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Journal articles on the topic 'Musical factors'
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Kristiyanto, Eko, and Muhammad Nur Salim. "PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (September 12, 2019): 25–38. http://dx.doi.org/10.33153/keteg.v19i1.2649.
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Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
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ZHANG, Jingjing, and Yufang YANG. "Influential factors in musical syntactic processing." Advances in Psychological Science 25, no. 11 (2017): 1823. http://dx.doi.org/10.3724/sp.j.1042.2017.01823.
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Berrios, G. E. "Musical Hallucinations." British Journal of Psychiatry 156, no. 2 (February 1990): 188–94. http://dx.doi.org/10.1192/bjp.156.2.188.
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A sample of 46 subjects experiencing musical hallucinations was analysed – 10 new cases in addition to 36 culled from the literature. When compared with controls, it was found that musical hallucinations are far more common in females, and that age, deafness, and brain disease affecting the non-dominant hemisphere play an important role in their development. Psychiatric illness and personality factors were found to be unimportant.
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Schmuckler, Mark A. "Expectation in Music: Investigation of Melodic and Harmonic Processes." Music Perception 7, no. 2 (1989): 109–49. http://dx.doi.org/10.2307/40285454.
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Expectancy has long been of interest to psychologists and recently has become the focus of research in musical cognition. Four experiments are reported that investigated the formation of expectancies in musically trained listeners and performers. Experiments 1 and 2 examined the factors underlying the formation of melodic and harmonic expectancies, respectively. Both experiments found evidence for the psychological reality of constructs derived from the music-theoretic literature in expectancy formation. Experiment 3 investigated the generation of expectancies for a full musical context (one containing simultaneous melodic and harmonic information) and found that melody and harmony were perceptually independent, such that they combined additively in expectancy formation for a full musical context. Experiment 4 provided a convergent operation for the earlier studies by having skilled pianists perform their expectations for the same passages. These productions strongly correlated with the perceptual expectancies of Experiments 1-3. Taken together, these studies provide evidence for the existence of musical expectancy, as well as delineating some of the factors affecting its formation.
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Shelemay, Kay Kaufman. "Musical Communities: Rethinking the Collective in Music." Journal of the American Musicological Society 64, no. 2 (2011): 349–90. http://dx.doi.org/10.1525/jams.2011.64.2.349.
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Abstract This essay discusses the study of musical communities, taking as its point of departure the growing avoidance of the term “community” within much of recent musical scholarship. After exploring factors that have been responsible for the move away from community studies, the paper details both the creation of new nomenclature and the discourse surrounding the introduction of these new terms. Based on insights drawn from musical ethnography with recent African immigrants to the United States, the paper goes on to propose a revised framework for approaching “community.” It suggests that attention to processes of descent, dissent, and affinity both elucidates music's generative role in shaping new collectivities and unsettles the notion of music as a static sonic marker of social groupings. The conclusion touches briefly on new research from the sciences that is beginning to shed new light on music's role in generating social outcomes and the potential it holds for future collaboration with music scholars across disciplinary boundaries.
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Choi, Tae-Kyu. "Choice ＆ Satisfaction Factors of Musical as Culture Contents." Journal of the Korea Contents Association 11, no. 6 (June 28, 2011): 205–14. http://dx.doi.org/10.5392/jkca.2011.11.6.205.
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Slayton, Matthew, Adam S. Bristol, and Indre V. Viskontas. "Factors affecting group creativity: lessons from musical ensembles." Current Opinion in Behavioral Sciences 27 (June 2019): 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.
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Horn, David. "From Catfish Row to Granby Street: contesting meaning in Porgy and Bess." Popular Music 13, no. 2 (May 1994): 165–74. http://dx.doi.org/10.1017/s0261143000007029.
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For reasons which would themselves be worthy of an article, the musical theatre has been almost entirely ignored by popular music scholarship. This has often puzzled me, since such factors as the musical theatre's ambiguous position in the high/low culture debate, its close relationship with film (film musicals were for a time a favoured subject – with film theorists), its persistent playing with the links between song and drama, the sociality of its performance conventions, the durability of the amateur performance tradition, to name but a few, together suggest a promising vein of study. Musical theatre songs have been the subject of intermittent scholarly investigation, mostly from a perspective derived from classical musicology. Wilfrid Mellers, characteristically, sought meaning through musicology (he speaks of Cole Porter's chromatics as telling us ‘regretfully, that we are kidding ourselves’ (in love) and of the ‘queasy honesty’ of ‘Anything Goes’), but found too many musicals tend to ‘create an illusion that we can live on the surface of our emotions’ and never get beyond that point. (Mellers 1964, pp. 384, 385).
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Janata, Petr, Joshua Peterson, Clinton Ngan, Bokyoung Keum, Hannah Whiteside, and Sonia Ran. "Psychological and Musical Factors Underlying Engagement with Unfamiliar Music." Music Perception 36, no. 2 (December 1, 2018): 175–200. http://dx.doi.org/10.1525/mp.2018.36.2.175.
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What are the factors that determine how long a person chooses to listen to an unfamiliar piece of music? We examined this question across three experiments in which we played participants novel repeating multi-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In Experiment 1, all instruments entered simultaneously. In Experiment 2, instrument entrances were also offset in time. In Experiment 3, we composed core multi-instrument loops and manipulated them to further minimize harmonic variability, minimize rhythmic variability, introduce spatialization, or change timbral characteristics. Novelty introduced by instrument entrances was the strongest determinant of listening times, though harmonic variability and timbral features were also important. Subjective enjoyment was the best predictor of listening times, mediating the effects of the degree of perceived groove in a stimulus, the urge to move, interest in a stimulus, perceived complexity, and congruency with current mood. We conclude that naturalistic looping musical stimuli serve well to examine the diverse psychological and musical determinants of choice behavior underlying music consumption.
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Manchester, Ralph A. "Musical Instrument Ergonomics." Medical Problems of Performing Artists 21, no. 4 (December 1, 2006): 157–58. http://dx.doi.org/10.21091/mppa.2006.4033.
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David Nabb's interview of Maarten Visser on page 159 of this issue and Brenda Wristen's article on the 7/8ths keyboard from the March issue are two recent examples of articles on musical instrument ergonomics. Ergonomics, literally the study of work, is defined as "the applied science of equipment design intended to maximize productivity by reducing operator fatigue and discomfort." When I was an undergraduate student at Tufts University in the 1970s, my engineering roommate studied "human factors engineering" (but never applied it to music, as far as I know). In 2006, a Google search for "ergonomic musical instruments" yields over 1 million websites; a search for "musical instruments" yields 16 million websites.
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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.
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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)
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Polite, Brandon. "Shared Musical Experiences." British Journal of Aesthetics 59, no. 4 (July 8, 2019): 429–47. http://dx.doi.org/10.1093/aesthj/ayz024.
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Abstract In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise.
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Zyryanov, Mikhail L. "The Deacon’s Service in the Orthodox Church: Musical Factors." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 41–44. http://dx.doi.org/10.17674/1997-0854.2015.2.19.041-044.
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Aránguiz, R., P. Chana-Cuevas, D. Alburquerque, and X. Curinao. "Focal dystonia in musicians: Phenomenology and musical triggering factors." Neurología (English Edition) 30, no. 5 (June 2015): 270–75. http://dx.doi.org/10.1016/j.nrleng.2013.12.014.
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wa-Mukuma, Kazadi. "The role of musical instruments in the globalization of music." Comunicar 17, no. 34 (March 1, 2010): 83–89. http://dx.doi.org/10.3916/c34-2010-02-08.
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In recent years, the term «globalization» has become a catchword in many languages. It is an open-ended process that implies different levels of unification. In music, attempts have been made by individual and collectively by artists from different cultures in the world. In each case, the process has been focused on the unification of musical sounds that can be identified within the global community. Technology is successful with the duplication of sounds of musical instruments for computer games, but the creation of zones of cultural interaction as defined by actual musical instruments is presenting challenges with the unification of cultural values into one global community. In music, globalization implies «world music» that is articulated as a hybrid product. The process of globalization is readily realized electronically, with sounds of musical instruments, but the creation of zones of cultural interaction, with the same musical instruments, will require a mixture of configuration of factors ranging from ecology to language and cultural manifestation. The objective of zones of cultural interaction is not to unify style of music, but through globalization is the sharing of actual musical instruments. To accomplish this objective, geographic spaces will have to surmount the globalization of the world ecology, language, and culture. En los últimos años, el término «globalización» se ha convertido en una palabra clave para muchas lenguas. Con él se hace referencia a un proceso abierto que implica diferentes niveles de unificación. En el campo de la música, han participado en él, tanto de forma individual como colectiva, artistas de diferentes culturas del mundo. En todos los casos, el proceso se ha centrado en la unificación de sonidos musicales que puedan identificarse por una comunidad global. En este sentido, la tecnología ha conseguido con éxito duplicar los sonidos de los instrumentos musicales para los videojuegos, pero la creación de zonas de interacción cultural, como las definidas por los instrumentos musicales actuales, se enfrenta a una serie de retos derivados de la unificación de los valores culturales en una comunidad global. El proceso de globalización se puede desarrollar fácilmente de manera electrónica con sonidos de instrumentos musicales, la creación de las zonas de interacción cultural con los mismos instrumentos musicales necesitará que se den además una serie de factores, que van desde lo ecológico hasta lo lingüístico y cultural. El principal objetivo de las zonas de interacción cultural no es el de unificar el estilo de música, sino el de compartir los instrumentos musicales actuales a través de la globalización. Para cumplir este objetivo, los territorios en los que se produzca esa interacción tendrán que completar este proceso globalizador atendiendo a criterios ecológicos, lingüísticos y culturales.
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (October 1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera, and Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference." Musicae Scientiae 23, no. 4 (May 14, 2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.
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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lorenzo, Herrera, and Cremades (2008) was used; however, it was shortened and culturally adapted to the Brazilian context. The participants were asked to evaluate how often they listened to 19 different styles of music. The overall results indicated that the participants’ musical preferences were heavily influenced by mass media. However, ANOVA results indicated significant differences and a variety of size effects in the frequency of musical listening based on gender and religion. Females had a greater preference for styles with emotional content, dance music and music with a strong connection to mass culture, while males preferred more vigorous styles. Regarding religion, Protestants had a stronger preference for gospel music, while Catholic preferences were more diverse.
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Stramkale, Ligita. "STUDENTS’ PERSPECTIVES ON THE IMPLEMENTATION OF MUSICAL ACTIVITIES IN PRESCHOOL EDUCATION." Journal of Education Culture and Society 9, no. 2 (September 5, 2018): 109–16. http://dx.doi.org/10.15503/jecs20182.109.116.
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Aim. The aim of the study is to find out students’ perspectives on the necessity, readiness and disturbing factors of implementing musical activities in preschool. The theoretical part of the paper describes the particularity of preschool teachers’ work, the children’s interest in musical activities, and the benefits of implementing musical activities in preschool.
Method. The empirical study involved 168 students (N=168), of which 132 students (N=132) are already working as preschool teachers in parallel with their study at the university. The study identified three questions: why do preschool teachers use musical activities? What factors prevent a preschool teacher from using musical activities? Is there a relationship between the competence of a preschool teacher in the field of music and the implementation musical activities in preschool? In order to answer the study questions, a questionnaire consisting of twelve statements was created, which had to be assessed on a four-point Likert scale.
Results and conclusion. As a result of the analyses of the data obtained in the study, it was ascertained that preschool teachers use musical activities to make children happy and improve their abilities. The use of musical activities is connected with preschool teacher’s willingness to do that. One of the key factors that hinder the implementation of musical activities is an insufficient material base in the preschool. The study also found that there is a correlation between the competence of a preschool teacher in the field of music and the implementation of musical activities.
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Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (September 23, 2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.
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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.
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Hewitt, Allan. "Levels of significance attributed to musical and non-musical factors of individual difference by classroom music teachers." Research Studies in Music Education 20, no. 1 (June 2003): 48–59. http://dx.doi.org/10.1177/1321103x030200010301.
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Cheremisova, Irina V. "Secondary Musical Personality: Structure, Psychological Mechanism of Development." SHS Web of Conferences 50 (2018): 01039. http://dx.doi.org/10.1051/shsconf/20185001039.
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Today’s socio-cultural situation requires new approaches to education. The aesthetic and semiotic approach promotes the humanization of the modern education and the development of the student’s holistic creative personality by means of classical musical art. From the standpoint of the aesthetic and semiotic approach, music is understood as a complex psychosemantic text. Due to the theoretical analysis of the studies of a secondary language personality and the studies of music and speech psychological kinship, the notion of a secondary musical personality as a kind of a secondary linguistic personality has been elaborated. The author has developed the structure and disclosed a psychological mechanism for developing a secondary musical personality. This psychological mechanism was tested as part of the longitudinal study. The structure of a secondary musical personality is presented as an aggregate of musical and cognitive, motivational, emotional, communicative, pragmatist, and spiritual and moral (axiological) components. The psychological mechanism for developing a secondary musical personality is a system of interrelated conditions and factors. These conditions and factors include: the complexity, polysemy, and semantic versatility of a musical text; musical valence; the psychological mechanism of figurative verbalization, etc. Musical enculturation serves as a universal developing mechanism.
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Gfeller, Kate, Jacob Oleson, John F. Knutson, Patrick Breheny, Virginia Driscoll, and Carol Olszewski. "Multivariate Predictors of Music Perception and Appraisal by Adult Cochlear Implant Users." Journal of the American Academy of Audiology 19, no. 02 (February 2008): 120–34. http://dx.doi.org/10.3766/jaaa.19.2.3.
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The research examined whether performance by adult cochlear implant recipients on a variety of recognition and appraisal tests derived from real-world music could be predicted from technological, demographic, and life experience variables, as well as speech recognition scores. A representative sample of 209 adults implanted between 1985 and 2006 participated. Using multiple linear regression models and generalized linear mixed models, sets of optimal predictor variables were selected that effectively predicted performance on a test battery that assessed different aspects of music listening. These analyses established the importance of distinguishing between the accuracy of music perception and the appraisal of musical stimuli when using music listening as an index of implant success. Importantly, neither device type nor processing strategy predicted music perception or music appraisal. Speech recognition performance was not a strong predictor of music perception, and primarily predicted music perception when the test stimuli included lyrics. Additionally, limitations in the utility of speech perception in predicting musical perception and appraisal underscore the utility of music perception as an alternative outcome measure for evaluating implant outcomes. Music listening background, residual hearing (i.e., hearing aid use), cognitive factors, and some demographic factors predicted several indices of perceptual accuracy or appraisal of music. La investigación examinó si el desempeño, por parte de adultos receptores de un implante coclear, sobre una variedad de pruebas de reconocimiento y evaluación derivadas de la música del mundo real, podrían predecirse a partir de variables tecnológicas, demográficas y de experiencias de vida, así como de puntajes de reconocimiento del lenguaje. Participó una muestra representativa de 209 adultos implantados entre 1965 y el 2006. Usando múltiples modelos de regresión lineal y modelos mixtos lineales generalizados, se seleccionaron grupos de variables óptimas de predicción, que pudieran predecir efectivamente el desempeño por medio de una batería de pruebas que permitiera evaluar diferentes aspectos de la apreciación musical. Estos análisis establecieron la importancia de distinguir entre la exactitud en la percepción musical y la evaluación de estímulos musicales cuando se utiliza la apreciación musical como un índice de éxito en la implantación. Importantemente, ningún tipo de dispositivo o estrategia de procesamiento predijo la percepción o la evaluación musical. El desempeño en el reconocimiento del lenguaje no fue un elemento fuerte de predicción, y llegó a predecir primariamente la percepción musical cuando los estímulos de prueba incluyeron las letras. Adicionalmente, las limitaciones en la utilidad de la percepción del lenguaje a la hora de predecir la percepción y la evaluación musical, subrayan la utilidad de la percepción de la música como una medida alternativa de resultado para evaluar la implantación coclear. La música de fondo, la audición residual (p.e., el uso de auxiliares auditivos), los factores cognitivos, y algunos factores demográficos predijeron varios índices de exactitud y evaluación perceptual de la música.
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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (December 1, 2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.
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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. fall) did not affect tempo preferences; nevertheless, pitch change in both directions elicited faster tempi than a repeating, unchanging pitch. The effect of register on tempo preference was stronger for participants with music training, and also (unexpectedly) for female participants. In Experiment 2, melodic figures typically related to lower and higher parts in common-period music were associated with slower and faster tempi, respectively. Results support a “holistic” notion of musical tempo, viewing the choice of proper tempo as determined by interactions among diverse musical dimensions, including aspects of pitch structure, rather than by rhythmic considerations alone. The experimental design presented here can be further applied to explore the effects of other musical parameters on tempo preferences.
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Ergashevna, Tursunova Laylo. "The Impac Of The Global Environment And Its Spiritual Factors On The Musical Culture Of Youth." American Journal of Social Science and Education Innovations 03, no. 01 (January 30, 2021): 244–48. http://dx.doi.org/10.37547/tajssei/volume03issue01-47.
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Continuing the traditions of our great ancestors, programs and plans aimed at the development of music in our country are being implementedduring the years of independence. In particular, in order to preserve and study our musical heritage, to pass it on to the younger generation, many competitions and prestigious international music conferences are held regularly.
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Russell, P. A. "Memory for music: A study of musical and listener factors." British Journal of Psychology 78, no. 3 (August 1987): 335–47. http://dx.doi.org/10.1111/j.2044-8295.1987.tb02251.x.
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Kim, Myung Shin. "The Factors Affecting Musical Learning of Undergraduate Non-music Majors." Music Education Research 3, no. 2 (September 2001): 143–54. http://dx.doi.org/10.1080/14613800120089214.
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Tursunova, Gulsanem, and Bobur Karimov. "Factors that should be considered in musical theater actors education." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 11 (2020): 57–61. http://dx.doi.org/10.5958/2249-7137.2020.01303.8.
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Pawley, Alisun, and Daniel Müllensiefen. "The Science of Singing Along: A Quantitative Field Study on Sing-along Behavior in the North of England." Music Perception 30, no. 2 (December 1, 2012): 129–46. http://dx.doi.org/10.1525/mp.2012.30.2.129.
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the study investigates contextual and musical factors that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 “song events,” serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model – in particular those relating to vocal performance – was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.
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Cohrdes, Caroline, Lorenz Grolig, and Sascha Schroeder. "The development of music competencies in preschool children: Effects of a training program and the role of environmental factors." Psychology of Music 47, no. 3 (February 23, 2018): 358–75. http://dx.doi.org/10.1177/0305735618756764.
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The present study investigated the development and training of music competencies in children in transition from kindergarten to school. In an intervention study with three experimental groups (music training, language training, no training) we investigated music performances of N = 202 5-year-old children before and after a period of 6 months. Results indicate substantial improvement in several low- and high-level musical competencies independent of children’s participation in one of the training groups. In addition, the music training group improved significantly more in their tonal discrimination, rhythm repetition, and synchronization skills compared to the no-training group. Results show that children in the language training group also improved in their music skills, which indicates noticeable overlap between these two domains. By contrast, interindividual differences in potentially relevant environmental factors, such as home musical environment and their socioeconomic status, did not affect children’s musical skills. By disentangling music training effects from musical experience based on informal exposure, the present findings contribute to the understanding of the development of various music competencies and to the effects of musical trainings in preschool.
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Pruett, Kyle D. "First Patrons: Parenting the Musician." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 154–59. http://dx.doi.org/10.21091/mppa.2004.4025.
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This discussion of the parental influences on musicians’ development begins with a review of the high-stress environment of the 21st-century family, including the increasing burdens on parents’ time and the increasing influence of the media. The author provides a list of transcultural qualities of “good enough” parenting, especially in the context of raising a musical child. Parenthood is regarded as a developmental phase itself, with unique competencies needed to care for children in different age groups, from toddlers to adolescents. A brief discussion of the different motivations, both positive and negative, of parents for involvement in their children’s music making is included. Parental factors that promote durable musicianship are high levels of emotional and material support, provision of informal musical practice (“playing around”) in early life, and the presence of a musically inclined parent. Parents should stay engaged throughout their children’s musical careers, including fostering a healthy relationship with teachers.
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Довжинець І. Г. "МУЗИЧНЕ СЕРЕДОВИЩЕ УКРАЇНЦІВ: РЕАЛІЇ ТА ПЕРСПЕКТИВИ." World Science 3, no. 1(53) (January 31, 2020): 10–14. http://dx.doi.org/10.31435/rsglobal_ws/31012020/6904.
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The article analyses the state of musical environment in contemporary Ukraine. It is noted that musical environment is a complex heterogeneous phenomenon which is formed in the process of musical activity and includes all its components: creativity, performance, spreading and perception. At the macrolevel musical environment includes all musical sound atmosphere of the Earth. At the microlevel – it is a direct musical surrounding of the individual. The article focuses only on some factors which influence the state of contemporary Ukrainian musical environment: mass musical teleproduction, teaching music in comprehensive educational institutions, musical education and education for adults, festivals, specific character of regional music playing. In conclusion it is noted that “improvement” of one of the mentioned kinds of musical activity cannot change considerably surrounding sound reality. «Reformation» of musical environment as well as other spheres of social existence implies complex approach.
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He, Jing-Xian, Li Zhou, Zhen-Tao Liu, and Xin-Yue Hu. "Digital Empirical Research of Influencing Factors of Musical Emotion Classification Based on Pleasure-Arousal Musical Emotion Fuzzy Model." Journal of Advanced Computational Intelligence and Intelligent Informatics 24, no. 7 (December 20, 2020): 872–81. http://dx.doi.org/10.20965/jaciii.2020.p0872.
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In recent years, with the further breakthrough of artificial intelligence theory and technology, as well as the further expansion of the Internet scale, the recognition of human emotions and the necessity for satisfying human psychological needs in future artificial intelligence technology development tendencies have been highlighted, in addition to physical task accomplishment. Musical emotion classification is an important research topic in artificial intelligence. The key premise of realizing music emotion classification is to construct a musical emotion model that conforms to the characteristics of music emotion recognition. Currently, three types of music emotion classification models are available: discrete category, continuous dimensional, and music emotion-specific models. The pleasure-arousal music emotion fuzzy model, which includes a wide range of emotions compared with other models, is selected as the emotional classification system in this study to investigate the influencing factor for musical emotion classification. Two representative emotional attributes, i.e., speed and strength, are used as variables. Based on test experiments involving music and non-music majors combined with questionnaire results, the relationship between music properties and emotional changes under the pleasure-arousal model is revealed quantitatively.
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Porflitt, Felipe, and Ricardo Rosas. "Musical sophistication explains a good deal of cognitive performance. A cross-sectional study of musicians and non-musicians." Resonancias: Revista de investigación musical 24, no. 47 (December 2020): 147–67. http://dx.doi.org/10.7764/res.2020.47.9.
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Musical sophistication is a psychometric construct that can be measured both in people with musical training and without training. Through backgrounds related to musical activities in their lifetime, and other indicators referring to their current events, the person’s musical sophistication can be estimated with a relatively high level of reliability (Cronbach’s α =.78). In turn, few studies have covered the relationships between variables of this type and cognitive performance, leaving an area of research with little evidence. This study explores the relationship between musical sophistication and cognition, taking a sample of 35 musicians and 35 non-musicians (N=70). The objective was to determine to what extent musical sophistication explains cognitive performance. The Ollen Musical Sophistication Index (Ollen 2006) was used to measure this variable, and a battery of tests enabled the measurement of cognitive performance, which considered verbal and visual-spatial working memory, inhibition, flexibility, a go/no-go test, processing speed, fluid intelligence, and divided attention. Exploratory factor analysis was run, showing two factors for cognition variables. Then regression analyses were run for factors 1 and 2, and both collapsed. The results show that 6 out of 8 cognitive variables correlate positively with musical sophistication, explaining 30% of cognitive performance, after controlling for demographic variables.
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Tanzi, Dante. "Extra-Musical Meanings and Spectromorphology." Organised Sound 16, no. 1 (February 25, 2011): 36–41. http://dx.doi.org/10.1017/s1355771810000415.
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Denis Smalley devoted himself to the elaboration of a method based on the analysis of spectral transformations by connoting sonorous motions and adopting metaphors borrowed from non-musical contexts. While considering Smalley's earlier theorising within the context of past and contemporary research, this paper focuses on the use of non-musical models in spectromorphological design in order to show how sonorous qualities, imaginative factors and extra-musical meanings concurred in defining new cognitive itineraries and in extending the terminology adopted, thereby establishing the basis of a new compositional approach.
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Neville, J. "Pop Music, Preference and Personality." British Journal of Music Education 2, no. 2 (July 1985): 145–52. http://dx.doi.org/10.1017/s0265051700004745.
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In an attempt to clarify thinking about the musical preferences of fourteen-year old schoolchildren, the author devised an experiment to test the hypothesis that musical preference relates to the personality types of extroversion and introversion, as defined by Eysenck. The results did not confirm this hypothesis, so other factors – the sex of the subjects, the kinds of music and the chosen items themselves – were analysed and their interaction evaluated. There was no hierarchy of factors and the conclusion is that fourteen-year-olds are able to make judgements based on musical criteria.
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Cheremisova, Irina V. "Semantics of Musical Text as a Key Condition for Development of Secondary Musical Personality." SHS Web of Conferences 69 (2019): 00028. http://dx.doi.org/10.1051/shsconf/20196900028.
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From the standpoint of the aesthetic and semiotic approach music is understood as a complex psychosemantic text. Theoretical analysis of studies of the psychological connection between music and speech allowed to develop the concept of secondary musical personality as a sort of secondary linguistic personality. The author has developed a musical-semantic pattern of development of secondary musical personality in the educational process. This theoretical pattern is a system of interrelated conditions and factors of development of secondary musical personality. The author determines complexity, polysemy and semantic diversity of the musical text as the key condition. The author attaches special importance to forming potentials of classical music masterpieces in the musical-semantic pattern. The author identifies the artistic, spiritual and ethical levels of music as the main criteria of the musical masterpiece.
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Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (November 25, 2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.
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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors are at work. Experiments reported here explore variation in metrical restoration as a function of: melodic diversity in timbre and tempo, associations of rhythmic patterns with particular melodies and meters, and associations of meter with overall melodic form. Rhythmic patterns and overall melodic form, but not timbre, had strong influences. Results are discussed with respect to style-specific or culture-specific musical processing, and everyday listening experiences. Implications for models of musical memory are also addressed.
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Castiglione, Claudia, Alberto Rampullo, and Silvia Cardullo. "Self representations and music performance anxiety: A study with professional and amateur musicians." Europe’s Journal of Psychology 14, no. 4 (November 30, 2018): 792–805. http://dx.doi.org/10.5964/ejop.v14i4.1554.
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Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).
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Yuanzheng, Yang. "Jindou: A Musical Form Found in Southern Song Lyric Songs." T’oung Pao 101, no. 1-3 (August 28, 2015): 98–129. http://dx.doi.org/10.1163/15685322-10113p03.
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By introducing a newly-discovered manuscript copy of the lyric song anthology of the poet-musician Jiang Kui (1155–1221), this article aims to elucidate a hitherto unnoticed musical form of the genre: the jindou form. A comparison between the manuscript and all the early modern editions reveals discrepancies in the stanzaic divisions of four of Jiang’s seventeen songs for which he provided notation. Through musical analysis it is argued that the opening line of the second stanza in all the early modern editions may have been intentionally placed at the end of the first in the newly-discovered manuscript in order to remind the singer of the jindou form, in which the cadential notes of the first stanza immediately repeat at the beginning of the second. Therefore, these “unusual” stanzaic divisions are not mistakes, but indications of conventional performance practice in the Southern Song dynasty as dictated by musical factors. S’appuyant sur une copie manuscrite récemment découverte de l’anthologie de poèmes chantés du poète et musicien Jiang Kui (1155–1221), cet article s’attache à élucider une forme musicale propre à ce genre et à laquelle on n’a jamais prêté attention : la forme jindou. La comparaison entre ce manuscrit et l’ensemble des éditions de la fin de la période impériale révèle des différences dans la division strophique de quatre poèmes de Jiang sur les dix-sept pour lesquels la notation musicale est fournie. L’analyse musicale permet d’établir que le premier vers de la seconde strophe dans toutes les éditions de la fin de l’empire a été délibérément placé à la fin de la première strophe dans le nouveau manuscrit, ce afin de rappeler au chanteur la forme jindou, dans laquelle les notes cadentielles de la première strophe sont immédiatement répétées au début de la seconde. Cette division inhabituelle entre strophes n’est donc pas le résultat d’une erreur: elle signale ce qui était le mode d’exécution conventionnel, basé sur des facteurs purement musicaux, à l’époque des Song du Sud.
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Papandreou, Maria, and A. Vervainioti. "Work-related Musculoskeletal Disorders Among Percussionists in Greece: A Pilot Study." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 116–19. http://dx.doi.org/10.21091/mppa.2010.3024.
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The performing arts medicine literature indicates that the prevalence of work-related musculoskeletal disorders in musician instrumentalists is approximately 43%. The primary purpose of this study was to record rates of the most common musculoskeletal disorders among professional and student percussionists in Greece. The secondary aim was to uncover relationships between the percussionists’ musculoskeletal disorders and work-related factors such as their age, main musical activity, and practice time in musical training. METHODS: Thirty percussionists of both sexes, in active musical activity, aged 20 to 60 years, participated. The Musicians Health Questionnaire was used to record their musculoskeletal disorders as assessed in four factors: personal data, musical activity, total body musculoskeletal disorders, and treatment. RESULTS: In the 30 percussionists, 32% of musculoskeletal disorders involved the upper limb, 20% the vertebral column, 8% muscle tissue, 13% psychological problems, and 27% the rest of the body. The most common problems were tremor (20%, n = 6), neuralgia in the arms (17%, n = 5), and backache (20%, n = 6). Statistically significant correlations were found between upper-limb tremor and main musical activity (r = 0.53, p = 0.01), backache and age (r = 0.48, p = 0.01), and neuralgia in the arms and musical practice time (in hrs/day; r = 0.45, p = 0.01). CONCLUSIONS: The findings of this study indicated that most musculoskeletal disorders among percussionists in Greece affect the upper limbs and involve multiple risk factors. Because of the limited number of respondents, this study should be considered as a pilot population study.
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Fuchs, Dominik, Martin Knauer, Marion Egger, and Petra Friedrich. "Audio Feedback for Device-Supported Balance Training: Parameter Mapping and Influencing Factors." Acoustics 2, no. 3 (August 29, 2020): 650–65. http://dx.doi.org/10.3390/acoustics2030034.
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Recent studies suggest that real-time auditory feedback is an effective method to facilitate motor learning. The evaluation of the parameter mapping (sound-to-movement mapping) is a crucial, yet frequently neglected step in the development of audio feedback. We therefore conducted two experiments to evaluate audio parameters with target finding exercises designed for balance training. In the first experiment with ten participants, five different audio parameters were evaluated on the X-axis (mediolateral movement). Following that, in a larger experiment with twenty participants in a two-dimensional plane (mediolateral and anterior-posterior movement), a basic and synthetic audio model was compared to a more complex audio model with musical characteristics. Participants were able to orient themselves and find the targets with the audio models. In the one-dimensional condition of experiment one, percussion sounds and synthetic sound wavering were the overall most effective audio parameters. In experiment two, the synthetic model was more effective and better evaluated by the participants. In general, basic sounds were more helpful than complex (musical) sound models. Musical abilities and age were correlated with certain exercise scores. Audio feedback is a promising approach for balance training and should be evaluated with patients. Preliminary evaluation of the respective parameter mapping is highly advisable.
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Kunel’skaya, N. L., S. G. Romanenko, O. G. Pavlikhin, E. V. Lesogorova, and Yu V. Luchsheva. "Ethiological factors of voice function impairment at singers of musical theatres." Russian Otorhinolaryngology 19, no. 2 (2020): 51–56. http://dx.doi.org/10.18692/1810-4800-2020-2-51-56.
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The analysis of the causes of the pathology of the vocal apparatus in vocalists is carried out. 136 singers were investigated in age from 23 till 70 years old with length of service from 3 till 42 years. It is shown that the occurrence of diseases of the larynx is affected by the state of the vocal apparatus itself, the volume and intensity of the vocal load. Of great importance is the quality of the singer’s vocal training, his age and length of service, the availability of additional work (concert, pedagogical activity), the correspondence of the performed parts to the singer’s technical and acting abilities, domestic and social living conditions. The structure of voice apparatus diseases also depend on type of singer’s voice and his nervous system status. Prevention of impaired voice function in musical theater vocalists should be aimed at eliminating all provoking factors.
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Hwang, Rak-Gun. "The Performance Marketing Mix 7P Factors Impact on Small Theater Musical." Journal of the Korea Entertainment Industry Association 12, no. 7 (October 31, 2018): 1–18. http://dx.doi.org/10.21184/jkeia.2018.10.12.7.1.
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Castro, São Luís, and César F. Lima. "Age and Musical Expertise Influence Emotion Recognition in Music." Music Perception 32, no. 2 (December 1, 2014): 125–42. http://dx.doi.org/10.1525/mp.2014.32.2.125.
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We investigated how age and musical expertise influence emotion recognition in music. Musically trained and untrained participants from two age cohorts, young and middle-aged adults (N = 80), were presented with music excerpts expressing happiness, peacefulness, sadness, and fear/threat. Participants rated how much each excerpt expressed the four emotions on 10-point scales. The intended emotions were consistently perceived, but responses varied across groups. Advancing age was associated with selective decrements in the recognition of sadness and fear/threat, a finding consistent with previous research (Lima & Castro, 2011a); the recognition of happiness and peacefulness remained stable. Years of music training were associated with enhanced recognition accuracy. These effects were independent of domain-general cognitive abilities and personality traits, but they were echoed in differences in how efficiently music structural cues (e.g., tempo, mode) were relied upon. Thus, age and musical expertise are experiential factors explaining individual variability in emotion recognition in music.
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Meng, Qi, Jiani Jiang, Fangfang Liu, and Xiaoduo Xu. "Effects of the Musical Sound Environment on Communicating Emotion." International Journal of Environmental Research and Public Health 17, no. 7 (April 6, 2020): 2499. http://dx.doi.org/10.3390/ijerph17072499.
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The acoustic environment is one of the factors influencing emotion, however, existing research has mainly focused on the effects of noise on emotion, and on music therapy, while the acoustic and psychological effects of music on interactive behaviour have been neglected. Therefore, this study aimed to investigate the effects of music on communicating emotion including evaluation of music, and d-values of pleasure, arousal, and dominance (PAD), in terms of sound pressure level (SPL), musical emotion, and tempo. Based on acoustic environment measurement and a questionnaire survey with 52 participants in a normal classroom in Harbin city, China, the following results were found. First, SPL was significantly correlated with musical evaluation of communication: average scores of musical evaluation decreased sharply from 1.31 to −2.13 when SPL rose from 50 dBA to 60 dBA, while they floated from 0.88 to 1.31 between 40 dBA and 50 dBA. Arousal increased with increases in musical SPL in the negative evaluation group. Second, musical emotions had significant effects on musical evaluation of communication, among which the effect of joyful-sounding music was the highest; and in general, joyful- and stirring-sounding music could enhance pleasure and arousal efficiently. Third, musical tempo had significant effect on musical evaluation and communicating emotion, faster music could enhance arousal and pleasure efficiently. Finally, in terms of social characteristics, familiarity, gender combination, and number of participants affected communicating emotion. For instance, in the positive evaluation group, dominance was much higher in the single-gender groups. This study shows that some music factors, such as SPL, musical emotion, and tempo, can be used to enhance communicating emotion.
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Jatmika, Ovan Bagus. "Faktor Penunjang Pertunjukan Musik: Input, Proses, dan Output." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 79–90. http://dx.doi.org/10.31091/jomsti.v3i1.966.
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This research examines the supporting factors in improving the quality of musical performances. The method used is qualitative and the research data are found through library research. The author concludes that a performance is considered to have ideal conditions if it involves three elements that support each other in the process towards the end of the musical execution on the stage, namely input, process, and output. These three elements (input, process, and output) are expected to improve the quality of the performance. The intended form of quality improvement is the formation of two-way communication or dialogue between the player and the audience. The player conveys the musical content of their interpretation of the work being played, while the audience responds to the standard measure of musical, visual and gestural norms that they have / believe in.
Keywords: musical stimuli, musical emotions, learning motivation, exercise effectiveness, musical memory.
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Warrenburg, Lindsay, and David Huron. "Fitness and Musical Taste: Do Physically Fit Listeners Prefer More Stressful Music?" Empirical Musicology Review 13, no. 1-2 (January 17, 2019): 21. http://dx.doi.org/10.18061/emr.v13i1-2.6208.
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Research suggests that person-based dispositional factors, as well as properties of the music, influence a person's musical taste. In this study, we examined the possibility that the interaction between the stressfulness of the music and a listener's capacity for handling stress contributes to that listener's musical preferences. The key prediction relating fitness to musical preference is that the stressfulness of the music should tend to reflect the person's capacity for handling stress, including his or her physical fitness. The study method made use of an online questionnaire to assess physical fitness, impulsivity and sensation-seeking tendencies, and musical preferences. To create an independent index for estimating musical stressfulness, a parallel study was conducted, where an independent group of judges assessed the stressfulness of the music identified by participants in the main study. The stressfulness of the music was predicted using the survey-based dispositional factors in two regression models, where sex, current age, education, current fitness, and age at the time of musical preference were found to predict the stressfulness of the preferred music. The results suggest that males, younger participants, people with fewer years of education, and those who are more physically fit tend to prefer more stressful music.
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Lima, César F., Ana Isabel Correia, Daniel Müllensiefen, and São Luís Castro. "Goldsmiths Musical Sophistication Index (Gold-MSI): Portuguese version and associations with socio-demographic factors, personality and music preferences." Psychology of Music 48, no. 3 (October 15, 2018): 376–88. http://dx.doi.org/10.1177/0305735618801997.
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The Goldsmiths Musical Sophistication Index (Gold-MSI) was recently proposed as a self-report measure of musical skills and behaviors in the general population. Although it is becoming a widely used tool, relatively little is known about its correlates, and adaptations into different languages will be crucial for cross-cultural comparisons and to allow for use beyond the original validation context. In this study, we adapted the Gold-MSI for use with Portuguese speaking individuals and evaluated it with a Portuguese sample ( N = 408; age range = 17–66 years; 306 women). We demonstrate that the Portuguese version of the Gold-MSI has appropriate psychometric properties, including good internal consistency and very good test–retest reliability. This was observed for the five subscales and for the general musical sophistication index (α values ⩾ 0.82, r values ⩾ 0.84). Using confirmatory factor analysis, the expected underlying factor structure was also confirmed. In addition, we identified associations between individual differences on the Gold-MSI and socio-demographic factors (age, sex, education, socio-economic status), personality traits, and music preferences. The Portuguese Gold-MSI is freely available, and it offers a reliable and valid tool that can contribute to the refined assessment of musical sophistication in a range of research contexts.
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Lamont, Alexandra, and Ian Cross. "Children's Cognitive Representations of Musical Pitch." Music Perception 12, no. 1 (1994): 27–55. http://dx.doi.org/10.2307/40285754.
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Several recent investigations of children's cognition of musical pitch have examined the nature of children's sensitivity to the "tonal hierarchy" identified by Krumhansl (1990a). These studies presented children with musical "contexts," asking them to make judgments about subsequent pitches, and have produced strikingly divergent results. Factors of age and of type of "musical material used in context" appear to play significant roles in determining subjects' sensitivities. This paper describes two experiments that examine the time course of the development of children's cognitive representations of pitch relations, taking into account the contributions made to such representations by structural and by temporal factors (following West & Fryer, 1990). A probetone technique was used with two contrasting context types, one being a "typical" cadential sequence and the other consisting of different randomizations of the diatonic collection. This experiment was conducted on 285 children ranging between 6 and 11 years old, from two different single-sex schools. The results were further investigated in a gameplaying experiment—using chime bars— with children from each age group represented in the first experiment. These experiments appear to indicate that children's early representations of pitch relations are remarkably stable and that development may take the form of an increasing sensitivity to time-dependent characteristics of the musical surface leading to an internalization of the tonal hierarchy. Despite the different methodologies used here, results are broadly in line with those suggested by Krumhansl and Keil ( 1982), although children's representations of musical pitch as exhibited here appear to be more sophisticated than would be implied in that study.
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Zhang, J. Diana, Marco Susino, Gary E. McPherson, and Emery Schubert. "The definition of a musician in music psychology: A literature review and the six-year rule." Psychology of Music 48, no. 3 (October 22, 2018): 389–409. http://dx.doi.org/10.1177/0305735618804038.
Full textAbstract:
The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.