About Musical Time – Effect of Age, Enjoyment, and Practical Musical Experience on Retrospective Estimate of Elapsed Duration during Music Listening. In: Vatakis A, Esposito A, Giagkou M, Cummins F, Papadelis G, editors. Multidisciplinary Aspects of Time and Time Perception. Berlin: Springer Berlin Heidelberg; 2011. pp. 125-36. [DOI: 10.1007/978-3-642-21478-3_11]

How long was it for you? Memories of the duration of the UK covid-19 lockdown

The covid-19 global pandemic has significantly impacted on the daily lives of people across the world. One consequence of this has been significant distortion to the speed at which time feels like it is passing during day-to-day life in comparison with prior to the pandemic. The current study sought to further understanding of the impact of the pandemic on temporal experience by exploring individual differences in the subjective length of the first 12 months of the pandemic in the UK. Using an online questionnaire, subjective judgments of the perceived length of the preceding 12 months were taken. In addition, measures of affect, task load and satisfaction with current levels of social interaction, physical activity, conformity with regulations, perceived covid risk and shielding status were taken. The results showed that only 9% of participants reported that the preceding 12 months felt like 12 months. The majority of participants (57%) reported that it felt like the pandemic had lasted for longer than 12 months, and this feeling was stronger for those who indicated greater levels of depression and anxiety, reduced physical activity, reduced satisfaction with social interaction and being advised to shield.

What Determines the Perception of Segmentation in Contemporary Music?

BACKGROUND

This study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g., Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music).

AIMS

The current study aimed to examine the listeners' segmentation decisions in a piece of contemporary music, Ligeti's "Fanfares"?

METHODS

Data were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to "tap" when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants.

RESULTS

The audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses-the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small.

CONCLUSION

Whether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.