Journal articles on the topic 'Music, n.e.c'

HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.

The purpose of this qualitative study was to investigate the music activities that high school band students are involved in and how these activities might lead to lifelong music participation. Specific research questions were the following: (a) In what activities are high school band students involved? (b) What are high school band directors doing to encourage lifelong participation in music? (c) How do students describe their plans for musical involvement in the future? Three focus group discussions at one rural school ( n = 5), one suburban school ( n = 5), and one urban school ( n = 4) were conducted to discover ways students participated in music activities beyond the school day. These opportunities ranged from cultural groups, to community youth events, to time with friends listening to music. Influences of family members and the desire to maintain connections seem to be beneficial in creating musicians with a desire for music participation as adults.

Although music therapy is well documented in medical settings, the effects of the music therapy has not been well established yet. This study aimed to investigate the effectiveness of the music therapy on anxiety, and pain symptoms of children with cancer. Participants (aged ranged 6-16) were randomly allocated to one of two music therapy groups: 1) earphones with classical music, no choice (n = 20) or 2) earphones with classical music, free choice (n = 20) and a control group (n = 20) (earphones without music). In all groups, children listened to music (or the white noise) for 10 minutes before the chemotherapy. All of the symptoms were measured before the music therapy, during the chemotherapy (after the music therapy), and after the chemotherapy. State Trait Anxiety Inventory for Children (STAI-C), and Wong-Baker Faces Pain Rating Scale was used to measure the anxiety, and pain scores of the children. One-Way ANOVA and Mixed ANOVA analysis were used to analyse the effectiveness of the music. Results showed that the anxiety level of children decreased significantly in the music groups during and after the chemotherapy. However, music therapy did not affect the pain level of children Keywords: Music therapy, anxiety, pain, cancer;

Although music therapy is well documented in medical settings, the effects of the music therapy has not been well established yet. This study aimed to investigate the effectiveness of the music therapy on anxiety, and pain symptoms of children with cancer. Participants (aged ranged 6-16) were randomly allocated to one of two music therapy groups: 1) earphones with classical music, no choice (n = 20) or 2) earphones with classical music, free choice (n = 20) and a control group (n = 20) (earphones without music). In all groups, children listened to music (or the white noise) for 10 minutes before the chemotherapy. All of the symptoms were measured before the music therapy, during the chemotherapy (after the music therapy), and after the chemotherapy. State Trait Anxiety Inventory for Children (STAI-C), and Wong-Baker Faces Pain Rating Scale was used to measure the anxiety, and pain scores of the children. One-Way ANOVA and Mixed ANOVA analysis were used to analyse the effectiveness of the music. Results showed that the anxiety level of children decreased significantly in the music groups during and after the chemotherapy. However, music therapy did not affect the pain level of children Keywords: Music therapy, anxiety, pain, cancer;

Abstract This teacher education self-study examined music teacher and music teacher educator development through the formal and informal interactions of undergraduate and doctoral students designed to facilitate community. Research questions included: (a) how do undergraduate students describe their interactions with music education PhD students; (b) how do music education PhD students describe their interactions with music education undergraduate students; and (c) how can the researchers change their practices to better meet the needs of the undergraduate students? Data included: a questionnaire from sophomore, junior and senior undergraduate students (N = 34); PhD student journals; a teacher education faculty journal; 12 undergraduate student interviews; an undergraduate student focus group; and six "self study" team focus group meetings. Findings suggest that: (a) interactions were positive but it was sometimes difficult to navigate the interactions; (b) undergraduates specifically value the stories of recent teaching experience that the PhD students can provide; and (c) undergraduates seem to change their views of the PhD students as they (the undergraduates) mature as teachers. Other findings address development of the PhD students as teacher educators. Suggestions for teacher education and research conclude the paper.

In response to recent concern regarding music education major retention and as an effort to contribute to the “lives of teachers” scholarship in music education, the primary research question for this study was: How do undergraduate students describe their lived experiences within the instrumental music education community? Data included a questionnaire from sophomore, junior, and senior undergraduate students ( N = 34); researcher journals; 12 undergraduate student interviews; an undergraduate student focus group; and 6 study team meetings. What the authors learned from this inquiry is organized by the following themes: (a) participants perceive themselves as “different” from other music students; (b) participants perceive music education to be “different” within the music school; and (c) participants’ musician/ teacher identity changed throughout their experience.

This study tested the effect of the motor learning paradigm of internal and external focus of attention (FOA) with middle school band students. A total of 56 second-year band students (woodwinds n = 28; valved brass n = 18; trombones n = 10) practiced isochronous, alternating pitch patterns (e.g., eighth notes C–A–C–A–C–A–C) in three conditions: control (no FOA), internal (“think about your fingers”), and external (“think about your sound”). At retention testing approximately 24 hr later, students played each stimulus three times with no directed FOA. Performance trials were scored for the average duration of each pitch per trial, or evenness. No significant differences were found between conditions (control, internal, external) on Day 1 or Day 2 ( p > .05). Likewise, no significant differences were found within instrument groups from Day 1 to Day 2 ( p > .05). When evenness scores were examined at the level of the individual student, more woodwind and valved brass players benefited from the internal (fingers) FOA than from control or external conditions. Individual differences among trombone players were less pronounced, slightly favoring the external (sound) condition. Music teachers should consider implementing both internal and external FOAs with their beginning wind students.

The purpose of the study was to investigate the effects of music on swimmers’ preperformance psychobiosocial states. A purposeful sample of competitive swimmers (N = 17) participated in a 5-week intervention grounded in the individual zones of optimal functioning (IZOF) model. Findings showed that (a) preperformance psychobiosocial states differentiated between best and worst performances, (b) swimmers improved their ability to regulate preperformance states through the use of music, and (c) the use of music had a positive impact on swimmers’ perceived effectiveness of preperformance routines. Furthermore, swimmers’ qualitative reports indicated that music use was made more purposeful due to the introduction of a music intervention. The current study provides preliminary evidence in support of the use of music during preperformance routines as an effective tool to regulate athletes’ preperformance states. Athletes are encouraged to engage in the process of carefully selecting music in accordance with individualized profiles related to optimal performance states.

<span lang="EN-US">The rapid advancement of music studies has resulted in a plethora of multidisciplinary participants. Rather than distinguishing between musicians and non-musicians’ brain activity, the current study indicated differences in brain activity while musicians listened to music based on their musical experience. In Go/NoGo response task reaction times, it showed that effects between treatments and visits were different across periods of cognitive function tests. The cognitive function at post-listening assessment out-performed the pre-listening in terms of reaction times (531.94 (±24.70) msec for post-listening assessment; and 557.13 (±37.15) msec for pre-listening assessment. The results of using electroencephalography (EEG) recording in an experimental manner with Karawitan musicians (N=20) revealed that listening to unknown cultural music, Mozart's Piano Sonata in C Major, and western music resulted in increased brain activity. Furthermore, while Karawitan musicians were listening to Mozart's Piano Sonata in C Major, the major brain activity occurred in the frontal lobe. This outcome will elicit additional consideration of music's integration, such as neuroscience of music.</span>

There are many ways to regulate emotions. People use both adaptive (e.g., regulation by music) and maladaptive (e.g., regulation by food) strategies to do this. We hypothesized that participants with a high level of food-based regulatory strategies and a low level of music-based regulatory strategies (a group with the least adaptive form of emotion regulation) would have significantly greater levels of unhealthy eating behaviours, depression, anxiety and stress, as well as a significantly lower level of healthy eating behaviours than those with a low level of food-based regulatory strategies and a high level of music-based regulatory strategies (a group with the greatest adaptive form of emotion regulation). Participants (N = 410; Mage = 31.77, SD = 13.53) completed: the Brief Music in Mood Regulation Scale, the Emotional Overeating Questionnaire, the Healthy and Unhealthy Eating Behavior Scale, the Depression, Anxiety and Stress Scale and a socio-demographic survey. The four clusters were identified: (a) Cluster 1 (N = 148): low food-based regulatory strategies and high music-based regulatory strategies; (b) Cluster 2 (N = 42): high food-based regulatory strategies and high music-based regulatory strategies; (c) Cluster 3 (N = 70): high food-based regulatory strategies and low music-based regulatory strategies; (d) Cluster 4 (N = 150): low food-based regulatory strategies and low music-based regulatory strategies. Overall, our outcomes partially support our hypothesis, as higher levels of unhealthy eating behaviours, depression, anxiety and stress were observed in participants with high food-based and low music-based regulatory strategies as compared with adults with low food-based and high music-based regulatory strategies. To sum up, the results obtained indicate that during the COVID-19 pandemic the group of people regulating their emotional state and unhealthy eating predominantly with food is potentially characterized by worse functioning than the group of people regulating with music. Therefore, it can be concluded that people who regulate their functioning using food should be included in preventive measures by specialists. During the visit, psychologists and primary care physicians can ask patients about their daily strategies and based on this information specialists can estimate the potential risk of developing high levels of stress and anxiety, depressive disorders and unhealthy eating habits and provide specific (match) intervention.

Abstract The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.

В современное российское музыкознание понятие «микротематизм» вошло достаточно давно и встречается в основном в анализах музыки ХХ века. Оно фиксирует «функционирование в музыке каких-либо малых тематических образований» (В. Н. Холопова). Понятие «микротематизм» было введено и первоначально разработано в узкоспециальных целях: прежде всего для обозначения особого качества музыки С. В. Рахманинова. В статье приводятся трактовки понятия, предложенные в 1960-1970-е годы Е. А. Ручьевской и Н. А. Скафтымовой в связи с анализом произведений Рахманинова. Дальнейшая жизнь понятия «микротематизм» свидетельствует о его расширении - оно применяется свободно, без специальных пояснений в анализах музыки К. Дебюсси, Б. Бартока, А. Веберна, А. Шёнберга. Опираясь на идею К. Дальхауза о качественно новой роли кратких мотивов в музыке рубежа XIX-XX веков, автор статьи предлагает несколько аналитических наблюдений над этой закономерностью в прелюдиях К. Дебюсси, сонатах А. Н. Скрябина, произведениях А. К. Лядова и Г. Малера. The concept of "microthematism” has entered the modern Russian musicology a long time ago and is found generally in the analyses of the music of the XX century. It fixes the "functioning of any small thematic formations in the music” (V. N. Kholopova). The concept of "microthematism” was introduced and originally developed for highly-specialized purposes: first of all, to define the special quality of the music of S. V. Rachmaninov. This article provides the interpretations of the concept suggested in the 1960s-70s by E. A. Ruchyevskaya and N. A. Skaftymova in connection with the analysis of Rachmaninov’s works. The further life of the concept of "microthematism” indicates its expansion-it is used freely, without special explanations in the analyses of the music of C. Debussy, B. Bartok, A. Webern, A. Schoenberg. Based on the idea of C. Dahlhaus about the qualitatively new role of short motives in the music of the turn of the 19-20 centuries, the author of the article suggests several ana Lytical observations concerning this trend in the preludes of C. Debussy, the sonatas of A. N. Scriabin, the works of A. K. Lyadov and G. Mahler.

The scope of the research looks at the use of media relations at the Guns N Roses music concert with public relations media users in terms of event promotion implemented by Third Eye Management (TEM) as the event promoter. The success of the music concert event led to a search that was studied in terms of the use of media relations and media innovations applied by stakeholders as a media for event promotion. The purpose of this study was to identify and understand the role of media and media innovation at the Guns N Roses music concert event. The literature review used includes public relations, media relations, and media innovation. The research approach used in this research is descriptive-qualitative. Techniques in collecting data in this study used interviews and observation. The analysis technique applied through the Miles and Huberman interactive model, namely: (a) Data reduction level (b) Data presentation stage (c) Closing or reviewing phase. The results of the study indicate that there is a role for media innovation and media relations in the management of the Guns N Roses music concert event which is applied by TEM as the promoter of the event, which has a significant effect on the management of the event. This can be seen from the use of Instagram's new media as a new idea to provide services to the media and the community based on innovation and technology that can benefit various parties, both the media and the general public.

Background The potential effects of classical music (CL) and heavy metal (HM) in comparison to silence (S [“controls CO]) or noise (N) on cardiovascular parameters (blood pressure [BP], heart rate [HR]) and cortisol levels (C) has not been studied before. Objective To analyse the effect of different music styles (intervention group) on BP, HR and C compared to S (control group). Methods 120 volunteers aged 25-75 years were studied. 60 volunteers were consecutively assigned in the intervention group (n=60). Sixty volunteers were matched according to age, sex, height and weight (control group). Interventional music styles were CL (Bach, Suite No. 3, BWV 1068); HM (Disturbed, Indestructible) or various daily sounds =“noise” [N]). Sound exposure of CL, HM, or N was 21 minutes. Results In the intervention group systolic, diastolic BP (mm Hg) and HR (beats per min) decreased mostly when CL was played compared to HM, N or CO (p<0.001). Conclusions Music will influence cardiovascular parameters. Classical music (“Bach”) leads to decreased values of BP and HR. In HM, N or S we could not observe similar findings. SpanishEl efecto potencial de la música clásica (CL) y el Heavy Metal (HM) en comparación con silencio (S) o ruído (N) en parámetros cardiovasculares (presión sanguínea - BP, frecuencia cardiaca- HR, y niveles de cortisol- C) no había sido estuduado hasta el presente. Objetivo: Analizar el efecto de diferentes estilos musicales (Grupo de tratamiento) en BP, HR y C, comparado con S (grupo control). Método: 120 voluntarios entre 25 y 75 años fueron estudiados. 60 voluntarios fueron asignados consecutivamente al grupo de intervencion (n:60). 60 voluntarios fueron asignados al grupo control, de acuerdo a género, peso y talla. Los estilos musicales utilizados en la intervención fueron los siguientes: Bach, Suite No. 3, BWV 1068 (CL),Disturbed, Indestructible (HM), sonidos cotidianos =“ruido” [N]). El tiempo de exposicion a CL, HM, or N fue de 21 minutos. Resultados: En el grupo de intervencion se encontró una disminución en sistólica y diatólica BP (mm Hg) y HR (latidos por minuto) durante CL, comparado con HM, N o CO (p<0.001). Conclusion: La música influyer parámetros cardiovsaculares. Música clásica (Bach), parece disminuir BP y HR. No encontramos resultados similares en HM, N o S. FrenchEffets de différents style de musique sur l’activité cardiovasculaire chez l’homme : étude prospective contôléeHans-Joachim Trappe1, Irini Maria Breker21 Departement de Cardiologie et Angiologie, Université de Bochum, Herne, Allemagnangiology. Résumé : les effets potentiels de la musique classique (MC) et heavy métal (HM) en comparaison au silence (S [“contrôles CO]) et du bruit (B) sur les paramètres cardiovasculaires (pression artérielle [PA], fréquence cardiaque [FC] et niveau de cortisol (C) n’ont pas été étudiés auparavant. Objectif : analyser les effets des différents types de musique(groupe d’intervention) sur PA, FC et C comparés à S (groupe contrôle).Méthode : 120 volontaires âgées de 25-75 ans ont participé à l’étude. 60 volontaires ont été successivement assignés au groupe d’intervention (n=60) d’après l’âge, le sexe, la taille et le poids (groupe contrôle. Les styles de musique ont été CL (Bach, Suite N° 3, BWV 1068); HM (Disturbed Indesctructible) ou des sons variés du quotidiens = “bruit” [N]). L’exposition au sonde CL, HM ou N a été de 21 mn. Resultats : dans le groupe d’intervention, la PA systolique et diastolique (mm Hg) et la FC (battement par minute) ont diminué surtout quand la CM était jouée en comparaison avec HM, B ou CO (p<0.001). Conclusions : La musique influence les paramètres cardiovaculaires. La musique classique (“Bach”) conduit à une diminution des valeurs de PA et FC. Dans HM, N ou S nous ne pouvons pas observer de résultats similaires. Trial registration 3898-11 University of Bochum, Germany Funding German Heart Foundation, Frankfurt am Main, Germany Trial Registration German Clinical Trials Register (DRKS00009835) Mots clés : musique classique, musique métal, pression artérielle, fréquence cardiaque, cortisol GermanDie Wirkung verschiedener musikalischer Stile auf cardiovasculäre Reaktionen beim Menschen: eine prospektive kontrollierte StudieAbstract: Hintergrund: Die potentialen Effekte von klassischer Musik (CL) und Heavy Metal (HM) im Vergleich zu Stille (S [Kontrollen CO]) oder Alltagsgeräuschen =“noise“ (N) auf cardiovaskuläre Parameter (Blutdruck [BP], Herzschlag [HR] und Cortisol [C]) wurde bisher noch nicht untersucht. Ziel: Analysierung der Effekte von verschiedenen musikalischen Stilen (Interventionsgruppe) auf BP, HR und C auf S (Kontrollgruppe). Methode: 120 Teilnehmer (25-75 J.) wurden untersucht, davon 60 Teilnehmer konsekutiv für die Interventionsgruppe ausgewählt (60). Diese 60 Teilnehmer wurden über Alter, Geschlecht, Größe und Gewicht gematcht. Die genutzten Musikstile waren CL (Bach, Suite Nr 3, BWV 1068); HM (Disturbed, Indestructible) und verschiedene Geräusche aus dem täglichen Leben (=“noise“) (N). Die Zeit für die Klangdarbietung von CL, HM oder N war 21 Minuten. Ergebnisse: In der Interventionsgruppe verringerte sich meistens der systolische und der diastolische BP (mmHG) und der HR (Schläge pro Minute) bei CL im Vergleich zu HM, N oder den CO (p<0.001). Ergebnisse: Musik beeinflusst die cardiovasculären Parameter. Klassische Musik (Bach) führt zu sinkenden Werten von BP und HR, bei N oder S konnten wir keine vergleichbaren Ergebnisse feststellen. Keywords: Klassische Musik, Heavy Metal, Blutdruck, Herzschlag, CortisolJapanese要旨 背景：クラシック音楽（ＣＬ）とヘヴィメタル音楽（ＨＭ）、静寂（Ｓまたはコントロール群としてのＣＯ）と騒音（Ｎ）の比較が、人間の循環器（血圧[ＢＰ]、脈拍[ＨＲ]）そしてコルチゾール値（Ｃ）に及ぼす効果に関する研究はまだなされていない。目的：異なる音楽スタイル（介入集団）が、コントロール群と比べて、血圧、脈拍、コルチゾール値にもたらす効果を分析する。方法：２５歳から７５歳までの１２０名の被験者を対象に行われた。６０名は介入集団へ、残りの６０名は年齢、性別、身長、体重などを考慮した上で、コントロール群に分けられた。介入に使われた音楽スタイルは、クラシック音楽CL (Bach, Suite No. 3, BWV 1068)、ヘヴィメタル音楽HM (Disturbed, Indestructible)、日常の生活音N（騒音noise）であった。これらの音・音楽刺激は、２１分間であった。結果：介入グループでは、心臓収縮期、拡張期において、ヘヴィメタル音楽や騒音を聴いたときより、クラシック音楽を聴いた時の方が、血圧(mm Hg)、脈拍(beats per min)、コルチゾール値が下がる(p<0.001)ことがわかった。音・音楽刺激の前後における値は下記の通りであった。 結果：音楽は循環器の値に影響することが分った。クラシック音楽（バッハ）は血圧と脈拍を降下させた。ヘヴィメタル音楽、騒音、静寂については、共通の結果を見出すことができなかった。キーワード: クラシック音楽、ヘヴィメタル音楽、血圧、脈拍、コルチゾール値Chinese背景摘要 過去未曾有研究針對古典音樂(CL)及重金屬音樂(HM)對比安靜(S[控制組CO])或噪音(N)對於心血管參數 (血壓[BP]、心跳[HR])及皮質醇水平(C) 的潛在影響。 目的 分析不同音樂類型(實驗組)與安靜(控制組)相較之下對血壓(BP)、心跳(HR)及皮質醇水平(C)的影響。方法 對120位年齡介於25-75歲的自願參與者進行研究。60位自願參與者連續分配到研究組(n=60)。60位自願參與者則被配對年齡、性別、身高、體重分配到控制組。實驗介入的音樂風格為古典音樂組CL(巴哈，第三號組曲，BWV 1068)；重金屬音樂組HM(騷動樂團的永不毀滅)或多樣化的日常聲音=噪音(N)，志願者分別被暴露在CL、HM和N聲音環境中21分鐘。結果 比較實驗組中測得的收縮壓與舒張壓(mm Hg)及心跳速率(每分鐘幾下)。相較於重金屬音樂組、噪音組及控制組，當古典音樂播放時所測得的數值大多會下降(p<0.001)。下列為實驗組暴露於聲音前後及控制組的結果： 結論 音樂會影響心血管參數，我們發現聆聽古典音樂(巴哈)有效降低血壓及心跳的同時，在重金屬音樂組、噪音組及控制組都未觀察到類似的結果。試驗註冊 3898-11德國波鴻大學。資金 德國心臟基金會，法蘭克福，德國。試驗註冊 德國臨床試驗註冊（DRKS00009835）

The purposes of this study were to examine (a) whether grade-level differences exist on self-evaluation tendencies over time, (b) if grade-level differences and evaluator differences exist, alone and in combination, on music performance evaluation, (c) if relationships exist between student self-evaluation and expert evaluations of music performance by grade level, and (d) whether differences exist between grade level and music performance subarea (tone, intonation, melody, etc.) on self-evaluation accuracy. Middle ( N=92) and high school ( N=51) instrumentalists participating in two summer music programs self-evaluated their performances during rehearsals, while expert evaluators judged an individual final performance. Results indicated differences between grade levels on performance self-evaluation as the week progressed for some subareas. High school students were more accurate in their self-evaluations than were middle school musicians for all subareas except melody and rhythm. Middle school students' scores showed greater correlation with experts than did those of high school musicians. Both groups were most accurate in their evaluation of melody and least accurate in evaluation of technique/articulation. January 3, 2005 May 11, 2005.

The present study allowed music majors (n = 40) and nonmajors (n = 30) to record their perceptions of tension in two selections of jazz music using the Continuous Response Digital Interface (CRDI). Both musical stimuli were recorded versions of “St. Louis Blues” by W. C. Handy, The first was a popular, stylized version sung by Nat King Cole, and the second, which included an extensive improvisatory section, was performed by Ella Fitzgerald. In comparing these results to earlier studies dealing with music majors' and nonmajors' perceived tension and aesthetic response, there are certain factors that remain constant Music majors' responses did not seem to differ markedly in overall contour from nonmusic majors' responses, which is consistent with previous research. Graphs of perceived tension responses are much more highly differentiated than are graphs of perceived aesthetic response. These graphs produce a pattern that is unique to that musical selection (or in this case, a highly stylized performance). Subjects had no trouble performing the task or using an existing internal definition of musical tension. This existing internal definition is probably applied to a variety of musical styles, including jazz. This study also seemed to indicate a definite order effect in the presentation of the stimuli, which may relate to the way listeners put what they hear into a musical context.

This study's purpose was to investigate the extent and nature of collaboration for music teacher education between K—12 schools and higher education institutions across the United States. A survey was used to gather data from a stratified random sample (n = 204) of the 813 higher education institutions offering music education degrees. The findings indicated that 96.77% of colleges/universities collaborate with K—12 schools in some form, but the degree of collaboration varies widely. Higher education music faculty respondents reported a broad range of benefits to students, faculty, the higher education institution, and the K—12 schools. Communication, shared decision-making, funding sources, faculty rewards, trends, and reasons for collaboration were examined. An analysis of variance revealed significant relationships between the degree of collaboration and (a) the number of music education majors, (b) the institution's size, and (c) graduate study in music education.

This follow-up pilot study investigates the effect of a six-month analysis course, during which college music majors learned to see the meaning of music as being essentially intra-musical. The study aims to explore relationships between intra- and extra-musical perceptions among subjects ( N = 33) while listening to Beethoven’s Thunder Storm ( Pastoral Symphony, 4th movement). During pre- and post-intervention sessions, listeners represented the music via self-invented audiovisual products (AVPs) and related notes. Four systems of conceptualization emerged: Random responses (category-R), reflecting no reference to the music; Associative contents (category-A), suggesting extra-musical interpretations; Compound responses (category-C), combining extra- and intra-musical contents; Intra-musical contents (category-I), referring to purely musical properties. A scale of 4-6-8-10 grades for the respective categories R-A-C-I was established, with the highest score for category-I which reflects fulfilment of the course objective. By comparing between pre- and post-intervention AVPs, results show an insignificant increase in I-responses (zero to 9.5%) and 52.6% of no conceptual change through phases. The most prominent response is the extra-musical (68%) often at both pre- and post- phases (47%). The study empowers the position that classical music evokes referential contents, which should be given as much attention in teaching and learning music as ‘analytical’ properties of sound.

The purpose of this study was to examine collaborative composing in high school string chamber music ensembles. Research questions included the following: (a) How do high school string instrumentalists in chamber music ensembles use verbal and musical forms of communication to collaboratively compose a piece of music? (b) How do selected variables (music performance and composing experience, quality of group collaboration, gender grouping, perceptions of the project) influence the process of composing collaboratively in a high school chamber music ensemble? and (c) What variables influence the quality of the resulting collaborative composition? High school string instrumentalists ( N = 37) formed eight chamber music ensembles. Participants completed a presurvey regarding music performance and composing experiences, were videotaped while composing chamber music compositions, and completed a postsurvey regarding their project experiences. All groups spent a larger percentage of time engaged in task-directed musical communication than in verbal communication. Balance of collaboration had a strong relationship with composition quality. Mixed-gender groups had a stronger balance of collaboration than same-gender groups. Postsurvey data indicated that enjoyment of the project was found to have a strong relationship with composition quality.

Music is said to affect the brain in different ways. To the best of our knowledge, research works on the effect of passive listening to different melodic scales of Indian music on Electroencephalogram (EEG) power spectrum is rare to find. In this randomized control trial, 137 healthy subjects were randomly divided into 4 groups (A to D, n~32 in each group), of which A (raga Ahir Bhairav), B (raga Kaunsi Kanada), C (raga Bhimpalas) received music intervention while group D was the control arm. Nineteen channel scalp EEG was recorded for 30 minutes [10 min for each condition, before (BI), during (DI) and after intervention (AI)] and conducted power spectral analysis of waveforms in standard frequency bands. Two-way ANOVA was performed across conditions and groups, to determine the scalp regions showing significant changes, for each frequency band separately. Across conditions, significant change in BI alpha and AI theta, beta1, beta2 bands, while between groups, group B had significant change in alpha and group C in beta1 power, mostly involving frontal regions was seen. Mid Frontal PSA exhibited an increased theta power in group C and D (AI), while alpha and beta1 power increased in group B and C (in group C, beta2 increased significantly). Temporal trend analysis (2-minute segments), showed that there was a significant fall in frontal alpha DI in group B; while in A, C and D groups, the drop seen BI reduced DI and AI. Similarly, the beta1 drop reduced DI and AI in group C and D, while it increased in group B (DI) and group A (AI). Music caused relaxation effect with scales B and C causing maximal effect. In line with existing literature, it may be concluded that listening to these melodic scales was associated with mind wandering effect and probable visual imagery/recall.

58 Background: The 2007 National Health Interview Survey (NHIS) reported more than one-third of adults used some form of complementary and alternative medicine (CAM). An analysis of 2002 NHIS data found CAM use to be more prevalent among people with a prior diagnosis of cancer. In 1999, St. Luke’s Mountain States Tumor Institute (MSTI) began an integrative therapies program to meet this growing interest and provide evidence-based, safe CAM modalities for patients. The program continues to grow and offers programs such as massage, acupuncture, and pediatric music therapy. Methods: Patient reported outcomes are collected from patients using pre/post treatment assessments. Outpatient massage and acupuncture programs measure comfort levels pre/post treatment using a 0-10 scale (0 = very comfortable; 10 = worst discomfort). The inpatient massage program measures pre/post treatment pain and tension using a 0-10 scale (0 = no pain/tension; 10 = worst pain/tension). Finally, the MSTI pediatric music therapy program collects pre/post treatment pain outcomes using a FLACC scale, where each of the five categories Face (F), Legs (L), Activity (A), Cry (C) and Consolability (C) are scored from 0-2, which results in a total score 0-10. Results: Assessments from outpatient acupuncture and massage collected between July 1, 2011 to July 1, 2012 showed that patients had an average comfort score of 3.6 before acupuncture and 2.0 after acupuncture and an average comfort score of 3.4 before massage and 0.77 after massage (n=1300 estimate). Inpatient massage outcomes collected between Dec. 2011 – June 2012 showed an average pain score of 2.53 before massage and 0.41 after massage and an average tension score of 4.73 before massage and 0.52 after massage (n=52). MSTI pediatric music therapy outcomes collected from January-April 2012 showed an average FLACC score of 3.0 before music therapy and 0.72 after music therapy (n=68). Conclusions: Integrative therapies such as massage, acupuncture and pediatric music therapy show significant benefits in providing comfort and decreasing pain and tension in MSTI cancer patients. Opportunities remain to conduct research and set a standard of practice with integrative therapies.

Abstract Music therapy is becoming a standard supportive care service in many pediatric hospitals across the United States. However, more detailed information is needed to advance our understanding about current clinical practice and increase availability of pediatric music therapy services. The purpose of this cross-sectional survey study was to collect and summarize data about music therapists working in pediatric medical settings. Specifically, we collected information about (1) therapist demographics, (2) organizational structure, (3) service delivery and clinical practice, and (4) administrative/supervisory responsibilities. Board-certified music therapists working in pediatric medical settings (n = 118) completed a 37-item online questionnaire. We analyzed survey data using descriptive statistics and content analysis. Findings indicated that there is a ratio of approximately one music therapist for every 100 patient beds, that one-third of respondents are the only music therapist in their setting, and that half of the surveyed positions are philanthropically funded. Prioritizing patient referrals based on acuity was common (95.7%, n = 110), with palliative care and pain as the most highly prioritized needs. More than half of respondents reported serving in high acuity areas such as the pediatric intensive care, hematology/oncology, or neonatal intensive care units. We recommend replication of this survey in five years to examine growth and change in service delivery among pediatric music therapists over time, with additional studies to (a) explore how therapist-to-patient ratios influence quality of care, (b) identify factors that contribute to sustainability of programs, and (c) determine how expansion of services support a broader population of patients and families.

What do young people hear when listening to music? Despite substantial literature addressing children and teenagers’ use and experience of music, little research has focused on their holistic (both intra- and extra-musical) understanding. This article reports on the third stage of a mixed-method nationwide UK enquiry concerning young people’s subjective experiences of music. This stage focused on meanings 10- to 18-year-olds attach to music. Participants from varied socio-demographic and music backgrounds ( N = 84) listened to 20 short musical extracts through headphones, to which they gave free written responses. Their reports highlight shared cultural references, and the prevalence of perceived meanings indirectly related to or detached from the original musical source. Individual differences in age and training mediated musical meaning-making: 10- to 12-year-olds were most likely to report induced affect, employ self-reference (including self-in-scenario visualisations), and demonstrate vicarious experience through music. Increases in analytical listening, apparent from c. 15 years of age were primarily training-related. Participants aged 16 and above tended towards evaluative, detached modes of reporting, regardless of musical training level. Findings demonstrate that holistic understanding of music is subject to significant flux across adolescence.

The purpose of this study was to investigate the effects of teacher approvals and disapprovals of music performed in a rehearsal setting on the music preferences of middle school students. Students ( N = 440) from eight middle school bands participated in the study and were assigned one of four different rehearsal conditions. Teachers rehearsed either one or two assigned pieces of music, while implementing one of the following treatment conditions: (a) rehearsal of one piece with teacher approval and rehearsal of the other piece without comment; (b) rehearsal of one piece with teacher disapproval and rehearsal of the other without comment; (c) rehearsal of only one of the pieces, with teacher approval; and (d) rehearsal of only one of the pieces, with teacher disapproval. After five rehearsals of the music, students were given a listening survey on which to rate their preferences for the two compositions. Results indicated that the treatment conditions had a significant effect on preferences. Ratings from the approval treatment condition were significantly higher than those from the disapproval treatment condition.

The study examines the issues of formation of music education in Novo-Nikolaevsk, the rudiments of which were laid from the very beginning of the construction of the bridge-builder village, continued with private lessons and finally resulted in the organization of the first musical educational institutions: the schools of S. N. Zavadovsky and Y. C. Sventorzhetskaya and after arrival in the city of the Red Army in the spring of 1920 of a new music school (in fact, the first Soviet educational institution of culture). N.P. Viduley and E.M. Skvortsova were at the beginning of the last-mentioned. Unfortunately, with the transition of music education to the municipal department, it began to experience financial difficulties that led to the closure of the first Soviet music school in 1927. In addition, the article considers local history aspects - the location of schools, the former names of the city streets.

The purpose of this study was to review a series of studies (n = 20) examining the effects of adding music to exercise programs in clinical populations and in the elderly. We found that the addition of music can (a) improve exercise capacity and increase patients’ motivation to participate in cardiac and pulmonary exercise rehabilitation programs; (b) lead to improved balance, greater ability to perform activities of daily living, and improved life satisfaction in elderly individuals; (c) enhance adherence and function of individuals suffering from neurological diseases such as Alzheimer’s and Parkinson’s; and (d) sustain these benefits if continued on a long-term basis. Based on the reviewed studies, a number of methodological concerns were presented, among them the choice of music style. One of the practical implications suggested for clinicians and practitioners was that the type of music should be individualized based on each patient’s musical preferences.

The pandemic has demonstrated the need for e-learning tools to support Romanian music education. The lack of digital resources in the national language adapted to the Romanian music curriculum made it difficult for students to learn using foreign applications with a different music notation system from Romania’s during the online teaching period. In response to this, we created a software tool that supports musical instruction in line with the outcomes expected by the country's school music curricula. This study investigated the effect of the new software on improving learning outcomes and student motivation. The participants were three experimental groups from eight schools. Group A (n = 60 pupils) were required to use the software for six weeks, at least 15 minutes per day, five days a week. This was carried out under teacher supervision in classrooms and under teacher guidance at home. Group B (n = 61 pupils) were asked to use the software once a week for six weeks in their music lessons. Group C (n=10 teachers) lead the application's testing process. Each child was allocated a unique code (to ensure each pupil's anonymity), which enabled the researcher to observe their activity. The average total use per child in Group A was 48 sessions, and for Group B, it was 12 sessions. The results for Group A showed pupils had notably enhanced their learning outcomes. Of the (n=60) pupils, 96% reported feeling 'highly motivated' by the software. The tool's facility for personalised, needs-focused exercises with immediate feedback was identified as particularly helpful. Group B, who used the software occasionally, made slower progress, but 93% reported that the addition of the software was preferable to traditional classroom music education conducted without such individual-focused technology. Out of (n=121) pupils, 94% reported the software was easy to learn and use. Each of the ten teachers who led the testing process reported increased accuracy of the elements practised with the software after six weeks of usage and decided to continue using it. More exercise resources are currently being developed for the software. Now also in English, it is easily translatable into other languages.

The purpose of this study was to examine music educators’ understanding and opinions of U.S. copyright law. In-service music educators ( N = 50) completed a web-based questionnaire designed to assess their attitudes toward, knowledge of, and preparation/training for understanding copyright law. Respondents reported generally favorable attitudes toward copyright law. Results also indicated that respondents had a limited understanding of certain aspects of copyright law. These in-service music teachers reported that their undergraduate preparation did not prepare them well to understand copyright law, and the majority (64%) indicated completing zero undergraduate courses that included copyright law as a content area and few professional development sessions focused on understanding copyright law. Analysis of respondents’ answers to a free-response question indicated the following themes: (a) rationalizing unethical/illegal behaviors, (b) criticizing the status quo, and (c) expressing a desire for more information about copyright.

The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the method of creation is carried out in three stages, namely; 1) data collection stage, 2) creation stage and 3) evaluation stage. This composition can be concluded that; a) creating musical compositions derived from regional arts has its own difficulties, where the creator must understand and explore the arts of the area, b) badondong is a new musical composition that is adapted from the melodies and vocals of badondong baibo in the Danto area of East Kampar district, c) the tone of the composition this music is a modified "nandung-nandung" melody without reducing the basic "nandung-nandung" melody, d) this badondong baibo vocal is sung by a vocalist to show the main theme in the creation of this musical composition, e) this composition is in the form of an orchestra format, f) This badondong is a musical composition with a lot of development, and is presented in the context of performing arts.Keywords: badondong, baibo, composition, music. AbstrakRumusan penciptaan komposisi ini diwujudkan dalam sebuah pertunjukan yaitu musik instrumental dan vokal yang mengangkat kesenian badondong baibo menjadi sebuah pertunjukan musik instrumental yang kreatif dan inovatif dalam bentuk komposisi musik dengan format orketra. Dimana rumusan penciptaan menggunakan prinsip-prinsip ilmu musik konvensional. Sedangkan tujuan penciptaan ini adalah 1) untuk menghadirkan kesenian badondong baibo dengan konteks dan fungsi yang berbeda ke dalam komposisi musik modern dan mengembangkannya dengan menggunakan teknik konvensional, 2) untuk merealisasikan ide musikal yang di inspirasi dari kesenian badondong baibo dan menjadikannya sebuah komposisi musik yang baru. Sedangkan metode penciptaan dilakukan dengan tiga tahap yaitu; 1) tahap pengumpulan data, 2) tahap penciptaan dan 3) tahap evaluasi. Secara aris besar kompisisi ini dapat disimpulkan bahwa; a) menggarap sebuah komposisi yang berangkat dari sebuah kesenian bukanlah perkara yang mudah, selain harus memahami, kita juga dituntut untuk mempelajari latar belakang dari kesenian tersebut, b) badondong adalah komposisi musik baru yang bersumber dari melodi vocal badondong baibo yang terdapat didaerah Danto kecamatan Kampar Timur, c) material komposisi ini adalah potongan-potongan melodi “nandung-nandung” yang dikembangkan dengan tidak menghilangkan nuasa melodi pokok “nandung-nandung”, d) vokal dari badondong baibo dibawakan oleh seorang vokalis untuk memperkenalkan tema pokok dalam penggarapan komposisi ini, e) komposisi digarap dengan format orkestra dalam sebuah pertunjukan seni, f) badondong ini adalah sebuah komposisi musik yang dicipatkan dengan menggunakan banyak pengembangan, dimana komposisi musik ini dihadirkan dalam konteks prtunjukan.Kata Kunci: badondong, baibo, komposisi, musik. 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A correlational study was conducted among attendees of three music festivals in Poland ( N = 828). The main goal was to examine how functions ascribed to music are related to (a) a feeling of being united with other attendees, (b) the perception of being independent from or (c) interdependent with other attendees, and (d) a feeling of self-growth resulting in self-expansion. Using structural equation modelling, we showed the following. First, people who feel stronger connections and experience more personal relationships with other attendees report a stronger feeling of self-growth during music festivals and ascribe more importance to the social functions of music. Second, a strong, direct relationship exists between independent self-construal (i.e., an individualistic view of the self as autonomous from other people) and the self-awareness function of music as well as between interdependent self-construal (i.e., a more collectivistic view of the self as embedded in the group and community) and the social function of music. Finally, the results of the mediation analysis of self-expansion for the relationships between different aspects of self and the functions of music indicated that self-expansion is a statistically significant partial mediator of these relationships for the social and self-awareness function of music but not for the emotional function. That is, participants, who experienced changes in self-construct related to self-growth and self-development from their participation in a music festival used music to facilitate self-awareness and social relatedness.

The purpose of this study was to evaluate the psychometric quality (i.e., validity and reliability) of a rating scale to assess pre-service teachers’ lesson plan development in the context of secondary-level music performance classrooms. The research questions that guided this study include: (1) What items demonstrate acceptable model fit for the construct of lesson plan development in the context of a secondary-level music performance classroom? (2) How does the structure of the rating scale vary across items? and (3) Does differential severity emerge for academic administrators or music education content specialists across items? Using multiple teacher effectiveness frameworks, the lesson plans in this study were evaluated using a 4-point Likert-type rating scale (e.g., strongly agree, agree, disagree, strongly disagree) consisting of five domains: (a) instructional planning, (b) instructional delivery, (c) differentiated instruction, (d) assessment uses, and (e) assessment strategies. Secondary-level school administrators ( n = 8) and music education content specialists ( n = 8) rated 32 lesson plans using a balanced incomplete assessment network. The multifaceted Rasch measurement partial credit model was used in this study. Results suggest higher rater severity among administrators than music specialists. Of the 68 potential pairwise interactions examined in the study, 5 (7.4 %) of those were found to be statistically significant, which indicates that 5 raters demonstrated differential severity across at least one lesson plan. Implications for student teacher preparation, teacher effectiveness, and the validity of measures are discussed.

Abstract The primary purpose of this study was to create a model to predict jazz improvisation achievement. The dependent variable was defined as jazz improvisation achievement and the independent variables were defined as: (a) self-assessment, (b) self efficacy, (c) motivation, (d) jazz theory knowledge, (e) academic achievement, (f) sight-reading ability, and (g) listening experience. A sample of high school students (N = 102) in grades 9 through 12 were chosen from 3 high schools in south Florida (n = 59) and 4 high schools in southeast Michigan (n = 43). The seven independent variables combined to account for 50% of the variance in jazz improvisation achievement. The path model revealed an adequate fit between theory and data (X² = 10.67, df= 11, p &lt; .471), indicating that a model to predict jazz improvisation achievement can be created and statistically tested.

The purpose of this study was to examine the relationship between the frequency of particular authentic-context learning (ACL) activities during undergraduate instrumental music teacher training and the initial teaching performance (ITP) of undergraduate instrumental music student teachers. Subjects (N = 30) were instrumental music student teachers at four major universities. Four ACL activities, identified from the literature and limited to instrumental music settings, included (a) early field experience teaching episodes, (b) peer-teaching episodes, (c) episodes of subjects watching videotapes of their teaching, and (d) episodes of subjects watching videotapes of their teaching with a coaching instructor. ITP was determined by evaluating teaching episodes, which occurred within the first 3 weeks of student teaching, using the Survey of Teaching Effectiveness (Hamann & Baker, 1996). Significant correlations were found between ITP and three of the four ACL activities. In addition, an overall ACL experience value was calculated and categorized into high, medium, and low levels. Those with a high level of ACL experiences were significantly better teachers than those with medium or low levels of ACL experiences.

Listeners are sensitive to pitch distributional information in music (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P.Toiviainen, T. Jäärvinen, & T. Eerola, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. The material consisted of 15 melodies representing five folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount (40%%) of listeners' similarity ratings. A slightly better predictive rate (55%%) was achieved by using descriptive variables such as number of tones, rhythmic variability, and melodic predictability. The results suggest that both measures were able to capture some aspects of the structures that portray common salient dimensions to which listeners pay attention while categorizing melodies. Aikaisemmissa tutkimuksissa on osoitettu, ettää musiikin tilastollisilla tapahtumilla, kuten säävelten määäärillää ja tyypillisillää intervalleilla, on merkitystää, kun kuulijat muodostavat kääsityksiääään musiikin rakenteesta (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P. Toiviainen, T. Jäärvinen, & T. Eerola, 1999). Nääiden piirteiden voidaan olettaa olevan täärkeitää myöös musiikin luokittelussa. Toistaiseksi ei kuitenkaan tiedetää, miten hyvin tilastollisilla piirteillää voitaisiin musiikin luokittelua selittääää. Täätää testattiin kuulijoille jäärjestetyn samanlaisuusarviointitehtäävään avulla. Tutkimuksen materiaali koostui 15 melodiasta, jotka edustivat viittää eri kansanmusiikkityyliää. Regressioanalyysi paljasti, ettää musiikin tilastollisten piirteiden samanlaisuus pystyi selittäämääään kohtuullisen määäärään (40%%) kuulijoiden antamista samanlaisuusarvioista. Hieman parempi selitysaste (55%%) saavutettiin kuvaavilla muuttujilla, joita olivat melodian laajuus ja ennakoitavuus sekää rytmin vaihtelevuus. Nääin ollen tulokset antavat aiheen olettaa, ettää musiikin tilastolliset piirteet ja kuvailevat muuttujat vaikuttavat kuulijoiden luokittelupäääätööksiin.

The purpose of this study was to develop a Music Self-Concept Inventory (MSCI) for college students that is easy to administer and reflects the global nature of this construct. Students ( N = 237) at a private college in the midwestern United States completed the initial survey, which contained 15 items rated on a 5-point Likert scale. Three subscales determined by previous research included (a) support or recognition from others, (b) personal interest or desire, and (c) self-perception of music ability. A series of exploratory factor analyses supported this model and indicated that deleting two items loading <.40 on their intended subscales improved validity and helped attain simple structure. The final version of the MSCI contains 13 items, explains 63.6% of the variance, and maintains high reliability (total: α = .94; subscales: α = .83–.92). Validity was demonstrated through correlation between the MSCI and another measure of music self-perception ( r = .94), MSCI scores and years of participation in music activities ( r = .64), and interfactor correlations ( r = .71–.75). This instrument will provide a tool for researchers and educators to assess change or development in music self-concept and examine other variables related to this construct.

Abstract The purpose of this study was to examine the potential reUtionships among participation in high school music ensembles and extra-musical educational outcomes broadly defined (i.e., math achievement, community ethic, commitment to school) using data from the Education Longitudinal Study of 2002. The sample (N =12,160) was representative of white and minority high school sophomores from 603 rural, suburban, and urban schools across the United States. Bronfenbrenner’s bioecological development model was used as a theoretical framework to guide the selection of predictor variables. Multilevel model analyses accounting for both individual-(i.e., music participation, SES, minority status, peer influence) and school-level (i.e., urbanicity, percent of teachers certified, number of music teachers) effects were conducted for each outcome variable. Music participation was found to be significantly (p &lt; .001) rebted to all outcome vanables. Furthermore, this relationship remained significant after controlling for the remaining individual- and school-level effects. Students in high school music ensembles are significantly more likely to (a) have higher standardized math achievement scores, (b) be more concerned about community ethics (i.e., building friendships, helping others, correcting social inequalities), and(c) be more committed to school (i.e., less late arrivah, less cuts/skips, less absences).

The purpose of this study was to (1) reexamine academic achievement motivation orientations within the context of instrumental music, and (2) examine relations among achievement motivation orientations, self-concept in instrumental music, and attitude to band in relation to teachers' ratings of performance achievement and effort, and students' grade level, gender, instrument, self-reported practice time, and selected music experience variables. Participants ( N= 300) were band students (Grades 7-12) in four school districts. Data were gathered concerning students' (a) motivation orientations (mastery, intrinsic, individual, cooperative, ego, competitive, approach success, avoid failure), self-concept, and commitment to band; (b) instrument, grade level and gender, practice time per week, and experience in private lessons, solo festival, and all-county band; and (c) performance achievement and effort as rated by their teachers. Results indicated that ratings of performance and effort were most strongly correlated with self-concept and intrinsic motivation, respectively. Practice time was most strongly correlated with intrinsic motivation. Factor analysis revealed three factors of motivation: Learning/Task Orientation, Performance/Ego Orientation, and Individual Orientation. The factors essentially replicated those found in a general academic achievement setting. Learning/Task Orientation was positively correlated with practice time, ratings of performance and effort, solo festival and private-lesson experience, and grade level. Performance/Ego Orientation was negatively correlated with grade level and solo festival ratings. Individual Orientation scores were positively correlated with ratings of performance and effort and solo festival ratings. Differences by gender and instrument group were nonsignificant. October 11, 2004 March 20, 2005.

This article considers a signal detection theory (SDT) approach to evaluation of performance on the Montreal Battery of Evaluation of Amusia (MBEA). One hundred fifty-five individuals completed the original binary response version of the MBEA (n = 62) or a confidence rating version (MBEA-C; n = 93). Confidence ratings afforded construction of empirical receiver operator characteristic (ROC) curves and derivation of bias-free performance measures against which we compared the standard performance metric, proportion correct (PC), and an alternative signal detection metric, d ′. Across the board, PC was tainted by response bias and underestimated performance as indexed by Az, a nonparametric ROC-based performance measure. Signal detection analyses further revealed that some individuals performing worse than the standard PC-based cutoff for amusia diagnosis showed large response biases. Given that PC is contaminated by response bias, this suggests the possibility that categorizing individuals as having amusia or not, using a PC-based cutoff, may inadvertently misclassify some individuals with normal perceptual sensitivity as amusic simply because they have large response biases. In line with this possibility, a comparison of amusia classification using d ′- and PC-based cutoffs showed potential misclassification of 33% of the examined cases.

This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.

Production of relatively few rhythms with non-isochronous beats has been studied. So we assess reproduction of most well-formed looped rhythms comprising K=2-11 cues (a uniform piano tone, indicating where participants should tap) and N=3-13 isochronous pulses (a uniform cymbal). Each rhythm had two different cue interonset intervals. We expected that many of the rhythms would be difficult to tap, because of ambiguous non-isochronous beats and syncopations, and that complexity and asymmetry would predict performance. 111 participants tapped 91 rhythms each heard over 129 pulses, starting as soon as they could. Whereas tap-cue concordance in prior studies was generally &gt;&gt; 90%, here only 52.2% of cues received a temporally congruent tap, and only 63% of taps coincided with a cue. Only −2 ms mean tap asynchrony was observed (whereas for non-musicians this value is usually c. −50 ms). Performances improved as rhythms progressed and were repeated, but precision varied substantially between participants and rhythms. Performances were autoregressive and mixed effects cross-sectional time series analyses retaining the integrity of all the individual time series revealed that performance worsened as complexity features K, N, and cue inter-onset interval entropy increased. Performance worsened with increasing R, the Long: short (L: s) cue interval ratio of each rhythm (indexing both complexity and asymmetry). Rhythm evenness and balance, and whether N was divisible by 2 or 3, were not useful predictors. Tap velocities positively predicted cue fulfilment. Our data indicate that study of a greater diversity of rhythms can broaden our impression of rhythm cognition.

The personality trait of openness has been shown to contribute to a person’s ability to function effectively. Additionally, scholars have suggested that openness to experience and foreign language experience were related to music preference. Extending from earlier scholarship, this study examined the relationship between openness to experience and the various types of musical and language experiences reported by undergraduate music majors in Turkey and the United States. Participants ( N = 380) were surveyed using the Openness to Experience domain of the NEO-PI-R and an author-designed survey with questions about participants’ musical backgrounds and interests, foreign language abilities, age, and sex. Results showed that U.S. students rated significantly higher in four of the five dimensions of the Openness domain than their Turkish counterparts (Wilks’λ = .57; F(5, 374) = 55.37, p < .001). Factor analysis results showed that (a) experiences in foreign languages, (b) listening to Turkish traditional, pop, and folk music, and (c) listening to American (pop and folk) and Western classical music cumulatively explained 68.49% of the variance in openness. Correlation analyses suggested that listening to Western classical, American folk, and American pop music was associated with higher openness scores, and listening to Turkish traditional, folk, and pop music was associated with lower openness scores. Additionally, the number of foreign languages participants studied correlated with four of the dimensions. Results suggest that both groups could benefit from increased, broader, and deeper exposure to different musical genres from diverse cultures.

The purpose of this study was to examine how teacher delivery and student progress influenced preservice teachers’ perceptions of overall teaching effectiveness. Experienced teachers ( n = 6) were videotaped teaching mini applied lessons under four conditions: (a) high teacher delivery and more student progress, (b) high teacher delivery and less student progress, (c) low teacher delivery and more student progress, and (d) low teacher delivery and less student progress. Preservice teachers ( n = 75) viewed these teaching excerpts and rated each for teacher delivery, student progress, student musicianship, teacher knowledge of subject matter, and overall teaching effectiveness. Participants rated teachers with high delivery as more effective than teachers with low delivery, irrespective of student progress. There was a moderate positive correlation ( r = .53) between perceptions of teacher delivery and student progress. Results of a multiple regression analysis revealed that teacher delivery was the best predictor of perceptions of overall teaching effectiveness, followed closely by student progress.

Background There is little known whether music of different styles can directly alter blood pressure (BP) and heart rate (HR) in humans. We studied the potential effects of Bach’s orchestral Suite No. 3 in comparison to silence (S [“controls CO]) on BP and HR.Objective To analyse the effect of different music styles (intervention group) on BP, HR and C compared to S (control group).Methods 120 volunteers aged 25-75 years were randomly assigned in the intervention group (n=60) or to a control group (n=60). Interventional music styles were the different parts of Bach’s Suite No. 3, BWV 1068 [Ouverture, Air, Gavotte, Bourrée, Gigue]). Sixty healthy volunteers served as “control group” (CO): they underwent an identical study protocol but without music application.Results In studied volunteers, systolic, diastolic BP (mm Hg) and HR (min-1) decreased when Bach was played compared to CO (p<0.001). Prior to the study BPsyst was 128.3+11.3 mm Hg, BPdiast was 81.9+7.9 Hg and HR was 75.3+12.0 bpm. After sound exposure or in CO the following results were observed (table). *p<0.001, ap=0.01, bp=0.08 BPsyst (mm Hg) BPdiast (mm Hg) HR (min-1)Ouverture 120.9+12.4* 76.9+8.8* 69.8+11.2*Air 121.1+12.4* 77.1+7.9* 68.4+9.4*Gavotte 120.9+12.6* 77.0+8.9* 68.5+9.8*Bourrée 120.6+13.7* 76.5+9.4* 66.4+8.4*Gigue 120.4+15.2* 78.5+11.1* 68.1+9.2*Controls 120.6+8.7a 75.4+5.5b 78.8+11.9*Conclusions The results provide clear evidence for the potential of Bach’ music styles to influence cardiovascular parameters. All parts of the Suite No. 3 lead to decreased values of BP and HR. In the control group we could not observe similar findings.Trial registration German Clinical Trials Register (DRKS00009835)Funding: None

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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Narcissus L. `Music Hall', N. `Tahiti', Tulipa L. `Couleur Cardinal', and T. `White Emperor' bulbs were precooled at 5 °C for 0 or 5 weeks and planted 15, 30, or 45 cm deep (from bulb base) into raised ground beds under 0%, 30%, or 60% shade. Plant growth was monitored for two consecutive years after planting. Precooling reduced the percentage of T. `White Emperor' that flowered but did not affect flowering percentage of the other cultivars. Precooling delayed anthesis in one or both years for all cultivars. The greatest percentage of bulbs flowered when planted 15 cm deep and the 45-cm planting depth reduced flowering percentage. Increasing planting depth delayed anthesis for all cultivars. Increasing shade increased stem lengths in one or both years for all cultivars, but did not influence flowering percentage. Perennialization was low for all cultivars regardless of treatment. Cultivar differences in perennialization occurred; in year 2 up to 30% of N. `Tahiti' bulbs flowered vs. 32% for `Music Hall' and up to 30% of T. `White Emperor' bulbs flowered vs. only 22% of `Couleur Cardinal'.

The purpose of this study was to a) identify motivational factors to join and maintain membership in adult, auditioned community choirs; b) examine relationships between music achievement, music aptitude, and selected motivational factors; and c) examine the role of stress and anxiety as factors in choral participation. Participants ( N = 135) from four adult, auditioned community choirs participated in this study. Data was collected using measures of musical aptitude, vocal achievement, and a questionnaire relating to the topics of motivation, retention, and stress/anxiety informed by Cusp Catastrophe Theory. Results suggest that aesthetic motivation is a primary factor contributing to enrollment and retention in adult, auditioned community choirs. Experienced choral members perceive little stress or anxiety when learning or performing choral music; however, members believe that some stress may be beneficial to singing. Implications include the need for conductors to consider the importance of perceived aesthetic qualities when selecting choral literature. In addition, the impact of community ensembles on community cohesion, health benefits, and educational benefits may be related to motivational factors influencing continued participation.

The purpose of this study was to investigate the effects of race/ethnicity and school community setting for early field experience practica and student teaching on music student teachers’ self-reported cross-cultural competence. Participants ( N = 337) from 36 colleges and universities across the United States completed a survey designed to examine the extent of cross-cultural competence as specified by three constructs: (a) factors fostering readiness to teach in culturally diverse educational environments, (b) factors constraining readiness to teach in culturally diverse educational environments, and (c) educational experiences during teacher preparation relative to multicultural education and multicultural music education. The “Foster,” “Constrain,” and “Teacher Preparation” dimension subscales served as the dependent variables. Results indicated no significant main effect of school community setting on participants’ cross-cultural competence; however, a significant main effect of race/ethnicity ( p < .05) was observed for the Constrain subscale of the survey.

The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.