestingly, this is not different from experiments performed in the lab. In an online experiment as well, one needs to make sure people are paying attention and actually doing what you instructed them to do. One of the ways we try to resolve that in our online experiments is —next to the standard tricks— to make online experiments as engaging as possible. For instance, by using screencasts, instead of having to read instructions from the screen, and, more importantly, designing a fun and doable experiment that is challenging at the same time. All such that we can assume we attract serious and really interested listeners (see example). With all these aspects improving over time, I am sure that web experiments will become a more and more a reliable source for empirical research in music cognition.