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Journal articles on the topic 'Music influence'
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Reisenweaver, Anna. "Guido of Arezzo and His Influence on Music Learning." Musical Offerings 3, no. 1 (2012): 37–59. http://dx.doi.org/10.15385/jmo.2012.3.1.4.
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Xi chun, Zhang, He Li, Wang Jing yi, and Liu Wei. "The Development Trend of Musicians’ Influence and Music Genres of Big Data." E3S Web of Conferences 253 (2021): 02085. http://dx.doi.org/10.1051/e3sconf/202125302085.
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This paper uses the data crawled from the AllMusic website to establish a directional network of followers and influences of music genre artists, analyzes the music influence influenced by genre. The Beatles had the greatest influence from 1950 to 2010, and promoted the development of Pop/Rock and Country music genres. In addition, it was found that “influencers” would actually influence the music created by followers. Based on the music feature data set of 91719 songs provided by Spotify’s API, drawing the correlation heat map and making the measurement of music similarity, it is found that the songs of artists of the same genre are more similar. For the similarity between different genres, by selecting the representative music in the genre and using the music characteristics to analyze their correlation, it is found that Folk and Avant-Garde, New Age and Stage & Screen all have high similarity, reaching 0.97. In addition, songs can also be classified into genres according to music characteristics. For example, if a genre has high performance in livability, speech and explicit attributes, it can be considered as Comedy/Spoken. Finally, combined with the historical reality, it is found that there may be characteristics and music revolutionaries[1] that mark the great revolution of music development.
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Zeyu, Liu, Yu Rui, and Zhang Chenggong. "Research on the Influence of Music." Studies in Social Science Research 2, no. 3 (August 18, 2021): p61. http://dx.doi.org/10.22158/sssr.v2n3p61.
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As for question 1, based on the directed relationship between influencers and followers, we building a network of musicians based on influential relationships. A Music Influence Evaluation Model (MIEM) was also established, and the model formula is shown in the text. We then select the top 200 artists in the “music influence” ranking to build a subnet. The larger the subnet node, the more lines are extended. Indicating that the node represents the musician’s influence is large and extensive. From the graph, we can see that Bob Dylan is influential, but the breadth of influence is not enough; Miles Davis influenced a wide range of music factions.As for question 2?We have developed a Music Similarity Evaluation Model (MSEM) to calculate the contribution parameters of fifteen different music metrics. Using fully connected neural networks combined with triple loss to solve the answer. According to the characteristics of Triple Loss, we can make the similar nodes in the space closer together and the dissimilar nodes further apart. After training, our neural network is able to distinguish artists very well. The results were obtained: artists within genres are far more similar than artists between genres, and a classification image of musicians from different genres was produced.As for question 3, a comparative plot of characteristics revealed that music genres also have their own particular musical characteristics. The comprehensive analysis concludes that the difference between genres is mainly reflected by the six features of valence, tempo, mode, key, acousticness, and instrumentalness, and this result is verified by k-means clustering. By plotting the percentage of influence as well as the change of musical characteristics, it was concluded that the influence of genres changes over time; some musical characteristics in genres also change over time. Finally, the similarity between each faction is calculated and plotted as a heat map, and the genres with high similarity must have interrelated relationships with each other.As for question 4, we have developed a Music Influence T-test Model (MITM). We hypothesized that “influencers” would not influence followers to create music, and a t-test using SPSS rejected the original hypothesis and concluded that “influencers” would influence followers to create music. Additionally, Contagious Evaluation Model(CEM) was also be created. We established the “contagious” index and calculated the Pearson correlation coefficients between “contagious” and 15 musical characteristics, and obtained the results: energy, loudness, and acousticness are more “contagious” than other characteristics. Results: energy, loudness and acousticness are more “contagious” than other features.As for question 5, a time series plot of the variation for each musical characteristic with year was plotted and the analysis yielded the following conclusion: There are characteristics that signify revolutions in musical evolution from these data. For example, the music after 1960s showed changes characterized by higher rhythmicity, faster tempo, and fewer spoken words. Based on these musical evolutionary changes, combined with the “musical influence” we calculated earlier, we select five musical change-makers: The Beatles, Bob Dylan, The Rolling Stones, Miles Davis and Jimi Hendrix.As for question 6, we combined musical influences to identify the most influential musicians in each genre in each era as dynamic influencers to represent the music of the genre in that period. Creating images of their musical characteristics over time and analyzing them in relation to the history of musical development led to the conclusion that an artist’s musical identity changes with technology, social development, and changes in genre representation?As for question 7, a Network Connectivity Evaluation Model(NCEM) was developed to measure which artists in the music network were heavily influenced by external factors during the time period. The first and middle of the 20th century were found to be highly connected online, and this period coincided with a period of social upheaval, with the Cold War, World War II, the Industrial Revolution, and the rapid development of the Internet having a great impact on music, from which many new musical styles were born.
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M.Arulsubila, M. Arulsubila, and Dr R. Subasree Dr.R.Subasree. "Music - Its Influence on Self Awareness and Stress Among Adolescents." Indian Journal of Applied Research 4, no. 6 (October 1, 2011): 475–77. http://dx.doi.org/10.15373/2249555x/june2014/148.
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Lai, Siqi. "Applying Data Mining in Music influences analysis." E3S Web of Conferences 253 (2021): 03074. http://dx.doi.org/10.1051/e3sconf/202125303074.
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Nowadays, music has become an indispensable part of our life. Studying the influence and evolution process of music will help to promote the progress of human civilization. The purpose of this paper is to understand and measure the impact of previously produced music on new music and music artists, and to develop a model for measuring the impact of music. Taking music genre as the main body, this paper constructs a directional network of music influence and a sub-network reflecting the relationship between "influencer and follower". In addition, this paper also defines the influence of music, and puts forward the "contagiousness index" to reveal a person's actual influence. Finally, using the parallel coordinate characteristics, the paper analyzes the influence of music on culture in time or environment.
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Steffens, Jochen. "The influence of film music on moral judgments of movie scenes and felt emotions." Psychology of Music 48, no. 1 (June 26, 2018): 3–17. http://dx.doi.org/10.1177/0305735618779443.
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Music can modulate perceptions, actions, and judgments in everyday situations. The aim of this study was to investigate a potential influence of music on moral judgments in the context of film reception. In the course of an online experiment, 252 participants were assigned to three different experimental conditions (no, positive, or negative music). Participants were requested to assess actions shown in two 2–3-minute audio-visual film excerpts with regard to their perceived moral rightness and to report induced emotions after watching the film clips. Afterwards, they were asked to complete the MFQ-30 questionnaire measuring the foundations of their moral judgments. Results revealed that in one of four cases (i.e. happiness in film excerpt 1), music had a significant effect on recipients’ emotions and also indirectly influenced their moral judgment. In three of four cases, however, the intended emotion induction through film music did not succeed, and thus a significant indirect influence of music on moral judgment was not found. Furthermore, associations between moral foundations, perceived rightness of action, and induced emotions were observed. Future lab studies are indicated to investigate potential moderating influences of the experimental environment on emotion induction through film music.
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Cash, Alice H., Rif S. El-Mallakh, Kerry Chamberlain, Jennifer Z. Bratton, and Rena Li. "Structure of Music May Influence Cognition." Perceptual and Motor Skills 84, no. 1 (February 1997): 66. http://dx.doi.org/10.2466/pms.1997.84.1.66.
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Classical music has been said to enhance cognition, which effect may be related to musical structure. 19 subjects who listened to highly structured music scored somewhat higher afterwards on cognitive performance than the 15 who listened to less structured music. Since this did not reach statistical significance, other as yet unidentified factors may also be involved.
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Nasrullah, Mochamad Ferdyan. "Music: entertainment media with millions of benefits for physical performance." Indonesian Journal of Social Sciences 12, no. 1 (June 30, 2020): 12. http://dx.doi.org/10.20473/ijss.v12i1.21155.
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We cannot deny that besides having a function as an entertainment, music also has influences to its listeners. Music existence has been there and developed since thousands years ago, and in every development, Music can perform beautiful tones and meaningful messages for its listeners. Music can take the listeners to their world that will give significant influences in their lives. Music can influence the minds and brains; therefore, it can produce health by listening music. This research aims to find out the influence that we can get from listening to music, digging the information related to the benefits of music, and analyzing how music influences its listeners. The method used in this research is the quantitative approach by using the survey and questionnaire methods. The conclusion that the researcher can explain in this research is that music is not only entertainment media but music can also send the listeners’ tiredness away; furthermore music brings the positive effects to its listeners. The effects that the listeners often feel are: that music can influence someone’s cognitive development which covers someone’s intelligence level until someone’s memory and also someone’s health that can reduce the blood pressure, reduce the anxiety levels, stress and depression.
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Medňanský, Karol. "1. Period Influence on the Work of Johann Sebastian Bach." Review of Artistic Education 19, no. 1 (April 1, 2020): 1–9. http://dx.doi.org/10.2478/rae-2020-0001.
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AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.
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Koehler, Katelyn, and Mary C. Broughton. "The effect of social feedback and social context on subjective affective responses to music." Musicae Scientiae 21, no. 4 (September 21, 2016): 479–98. http://dx.doi.org/10.1177/1029864916670700.
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Previous research suggests that music listening influences individual affective responses. However, there is scant research examining how social factors might interact to influence subjective affective responses to music. This study investigates the effects of social feedback and social context on subjective affective responses to music. In a between-subjects experiment, participants (N = 120) listened to unfamiliar music from various genres either alone or with another participant. For each musical example, participants received positive and negative social feedback, derived from a pilot study, or factual album information. After listening to each musical example and reading the provided social feedback or album information, participants reported their subjective valence, arousal, subjective affective intensity, concentration, music liking and familiarity. There was no effect of social feedback on subjective valence responses. Positive and negative social feedback influenced subjective arousal responses positively and negatively, respectively. Subjective affective intensity was not influenced by social feedback. Social context did not influence subjective affective responses to the musical examples. Lower concentration was reported in social listening conditions compared to solitary conditions. Greater familiarity with the musical examples was reported when social feedback was provided. The findings of the present study suggest that social feedback can influence particular affective responses to, and familiarity with, music. However, social listening might reduce concentration, especially in the absence of social feedback. These findings highlight issues warranting consideration for how music is affectively experienced in everyday life, as well as purposely used in varied contexts.
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Jia, Naizheng, Dian Zu, and Baojun Jia. "Influence Analysis in Music: Artists and Genres." Journal of Innovation and Social Science Research 8, no. 7 (July 30, 2021): 199–203. http://dx.doi.org/10.53469/jissr.2021.08(07).36.
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Music is an important part of human civilization, which is accompanied by the emergence and development of human civilization. While music is developing, different genres of music or musicians’ styles are all influencing each other. Therefore, it is significant to understand and measure the influence of music influencers and their followers in different genres of music with social development. Address to identify the influence network of American music, firstly, a PageRank model was proposed to calculate the music influence of every artist among the network. According to the results, we built the subnetworks to illustrate the influence of different sets. Then, we did research on distinguishing between genres, which utilized the random forest classifier. Furthermore, Gini impurity is used to demonstrate the feature's importance. Our result shows that Pop is the best influential genre, and acousticness is the most distinguishing feature.
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Sulistyawati, Henny. "Pengaruh Terapi Musik Klasik Terhadap Lama Persalinan Kala I." J-HESTECH (Journal Of Health Educational Science And Technology) 3, no. 2 (December 31, 2020): 129. http://dx.doi.org/10.25139/htc.v3i2.3225.
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ABSTRAKPersalinan normal adalah proses persalinan yang melalui kejadian secara alami dengan adanya kontraksi rahim ibu dan dilalui dengan pembukaan untuk mengeluarkan bayi. Penelitian yang bertautan dengan partus lama, ditemukan 65 % penyebabnya adalah kontraksi uterus yang tidak berkontraksi dengan baik. Apabila kemajuan persalinan terhambat dan tidak segera di tangani oleh tenaga kesehatan maka akan berakibat buruk terhadap kelancaran dan kemajuan persalinan. Maka dari itu, bila persalinan lancar diperlukan cara untuk mempercepat proses persalinan dengan cara pemberian musik klasik.Tujuan dari penelitian ini yaitu untuk mengetahui ada dan tidaknya pengaruh musik klasik terhadap kemajuan persalinan kala I di BPM Lilis Suryawati Jombang Tahun 2019.Rancangan penelitian ini memakai pra eksperimen static group comparison, Yaitu ada kelompok yang dikasih musik klasik dan ada yang tidak dikasih musik klasik. Pengumpulan sampel dilakukan secara accidental sampling sebanyak 24 responden. Penelitian ini memakai Uji T dua sampel bebas. Hasil Analisis statistik uji T dua sampel bebas didapatkan tingkat signifikan (ρ) kemajuan persalinan sebanyak 0,033 uji dipakai pada tingkat kesalahan sebesar (α) 5% atau 0,05. Sehingga didapatkan sig(ρ) < α ) maka Ho ditolak dan ada pengaruh musik klasik terhadap kemajuan persalinan kala I di BPM Lilis Suryawati Jombang. Besarnya pengaruh yang diberi music klasik sebesar 33%.Berdasarkan hasil penelitian diatas, maka sebaiknya petugas kesehatan menolong persalinan dengan menggunakan musik klasik saat proses kelahiran, karena musik klasik bisa membuat ibu rileks dan juga bisa mempercepat proses kemajuan persalinan. Kata Kunci : Pengaruh, musik klasik, kemajuan persalinan, Kala I ABSTRACTLabor is the process of movement of the fetus, placenta, and membranes out of the womb through the escape route. Research related to the incidence of prolonged labor, 65% is due to inefficient uterine contractions. If the progress of labor is hampered and not handled properly can adversely affect the smooth delivery. For that we need a way to accelerate the delivery of one of them by giving the classical music. The purpose of this study to determine whether there is influence of classical music on the progress of labor stage I in BPM Lilis Suryawati Jombang Year 2019.The design of this study used pre experiments with static group comparison design, where there are groups that are given classical music and which are not given classical music. Sampling by accidental sampling amounted to 22 people. This study used a free two-T test. The result of T test statistic analysis of two free samples obtained significant level (ρ) for the progress of labor of 0.033 testing was done at the error rate of (α) 5% or 0.05. Then obtained sig (ρ) <α) then Ho is rejected and there is an influence of classical music on the progress of labor stage I in BPM Lilis Suryawati Jombang. The magnitude of the influence that was given classical music by 33%.Based on the results of the above research, should as a health officer using classical music in the process of childbirth, because the classical music in addition to making the mother relaxed music can also accelerate the progress of labor.Keywords: Influence, classical music, progress of labor, Kala I
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Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.
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From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik
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Saralidze, N., N. Sharashenidze, M. Tushishvili, and Z. Kevanishvili. "Periaural Music Player Daily Use Does Not Significantly Influence the Hearing Thresholds." Lviv clinical bulletin 2-3, no. 26-27 (October 28, 2019): 36–39. http://dx.doi.org/10.25040/lkv2019.02.036.
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Brooks, Jeanice. "Ronsard, the Lyric Sonnet and the Late Sixteenth-Century Chanson." Early Music History 13 (October 1994): 65–84. http://dx.doi.org/10.1017/s0261127900001303.
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Music was an important metaphor for Ronsard, and references to music and musical instruments are frequently found in his poetry. His writings about music are few, however. In his article ‘Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century’ Howard Brown has referred to two of the most explicit examples of such writing: the preface to Le Roy and Ballard's Livre de meslanges (1560) and the passage from Ronsard's Abbregé de l'art poëtique françois (1565) on the desirability of union between poetry and music. Such passages are important in illuminating poets' attitudes towards music and in demonstrating ways in which the relationship between text and music could be conceptualised in the sixteenth century. They are frustratingly vague, however, about how the poets' ideals should be achieved, and they leave many practical questions unanswered. Did poets have any influence on composers' choices of texts? Did movements in poetic circles ever affect the pitches or rhythms of musical settings – that is, could poets influence the way music sounded?
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Matanari, Oang Gabriel, I. Komang Darmayuda, and Ni Wayan Ardini. "“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 85. http://dx.doi.org/10.31091/jomsti.v2i1.612.
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Budaya asing yang masuk ke tanah Batak di Sumatera Utara, Indonesia, membawa pengaruh yang besar bagi perkembangan musik Batak Toba atau Uning-uningan, yaitu ansambel hasil transformasi antara Gondang Hasapi yang terdiri atas Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, serta Hesek, dengan Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, dan Hesek serta Sarune Bolon). Dalam perkembangan zaman ini, sebagian besar acara adat Batak Toba menyajikan konsep musik Uning-uningan dengan iringan keyboard, bahkan dalam banyak situasi, ketika terdapat keterbatasan dana di dalamnya, otomatis ada ruang yang besar bagi pemain organ tunggal untuk mengaplikasikan repertoar-repertoar musik Uning-uningan hanya dengan keyboard-nya. Hal tersebut tentunya memberikan pengaruh negatif bagi eksistensi musik tradisional Batak Toba ini. Alhasil pengaruh yang terjadi akibat budaya Barat mampu menarik minat masyarakat Batak Toba, sehingga masyarakat Batak Toba lebih menyukai konsep musik Uning-uningan dengan iringan keyboard. Oleh sebab itu, keprihatinan penulis sekaligus komposer dalam menanggapi pengaruh akulturasi terhadap eksistensi musik tradisi Batak Toba dituangkan dalam komposisi musik dengan judul “Belenggu Benalu”. Melalui komposisi musik ini penulis berharap masyarakat Batak Toba, khususnya para musisi Batak sadar dan turut berpartisipasi dalam melestarikan serta menjaga Uning-uningan dan musik tradisional Batak lainnya sebagai salah satu identitas dari keragaman seni dan budaya Indonesia. Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
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Tan, Yunshu, and Lauren Conti. "Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 329–58. http://dx.doi.org/10.1386/jpme.3.2.329_1.
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Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.
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Risset, Jean-Claude. "Max Mathews's Influence on (My) Music." Computer Music Journal 33, no. 3 (September 2009): 26–34. http://dx.doi.org/10.1162/comj.2009.33.3.26.
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Neale, Micah Anne. "Georgian women: music, money and influence." Early Music 47, no. 1 (February 2019): 140–41. http://dx.doi.org/10.1093/em/caz007.
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Moreno, Sylvain. "Can Music Influence Language and Cognition?" Contemporary Music Review 28, no. 3 (June 2009): 329–45. http://dx.doi.org/10.1080/07494460903404410.
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Skaggs, R. "The Influence of Music on Imagery." Complementary Health Practice Review 5, no. 1 (March 1, 1999): 73–75. http://dx.doi.org/10.1177/153321019900500109.
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Komlenić, Miroslav. "ROCK MUSIC, SUICIDE AND MEDIA INFLUENCE." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (March 11, 2021): 23–33. http://dx.doi.org/10.46630/msae.1.2021.02.
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Suicide risk factors usually include: previous attempts, depression, comorbidity of alcohol consumption and drug abuse, gender (three to four times more suicides in men than in women), family history of psychiatric disorders, environmental and social factors such as periods of major social changes or movements: revolution, industrialization, secularization, migration, wars and the like. In this paper we should try to approach the problem by looking into the hypothesis of some researchers that rock music, or rock and hippie movements from the 60s to the end of the 80s of the 20th century, are included in these social risk factors, directly or indirectly. The arguments that the authors refer to are mainly: numerous suicides among both performers and listeners of rock music, many cases of emulated suicides of rock stars by fans, a large number of songs whose content speaks of suicide, evidence on the spot of suicide related to listening to such songs at the time of committing suicide, many lawsuits and trials against rock composers and performers by grieving relatives, etc. The aim of this paper is to analyze critically these facts as problematic for stating them as causes of suicide. Additionally, the paper aims to explain that for already predisposed, latent suicidal people, this type of music is only a mediator towards more intense socializing with similar listeners, indulging in latent suicide activities such as alcohol consumption and drug abuse and only subsequently to depression and suicide. Since suicide does not have to be associated with depression and the death drive, but on the contrary with the urge to live and the desire to be prominent, loved and remembered, the thesis that suicides of rock artists and supporters belong to this category should not be removed.
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Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (January 2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.
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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conservative phrasing and standard formal shapes.
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Hegarty, Paul. "Just what is it that makes today's noise music so different, so appealing?" Organised Sound 13, no. 1 (February 29, 2008): 13–20. http://dx.doi.org/10.1017/s1355771808000034.
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AbstractThis article explores how ‘noise music’ uses its influences, how it refers to them, and what occurs formally, when using influence self-consciously and formally. Specifically, it takes two artists, Nurse With Wound and The New Blockaders, that emerged at the same time as ‘industrial music’, and through different strategies, incorporated visual art influences into their work, to the point where influence as question is raised. Referring to Harold Bloom, the article notes that influence is not linear, nor is it fixed. The article begins with some general considerations about what noise is and how it works when in contact with music; it then looks in detail first at some works by Nurse With Wound, then at works by The New Blockaders. In so doing, it also pays attention to the material presentation of those works, which is a key part of the formal work of these artists. It concludes with some thoughts about how we can not only apply Bloom to experimental music, but that ‘noise music’ can provide itself as a theorisation of influence.
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Sedlmeier, Peter, Oliver Weigelt, and Eva Walther. "Music is in the Muscle: How Embodied Cognition May Influence Music Preferences." Music Perception 28, no. 3 (February 1, 2011): 297–306. http://dx.doi.org/10.1525/mp.2011.28.3.297.
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Music is Intimately Connected with Body movements. Until recently, research has almost exclusively examined the impact of music on body movements. Yet findings on embodied cognition in other domains suggest that the influence might also work in the opposite direction: Real or imagined body movements during music listening may codetermine music preferences. We had participants listen to music and concurrently activate muscles whose innervation has been shown to be associated with "positive" and "negative" affect (activation vs. inhibition of smiling muscles, vertical vs. horizontal head movements, and arm flexion vs. arm extension). Activation of the positively associated muscle groups led to higher preference ratings for the music pieces than activation of the negatively associated ones. A first exploration of candidate explanations for the effect suggests that it is most likely due to conditioning processes. It is concluded that body movements, both real and imagined, may play an important role in the development of music preferences.
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NIEBUR, LOUIS. "‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain." Twentieth-Century Music 15, no. 2 (June 2018): 211–30. http://dx.doi.org/10.1017/s1478572217000299.
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AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.
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Greb, Fabian, Wolff Schlotz, and Jochen Steffens. "Personal and situational influences on the functions of music listening." Psychology of Music 46, no. 6 (August 24, 2017): 763–94. http://dx.doi.org/10.1177/0305735617724883.
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On the one hand, the majority of research on the functions of music listening focuses on individual differences; on the other hand, a growing amount of research investigates situational influences. However, the question of how much of our daily engagement with music is attributable to individual characteristics and how much it depends on the situation is still under-researched. To answer this question and to reveal the most important predictors of the two domains, participants ( n = 587) of an online study reported on questions regarding the situation, the music, and the functions of music listening for three self-selected situations. Additionally, multiple person-related variables were measured. Results revealed that the influence of individual and situational variables on the functions of music listening varied across functions. The influence of situational variables on the functions of music listening outweighed the influence of individual characteristics. On the situational level, main activity while listening to music showed the greatest impact, while on the individual level, intensity of music preference was most influential. Our findings suggest that research on music in everyday life should incorporate both – individual and situational – variables determining the complex behavior of people interacting with music in a certain situation.
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Munroe, Angela. "Eunice Boardman’s Generative Theory of Musical Learning and the Holt Music Textbooks." Journal of Historical Research in Music Education 39, no. 2 (March 14, 2017): 195–214. http://dx.doi.org/10.1177/1536600617697437.
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Many general music teachers use a variety of methods in their classrooms. The Generative Theory of Musical Learning can serve as a basis for a variety of general music methodologies. Developed by Eunice Boardman, the Generative Theory of Musical Learning influenced general music textbooks from 1966 to 1988, and it continues to influence music educators even today. The purpose of this study was to examine how the theory influenced the six editions of the Holt Music textbook series and to determine how its ideas have continued to be disseminated since the final edition of the Holt series. Data were collected through examination of a variety of primary and secondary sources, including the Holt Music series textbooks, published and unpublished writings from Eunice Boardman, and interviews with coauthors of the series. The study traces the development of the ideas behind the Generative Theory, its influence on the Holt Music series from 1966 to 1988, and the dissemination of the ideas following the conclusion of the series.
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Purwati, Nyimas Hany, Yeni Rustina, and Luknis Sabri. "Penurunan Tingkat Nyeri Anak Prasekolah Yang Menjalani Penusukan Intravena Untuk Pemasangan Infus Melalui Terapi Musik." Jurnal Keperawatan Indonesia 13, no. 1 (March 24, 2010): 49–53. http://dx.doi.org/10.7454/jki.v13i1.231.
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AbstrakTindakan pemasangan infus dapat menimbulkan nyeri pada anak usia prasekolah. Salah satu cara untuk meminimalkannya adalah dengan terapi musik. Tujuan penelitian ini adalah untuk mengetahui pengaruh terapi musik terhadap tingkat nyeri anak usia prasekolah yang menjalani penusukan intravena untuk pemasangan infus/ pemasangan infuse. Penelitian ini menggunakan studi quasi eksperimen dengan rancangan Nonequivalent control group, after only design ini dilakukan terhadap 64 anak prasekolah . Hasil penelitian, menggunakan analisa univariat dan bivariat: pooled test, menunjukkan bahwa terapi musik bisa menurunkan tingkat nyeri anak usia prasekolah. Terapi musik diberikan lima menit sebelum pemasangan infus sampai lima menit sesudah pemasangan infus. Terdapat perbedaan tingkat nyeri yang signifikan antara anak usia prasekolah yang diberikan terapi musik dengan anak usia prasekolah yang tidak diberikan terapi musik saat dilakukan pemasangan infus (p= 0,00, α= 0,05). AbstractMusic is an effective distraction technique. It has the best influence in a short time. Music reduces the physiological pain, stress and anxiety by distracting someone’s attention from the pain. The objective of this research is to understand recognize the influence of music therapy concerning the level of pain to of pre-school children experiencing venipuncture for the application of infusion therapy, this quasi experiment with Nonequivalent control group, after only design was conducted toward 62 pre-school children that having infusion attachment procedure. The result, using univariate and, bivariate data analysis with pooled test, discovered that there was a significant effect of music therapy in decreasing the level of pain of of pre-school children experiencing venipuncture. Research was using quasi experiment with Nonequivalent control group, after only design. Music therapy was given at 5 minutes before the infusion attachment process was started until 5 minutes after the process was done. There was a significant difference of pain level between pre-school children that was having music therapy than they who was not having music therapy during the infusion attachment process (p= 0,00, α= 0,05).
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Nowack, Kati. "Unfinished sympathies: Influence of individual temporal orientation on music preferences." Psychology of Music 47, no. 5 (May 28, 2018): 736–46. http://dx.doi.org/10.1177/0305735618775200.
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Temporal aspects have been studied extensively within the context of music perception but insufficiently within the context of music preference. In this online questionnaire study, I investigated the impact of chronotype (morningness, eveningness) and time perspective (present, future) on music preferences. Participants ( n = 258) completed the Short Test of Music Preferences for 26 music genres, the Zimbardo Time Perspective Inventory and the Munich Chronotype Questionnaire. Principal component analysis replicated a six-component structure of music preference. Whilst preference scores were highest for intense music for all participants, I found significant effects of chronotype and time perspective on music preferences. In particular, present-oriented evening types and future-oriented morning types differed in their preferences for various music genres. Consistent with a matching hypothesis, present-oriented evening types (fast life histories) showed greater preferences for contemporary (i.e., high rhythmic complexity), sophisticated (i.e., high complexity) and electronic music (i.e., fast tempo) compared to future-oriented morning types (slow life histories; greater difficulties with temporal irregularities). Consistent with a self-regulation hypothesis, present-oriented evening types showed greater preferences than future-oriented morning types for campestral music (i.e., slow tempo and low complexity).
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G Korotkov, Konstantin. "Remote detection of music influence with physical sensor." Journal of Applied Biotechnology & Bioengineering 7, no. 1 (January 16, 2020): 7–10. http://dx.doi.org/10.15406/jabb.2020.07.00209.
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Goals and objectives of the study: The goal of this paper was to study the possibility of remote detection of electronic music influence with a physical sensor. Study design: Bio-Well technology with a special environmental sensor was used in the study. This sensor was developed for the analysis of the electromagnetic fields and was shown to respond to the changed in the environmental parameters. Signal of a sensor was detected for an hour in the background mode after this music was turned on for 20 minutes, and then after-effect was detected for about one hour. In experiment 5 different files of the modern electronic music “Yippi Wave 3.0” (https://yippiweb.com/what-is-wave) in *wav format and several files of Handel music have been used. Results: The statistically significant changes of sensor parameters to “Yippi Wave 3.0” music were detected in several time-series, while no response to Handel music. Conclusions: This study should be considered a pilot study and the results are preliminary. We need to conduct experiments with different sources of both acoustic and electromagnetic signals and the possibility of their registration by the Bio-Well device
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Zhao, Yi-Kun, Guo-Qing Wang, Xiao-Xiao Zhan, and Peng-Hui Yang. "Quantitative Analysis of Comprehensive Influence of Music Network Based on Logistic Regression and Bidirectional Clustering." Complexity 2021 (May 18, 2021): 1–15. http://dx.doi.org/10.1155/2021/2996750.
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This paper makes a quantitative analysis of the comprehensive influence of music networks. Firstly, 11 music features are selected from energy, popularity, and other aspects to build a comprehensive evaluation index of music influence, and the PageRank algorithm is used to quantify the music influence. Secondly, the multiobjective logistic regression is used to construct the music similarity measurement model and, combined with music influence and music similarity, to judge whether the influence of different musicians is the actual influence. Thirdly, the influence and similarity of the same music genre and different music genres are analyzed by using the two-way cluster analysis method. Finally, the lasso region is used for feature selection to obtain the change factors in the process of music evolution and analyze the dynamic changes in the process of music development. Therefore, this paper uses network science to build a dynamic network to analyze the similarity of music, the evolution process, and the impact of music on culture, which has certain research significance and practical value in the fields of music, history, social science, and practice.
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Cain, Melissa. "Musics of ‘The Other’: Creating musical identities and overcoming cultural boundaries in Australian music education." British Journal of Music Education 32, no. 1 (February 23, 2015): 71–86. http://dx.doi.org/10.1017/s0265051714000394.
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The binary opposition between ‘own music’ and ‘other's music’ is the ‘result of deep conditioning’ (Drummond, 2010, p. 118) and is almost impossible to overcome.By exploring the underlying constructs that influence students’ and teachers’ perceptions of minority cultures and their musics, this paper explores the notion of ‘the other’ in Australian music education. In particular, how the many factors which play a role in cultural identity serve to both promote and prevent musical understanding and appreciation. An examination of Australian multicultural policy and music curriculum documents in the state of Queensland provides a foundation for the discussion of data obtained from interviews with teachers from state and private primary schools in the capital Brisbane. The results reveal that while music educators are generally inquisitive about incorporating musics of ‘other’ cultures into their lessons, they are less comfortable with crossing cultural boundaries, and do not wish to threaten the position of Australia's own musical culture – ultimately highlighting a disconnect between policy, rhetoric and practice in the area of culturally diverse music education in classrooms today.
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Friedheim, Emmanuel. "Jewish Society in the Land of Israel and the Challenge of Music in the Roman Period." Review of Rabbinic Judaism 15, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/157007012x622926.
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Abstract During the Second Temple period, music had an important role in Jewish society. Alongside it was Greek music, which at times made inroads into Jewish cultural life. However, the Jewish institutions of the time managed to filter out the religious and cultural influences of this foreign musical tradition. After the destruction of the Temple, by contrast, Hebrew sources point to pagan ritual music that had significant, damaging influence on Jewish society. The sages tried to counter this influence through sermons, but, surprisingly, not by absolute prohibition. The influences of pagan music increased in the Talmudic period, even as the halakhic prohibitions waned. This paradox requires an explanation. This article suggests that the way the sages treated pagan music was an aspect of their complex attitude toward the Greco-Roman culture, one that alongside prohibitions increasingly tended toward leniency once it became clear that prohibitions did not provide a defense against pagan cultural influences.
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Sankar Ganesh, J. "Impact of Carnatic Raga-s on the Milk Yield of Cows." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 83–87. http://dx.doi.org/10.34293/sijash.v8i2.3318.
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Music is an integral part of human evolution. Indian music is religiously rooted and added as an essential part of religious activities. It is believed that Indian music originated and evolved from Samaveda. The origin of musical sounds perceived by birds and animals illustrates the close relationship of music with the environment. The other species of planet earth can also be influenced by music documented in various earlier literature. Experiments on the influence of music on the milking habit of cows started amid the 19th century in foreign countries. In India, this is a primordial attempt made by the author to study the influence of Carnatic music on the cows. This paper is intended to highlight the positive power of various aspects of Carnatic music on the milk yield of the cows. This paper is an outcome of the UGC- Major Research project, sanctioned to the author, entitled “Impact of Carnatic music on the milk yield of S.V. Gosamrakshanashala- Tirupati.”
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Rossiter, Martine Louise. "Music – Bodies – Machines." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 5–22. http://dx.doi.org/10.2218/airea.5041.
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This article provides an overview of the Music – Bodies – Machines: Fritz Kahn and Acousmatic Music project and accompanying suite of music – Der Industriepalast. The project is inspired by the work of infographics pioneer Fritz Kahn (1888-1968) who developed works such as Der Mensch als Industriepalast. There is a body of work examining Kahn’s work (Sappol, 2017; Von Debschitz, 2017; Doudova, Jacobs, et al.) that has revealed Kahn’s intent of making the human anatomy accessible to the non-specialised reader through visual metaphors; unlike the descriptive anatomical illustrations of the eighteenth and nineteenth centuries, which show how the human body looks, Kahn’s works visually explain how internal structures work using concepts, metaphors, and allusions.
This article explores some of the ways in which Kahn’s striking visual images have inspired the composition of five novel acousmatic works of music. The article starts with a survey of existing works making use of similar, extra-musical influences to examine how extra-musical influences such as infographics and painting may influence the formal design of acousmatic music. It goes on to consider how, exactly, the infographics of Fritz Kahn have been used within the project. In some cases, this guides the choice of particular materials (such as the sound of a beating heart to represent an image of a heart monitor), but in other cases, there is influence on phrasing, placement, and even the formal design of entire pieces.
Taken as a whole, the article seeks to explore the following questions; 1) What impact does the context of a particular image have on a composers’ response? 2) How do composers respond to visual stimuli in acousmatic music? What is their compositional process? 3) How do such parallels between the specific sonic and visual examples offer new interdisciplinary insight to artistic practices and research? 4) How do sound recording techniques inform acousmatic music and generate new creative processes that operate within the sphere of human-machine relations?
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Putra, Riomanadona M., and Irwansyah Irwansyah. "Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik." Jurnal Komunikasi 11, no. 2 (October 30, 2019): 128. http://dx.doi.org/10.24912/jk.v11i2.4062.
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The release of physical music will never be extinct, as is technology disrupting audio technology. This article provides an explanation of physical music releases in the digital era, where vinyl records, audio and CD tapes are still consumed by connoisseurs and musicians alike. Although digital music players and online music applications such as Joox, Spotify, Apple Music or Sky Music is very important in the spread of music in the digital era. The attitude of independent musicians or who are familiar with the term indie musicians still maintains the release of physical music as a tool for the dissemination of their work. This article presents descriptive data from existing journals which are then combined with interviews to obtain depth about what shapes the attitude of indie musicians in using physical music releases and how indie musicians and indie music distributors collaborate in communicating works - indie musicians work through strategies that are done together. As well as what indie music absorbs local culture and how they influence their work and what their attitudes are. Do they not pay attention to the presence of digital distribution or even combine these two things. With the existence of this article, the description of the things that underlie the independent musicians released the music they made themselves with the release of physical albums. Rilisan musik fisik tidak akan pernah punah, sebagaimana pun teknologi mendisrupsi teknologi audio. Artikel ini memberikan penjelasan tentang rilisan musik fisik pada era digital, dimana piringan hitam (vinyl), kaset audio dan CD masih tetap dikonsumsi oleh para penikmat serta pelaku musik. Walaupun pemutar musik digital dan aplikasi musik secara online seperti Joox, Spotify, Apple Music ataupun Langit Musik sangat berperan penting dalam penyebaran musik di era digital. Sikap dari musisi independen atau yang akrab dengan sebutan musisi indie tetap mempertahankan rilisan musik fisik sebagai alat untuk penyebaran karya mereka. Penelitian ini bertujuan untuk melihat bagaimana rilisan musik fisik akan tetap bertahan, dan mengapa sebuah rilisan fisik menjadi hal yang dianggap penting bagi musisi Indie. Artikel ini menyajikan data-data secara deskriptif dari jurnal-jurnal yang ada yang kemudian di padupadankan dengan wawancara untuk memperoleh kedalaman tentang apa yang membentuk sikap dari para musisi indie dalam menggunakan rilisan musik fisik dan bagaimana musisi indie dan distributor musik indie melakukan kolaborasi dalam mengomunikasikan karya-karya musisi indie melalui strategi yang dikerjakan bersama. Serta seperti apa musik indie menyerap budaya lokal dan bagaimana hal tersebut memberikan pengaruhnya pada karya-karya mereka dan seperti apa sikap mereka. Apakah kehadiran distribusi yang dilakukan secara digital tidak mereka hiraukan atau malah menggabungkan kedua hal tersebut. Adanya artikel ini, memberikan gambaran hal-hal yang mendasari para musisi independen merilis musik yang mereka buat sendiri dengan rilisan album fisik.
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Symes, Colin. "Beating up the classics: aspects of a compact discourse." Popular Music 16, no. 1 (January 1997): 81–95. http://dx.doi.org/10.1017/s0261143000000702.
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Although much has been written about the changes wrought to art in the age of mechanical reproduction, these same changes as they have impacted on music through the phenomenon of the phonograph have not received equivalent attention or, if they have, then their discussion has been restricted to particular sectors of the music industry. This failure to address an important facet of contemporary music practice derives from a continuing tendency to abstract musical questions from their context and to obscure the material contributions that technology makes to such practice (Shepherd 1977, 1991; Scott 1990). With some musics this is more apparent than others. For instance, while there has been an extensive analysis of the degree to which the recording industry has influenced and been an integral element in the development of popular music, there has not been an equivalent analysis of its influence on classical music. This is because in the case of the former the links between the two have been somewhat more dramatic. The recording industry, particularly through its links with radio and television stations, has in large measure facilitated the spread of popular music across the world as a dominant element of a globalised culture, as one of its master codes.
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Wołosiuk, Włodzimierz. "Sacred byzantine music and its influence on old East Slavic Orthodox music." Elpis : czasopismo teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku, no. 23-24 (2011): 59–86. http://dx.doi.org/10.15290/elpis.2011.23-24.04.
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박선혜. "The Influence of Asian Traditional Music and Japanese Prints on Debussy's Music." Music and Culture ll, no. 30 (March 2014): 209–34. http://dx.doi.org/10.17091/kswm.2014..30.209.
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Sliwka, Agnieszka, Rafal Pilinski, Marek Przybyszowski, Magdalena Pieniazek, Karolina Marciniak, Tomasz Wloch, Krzysztof Sladek, Grazyna Bochenek, and Roman Nowobilski. "The influence of asthma severity on patients’ music preferences:Hints for music therapists." Complementary Therapies in Clinical Practice 33 (November 2018): 177–83. http://dx.doi.org/10.1016/j.ctcp.2018.10.005.
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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
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Taylor, Alexandra C., and Stephen A. Dewhurst. "Investigating the influence of music training on verbal memory." Psychology of Music 45, no. 6 (February 8, 2017): 814–20. http://dx.doi.org/10.1177/0305735617690246.
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Previous research has shown that musical training is associated with enhanced verbal memory. The current study investigated the generality of this association by presenting undergraduates who had received musical training ( n = 20) and undergraduates with no formal music training ( n = 20) with four types of word list; high visual imagery, high auditory imagery, high tactile imagery, and abstract. Those who had received music training showed enhanced memory for all word lists, suggesting that music training leads to a general enhancement in verbal memory that is not restricted to specific types of words (e.g., those invoking auditory imagery). The findings support previous research in showing that music training enhances cognitive skills beyond those that are specific to the domain of music. The possible cognitive and neural factors underpinning this effect are discussed.
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Fernandez, Natalia B., Wiebke J. Trost, and Patrik Vuilleumier. "Brain networks mediating the influence of background music on selective attention." Social Cognitive and Affective Neuroscience 14, no. 12 (December 2019): 1441–52. http://dx.doi.org/10.1093/scan/nsaa004.
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Abstract Prevalent across societies and times, music has the ability to enhance attention, a property relevant to clinical applications, but the underlying brain mechanisms remain unknown. It is also unclear whether music produces similar or differential effects with advancing age. Here, we used event-related functional magnetic resonance imaging to investigate the influence of music exposure evoking four types of emotions on distinct attentional components measured with a modified attention network test, across 19 young (21 ± 2.6) and 33 old participants (72 ± 5.4). We then determined whether music-related effects differed across age groups and whether they were associated with particular acoustic features. Background music during selective attention requiring distractor conflict resolution was associated with faster response times and greater activations of fronto-parietal areas during happy and high-arousing music, whereas sad and low-valence music was associated with slower responses and greater occipital recruitment. Shifting and altering components of attention were unaffected. The influence of music on performance and brain networks was similar between age groups. These behavioral and neuroimaging results demonstrate the importance of affective music dimensions, particularly arousal, in enhancing selective attention processes. This study adds novel support to the benefits of music in the rehabilitation of attention functions.
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Shaleha, Rinanda Rizky Amalia. "Do Re Mi: Psikologi, Musik, dan Budaya." Buletin Psikologi 27, no. 1 (June 14, 2019): 43. http://dx.doi.org/10.22146/buletinpsikologi.37152.
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Music has been a part of everyday human life since ancient times. Music can influence how humans feel, think, and behave. Scientific evidence also shows that there is a neurobiological basis of music. The universality of music makes everyone able to sense the emotional content in music. However, music is a product of culture so it can not be separated from cultural bias. Music is considered as a determinant of social identity. Furthermore, music influences social preferences in society. Music with certain types is considered as a marker of the group so that there is a stereotype in assessing a group. The benefits of music can be obtained in various settings such as in education and health setting. Future studies, it is necessary to review music from different perspectives such as culture, psychology, and neurobiology to be more comprehensive in order to explain the influences of music in human life.
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Babtrakinova, Olga Ivanovna, Alesya Aleksandrovna Voloshko, and Polina Andreevna Snistaryova. "Influence of modern music on young generation." Human and society, no. 2 (3) (June 26, 2017): 4–6. http://dx.doi.org/10.21661/r-462119.
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Schreiber, Elliott H. "Influence of Music on College Students' Achievement." Perceptual and Motor Skills 66, no. 1 (February 1988): 338. http://dx.doi.org/10.2466/pms.1988.66.1.338.
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Forti, Stella, Eliana Filipponi, Federica Di Berardino, Stefania Barozzi, and Antonio Cesarani. "The influence of music on static posturography." Journal of Vestibular Research 20, no. 5 (2010): 351–56. http://dx.doi.org/10.3233/ves-2010-0361.
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Chen, Jinpeng, Pinguang Ying, and Ming Zou. "Improving music recommendation by incorporating social influence." Multimedia Tools and Applications 78, no. 3 (February 17, 2018): 2667–87. http://dx.doi.org/10.1007/s11042-018-5745-7.
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Spiegelberg, Scott. "The influence of wavelets on music research." Journal of the Acoustical Society of America 110, no. 5 (November 2001): 2754. http://dx.doi.org/10.1121/1.4777596.
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