Pub Date : 2024-08-08DOI: 10.1177/10298649241269011
Rory Kirk, Renee Timmers
There is widespread interest in the use of music to help with sleep, although there is little clear understanding of the features that distinguish music for sleep from music for other purposes. We asked if music intended to facilitate sleep is distinct from music more generally considered as relaxing by comparing the features of tracks comprising three types of playlist on the music streaming service Spotify. Ninety playlists to facilitate sleep, relaxation and, for comparison, energy were gathered, based on titles and descriptions. Our analysis found significant differences between many of the features of the tracks in the three playlist categories, and nature sounds were prominent in sleep music playlists. A nonlinear classification model correctly classified music from sleep playlists with an accuracy rate of 72%, with brightness being the strongest predictor in distinguishing music from sleep and relaxing playlists. Music from sleep playlists could generally be described as acoustic, instrumental, slower, quieter, and with less energy compared to the other playlists, conforming with previous work. Our results emphasize the importance of timbral qualities in music for sleep and confirm sleep music to be distinct from music for relaxation. The results can be used to guide the selection of music for sleep, and the transition from relaxation to sleep.
{"title":"Characterizing music for sleep: A comparison of Spotify playlists","authors":"Rory Kirk, Renee Timmers","doi":"10.1177/10298649241269011","DOIUrl":"https://doi.org/10.1177/10298649241269011","url":null,"abstract":"There is widespread interest in the use of music to help with sleep, although there is little clear understanding of the features that distinguish music for sleep from music for other purposes. We asked if music intended to facilitate sleep is distinct from music more generally considered as relaxing by comparing the features of tracks comprising three types of playlist on the music streaming service Spotify. Ninety playlists to facilitate sleep, relaxation and, for comparison, energy were gathered, based on titles and descriptions. Our analysis found significant differences between many of the features of the tracks in the three playlist categories, and nature sounds were prominent in sleep music playlists. A nonlinear classification model correctly classified music from sleep playlists with an accuracy rate of 72%, with brightness being the strongest predictor in distinguishing music from sleep and relaxing playlists. Music from sleep playlists could generally be described as acoustic, instrumental, slower, quieter, and with less energy compared to the other playlists, conforming with previous work. Our results emphasize the importance of timbral qualities in music for sleep and confirm sleep music to be distinct from music for relaxation. The results can be used to guide the selection of music for sleep, and the transition from relaxation to sleep.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"17 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141944927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-03DOI: 10.1177/10298649241252292
Johannes Lunde Hatfield
Performance profiling (PP) has been used by elite athletes and their coaches and/or trainers for more than three decades to identify, select, and implement the qualities they believe are most important for them to achieve peak performance in their own sport. It thus enhances athletes’ awareness and ability to establish task-relevant goals contributing to their pursuit of excellence. Given the similarities between athletes and musicians, and in particular the psychological, physiological, and technical requirements of their professions, I believe that PP could usefully be applied in the context of higher music education, with benefits for music students and their teachers. In this article I provide an overview of the theories on which PP is based and, review the ways in which it has been implemented, adapted for use with populations other than athletes, and evaluated. To date, musicians have used PP only to a limited extent, and research on its effectiveness for musicians is therefore scarce. I propose specific adaptations of existing approaches to PP for athletes with a protocol that can be used by music students with their peers and/or teachers.
{"title":"Performance profiling: A systematic approach to the enhancement of music practice and peak performance","authors":"Johannes Lunde Hatfield","doi":"10.1177/10298649241252292","DOIUrl":"https://doi.org/10.1177/10298649241252292","url":null,"abstract":"Performance profiling (PP) has been used by elite athletes and their coaches and/or trainers for more than three decades to identify, select, and implement the qualities they believe are most important for them to achieve peak performance in their own sport. It thus enhances athletes’ awareness and ability to establish task-relevant goals contributing to their pursuit of excellence. Given the similarities between athletes and musicians, and in particular the psychological, physiological, and technical requirements of their professions, I believe that PP could usefully be applied in the context of higher music education, with benefits for music students and their teachers. In this article I provide an overview of the theories on which PP is based and, review the ways in which it has been implemented, adapted for use with populations other than athletes, and evaluated. To date, musicians have used PP only to a limited extent, and research on its effectiveness for musicians is therefore scarce. I propose specific adaptations of existing approaches to PP for athletes with a protocol that can be used by music students with their peers and/or teachers.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"24 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141944928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/10298649241262672
Ariadne Loutrari
The human mind engages with repetition both in the form of external stimulation and as an internal psychological phenomenon. I studied these two facets of repetition in 111 musically untrained participants. The investigation was in two parts. In the first part, I looked at the speech-to-song (STS) illusion by comparing ratings of musicality for identical looped (repeated) spoken phrases and for looped spoken phrases including pitch transpositions. Contrary to previous evidence, the stimuli containing transposed presentations were rated more song-like. I attribute this finding to the particular patterns of transpositions used and the fact that the interval of transposition was a major second as opposed to the fractions of semitones used in previous studies. In the second part of the investigation, I partially adopted the stimulus design of the STS illusion paradigm, presenting participants with looped phrases and single phrases. Participants were asked to suppress them and click a button if they thought of them. An increase in button clicks suggests that participants found it significantly harder to suppress the looped phrases than the single phrases. As the stimuli in the second part had been shown in previous research not to induce the STS illusion when repeated, I attribute the differences between participants’ responses to the two kinds of stimuli to the repetition of the phrases rather than their being perceived as song-like. I consider these findings in the light of research on earworms, or involuntary musical imagery. Future directions for a more in-depth exploration of the STS illusion in conjunction with auditory imagery are also briefly discussed.
{"title":"A phrase in a loop: A rethink of verbatim repetition in the speech-to-song illusion and a new approach to the study of involuntary auditory imagery","authors":"Ariadne Loutrari","doi":"10.1177/10298649241262672","DOIUrl":"https://doi.org/10.1177/10298649241262672","url":null,"abstract":"The human mind engages with repetition both in the form of external stimulation and as an internal psychological phenomenon. I studied these two facets of repetition in 111 musically untrained participants. The investigation was in two parts. In the first part, I looked at the speech-to-song (STS) illusion by comparing ratings of musicality for identical looped (repeated) spoken phrases and for looped spoken phrases including pitch transpositions. Contrary to previous evidence, the stimuli containing transposed presentations were rated more song-like. I attribute this finding to the particular patterns of transpositions used and the fact that the interval of transposition was a major second as opposed to the fractions of semitones used in previous studies. In the second part of the investigation, I partially adopted the stimulus design of the STS illusion paradigm, presenting participants with looped phrases and single phrases. Participants were asked to suppress them and click a button if they thought of them. An increase in button clicks suggests that participants found it significantly harder to suppress the looped phrases than the single phrases. As the stimuli in the second part had been shown in previous research not to induce the STS illusion when repeated, I attribute the differences between participants’ responses to the two kinds of stimuli to the repetition of the phrases rather than their being perceived as song-like. I consider these findings in the light of research on earworms, or involuntary musical imagery. Future directions for a more in-depth exploration of the STS illusion in conjunction with auditory imagery are also briefly discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"385 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141777946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/10298649241256252
Peer-Ole Jacobsen, Hannah Strauss, Julia Vigl, Eva Zangerle, Marcel Zentner
The Geneva Emotional Music Scale (GEMS) is a widely used instrument to measure emotions evoked by music. Its original version includes 45 emotion-related adjectives that can be grouped into nine dimensions and three second-order factors. Because time is often critical, the same authors introduced a checklist that assesses each dimension with one item only (GEMS-9). The checklist is being increasingly used, but it remains at present unclear whether the two instruments produce comparable scores. To redress this gap, we had 192 participants rate 18 music excerpts from various music genres with both instruments. We found that although scores on the nine GEMS emotions did converge in terms of profile similarity, the GEMS-9 tended to produce somewhat higher absolute scores. Yet, when dimensions of the GEMS-45 were represented by their highest-scoring scale item, the absolute scores were consistent as well. We conclude that if researchers have time constraints but still wish to capture some of the distinct features of music-evoked emotion, the GEMS-9 provides an interesting alternative to the GEMS-45.
{"title":"Assessing aesthetic music-evoked emotions in a minute or less: A comparison of the GEMS-45 and the GEMS-9","authors":"Peer-Ole Jacobsen, Hannah Strauss, Julia Vigl, Eva Zangerle, Marcel Zentner","doi":"10.1177/10298649241256252","DOIUrl":"https://doi.org/10.1177/10298649241256252","url":null,"abstract":"The Geneva Emotional Music Scale (GEMS) is a widely used instrument to measure emotions evoked by music. Its original version includes 45 emotion-related adjectives that can be grouped into nine dimensions and three second-order factors. Because time is often critical, the same authors introduced a checklist that assesses each dimension with one item only (GEMS-9). The checklist is being increasingly used, but it remains at present unclear whether the two instruments produce comparable scores. To redress this gap, we had 192 participants rate 18 music excerpts from various music genres with both instruments. We found that although scores on the nine GEMS emotions did converge in terms of profile similarity, the GEMS-9 tended to produce somewhat higher absolute scores. Yet, when dimensions of the GEMS-45 were represented by their highest-scoring scale item, the absolute scores were consistent as well. We conclude that if researchers have time constraints but still wish to capture some of the distinct features of music-evoked emotion, the GEMS-9 provides an interesting alternative to the GEMS-45.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141778034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-27DOI: 10.1177/10298649241241405
Roger Chaffin, Cristina Capparelli Gerling, Alexander P. Demos
Experienced musicians can perform reliably from memory because they prepare performance cues (PCs) that allow them to recover when performance is disrupted. We describe a longitudinal case study in which a pianist (the second author) learned and performed Chopin’s Barcarolle, Op. 60, over a 12-year period. The pianist provided PC reports for 28 performances, starting a month before her first public performance. Shortly after each performance, she marked the features of the music that guided her playing (PCs) on a clean copy of the score, distinguishing five types of PC: structural, Schenkerian (tonal elaborations), expressive, interpretive, and basic. Structural PCs predominated at first and were later replaced by expressive and Schenkerian PCs. PCs were more frequent at structural boundaries than at other locations. This boundary effect was larger under typical, compared to atypical performance conditions, and increased over time, suggesting that the main function of PCs was promoting expression rather than guarding against mistakes. Although the pianist’s initial purpose in learning to use PCs was to have a safety net in case of memory failure, she was surprised to find that she enjoyed playing with PCs and believed they helped her to play more expressively.
经验丰富的音乐家可以根据记忆进行可靠的演奏，因为他们准备了演奏线索（PC），当演奏受到干扰时可以恢复记忆。我们描述了一项纵向案例研究，在这项研究中，一位钢琴家（第二作者）在 12 年的时间里学习并演奏了肖邦的《巴卡洛尔舞曲，作品 60》。该钢琴家提供了 28 场演出的 PC 报告，从她第一次公开演出前一个月开始。每次演奏后不久，她都会在一份干净的乐谱副本上标注出指导她演奏的音乐特征（PC），并区分出五种类型的 PC：结构性 PC、申克式 PC（调性阐述）、表现性 PC、诠释性 PC 和基本 PC。结构性 PC 起初占主导地位，后来被表现性 PC 和申克式 PC 所取代。结构性 PC 比其他位置的 PC 更常见。这种边界效应在典型演奏条件下比非典型演奏条件下更大，并随着时间的推移而增加，这表明 PC 的主要功能是促进表达而不是防止错误。虽然这位钢琴家学习使用个人计算机的最初目的是为了在记忆失败时有一个安全网，但她惊讶地发现自己很喜欢使用个人计算机演奏，并认为个人计算机有助于她更有表现力地演奏。
{"title":"How secure memorization promotes expression: A longitudinal case study of performing Chopin’s Barcarolle, Op. 60","authors":"Roger Chaffin, Cristina Capparelli Gerling, Alexander P. Demos","doi":"10.1177/10298649241241405","DOIUrl":"https://doi.org/10.1177/10298649241241405","url":null,"abstract":"Experienced musicians can perform reliably from memory because they prepare performance cues (PCs) that allow them to recover when performance is disrupted. We describe a longitudinal case study in which a pianist (the second author) learned and performed Chopin’s Barcarolle, Op. 60, over a 12-year period. The pianist provided PC reports for 28 performances, starting a month before her first public performance. Shortly after each performance, she marked the features of the music that guided her playing (PCs) on a clean copy of the score, distinguishing five types of PC: structural, Schenkerian (tonal elaborations), expressive, interpretive, and basic. Structural PCs predominated at first and were later replaced by expressive and Schenkerian PCs. PCs were more frequent at structural boundaries than at other locations. This boundary effect was larger under typical, compared to atypical performance conditions, and increased over time, suggesting that the main function of PCs was promoting expression rather than guarding against mistakes. Although the pianist’s initial purpose in learning to use PCs was to have a safety net in case of memory failure, she was surprised to find that she enjoyed playing with PCs and believed they helped her to play more expressively.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"66 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140811750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-22DOI: 10.1177/10298649241245075
Çınar Gedizlioğlu, Kutluhan Erol
In the field of music information retrieval, the detection of global key in both popular and classical music has been studied extensively, but local key detection has been studied to a lesser extent, even though modulation is an important component of compositional style. It is particularly challenging to identify key change boundaries correctly. We modeled this task as an optimization problem, that of finding out how to divide a piece into sections in different keys taking into consideration both the quality of the fit between the key and the section and the number of sections. We determined the optimal assignment of key to section using the Krumhansl–Schmuckler algorithm with a slightly modified version of the Krumhansl and Kessler key profile. We included a regularization algorithm in the formulation of our problem to balance the number of sections and avoid superfluous modulations. Using a dataset of 80 randomly chosen pieces of music in a variety of genres and levels of complexity, we compared our algorithm with a hidden Markov model (HMM) to determine which method is better for identifying local key. Our approach yielded significantly more accurate results and suggests future avenues of research.
{"title":"A regularization algorithm for local key detection","authors":"Çınar Gedizlioğlu, Kutluhan Erol","doi":"10.1177/10298649241245075","DOIUrl":"https://doi.org/10.1177/10298649241245075","url":null,"abstract":"In the field of music information retrieval, the detection of global key in both popular and classical music has been studied extensively, but local key detection has been studied to a lesser extent, even though modulation is an important component of compositional style. It is particularly challenging to identify key change boundaries correctly. We modeled this task as an optimization problem, that of finding out how to divide a piece into sections in different keys taking into consideration both the quality of the fit between the key and the section and the number of sections. We determined the optimal assignment of key to section using the Krumhansl–Schmuckler algorithm with a slightly modified version of the Krumhansl and Kessler key profile. We included a regularization algorithm in the formulation of our problem to balance the number of sections and avoid superfluous modulations. Using a dataset of 80 randomly chosen pieces of music in a variety of genres and levels of complexity, we compared our algorithm with a hidden Markov model (HMM) to determine which method is better for identifying local key. Our approach yielded significantly more accurate results and suggests future avenues of research.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"304 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140636783","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.1177/10298649241236770
Mark Reybrouck, Edith Van Dyck
In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some underlying mechanisms of peak experiences and their neurochemical properties and suggest that music may be regarded as an alternative psychoactive trigger, prompting neurochemical responses in the brain, with resulting feelings of coping, (aesthetic) pleasure, and reward.
{"title":"Is music a drug? How music listening may trigger neurochemical responses in the brain","authors":"Mark Reybrouck, Edith Van Dyck","doi":"10.1177/10298649241236770","DOIUrl":"https://doi.org/10.1177/10298649241236770","url":null,"abstract":"In this article, we explore the idea that music listening can achieve neurological and psychological effects that are somewhat similar to those facilitated by psychoactive substances. To motivate this claim, we delve into the mechanisms behind music perception, psychoactive substance use, and their mutual relationship, relying on recent developments in psychedelic therapy and neuropsychopharmacology. Using a comparative approach, we discuss some underlying mechanisms of peak experiences and their neurochemical properties and suggest that music may be regarded as an alternative psychoactive trigger, prompting neurochemical responses in the brain, with resulting feelings of coping, (aesthetic) pleasure, and reward.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"24 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140172240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-19DOI: 10.1177/10298649241230673
George Musgrave, Sally Anne Gross, Maike Klein
Being a career musician is typified by high risk. Despite low earnings, many musicians pursue their careers driven by self-belief, high expectations, and optimism. However, failure to obtain the success many optimistically aspire to has been seen to pose psychosocial risks relating to mental health conditions such as anxiety and depression. While studies have shown dispositional optimism as having many health-related benefits, it has also been conceptualized negatively in encouraging a tendency toward loss-making in one key area: gambling. In this article, we develop the argument that the risks of professional music-making are analogous to gambling, and the optimism displayed by many aspiring career musicians may therefore represent a form of what Berlant calls cruel optimism, with negative effects on mental health and wellbeing. In doing so, we draw on Berlant’s theoretical position to examine the potentially harmful intersections between risk-taking behaviors and creative desire. Drawing also on our clinical experience, we consider when and how musicians who are emotionally struggling with their work might find it advantageous to reorient their careers, or even withdraw from the labor market altogether, to support their health and wellbeing, and the challenges around the loss of identity these can present.
{"title":"The dark side of optimism: Musical dreams, belief, and gambling","authors":"George Musgrave, Sally Anne Gross, Maike Klein","doi":"10.1177/10298649241230673","DOIUrl":"https://doi.org/10.1177/10298649241230673","url":null,"abstract":"Being a career musician is typified by high risk. Despite low earnings, many musicians pursue their careers driven by self-belief, high expectations, and optimism. However, failure to obtain the success many optimistically aspire to has been seen to pose psychosocial risks relating to mental health conditions such as anxiety and depression. While studies have shown dispositional optimism as having many health-related benefits, it has also been conceptualized negatively in encouraging a tendency toward loss-making in one key area: gambling. In this article, we develop the argument that the risks of professional music-making are analogous to gambling, and the optimism displayed by many aspiring career musicians may therefore represent a form of what Berlant calls cruel optimism, with negative effects on mental health and wellbeing. In doing so, we draw on Berlant’s theoretical position to examine the potentially harmful intersections between risk-taking behaviors and creative desire. Drawing also on our clinical experience, we consider when and how musicians who are emotionally struggling with their work might find it advantageous to reorient their careers, or even withdraw from the labor market altogether, to support their health and wellbeing, and the challenges around the loss of identity these can present.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"303 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139947370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-27DOI: 10.1177/10298649231218176
Alice Sanderson, Antonia Ivaldi, Michael Forrester
In research on communication in music lessons, masterclasses, and rehearsals, there is a growing focus on multimodal interaction using conversation analysis (CA), where the combination of talk and embodied actions (e.g., using musical instruments, gestures, voice, and score) provides the opportunity to study this complex area in microscopic detail and the potential for findings to inform practice. A methodological approach informed by CA was used to explore processes in peer-led musical theatre rehearsals in a university, where students adopted the roles of both musical director and performer. The data consisted of 12 hr of video-recordings of rehearsals that took place over the course of 5 weeks and involved 24 participants; the data were analyzed to identify patterns in relation to informal interruptions (talking that did not relate to the task at hand) that occurred during the rehearsals, and how they were managed by the student director so that rehearsing could be resumed. Management often involved musical prompting as part of a three-stage sequence: (1) orienting to the piano, (2) giving directives, and (3) initiating performance. The directors’ prompts included vocalizing, playing the piano accompaniment, and making bodily movements. These actions served to capture the performers’ attention, interrupt the informal talk, bring the focus back to performing, and indicate performers’ starting notes. The director completed the sequence by initiating a run-through of the previously rehearsed segment of the performance. The findings not only have implications for students’ management of rehearsals but also highlight the value of studying multimodal rehearsal interactions and techniques generally to ensure effective and efficient delivery in typically time-constrained rehearsal periods.
{"title":"Moving from informal talk to performance: The use of musical prompting as an interaction device for resuming practice in musical theatre rehearsals","authors":"Alice Sanderson, Antonia Ivaldi, Michael Forrester","doi":"10.1177/10298649231218176","DOIUrl":"https://doi.org/10.1177/10298649231218176","url":null,"abstract":"In research on communication in music lessons, masterclasses, and rehearsals, there is a growing focus on multimodal interaction using conversation analysis (CA), where the combination of talk and embodied actions (e.g., using musical instruments, gestures, voice, and score) provides the opportunity to study this complex area in microscopic detail and the potential for findings to inform practice. A methodological approach informed by CA was used to explore processes in peer-led musical theatre rehearsals in a university, where students adopted the roles of both musical director and performer. The data consisted of 12 hr of video-recordings of rehearsals that took place over the course of 5 weeks and involved 24 participants; the data were analyzed to identify patterns in relation to informal interruptions (talking that did not relate to the task at hand) that occurred during the rehearsals, and how they were managed by the student director so that rehearsing could be resumed. Management often involved musical prompting as part of a three-stage sequence: (1) orienting to the piano, (2) giving directives, and (3) initiating performance. The directors’ prompts included vocalizing, playing the piano accompaniment, and making bodily movements. These actions served to capture the performers’ attention, interrupt the informal talk, bring the focus back to performing, and indicate performers’ starting notes. The director completed the sequence by initiating a run-through of the previously rehearsed segment of the performance. The findings not only have implications for students’ management of rehearsals but also highlight the value of studying multimodal rehearsal interactions and techniques generally to ensure effective and efficient delivery in typically time-constrained rehearsal periods.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"141 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2024-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139947266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-10DOI: 10.1177/10298649231217718
Nathaniel Condit-Schultz, Beach Clark
Musicians have long sought technology to facilitate and develop their abilities to maintain stable tempos. The rise of inherently tempo-stable instruments and performance technologies in the late 20th century—for example, turntables, sequencers, drum machines, click tracks, and post-production quantization—has fed an increasing trend toward tempo stability in Western popular music. However, the exact progression of this historical change has not been systematically documented. In this article, we report a historical analysis of tempo stability in recordings of Western Classical and Anglo-American popular music released between 1920 and 2020, in particular testing the hypothesis that tempo in certain popular genres became significantly more stable in the period 1980–2000. We distinguish between gradual changes of tempo that are not perceived as discontinuities ( tempo drift) and abrupt changes of tempo ( tempo shifts), and seek to quantify both types of tempo instability. Using the Spotify web API, we sampled measure-by-measure tempo estimates from over 45,000 tracks in seven genres: Blues, Classical, Country, Electronic Dance Music (EDM), Hip hop, Jazz, and Rock. Our analyses reveal significant changes in tempo stability in Rock, Country, and Blues music, consistent with our hypothesis. We next propose, compare, and evaluate several approaches to identifying artificially tempo-stable tracks from their tempo estimates, using the opposition between Classical and Hip hop as a faux ground truth. Data, analyses, and interactive visualizations are available for inspection on our website https://ccml.music.gatech.edu/TempoStability .
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