Music can act as a mnemonic device that can elicit multiple memories. How musical and non-musical information integrate into complex cross-modal memory representations has however rarely been investigated. Here, we studied the ability of human subjects to associate visual objects with melodies. Musical laypersons and professional musicians performed an associative inference task that tested the ability to form and memorize paired associations between objects and melodies and to integrate these pairs into more complex representations where melodies are (...) linked with two objects across trials. We further investigated whether and how musical expertise modulates these two processes. We analyzed accuracy and reaction times of direct and indirect trials in both groups. We reasoned that the musical and cross-modal memory demands of musicianship might modulate performance in the task and might thus reveal mechanisms that underlie the association and integration of visual information with musical information. Although musicians showed a higher overall memory accuracy, non-musicians’ accuracy was well above chance level in both trial types, thus indicating a significant ability to associate and integrate musical with visual information even in musically untrained subjects. However, non-musicians showed shorter RTs in indirect compared to direct trials, whereas the reverse pattern was found in musicians. Moreover, accuracy of direct and indirect trials correlated significantly in musicians but not in non-musicians. Consistent with previous accounts of visual associative memory, we interpret these findings as suggestive of at least two complimentary mechanisms that contribute to visual-melodic memory integration. A default mechanism that mainly operates at encoding of complex visual-melodic associations and that works with surprising efficacy even in musically untrained subjects. A retrieval-based mechanism that critically depends on an expert ability to maintain and discriminate visual-melodic associations across extended memory delays. Future studies may investigate how these mechanisms contribute to the everyday experience of music-evoked memories. (shrink)

Background. Attending to goal-relevant information can leave us metaphorically ‘blind’ or ‘deaf’ to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with (...) class='Hi'>expertise and objects types in the auditory modality. Methods. Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results. The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importanly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion. The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances. (shrink)

Fractal structure is a ubiquitous property found in nature and biology, and has been observed in processes at different levels of organization, including rhythmic behavior and musical structure. A temporal process is characterized as fractal when serial long-term correlations and statistical self-similarity (scaling) are present. Previous studies of sensorimotor synchronization using isochronous (non-fractal) stimuli show that participants' errors exhibit persistent structure (positive long-term correlations), while their inter-tap intervals (ITIs) exhibit anti-persistent structure (negative long-term correlations). Auditory-motor synchronization has not been (...) investigated with anti-persistent stimuli. In the current study, we systematically investigated whether the fractal structure of auditory rhythms was reflected in the responses of participants who were asked to coordinate their taps with each event. We asked musicians and non-musicians to tap with 12 different rhythms that ranged from anti-persistent to persistent. The scaling exponents of the ITIs were strongly correlated with the scaling exponents of the stimuli, showing that the long-term structure of the participants' taps scaled with the long-term structure of the stimuli. Surprisingly, the performance of the musicians was not significantly better than that of the non-musicians. Our results imply that humans are able to readily adapt (rather than simply react) to the overall statistical structure of temporally fluctuating stimuli, regardless of musical skill. (shrink)

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and (...) interactionist accounts of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

In this paper, we advance the thesis that music-making can be advantageously understood as an exploratory phenomenon. While music-making is certainly about aesthetic expression, from a phenomenological, cognitive, and even evolutionary perspective, it more importantly concerns structured explorations of the world around us, our minds, and our bodies. Our thesis is based on an enactive and phenomenological analysis of three cases: the first concerns the study of infants involved in early musical activities, and the two latter are phenomenologically inspired (...) interviews with an expert jazz improviser, and members of a prominent string quartet. Across these examples, we find that music-making involves a dual intentionality - one oriented towards the exploration of the sonic, material, and social environment, and one oriented toward the self, including the exploration of bodily awareness and reflective mental states. In enactivist terms, exploration is a fundamental way of making sense of oneself as coupled with the world. Understanding music-making as a pre-eminent case of exploration helps us explicate and appreciate the developmental, sensorimotor, and more advanced cognitive resources that exist in music-making activities. (shrink)

Education in the twenty-first century witnessed a profound shift in emphasis from the teacher to the learner, or from pedagogical inputs to learner outcomes. According to neoliberal logic, the teacher is the primary value-add in a relationship that is best characterized as cause (instruction) and effect (learner outcome). As a result, the problem of teacher quality has emerged as the central question of our day. What is effective teaching? What does teacher quality look like? Traditional music educators will posit that (...) excellence in norm-governed forms is the most reliable measure of teacher quality. This essay makes a case for a richer and more varied conception, embracing diversity and openness as defining ideals. (shrink)

I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral re­sponsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature-brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in (...) vocal perfor­mance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Randall Allsup, “Music Teacher Quality and Expertise”Bennett ReimerI am delighted to have this opportunity to reflect on Randall Allsup’s excellent, incisive, and wise paper. The issues he raises reach to the core of who we have been, where we are now, and how we must adapt ourselves to new challenges that deeply question both our ideals and our practices.Allsup’s opening questions relate directly to the most (...) pressing matters our profession is now facing—questions philosophical in essence. What kind of music teachers do our students deserve? What is the purpose of public education? And how do we get beyond our continuing and understandable desire for better-trained music teachers to ask the more pertinent question of what constitutes effective music teaching and learning in what the musical world is swiftly becoming. He has the courage to address this level of complexity seriously, and to make significant progress toward clarification. That deserves my respect and, I am quite sure, the respect of all of us.Allsup approaches his central premise on the significant changes needed in our professional identity by reminding us that we have “a long and distinguished [End Page 108] commitment to teaching and teachers.” That commitment, however, is based on the established assumption that music education is founded on excellence of performance as its ultimate goal and its greatest value. To achieve this musical end, he points out, requires mastery, attained through prolonged, careful apprenticeship. This “long running pedagogy of mastery and excellence appears closed to, or at least hostile to, innovation and popular input.”In addition, he argues, this belief system embroils all of us, teachers and their students, in the dichotomy of, on the one hand, replication of existing excellence as our goal, and, on the other, the need for emancipation from what was and what is, toward what might be; the need, that is, for transformation. The past, he recognizes, cannot simply be ignored: it is too precious for that. The future, however, also cannot be excluded. Within this antinomy we must find our way, honoring the past while not allowing it to constrict our future.At this point in his exposition Allsup approaches the proposition he is harboring, a proposition I want to explore for its potential in both clarity and complication. The basis of his key proposal is our need for teachers who are able “to think openly and less certainly about the design and implementation of musical instruction. Our pluralistic society,” he continues, “makes it imperative that we multiply the methods employed in the pursuit and construction of knowledge.”To accomplish this, Allsup presents a foundational dichotomy. There are “open forms of music” relating to “new and evolving ways of aesthetic participation that break with our traditional processes and our established codes and standards.” Contrasting with open forms are “closed forms,” representing the authoritative, the certain, and the canonic. “Closed forms,” he says, “represent culturally-structured and norm-driven literacies, where valuations of goodness pre-exist any aesthetic encounters.” Closed forms, he argues, are based on culturally agreed-upon modes of participation that are rigid in nature, such as in the prescribed and proscribed sequence of musical events proceeding inexorably in the order of composer-conductor-performer-audience.Such past (and present) rigidities, he points out, have become increasingly irrelevant. In every dimension of our lives significant and fast-occurring changes have become dominant, even expected, leaving us, as citizens and as educators, in confusion and uncertainty, and therefore in distress. We encounter aesthetic forms that are open-sourced and de-authored, unconnected to shared standards of practice. Technologies of music making and taking, he points out, have overthrown tradition to a startling degree, erasing distinctions among expert and amateur, between master and apprentice, between process and product, specialist and generalist, the classical and the vernacular.All this, and much more, is argued cogently and, I think, persuasively. It leads us to a central conception influencing how we must act as professionals. Our [End Page 109] obligation is to not only incorporate openness of musical engagements into our present culture of musical “closedness,” but to recognize the advent of openness as being a... (shrink)

Music expertise is known to be beneficial for cognitive function and development. In this study, we conducted 1-year music training for school children in China. The children were assigned to music or second-language after-class training groups. A passive control group was included. We aimed to investigate whether music training could facilitate working memory development compared to second-language training and no training. Before and after the training, auditory WM was measured via a digit span task, together with the vocabulary and (...) block tests of the Wechsler Intelligence Scale for Child IV. The results of the DS task revealed superior development in the music group compared to the other groups. However, further analysis of DS forward and backward tasks indicated that the performance of the three training/non-training groups only differed significantly in DS backward scores, but not in the DS forward scores. We conclude that music training may benefit the central executive system of WM, as reflected by the DS backward task. (shrink)

Western music is characterized primarily by simple meters, but a number of other musical cultures, including Turkish, have both simple and complex meters. In Experiment 1, Turkish and American adults with and without musical training were asked to detect metrical changes in Turkish music with simple and complex meter. Musicians performed significantly better than nonmusicians, and performance was significantly better on simple meter than on complex meter, but Turkish listeners performed no differently than American listeners. In Experiment 2, (...) members of Turkish classical and folk music clubs who were tested on the same materials exhibited comparable sensitivity to simple and complex meters, unlike the American and Turkish listeners in Experiment 1. Together, the findings reveal important effects of musical training and culture on meter perception: trained musicians are generally more sensitive than nonmusicians, regardless of metrical complexity, but sensitivity to complex meter requires sufficient exposure to musical genres featuring such meters. (shrink)

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature (...) of our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition (...) research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. (shrink)

This book presents a detailed analysis of what it means to be absorbed in playing music. Based on interviews with one of the world’s leading classical ensembles, “The Danish String Quartet”, it debunks the myth that experts cannot reflect while performing, but also shows that intense absorption is not something that can be achieved through will, intention, prediction or planning – it remains something individuals have to be receptive to. Based in the phenomenological tradition of Husserl and Merleau-Ponty as well (...) as of Dan Zahavi and Shaun Gallagher, it lays out the conditions and essential structures of musical absorption. Employing the lived experience of the DSQ members, it also engages and challenges core ideas in phenomenology, philosophy of mind, enactivism, expertise studies, musical psychology, flow theory, aesthetics, dream and sleep studies, psychopathology and social ontology, and proposes a method that integrates phenomenology and cognitive science. (shrink)

This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually (...) narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans’ (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor’s (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally. (shrink)

Context: The past few years have presented us with a growing amount of theoretical research (yet that is often based on neuroscientific developments) in the field of enactive music cognition. Problem: Current cognitivist and embodied approaches to music cognition suffer, in our opinion, from a too firm commitment to the explanatory role of mental representations in musical experience. This particular problem can be solved by adopting an enactive approach to music cognition. Method: We present and compare cognitivist, embodied and (...) enactive approaches to music cognition and review the current research in enactive music cognition. Results: We find that, in general, the enactive approaches to human musicality are capable of explaining the basic relationship between a musical subject and a musical object according to a pre-conceptual and pre-linguistic form of understanding related to bodily motor expertise. This explanation does not rely on on sophisticated forms of representation. Implications: Proponents of enactive music cognition should, in our opinion, focus on providing a consistent explanation of the most basic level of musical understanding. Constructivist content: We hope to invite the constructivist community to engage with the discussions on the intersection between music and enactivism. (shrink)

The theory of Participatory Discrepancies (or PDs) claims that minute temporal asynchronies (microtiming) in music performance are crucial for prompting bodily entrainment in listeners, which is a fundamental effect of the “groove” experience. Previous research has failed to find evidence to support this theory. The present study tested the influence of varying PD magnitudes on the beat-related body movement behavior of music listeners. 160 participants (79 music experts, 81 non-experts) listened to twelve music clips in either Funk or Swing style. (...) These stimuli were based on two audio recordings (one in each style) of expert drum and bass duo performances. In one series of six clips, the PDs were downscaled from their originally performed magnitude to complete quantization in steps of 20%. In another series of six clips, the PDs were upscaled from their original magnitude to double magnitude in steps of 20%. The intensity of the listeners’ beat-related head movement was measured using video-based motion capture technology and Fourier analysis. A mixed-design four-factor ANOVA showed that the PD manipulations had a significant effect on the expert listeners’ entrainment behavior. The experts moved more when listening to stimuli with PDs that were downscaled by 60% compared to completely quantized stimuli. This finding offers partial support for PD theory: PDs of a certain magnitude do augment entrainment in listeners. But the effect was found to be small to moderately sized, and it affected music expert listeners only. (shrink)

In a society where mobility, globalization and contact with people from other cultures have become its basic descriptors, the enhancement of plurilingualism and intercultural understanding seem to be of the utmost concern. From a Positive Psychology Perspective, agency is the human capacity to affect other people positively or negatively through their actions. This agentic vision can be related to mediation, a concept rooted in the socio-cultural learning theory where social interaction is considered a fundamental cornerstone in the development of cognition. (...) Social interactions in the language learning setting may be facilitated through musical activities due to its social bonding effect. This paper tries to offer insights on how a musical-mediated experience in language learning may develop students’ interpersonal and collaborative competences to become active members of a more inclusive society. Mediation, considered as a paradigm shift in the foreign language classroom and the different out-of-class language learning possibilities, could also provide an environment where learners maximize their emotional intelligence. Our paper focuses on this paradigm shift spearheaded by the CEFR Companion Volume and the considerable repercussions it is bound to have for foreign language didactics, as cooperative tasks become central to foreign language learning. We hypothesize that mediated language learning experiences imply a socioemotional change in learners, focusing on the others, on their needs and interests, by trying to help them understand texts, concepts or facilitating communication with their peers. An intervention with a musical-mediated language learning experience was designed and implemented in the classroom. A self assessment scale with mediation descriptors and the socioemotional expertise scale (SEE) were administered. Results show that students become more mindful of their strengths, of their capacity for collaborating and team working. This leads to more awareness of their mediation skills. Students’ mediation skills correlate significantly with their socio-emotional skills, more concretely with their expressivity. The implementation of a musical-mediated experience also promoted tolerance and enhanced learners’ intrinsic motivation for language learning at the same time as they acknowledged their diversity. (shrink)

Despite major advances in research on musical ability in infants, relatively little attention has been paid to individual differences in general musicality in infants. A fundamental problem has been the lack of a clear definition of what constitutes “general musicality” or “musical ability” in infants and toddlers, resulting in a wide range of test procedures that rely on different models of musicality. However, musicality can be seen as a social construct that can take on different meanings across cultures, (...) sub-groups, and individuals, and may be subject to change over time. Therefore, one way to get a clearer picture of infant musicality is to assess conceptions of musicality in the general population. Using this approach, we surveyed 174 German adults, asking about their view and conceptions regarding behaviors that characterize a musical child under 3 years. Based on previous studies on adult and child musicality, we designed a survey containing 41 statements describing musical behaviors in children. Participants were asked to rate how indicative these behaviors were of musicality in infants and toddlers. PCA analysis revealed 4 components of musical abilities and behaviors in under-3-year-olds: Musical Communication, Enthusiasm and Motivation, Adaptive Expressiveness, and Musical Abilities as traditionally defined. Professional background and musical expertise of the respondents did not significantly influence participants’ conceptions. Our results suggest that, in order to capture musicality in young children, a wider range of skills and observable behaviors should be taken into account than those assessed by traditional musical ability tests for young children. (shrink)

This study sought to understand the effects of tone language repertoire and musical experience on nonnative lexical tone perception and production. Thirty-one participants completed a tone discrimination task, an imitation task, and a musical abilities task. Results showed that a larger tone language repertoire and musical experience both enhanced tone discrimination performance. However, the effects were not additive, as musical experience was associated with tone discrimination performance for single-tone language speakers, but such association was not seen (...) for dual-tone language speakers. Furthermore, among single-tone language speakers, but not among dual-tone language speakers, musical experience and musical aptitude positively correlated with tone discrimination accuracy. It is thus concluded that individuals with varying extents of tone language experience may adopt different strategies when performing tone discrimination tasks; single-tone language speakers may draw on their musical expertise while dual-tone language speakers may rely on their extensive tone language experience instead. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Communities of Musical Practice by Ailbhe KennyFrank HeuserAilbhe Kenny Communities of Musical Practice ( New York: Routledge, 2016)When struggling in the confines of a practice room to overcome a technical difficulty on an instrument or explore different ways to shape a phrase, music learning can be a solitary and seemingly lonely enterprise. In such settings it is easy to assume that personal effort is the primary (...) contributor to an individual's musical expertise. Cognitive scientists steven sloman and Philip Fernbach1 argue against this view of human learning and suggest that much of what we know and accomplish results from working and living with others in a rich community of socially generated knowledge rather than by relying only on own efforts. This implies that the ability to develop sophisticated understandings in a discipline depends more on working collectively with others with whom we can share the labors of our cognitive efforts than on individual processes. This lends credence to the concept of learning in "communities of practice" that emerged during the 1990s.2Researchers have embraced this concept in music education and investigated the learning and relationships that develop in musical communities. June Countryman3 and N. Whitaker4 both examined how such communities impact learners in school-based music instructional settings. Deborah V. Blair developed [End Page 214] a professional development program for novice music educators that evolved into a community of practice.5 such communities offer members a place for identity formation and facilitate the acquisition of new knowledge in the discipline that is refined through active participation in meaningful learning experiences. In her book, Communities of Musical Practice, Ailbhe Kenny examines three music learning communities based in Limerick, Ireland and develops a model for community of practice that is specific to musical settings. This model can inform researchers investigating the fields of music education and community music. although it was not designed as a study in music education philosophy, the book is an example of excellent philosophical practices. as Wayne Bowman and ana Lucia Frega have suggested, if philosophy seeks to make "action more intelligent, more informed, more congruent with responsibly held beliefs,"6 Communities of Musical Practice offers a case study of the kind of reflective thinking that is central to philosophical practice. It is an example of how applying a reflective process to research data might provide the profession with both practical and philosophical insights.The book consists of seven chapters which are divided into three major sections. Part I, a Place for Communities of Musical Practice, defines communities of musical practice and describes the methodologies employed in the study. Part II, Illustrations of Communities of Musical Practices, offers case studies of three communities of musical practice that provide readers with examples of how the paradigm can be applied to investigate contrasting settings. Part III, Insights from Communities of Musical Practice, which summarizes the communities of musical practice framework, presents a model of how collective knowledge through common experiences contributes to senses of belonging, identity, and meaning-making and offers suggestions for nurturing these communities and developing policies that might contribute to increasing group music-making opportunities in communities. Following a review of these chapters, examples are given of how philosophical insights might be derived from this type of research.The central research question informing the work presented in the book is: How are communities of musical practice developed and sustained in practice?"7 This fundamental issue is refined through a series of sub-questions relating to the actual practices taking place within these communities of musical practices, the variety of relationships, actions, behaviors and experiences that are present within them, and the ways musical identities are created within and informed through participation in them. In Part I, Kenny develops a theoretical framework for examining communities of music practice by drawing from philosophy of practice, socio-cultural studies, and research in both education and music education which is based primarily on the writings of Bourdieu, Blacking, and Wenger. In particular, she employs etienne Wenger's framework of mutual engagement, [End Page 215] joint enterprise, and shared repertoire (or practices)8 as a scaffold to analyze and interpret "'situated' and collaborative musical... (shrink)

Studies involving direct language imitation tasks have shown that pronunciation ability is related to musical competence and working memory capacities. However, this type of task may measure individual differences in many different linguistic dimensions, other than just phonetic ones. The present study uses an indirect imitation task by asking participants to a fake a foreign accent in order to specifically target individual differences in phonetic abilities. Its aim is to investigate whether musical expertise and working memory capacities (...) relate to phonological awareness (i.e., participants’ implicit knowledge about the phonological system of the target language and its structural properties at the segmental, suprasegmental and phonotactic levels) as measured on this task. To this end, French native listeners (N = 36) graded how well German native imitators (N = 25) faked a French accent while speaking in German. The imitators also performed a musicality test, a self-assessment of their singing abilities and working memory tasks. The results indicate that the ability to fake a French accent correlates with singing ability and musical perceptual abilities, but not with working memory capacities. This suggests that heightened musical abilities may lead to an increased phonological awareness probably by providing participants with highly efficient memorization strategies and highly accurate long-term phonetic representations of foreign sounds. Comparison with data of previous studies shows that working memory could be implicated in the pronunciation learning process which direct imitation tasks target, whereas musical expertise influences both storing of knowledge and later retrieval here assessed via an indirect imitation task. (shrink)

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For (...) Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of (...) various authors (for example, Crowder, 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)

Melody prediction is an important aspect of music listening. The success of prediction, i.e., whether the next note played in a song is the same as the one predicted by the listener, depends on various factors. In the paper, we present two studies, where we assess how music familiarity and music expertise influence melody prediction in human listeners, and, expressed in appropriate data/algorithmic ways, computational models. To gather data on human listeners, we designed a melody prediction user study, where (...) familiarity was controlled by two different music collections, while expertise was assessed by adapting the Music Sophistication Index instrument to Slovenian language. In the second study, we evaluated the melody prediction accuracy of computational melody prediction models. We evaluated two models, the SymCHM and the Implication-Realization model, which differ substantially in how they approach melody prediction. Our results show that both music familiarity and expertise affect the prediction accuracy of human listeners, as well as of computational models. (shrink)

This paper proposes that intuitive technologies play a vital role in cognition and cultural reception. The case of music is considered in particular. The perceived temporality of contemporary technology is shown to be an artificial barrier to the acknowledgement of longer-term dynamics. The increased role of explanatory metaphors from technology is traced across various fields of study. Processes of sense-making—conscious or otherwise—are seen as an informal, unreflected repertory of mechanisms ranging from predictive models to instrumental metaphors. It is suggested that (...) these derive by assimilation and induction from the technological milieu within which the subject develops and operates. The acquisition of these models and metaphors is itself an imaginative process, based on experience ranging from partial expertise to fantastical extrapolation. (shrink)

Musical prodigies reach exceptionally high levels of achievement before adolescence. Despite longstanding interest and fascination in musical prodigies, little is known about their psychological profile. Here we assess to what extent practice, intelligence, and personality make musical prodigies a distinct category of musician. Nineteen former or current musical prodigies were compared to 35 musicians with either an early or late start but similar amount of musical training, and 16 non-musicians. All completed a Wechsler IQ test, (...) the Big Five Inventory, the Autism Spectrum Quotient, the Barcelona Music Reward Questionnaire, the Dispositional Flow Scale, and a detailed history of their lifetime music practice. None of the psychological traits distinguished musical prodigies from control musicians or non-musicians except their propensity to report flow during practice. The other aspects that differentiated musical prodigies from their peers were the intensity of their practice before adolescence, and the source of their motivation when they began to play. Thus practice, by itself, does not make a prodigy. The results are compatible with multifactorial models of expertise, with prodigies lying at the high end of the continuum. In summary, prodigies are expected to present brain predispositions facilitating their success in learning an instrument, which could be amplified by their early and intense practice happening at a moment when brain plasticity is heightened. (shrink)

The main focus of the paper is the role of listeners’ emotion-relevant characteristics and musical expertise in the granularity of affective responses to music. Another objective of the study is to test the consistency of the granularity of affect that is perceived in music and/or experienced in response to it. In Experiment 1, 91 musicians and nonmusicians listened to musical excerpts and grouped them according to the similarity of the affects they experienced while listening. Finer grouping granularity (...) was found in musicians and high rumination scorers. Male musicians with above-median scores in rumination produced a larger number of clusters than the other male participants. Experiment 2 that engaged 23 participants demonstrated moderate consistency with which listeners grouped affects that they perceived in music and affects they experienced while listening to music. The study suggests that affective responses to music are subject to individual differences in musical expertise and rumination. Affects perceived in music and felt in response to it seem to be categorized with reference to the common principles. However, the cues that are used in such instances of categorization seem to be different. The paper encourages further research on the importance of listeners’ personal characteristics for the affective responses to music. (shrink)

Although acoustic frequency is not a spatial property of physical objects, in common language, pitch, i.e., the psychological correlated of frequency, is often labeled spatially (i.e., “high in pitch” or “low in pitch”). Pitch-height is known to modulate (and interact with) the response of participants when they are asked to judge spatial properties of non-auditory stimuli (e.g., visual) in a variety of behavioral tasks. In the current study we investigated whether the modulatory action of pitch-height extended to the haptic estimation (...) of height of a virtual step. We implemented a HW/SW setup which is able to render virtual 3D objects (stair-steps) haptically through a PHANTOM device, and to provide real-time continuous auditory feedback depending on the user interaction with the object. The haptic exploration was associated with a sinusoidal tone whose pitch varied as a function of the interaction point’s height within (i) a narrower and (ii) a wider pitch range, or (iii) a random pitch variation acting as a control audio condition. Explorations were also performed with no sound (haptic only). Participants were instructed to explore the virtual step freely, and to communicate height estimation by opening their thumb and index finger to mimic the step riser height, or verbally by reporting the height in centimeters of the step riser. We analyzed the role of musical expertise by dividing participants into non musicians and musicians. Results showed no effects of musical pitch on high-realistic haptic feedback. Overall there is no difference between the two groups in the proposed multimodal conditions. Additionally, we observed a different haptic response distribution between musicians and non musicians when estimations of the auditory conditions are matched with estimations in the no sound condition. (shrink)

In this study we evaluated heart rate variability changes in a pianist, playing in a laboratory, to investigate whether HRV changes are guided by music temporal features or by technical difficulty and/or subjective factors. The pianist was equipped with a wearable telemetry device for ECG recording during the execution of 4 classical and 5 jazz pieces. From ECG we derived the RR intervals series, and, for each piece, analyzed HRV in the time and frequency domains and performed non-linear analysis. We (...) also studied the correlation between the time course of music volume envelope and tachogram. Results showed a general reduction of parasympathetic and an increase of sympathetic activity, with the greatest changes during the classical pieces execution, the pianist appraised as more demanding than the jazz ones. The most marked changes occurred during the most technically/emotionally demanding piece, and correlation analysis revealed a negative association between music volume envelope time course and tachogram only for this piece, suggesting a modulation of the limbic system on the synchronization between heart rhythm and music temporal features. Classical music was also associated with the increase of entropy with respect to rest, indicating its effectiveness in driving flexible, healthy, heart dynamics. In conclusion, HRV seems modulated not only by the music temporal features, but also by the pianist’s emotional involvement, which is greatly influenced, in a non-trivial manner, by the technical demands and musician expertise. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the undergraduate and graduate levels who (...) deal with it either in a full course or series of courses or seminars devoted to philosophy, or as one part of courses devoted to other topics (as I believe is most often the case.) Third, school music teachers, many of whom have taken or are taking such courses (and many who have not) who are expected to have some level of acquaintance, however rudimentary, with philosophical issues so as to be able to cope with them, as when writing curriculum guides, or explaining to other teachers, administrators, school boards, and parents why music education is valuable and deserves support. If we stretch it, we might include among those who need to be involved with philosophy of music and music education all educational professionals, since all, in one way or another, exert some sort of influence on the fortunes of music education. But that begins to strain a bit at the edges.No doubt there are other constituencies that can be identified. But one that has not been conceived as requiring substantive encounters with philosophical issues of music is that of students in schools, K-12. We all assume that philosophy can and should play a major role in determining what is most valuable for students to learn in their study of music. But seldom has it been argued, to my [End Page 132] knowledge, that philosophical issues should be addressed in all programs of music education intended to produce people who are, in any convincing sense, musically educated.My premise is that philosophical reflection relating to music and to the teaching and learning of music should be foundational in school music programs. Further, philosophy needs to be present in our programs in three distinctive ways, reflecting common practices of education in America and all over the world. That is, as integral in the general music education of all students, as a component of all elective offerings, and as one particular, focused offering among the electives available to all students.My position is that what we call "general music" (which, as we know, goes by a variety of names around the world including just "music") is not complete; in fact is invalid, if it does not provide philosophical challenges of the same level of complexity, and the same degree of authenticity, as everything else we believe all students should know and be able to do in music. What we call the "music elective program," or the "music specialization program," is incomplete, in fact is invalid, if philosophical matters are not addressed as they relate to the particularities of each elective offered. And, in addition, philosophy needs to be a standard elective offering, taught with the same level of expertise by specialist teachers as we now routinely make available in performance and in the meager smattering of other electives we manage to offer.What? Philosophical thinking for all children, even in the primary grades, and as electives starting perhaps at the middle school or high school level? Electives taught by music educators whose specialization is the teaching of philosophy of music to youngsters? Am I serious? After all, even those of us who are devoted to it as a major aspect of our professionalism are constantly at the edges of our competence given the deep challenges philosophy presents to our intellect. And I expect children—all children—to be able to deal with it authentically?Well, we could ask precisely the same questions about, say, mathematics, and science, and history, and social studies, all the ways of thinking which constitute the basic learnings in all grades of our schools. As educators we know better than to conceive the nature of those subjects as only apparent at the level of professional work in them. We recognize the obvious: while at... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy in the School Music ProgramBennett ReimerWho is philosophy of music education for? Several groups of people immediately spring to mind. First, it is for those of us in music education who produce it and consume it as a major or important responsibility in our work—people like members of our Special Research Interest Group at MENC. Second, teachers of music education courses at the undergraduate and graduate levels who (...) deal with it either in a full course or series of courses or seminars devoted to philosophy, or as one part of courses devoted to other topics (as I believe is most often the case.) Third, school music teachers, many of whom have taken or are taking such courses (and many who have not) who are expected to have some level of acquaintance, however rudimentary, with philosophical issues so as to be able to cope with them, as when writing curriculum guides, or explaining to other teachers, administrators, school boards, and parents why music education is valuable and deserves support. If we stretch it, we might include among those who need to be involved with philosophy of music and music education all educational professionals, since all, in one way or another, exert some sort of influence on the fortunes of music education. But that begins to strain a bit at the edges.No doubt there are other constituencies that can be identified. But one that has not been conceived as requiring substantive encounters with philosophical issues of music is that of students in schools, K-12. We all assume that philosophy can and should play a major role in determining what is most valuable for students to learn in their study of music. But seldom has it been argued, to my [End Page 132] knowledge, that philosophical issues should be addressed in all programs of music education intended to produce people who are, in any convincing sense, musically educated.My premise is that philosophical reflection relating to music and to the teaching and learning of music should be foundational in school music programs. Further, philosophy needs to be present in our programs in three distinctive ways, reflecting common practices of education in America and all over the world. That is, as integral in the general music education of all students, as a component of all elective offerings, and as one particular, focused offering among the electives available to all students.My position is that what we call "general music" (which, as we know, goes by a variety of names around the world including just "music") is not complete; in fact is invalid, if it does not provide philosophical challenges of the same level of complexity, and the same degree of authenticity, as everything else we believe all students should know and be able to do in music. What we call the "music elective program," or the "music specialization program," is incomplete, in fact is invalid, if philosophical matters are not addressed as they relate to the particularities of each elective offered. And, in addition, philosophy needs to be a standard elective offering, taught with the same level of expertise by specialist teachers as we now routinely make available in performance and in the meager smattering of other electives we manage to offer.What? Philosophical thinking for all children, even in the primary grades, and as electives starting perhaps at the middle school or high school level? Electives taught by music educators whose specialization is the teaching of philosophy of music to youngsters? Am I serious? After all, even those of us who are devoted to it as a major aspect of our professionalism are constantly at the edges of our competence given the deep challenges philosophy presents to our intellect. And I expect children—all children—to be able to deal with it authentically?Well, we could ask precisely the same questions about, say, mathematics, and science, and history, and social studies, all the ways of thinking which constitute the basic learnings in all grades of our schools. As educators we know better than to conceive the nature of those subjects as only apparent at the level of professional work in them. We recognize the obvious: while at... (shrink)

Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two (...) expert improvisation ensembles of contrasting sizes and collected data about their musical behaviour, as well as reports about five aspects of their phenomenology and about their musical intentions. Our overall data enabled us to assess how those five phenomenological dimensions related to one another during jointly improvised performances. They also show how such phenomenology varied with the way improvisers dynamically related to one another throughout the performance. Finally, we observe that group size strongly altered the phenomenology of improvisers who otherwise shared many characteristics. Our study thus sheds light on the interactional and structural parameters that shape and modulate our felt experience when acting together, and thereby highlights the importance of pluralism for studying the phenomenology of joint action. (shrink)

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of music of (...) his time in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of music of (...) his time in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In (...) 'The Improvising Mind' these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

The diverse and breathtaking intelligence of the human animal is often embodied in skills. People, throughout their lifetimes, acquire and refine a vast number of skills. And there seems to be no upper limit to the creativity and beauty expressed by them. Think, for instance, of Olympic gymnastics: the amount of strength, flexibility, and control required to perform even a simple beam routine amazes, startles, and delights. In addition to the sheer beauty of skill, performances at the pinnacle of (...) class='Hi'>expertise often display a kind of brilliance or genius. We observe an intelligence that saturates the body. The unity of physicality and intellect, mind and body, meshed and melded. Apart from sports, people develop a host of other skills, including musical and artistic skills, linguistic and social skills, scientific and medical skills, military and political skills, engineering skills, computer skills, business skills, etc. What's more, skill acquisition and refinement occurs throughout the human lifespan. In the Introduction to the Routledge Handbook of Skill and Expertise, we introduce and contextualize the various chapters that compose the Handbook. Before providing substantive overviews of each chapter, we also discuss the topic of skill in general and its importance for various areas of philosophy. Chapters are organized into six sections: 1. Skill in the history of philosophy (East & West), 2. Skill in Epistemology, 3. Skill, Intelligence, and Agency, 4. Skill in Perception, Imagination, and Emotion, 5. Skill, Language, and Social Cognition, and 6. Skill and Expertise in Normative Philosophy. (shrink)

To formalize the human judgment of rhythm complexity, we used five measures from information theory and algorithmic complexity to measure the complexity of 48 artificially generated rhythmic sequences. We compared these measurements to human prediction accuracy and easiness judgments obtained from a listening experiment, in which 32 participants guessed the last beat of each sequence. We also investigated the modulating effects of musical expertise and general pattern identification ability. Entropy rate and Kolmogorov complexity were correlated with prediction accuracy, (...) and highly correlated with easiness judgments. A logistic regression showed main effects of musical training, entropy rate, and Kolmogorov complexity, and an interaction between musical training and both entropy rate and Kolmogorov complexity. These results indicate that information-theoretic concepts capture some salient features of the human judgment of rhythm complexity, and they confirm the influence of musical expertise on complexity judgments. (shrink)

This article offers a case study in how historians of science can use musical theater productions to understand the cultural reception of scientific ideas. In 1970, Stephen Sondheim and George Furth's musical Company opened on Broadway. The show engaged with and reflected contemporary theories and ideas from the human sciences; Company's portrayal of its 35-year-old bachelor protagonist, his married friends, and his girlfriends reflected present-day theories from psychoanalysis, sexology, and sociology. In 2018, when director Marianne Elliott revived the (...) show with a female protagonist, Company once again amplified contemporary dilemmas around human sciences expertise—this time, the biological fertility clock. Through Company, Sondheim and Furth—and later Elliott—constructed arguments about modern society that paralleled those put forth by contemporary human scientists, including psychoanalytic models of the mind, the lonely crowd phenomenon, and shifting conceptions of masculinity and femininity. Because of their wide popularity and potential for readaptation, musicals such as Company offer a promising source base for analyzing the relationship between contemporary society and scientific expertise in specific historical contexts. (shrink)

The knowledge and skills of employees could play a valuable role in organizational success. Organizations seek practices to create a knowledge-sharing culture to take full advantage of individual competencies. However, the knowledge-hiding behavior of individuals is a hurdle in the internal dissemination of knowledge and expertise. It becomes more critical in the case of teaching institutions, where the students are taught and trained. Scholars are now putting their efforts into seeking the antecedents and consequences of knowledge-hiding behavior. This study (...) also attempts to determine the role of interpersonal distrust as an antecedent of knowledge hiding behavior of music education students. Based on the social exchange theory, the present study attempts to check the association of interpersonal distrust with emotional exhaustion and knowledge hiding. For empirical investigation, this study assumes that interpersonal distrust positively enhances knowledge hiding and emotional exhaustion, respectively. Moreover, the present study also attempts to check the association of emotional exhaustion with knowledge hiding. This study also assessed the mediating role of emotional exhaustion in the relationship between interpersonal distrust and knowledge hiding. This current study also aims to check the moderating role of mental health self-efficacy in the relationship between emotional exhaustion and knowledge hiding. For empirical investigation, the present study collected the data from 310 music learning students of various Chinese universities through a structured questionnaire method using a convenient sampling technique. This study applied partial least square structural equation modeling for empirical analyses using Smart PLS software. The findings of this study revealed that interpersonal distrust does not directly influence knowledge hiding; however, interpersonal distrust has a positive association with emotional exhaustion. The findings also acknowledged that emotional exhaustion positively correlates with knowledge hiding. The results also confirmed that emotional exhaustion positively mediates the relationship between interpersonal distrust and knowledge hiding. Further, the outcomes depicted that mental health self-efficacy negatively moderates the relationship between emotional exhaustion and knowledge hiding. In addition, this study’s findings also serve the literature of knowledge hiding by providing important theoretical and practical implications. (shrink)