Journal articles on the topic 'Music and science'
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Fallowfield, Ellen. "Sounding Science: Exploring Music in Science and Science in Music." Arts 4, no. 4 (December 19, 2015): 121–22. http://dx.doi.org/10.3390/arts4040121.
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Kozu, Yoshiyuki. "Music playing robots. Music in Science." Journal of the Robotics Society of Japan 14, no. 2 (1996): 160–63. http://dx.doi.org/10.7210/jrsj.14.160.
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Detournay, Stephane. "Music meets science." Nature 499, no. 7457 (July 2013): 245. http://dx.doi.org/10.1038/nj7457-245a.
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Windle, Ralph. "Science and music." New Scientist 206, no. 2762 (May 2010): 29. http://dx.doi.org/10.1016/s0262-4079(10)61320-6.
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Hall, R. W. "MUSIC THEORY: Geometrical Music Theory." Science 320, no. 5874 (April 18, 2008): 328–29. http://dx.doi.org/10.1126/science.1155463.
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Gray, P. M. "BIOLOGY AND MUSIC: Enhanced: The Music of Nature and the Nature of Music." Science 291, no. 5501 (January 5, 2001): 52–54. http://dx.doi.org/10.1126/science.10.1126/science.1056960.
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Tramo, M. J. "BIOLOGY AND MUSIC: Enhanced: Music of the Hemispheres." Science 291, no. 5501 (January 5, 2001): 54–56. http://dx.doi.org/10.1126/science.10.1126/science.1056899.
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Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (September 1, 2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.
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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teaching resources for students with less finances and internet access can give access to STEAM (science, technology, arts and mathematics) and music creation. We recenter Black, Latinx and Indigenous musics and participatory music practices to expand music creation. Therefore, this research design offers a series of decolonizing music technology and creation prompts to adapt with local music practitioners as teaching-artists for community-specific teaching and learning.
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Lauria, Federico. "Affective Responses to Music: An Affective Science Perspective." Philosophies 8, no. 2 (February 23, 2023): 16. http://dx.doi.org/10.3390/philosophies8020016.
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Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music.
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Werrett, Simon. "Disciplinary Culture: Artillery, Sound, and Science in Woolwich, 1800–1850." 19th-Century Music 39, no. 2 (2015): 87–98. http://dx.doi.org/10.1525/ncm.2015.39.2.87.
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The rise of military music around 1800 offers a suggestive context in which to examine the connections between science, music, and the military. Olinthus Gregory was representative of a community of reform-minded mathematicians and astronomers who sought to introduce greater precision and more mathematics into science, applying mathematical calculation to music and the sciences. His proposal to regulate tempo with a pendulum followed what was no doubt a familiar sight for him at the Woolwich Arsenal—the use of the pendulum by the drum-major to regulate marching music. Indeed, a number of such projects converged on Woolwich, an experimental space where new scientific and musical regimes emerged. The “calculating eye” secured authority by presenting science as objective and freed of emotions, but music's ability to evoke emotions was powerful. Thus, while music was a resource for the exact science promoted at the Arsenal, it could also threaten it.
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Land, Michael. "International Conference on Computer Music and Music Science." Computer Music Journal 21, no. 3 (1997): 97. http://dx.doi.org/10.2307/3681018.
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Leedy, Douglas, and Robin Maconie. "The Science of Music." Notes 54, no. 4 (June 1998): 938. http://dx.doi.org/10.2307/900086.
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Bonin, Jean M., and Melvin Berger. "The Science of Music." Notes 47, no. 1 (September 1990): 71. http://dx.doi.org/10.2307/940548.
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Scruton, Roger. "Music and Cognitive Science." Royal Institute of Philosophy Supplement 75 (October 2014): 231–47. http://dx.doi.org/10.1017/s1358246114000277.
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It has always been controversial to make a sharp distinction between the philosophical and the psychological approaches to aesthetics; and the revolution brought about by cognitive science has led many to believe that the philosophy of art no longer controls a sovereign territory of its own. To take one case in point: recent aesthetics has addressed the problem of fiction, asking how it is that real emotions can be felt towards merely imagined events. Several philosophers have tried to solve this problem by leaning on observations in psychology – Jenefer Robinson, for example, exploring the domain of pre-conscious and non-rational responses, and Greg Currie, invoking simulation theory from the realm of cognitive science. I am not yet persuaded that either has succeeded in solving the philosophical question: but the fact that such sophisticated and well-informed philosophers should begin from studies in empirical psychology says much about how the subject of aesthetics has changed since the early days of linguistic analysis.
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TAKI, Kazuko. "Science of Playing Music." Vacuum and Surface Science 62, no. 4 (April 10, 2019): 235–37. http://dx.doi.org/10.1380/vss.62.235.
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Almanda, Hafi Hilmiah, Setya Yuwana, and Setyo Yanuartuti. "Kajian pertunjukan musik “Thungka” dalam masyarakat Bawean Gresik (Tinjauan etnomusikologi)." Imaji 21, no. 1 (April 24, 2023): 30–37. http://dx.doi.org/10.21831/imaji.v21i1.49233.
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Penelitian ini menemukan kajian etnomusikologi pada alat musik thungka, karena peneliti ingin mengetahui segala sesuatu yang terdapat dalam alat musik thangka, baik itu berupa aspek fungsi, musikal, instrumental dan sosial budaya musik tradisional thungka. Dalam penelitian ini metode yang digunakan yaitu metode kualitatif. Fungsi musik Thungka pada dasarnya sebagai alat untuk penumbuk padi dalam acara musim panen disetiap tahun akan tetapi sekarang menjadi sebagai media pertunjukan seni tradisional, acara pernikahan sampai keacara penyambutan tamu turis ke Bawean. Alat musik Thungka ini merupakan alat musik tradisional yang tergolong bertangga nada tetratonik yaitu memiliki empat tangganada. Thungka, bahan dasarnya dari ronjengan sampai Alu’ terdiri dari kayu berjenis Jati. Lirik yang dimainkan dalam pertunjukan Thungka memaparkan tentang kehidupan masyarakat Bawean. Kata kunci: Etnomusikolgi, Musik Thungka, Bawean Study of "Thungka" music performance in Bawean Gresik community(An ethnomusicology review) AbstractThis study found an ethnomusicological study on the thungka musical instrument, because the researcher wanted to know everything contained in the thangka musical instrument, whether it was in the form of functional, musical, instrumental and socio-cultural aspects of thungka traditional music. In this study the method used is a qualitative method. The function of Thungka music is basically as a tool for pounding rice in the harvest season every year but now it has become a medium for traditional art performances, weddings to welcoming tourist guests to Bawean. This Thungka musical instrument is a traditional musical instrument that is classified as a tetratonic scale, which has four scales. Thungka, the basic ingredients from ronjengan to pestle are teak wood. The lyrics played in the Thungka show describe the life of the Bawean people.Keywords: Ethnomusicology, Thungka Music, Bawean
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Pratama, Ryan Nuari, and Warih Andan Puspitosari. "Terapi Musik dalam Menurunkan Tingkat Depresi pada Lansia." Jurnal Keperawatan Respati Yogyakarta 6, no. 2 (May 25, 2019): 606. http://dx.doi.org/10.35842/jkry.v6i2.302.
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Salah satu terapi non farmakologi yang dapat digunakan dalam menurunkan tingkat depresi pada lansia adalah terapi musik. Mendengarkan musik dapat mempengaruhi sistem saraf otonom (sistem saraf simpatis dan parasimpatis) yang dapat menghasilkan respon relaksasi. Hal ini akan memperbaiki perilaku dan gejala psikologis pada lansia yang mengalami depresi. Tujuan artikel ini adalah untuk mereview literature tentang efektifitas terapi musik terhadap penurunan tingkat depresi pada lansia. Pencarian literatur review ini menggunakan database Science Direct, PubMed dan Goggle Scholar dengan menggunakan keywords: “Music Therapy AND Depression AND Elderly”. Hasil pencarian artikel menemukan sebanyak 3.570 artikel dalam jurnal internasional dalam rentang tahun 2016 sampai 2019. Artikel tersebut diseleksi dan yang memenuhi kriteria inklusi dan eksklusi adalah sebanyak 10 artikel. Hasil dari 10 jurnal tersebut, 8 penelitian menunjukkan bahwa ada perubahan efek yang signifikan dalam penurunan gejala depresi pada lansia setelah dilakukan beberapa jenis terapi diantaranya China Traditional Music, Preferred Music Combined, Interaktive Music, Choral Singing Therapy, Turkis Traditional Music, Combined Music and Tai Chi. Literatur review ini menunjukkan bahwa metode terapi musik mempunyai peranan yang sangat penting dalam tatalaksana non-farmakologi. Terapi musik ini menunjukkan sebagai salah satu metode yang efektif dalam menurunkan gejala depresi pada lansia. Tinjauan literatur review ini mendapatkan hasil bahwa pemberian terapi musik efektif dalam menurunkan tingkat depresi pada lansia.
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Simanjorang, Jeffri Yosep, and Gandhi Pawitan. "MODAL SOSIAL, INOVASI, DAN SKENA MUSIK: STUDI KUALITATIF KOMUNITAS MUSIK INDIE BANDUNG 1994-2004." Sosioglobal : Jurnal Pemikiran dan Penelitian Sosiologi 5, no. 1 (February 2, 2021): 73. http://dx.doi.org/10.24198/jsg.v5i1.31169.
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ABSTRAK Penelitian ini bertujuan untuk mendalami bagaimana modal sosial pada komunitas musik indie di Kota Bandung memengaruhi ekosistem musik pada era 1994-2004 yang melahirkan berbagai inovasi pada industri kreatif. Dengan menerapkan pendekatan kualitatif sejak Maret hingga November 2020, penelitian ini melibatkan 16 informan dengan berbagai latar belakang peran pada industri musik. Penelitian ini fokus pada (1) aktivitas bersama yang dilakukan oleh komunitas, (2) relasi, nilai dan norma pada komunitas, (3) pengaruh modal sosial pada proses difusi, produksi dan distribusi musik, dan (4) peran modal sosial dalam inovasi musik indie. Hasil penelitian ini menggambarkan bahwa modal sosial berpengaruh secara signifikan dalam perkembangan komunitas musik indie Bandung. Dengan modal sosial yang ada, komunitas musik indie saat itu secara kolektif mengenal dan mengaplikasikan konsep do-it-yourself, terutama dalam bermusik. Kondisi tersebut pada akhirnya menjadi awal terciptanya beberapa inovasi yang membuat musik indie sebagai warna baru yang diperhitungkan dan hingga kini menjadi salah satu kekuatan besar di industri musik. Penelitian ini juga menemukan bahwa dimensi struktural pada modal sosial yang mencakup bonding, bridging, linking connections berperan dalam menopang eksistensi musik indie Bandung. Kata kunci: modal sosial, inovasi, komunitas, musik, BandungABSTRACT This study aims to explore how social capital in the indie music communities in Bandung City influenced the music ecosystem in the 1994-2004 era which created various innovations in the creative industry. By applying a qualitative approach from March to November 2020, this study involved 16 informants with various backgrounds in music industry. This study focuses on (1) joint activities carried out by the community, (2) relationships, values and norms in the community, (3) the influence of social capital on the diffusion process, production and distribution of music, and (4) the role of social capital in indie music innovation. The result of this study illustrates that social capital has a significant effect on the development of the Bandung indie music community. With the existing social capital, the indie music community at that time collectively recognized and applied the do-it-yourself concept, especially in music. This condition eventually led to the creation of several innovations that transformed indie music and now become one of the great forces in the music industry. This study also found that the structural dimensions of social capital which include bonding, bridging, linking connections play a role in sustaining the existence of Bandung indie music.Keywords: social capital, innovation, community, music, Bandung
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Scheck, Anne. "Charles Limb, MD, on the Science of Music, and the Music of Science." Hearing Journal 66, no. 11 (November 2013): 28. http://dx.doi.org/10.1097/01.hj.0000437997.17022.fe.
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Aguiar, Vinicius de. "Music Recommender Systems: A (Data) Science of Music Aesthetics?" Semeiosis - transdisciplinary journal of semiotics 11, no. 1 (December 2023): 31–47. http://dx.doi.org/10.53987/2178-5368-2023-12-02.
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Restani, Donatella. "Embryology as a Paradigm for Boethius’ musica humana." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 161–90. http://dx.doi.org/10.1163/22129758-12341274.
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At the beginning of Boethius’ De institutione musica, musica humana is defined as a coaptatio, a well ordered relationship between body and soul and between the parts of the body and the parts of the soul. Boethius promised to expand the topic later, but he never returned to it. As a consequence Medieval and Renaissance music theorists gave it different interpretations. This paper is part of a wider project which aims at recovering the historical meaning of musica humana and its natural implications for human life, by identifying Boethius’ sources on the relationship between music and the human body. Analyzing some of the Pythagorean, Hippocratic and Neoplatonic treatises on embryology, numerology and music as well as their reception in the Latin culture, this paper will explore the definition of musica humana as a style of thought which connected music and science using the same interpretative models, metaphors and images, well-known at Boethius’ time.
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Auliya', Eldiana Putri, and Ananta Yudiarso. "Medium Effect Size Terapi Musik untuk Menurunkan Kecemasan melalui Musik Klasik, Tradisional dan Relaksasi/Instrumental." Jurnal Psikologi Perseptual 8, no. 2 (December 1, 2023): 124–37. http://dx.doi.org/10.24176/perseptual.v8i2.7468.
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This research was aimed to determine the effectiveness of music therapy to reduce anxiety by using a meta-analytic method through a literature review of 13 international research journals between 2010 until 2021. Some studies have shown that the types of music used to reduce anxiety are relaxing, classical and traditional music. That researchers are interested in take a research with three types of music. There were 1288 participants of 649 experimental groups and 639 control groups. Based on data management M, SD, and N the value of effect size hedge’s g=0,201 (CI-0,255-0,657) with I2 (inconsistency)=88,95% and Egger Bias P= 0,521. The result that classical music is also effective to reducing anxiety with d=1,85. Concluded, that music therapy with music using three types was significantly less effective in reducing anxiety. Penelitian ini bertujuan untuk mengetahui efektivitas terapi musik untuk menurunkan kecemasan dengan menggunakan metode meta-analisis melalui review literatur 13 jurnal dengan penelitian internasional antara tahun 2010 hingga 2021. Beberapa penelitian dapat diketahui jenis musik yang digunakan untuk menurunkan kecemasan adalah musik relaksasi, klasik dan tradisional. Sehingga, peneliti tertarik untuk melakukan penelitian dengan tigas jenis musik tersebut. Pastisipan sebanyak 1288 yang terdiri dari 649 kelompok eksperimen dan 639 kelompok kontrol. Berdasarkan pengelolaan data M, SD dan N dihasilkan nilai effect size hedge’s g = 0,201 (CI-0,255-0,657) dengan I2 (inconsistency) = 88,95% dan Egger Bias P= 0,521. Terapi musik yang efektif untuk menurunkan kecemasan adalah musik relaksasi dengan nilai d sebesar 2,79 dari penelitian Chirico et al. (2020). Hasil lainnya menunjukkan bahwa musik klasik juga efektif dalam menurunkan kecemasan dengan nilai d sebesar 1,85. Demikian hasil menunjukkan effect size medium dan tidak bias publikasi. Hal ini dapat dikatakan bahwa terapi musik dengan melalui tiga jenis musik secara signifikan kurang efektif untuk menurunkan kecemasan
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Zahra, Az Zahrah Ikhwanesh Shofa, Tutut Pristiati, and Yurina Gusanti. "Kreativitas Kos Atos dalam Mempertahankan Musik Keroncong di Kota Malang." JoLLA: Journal of Language, Literature, and Arts 3, no. 4 (April 30, 2023): 490–502. http://dx.doi.org/10.17977/um064v3i42023p490-502.
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Kos Atos merupakan grup musik Keroncong yang terbentuk di Universitas Negeri Malang. Kos Atos memiliki kepanjangan Kumpulan Orang Seni Depan Matos. Dalam mempertahankan musik Keroncong di Kota Malang, grup musik Kos Atos mengkreasikan musik Keroncong sebagai genre dasar dengan genre yang berkembang saat ini. Alasan peneliti melakukan penelitian ini yaitu untuk mendeskripsikan kreativitas apa saja yang dilakukan Kos Atos dalam mempertahankan musik Keroncong di Kota Malang. Penelitian ini bertujuan untuk mendeskripsikan Kreativitas yang dilakukan Kos Atos dalam mempertahankan musik Keroncong di Kota Malang dengan harapan bisa menjangkau semua kalangan agar musik keroncong bisa dikenal lebih luas. Pada penelitian ini menggunakan pendekatan deskriptif kualitatif dengan menggunakan teknik observasi, wawancara dan dokumentasi dalam mengumpulkan data. Analisis data penelitian menggunakan teknik reduksi data, penyajian data, dan verifikasi. Hasil dari penelitian ini menjelaskan tentang kreativitas Kos Atos yaitu dengan dibentuknya rumah produksi bernama creatorikos, 3 album terakhir yaitu Local Heroes, Langkah Baru, dan Live at Kopi Koopen Ijen. Selain itu, ada pula kreativitas lain yang ditunjukkan melalui single lagu, tour album, berkarya melalui platform digital, serta penyajian musik Kos Atos. Kata kunci: kreativitas; Kos Atos; musik; Keroncong Kos Atos Creativity in Maintaining Keroncong Music in Malang Kos Atos is a Keroncong music group formed at Malang State University. Kos Atos stands for “Matos Home Art People Group”. In maintaining Keroncong music in Malang, this Kos Atos music group has created Keroncong music as a basic genre with the genre currently developing. The reason for the researchers conducting this research was to describe what creativity Kos Atos did in maintaining Keroncong music in Malang City. This study aims to describe the creativity carried out by Kos Atos in maintaining Keroncong music in Malang City with the hope that it can reach all groups so that Keroncong music can be widely known. In this study using a qualitative descriptive approach by using observation techniques, interviews and documentation in collecting data. Analysis of research data using data reduction techniques, data presentation, and verification. This study's results explain Kos Atos's creativity, namely the formation of a production house called creatorikos, the last 3 albums are Local Heroes, New Steps, and Live at Kopi Koopen Ijen. Apart from that, other creativity is shown through single songs, album tours, working through digital platforms, and presenting Kos Atos music. Keywords: creativity; Kos Atos; music; Keroncong
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Çetinkaya, Yalçın. "Ibn Khaldun and Music as a Science of Mathematical Sciences." Journal of Ibn Haldun Studies, Ibn Haldun University 2, no. 1 (January 15, 2017): 99–104. http://dx.doi.org/10.36657/ihcd.2017.23.
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Piryazeva, Elena Nikolaevna. "Digital music art through the prism of interdisciplinarity." Философия и культура, no. 12 (December 2020): 25–39. http://dx.doi.org/10.7256/2454-0757.2020.12.34491.
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The processes taking place in modern science tend to integrate various scientific disciplines in studying any scientific phenomenon. This explains the search of methodology based on the techniques of different sciences involved in formation of the subject of research, which in this article is represented by the digital music art. Interpreted as a branch of music art with digital specificity, digital music art incorporates electronic music presented by specific, algorithmic, and electronic music. A signature characteristic of digital music art consists in its interdisciplinarity, which suggests the combined effect of separate parts of the system and leads to self-organization, which corresponds with the scientific tasks of synergetics. This substantiates the relevance for elaboration of interdisciplinary methodology for studying digital music art in the context of research mechanisms developed within synergetics. The scientific lies in the analysis of digital art through the prism of the qualities inherent to synergetics. The disciplines united by digital art (mathematics, set theory, probability theory, information theory, combinatorics, game theory, cybernetics, computer science, acoustics, sociology, communication, and biology) are interdisciplinary, which means that in ensemble with other disciplines they form a complex interdisciplinary knowledge of structure of digital music art. At the same time, the disciplines that comprise scientific framework of digital music art are attributed to different sciences: humanities, natural sciences, mathematics, social sciences, and technical sciences. In this context, the research of digital music art is simultaneously of interdisciplinary and multiscientific nature. The author established a peculiar impact of interdisciplinarity upon digital art, which generates the qualities inherent to synergetics – nonlinearity, disequilibrium, openness, chaotic nature, entropy, indeterminacy, and dissipation.
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Cross, Ian. "Music and Science: Three Views." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 52 (1998): 207. http://dx.doi.org/10.2307/3686926.
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김희진. "Interactions between Music and Science." Korean Journal of Arts Studies ll, no. 20 (June 2018): 321–29. http://dx.doi.org/10.20976/kjas.2018..20.015.
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Rubinstein, Roy S. "Computer science projects with music." ACM SIGCSE Bulletin 27, no. 1 (March 15, 1995): 287–91. http://dx.doi.org/10.1145/199691.199823.
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HALL, D. E. "Music Producers." Science 252, no. 5013 (June 21, 1991): 1728–29. http://dx.doi.org/10.1126/science.252.5013.1728-a.
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Bagaskara, Akbar, Kun Setyaning Astuti, and Umilia Rokhani. "Filsafat musik: Memahami esensi, perkembangan, dan relevansinya." Imaji: Jurnal Seni dan Pendidikan Seni 22, no. 1 (April 28, 2024): 71–78. http://dx.doi.org/10.21831/imaji.v22i1.71954.
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Tujuan dari penelitian ini adalah untuk menyelidiki serta menguraikan ilmu filsafat musik dari banyak dimensi, mulai dari pendefinisian esensinya hingga perkembangan keilmuannya sepanjang sejarah dan relevansinya di era kontemporer. Metode penelitian yang digunakan dalam peneltian kali ini adalah metode kualitatif, dengan ciri lebih mengedepankan pada analisis fenomena sosial budaya yang luas dan mendalam. Teori analisis data yang diaplikasikan pada penelitian ini adalah model dari Miles dan Huberman dengan konsep empat tahapan analisis data yaitu pengumpulan data, reduksi data, penyajian data dan kesimpulan. Adapun temuan dari peneltian ini adalah (1) filsafat musik bukan hanya sekedar analisis teoritis bentuk belaka, tetapi juga berkaitan dengan makna mendalam musik pada konteks yang lebih luas yaitu, sosial, budaya, individual maupun kelompok yang menyertainya. (2) Sejarah dari filsafat musik menggambarkan bagaimana perjalanan atau evolusi dari pemikiran tentang musik dari masa ke masa yang akhirnya memberikan pemahaman utuh terhadap fenomena musik era saat ini. (3) Pada era kontemporer analisis wacana filsafat musik condong kepada masalah-masalah seperti tren musik modern, teknologi yang menyertainya dan dampak perubahannya terhadap masyarakat global. (4) Urgensi dari mempelari filsafat musik sangat erat kaitannya pada, dihasilkannya keterbukaan wawasan mendalam tentang musik, yang pada akhirnya akan membuat siapapun yang mendalaminya akan lebih menghargai musik dan memiliki daya analisis kritis lebih pada fenomena musik di sekitar. Kata kunci: Filsafat musik, esensi, perkembangan, relevansi Philosophy of music: Understanding its essence, development, and relevance AbstractThe purpose of this study is to investigate and describe the science of music philosophy from many dimensions, from defining its essence to its scientific development throughout history and its relevance in the contemporary era. The research method used in this research is a qualitative method, characterized by prioritizing the analysis of broad and in-depth socio-cultural phenomena. The theory of data analysis applied in this research is the model of Miles and Huberman with the concept of four stages of data analysis, namely data collection, data reduction, data presentation and conclusions. The findings of this research are (1) the philosophy of music is not just a theoretical analysis of form, but also related to the deep meaning of music in a broader context, namely, social, cultural, individual and group that accompanies it. (2) The history of the philosophy of music illustrates how the journey or evolution of thinking about music from time to time which ultimately provides a complete understanding of the phenomenon of music in the current era. (3) In the contemporary era, the analysis of music philosophy discourse leans towards issues such as modern music trends, the technology that accompanies them and the impact of their changes on global society. (4) The urgency of studying the philosophy of music is closely related to, the resulting openness to deep insight into music, which will ultimately make anyone who deepens it will appreciate music more and have more critical analysis power on the phenomenon of music around. Keywords: Philosophy of music, essence, development, relevance
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Markova, E. N. "Cultural technologies of modern music science." Educational Dimension 26 (December 14, 2009): 223–30. http://dx.doi.org/10.31812/educdim.7017.
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The article is dedicated to questions music history metaphysicians, who Defines the regular nature of the appearance in big history rime of the atradicionalizm and accordingly, regularity of the manifestation in art and in music effect modernist style-avanguard in the manner of single extreme стилевого of the complex, which reflect in category culture - a music civilization, primary - a secondary genres.
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Ansari, Mohammad Sadegh. "Learning and Patronizing the Science of Music among the Elite of Medieval Baghdad." Journal of Abbasid Studies 6, no. 2 (November 28, 2019): 123–49. http://dx.doi.org/10.1163/22142371-12340048.
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Abstract Scholarly writings on music during the medieval period were often composed at the request of private patrons or were otherwise dedicated to members of the Baghdadi elite (e.g., caliphs and other rulers) who were not professional musicians. The existence of such treatises suggests that this Baghdadi elite had an interest in learning and/or patronizing the science of music. In this article, I examine the various functions which learning the science of music fulfilled for the elite of medieval Baghdad (third/ninth-seventh/thirteenth century), and which in turn prompted their interest in the patronage thereof. The two most important of these functions were to enhance the appreciation of performed music and to evince a status marker in a culture that celebrated mastery of the Greek-inspired sciences as a sign of one having socially arrived.
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Hadi, Sumasno. "Bibliografi Musik di Kalimantan Selataan (1978-2017)." Pelataran Seni 2, no. 1 (March 17, 2017): 37. http://dx.doi.org/10.20527/jps.v2i1.9257.
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IntisariPenelitian ini bertujuan untuk memeroleh data bibliografis tentang kesenian musik di Kalimantan Selatan. Penelitian berjenis kualitatif-deskriptif ini menggunakan metode studi kepustakaan (literature research), dilakukan selama tiga bulan dari Maret hingga Mei 2017. Sumber data berupa bahan pustaka tentang musik di Kalimantan Selatan diperoleh dari berbagai perpustakaan di Kota Banjarmasin. Selain itu, dalam pengumpulan data, peneliti juga melakukan observasi, wawancara dan studi dokumen terkait subjek penelitian ini. Keabsahan data penelitian ini diperoleh melalui perpanjangan keikutsertaan peneliti, ketekunan pengamatan, triangulasi, diskusi sejawat/pakar, serta dengan kecukupan referensial. Hasil penelitian yang diperoleh adalah tersusunnya sebuah bibliografi kesenian musik di Kalimantan Selatan dengan beberapa catatan berikut. Dalam kurun waktu hampir 40 tahun (1978—2017), tercatat sebanyak 17 terbitan dengan subjek musik di Kalimantan Selatan. Dari 15 terbitan yang dapat ditelusuri, diketahui bahwa sebagian besar masih menggarap khazanah musik tradisional di Kalimantan Selatan, seperti musik Gamelan, Panting, Kintung, dan lain-lain. Terbitan-terbitan lain yang membahas musik modern-populer belum banyak dilakukan. Selain itu, jumlah 17 terbitan dalam kurun waktu empat dasawarsa dapat dikatakan masih belum mencerminkan kondisi yang ideal dalam perkembangan ilmu musik di daerah Kalimantan Selatan. Kata kunci: bibliografi musik, musik Kalimantan, musik Kalimantan Selatan AbstractThis study aims to obtain bibliographic data about music art in South Kalimantan. This descriptive qualitative research uses literature research method, conducted for three months from March to May 2017. Sources of data in the form of library materials about music in South Kalimantan obtained from various libraries in the city of Banjarmasin. In addition, in data collection, researchers also conducted observations, interviews and document studies related to this research subject. The validity of this research data is obtained through extension of researcher's participation, observational persistence, triangulation, peer/expert discussion, and with referential adequacy. The result of the research is the compilation of a bibliography of music art in South Kalimantan with the following notes. In the period of nearly 40 years (1978-2017), there were 17 publications with the subject of music in South Kalimantan. Of the 15 publications that can be traced, it is known that most are still working on the treasures of traditional music in South Kalimantan, such as Gamelan music, Panting, Kintung, and others. Other publications that discuss modern-popular music have not been widely practiced. In addition, the number of 17 publications within a period of four decades can be said still does not reflect the ideal conditions in the development of music science in the area of South Kalimantan.Keywords: music bibliography, Kalimantan music, South Kalimantan music
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Aulia, Prita Tyara, Diana Wijayanti, and Nuzirwan Acang. "Scoping Review: Efek Musik Sebagai Terapi Tambahan terhadap Pengendalian Tekanan Darah pada Penderita Hipertensi." Jurnal Integrasi Kesehatan & Sains 3, no. 1 (March 24, 2021): 93–99. http://dx.doi.org/10.29313/jiks.v3i1.7353.
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Hipertensi adalah peningkatan tekanan darah sistole ≥140 mmHg dan diastole ≥90 mmHg, diukur dua kali, selang waktu lima menit dalam keadaan tenang. Prevalensi hipertensi di Indonesia tahun 2013 tercatat 25,8% dan menjadi 34,1% pada 2018. Pengobatan hipertensi selain menggunakan obat, dapat diberi terapi non-farmakologis, salah satunya adalah terapi musik. Tujuan penelitian ini menganalisis efek musik sebagai terapi tambahan terhadap pengendalian tekanan darah pada penderita hipertensi. Penelitian ini merupakan Scoping Review, dengan mencari artikel dari database Science Direct, Neliti, dan DOAJ diperoleh 2.784 artikel. Hasil skrining yang sesuai kriteria inklusi sebanyak 474 artikel. Hasil uji kelayakan berdasar atas PICOS dan setelah dilakukan telaah kritis terdapat enam artikel yang memenuhi syarat. Penelitian dilakukan pada periode September–Desember 2020. Hasil telaah dan analisis dari enam artikel menyatakan pemberian musik selama 15–25 menit memengaruhi tekanan darah dan terdapat perbedaan tekanan darah sebelum dengan setelah diberikan musik pada penderita hipertensi. Selain itu, lima artikel menyatakan terdapat perbedaan tekanan darah pada penderita hipertensi yang tidak diberikan terapi musik. Tiga artikel menyatakan terdapat perbedaan efek penurunan tekanan darah antara kelompok intervensi musik dan kelompok yang tidak diberikan intervensi musik. Alunan musik dapat menstimulasi tubuh mengeluarkan molekul nitric oxide yang menyebabkan pelebaran pembuluh darah sehingga dapat menurunkan tekanan darah. Kesimpulan penelitian ini adalah pemberian terapi musik efektif terhadap pengendalian tekanan darah pada penderita hipertensi. Scoping Review: Music Effects as Additional Therapy on Controlling Blood Pressure in Hypertensive PatientsHypertension was an increase in systolic blood pressure ≥140 mmHg and diastolic ≥90 mmHg, measured twice, five minutes apart in a calm state. The prevalence of hypertension in Indonesia in 2013 was recorded at 25.8% and became 34.1% in 2018. Treatment of hypertension in addition to using drugs, can be given non-pharmacological therapy, which is music therapy. The purpose of this study was to analyze the effect of music as an additional therapy on controlling blood pressure in hypertensive patients. This research is a Scoping Review, by searching articles from the database Science Direct, Neliti, and DOAJ obtained 2,784 articles. The screening results that matched the inclusion criteria were 474 articles. The results of the feasibility test were based on PICOS and after a critical review there were six articles that met the requirements. The research was conducted in the period September–December 2020. The results of the study and analysis of six articles stated that giving music for 15–25 minutes affected blood pressure and there were differences in blood pressure before and after being given music to people with hypertension. In addition, five articles stated that there were differences in blood pressure in hypertensive patients who were not given music therapy. Three articles stated that there were differences in the effect of lowering blood pressure between the music intervention group and the group that was not given music intervention. The music can stimulate body to release nitric oxide molecules which cause blood vessels to dilate so that can lower blood pressure. The conclusion of this study is that music therapy is effective in controlling blood pressure in hypertensive patients.
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Sukljan, Nejc. "Renaissance Music Between Science and Art." Musicological Annual 56, no. 2 (December 30, 2020): 183–206. http://dx.doi.org/10.4312/mz.56.2.183-206.
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This paper deals with the role of ancient music theory in Gioseffo Zarlino’s Istitutioni harmoniche and, within its framework, in particular with mathematical and physical considerations and their relevance to audible music. An outline of the treatise is followed by a presentation of Zarlino’s justification of music as scienza and arte. Finally, two case studies are presented on joining ancient theory with contemporary musical practice: the division of the interval and the system of the senario.
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Appleton, Jon. "Machine Songs III: Music in the Service of Science-Science in the Service of Music." Computer Music Journal 16, no. 3 (1992): 17. http://dx.doi.org/10.2307/3680847.
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Miller, L. "Music, science and magic: Penelope Gouk, Music, science and natural magic in seventeenth-century England." Early Music XXX, no. 1 (February 1, 2002): 121–22. http://dx.doi.org/10.1093/em/xxx.1.121.
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Trehub, Sandra E. "Divergent Perspectives on Musical Knowledge, Expertise, and Science." Evolutionary Studies in Imaginative Culture 4, no. 2 (October 1, 2020): 121–34. http://dx.doi.org/10.26613/esic.4.2.194.
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Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.
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Wigati, Oki Turatula Narendra, Raden Muhammad Mulyadi, and Widyo Nugrahanto. "Identitas musik: Studi netnografi rilisan musik di Bandung." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 7, no. 1 (April 13, 2023): 153–66. http://dx.doi.org/10.22219/satwika.v7i1.25253.
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Penggemar dan penikmat musik mulai kembali membeli pemutar analog, membeli rilisan dan mengoleksinya. Hal tersebut memunculkan fenomena mengunggah koleksi rilisan musik di instagram. Tujuan penelitian ini adalah merekonstruksi identitas musik remaja oleh idharrez, amenkcoy, opetho, alter.naive, dan iamcollapse. Adapun signifikansi topik dalam penelitian ini adalah identitas musik yang berkaitan dengan aging dengan keterlibatnnya dalam mengoleksi rilisan musik fisik yang diunggah di media sosial. Penelitian ini merupakan penelitian kualitatif dengan menampilkan data-data untuk mendukung temuan penelitian, serta kajian literatur. Penelitian ini menggunakan pendekatan netnografi dalam mengamati jejak digital yang menampilkan keterlibatan dalam lingkup musik di instagram. Selain itu, melakukan wawancara untuk memperoleh kedalaman informasi melalui lima informan pemilik akun instagram yang dikelola warga kota Bandung dengan rentang usia 35 sampai 42 tahun. Pemilihan kelima pemilik akun yang menjadi informan peneliti berdasarkan kredibilitas yang sudah dikenal dalam lingkup musik di kota Bandung. Hasil penelitian ini menunjukkan bahwa keaktifan mengunggah rilisan musik fisik di usia muda telah membentuk identitas yang melekat. Kesimpulan dari penelitian ini adalah musik berperan bagi hidup mereka maka hingga saat ini mereka tetap berada dalam lingkup musik; karya, dan kiprahnya telah dikenal di kota Bandung terlihat dari unggahan mereka di instagram. Music fans and connoisseurs are returning to buying analog players, purchasing releases, and collecting them. This led to the phenomenon of uploading a collection of music releases on Instagram. The purpose of this research is to reconstruct the musical identity of youth by idharrez, amenkcoy, opetho, alter.naive, and iamcollapse. The significance of the topic in this study is musical identity related to aging with involvement in collecting physical music releases uploaded on social media. This qualitative research presents data to support research findings and a literature review. This study uses a netnographic approach to observing digital footprints that display involvement in the music sphere on Instagram—in addition, conducting interviews to obtain in-depth information through five informants who own Instagram accounts managed by residents of the city of Bandung with an age range of 35 to 42 years. The five account owners who became research informants were selected based on credibility that was well-known in the music scene in the city of Bandung. The results of this study indicate that the activeness of uploading physical music releases at a young age has formed an inherent identity. This study concludes that music plays a role in their lives, so until now, they are still within the scope of music; their works and work have been known in Bandung, as seen from their uploads on Instagram.
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Ibekwe, Eunice U. "Music as Art and Science: An Evaluation." UJAH: Unizik Journal of Arts and Humanities 21, no. 1 (July 31, 2020): 159–79. http://dx.doi.org/10.4314/ujah.v21i1.7.
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Music is presented in this discourse as a coin with two sides –thus as an Art also as a science. Looking at music as an Art draws one’s attention to the artistic features and characteristics of music such as styles and skills of performances as in dancing, singing, playing instrument and its position in other related areas with similar attributes. On the other hand, seeing music from the perspective of a science, the study of acoustics, sound productions, mathematical relationships and intervallic applications are evident. Art involves creative thinking and inspiration to achieve an expected goal or a set objective. Science on its own employs knowledge interaction and inquiries to produce new scientific discoveries. Music co-habits these two complex entities in a seemingly integrative association. This paper therefore is a critical examination and evaluation of musical potency that qualifies it as an art as well as science. The argument is anchored on qualitative evaluation of materials drawn from related literatures and sources. It finally draws the conclusion that since music fits in properly, and performs creditably as an art, as well as maintains great affinity with science, it should be treated as a bicameral discipline.
Keywords: Art, Science, Relationship, Music, Imagination, Inspiration
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Sunarto, Sunarto. "Pemikiran Hanslick tentang Estetika dan Kritik Musik." PROMUSIKA 3, no. 2 (November 23, 2015): 163–73. http://dx.doi.org/10.24821/promusika.v3i2.1702.
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Approaching the mid‐19th century began the aesthetics of music, especially Western music aesthetics as an independent science apart from philosophy. In the development of musical aesthetics are always closely related between philosophy and the philosopher. Discussion on the aesthetics of music can not be separated from some of the theories that have been developed by philosophers. Eduard Hanslick is a figure in the history of musical aesthetics of music included in ʺGroup Autonomisʺ. This group believes that music is a world of sounds organized and stand alone without any. For him and the group, the music is not the language of emotions or feelings. He then gave a sharp criticism against some composers include Richard Wagner and Anton Bruckner as a representative ʺGroup Heteronomisʺ who argue that music can be a means of expressing feelings, expressing ideas, or a certain atmosphere. According to the aesthetics of music is ʺabsoluteʺ (to the music itself). With absolutismenya, Hanslick criticized mercilessly composers heteronomis deems to have abused the music to be ʺprogramaʺ (music for something) ‐which he regarded as ʹcheap musicʹ. The rivalry between the two camps stream music aesthetics was known as The Great Debate.
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Arslanova, Nafisa Jaxbaralievna, and Kizlarhon Anvarovna Isamova. "THEORETICAL FUNDAMENTALS OF MUSIC EDUCATION METHODOLOGY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (December 1, 2021): 119–23. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-24.
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Any science consists of a conclusion, a summary, a system of reliable and generalized knowledge about the objective laws of nature, society and the development of thought. The existence of a special understanding is an indispensable condition for the separation and normative activity of any science. Upbringing, education and teaching are the basic concepts of pedagogy as a science.
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DYER, JOSEPH. "The Place of Musica in Medieval Classifications of Knowledge." Journal of Musicology 24, no. 1 (January 1, 2007): 3–71. http://dx.doi.org/10.1525/jm.2007.24.1.3.
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ABSTRACT Medieval classifications of knowledge (divisiones scientiarum) were created to impose order on the ever-expanding breadth of human knowledge and to demonstrate the interconnectedness of its several parts. In the earlier Middle Ages the trivium and the quadrivium had sufficed to circumscribe the bounds of secular learning, but the eventual availability of the entire Aristotelian corpus stimulated a reevaluation of the scope of human knowledge. Classifications emanating from the School of Chartres (the Didascalicon of Hugh of St. Victor and the anonymous Tractatus quidam) did not venture far beyond Boethius, Cassiodorus, and Isidore of Seville. Dominic Gundissalinus (fl. 1144––64), a Spaniard who based parts of his elaborate analysis of music on Al-Fāārāābīī, attempted to balance theory and practice, in contradistinction to the earlier mathematical emphasis. Aristotle had rejected musica mundana, and his natural science left little room for a musica humana based on numerical proportion. Consequently, both had to be reinterpreted. Robert Kilwardby's De ortu scientiarum (ca. 1250) sought to integrate the traditional Boethian treatment of musica with an Aristotelian perspective. Responding to the empirical emphasis of Aristotle's philosophy, Kilwardby focused on music as audible phenomenon as opposed to Platonic ““sounding number.”” Medieval philosophers were reluctant to assign (audible) music to natural science or to place it among the scientie mechanice. One solution argued that music, though a separate subiectum suitable for philosophical investigation, was subalternated to arithmetic. Although drawing its explanations from that discipline, it nevertheless had its own set of ““rules”” governing its proper activity. Thomas Aquinas proposed to resolve the conflict between the physicality of musical sound and abstract mathematics through the theory of scientie medie. These stood halfway between speculative and natural science, taking their material objects from physical phenomena but their formal object from mathematics. Still, Thomas defended the superiority of the speculative tradition by asserting that scientie medie ““have a closer affinity to mathematics”” (magis sunt affines mathematicis) than to natural science.
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Weissenberger, Lynnsey. "Toward a universal, meta-theoretical framework for music information classification and retrieval." Journal of Documentation 71, no. 5 (September 14, 2015): 917–37. http://dx.doi.org/10.1108/jd-08-2013-0106.
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Purpose – The purpose of this paper is to present a new framework for representing music for information retrieval that emphasizes socio-cultural aspects of music. Design/methodology/approach – Philosophical and theoretical concepts related to the nature of music, aboutness, musical works are explored as they inform how music is represented. Multidisciplinary perspectives on music information representation, classification, and retrieval provide insight into how information science can better accommodate music information within its disciplinary boundaries. Findings – A new term, music information object (MIO), is presented and defined. Downie’s (2003) theoretical statements are reconceptualized into a theory of representational incompleteness and three meta-classes for music information object representation. Practical implications – This new framework incorporates more dimensions of music representation than existing frameworks allow and can facilitate comparisons between classifications of MIO representations by music practitioners, scholars, and system developers. Originality/value – The meta-classes form a much-needed theoretical framework for classifying and defining MIOs from any musical tradition for retrieval. This fills a gap in music information retrieval research, which lacks a theoretical framework that can accommodate musics from all traditions without attempting to organize them according to a western-centered understanding.
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MORDECAI, PAMELA. "Music, Music, Music." Matatu 12, no. 1 (April 26, 1994): 178–84. http://dx.doi.org/10.1163/18757421-90000094.
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O’Leary, Jared. "Intersections of popular musicianship and computer science practices." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 153–74. http://dx.doi.org/10.1386/jpme_00023_1.
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Since the introduction of music education within public schools, curricular offerings have not developed in parallel with the myriad of practices popular musicians engage with outside school contexts. In other academic disciplines such as computer science, curricula and practices are iterative in nature and are responsive to the ever-changing practices that people engage with outside educational contexts. Although popular musicians are using computer science practices for music-related purposes, such practices are seldom discussed within music education scholarship. This article begins with an exploration of such intersections by describing hardware practices popular musicians use to modify, design or build electronic devices for music-related purposes. The following section introduces coding practices that people use to create and modify music software, as well as to make music with code. The article concludes by unpacking potential implications and considerations for educators interested in the intersections of popular musicianship and computer science practices.
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Gorbunova, Irina B., and Mikhail S. Zalivadny. "Music, Mathematics and Computer Science: History of Interaction." ICONI, no. 3 (2020): 137–50. http://dx.doi.org/10.33779/2658-4824.2020.3.137-150.
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The lecture “Music, Mathematics and Computer Science” characterizes by concrete examples various aspects of interaction of these studies with each other by incorporating the apparatus of corresponding scholarly disciplines (set theory, probability theory, information science, group theory, etc.). The role and meaning of these aspects in the formation of an integral perception about music and in the realization of practical creative musical goals are educed. Examination of these questions is what the lecture studies are devoted to as part of the educational courses “Mathematical Methods of Research in Musicology” and “Informational Technologies in Music” developed by the authors for the students of the St. Petersburg Rimsky-Korsakov State Conservatory and the Herzen State Pedagogical University of Russia. The lecture “Music, Mathematics and Computer Science” is subdivided into two parts. The fi rst part, “Music, Mathematics and Computer Science: History of Interaction” examines the processes of interconnection and interpenetration of various fi elds of music, mathematics and computer science, spanning the period from Ancient Times to the turn of the 20th and the 21st centuries. The second part of the lecture: “Music, Mathematics and Computer Science: Particular Features of Functioning of Computer-Musical Technologies” (due to be published in the journal’s next issue) is devoted to examining various aspects of developing and applying computer-musical technologies in contemporary musical practice, including musical composition, performance and the sphere of music education.
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Petroff, Valery V. "Art, Science and Paideia in Aristides Quintilianus’ De Musica." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 935–65. http://dx.doi.org/10.25205/1995-4328-2021-15-2-935-965.
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The study aims to clarify the meaning of the philosophical views of Aristides Quintilianus, presented in his treatise “On Music”: concepts from the field of ontology, epistemology, psychology, anthropology, ethics are discussed in the context of theories developed by his contemporaries. Aristides’ arguments concerning the benefits of arts and sciences (and, accordingly, music) are discussed. It is pointed out that the “accuracy” that Aristides repeatedly speaks about in relation to music means that he prefers to consider music rather as science than art. The definitions of music proposed by Aristides are under consideration, their sources and philosophical content are analyzed. The Neo-Pythagorean and Neo-Platonic context of the ideas of Aristides is explored. Parallels are given from the works of Plato, Porphyry, Iamblichus, Proclus, ps.-Plutarch, Athenaeus, Nicomachus of Gerasa. The views of Aristides on the nature of the cosmos and the soul are discussed, including his doctrine of the descent of the individual soul through the planetary spheres. With regard to “bodily” music, Aristides’ ideas about the correspondence between a soul and its type of melos, as well as about masculine and feminine in music, are analyzed.
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Mualem, Raed. "Improvements in Cognition and Educational Attainment as a Result of Integrating Music into Science Teaching in Elementary School." Neuroscience and Neurological Surgery 8, no. 05 (March 19, 2021): 01–08. http://dx.doi.org/10.31579/2578-8868/161.
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BACKGROUND AND OBJECTIVE: This study examines the effect on third-grade students’ academic achievement and their pleasure and interest in lessons as a result of the incorporation of music into science classes. MATERIAL AND METHODS: Sixty third grade Arab school children were studied before and after listing a Mozart Concerto. Their pleasure and interest in the lesson was evaluated using the 20-statement Barak questionnaire. Comparison was made between an initial 6 lessons without music and subsequent 6 lessons with music. In another study at the Institute of Neurology and Neurosurgery in Havana, Cuba, continuous electroencephalographic monitoring (CEEG) was performed in 15 third-grade school children during 10 minutes at basal condition and for 10 minutes while listening to the same piece of music. RESULTS: Assessment scores in the science examination were significantly higher overall after listening to music. A clear increment of alpha and gamma absolute powers was found when listening to music, although for the alpha band this augmentation was significantly greater. An increment of the alpha band power was related to significantly better performance of spatial–temporal tasks when listening to music. Changes in the gamma frequency band represent cognitive processes. Hence, CEEG analysis adds to evidence that listening to music can increase enjoyment and improve academic achievement among elementary school students. CONCLUSION: We propose that music stimulates the formation of neural networks that prime the brain for learning. We recommend that teachers of core subjects, especially mathematics, science and languages, begin their lessons with 5 minutes of calm music.
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Benitez-Bribiesca;, L. "The Biology of Music." Science 292, no. 5526 (June 29, 2001): 2432b—2433. http://dx.doi.org/10.1126/science.292.5526.2432b.
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