Auditory Imagery Contains More Than Audition

2012 ◽  
pp. 221-247 ◽  
Author(s):  
Timothy L. Hubbard
Keyword(s):  
2008 ◽  
Vol 29 (4) ◽  
pp. 181-188 ◽  
Author(s):  
John Allbutt ◽  
Jonathan Ling ◽  
Thomas M. Heffernan ◽  
Mohammed Shafiullah

Allbutt, Ling, and Shafiullah (2006) and Allbutt, Shafiullah, and Ling (2006) found that scores on self-report measures of visual imagery experience correlate primarily with the egoistic form of social-desirable responding. Here, three studies are reported which investigated whether this pattern of findings generalized to the ratings of imagery vividness in the auditory modality, a new version of the Vividness of Visual Imagery Questionnaire ( Marks, 1995 ), and reports of visual thinking style. The measure of social-desirable responding used was the Balanced Inventory of Desirable Responding (BIDR; Paulhus, 2002 ). Correlational analysis replicated the pattern seen in our earlier work and of the correlations with the egoistic bias, the correlation with vividness of visual imagery was largest and significant, the correlation with visual thinking style next largest and approached significance, and the correlation with vividness of auditory imagery was the smallest and not significant. The size of these correlations mirrored the extent to which the three aspects of imagery were valued by participants.


Author(s):  
Freya Bailes

Freya Bailes deals with the topic of musical imagery, and she uses embodied cognition as a framework to argue that musical imagery is a multimodal experience. Existing empirical studies of musical imagery are reviewed and Bailes points to future directions for the study of musical imagery as an embodied-cognition phenomenon. Arguing that musical imagery can never be fully disembodied, Bailes moves beyond the idea of auditory imagery as merely a simulation of auditory experience by “the mind’s ear.” Instead, she outlines how imagining sounds involves kinesthetic imagery and she concludes that sound and music are always connected to sensory motor processing.


1977 ◽  
Vol 164 (6) ◽  
pp. 394-400 ◽  
Author(s):  
ELIZABETH A. BRETT ◽  
STEVEN STARKER
Keyword(s):  

2013 ◽  
Vol 25 (2) ◽  
pp. 175-187 ◽  
Author(s):  
Jihoon Oh ◽  
Jae Hyung Kwon ◽  
Po Song Yang ◽  
Jaeseung Jeong

Neural responses in early sensory areas are influenced by top–down processing. In the visual system, early visual areas have been shown to actively participate in top–down processing based on their topographical properties. Although it has been suggested that the auditory cortex is involved in top–down control, functional evidence of topographic modulation is still lacking. Here, we show that mental auditory imagery for familiar melodies induces significant activation in the frequency-responsive areas of the primary auditory cortex (PAC). This activation is related to the characteristics of the imagery: when subjects were asked to imagine high-frequency melodies, we observed increased activation in the high- versus low-frequency response area; when the subjects were asked to imagine low-frequency melodies, the opposite was observed. Furthermore, we found that A1 is more closely related to the observed frequency-related modulation than R in tonotopic subfields of the PAC. Our findings suggest that top–down processing in the auditory cortex relies on a mechanism similar to that used in the perception of external auditory stimuli, which is comparable to early visual systems.


1992 ◽  
Vol 35 (3) ◽  
pp. 341-346
Author(s):  
Bruno H. Repp
Keyword(s):  

2013 ◽  
Vol 20 (4) ◽  
pp. 747-753 ◽  
Author(s):  
Peter Q. Pfordresher ◽  
Andrea R. Halpern
Keyword(s):  

2019 ◽  
Author(s):  
Katherine Cotter ◽  
Paul Silvia

Mental control of musical imagery is a complex but understudied process that consists of two components: initiation—whether the musical imagery experience began voluntarily or involuntarily—and management—whether instances of control occur after the experience has begun (e.g., changing the song). The present research examined these two components using 11 lab tasks measuring both initiation and management abilities in a sample of 203 undergraduate students. The tasks varied in stimuli composition: 7 tasks used tones and tonal sequences frequently used as stimuli in auditory imagery research, and 4 tasks used stimuli resembling the contents of everyday musical imagery (i.e., song excerpts). Initiation and management abilities were closely related, and people with greater musical expertise showed a smaller difference between initiation and management ability. Similarly, performance on tasks using tones or tonal sequences and tasks using song stimuli were closely related, and people didn’t differ in performance as a function of stimulus type. The present research demonstrates that people’s ability to initiate and to manage musical imagery are strongly linked and that people are equally good at controlling relatively simple musical imagery and imagery of well-known songs.


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