Music and Mental Imagery

318 Pages·2022·4.793 MB·English

by  Mats B. Küssner, Liila Taruffi, Georgia A. Floridou

Music and Mental Imagery
Drawing on perspectives from music psychology, cognitive neuroscience,
philosophy, musicology, clinical psychology, and music education, Music and
Mental Imagery provides a critical overview of cutting-edge research on the
various types of mental imagery associated with music. The four main parts cover
an introduction to the different types of mental imagery associated with music
such as auditory/musical, visual, kinaesthetic, and multimodal mental imagery;
a critical assessment of established and novel ways to measure mental imagery
in various musical contexts; coverage of different states of consciousness, all of
which are relevant for, and often associated with, mental imagery in music, and
a critical overview of applications of mental imagery in health, educational, and
performance settings.
By both critically reviewing up-to-date scientific research and offering new
empirical results, this book provides a unique overview of the different types and
origins of mental imagery in musical contexts, various ways to measure them,
and intriguing insights into related mental phenomena such as mind-wandering
and synaesthesia. This will be of particular interest for scholars and researchers
of music psychology and music education. It will also be useful for practitioners
working with music in applied health and educational contexts.
Mats B. Küssner is Lecturer in the Department of Musicology and Media
Studies at Humboldt-Universität zu Berlin and Visiting Research Fellow in the
Department of Psychology at Goldsmiths, University of London.
Liila Taruffi is Lecturer in Music Psychology at Durham University, UK. She
has an interdisciplinary background in psychology, neuroscience, and aesthetics.
Georgia A. Floridou is a psychologist, researcher, and educator operating at the
intersection of music, psychology, and neuroscience. She is Honorary Research
Fellow in the Department of Music at the University of Sheffield, UK.
SEMPRE Studies in The Psychology of Music
Series Editors
Graham F. Welch
UCL Institute of Education, University College London, UK
Adam Ockelford
University of Roehampton, UK
Ian Cross
University of Cambridge, UK
The theme for the series is the psychology of music, broadly defined. Topics
include (i) musical development at different ages, (ii) exceptional musical
development in the context of special educational needs, (iii) musical cognition
and context, (iv) culture, mind and music, (v) micro to macro perspectives on the
impact of music on the individual (from neurological studies through to social
psychology), (vi) the development of advanced performance skills, and (vii)
affective perspectives on musical learning. The series presents the implications
of research findings for a wide readership, including user-groups (music teachers,
policy makers, and parents) as well as the international academic and research
communities. This expansive embrace, in terms of both subject matter and
intended audience (drawing on basic and applied research from across the globe),
is the distinguishing feature of the series, and it serves SEMPRE’s distinctive
mission, which is to promote and ensure coherent and symbiotic links between
education, music and psychology research.
The Artist and Academia
Edited by Helen Phelan and Graham F. Welch
Expanding Professionalism in Music and Higher Music Education
A Changing Game
Edited by Helena Gaunt and Heidi Westerlund
Indian Classical Music and the Gramophone, 1900–1930
Vikram Sampath
Body and Force in Music
Metaphoric Constructions in Music Psychology
Youn Kim
Music and Mental Imagery
Edited by Mats B. Küssner, Liila Taruffi and Georgia A. Floridou
For more information about this series, please visit: www.routledge.com/music/
series/SEMPRE
Music and Mental Imagery
Edited by Mats B. Küssner,
Liila Taruffi and Georgia A. Floridou
Cover image: © Getty images
First published 2023
by Routledge
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© 2023 selection and editorial matter, Mats B. Küssner, Liila Taruffi, Georgia
A. Floridou; individual chapters, the contributors
The right of Mats B. Küssner, Liila Taruffi, Georgia A. Floridou to be
identified as the authors of the editorial material, and of the authors for their
individual chapters, has been asserted in accordance with sections 77 and 78
of the Copyright, Designs and Patents Act 1988.
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Derivatives 4.0 license.
This work was generously supported by the Chair of Transcultural Musicology
and Historical Anthropology of Music in the Department of Musicology and
Media Studies at Humboldt-Universität zu Berlin.
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registered trademarks, and are used only for identification and explanation
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British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
ISBN: 978-0-367-35216-5 (hbk)
ISBN: 978-1-032-37607-3 (pbk)
ISBN: 978-0-429-33007-0 (ebk)
DOI: 10.4324/9780429330070
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Access the Support Material: www.routledge.com/9780367352165
Contents
List of Figures, Tables and eResources viii
List of Contributors x
Acknowledgements xvii
Foreword xviii
Preface xxi
Introduction and Overview 1
MATS B. KÜSSNER, LIILA TARUFFI, AND GEORGIA A. FLORIDOU
PART I
Modalities of Mental Imagery 19
1 The Chronicles of Musical Imagery as It Occurs Before,
During, and After Music 21
GEORGIA A. FLORIDOU
2 Visual Mental Imagery, Music, and Emotion: From
Academic Discourse to Clinical Applications 32
LIILA TARUFFI AND MATS B. KÜSSNER
3 Intermittent Motor Control in Volitional Musical Imagery 42
ROLF INGE GODØY
4 Kinaesthetic Musical Imagery Underlying Music Cognition 54
JIN HYUN KIM
5 Music and Multimodal Mental Imagery 64
BENCE NANAY
vi Contents
PART II
Measurement 75
6 Music-Evoked Imagery and Imagery for Music:
Subjective and Behavioural Measures 77
REBECCA W. GELDING, ROBINA A. DAY, AND
WILLIAM FORDE THOMPSON
7 Self-Report Measures in the Study of Musical Imagery 88
TIMOTHY L. HUBBARD
8 Neuroscience Measures of Music and Mental Imagery 101
AMY M. BELFI
9 Deep Neural Networks and Auditory Imagery 112
ANDRÉ OFNER AND SEBASTIAN STOBER
10 Musical Imagery From a Cross-Cultural Methodological
Perspective 123
GEORGE ATHANASOPOULOS
PART III
Mental Imagery and Related States of Consciousness 135
11 Mental Imagery in Music-Evoked Autobiographical
Memories 137
KELLY JAKUBOWSKI
12 What Is Mind-Wandering? 147
MAHIKO KONISHI
13 Distraction or Panic? 156
ANTHONY GRITTEN
14 Musical Daydreaming and Kinds of Consciousness 167
RUTH HERBERT
15 Sound-Colour Synaesthesia and Music-Induced Visual
Mental Imagery: Two Sides of the Same Coin? 178
MATS B. KÜSSNER AND KONSTANTINA ORLANDATOU
Contents vii
16 Music-Evoked Imagery in an Absorbed State of Mind:
A Bayesian Network Approach 189
THIJS VROEGH
17 Recumbent Journeys Into Sound—Music, Imagery,
and Altering States of Consciousness 199
JÖRG FACHNER
PART IV
Applied Mental Imagery 209
18 Imagery and Movement in Music-Based Rehabilitation
and Music Pedagogy 211
REBECCA S. SCHAEFER
19 Applied Mental Imagery and Music Performance Anxiety 221
KATHERINE K. FINCH AND JONATHAN M. OAKMAN
20 In Search of a Story: Guided Imagery and Music Therapy 231
HELENA DUKIĆ
21 The Image Behind the Sound: Visual Imagery in Music
Performance 241
GRAZIANA PRESICCE
22 Multimodal Perception in Selected Visually Impaired
Pianists: Towards a Conceptual Framework 255
ANRI HERBST AND SILVIA VAN ZYL
23 “Don’t Sing It With the Face of a Dead Fish!”
Can Verbalized Imagery Stimulate a Vocal
Response in Choral Rehearsals? 268
MARY T. BLACK
PART V
Outlook 279
24 Future Perspectives and Challenges 281
TUOMAS EEROLA
Index 289
List of Figures, Tables and eResources
Figures
8.1 Measurement techniques discussed in this chapter are depicted
in terms of their spatial and temporal resolution. Scalp EEG,
scalp electroencephalogram; MEG, magnetoencephalogram;
iEEG, intracranial electroencephalogram; fMRI, functional
magnetic resonance imaging. Each box indicates the spatial/
temporal resolution for each method. These boxes reflect a range
of possible values, which can vary on the basis of particular
equipment or methods used. 104
9.1 Comparison of dense, convolutional, and recurrent layers in deep
neural networks. 117
16.1 Bayesian network model of music absorption. 192
20.1 A distribution of passive and active imagery types in all pieces of
the “Nurturing” programme. 237
21.1 Adaptation of selected aspects from Taruffi and Küssner’s (2019)
framework of music listeners’ visual imagery (lower section) to
music performers (upper section). 245
21.2 Bars 32–34 from La Nuit . . . L’Amour, Rachmaninov. 248
21.3 Position of the hands at bar 31 of Poulenc’s Caprice Italien,
third movement of Napoli suite. 251
22.1 A framework of multimodal processing in visually impaired
musicians such as pianists. 262
23.1 A bar graph to show percentages of vocal effects of verbalized
imagery across directors. 275
Tables
1.1 Conceptual framework about the occurrence of the various forms of
musical imagery (MI) at three temporal points in relation to music
(composition, playing, and listening) before, during, and after. Each
MI form is presented in each temporal point in relation to music along
with what features define it, who experiences it, and why it happens. 23
List of Figures, Tables and eResources ix
7.1 Questionnaires that focus on musical imagery. 89
21.1 Summary of selected literature exploring imagery in relation to
music performance. 243
21.2 Details of the music pieces used as auditory stimuli for the study,
selected from Rachmaninov’s Fantaisie-Tableaux, Op. 5, for two
pianos. 247
23.1 Verbalized imagery examples with director, mode, and vocal effect. 273
eResources
The eResources can be accessed at www.routledge.com/9780367352165.
Tables
19.1 Study Details.
19.2 Imagery Intervention Information.
23.2 Frequency counts and percentages of modes in verbalized
imagery across directors.
23.3 Number of vocal effects of Rob and Pete’s single-mode
verbalized imagery.
23.4 Occurrences of vocal effects of verbalized imagery across
directors including totals and percentages.
Chapter
21 Pâques’ accompanying epigraph (translation by Boosey & Hawkes).