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Buchari, Juliza Hidayati et Ami Dilham. « Implementation of Spinning Machine Technology for Purun Rope and Business Management Development for the "Nasti Purun" Weaving Group in Serdang Bedagai ». ABDIMAS TALENTA : Jurnal Pengabdian Kepada Masyarakat 9, no 1 (18 février 2024) : 1–7. http://dx.doi.org/10.32734/abdimastalenta.v9i1.14582.
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Community Service Activities for the Purun Weaving Group aim to enhance the quality of products and marketing for the "Nasti Purun" Purun Weaving Group in the Cinta Air Village, Perbaungan District, Serdang Bedagai Regency, as well as support the government's enterprise development program. Several production technologies within the "Nasti Purun" Purun Weaving Group in Serdang Bedagai are currently conducted manually, particularly the process of making Purun rope bags. The spinning of Purun rope still involves the use of hands and feet, causing discomfort, fatigue, and even injury to the workers' hands and feet. The "Nasti Purun" Purun Weaving Group in Serdang Bedagai is in dire need of a Purun rope spinning machine. The specific objective of this activity is the acquisition of a Purun rope spinning machine and providing appropriate marketing methods along with basic accounting. The implementation method is carried out comprehensively, beginning with the application of Purun rope spinning technology and proper business management development, expanding the market area using online marketing (digital marketing) as an effort towards achieving one of the SDGs objectives, Decent Work and Economic Growth. This aims to enhance inclusive and sustainable economic growth, as well as decent work for all. These activities can have a positive impact not only on the target community but also on the university.
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Deutsch, Ralph. « Note group selectable musical effects in an electronic musical instrument ». Journal of the Acoustical Society of America 78, no 4 (octobre 1985) : 1455. http://dx.doi.org/10.1121/1.392817.
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Bispham, John C. « Music's “design features” : Musical motivation, musical pulse, and musical pitch ». Musicae Scientiae 13, no 2_suppl (septembre 2009) : 41–61. http://dx.doi.org/10.1177/1029864909013002041.
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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Sawyer, R. Keith. « Group creativity : musical performance and collaboration ». Psychology of Music 34, no 2 (avril 2006) : 148–65. http://dx.doi.org/10.1177/0305735606061850.
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Bishop, Laura. « Togetherness in musical interaction ». Routledge Open Research 3 (8 mars 2024) : 16. http://dx.doi.org/10.12688/routledgeopenres.18202.1.
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Playing music as part of a group is challenging, but also rewarding. What factors come together to maximize rewarding group playing experiences? How do feelings of enjoyment, frustration, and social (dis)connection shape group performance as it unfolds? This paper addresses these questions with a discussion of the conditions and processes that underlie rewarding experiences in musical interaction. The concept of musical togetherness is introduced, and defined as the feelings of social connection and pleasure that result from being and acting as part of a group during musical interaction. It is argued that three conditions must be fulfilled for togetherness experiences to occur. First, participants in an interactive setting must be aware of one another as intentional co-performers capable of exchanging expressive ideas. Second, interaction must unfold reliably in real-time, allowing for a mutual perception of liveness. Third, participants must adapt and build off of one another in a way that allows for mutual perception of responsivity. Whether these conditions are met is codetermined by the constraints of the environment in which the interaction takes place and the skills and communication techniques that interaction participants are able to deploy. Togetherness experiences are further supported by alignment between group members in body rhythms and a sense of we-agency, or the feeling of shared contribution to the collective musical output. The social and emotional rewards that are associated with musical togetherness are strengthened through a shared positive emotional response to successful interaction. Musical togetherness is hypothesized to contribute to shaping group performance in real-time by motivating group members to interact in ways that lead them to feel more together. This framework provides structure for a construct that has been used casually in the music psychology literature, has implications for how the performance behaviour of ensemble musicians is understood.
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Elliott, David. « Assessing Musical Performance ». British Journal of Music Education 4, no 2 (juillet 1987) : 157–84. http://dx.doi.org/10.1017/s026505170000591x.
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The arts pose some particular problems in the field of assessment. In the study reported here, we examined some of the problems performance presents to assessors especially in the context of the GCSE examination, and with reference to the model for assessment given in the APU Report on Aesthetic Development.A small-scale experiment was devised with the aim of investigating the reliability and different perceptions of judges of musical performances. As well as assessment by professional musicians, we investigated self assessment and assessment by peer-group members. There was a generally high measure of agreement between judges, both in terms of their individual comments and the rank order they each devised. This suggests that there were some objective criteria at work in their assessments. Self-assessments proved very realistic, although those of the peer-group were slightly less so.
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Towse, Esme. « Group Analysis and Improvisation : A Musical Perspective ». British Journal of Music Therapy 11, no 2 (décembre 1997) : 51–55. http://dx.doi.org/10.1177/135945759701100204.
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The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.
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Burland, Karen, et Jane W. Davidson. « Investigating Social Processes in Group Musical Composition ». Research Studies in Music Education 16, no 1 (juin 2001) : 46–56. http://dx.doi.org/10.1177/1321103x010160010901.
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Sastra, Andar Indra. « THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN ». Jurnal Humaniora 27, no 1 (3 juin 2015) : 42. http://dx.doi.org/10.22146/jh.v27i1.6408.
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The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.
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Duishenaliev, Jumabek. « EVOLUTION OF GROUP SINGING IN KYRGYZ MUSICAL FOLKLORE AT THE END OF THE XIX CENTURY ». Alatoo Academic Studies 20, no 2 (30 juin 2020) : 223–28. http://dx.doi.org/10.17015/aas.2020.202.26.
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The article considers the evolution of group singing in the Kyrgyz musical folklore at the end of the XIX century, recorded in the musical texts of the Kyrgyz musical folklore, from the point of view of their ethno-musical and musical-factual analysis. It was clarified that the genre of working and revolutionary songs in Kyrgyzstan was formed in the pre-revolutionary period and has undergone changes in the functions of the group singing environment. Instead of ritual and lyrical songs that raise acute social themes, urban songs of protest content began to appear. Special attention is paid to the evolution of group singing in Kyrgyz folklore.
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Daquila, Dr Jean Pierre Ribeiro. « Musical Intelligence to Improve Pronunciation ». Scholars International Journal of Linguistics and Literature 6, no 1 (5 janvier 2023) : 1–20. http://dx.doi.org/10.36348/sijll.2023.v06i01.001.
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This article aims to analyze the use of musical intelligence (Howard Gardner) as a tool to facilitate individuals’ pronunciation. A study with Emirati participants who have Arabic as L1 has been conducted to see if participants in the experimental group, who were trained in English pronunciation through music, achieve greater outcomes than those in the control group, who were trained through a more traditional way (by listening and repeating exactly the same content as the experimental group). The results will be compared to our previous studies also related to Multiple Intelligences.
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Upadhya, Sushmitha, Rohit Bhattacharyya, Ritwik Jargar et K. Nisha Venkateswaran. « Closed-field Auditory Spatial Perception and Its Relationship to Musical Aptitude ». Journal of Indian Speech Language & ; Hearing Association 37, no 2 (2023) : 61–65. http://dx.doi.org/10.4103/jisha.jisha_20_23.
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Introduction: Musical aptitude is the innate ability of an individual to understand, appreciate, improvise, and have a good sense of pitch and rhythm, even without undergoing formal musical training. The present study aimed to understand the effect of musical aptitude on auditory spatial perception. Method: Forty nonmusicians were subjected to a musical aptitude test Mini Profile of Music Perception Skills (Mini-PROMS) based on which they were divided into two groups. Group I included 20 nonmusicians with good musical aptitude (NM-GA) and Group II comprised 20 nonmusicians with poor musical aptitude (NM-PA). Auditory spatial tests included interaural time difference (ITD) and interaural level difference (ILD) threshold tests and a closed-field spatial test called virtual acoustic space identification (VASI) test. Results: Kruskal–Wallis test revealed a significant difference between Group I (NM-GA) and Group II (NM-PA) in ITD (p < 0.001), ILD (p = 0.002), and VASI (p = 0.012) tests, suggesting the role of musical aptitude in auditory spatial perception. Correlational analyses showed a moderate positive correlation between Mini-PROMS scores with VASI (r = 0.31, p = 0.04) and a moderate negative correlation with ILD (r = −0.3, p = 0.04) and ITD (r = −0.5, p = 0.001). Conclusion: This study defines a positive association between musical aptitude and auditory spatial perception. Further research should include a comparison of spatial skills among musicians and nonmusicians with good musical aptitude.
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Kocaj, Agata, et Izabela Krasińska. « Musical education from the perspective "Musical news" (1925-1926) ». Edukacja Muzyczna 15 (2020) : 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Messika, Jonathan, Yolaine Martin, Natacha Maquigneau, Christelle Puechberty, Matthieu Henry-Lagarrigue, Annabelle Stoclin, Nataly Panneckouke et al. « A musical intervention for respiratory comfort during noninvasive ventilation in the ICU ». European Respiratory Journal 53, no 1 (21 décembre 2018) : 1801873. http://dx.doi.org/10.1183/13993003.01873-2018.
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Discomfort associated with noninvasive ventilation (NIV) may participate in its failure. We aimed to determine the effect of a musical intervention on respiratory discomfort during NIV in patients with acute respiratory failure (ARF).An open-label, controlled trial was performed over three centres. Patients requiring NIV for ARF were randomised to either a musical intervention group (where they received a musical intervention and were subjected to visual deprivation during the first 30 min of each NIV session), a sensory deprivation group (where they wore insulating headphones and were subjected to visual deprivation during the first 30 min of each NIV session), or a control group (where they received NIV as routinely performed). The primary outcome was the change in respiratory discomfort before and after 30 min of the first NIV session.A total of 113 patients were randomised (36 in the musical intervention group, 38 in the sensory deprivation group and 39 in the control group). Median (interquartile range (IQR)) change in respiratory discomfort was 0 (−1; 1) between the musical intervention and control groups (p=0.7). Between groups comparison did not evidence any significant variation of respiratory parameters across time or health-related quality of life (HRQoL) at day-90. The Peri-traumatic Distress Inventory (PDI) at intensive care unit (ICU) discharge was reduced in musical intervention group patients. However, a 30 min musical intervention did not reduce respiratory discomfort during NIV for ARF in comparison to conventional care or sensory deprivation.
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Linnis, Maryann Magdalena, Md Jais Ismail, Sharifah Faizah Syed Mohammed et Juwairiyah Zakaria. « Musical and Non-Musical Responsibilities of Choir Conductors in Malaysia ». Environment-Behaviour Proceedings Journal 7, SI9 (10 octobre 2022) : 89–94. http://dx.doi.org/10.21834/ebpj.v7isi9.3944.
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The purpose of this study is to describe how choir conductors perceive their musical and non-musical roles and responsibilities, to list the necessary knowledge and skill required of the choir conductor, and to identify the challenges faced by the choir conductor in leading the choir group. The subject selected for this study is five qualified and experienced choir conductors from UiTM Chamber Choir, two conductors from Young Choral Academy, one from BAVE Chamber Choir, and Johor Chamber Choir. The five conductors were selected based on their qualifications in choral conducting certificates and experiences spent more than 5 years in choir conducting and the criteria were to ensure that the data collected from these subjects would be valid and reliable. Data collections were done via semi-structured interviewing sessions with the choir conductor alone by audio recording the interview session. All the data was organized transcribe, analyzed, and documented. The results of this study have shown that the choir conductor has very important roles and responsibilities for the outcome performance of the choir group. Keywords: Musical, Non-Musical, Choir Conductor, Leadership, Musicianship eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3944
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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani et Giuseppe Riva. « Networked Flow in musical bands ». Psychology of Music 45, no 2 (21 septembre 2016) : 283–97. http://dx.doi.org/10.1177/0305735616665003.
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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.
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Lampasiak, Aurelia, et Andrea Welte. « Embodied musical improvisation : How the body fosters improvising groups ». Journal de recherche en éducations artistiques (JREA), no 2 (6 février 2024) : 41–52. http://dx.doi.org/10.26034/vd.jrea.2024.4720.
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This article explores the question of how the body is involved when improvising together in a group. Focusing on improvisational pedagogical practices, our interest lies particularly in the question in what ways the body empowers participation. With “Embodied participation in musical group improvisation” we are introducing a new model which allows for reflection on musical group improvisation. It also encourages a body-based perspective on improvisation in relation to the facilitation of participation. We illustrate our reasoning with examples from the ImproKultur project. In particular, we take a closer look at two approaches to musical group improvisation : body conducting and improvising with a chair, both as an object and as a musical instrument. Using these two quite different approaches to improvising in a group, we emphasise their specific aspects of embodiment.
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Huovinen, Erkki, et Heli Rautanen. « Interaction affordances in traditional instruments and tablet computers : A study of children’s musical group creativity ». Research Studies in Music Education 42, no 1 (29 juin 2019) : 94–112. http://dx.doi.org/10.1177/1321103x18809510.
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In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.
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Ajeng Ninda Uminar. « The Use of Percussion Instruments to Improve Musical Intelligence of Young Children ». Journal of Childhood Development 3, no 1 (31 mars 2023) : 30–38. http://dx.doi.org/10.25217/jcd.v3i1.3282.
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Musical intelligence is one of the essential aspects that should be given to children. With music, children can easily remember and manipulate patterns of musical forms. Music will primarily affect human life in the form of musical rhythms, musical instruments, and songs. Therefore, to improve musical intelligence in early childhood, an educator must use percussion instruments to improve children's musical intelligence. One way to improve it is to use percussion instruments, where percussion instruments are hit musical instruments found by children in the surrounding environment and can have a positive and educational influence on early childhood. This research was conducted at Raudhatul Atfhal Baitul Umi Pajaresuk Pringsewu in group B1 students. This research is a Classroom Action Research with a descriptive qualitative research type. The formulation of the problem that the author proposes in this study is "Whether the use of percussion musical instruments can increase the musical intelligence of children in group B1 RA Baitul Umi Pajaresuk Pringsewu. The research subjects were 20 students in group B1, while the object of research was early childhood musical intelligence. Based on the research results at RA Baitul Umi Pajaresuk Pringsewu, it can be concluded that using percussion musical instruments can improve children's musical intelligence at RA Baitul Umi Pajaresuk Pringsewu in the 2016-2017 school year with excellent results. This can be seen from the musical intelligence of students where in the pre-cycle of research, it can be seen that students who achieve very well development do not exist from all students totaling 20 students. Then in cycle I, students with perfect musical intelligence improvement still have not shown results. And in cycle II, it increased again to 1 learner or 80% of learners who had reached the predetermined assessment standards.
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Kim, Jin Hyun, Andres Reifgerst et Marta Rizzonelli. « Musical Social Entrainment ». Music & ; Science 2 (1 janvier 2019) : 205920431984899. http://dx.doi.org/10.1177/2059204319848991.
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Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.
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dos Santos, Andeline, et Claire Wagner. « Musical Elicitation Methods ». International Journal of Qualitative Methods 17, no 1 (1 octobre 2018) : 160940691879742. http://dx.doi.org/10.1177/1609406918797427.
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Music is an underutilized resource for research in the social sciences. This article presents examples of musical elicitation methods that were used within a study that explored how adolescents who were referred to group music therapy for aggression produced meanings of aggression through the therapeutic process. The study was conducted within a poststructuralist paradigm, particularly using the theoretical thinking tools of Deleuze and Gergen. The elicitation methods discussed include drumming, creating images during music listening, and songwriting. The article argues for the role of musical elicitation methods particularly within research that values a radical relational stance that allows participants to comfortably territorialize the research encounter, and in light of considering the transformative potential of research itself.
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Bagastiar, Akbar, et Asnie Izzatul Anshory. « Exploring the interplay of choreography and singing techniques in vocal group performances at Pekan Seni Mahasiswa Nasional Competition ». Interlude : Indonesian Journal of Music Research, Development, and Technology 3, no 1 (30 novembre 2023) : 1–7. http://dx.doi.org/10.17509/interlude.v3i1.70082.
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A vocal group is a group of individuals with singing skills united in one Group with different vocal voices. Several voice levels in vocal groups range from soprano, alto, tenor, and bass. In the presentation of vocal groups, two aspects need to be considered: musical and non-musical. Some examples of musical aspects that need to be considered in group vocals are intonation, timbre, dynamics, technique, and arrangement of works. Apart from that, non-musical aspects also play an essential role in the presentation of vocal groups. Some examples of musical aspects that must be considered are costumes, props, and choreography. This research discusses choreography in Partere Voce, where the choreography can influence the breathing strength of the singers, so vocal group members need specific singing techniques. The method used for this research is data collection through interviews and observations. Researchers participated in the competition activities so that they knew the field conditions and felt what was complained about; after that, the researchers tried to find the main points of the problem and solutions to the perceived problems.
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Burak, Sabahat, et Ayşenur Baş. « The Effect of Musical Play on the Social Skill Development of Primary School Students ». International Journal of Psychology and Educational Studies 11, no 1 (30 janvier 2024) : 115–25. http://dx.doi.org/10.52380/ijpes.2024.11.1.1326.
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The purpose of this study is to determine the effect of musical play on the social skill development of third-grade students and to investigate the opinions of classroom teachers on the effect of musical play on the social skill development of their students. The study sample consists of 60 students: 30 in the experimental group, and 30 in the control group. Musical play activities were applied in the experimental group for 10 weeks. At the end of the research, interviews were conducted with both the experimental and control group classroom teachers. The results demonstrate a significant difference, in of the experimental group, between the posttest total scores, adjusted according to the students' social skills scale pretest total score averages. According to the answers to interview questions from the classroom teachers, musical play is beneficial for the development of social skills.
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Walker, Gwen, Max Chernin, Eliana Rubin, Jonah Schwartz et Becca Suskauer. « MTEA Diversity, Equity, and Inclusion Committee Focus Group Series : Addressing Anti-Semitism Inclusive Musical Theatre Pedagogy ». Musical Theatre Educators Alliance Journal 5, no 2024 (1 janvier 2024) : 8–15. http://dx.doi.org/10.62392/mcqn9899.
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As an ongoing effort to support inclusive musical theater training within our musical theater educational community, the MTEA Diversity, Equity, and ELIANA RUBIN, Inclusion Committee hosts a Focus Group Series. On July 29th, 2023, Vice IONAH SCHWARTZ., AND President of the MTEA DEI Committee Gwen Walker convened a focus group BECCA SUSKAUER to discuss rising anti-Semitism and what musical theatre educators can do to address it. Included in our discussion from our community is an established professional, an educator, a young professional, and a student currently in an academic musical theater program.
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Slayton, Matthew, Adam S. Bristol et Indre V. Viskontas. « Factors affecting group creativity : lessons from musical ensembles ». Current Opinion in Behavioral Sciences 27 (juin 2019) : 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.
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Tu, Chia-Ying. « The high school classroom group piano lesson strategy applying the principles of Musical Futures in Taiwan ». Korean Association For Learner-Centered Curriculum And Instruction 22, no 22 (30 novembre 2022) : 815–30. http://dx.doi.org/10.22251/jlcci.2022.22.22.815.
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Objectives The purpose of this paper is to introduce Professor Lucy Green's Musical Futures(MF) approach in Britain, that employs the informal music learning methods, and to develop a high school classroom group piano lesson strategy in Taiwan based on MF approaches.
Methods The methods is to review the literature on the informal learning, Musical Futures and group piano lessons to develop a high school classroom group piano lesson strategy applying the informal learning principles of Musical Futures.
Results The paper developed a high school group piano lesson strategy and also briefly discussed the related psychological theories within Musical Futures.
Conclusions Green's approach of MF is helpful for learning many kinds of music including classical music through its focus on aural training and transmission processes.
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Benguerel, André-Pierre, et Carol Westdal. « Absolute Pitch and the Perception of Sequential Musical Intervals ». Music Perception 9, no 1 (1991) : 105–19. http://dx.doi.org/10.2307/40286161.
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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either group were able to name standard sequential musical intervals based on the equal-tempered scale accurately. Most subjects in the AP group were able to name notes of the equal-tempered scale accurately and consistently, whereas subjects without AP were not. Subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4- semitone range, using the standard musical note names. In the main experiment, subjects identified sequential musical intervals ranging in 20- cent steps from 260 to 540 cents, using the standard musical interval names. On the basis of their identification errors, subjects, both with and without AP, appeared to identify the intervals using the RP strategy rather than the AP strategy. It seems that musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.
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Lonsdale, Adam J., et Adrian C. North. « Musical Taste and Ingroup Favouritism ». Group Processes & ; Intergroup Relations 12, no 3 (17 avril 2009) : 319–27. http://dx.doi.org/10.1177/1368430209102842.
Texte intégralRésumé :
Musical taste is thought to function as a social `badge' of group membership, contributing to an individual's sense of social identity. Following from this, social identity theory predicts that individuals should perceive and behave more favourably towards those perceived to share their musical taste than towards those who do not. The findings of two studies supported these predictions. The first showed that stereotypes of the fans of different musical styles demonstrate ingroup favouritism, and the second study used the minimal group paradigm to show that individuals allocate greater rewards to those believed to share their musical taste. This suggests that those who share our musical taste are likely to be considered ingroup members, and should be subject to ingroup favouritism.
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Liu, Jinji. « Aesthetic ability cultivation on autistic college students in music education psychology ». CNS Spectrums 28, S2 (octobre 2023) : S145. http://dx.doi.org/10.1017/s1092852923006193.
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BackgroundAutistic patients often exhibit social impairments and have a longer recovery period. The cultivation of musical aesthetic ability will expand the interests and hobbies of the trainees and alleviate social pressure. Therefore, the cultivation of musical aesthetic ability can be used in research on treating students with autism.Subjects and MethodsIn order to analyze the effectiveness of cultivating musical aesthetic ability in the treatment of autism among college students, the study randomly selected 60 college students with autism and divided them into two groups. One group is a blank group, which only receives conventional treatment. The other group is the experimental group, where patients in the experimental group receive routine treatment while also developing their musical aesthetic abilities. Two groups of experimental personnel were evaluated using the Children’s Autism Rating Scale (CARS) and the Kirschner Autism Behavior Scale (CABS) before and after the experiment.Results Before the experiment, the CARS scores of the blank group and the experimental group were 34.83 ± 1.25 and 33.46 ± 2.06, respectively. After the experiment, the scores changed to 30.26 ± 2.81 and 28.16 ± 2.05, respectively. In the evaluation of the CABS scale, the scores of the blank group and the experimental group before the experiment were 16.26 ± 2.06 and 16.59 ± 1.75, respectively. After the experiment, the scores of the two groups were 15.73 ± 1.74 and 13.71 ± 2.05, respectively.ConclusionsThe cultivation of musical aesthetic ability in vocal music teaching in universities has an excellent therapeutic effect on autism among college students.
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Ruiz i Carulla, Martí, et Enric Teixidó Simó. « Pangamelan : reciclar sartenes para una música colectiva y sostenible ». Bellas Artes. Revista de Artes plásticas, Estética, Diseño e Imagen, no 17 (2023) : 33–57. http://dx.doi.org/10.25145/j.bartes.2023.17.02.
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The artistic and educational project of Pangamelan.org raises the process of building musical instruments based on the recycling of disused frying pans and with affordable and low- cost technical requirements. It is inspired by the Indonesian musical tradition of Gamelan, and implements its logic of group performance with a new set of instruments, made with pans recovered from recycling centers or contributed by the participants in the workshops, bringing us closer to Indonesian sonorities: The pans they can sound like bells or gongs, the handles become drumsticks and hammers; the supporting structures are built by recycling old furniture and fabrics. During the construction and sound design, notions about acoustic physics, hearing awareness, non-Western musical tonalities and scales are introduced, and in the musical practice phase, the dynamics of group interpretation, techniques and rhythms are introduced in counterpoint according to the Balinese tradition, to the creation of new musical forms typical of each group.
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Middleton, Richard. « Articulating musical meaning/re-constructing musical history/locating the ‘popular’ ». Popular Music 5 (janvier 1985) : 5–43. http://dx.doi.org/10.1017/s0261143000001914.
Texte intégralRésumé :
In thinking about how to locate popular music within music history, I start from two propositions. Firstly, that attempts to isolate and define musical types, functions and effects by purely empirical means are likely to be unhelpful. Understanding ‘popular music’ – for example – in terms of a quantitively measured ‘popularity’ (sales figures) is not only methodologically difficult to do coherently but, more important, it hypostatises what is in reality a result of living, historically changing relationships. Secondly: if, then, musical categories should be grasped as part of social processes, it does not however follow that in this relationship (between musical type, concept or practice on the one hand, social group, factor or formation on the other) the relata are in a one-to-one correspondence. Thus – quoting again examples from commonly assumed positions – the idea that ‘popular music’ is ‘really’ confined to authentic proletarian self-expression is no less misleading than the Adornian notion that it is part of an undifferentiated blanket of leisure-goods imposed on the unresisting masses by a monopoly-capitalist ‘culture industry’.
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Rose, Dawn, Alice Jones Bartoli et Pamela Heaton. « Measuring the impact of musical learning on cognitive, behavioural and socio-emotional wellbeing development in children ». Psychology of Music 47, no 2 (13 décembre 2017) : 284–303. http://dx.doi.org/10.1177/0305735617744887.
Texte intégralRésumé :
This study investigated the effects of musical instrument learning on the concomitant development of cognitive, behavioural and socio-emotional skills in 38 seven- to nine-year-old children. Pre- and post-test measures of intelligence, memory, socio-emotional behaviour, motor ability and visual-motor integration were compared in children who received either extra-curricular musical training (EMT: n = 19) or statutory school music group lessons (SSM: n = 19). Results showed a significant association between musical aptitude and intelligence overall. The EMT group showed a significant increase in IQ (7 points), in comparison to 4.3 points for the SSM group, suggesting an effect of musical learning on intelligence. No effects were found for memory, or for visual motor integration or socio-emotional behaviour. However, significant improvements in gross motor ability where revealed for the EMT group only, for the aiming and catching composite. With regard to the measure of fluid intelligence, these findings support previous studies. The novel use of the Movement Assessment Battery for Children provides evidence that musical learning may support development in a child’s ability to judge distance, consider velocity, focus and use their proprioceptive, interoceptive and exteroceptive nervous systems.
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Kyratsou, Chrysi. « Musical citizenship as a means to disrupt exclusions : Potentials and limitations as understood in times of a pandemic ». Citizenship Teaching & ; Learning 17, no 1 (1 février 2022) : 145–54. http://dx.doi.org/10.1386/ctl_00086_1.
Texte intégralRésumé :
This article focuses on the potential of in-group music lessons to foster musical citizenship. It further discusses the relation between musical citizenship and conventional citizenship and shows how musical citizenship reorientates our thoughts towards citizenship, particularly in the light of the recent pandemic. The discussion is based upon reflection on semi-structured interviews conducted during my ethnographic fieldwork research on musicking among refugees sheltering in reception centres. The discussion is framed with approaches to citizenship and musical citizenship. The discussion is structured in three parts. First, I conceptualize my interlocutors’ current ‘in limbo’ status. Second, I show how music learning in-group fosters musical citizenship and helps navigate exclusions. Third, the attention shifts on how music learning was impacted by the way that the lockdown was implemented as a measure to limit the spread of the pandemic, highlighting the inclusivity of ‘musical citizenship’ undermined by (conventional) citizenship and the relevant exclusionary policies.
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Kim, Dong Hwan, et Hyun Soo Kim. « The Effects of Music Appreciation Using Classical Music Activities on Musical Aptitude of Young Children ». Korean Association For Learner-Centered Curriculum And Instruction 24, no 1 (15 janvier 2024) : 447–57. http://dx.doi.org/10.22251/jlcci.2024.24.1.447.
Texte intégralRésumé :
Objectives The purpose of this study was to examine the effect of music appreciation based on classical music activities on musical aptitude of young children.
Methods The subjects of this study were 56 who were 5-years-old children enrolled in D kindergarten located G city. To compare the effects of experimental treatments on young children’s musical aptitude scores of pre-test and post-test were analyzed by independent t-test applying SPSS 22.0 program. Hedges'g values were calcu-lated examine the effect size of music appreciation based on classical music activities on musical aptitude of young children.
Results As a result of analyzing music appreciation based on classical music activities on musical aptitude of young children, the experimental group showed greater changes than the control group in term of average musical aptitude(tune, rhythm).
Conclusions The result of this study is expected to be a future guidelines to develop teaching-learning method to enhance children’s musical aptitude.
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Williams, Esther. « RCS promotes musical theatre ». Bulletin of the Royal College of Surgeons of England 94, no 6 (1 juin 2012) : 188. http://dx.doi.org/10.1308/147363512x13311314196933.
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Easy listening music in the operating theatre could reduce anxiety for millions of patients undergoing operations using local anaesthetic each year, according to research. This is just one of the surgical news stories that captured the media's imagination last month. Surgeons from the plastic and reconstructive department at the John Radcliffe Hospital in Oxford measured the respiratory rates of emergency patients and asked them to rate their feelings of worry. Half the patients had their operation in a theatre with music playing and half without – the group who were exposed to music reported lower levels of anxiety and had a lower breathing rate.
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Cohrdes, Caroline, Lorenz Grolig et 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 (23 février 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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Astari, Risa Tsani. « Meningkatkan Kemampuan Berpikir Kritis Anak Melalui Kegiatan Musical Water Glasses Experiment ». JIEEC (Journal of Islamic Education for Early Childhood) 6, no 1 (3 janvier 2024) : 20. http://dx.doi.org/10.30587/jieec.v6i1.6709.
Texte intégralRésumé :
This research aims to improve children's critical thinking skills through the musical water glasses experiment activity. This musical water glasses experiment is a learning activity that contains STEAM elements. This research uses the Classroom Action Research method, which is implemented through four repeated stages, namely planning, implementing, observing, and reflecting. The research subjects studied were 14 students from group B RA Al-Irsyad, Soreang, Bandung. Based on the results of data analysis, the critical thinking ability of children in group B RA Al-Irsyad, Soreang, Bandung before the musical water glasses experiment activity was implemented, obtained an average score of 34% which categorised as starting to develop. After implementing the musical water glasses experiment activity, children's critical thinking abilities in cycle I obtained an average score of 58%, which categorised as developing as expected and in cycle II it increased to 83.5%, which shows the category of developing very well. Thus, the musical water glasses experiment activity was proven to be able to improve the critical thinking skills of group B children at RA Al-Irsyad, Soreang, Bandung.
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Carrasco , Ana Mercedes Vernia. « The impact of the absence of musical practice in a group of older people ». MOJ Gerontology & ; Geriatrics 7, no 3 (22 juillet 2022) : 56–57. http://dx.doi.org/10.15406/mojgg.2022.07.00291.
Texte intégralRésumé :
The work that is presented collects a small sample of older people who participated in a choral group, whose activity was interrupted by covid19. The activities of this group gradually recovered, as the contagions decreased. A series of tests were carried out on a small sample after having resumed musical activity, during the month of March 2022. After the significant increase in infections at the end of December 2022, musical activities were paralyzed and it was measured again with the same tests to the small participating sample in January 2022. The results pointed to the relevant need for musical practice, since the evaluations were much lower in the post test.
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Hung, Ning-Hui. « Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang ». International Journal of Creative and Arts Studies 4, no 1 (1 juin 2017) : 49. http://dx.doi.org/10.24821/ijcas.v4i1.1954.
Texte intégralRésumé :
Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more liberal than other Islamic music genres in Indonesia, especially on musical performance, usage on instruments, etc. This research sees “music” as a communication system of sound which passes through social usage and cultural contexts in Ethnomusicological perspective. The focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in Indonesia, such as the transmission and development of the group Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its music, and the musical function of modern kasidah. By which to understand the current development of kasidah in Indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah.
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Ihsan, Rivaldi. « Study Of Music Performance The Orches Group Pancaran Senja Melayu Village Batu Besar Nongsa Batam ». Gondang : Jurnal Seni dan Budaya 6, no 2 (30 décembre 2022) : 314. http://dx.doi.org/10.24114/gondang.v6i2.39435.
Texte intégralRésumé :
The study of musical performances in this study focuses on the musical performance itself. Where music performance events are present through two important roles, namely musicians and audiences who are the center when the music performance takes place. The success of a musical performance is through a procession of intense rehearsals, ongoing performances, and evaluations after musical performances. This study is a qualitative analytic description of the Pancaran Senja Malay Orchestra music group at Kampung Melayu Batu Besar Nongsa Batam. The research methods are field observations, interviews, literature studies, and participant observers. The results of the research are; that the success of the Pancaran Senja Malay Orchestra music performance until now has gone through the stages of the rehearsal process, show flight hours, and performance evaluation for the progress of the Pancaran Senja Malay Orchestra. This procession was born through discussion and agreement among fellow musicians, so that the continuity and survival of the Pancaran Senja Malay Orchestra music group was established.
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Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti et Purwadi Purwadi. « ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B ». Wawasan Pendidikan 1, no 2 (30 août 2021) : 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.
Texte intégralRésumé :
Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.
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Kim, So-Yeon. « The Effect of Competency-Based Performance Assessment on Musical Emotion⋅Communication Competency : A Case Study on the 1st Grade of Middle School Girls ». Korean Association For Learner-Centered Curriculum And Instruction 22, no 24 (31 décembre 2022) : 465–87. http://dx.doi.org/10.22251/jlcci.2022.22.24.465.
Texte intégralRésumé :
Objectives The purposes of this study were to find out the effect of the competency-based performance assessment on musical emotion and communication competencies.
Methods 89 middle school girls in Seoul were classified into a competency-based performance assessment group and a skill-based performance assessment group. They performed each performance assessment for 3 months. And then independent t-test and pre-post t-test were conducted to measure the improvement level of the musical emotion⋅communication competency. Finally, correlation analysis and simple regression analysis were conducted to find out the relationship between the post score of competency-based performance assessment and the musical emotion⋅communication competency.
Results The total score of the competency-based performance assessment group was more than the total score of skill-based performance assessment group. It was .298 points higher. All sub-factors and most of questions of the competency-based performance assessment group were improved than before. On the other hand, the skill-based performance assessment group showed a slight improvement in the score of sub-factors and some questions. As a result of correlation and simple regression analysis, the competency-based performance assessment was found to be a factor influencing the appreciation and application factors of musical communication competency. On the other hand, the skill-based performance assessment was found to be a influencing factor of the understanding and musical knowledge factors that related to the cognitive aspects of musical emotion competency and communication competency.
Conclusions The competency-based performance assessment was more effective than the skill-based performance assessment in improving the target competency. If competency-based performance assessment is carried out by real-life tasks, ability evaluation to apply and utilize knowledge and functions, affective domain evaluation, and process-focused evaluation, actual competency can be enhanced.
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P. Pineda, Shiela Jay. « The Effects of Group Musical Activities on Children’s Behaviour ». Malaysian Journal of Music 6, no 2 (2 mars 2017) : 49–70. http://dx.doi.org/10.37134/mjm.vol6.2.3.2017.
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Buino, Sarah, et Shirley R. Simon. « Musical Interventions in Group Work with Chemically Dependent Populations ». Social Work With Groups 34, no 3-4 (juillet 2011) : 283–95. http://dx.doi.org/10.1080/01609513.2011.558825.
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Piegzik, Wioletta. « WPŁYW UMUZYKALNIENIA NA PRZYSWAJANIE PODSYSTEMU FONICZNEGO U UCZĄCYCH SIĘ JĘZYKÓW OBCYCH : WYNIKI BADANIA ». Neofilolog 2, no 43/2 (4 septembre 2019) : 168–79. http://dx.doi.org/10.14746/n.2014.43.2.3.
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This report presents the results of a study into the relationship between musical ability and the development of a phonological system by foreign language learners. Our own experiences both as a foreign language teacher and as a musical group leader have raised a number of questions and lines of enquiry. These challenge previous researchers’ findings concerning the allegedly absolutely positive effect of music on language learning and as a result this study has been undertaken.After a brief theoretical presentation, we describe the research project in which learners abilities to distinguish and produce different phonemes as well as the prosody of the language studying are analyzed. Two groups of learners were compared in this study. One group attended a music school. The second group had no musical experience. The study showed that receptive skills were not significantly different between the two groups. The group of learners with musical training was more articulate but this was the only difference. The statistical approach used in analysis of data was the Wilcoxon test.
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Prišuta, Neven, Dragutin Ivanec et Anja Podlesek. « Social Influence in Rating Music ». Psihologijske teme 32, no 1 (21 avril 2023) : 163–78. http://dx.doi.org/10.31820/pt.32.1.9.
Texte intégralRésumé :
The goal of this study was to examine the social influence on music liking with respect to individual musical taste. To measure musical taste, participants (N = 95, mean age 20.4 years) filled in the STOMP scale. They were then asked individually to listen to 16 musical excerpts from different genres using a computer program and rate how much they liked them. They were divided into three groups that were shown different information about other participants’ ratings of the same excerpts. The first group was shown ratings allegedly based on others’ positive judgments, the second group was shown ratings allegedly based on others’ negative judgments, and the third group was given no information. The results showed that the participants’ ratings were susceptible to social influence, i.e., they conformed towards the shown group norm. As expected, musical taste was related to the ratings of the music excerpts, but did not moderate the effect of social influence. Thus, the results show that social comparison, which has been confirmed by research in various areas of human judgment, also exists in rating music.
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Castro-Alonso, Vicente, et Rocío Chao-Fernández. « RETRACTION NOTICE : Musical creation through time ». TECHNO REVIEW. International Technology, Science and Society Review /Revista Internacional De Tecnología, Ciencia Y Sociedad 16, no 1 (22 juin 2024) : 1–15. http://dx.doi.org/10.37819/revtechno.1966.
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Retraction note: Castro-Alonso, V. & Chao-Fernández, R. (2022). Musical creation through time: Curriculum review in secondary education. TECHNO REVIEW. International Technology, Science and Society Review Revista Internacional De Tecnología, Ciencia Y Sociedad, 12(3), 1–15. https://doi.org/10.37467/revtechno.v11.4410 The Editorial Office of Eurasia Academic Publishing Group has retracted this article. An investigation carried out by our Research Integrity Department has found a group of articles, among which this one is found, that are not within the thematic scope of the journal. We believe that the editorial process was manipulated and, furthermore, acceptance decisions were made under possibly inappropriate peer review.
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Ortega-Orozco, Areta, Gabriela Orozco-Calderón, Maura J. Ramírez-Flores et Azucena Lozano- Gutiérrez. « Age of onset in musical practice on cognitive functioning ». Journal of Basic and Applied Psychology Research 1, no 2 (5 janvier 2020) : 1–6. http://dx.doi.org/10.29057/jbapr.v1i2.5363.
Texte intégralRésumé :
Musical processing has been described as a structural and functional plasticity model in which the areas involved and the connections are modified, these changes depend on several variables, including the start of training. The study of music as a neuropsychological phenomenon has become important because it provides information about the possible cognitive benefits. Objective: Describe and compare how musical practice Describe and compare how musical practice affects cognitive functioning in musicians who began their training at an early and late age.affects cognitive functioning in musicians who began their training at an early and late age. Method: Three groups were formed: A group of early professional musicians, a group of late-start professional musicians and a non-musicians control group. The NEUROPSI battery attention and memory were applied individually. Results: In a descriptive way, it was found that the performance profiles of the three groups behave differently and significant differences were found in memory, attention, executive functions and musical perception, especially among musicians who started before adolescence vs non-musicians. Conclutsions: Early musical practice has a favorable impact on tasks that involve attentional processes, executive functions and memory, although the practice can be beneficial throughout life.
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Prachumwan, Komphorn, et Chalermpol Ataso. « Influence of Long-Term Communist Confrontation on Inducing Changes in Society and Musical Culture of Hmong Ethnic Group in Thailand ». Asian Culture and History 12, no 1 (18 décembre 2019) : 1. http://dx.doi.org/10.5539/ach.v12n1p1.
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The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.
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Harris, Ilana. « Collaborative Playlist-Making : Musical Interaction via Digitally Mediated Co-Curation ». Music & ; Science 5 (janvier 2022) : 205920432210769. http://dx.doi.org/10.1177/20592043221076956.
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Collaborative playlist-making (CPM), a form of music co-curation where two or more people select and order recorded music together, is a form of group musical engagement that has recently risen to prominence among musicians and nonmusicians in the general population. This paper presents CPM as a form of technologically mediated group musical engagement and informs researchers as to how CPM and its constituent behaviors may be studied in relation to other forms of musical engagement, particularly group music-making. In addition, specific psychological processes expected to be elicited by CPM—self-other merging, cognitive perspective-taking, and shared intentionality—are explicated in an effort to evince how CPM may give rise to socio-cognitive transfer effects in line with Goldman's reconstructive route to empathy. The main purpose of this paper is to promote music psychologists’ study of CPM to probe how musical interaction occurring within everyday contexts can harness music's potential to facilitate communication and bring about social benefits.