Статті в журналах: "Sex in music"

1

Banfield, Stephen, Kay Dreyfus, and Percy Grainger. "Music and Sex." Musical Times 127, no. 1726 (November 1986): 624. http://dx.doi.org/10.2307/964273.

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2

Bertsch, Sharon, H. Donald Knee, and Jeffrey L. Webb. "Functional Cerebral Distance and the Effect of Emotional Music on Spatial Rotation Scores in Undergraduate Women and Men." Psychological Reports 108, no. 1 (February 2011): 14–22. http://dx.doi.org/10.2466/04.23.27.pr0.108.1.14-22.

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The influence of listening to music on subsequent spatial rotation scores has a controversial history. The effect is unreliable, seeming to depend on several as yet unexplored factors. Using a large sample (167 women, 160 men; M age = 18.9 yr.), two related variables were investigated: participants' sex and the emotion conveyed by the music. Participants listened to 90 sec. of music that portrayed emotions of approach (happiness), or withdrawal (anger), or heard no music at all. They then performed a two-dimensional spatial rotation task. No significant difference was found in spatial rotation scores between groups exposed to music and those who were not. However, a significant interaction was found based on the sex of the participants and the emotion portrayed in the music they heard. Women's scores increased (relative to a no-music condition) only after hearing withdrawal-based music, while men's scores increased only after listening to the approach-based music. These changes were explained using the theory of Functional Cerebral Distance.

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3

Feizpour, Azadeh, Helena C. Parkington, and Farshad A. Mansouri. "Cognitive sex differences in effects of music in Wisconsin Card Sorting Test." Psychology of Music 48, no. 2 (September 12, 2018): 252–65. http://dx.doi.org/10.1177/0305735618795030.

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Recent studies suggest that females and males show different levels of susceptibility to neuropsychological disorders which might be related to sex differences in executive control of behaviour. Music, as a cognitively salient factor, might influence cognitive functions; however, it is unclear how sex and music interact in influencing executive control of behaviour in a dynamic environment. We tested female and male participants in a computerized analogue of the Wisconsin Card Sorting Test (WCST) while listening to music or in silence. We found that music decreased the percentage of correct trials in both sexes. While music decreased response time in females, it had an opposite effect in males. Response time increased in error trials (error slowing), and music sex-dependently influenced error slowing. Conflict between potential rules adversely influenced performance in the current trial (conflict cost) in both sexes and listening to music increased conflict cost. These findings suggest that music shows both adverse and beneficial effects on various behavioural measures in the WCST, some of which are sex-dependent. Our findings suggest that in using music as an adjunct for rehabilitation of neuropsychological disorders, both adverse and beneficial effects and sex dependency need to be considered.

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4

Eaklor, Vicki Lynn. "Queer Episodes in Music and Modern Identity (review)." Journal of the History of Sexuality 12, no. 3 (2003): 498–500. http://dx.doi.org/10.1353/sex.2004.0006.

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5

Cummins, R. Glenn. "Selling Music With Sex: The Content And Effects Of Sex In Music Videos on Viewer Enjoyment." Journal of Promotion Management 13, no. 1-2 (November 28, 2007): 95–109. http://dx.doi.org/10.1300/j057v13n01_07.

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6

Preston, Joan M., and Michael Eden. "Viewing music videos: Emotion and viewer interpretation." Zeitschrift für Medienpsychologie 14, no. 2 (April 2002): 69–79. http://dx.doi.org/10.1026//1617-6383.14.2.69.

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Abstract. Music video (MV) content is frequently measured using researcher descriptions. This study examines subjective or viewers’ notions of sex and violence. 168 university students watched 9 mainstream MVs. Incidence counts of sex and violence involve more mediating factors than ratings. High incidents are associated with older viewers, higher scores for Expressivity, lower scores for Instrumentality, and with video orders beginning with high sex and violence. Ratings of sex and violence are associated with older viewers and lower scores for Instrumentality. For sex MVs, inexperienced viewers reported higher incidents and ratings. Because MVs tend to be sexier but less violent than TV and film, viewers may also use comparative media standards to evaluate emotional content MVs.

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7

Armstrong, Edward G. "Country music sex songs: An Ethnomusicological account." Journal of Sex Research 22, no. 3 (August 1986): 370–78. http://dx.doi.org/10.1080/00224498609551315.

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8

Trecroci, Athos, Gabriele Signorini, Raffaele Scurati, Dario Colella, Gaetano Raiola, Marta Rigon, and Pietro Luigi Invernizzi. "Effects of Musical Classes on Motor Creativity According to Age, Sex, and Weight Status in Young Students: A Music-Oriented versus Conventional Education Plan." Children 10, no. 2 (January 20, 2023): 200. http://dx.doi.org/10.3390/children10020200.

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Motor creativity can be influenced by the specificity of the school–class environments (music-based education plans) and individual characteristics. This study aimed to investigate the effects of music oriented and conventional education plans on rhythmic perceptive capacity, motor creativity, and skill- and health-related fitness components in young students according to age, sex, and weight status. One hundred sixty-three young Italian students from elementary (second and fourth grade) and middle school (sixth and eighth grade) were enrolled in the study according to their education plan (music oriented or conventional). All participants were tested for rhythmic perceptive capacity (Stambak’s test), motor creativity (Divergent Movement Ability test), skill-related (Körperkoordinationstest Für Kinder), and health-related (Multistage Fitness test) components. Individuals were also considered according to age (elementary and middle school), sex, and weight status. Significant age × education plan and sex × education plan interactions (p < 0.01) were found in motor creativity (locomotor and stability skills) and motor competence (balance and jumping-like activities). No significant weight status × education plan interaction was found. The predominant role of music in the music-oriented education plan appeared to foster the ability to enhance motor creativity in elementary and middle school students compared to the conventional plan. Moreover, music-oriented experience also seems relevant for expressing and exhibiting motor competence (i.e., balance) in relation to sex.

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9

Biswas, Anomitra, and Tonisha Guin. "Agents of Ishq and Contemporary Discourses on Sex and Sex-Education in India." Bandung 9, no. 1-2 (February 24, 2022): 325–55. http://dx.doi.org/10.1163/21983534-09010013.

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Abstract This paper examines Agents of Ishq, an online site/project seeking to create a space for the public discourse of sex and sexuality in India, with particular attention to a single music video that is part of the project. The content produced by the project is informed by idioms of Bollywood films and film-music. The paper draws on the notion of popular culture to see how meanings are encoded within the video productions and explores the politics of representation of these audio-visual and textual resources. It also briefly examines the effect that being hosted on a digital platform, freely accessible at any time and from any location, (rather than as part of traditional and broadcast media) has on the content produced by Agents of Ishq. It examines the need for the proliferation of pedagogical resources of this kind and, at the same time, draws attention to the ways in which they need to be critically problematized in terms of the cultural hegemonies they may run the risk of reinforcing.

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10

Maidlow, Sarah. "The Experiences, Attitudes and Expectations of Music Students from a Feminist Perspective." British Journal of Music Education 15, no. 1 (March 1998): 37–49. http://dx.doi.org/10.1017/s0265051700003752.

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Attempting to explain the mis-match between women's low profile in most music professions and females' success in formal music education, I looked for differences in the attitudes, experiences and expectations of music students. This was done by using repertory grids with relatively small numbers of A-level and undergraduate music students, and postgraduate student teachers with music degrees. Constructivist psychology, of which repertory grid technique is a practical example, offers approaches in harmony with feminist preferences for the meaning people attach to their situation and the usefulness of their interpretation over notions of truth. Thus participants' responses dictate any groupings to emanate from analysis, rather than their being placed in pre-determined categories.The outcomes of the study suggested, however, that little differentiates female and male musicians, as represented by these music students. Conversely, the results implied that the sexes are inclined to think similarly, insofar as likenesses in their attitudes could be associated with their instrument, and, crucially, that each sex tended to look to mo dels I mentors who reflected their sex as well as instrument. The sexes' inconsistency of achievement might then be explained by differences between sex-role models.

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11

Law, J. K. "Opera, Sex, and Other Vital Matters." Opera Quarterly 19, no. 1 (January 1, 2003): 116–20. http://dx.doi.org/10.1093/oq/19.1.116.

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12

McFarland, Richard A., and Rochele Kadish. "Sex differences in finger temperature response to music." International Journal of Psychophysiology 11, no. 3 (December 1991): 295–98. http://dx.doi.org/10.1016/0167-8760(91)90024-r.

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13

Mizelle, Destin L., Rayven L. Peterson, Jarrett Murphy, Shemeka Thorpe, and Candice N. Hargons. "“My Playlist is Too (Damn) Long”: The Impact of Black Men’s Favorite Sex Songs on Sexual Socialization." Journal of Black Sexuality and Relationships 10, no. 3-4 (January 2024): 327–54. http://dx.doi.org/10.1353/bsr.2024.a931229.

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Abstract: Music has historically and culturally served as a tool for Black men to express themselves and tell their stories. Further, music is an integral part of Black culture that provides unique insight into Black men’s ideal sexualities, sexual practices, and their conceptualizations of sex. Thus, this content analysis analyzed the lyrics of Black men’s favorite sex songs from a strength-based, sex-positive perspective to better conceptualize Black men’s sexualities and sexual practices. One hundred six men answered the short-form survey question, “What is your favorite sex song?” Analysis of the song content determined Black men’s favorite sex songs were focused on mutual (29%) and their partner’s pleasure (28%). Black men’s favorite sex songs focused on attentiveness and admiration of partner, fulfilling fantasy, lust and yearning, vocal affirmation and reassurance, risky sex, and desire for intimacy. These findings suggest Black men desire reciprocity, intimacy, and vulnerability during sex.

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14

Lin, Rebecca, and Eric Rasmussen. "Why Don’t We Get Drunk and Screw?" Journal of Popular Music Studies 30, no. 3 (September 2018): 115–28. http://dx.doi.org/10.1525/jpms.2018.200006.

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The current study incorporates a radical feminist framework to analyze the portrayal of women in relation to both sex and alcohol in country music. Two coders analyzed the top 50 Billboard country songs for each year from 1990 to 1994, 2000-2004, and 2010-2014 (n = 750) for references to women in association with sex and alcohol. Seventeen percent of the songs referred to sex in relation to women, 20% referred to alcohol in relation to women, and 6% referred to both sex and alcohol in relation to women. Songs in the 2010s were more likely to refer to women in conjunction with sex and alcohol than songs in the 2000s and 1990s. References to women in association with sex and alcohol were more likely to be sung by men, not women, suggesting a pattern driven by patriarchy.

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15

Firpo, Christina. "Sex and Song." Journal of Vietnamese Studies 11, no. 2 (2016): 1–36. http://dx.doi.org/10.1525/jvs.2016.11.2.1.

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In the late nineteenth century, the French colonial government legalized prostitution in French-controlled areas of Tonkin. Although the colonial state tolerated prostitution, state regulations forced sex workers to register with the state and limited sex workers’ profits, mobility, and freedom. Consequently, a black market for clandestine unregistered prostitution developed, enabling workers to evade state restrictions. This article asserts that during the inter-war years (1920–1945) unregistered sex workers used Ả Đào music houses as fronts for clandestine prostitution. The colonial state attempted to curb illegal activities in various ways, but clandestine prostitutes easily evaded the state. By the late colonial era, Ả Đào music’s association with prostitution had damaged its reputation.

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16

Niedermeier, Martin, Elena Pocecco, Carolin Hildebrandt, Christian Raschner, Peter Federolf, Martin Kopp, and Gerhard Ruedl. "Effects of Visual and Auditory Perturbations on Ski-Specific Balance among Males and Females—A Randomized Crossover Trial." International Journal of Environmental Research and Public Health 16, no. 15 (July 25, 2019): 2665. http://dx.doi.org/10.3390/ijerph16152665.

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Injuries in skiing show sex-specific differences, especially when visual perception is reduced. Reduced visual perception impairs balance, which plays an important role in avoiding skiing injuries. However, males and females might cope differently with reduced visual perception. Thus, the aim of this study was to evaluate sex-related effects of environmental perturbations (reduced visual perception and listening to music) on ski-specific balance. Using a crossover design, ski-specific balance was tested in 50 young adults (50% female) in four conditions: with and without listening to music and/or with and without reduced visual perception (ski goggles with occlusion foil). A four × two (condition by sex) mixed ANOVA revealed a significant condition by sex interaction, partial η² = 0.06. Females showed an increase in balance from the condition without music/with normal visual perception to the condition with music/with normal visual perception, while males showed a decrease. Balance was significantly higher in females compared to males, partial η² = 0.31. The findings suggest that balance is affected differently by environmental perturbations in females and males. However, the differences observed were not in line with our initial hypotheses, which might be because the model was too simplistic for how visual/auditory perturbations may affect balance.

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17

Pollard, Deborah Smith. "“All I See Is Your Booty and Cleavage”: Sex and the Contemporary Gospel Song (1988–2017)." Journal of the Society for American Music 15, no. 4 (November 2021): 363–82. http://dx.doi.org/10.1017/s1752196321000274.

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AbstractGospel songs traditionally feature lyrics that glorify God. However, there is music by contemporary gospel artists that addresses pre-marital sex, homosexuality, and pornography. The fact that these topics are being lyrically confronted by some of the genre's most recognized performers invites exploration into the content, purpose, and impact of the songs.This article places these lyrics into categories: those that are testimonial narratives about the spiritual deliverance the singer has received after transgressing sexual mores of the Black Church and those that encourage the avoidance of specific sexual practices. These songs contribute to gospel music on several levels, providing a platform through which the artists can testify of their sexual journeys while giving listeners a format through which they can find direction regarding sexual steps, missteps, and spiritual realignment.The article delineates the changes within US culture that led to less silence about sex and support for the LGBTQIA+ community from some within the Black Church. The major analysis involves the lyrics, the differences in what men and women tend to address, and the fact that despite breaking new ground, in virtually every instance, they reflect traditional Biblical interpretations.

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18

Götestam, K. Olof. "Sex and Cultural Differences in Lefthandedness." Perceptual and Motor Skills 71, no. 1 (August 1990): 129–30. http://dx.doi.org/10.2466/pms.1990.71.1.129.

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Sex differences are presented for the students of architecture and music, and the distribution of sex in the tested sample and the population is discussed. The results are related to other studies in Scandinavia, which give comparable results. A genetic/cultural model is used to discuss the differences between results from Scandinavia, USA, and other parts of the world.

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19

Coelho, Joseph R. "Sex, Bugs and Rock ‘n’ Roll: Insects in Music Videos." Insects 12, no. 7 (July 7, 2021): 616. http://dx.doi.org/10.3390/insects12070616.

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The appearance of insects in music videos was examined. The most common taxa observed were Lepidoptera, then Hymenoptera, with Coleoptera, Araneae, Diptera, and Orthoptera essentially tied for third most represented. Insect music videos have increased in frequency over time, probably as an artifact of industry growth. Swarms and infestations were common in insect videos (appearing in 26%), as were chimeric insectoid humans (19%), and, to a lesser extent, giant insects (5%), but not all of these representations were used to induce horror. Some insect music videos have garnered awards, and many of the songs associated with them have been very successful. There were many animated insect sequences, but also images of specimens that were sufficiently detailed to allow identification of the species. The insect groups observed reflect both positive and negative values. There is some indication that insects are not viewed in such a negative light as they once were, providing hope for improving attitudes of humans toward insects.

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20

Snoj, Mirna. "The rhythmic and tonal musical abilities in the functional-learning music kindergarten children." Školski vjesnik 71, no. 2 (2022): 69–76. http://dx.doi.org/10.38003/sv.71.2.6.

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Musical abilities include a number of abilities developed under the influence of innate dispositions, environment, maturity, informal music learning experience and formal music education. The paper aims to identify the potential difference between the musical abilities of preschool and early school-age children at the initial and final testing stages and whether there is any difference between the rhythmic and tonal component of their musical abilities in terms of their sex. The survey was conducted on a sample of 70 respondents. The respondents were second-year students of the Elly Bašić Functional-Learning Music Kindergarten in Zagreb. A general information questionnaire was used in the survey, as well as the Gordon Primary Measures of Music Audiation (PMMA) test, as an indispensable measuring tool used to identify the key music potential variables in a timely, reliable and objective manner.The obtained results indicate that the tonal and rhythmic aptitude of the participants in the survey were substantially higher at the final stage of testing with respect to the initial one. Moreover, the sex of the participants in the survey did not prove to be a significant musical aptitude predictor.The author calls for changes to the music school curriculum aimed at integrating preschool music education into the formal music education system.

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21

Sprankle, Eric L., and Christian M. End. "The Effects of Censored and Uncensored Sexually Explicit Music on Sexual Attitudes and Perceptions of Sexual Activity." Journal of Media Psychology 21, no. 2 (January 2009): 60–68. http://dx.doi.org/10.1027/1864-1105.21.2.60.

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The effects of censored versus uncensored sexually explicit music on undergraduate students’ attitudes toward premarital sex, perception of peer sexual activity, and attitudes toward women were examined. Under the guise of a lyrical memory task, the experiment involved groups of participants who were randomly assigned to listen to an uncensored sexually explicit song, a censored version of the same song, a nonsexual song by the same artist, or no music. The lyrical content did not have a significant impact the participants’ self-reported sexual attitudes and perceptions of peer sexual activity. Additionally, the music (or lack of) did not significantly alter attitudes toward premarital sex, perceptions of peer sexual activity, or attitudes toward women. The nonsignificant difference between the sexually explicit songs and the nonsexual songs challenges the psychological and lay theories that exposure to sexually explicit music instigates attitudinal change.

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22

Briggs, Jonathyne. "Sex and the Girl’s Single: French Popular Music and the Long Sexual Revolution of the 1960s." Journal of the History of Sexuality 21, no. 3 (2012): 523–47. http://dx.doi.org/10.1353/sex.2012.0056.

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23

McRobbie, Angela. "Recent rhythms of sex and race in popular music." Media, Culture & Society 17, no. 2 (April 1995): 323–31. http://dx.doi.org/10.1177/016344395017002011.

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24

Seidman, Steven A. "Profile:An investigation of sex‐role stereotyping in music videos." Journal of Broadcasting & Electronic Media 36, no. 2 (March 1992): 209–16. http://dx.doi.org/10.1080/08838159209364168.

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25

Boluwaduro, Stephen Olabanji. "Negotiating body, sex, and self-fashioning in Fújì music." Sociolinguistic Studies 17, no. 1-3 (August 7, 2023): 159–79. http://dx.doi.org/10.1558/sols.24125.

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A growing body of literature interrogating the voluptuous rendering of human sexuality in popular culture has focused on sex scripting in Western films and the commodification of women and their representations in popular media. However, exploration of how linguistic metaphors and innuendoes are deployed to affirm or contest expressions of desires that are sacred, sensitive, or taboo in Fuji music has received little scholarly attention. Of what significance is contesting social structure on sexuality to Fuji as a Nigerian popular musical genre? This empirical study explores this question while drawing on an ethnographic and interpretive literary analysis. Drawing from Hakim’s notion of ‘erotic capital’, the analyses and discussion operationalize the sexual scripting framework, Black feminist thought, and African/Black revolutionary art. I argue that sexual narratives and connotations in Fuji performance are often generated as powerful resources to contest sexual sensitivity and push back on silence on sexuality, negotiate and solicit artistic identity, and exact influence on public conversations on sexuality. By and large, this article affirms the engagement of sensual lyrical content as constitutive of revolutionary art and a social transformative site in which the body is negotiated as a catalyst for sexonomics in the contemporary ‘ear-tearing pant-and-bra’ musical evocations.

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26

Mwangi, Evan. "Sex, Music, and the City in a Globalized East Africa." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 321–24. http://dx.doi.org/10.1632/pmla.2007.122.1.321.

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One of the first things i noticed on landing in my hometown of nairobi, kenya, for summer vacation this year was the continued proliferation of new-style music that undermines traditional ties with the solid rural identities seen previously as quintessential manifestations of patriotism and African racial pride. Radios in duty-free shops at the Jomo Kenyatta International Airport were tuned to various FM stations, which issued beats that were a cross between Western hip-hop and traditional village music. Notable were the songs' calls for dissolving the boundaries between East African countries—namely, Kenya, Tanzania, and Uganda.

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27

Mandel, Susan E. "Music Therapy: Variations on a Theme." Journal of Palliative Care 9, no. 4 (December 1993): 37–39. http://dx.doi.org/10.1177/082585979300900409.

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Music therapists make significant contributions to the multidisciplinary hospice team in its efforts to provide holistic palliative care to terminally ill patients and family members and to promote quality of life. The role of a hospice music therapist is described, including providing direct patient music therapy service, training the hospice team in music therapy, developing and maintaining a music therapy resource centre, and offering bereavement services. A review of patient charts Provides information about patient age, sex, diagnosis, and source and reasons for referral.

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Rhoads, Kendall J., Sierra R. Sosa, Rebecca R. Rogers, Thomas J. Kopec, and Christopher G. Ballmann. "Sex Differences in Response to Listening to Self-Selected Music during Repeated High-Intensity Sprint Exercise." Sexes 2, no. 1 (January 18, 2021): 60–68. http://dx.doi.org/10.3390/sexes2010005.

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The purpose of this study was to examine possible sex differences in high-intensity exercise performance, fatigue, and motivational responses to exercise while listening to music. Physically active males and females (ages 18–24) were recruited to participate. Participants completed two separate repeated sprint exercise trials each with a different condition: (1) no music (NM) (2) self-selected music (SSM). During each trial, participants completed 3 × 15 s Wingate anaerobic tests (WAnTs) while listening to NM or SSM separated by 2 min of active recovery. Following each WAnT, rate of perceived exertion (RPE) and motivation to exercise were assessed. Relative power output, fatigue index, RPE, and motivation were analyzed. There were no significant sex differences for relative power between music conditions (p = 0.228). Fatigue index was significantly lower in females while listening to SSM (p = 0.032) versus NM while no differences were observed for males (p = 0.246). RPE was lower while listening to SSM versus NM in females (p = 0.020), but not for males (p = 0.277). Lastly, motivation to exercise increased in the SSM condition versus NM in females (p = 0.006) but not in males (p = 0.090). Results indicate that listening to SSM music did not result in superior anaerobic performance in either sex, but females responded more favorably to subjective outcomes (i.e., RPE and motivation) while listening to SSM, which may have in turn influenced indices of fatigue during the tests. These results suggest that females may respond more positively than males to exercise-induced fatigue while listening to SSM music during repeated bouts of high-intensity exercise.

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Stachurska, Anna, Jadwiga Śniadek, and Iwona Janczarek. "First reaction of the heart rate in horses to different genres of music played in the stable." Medycyna Weterynaryjna 73, no. 8 (2017): 500–504. http://dx.doi.org/10.21521/mw.5753.

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The aim of the study was to determine the first reaction of the heart rate (HR) in horses to piping music of different genres into the stable for a short time. The study included 26 saddle horses, mares, stallions and geldings, split into three age groups: 1-5, 6-11 and over 11 years. Three kinds of music were played within three 25-minute tests conducted on three successive days, one test a day. The tests differed in the sequence of music genres: rock, country and relaxing music. The analysis considered the mean HR at rest and during the first two and three minutes of the whole sequence of the three music genres, as well as during particular genres: minimum and maximum HR, difference between maximum HR and HR at rest, as well as the time in which HR decreased from the maximum level to the level before music was played. The data were verified by T-Tukey’s test and by ANOVA (GLM) with regard to sex, age group and music test factors. The results show that music played at 80 dB caused a short HR elevation. The level of emotional excitability measured by HR was different for the three music genres. The relaxation music had the mildest effect, the country music acted more strongly, and the influence of the rock music was the strongest. This finding is based on the mean HR for the first two minutes of a music test, extreme HR, difference between maximum HR and HR at rest, as well as the time in which HR decreased from the maximum level to the level before music was played. Differences in reactions of the horses to music were related to their sex and, to a smaller degree, their age.

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Ruiz-Ariza, Alberto, Elisabet García-Carvajal, Javier Marín-López, M. Virginia Sánchez-López, and Emilio J. Martínez-López. "Body Expression and Music Learning in Secondary School. Differences and Associations by Age, Sex, and Interest in Music." Revista de Investigación Educativa 36, no. 2 (June 25, 2018): 547–61. http://dx.doi.org/10.6018/rie.36.2.246631.

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The aim of this study was to know the opinion of secondary school students about the employment of body expression in music class and if it differed or was associated differently depending on the age, sex, and interest in music. A total of 2,017 secondary school students participated in the study by completing the Body Expression and Music Learning in Secondary School questionnaire. The statistical tests employed were the factor analysis, ANOVA analysis, Student’s T and linear regression analysis. The data showed a high validity and internal consistency in each of three obtained factors: music learning (F1), relationship with classmates (F2) and motivation towards music (F3). The results were higher in girls and in students with more interest in music for all the three factors. Music learning through body expression (F1) and motivation (F3) decreased when age increased. The relationship with classmates (F2) was similar in all ages. An increase of body movement during music lessons is suggested. These activities must be performed mainly in younger students and additional motivational measures should be established to involve both boys and young learners who demonstrate less interest in this subject.

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Gatot, Agustinus. "Drupadi: Representasi Perempuan Urban dalam Musik Video Drupadi Melantun Karya Drupadi.id." Urban: Jurnal Seni Urban 3, no. 2 (February 18, 2020): 99–120. http://dx.doi.org/10.52969/jsu.v3i2.35.

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Drupadi, known as a female character in the Mahabharata epic, was the five Pandawa’s spouse. However, Drupadi’s story is not just about polyandrous woman. Drupadi, the female character in the Mahabarata’s epic has inspired many artists in their work, such as a music video from Drupadi ID. Drupadi ID through Drupadi Melantun on Youtube platform with the title “Semacam Riang”; “Bima’s Dream”; and “Bersama Gelap” tried to show the urban woman figure and their problems. Using the critical approach and semiotic analysis this study has succeeded to capture texts that represent an urban woman through Drupadi Character on Music Video Drupadi Melantun. The problems that urban women experience are represented very nicely by the Drupadi figure in this music video. This music video has become a criticism for the urban people who are not able to separate “Sex” from “Gender” so there is still an imbalance until now.Drupadi dikenal oleh masyarakat sebagai karakter perempuan dalam kisah Mahabharata yang merupakan istri dari kelima Pandawa. Seungguhnya, tokoh Drupadi bukan hanya sekadar perempuan poliandris saja, melainkan juga telah menjelma menjadi sosok perempuan urban masa kini. Drupadi sebagai sosok perempuan dalam kisah Mahabharata telah banyak menginspirasi para seniman dalam berkarya, salah satunya dalam karya musik video yang dibuat oleh Drupadi.Id. Lewat karya bertajuk Drupadi Melantun dengan judul “Semacam Riang”, “Bima’s Dream”, dan “Bersama Gelap” di kanal Youtube-nya, Drupadi.Id berusaha menampilkan sosok perempuan urban dan permasalahannya. Dengan menggunakan pendekatan kritis dan analisis semiotika, tulisan ini menghadirkan analisis berupa teks-teks yang merepresentasikan sosok perempuan urban yang ditampilkan melalui karakter Drupadi 99 dalam musik video Drupadi Melantun. Tulisan ini juga berusaha membongkar permasalahan yang dialami oleh perempuan urban yang mampu direpresentasikan dengan sangat apik oleh sosok Drupadi pada musik video ini. Oleh karena itu, musik video ini dianggap mampu merepresentasikan kehidupan dan harapan para perempuan urban di lingkungan masyarakat perkotaan.

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32

Ellison, Mary. "Circular and cumulative: race, sex, religion and class in urban America." Urban History 27, no. 2 (August 2000): 276–82. http://dx.doi.org/10.1017/s0963926800000262.

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It seems bizarre and inappropriate that so many books dealing with African-American lives in both Southern and Northern cities pay scant attention to the music that provided their only clear political as well as cultural voice. This seems even more anomalous now that historians of slavery appreciate that the music is a vital conduit for black responses to oppression and discrimination. In the five books under review, cultural consciousness is frequently relegated to a marginal position in the attempt to define the parameters of racism in cities as diverse as Philadelphia, New York, Chicago, Detroit and Charlotte.

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Knobloch, Silvia, and Dolf Zillmann. "Appeal of Love Themes in Popular Music." Psychological Reports 93, no. 3 (December 2003): 653–58. http://dx.doi.org/10.2466/pr0.2003.93.3.653.

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The relationship between romantic satisfaction versus discontent and a preference for music celebrating versus lamenting love is explored. The satisfaction/discontent was ascertained in 60 college undergraduate women and men who later freely listened to music from a sampling of selections. The duration of their self-determined exposure to love-celebrating versus love-lamenting music was unobtrusively recorded by computer software. Romantically satisfied women and men showed a preference for love-celebrating music, whereas discontented women and men preferred love-lamenting music. Romantically discontent women and men preferred love-lamenting music presented by performers of their own sex. The findings indicate young adults' inclination to match emotions expressed in music about love with the emotions experienced in their own romantic situation.

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Casey, Christina Schoux. "New Orleans bounce music, sexuality, and affect." Journal of Language and Sexuality 7, no. 1 (February 22, 2018): 5–29. http://dx.doi.org/10.1075/jls.17011.sch.

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Abstract This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of the MC’s exhortations, and the rhythm of the backing musical track. Bounce performances create a fleeting community of artists, bodies and music that is less about the expression of discrete sociodemographic categories, and more about a collective affective event. Using ideas of relationality from queer and affect theory, and Stallybrass and White’s “high/low” cultural hierarchies, this article shows how bounce challenges normative ideas about the autonomous ‘speaking subject,’ and supports a messier understanding of the self as affectively relational.

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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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Prerost, Frank J. "The Influence of Sex Guilt on Mood State following Exposure to Sexual Stimuli." Psychological Reports 73, no. 1 (August 1993): 201–2. http://dx.doi.org/10.2466/pr0.1993.73.1.201.

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90 male subjects with high or low sex guilt were exposed to sexual music videos, rock videos, or a neutral travelogue before assessment of mood states. Scores on Elation, Vigor, and Aggression scales were significantly affected by video presentations when sex guilt was considered.

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Ratnasingam, Malini, and Lee Ellis. "Sex Differences in Mass Media Preferences Across Four Asian Countries." Journal of Media Psychology 23, no. 4 (January 2011): 186–91. http://dx.doi.org/10.1027/1864-1105/a000054.

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Background. Nearly all of the research on sex differences in mass media utilization has been based on samples from the United States and a few other Western countries. Aim. The present study examines sex differences in mass media utilization in four Asian countries (Japan, Malaysia, South Korea, and Singapore). Methods. College students self-reported the frequency with which they accessed the following five mass media outlets: television dramas, televised news and documentaries, music, newspapers and magazines, and the Internet. Results. Two significant sex differences were found when participants from the four countries were considered as a whole: Women watched television dramas more than did men; and in Japan, female students listened to music more than did their male counterparts. Limitations. A wider array of mass media outlets could have been explored. Conclusions. Findings were largely consistent with results from studies conducted elsewhere in the world, particularly regarding sex differences in television drama viewing. A neurohormonal evolutionary explanation is offered for the basic findings.

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Bullack, Antje, Niklas Büdenbender, Ingo Roden, and Gunter Kreutz. "Psychophysiological Responses to “Happy” and “Sad” Music." Music Perception 35, no. 4 (April 1, 2018): 502–17. http://dx.doi.org/10.1525/mp.2018.35.4.502.

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Lundqvist, Carlsson, Hilmersson, and Juslin (2009) presented evidence of differential autonomic emotional responses to “happy” and “sad” music in healthy adult listeners. The present study sought to replicate and extend these findings by employing a similar research design and measurement instruments. Therefore, we used instrumental film music instead of vocal music, and assessed listeners’ music expertise. The present results show similarities and differences in patterns of psychological and physiological responses as compared to the previous work. Happy music evoked more happiness, higher skin conductance level, higher respiratory rate, and more zygomatic facial muscle activity than sad music, whereas sad music generated higher corrugator muscle activity than happy music. Influences of music sophistication as well as of sex were negligible. Taken together, these results further support the hypothesis that music induces differential autonomic emotional responses in healthy listeners. They also highlight the importance of replication or multi-site studies to strengthen the empirical basis of fundamental issues in music psychological research.

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Chen, Ya-chen. "Metaphorical Sounds of Classical and Jazz Music in Sex Appeal." Cine forum 25 (December 31, 2016): 209. http://dx.doi.org/10.19119/cf.2016.12.25.209.

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Miksza, Peter. "Relationships among Impulsiveness, Locus of Control, Sex, and Music Practice." Journal of Research in Music Education 54, no. 4 (2006): 308. http://dx.doi.org/10.2307/4139753.

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Miksza, Peter. "Relationships among Impulsiveness, Locus of Control, Sex, and Music Practice." Journal of Research in Music Education 54, no. 4 (December 2006): 308–23. http://dx.doi.org/10.1177/002242940605400404.

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This study is an investigation of relationships among impulsiveness, locus of control, sex, observed practice behaviors, practice effectiveness, and self-reported practice habits in a sample of 40 college brass players. Practice effectiveness was defined by the amount of change in pretest and posttest performance achievement scores over one 23-minute practice session. Each subject's practice session was analyzed for frequency of practice behaviors. Measures included the Eysenck Impulsiveness Questionnaire for Adults (1985), the Nowicki-Duke Locus of Control Scale for Adults (1974), and a researcher-designed practice questionnaire. Results indicated (a) a significant interaction effect (p < . 01) between performance achievement and impulsiveness, with subjects in the low-impulsive group outperforming those in the high-impulsive group; (b) a significant relationship (p < . 01) between subjects' locus of control and impulsiveness scores; (c) no significant differences (p > .05) in impulsiveness, locus of control, or performance achievement by sex; (d) significant relationships (p < .05) between performance achievement and the observed practice behaviors "repeat section, " "whole-part-whole, " "marks part, " and "varying pitch"; and (e) no significant relations (p > .05) between amount of time spent playing during the practice session in the study and performance achievement.

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Inglis, Ian. "“Sex and Drugs and Rock'n'Roll”: Urban Legends and Popular Music." Popular Music and Society 30, no. 5 (December 2007): 591–603. http://dx.doi.org/10.1080/03007760600836445.

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Zeischegg, Christopher. "Sex and composition: a personal history of music in porn." Porn Studies 2, no. 1 (January 2, 2015): 103–5. http://dx.doi.org/10.1080/23268743.2014.995953.

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Andsager, Julie, and Kimberly Roe. "“What’s your definition of dirty, baby?”: Sex in music video." Sexuality and Culture 7, no. 3 (September 2003): 79–97. http://dx.doi.org/10.1007/s12119-003-1004-8.

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45

Harwell, Jonathan H. "This Thing Called Life: Prince, Race, Sex, Religion, and Music." Journal of Religious & Theological Information 17, no. 4 (October 2, 2018): 157–59. http://dx.doi.org/10.1080/10477845.2018.1538473.

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46

Macy, Laura. "Speaking of Sex: Metaphor and Performance in the Italian Madrigal." Journal of Musicology 14, no. 1 (January 1, 1996): 1–34. http://dx.doi.org/10.2307/763955.

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Macy, Laura. "Speaking of Sex: Metaphor and Performance in the Italian Madrigal." Journal of Musicology 14, no. 1 (January 1996): 1–34. http://dx.doi.org/10.1525/jm.1996.14.1.03a00010.

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48

Dada, Akintunde Oluseyi, Owoade Philip Adeleke, Samson Akinwumi Aderibigbe, Michael Adeife Adefemi, and Martina Ayibeya Apie. "Music Therapy in Enhancing Learning Attention of Children with Intellectual Disability." Journal of Intellectual Disability - Diagnosis and Treatment 9, no. 4 (August 26, 2021): 363–67. http://dx.doi.org/10.6000/2292-2598.2021.09.04.2.

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Inattention is one of the significant problems that inhibit learning among children with intellectual disabilities. However, several strategies and therapies have been developed to solve the problem. This study, therefore, investigates the effectiveness of music therapy in enhancing attention among children with intellectual disability. A pretest-posttest control experimental research design was adopted. The experiment was carried out for six weeks using Music Therapy Treatment Package on 24 children with intellectual disability that were randomly selected Modupe Cole Momerial Childcare and Treatment Home/School, Akoka, Yaba, Lagos. A validated Attention Observation Rating Scale (AORS) with a reliability coefficient of 0.88 was used for this study. Three hypotheses were tested in the study, and Analysis of Covariance (ANCOVA) was used for data analysis. This study revealed that music therapy is effective in enhancing attention among children with intellectual disabilities. Sex and level of severity of the disability were also tested as moderator variables, but they have no significant main or interaction effect with music therapy in enhancing attention for children with intellectual disability. The finding is that music therapy is significantly effective in enhancing attention for children with intellectual disability regardless of their sex or level of severity. It was concluded that attention deficit could be improved for children with intellectual disability. Therefore, Music therapy was recommended for use in the school with adequate teacher training.

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Omolabi, Ibrahim. "A critical-pragmatic study of the representation of female gender in Nigerian Hip-hop music." Journal of African History, Culture and Arts 3, no. 2 (July 12, 2023): 65–79. http://dx.doi.org/10.57040/jahca.v3i2.464.

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Hip-hop music has become a popular trend in Nigeria, as it enjoys a high level of acceptance among the Nigerian youths. Thus, this study examines the representation of female gender in hip hop music and the messages the music conveyed about female gender; it also unravels the hidden pragmatic meanings behind the content of the music. Nine (9) data from the lyrics of selected hip hop music were randomly selected and analysed using Mey's (2001) pragmatic act theory. This paper adopted a qualitative approach which is due of the nature of the data that was analysed and the approach that was used in analysing it. Findings revealed a dominant portrayal of slangy expressions suggesting sexual overtimes, female as mere edibles, women as sexual stimulant, seductive dance steps, and indecent dressing in the lyrical contents sampled. The paper also revealed that the implicit practs of exposing, seducing, luring and proposing were used in the data to show the role females play as characters in hip-hop music videos. The paper concludes that the use of vulgar expressions in the description of these female characters portrayed them mainly as sex commodities and sex workers, this questions the dignity of the African woman and the virtues she is expected to project to her fellow female folk, home and abroad.

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I., Omolabi, and Soliu U. O. "Women in the Mix: A Critical-Pragmatic Study of the Gender Representation in Nigerian Hip-hop Music." British Journal of Mass Communication and Media Research 4, no. 1 (July 3, 2024): 147–64. http://dx.doi.org/10.52589/bjmcmr-kwbgzbu4.

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Hip-hop music has become a popular trend in Nigeria, as it enjoys a high level of acceptance among the Nigerian youths. Thus, this study examines the representation of female gender in hip-hop music and the messages the music conveyed about female gender; it also unravels the hidden pragmatic meanings behind the content of the music. Nine (9) data from the lyrics of selected hip-hop music were randomly selected and analysed using Mey's (2001) pragmatic act theory. This paper adopted a qualitative approach which is due to the nature of the data that was analysed and the approach that was used in analysing it. Findings revealed a dominant portrayal of slangy expressions suggesting sexual overtones, female as mere edibles, women as sexual stimulants, seductive dance steps, and indecent dressing in the lyrical contents sampled. The paper also revealed that the implicit practs of exposing, seducing, luring and proposing were used in the data to show the role females play as characters in hip-hop music videos. The paper concludes that the use of vulgar expressions in the description of these female characters portrayed them mainly as sex commodities and sex workers, this questions the dignity of the African woman and the virtues she is expected to project to her fellow female folk, home and abroad.

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