AMPS Seminars and Related Events

2015 Seminar Series

Browse seminars from previous years

Two presentations: Vocal emotion processing in relation to Autism Spectrum Disorder and Twin Study on Singing Ability
Speaker : Yi Ting Tan and Valerie Yap
Time :6-7pm
Date :23rd Jul 2015
Downloads :Click for info
Location :University of Melbourne, Old Arts Building, Theatre B


Topic 1: Individual Differences in Vocal Emotion Processing: Findings from the General Population and Implications for Autism Spectrum Disorder
Speaker: Yi Ting Tan

Topic 2: “Let’s Hear Twins Sing!”: The first online twin study on singing ability
Speaker: Valerie Yap

see attached for Abstracts.

Music as an intervention in paediatric and adult populations with disorders of consciousness
Speaker : Assoc Prof Wendy Magee
Time :5pm
Date :20th May 2015
Downloads :Click for info
Location :Vernon Collins Room Health Education Learning Precinct Royal Children’s Hospital 50 Flemington Rd, Parkville


Using clinical illustrations and examples from neuroscience, this presentation will outline the latest evidence for using music as a diagnostic tool and medium for intervention with children, adolescents and adults who have complex needs stemming from acquired brain injury and disorders of consciousness.

The flyer is attached (includes hyperlink to booking site) and bookings can be made at Eventbrite as follows:

Personal music listening: Modelling emotional outcomes through mobile experience sampling.
Speaker : Dr Will Randall
Time :6.00 - 7.00pm
Date :16th Apr 2015
Location :Old Arts, Theatre B, University of Melbourne, Parkville.


Personal music listening has become central to everyday music use, with mobile technology defining a new era of music consumption. This portable and flexible style of listening allows for the immediate selection of music to fulfil emotional needs, presenting it as a powerful resource for emotion regulation. The experience sampling method (ESM) is ideal for observing personal music listening, as it assesses current subjective experience during natural everyday music episodes. The current study aimed to develop a comprehensive model of personal music listening, and to determine the interaction of variables that produce either hedonic benefit or detriment. Data were collected from 195 participants using the MuPsych app, a mobile ESM designed for the real-time and ecologically valid measurement of personal music listening. Multilevel structural equation modelling was utilised to determine predictors of emotional outcomes on both experience and listener levels. Results revealed the strongest predictors of affective change to be initial emotional state and selected music, with certain interactions of these variables critical in determining hedonic benefit or detriment. Furthermore, it was demonstrated that emotional outcomes of listening are produced almost entirely within contexts, with relatively little influence from the listener level. This comprehensive model has provided unprecedented insight into personal music listening, and the variables that are influential in producing desired emotional outcomes.

Pitches at missing fundamentals in musical chords: Are they really perceived?
Speaker : Richard Parncutt
Time :6.00 - 7.00pm
Date :26th Feb 2015
Location :Old Arts, Theatre B, UNiversity of Melbourne, Parkville.


Location: University of Melbourne, Old Arts, Theatrette B

According to Parncutt (Music Perception, 1988) - a musical simplification of the pitch algorithm of Terhardt et al. (Journal of the Acoustical Society of America, 1982) - everyday musical chords have or imply pitches at missing fundamentals. The major triad CEG implies pitches at F and A: F is a fundamental if C is the 3rd (or 6th) harmonic and G is the 9th, and A is a fundamental if E is the 3rd harmonic and G is the 7th. Similarly, the minor triad ACE implies D and F. The chord DEG implies pitches at C and A, and so on. These predictions are plausible given that most pitches heard in everyday complex sounds correspond to the fundamentals of harmonic patterns of spectral pitches; such fundamentals are often missing or inaudible. Parncutt (1993) presented chords of octave-complex (Shepard) tones followed by single octave-complex tones and asked listeners how well the tones went with the chords. We have replicated this study with more numerous and diverse participants, chords, and tasks. Participants were fundamental and spectral listeners according to Seither-Preisler et al. (2007). In Experiment 1, listeners judged how well the tone goes with the chord; in Experiment 2, whether it was part of the chord. In Experiment 3, listeners chose which of 12 comparison tones best matched the chord. In the results of Experiments 1 and 2, ratings for missing fundamentals were on average higher than ratings for other non-chord tones. The effect was small, but it was larger than the difference between diatonic tones (tones belonging to the same diatonic scale as all chord tones) and non-chord tones. We are developing a new model based on musical experience: the frequency of occurrence of chord progressions in a large database of western tonal music. Results of Experiments 1 and 2 may explain the (psychohistorical origin of the) music-theoretic concept of scale-chord compatibility. Experiment 3 produced markedly different profiles and is consistent with Terhardt's claim that chord roots are virtual pitches, whose perception is moulded by music experience.