Kelly Jakubowski
Biographic Data
| ID | 1752359 |
|---|---|
| NAME | Kelly Jakubowski |
| GIVEN NAMES | Kelly |
| FAMILY NAME | Jakubowski |
| SIGNATURE | JAKUBOWSKI K |
| AFFILIATIONS | Durham University |
| ORCID | 0000-0002-4954-7117 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 17 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Measuring Emotional Experiences with Music
This study focuses on the first stage of instrument development, content validity, and provides guidance on what steps should be taken when designing and evaluating content through the development of an instrument to reflect a recent theory concerning emotional episodes. To establish this instrument, we (1) operationalized the theory, identifying 25 sub-constructs for topics such as listening attention, meaning generation, preferences, familiarit…
Thoughtscapes in music
Music listening can evoke a wide range of thought types, including autobiographical memories, fictional stories, visual imagery, and mind-wandering. Previous studies have typically examined these thought types individually, which precludes investigation of why certain music evokes certain thought types over others. This study investigates the impact of musical genre, familiarity, enjoyment, contrast, and emotional expression on the occurrence of …
Individual differences in music-evoked autobiographical memories
Music is increasingly used as a cue for autobiographical memories in psychological research and clinical interventions. Despite the burgeoning body of evidence on the phenomenology of music-evoked autobiographical memories (MEAMs), few previous studies have focused in detail on how the capacities and experiences of individual listeners impact features of MEAMs. The present work examined the relationship of individual differences in visual and aud…
Music-Evoked Thoughts
Music listening can evoke a range of extra-musical thoughts, from colors and smells to autobiographical memories and fictional stories. We investigated music-evoked thoughts as an overarching category, to examine how the music’s genre and emotional expression, as well as familiarity with the style and liking of individual excerpts, predicted the occurrence, type, novelty, and valence of thoughts. We selected 24 unfamiliar, instrumental music exce…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Music cues impact the emotionality but not richness of episodic memory retrieval
Previous studies have found that music evokes more vivid and emotional memories of autobiographical events than various other retrieval cues. However, it is possible such findings can be explained by pre-existing differences between disparate events that are retrieved in response to each cue type. To test whether music exhibits differential effects to other cues even when memory encoding is controlled, we compared music and environmental sounds a…
Differences in autobiographical memories reported using text and voice during everyday life
Autobiographical memories frequently occur during everyday life. One of the most common approaches to measuring memories in everyday life is a diary method: Participants record memories as they occur by writing down these memories in a paper diary or typing them on a smartphone. Conversely, many laboratory-based studies of autobiographical memory require participants to describe their memories out loud in a spoken manner. Here, we sought to direc…
Comparing music‐ and food‐evoked autobiographical memories in young and older adults
Previous research has found that music brings back more vivid and emotional autobiographical memories than various other retrieval cues. However, such studies have often been low in ecological validity and constrained by relatively limited cue selection and predominantly young adult samples. Here, we compared music to food as cues for autobiographical memories in everyday life in young and older adults. In two separate four‐day periods, 39 younge…
Aesthetics of musical timing
Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing "out of time," including asynchrony (deviations from synchrony between different instruments) and non…
The Interpersonal Entrainment in Music Performance Data Collection
The Interpersonal Entrainment in Music Performance Data Collection (IEMPDC) comprises six related corpora of music research materials: Cuban Son & Salsa (CSS), European String Quartet (ESQ), Malian Jembe (MJ), North Indian Raga (NIR), Tunisian Stambeli (TS), and Uruguayan Candombe (UC). The core data for each corpus comprises media files and computationally extracted event onset timing data. Annotation of metrical structure and code used in the p…
Phenomenological Differences in Music- and Television-Evoked Autobiographical Memories
Music can be a potent cue for autobiographical memories in both everyday and clinical settings. Understanding the extent to which music may have privileged access to aspects of our personal histories requires critical comparisons to other types of memories and exploration of how music-evoked autobiographical memories (MEAMs) vary across individuals. We compared the retrieval characteristics, content, and emotions of MEAMs to television-evoked aut…
Involuntary musical imagery as a component of ordinary music cognition
Involuntary musical imagery (INMI) refers to a conscious mental experience of music that occurs without deliberate efforts to initiate or sustain it. This experience often consists of the repetition of a short fragment of a melody, colloquially called an “earworm.” Here, we present the first comprehensive, qualitative review of published empirical research on INMI to date. We performed an extensive literature search and discovered, in total, 47 s…
Interpersonal Entrainment in Music Performance
Interpersonal musical entrainment—temporal synchronization and coordination between individuals in musical contexts—is a ubiquitous phenomenon related to music’s social functions of promoting group bonding and cohesion. Mechanisms other than sensorimotor synchronization are rarely discussed, while little is known about cultural variability or about how and why entrainment has social effects. In order to close these gaps, we propose a new model th…
Interpersonal entrainment in Indian instrumental music performance
Two complementary aspects of interpersonal entrainment – synchronization and movement coordination – are explored in North Indian classical instrumental music, in the auditory and visual domains respectively. Sensorimotor synchronization (SMS) is explored by analysing pairwise asynchronies between the event onsets of instrumental soloists and their tabla accompanists, and the variability of asynchrony by factors including tempo, dynamic level and…
Tunes stuck in your brain
Recent years have seen a growing interest in the neuroscience of spontaneous cognition. One form of such cognition is involuntary musical imagery (INMI), the non-pathological and everyday experience of having music in one's head, in the absence of an external stimulus. In this study, aspects of INMI, including frequency and affective evaluation, were measured by self-report in 44 subjects and related to variation in brain structure in these indiv…
Absolute memory for pitch
In a widely cited study, Levitin (1994) suggested the existence of absolute pitch memory for music in the general population beyond the rare trait of genuine absolute pitch (AP). In his sample, a significant proportion of non-AP possessors were able to reproduce absolute pitch levels when asked to sing very familiar pop songs from memory. Forty-four percent of participants sang the correct pitch on at least one of two trials, and 12% were correct…
Replication in music psychology
In this article, we address the current state and general role of replication in empirical sciences in general and music psychology in particular. We argue that replication should be an integral part of the quality management of science because it helps to improve and maintain the general benefit of empirical sciences by enhancing the confidence in scientific phenomena and theories. Replicating empirical experiments has two major benefits: (1) It…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Absolute memory for pitch
In a widely cited study, Levitin (1994) suggested the existence of absolute pitch memory for music in the general population beyond the rare trait of genuine absolute pitch (AP). In his sample, a significant proportion of non-AP possessors were able to reproduce absolute pitch levels when asked to sing very familiar pop songs from memory. Forty-four percent of participants sang the correct pitch on at least one of two trials, and 12% were correct…
Replication in music psychology
In this article, we address the current state and general role of replication in empirical sciences in general and music psychology in particular. We argue that replication should be an integral part of the quality management of science because it helps to improve and maintain the general benefit of empirical sciences by enhancing the confidence in scientific phenomena and theories. Replicating empirical experiments has two major benefits: (1) It…
Tunes stuck in your brain
Recent years have seen a growing interest in the neuroscience of spontaneous cognition. One form of such cognition is involuntary musical imagery (INMI), the non-pathological and everyday experience of having music in one's head, in the absence of an external stimulus. In this study, aspects of INMI, including frequency and affective evaluation, were measured by self-report in 44 subjects and related to variation in brain structure in these indiv…
Interpersonal entrainment in Indian instrumental music performance
Two complementary aspects of interpersonal entrainment – synchronization and movement coordination – are explored in North Indian classical instrumental music, in the auditory and visual domains respectively. Sensorimotor synchronization (SMS) is explored by analysing pairwise asynchronies between the event onsets of instrumental soloists and their tabla accompanists, and the variability of asynchrony by factors including tempo, dynamic level and…
Involuntary musical imagery as a component of ordinary music cognition
Involuntary musical imagery (INMI) refers to a conscious mental experience of music that occurs without deliberate efforts to initiate or sustain it. This experience often consists of the repetition of a short fragment of a melody, colloquially called an “earworm.” Here, we present the first comprehensive, qualitative review of published empirical research on INMI to date. We performed an extensive literature search and discovered, in total, 47 s…
Interpersonal Entrainment in Music Performance
Interpersonal musical entrainment—temporal synchronization and coordination between individuals in musical contexts—is a ubiquitous phenomenon related to music’s social functions of promoting group bonding and cohesion. Mechanisms other than sensorimotor synchronization are rarely discussed, while little is known about cultural variability or about how and why entrainment has social effects. In order to close these gaps, we propose a new model th…
The Interpersonal Entrainment in Music Performance Data Collection
The Interpersonal Entrainment in Music Performance Data Collection (IEMPDC) comprises six related corpora of music research materials: Cuban Son & Salsa (CSS), European String Quartet (ESQ), Malian Jembe (MJ), North Indian Raga (NIR), Tunisian Stambeli (TS), and Uruguayan Candombe (UC). The core data for each corpus comprises media files and computationally extracted event onset timing data. Annotation of metrical structure and code used in the p…
Phenomenological Differences in Music- and Television-Evoked Autobiographical Memories
Music can be a potent cue for autobiographical memories in both everyday and clinical settings. Understanding the extent to which music may have privileged access to aspects of our personal histories requires critical comparisons to other types of memories and exploration of how music-evoked autobiographical memories (MEAMs) vary across individuals. We compared the retrieval characteristics, content, and emotions of MEAMs to television-evoked aut…
Aesthetics of musical timing
Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing "out of time," including asynchrony (deviations from synchrony between different instruments) and non…
Music cues impact the emotionality but not richness of episodic memory retrieval
Previous studies have found that music evokes more vivid and emotional memories of autobiographical events than various other retrieval cues. However, it is possible such findings can be explained by pre-existing differences between disparate events that are retrieved in response to each cue type. To test whether music exhibits differential effects to other cues even when memory encoding is controlled, we compared music and environmental sounds a…
Differences in autobiographical memories reported using text and voice during everyday life
Autobiographical memories frequently occur during everyday life. One of the most common approaches to measuring memories in everyday life is a diary method: Participants record memories as they occur by writing down these memories in a paper diary or typing them on a smartphone. Conversely, many laboratory-based studies of autobiographical memory require participants to describe their memories out loud in a spoken manner. Here, we sought to direc…
Comparing music‐ and food‐evoked autobiographical memories in young and older adults
Previous research has found that music brings back more vivid and emotional autobiographical memories than various other retrieval cues. However, such studies have often been low in ecological validity and constrained by relatively limited cue selection and predominantly young adult samples. Here, we compared music to food as cues for autobiographical memories in everyday life in young and older adults. In two separate four‐day periods, 39 younge…
Music-Evoked Thoughts
Music listening can evoke a range of extra-musical thoughts, from colors and smells to autobiographical memories and fictional stories. We investigated music-evoked thoughts as an overarching category, to examine how the music’s genre and emotional expression, as well as familiarity with the style and liking of individual excerpts, predicted the occurrence, type, novelty, and valence of thoughts. We selected 24 unfamiliar, instrumental music exce…
Commonality and variation in mental representations of music revealed by a cross-cultural comparison of rhythm priors in 15 countries
Music is present in every known society but varies from place to place. What, if anything, is universal to music cognition? We measured a signature of mental representations of rhythm in 39 participant groups in 15 countries, spanning urban societies and Indigenous populations. Listeners reproduced random ‘seed’ rhythms; their reproductions were fed back as the stimulus (as in the game of ‘telephone’), such that their biases (the prior) could be …
Thoughtscapes in music
Music listening can evoke a wide range of thought types, including autobiographical memories, fictional stories, visual imagery, and mind-wandering. Previous studies have typically examined these thought types individually, which precludes investigation of why certain music evokes certain thought types over others. This study investigates the impact of musical genre, familiarity, enjoyment, contrast, and emotional expression on the occurrence of …
Individual differences in music-evoked autobiographical memories
Music is increasingly used as a cue for autobiographical memories in psychological research and clinical interventions. Despite the burgeoning body of evidence on the phenomenology of music-evoked autobiographical memories (MEAMs), few previous studies have focused in detail on how the capacities and experiences of individual listeners impact features of MEAMs. The present work examined the relationship of individual differences in visual and aud…
Measuring Emotional Experiences with Music
This study focuses on the first stage of instrument development, content validity, and provides guidance on what steps should be taken when designing and evaluating content through the development of an instrument to reflect a recent theory concerning emotional episodes. To establish this instrument, we (1) operationalized the theory, identifying 25 sub-constructs for topics such as listening attention, meaning generation, preferences, familiarit…
Psychology (16 works) · Neuroscience and Music Perception (15 works) · Cognitive psychology (14 works) · Communication (8 works) · Social Psychology (7 works) · Cognition (6 works) · Autobiographical memory (5 works) · Computer Science (5 works) · Diverse Music Education Insights (5 works) · Music Therapy and Health (5 works)