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Journal articles on the topic 'Cross-cultural music'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Park, So Yeon, Kyung Yun Lee, and Jin Ha Lee. "Cross-Cultural Exploration of Music Sharing." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (November 7, 2022): 1–28. http://dx.doi.org/10.1145/3555108.

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Music sharing is a common social activity that people have long engaged in, from gifting mixtapes to sharing music links. Our practices around sharing music have shifted markedly with the advent of streaming music platforms and social media, and it has remained an important part of our social fabric. Yet there is a dearth of research on how people share music today, and our understanding of attitudes and practices of sharing music across cultures is even more lacking. To understand how people across cultures engage in music sharing, we have conducted interviews with 32 participants from two cultures: South Korea and United States. Through qualitative analysis, we found largely three reasons why people share music, types of music shared, strategy factors considered when sharing music, outcomes achieved, and challenges people experience when sharing music. We present a framework of music sharing that visualizes these components of the music sharing process. From these results, we identify similarities and differences that emerged. We derive design implications for music sharing platforms including providing varied avenues for feedback on shared music, motivating users to share more, and helping users to better manage shared music.

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2

Gourlay, K. A., Robert Falck, and Timothy Rice. "Cross-Cultural Perspectives on Music." Ethnomusicology 30, no. 3 (1986): 600. http://dx.doi.org/10.2307/851615.

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3

Palmer, Anthony. "On Cross-Cultural Music Education." Journal of Music Teacher Education 4, no. 1 (September 1994): 19–24. http://dx.doi.org/10.1177/105708379400400105.

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4

Jacoby, Nori, Elizabeth Hellmuth Margulis, Martin Clayton, Erin Hannon, Henkjan Honing, John Iversen, Tobias Robert Klein, et al. "Cross-Cultural Work in Music Cognition." Music Perception 37, no. 3 (February 1, 2020): 185–95. http://dx.doi.org/10.1525/mp.2020.37.3.185.

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Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys the current state of the field and offers a number of concrete recommendations focused on issues involving ethics, empirical methods, and definitions of “music” and “culture.”

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5

Higgins, Kathleen Marie. "Apollo, Music, and Cross-Cultural Rationality." Philosophy East and West 42, no. 4 (October 1992): 623. http://dx.doi.org/10.2307/1399672.

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6

Trehub, Sandra E., Judith Becker, and Iain Morley. "Cross-cultural perspectives on music and musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140096. http://dx.doi.org/10.1098/rstb.2014.0096.

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Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music—what it is and where it originates—as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition.

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7

Rose, Tara. "Music Therapy Clinical Trials in Cross-Cultural Settings." Innovation in Aging 4, Supplement_1 (December 1, 2020): 930. http://dx.doi.org/10.1093/geroni/igaa057.3411.

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Abstract Music therapy in clinical trials has shown efficacy as a nonpharmacological intervention for multiple medical conditions and procedures. Every culture has music and virtually everyone on this globe enjoys music suggesting the universality of music therapy. However, in the US, most music therapy clinical trials participants are English-speaking Caucasians. That narrow pool limits our understanding of the benefits of music in an ethnically and culturally heterogeneous nation. This study looks to the international clinical trials for lessons and information that can advance U.S. studies by expanding the methodology and clinical reach to benefit a more extensive population of patients. A review of 449 studies in 48 countries from clinical trials registries supports an effort to expand music therapy studies and interventions by incorporating a cross-cultural perspective. Researchers and clinicians using international resources can increase their understanding and capacity. Globally, many standardized measures have been translated, including self-report measures of behavioral and mental health, pain, sleep, medical conditions, and symptom severity used for outcome measures, as well as music therapy measures and intervention checklists. Scientifically accepted physiological outcome measures have shown the benefits of music interventions for older adults regardless of cultural or ethnic differences. For example, neuroimaging research supports the clinically derived notion that music can address needs of people with dementia. The future will require new standards for multi-cultural research. To expand studies and methodologies, we need to include more diverse populations. This paper proposes that to do that, we must look to the global scientific community.

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8

Tsou, Judy, and Ellen Koskoff. "Women and Music in Cross-Cultural Perspective." Notes 45, no. 3 (March 1989): 515. http://dx.doi.org/10.2307/940811.

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DjeDje, Jacqueline Cogdell, and Ellen Koskoff. "Women and Music in Cross-Cultural Perspective." Ethnomusicology 33, no. 3 (1989): 514. http://dx.doi.org/10.2307/851772.

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10

Morrison, Steven J., Steven M. Demorest, Elizabeth H. Aylward, Steven C. Cramer, and Kenneth R. Maravilla. "FMRI investigation of cross-cultural music comprehension." NeuroImage 20, no. 1 (September 2003): 378–84. http://dx.doi.org/10.1016/s1053-8119(03)00300-8.

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11

Epstein, David. "Tempo Relations: A Cross-Cultural Study." Music Theory Spectrum 7, no. 1 (April 1985): 34–71. http://dx.doi.org/10.1525/mts.1985.7.1.02a00030.

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12

Grimmer, Miranda S., and Melody Schwantes. "Cross-cultural music therapy: Reflections of American music therapists working internationally." Arts in Psychotherapy 61 (November 2018): 21–32. http://dx.doi.org/10.1016/j.aip.2017.07.001.

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13

Rzeszutek, Tom, Patrick E. Savage, and Steven Brown. "The structure of cross-cultural musical diversity." Proceedings of the Royal Society B: Biological Sciences 279, no. 1733 (November 9, 2011): 1606–12. http://dx.doi.org/10.1098/rspb.2011.1750.

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Human cultural traits, such as languages, musics, rituals and material objects, vary widely across cultures. However, the majority of comparative analyses of human cultural diversity focus on between-culture variation without consideration for within-culture variation. In contrast, biological approaches to genetic diversity, such as the analysis of molecular variance (AMOVA) framework, partition genetic diversity into both within- and between-population components. We attempt here for the first time to quantify both components of cultural diversity by applying the AMOVA model to music. By employing this approach with 421 traditional songs from 16 Austronesian-speaking populations, we show that the vast majority of musical variability is due to differences within populations rather than differences between. This demonstrates a striking parallel to the structure of genetic diversity in humans. A neighbour-net analysis of pairwise population musical divergence shows a large amount of reticulation, indicating the pervasive occurrence of borrowing and/or convergent evolution of musical features across populations.

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14

Leman, Marc. "The Need for a Cross-Cultural Empirical Musicology." Empirical Musicology Review 8, no. 1 (October 24, 2013): 19. http://dx.doi.org/10.18061/emr.v8i1.3920.

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The paper by Lara Pearson shows that a case study based on qualitative description may reveal interesting aspects about the co-occurrence of hand gestures and singing in a particular music culture. However, above all the paper lets us dream about what could be possible if forces from cultural studies and music cognition research were to be combined. A cross-cultural empirical musicology holds the promise of scientific work that goes far beyond qualitative descriptions.

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15

Cui, Mary Haiping, Michael Opoku Agyeman, and Don Knox. "A Cross-Cultural Study of Music in History." International Journal of Culture and History (EJournal) 2, no. 2 (2016): 65–69. http://dx.doi.org/10.18178/ijch.2016.2.2.039.

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16

Dunbar-Hall, Peter. "Analytical and Cross-cultural Studies in World Music." Musicology Australia 34, no. 1 (July 2012): 159–61. http://dx.doi.org/10.1080/08145857.2012.681765.

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Rahn, J. "Analytical and Cross-Cultural Studies in World Music." Journal of Music Theory 57, no. 2 (September 1, 2013): 419–31. http://dx.doi.org/10.1215/00222909-2323524.

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18

Valentino, R. E. "Attitudes towards Cross-Cultural Empathy in Music Therapy." Music Therapy Perspectives 24, no. 2 (January 1, 2006): 108–14. http://dx.doi.org/10.1093/mtp/24.2.108.

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19

Lum, Casey Man Kong. "Karaoke and the cross-cultural appropriations of music." International Journal of Chinese Culture and Management 2, no. 3 (2009): 194. http://dx.doi.org/10.1504/ijccm.2009.029401.

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20

Nan, Yun, Thomas R. Knösche, Stefan Zysset, and Angela D. Friederici. "Cross-cultural music phrase processing: An fMRI study." Human Brain Mapping 29, no. 3 (2008): 312–28. http://dx.doi.org/10.1002/hbm.20390.

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21

Herbert, Ruth. "Reconsidering Music and Trance: Cross-cultural Differences and Cross-disciplinary Perspectives." Ethnomusicology Forum 20, no. 2 (August 2011): 201–27. http://dx.doi.org/10.1080/17411912.2011.592402.

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22

Fritz, Thomas. "The Dock-in Model of Music Culture and Cross-cultural Perception." Music Perception 30, no. 5 (December 2012): 511–16. http://dx.doi.org/10.1525/mp.2013.30.5.511.

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This paper proposes a model that aims to illustrate how different human music cultures intersect and “dock in” to a set of music features that are universally perceived, while also displaying culture-specific features that must be learned. The model emphasizes that over historic time the music in a given culture can “dock into” and “dock out of” cues that are universally perceived, shifting its potential for cross-cultural perception and interaction. While this model accounts for music ethnological evidence reviewed here, it also explains why universals of music perception cannot simply be determined by specifying the common denominator between the formal music features of all cultures. This report suggests that the Dock-in Model can be generalized to account for cross-cultural perception more generally.

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23

Balkwill, Laura-Lee, and William Forde Thompson. "A Cross-Cultural Investigation of the Perception of Emotion in Music: Psychophysical and Cultural Cues." Music Perception 17, no. 1 (1999): 43–64. http://dx.doi.org/10.2307/40285811.

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Studies of the link between music and emotion have primarily focused on listeners' sensitivity to emotion in the music of their own culture. This sensitivity may reflect listeners' enculturation to the conventions of their culture's tonal system. However, it may also reflect responses to psychophysical dimensions of sound that are independent of musical experience. A model of listeners' perception of emotion in music is proposed in which emotion in music is communicated through a combination of universal and cultural cues. Listeners may rely on either of these cues, or both, to arrive at an understanding of musically expressed emotion. The current study addressed the hypotheses derived from this model using a cross-cultural approach. The following questions were investigated: Can people identify the intended emotion in music from an unfamiliar tonal system? If they can, is their sensitivity to intended emotions associated with perceived changes in psychophysical dimensions of music? Thirty Western listeners rated the degree of joy, sadness, anger, and peace in 12 Hindustani raga excerpts (field recordings obtained in North India). In accordance with the raga-rasa system, each excerpt was intended to convey one of the four moods or "rasas" that corresponded to the four emotions rated by listeners. Listeners also provided ratings of four psychophysical variables: tempo, rhythmic complexity, melodic complexity, and pitch range. Listeners were sensitive to the intended emotion in ragas when that emotion was joy, sadness, or anger. Judgments of emotion were significantly related to judgments of psychophysical dimensions, and, in some cases, to instrument timbre. The findings suggest that listeners are sensitive to musically expressed emotion in an unfamiliar tonal system, and that this sensitivity is facilitated by psychophysical cues.

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24

YANG, Ping. "John Cage and the I Ching: A Cross-Cultural Approach." Asia-Pacific Journal of Humanities and Social Sciences 01, no. 04 (January 31, 2022): 080–85. http://dx.doi.org/10.53789/j.1653-0465.2021.0104.011.

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John Cage (1912-1992) is an American avant-garde composer whose original compositions and unorthodox ideas profoundly influence 20th-century music. He is the most renowned Western composer who has drawn on the I Ching as a major source of inspiration and a new way to compose chance music. His influence spreads outside America worldwide and extends across music and other artistic fields, presenting a classic example of cross-cultural exchanges and communications.

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25

O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.

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26

Pascale, Louise. "The Role of Music in Education: Forming Cultural Identity and Making Cross-Cultural Connections." Harvard Educational Review 83, no. 1 (March 26, 2013): 127–34. http://dx.doi.org/10.17763/haer.83.1.1682237405v8325k.

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In this reflection, Louise Pascale describes the evolution, development, and outcomes of the Afghan Children's Songbook Project, which is reintroducing children's ethnic songs to the children of Afghanistan and Afghan expats as well as to American schoolchildren. Her reflection highlights the potential for music to unify and strengthen community, thus joining people together in a common experience. She explores the suppression and resurgence of musical culture in Afghanistan and the connection of this experience to music education in schools in the United States.

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27

Baek, Young Min. "Relationship Between Cultural Distance and Cross-Cultural Music Video Consumption on YouTube." Social Science Computer Review 33, no. 6 (December 9, 2014): 730–48. http://dx.doi.org/10.1177/0894439314562184.

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28

Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).

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29

Guo, Wei. "Examining the Appropriateness of Educational Motivation in International Cooperation Projects of Music Colleges and Universities from the Perspective of Cross-Cultural Music Learning." Scientific and Social Research 3, no. 4 (October 26, 2021): 57–62. http://dx.doi.org/10.36922/ssr.v3i4.1228.

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Cross cultural education and cross-cultural learning are two mutually integrated and relatively independent logical systems. There are differences in purpose, motivation, path and result, and they are contradictory to each other at some times. The differences between music education and music learning in the system structure begin with motivation, and appropriateness is an important principle to effectively reconcile educational motivation and learning motivation. In the international cooperation projects among music colleges and universities in the 21st century, the appropriateness of cross-cultural education motivation is usually measured by the identity of teaching objects, the value standard of teaching content and the practical significance of teaching purpose. Based on the perspective of cross-cultural music learning, this paper examines the appropriateness of educational motivation in international cooperation projects of music colleges and universities.

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30

Frankel, James. "Music Cross-Cultural Explorations: West Africa: The Middle East." Music Educators Journal 93, no. 3 (January 2007): 23. http://dx.doi.org/10.2307/4101532.

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31

Gregory, Andrew H., and Nicholas Varney. "Cross-Cultural Comparisons in the Affective Response to Music." Psychology of Music 24, no. 1 (April 1996): 47–52. http://dx.doi.org/10.1177/0305735696241005.

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32

Feld, Steven. ": Women and Music in Cross-Cultural Perspective . Ellen Koskoff." American Anthropologist 90, no. 4 (December 1988): 1003. http://dx.doi.org/10.1525/aa.1988.90.4.02a00490.

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33

Prest, Anita. "Cross-cultural understanding: The role of rural school–community music education partnerships." Research Studies in Music Education 42, no. 2 (January 18, 2019): 208–30. http://dx.doi.org/10.1177/1321103x18804280.

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The inclusion of local Indigenous knowledge, pedagogy, and worldview in music education is increasingly relevant to music educators globally. This article contributes to the extensive body of knowledge already written on the subject by focusing on the contribution of such inclusion to localized societal change. My doctoral study examined the growth and contributions of bridging social capital to rural community vitality in British Columbia (BC), Canada via three school–community music education partnerships. I found that the members of one of those partnerships, the International Choral Kathaumixw Festival in Powell River, BC, engaged in ongoing cultural dialogue with local Tla’amin First Nation members over a 30-year period in order to foster meaningful inclusion of local cultural practices in that festival. This cultural dialogue ultimately contributed to more harmonious social, cultural, political, and economic relationships between settler and Tla’amin First Nation populations. The mandate of the festival, the ongoing music making activities that featured Tla’amin themes and cultural participation, the large contingent of local community volunteers and performers, and the physical commons created by music making all contributed to a shift in relations between the community of Powell River and the Tla’amin First Nation. I offer that the bridging social capital fostered by this partnership may provide insight and direction for music educators globally who wish to promote Indigenous cultural practices in their schools. A bridging social capital or relational approach based on long-term reciprocity with local Indigenous culture bearers may help music educators work towards more culturally appropriate/responsive curriculum and pedagogy in their practice.

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Manchaiah, Vinaya, Fei Zhao, Stephen Widen, Jasmin Auzenne, Eldré W. Beukes, Tayebeh Ahmadi, David Tomé, Deepthi Mahadeva, Rajalakshmi Krishna, and Per Germundsson. "Social Representation of “Loud Music” in Young Adults: A Cross-Cultural Study." Journal of the American Academy of Audiology 28, no. 06 (June 2017): 522–33. http://dx.doi.org/10.3766/jaaa.16046.

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Background: Exposure to recreational noise, particularly music exposure, is considered one of the biggest public health hazards of our time. Some important influencing factors such as socioeconomic status, educational background, and cross-cultural perspectives have previously been found to be associated with attitudes toward loud music and the use of hearing protection. Although culture seems to play an important role, there is relatively little known about how it influences perceptions regarding loud music exposure in young adults. Purpose: The present study was aimed to explore cross-cultural perceptions of and reactions to loud music in young adults (18–25 yr) using the theory of social representations. Research Design: The study used a cross-sectional survey design. Study Sample: The study sample included young adults (n = 534) from five different countries (India, Iran, Portugal, the United States, and the United Kingdom) who were recruited using convenience sampling. Data Collection and Analysis: Data were collected using a questionnaire. Data were analyzed using a content analysis, co-occurrence analysis, and also χ2 analysis. Results: Fairly equal numbers of positive and negative connotations (#x02DC;40%) were noted in all countries. However, the χ2 analysis showed significant differences between the countries (most positive connotations were found in India and Iran, whereas the most negative connotations were found in the United Kingdom and Portugal) regarding the informants’ perception of loud music. The co-occurrence analysis results generally indicate that the category “negative emotions and actions” occurred most frequently, immediately followed by the category “positive emotions and actions.” The other most frequently occurring categories included “acoustics,” “physical aliment,” “location,” and “ear and hearing problems.” These six categories formed the central nodes of the social representation of loud music exposure in the global index. Although some similarities and differences were noted among the social representations toward loud music among countries, it is noteworthy that more similarities than differences were noted among countries. Conclusions: The study results suggest that “loud music” is perceived to have both positive and negative aspects within society and culture. We suggest that the health promotion strategies should focus on changing societal norms and regulations to be more effective in decreasing the noise- and/or music-induced auditory symptoms among young adults.

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35

Sheppard, W. Anthony. "Continuity in Composing the American Cross-Cultural: Eichheim, Cowell, and Japan." Journal of the American Musicological Society 61, no. 3 (2008): 465–540. http://dx.doi.org/10.1525/jm.2008.61.3.465.

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Abstract Japanese music has repeatedly served as an exotic model for those American composers seeking “ultra-modern” status. Henry Eichheim's and Henry Cowell's engagements with Japan offer rich case studies for reconsidering our common critical approaches to cross-cultural works, prompting us to question the temporal, geographic, generic, and high/low boundaries typically employed in modernist taxonomy. I find that attempts to employ categorically such terms as “appropriation” and “influence” and “modernist” and “post-modernist” in evaluating cross-cultural compositions limits our experience of such works and that specific examples tend to demonstrate the full contradictory and multifaceted nature of musical exoticism. I turn first to the impact of literary japonisme and travel on Eichheim and consider his aesthetic and didactic motivations. The writings of Lafcadio Hearn provided Eichheim with ready-made impressions of Japan and directly shaped his compositional responses. I note the influence of gagaku and shōō pitch clusters and briefly compare Eichheim's work with that of Hidemaro Konoye (Konoe). I then chronicle Cowell's lifelong encounters with Japanese music, focusing on his study of the shakuhachi with Kitaro Tamada, his experiences at the 1961 Tokyo East-West Music Encounter Conference, and his collaboration with the koto performer Kimio Eto, which reveal the limits of Cowell's embrace of musical hybridity. I argue that Cowell's mature Japanese-inspired works should be considered within the context of American Cold War cultural diplomacy and contemporaneous works of popular, jazz, and film music.

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Carter-Ényì, Aaron, and Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity." Music & Science 3 (January 1, 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.

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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

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Unyk, Anna M., Sandra E. Trehub, Laurel J. Trainor, and E. Glenn Schellenberg. "Lullabies and Simplicity: A Cross-Cultural Perspective." Psychology of Music 20, no. 1 (April 1992): 15–28. http://dx.doi.org/10.1177/0305735692201002.

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Tsuneyama, Keiichi, and Yasushi Kiyoki. "A Time-Series Phrase Correlation Computing System With Acoustic Signal Processing For Music Media Creation." EMITTER International Journal of Engineering Technology 5, no. 1 (July 23, 2017): 1–15. http://dx.doi.org/10.24003/emitter.v5i1.188.

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This paper presents a system that analyzes the time-series impression change in the acoustic signal by a unit of music phrase. The aim is to support the music creation using a computer (computer music) by bringing out composers' potentially existing knowledge and skills. Our goal is to realize the cross-genre/cross-cultural music creation. Our system realizes the automatic extraction of musical features from acoustic signals by dividing and decomposing them into â€œphrasesâ€ and â€œthree musical elementsâ€ (rhythm, melody, and harmony), which are meaningful for human recognition. By calculating the correlation between the target â€œtarget music pieceâ€ and the â€œtypical phraseâ€ in each musical genre, composers are able to grasp the time-series impression change of music media by the unit of music phrase. The system leads to a new creative and efficient environment for cross-genre/cross-cultural music creation based on the potentially existing knowledge on the music phrase and structure.

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Susino, Marco, and Emery Schubert. "Cross-cultural anger communication in music: Towards a stereotype theory of emotion in music." Musicae Scientiae 21, no. 1 (August 2016): 60–74. http://dx.doi.org/10.1177/1029864916637641.

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40

HAMESSLEY, LYDIA. "Women and Music in Cross-Cultural Perspective. ELLEN KOSKOFF, ed." American Ethnologist 18, no. 2 (May 1991): 377–78. http://dx.doi.org/10.1525/ae.1991.18.2.02a00170.

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Habe, Katarina, Snježana Dobrota, and Ina Reić Ercegovac. "The Structure of Musical Preferences of Youth: Cross-cultural Perspective." Musicological Annual 54, no. 1 (June 29, 2018): 141–56. http://dx.doi.org/10.4312/mz.54.1.141-156.

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The aim of this study was to explore the differences in musical preferences between Slovene and Croatian students. The sample consisted of 369 students from Slovenia and 371 students from Croatia. The results show that there are significant differences in musical preferences between Slovene and Croatian students. Furthermore, differences with regard to gender, age and study program were confirmed.

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Bar-Yosef, Amatzia. "A Cross-Cultural Structural Analogy Between Pitch And Time Organizations." Music Perception 24, no. 3 (February 1, 2007): 265–80. http://dx.doi.org/10.1525/mp.2007.24.3.265.

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Macklin, Christopher. "Cross-Cultural Perspectives on Secular Vocal Performance in Early Wales." Journal of the Royal Musical Association 134, no. 2 (2009): 167–83. http://dx.doi.org/10.1080/02690400903109059.

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AbstractThere are many historical repertories of interest for which documentary evidence is scant. In such areas traditional models of musicological research, driven by notation, may be of limited use, and there is thus a need to develop alternative formulations for the relationship between the performance, the performer and the text. In this study, textual analysis and ethnographic comparisons of structurally similar performance cultures (namely, classical Greece and Rome and bardic traditions of south-eastern Europe and eastern Africa) are combined to examine one such tradition: the secular music of the bards of medieval and early-modern Wales. Contemporary accounts pertaining to this repertory are characterized by a systematic ambiguity in their description of speech and song, and a selective use of musical notation for instrumental but not vocal figuration. Comparisons with other musical cultures that share this ambiguity lead to the development of a model of performance that accounts for these textual features.

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Goldsworthy, David. "Teaching gamelan in Australia: Some perspectives on cross-cultural music education." International Journal of Music Education os-30, no. 1 (November 1997): 3–14. http://dx.doi.org/10.1177/025576149703000102.

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Indonesian percussion orchestras (gamelan) have found a place in several Australian education institutions. Their presence and usage confronts music educators and students alike with a whole range of cross-cultural issues – social, ethical, pedagogical, and musical. Javanese gamelan is an ideal medium for introducing students to broader aspects of Indonesian society as well as to the musical principles and procedures of another culture. The educative value of gamelan studies also extends to musical insights and skills of a more general application in a student's music education. This paper examines some approaches to teaching gamelan in Australia, and discusses problems faced by students of this tradition in a cross-cultural situation.

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PRATO, PAOLO. "Selling Italy by the sound: cross-cultural interchanges through cover records." Popular Music 26, no. 3 (October 2007): 441–62. http://dx.doi.org/10.1017/s0261143007001377.

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AbstractSince the beginning of modern canzone, cover versions have represented a shortcut to importing and exporting songs across national borders. By breaking language barriers, these records have played the role of ambassadors of Italian music abroad and, vice-versa, of Anglo-American music at home. Although cover records mania boomed especially in the 1960s, the history of Italian popular music is disseminated by such examples, including exchanges with French- and Spanish-speaking countries as well. After reflecting on the nature of ‘cover’ and offering a definition that includes its being a cross-cultural space most typical of Italy and other peripheral countries in the age of early contact with pop modernity, the paper focuses on the economic, aesthetic and sociological paradigms that affect the international circulation of cover records and suggests a few theoretical explanations that refuse the obsolete ‘cultural imperialism’ thesis in favour of a more flexible view hinged upon the notion of ‘deterritorialisation’. In the final section the paper provides a short history of Italian records that were hits abroad, decade by decade, and ends by highlighting those artists that played the role of cultural mediators between Italy and the world.

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Hu, Xiao, and Jin Ha Lee. "Towards global music digital libraries." Journal of Documentation 72, no. 5 (September 12, 2016): 858–77. http://dx.doi.org/10.1108/jd-01-2016-0005.

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Purpose The purpose of this paper is to compare music mood perceptions of people with diverse cultural backgrounds when they interact with Chinese music. It also discusses how the results can inform the design of global music digital libraries (MDL). Design/methodology/approach An online survey was designed based on the Music Information Retrieval Evaluation eXchange (MIREX) five-cluster mood model, to solicit mood perceptions of listeners in Hong Kong and the USA on a diverse set of Chinese music. Statistical analysis was applied to compare responses from the two user groups, with consideration of different music types and characteristics of listeners. Listeners’ textual responses were also analyzed with content coding. Findings Listeners from the two cultural groups made different mood judgments on all but one type of Chinese music. Hong Kong listeners reached higher levels of agreement on mood judgments than their US counterparts. Gender, age and familiarity with the songs were related to listeners’ mood judgment to some extent. Practical implications The MIREX five-cluster model may not be sufficient for representing the mood of Chinese music. Refinements are suggested. MDL are recommended to differentiate tags given by users from different cultural groups, and to differentiate music types when classifying or recommending Chinese music by mood. Originality/value It is the first study on cross-cultural access to Chinese music in MDL. Methods and the refined mood model can be applied to cross-cultural access to other music types and information objects.

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Randles, Clint, and Leonard Tan. "Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore." British Journal of Music Education 36, no. 02 (July 2019): 197–210. http://dx.doi.org/10.1017/s0265051719000172.

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AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p < 0.0001) than their US counterparts.

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Eitan, Zohar. "Musical Objects, Cross-Domain Correspondences, and Cultural Choice: Commentary on “Cross-Cultural Representations of Musical Shape” by George Athanasopoulos and Nikki Moran." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 204. http://dx.doi.org/10.18061/emr.v8i3-4.3942.

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The target article illustrates deep cross-cultural gaps, involving not only the representation of musical shape but also the notion of a musical object itself.  Yet, numerous empirical findings suggest that important cross-modal correspondences involving music and visual dimensions are inborn or learned at infancy, prior to the acquisition of language and most culture-specific behavior. Drawing on recent empirical work, the commentary attempts to reconcile this apparent disparity. 

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Diamond, Catherine. "Human See, Human Do: Simianification, Cross-species, Cross-cultural, Body Transformation." New Theatre Quarterly 31, no. 3 (July 9, 2015): 263–88. http://dx.doi.org/10.1017/s0266464x1500041x.

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Simianification is the practice of humans inhabiting the simian body on stage. Because Asians have lived with monkeys and apes, several Asian theatre traditions have long legacies of representing monkeys on stage. In Europe and North America, where non-human primates did not exist, they are not a familiar feature in performance until nineteenth-century music hall and circus and twentieth-century film and television. In some recent performances in Asia dancers and actors have expanded their understanding of monkey roles by incorporating scientific discoveries, modern movement techniques, and global pop culture. On the British and American stage, actors experiment to ‘impersonate’ the humanized ape bodily and mentally, without the aid of the disguises and prosthetics usual in film. These performers ‘embody’ the philosophical inquiry of what it means to ‘be monkey’ by inhabiting a monkey’s body while still performing ‘art’ for a human audience. Catherine Diamond, a Contributing Editor to NTQ, is a professor of theatre and environmental literature at Soochow University, Taiwan. She is also the director of the Kinnari Ecological Theatre Project in Southeast Asia.

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Athanasopoulos, George, and Nikki Moran. "Cross-Cultural Representations of Musical Shape." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.

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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians’ associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group’s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants’ responses point to profoundly different ‘norms’ of musical shape association, which may be linked to literacy and to the functional role of music in a community. 

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