Pub Date : 2021-07-21DOI: 10.1177/10298649211025491
R. Chaffin, J. Ginsborg, James Dixon, Alexander P. Demos
To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started (losses) and ended (gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues (PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.
{"title":"Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues","authors":"R. Chaffin, J. Ginsborg, James Dixon, Alexander P. Demos","doi":"10.1177/10298649211025491","DOIUrl":"https://doi.org/10.1177/10298649211025491","url":null,"abstract":"To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started (losses) and ended (gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues (PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"40 1","pages":"94 - 116"},"PeriodicalIF":2.4,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88841471","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 : 2021-07-12DOI: 10.1177/1029864920938838
N. Loimusalo, Erkki Huovinen
The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.
{"title":"Expert pianists’ practice perspectives: A production and listening study","authors":"N. Loimusalo, Erkki Huovinen","doi":"10.1177/1029864920938838","DOIUrl":"https://doi.org/10.1177/1029864920938838","url":null,"abstract":"The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"4 1","pages":"480 - 508"},"PeriodicalIF":2.4,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87180802","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 : 2021-06-29DOI: 10.1177/10298649211020053
Tanushree Agrawal, D. Shanahan, David Huron, Hannah Keller
Traditionally, various Hindustani (North Indian) ragas have been performed at specific times of day, such as dawn, dusk, midday, and evening. Human physiology also exhibits common circadian patterns, with reduced arousal at night, rising during the morning, culminating in peak arousal, and then declining arousal towards the end of the day. This raises the question of how and whether the musical features of ragas for each time of day are related to these circadian patterns of arousal. We formally examined associations between traditionally designated time-of-day classifications and musical features from 65 Hindustani raga performances. Our results showed that only pitch-related features are predictive of time-of-day classifications. Surprisingly, non-pitch factors known to correlate with arousal, such as tempo, did not covary with raga time-of-day practices. In general, the results are consistent with rules for North Indian raga performances described by Vishnu Narayan Bhatkhande (1860–1936) that emphasize the presence or prevalence of particular tones in the raga. The results point to a combination of enculturated and embodied influences in conveying musical arousal. Specifically, they suggest that while time-of-day-related raga listening practices may have been initially influenced by embodied processes, they have ultimately been reshaped by pitch-related cultural norms.
{"title":"Time-of-day practices echo circadian physiological arousal: An enculturated embodied practice in Hindustani classical music","authors":"Tanushree Agrawal, D. Shanahan, David Huron, Hannah Keller","doi":"10.1177/10298649211020053","DOIUrl":"https://doi.org/10.1177/10298649211020053","url":null,"abstract":"Traditionally, various Hindustani (North Indian) ragas have been performed at specific times of day, such as dawn, dusk, midday, and evening. Human physiology also exhibits common circadian patterns, with reduced arousal at night, rising during the morning, culminating in peak arousal, and then declining arousal towards the end of the day. This raises the question of how and whether the musical features of ragas for each time of day are related to these circadian patterns of arousal. We formally examined associations between traditionally designated time-of-day classifications and musical features from 65 Hindustani raga performances. Our results showed that only pitch-related features are predictive of time-of-day classifications. Surprisingly, non-pitch factors known to correlate with arousal, such as tempo, did not covary with raga time-of-day practices. In general, the results are consistent with rules for North Indian raga performances described by Vishnu Narayan Bhatkhande (1860–1936) that emphasize the presence or prevalence of particular tones in the raga. The results point to a combination of enculturated and embodied influences in conveying musical arousal. Specifically, they suggest that while time-of-day-related raga listening practices may have been initially influenced by embodied processes, they have ultimately been reshaped by pitch-related cultural norms.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"30 1","pages":"70 - 93"},"PeriodicalIF":2.4,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84681801","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 : 2021-06-22DOI: 10.1177/10298649211021463
J. Bugos, Darlene DeMarie, M. Torres, Darbi Lamrani, Ayo A. Gbadamosi
Understanding children’s emotional perceptions of creative tasks can contribute to the optimal design of music programs. Little is known of how young children perceive vocal tasks, and whether music training changes their emotional perceptions. This research examined children’s facial expressions while performing vocal imitation and improvisation tasks before and after music training. Young children (N=79) aged four to six years were randomly assigned to a multimodal music program, Lego training, or a no-treatment control group. Their facial expressions while performing the tasks were analyzed, and learning outcomes were assessed by measuring participants’ pitch accuracy and improvisation skills at pre-and post-training. The results yielded no significant differences among the groups’ facial expressions. There was, however, a significant main effect of time such that participants showed more Surprise while performing vocal improvisation tasks. While participants in the multimodal music program scored higher on measures of pitch accuracy and improvisation skill, it may be necessary to increase the duration of early childhood music programs to reduce their feelings of apprehension when performing vocal improvisation tasks.
{"title":"The effects of a multimodal music program on young children’s facial expressions during controlled singing tasks","authors":"J. Bugos, Darlene DeMarie, M. Torres, Darbi Lamrani, Ayo A. Gbadamosi","doi":"10.1177/10298649211021463","DOIUrl":"https://doi.org/10.1177/10298649211021463","url":null,"abstract":"Understanding children’s emotional perceptions of creative tasks can contribute to the optimal design of music programs. Little is known of how young children perceive vocal tasks, and whether music training changes their emotional perceptions. This research examined children’s facial expressions while performing vocal imitation and improvisation tasks before and after music training. Young children (N=79) aged four to six years were randomly assigned to a multimodal music program, Lego training, or a no-treatment control group. Their facial expressions while performing the tasks were analyzed, and learning outcomes were assessed by measuring participants’ pitch accuracy and improvisation skills at pre-and post-training. The results yielded no significant differences among the groups’ facial expressions. There was, however, a significant main effect of time such that participants showed more Surprise while performing vocal improvisation tasks. While participants in the multimodal music program scored higher on measures of pitch accuracy and improvisation skill, it may be necessary to increase the duration of early childhood music programs to reduce their feelings of apprehension when performing vocal improvisation tasks.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"136 1","pages":"54 - 69"},"PeriodicalIF":2.4,"publicationDate":"2021-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76727905","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 : 2021-06-19DOI: 10.1177/10298649211017616
Sarah Doxat-Pratt
This article examines the ways in which music making can inspire and facilitate social change amongst the “society of captives.” It explores the social dynamics of prison music projects, and then looks at the ways in which music making can begin to transform the wider social world of prison. It reports a qualitative investigation of two such projects delivered by the Irene Taylor Trust (ITT) in a medium-security, adult male prison in England. Methods comprised participant observations of the projects over a period of 14 months, and semi-structured interviews with prisoner participants, facilitators, and members of prison staff. Much research shows that taking part in prison music projects can help participants develop social skills and thus contribute to their rehabilitation and desistance from crime. The present study revealed that the ITT projects were not merely the setting for learning individual social skills; the participants also felt themselves to be joining or forming a community that was distinct from the wider prison community. The impact of their musical activities on their lives in prison was as important to them as its potential contribution to their lives following release. The findings are discussed with reference to the work of DeNora, suggesting that music projects can provide the setting for removal communities, with norms distinct from and better than those of typical social life in prison, and can transform or refurnish the wider prison environment, as participants continue their music making on the landings and in their cells.
本文探讨了音乐创作如何在“俘虏社会”中激发和促进社会变革。它探索了监狱音乐项目的社会动态，然后着眼于音乐制作可以开始改变监狱更广泛的社会世界的方式。它报告了对Irene Taylor Trust (ITT)在英格兰一所中等安全级别的成年男子监狱中实施的两个此类项目的定性调查。方法包括为期14个月的项目参与者观察，以及与囚犯参与者、辅导员和监狱工作人员的半结构化访谈。许多研究表明，参加监狱音乐项目可以帮助参与者发展社交技能，从而有助于他们的康复和摆脱犯罪。本研究揭示了ITT项目不仅仅是学习个体社会技能的环境;参与者还感到自己正在加入或形成一个与更广泛的监狱社区不同的社区。音乐活动对他们监狱生活的影响，与音乐活动对他们出狱后生活的潜在贡献一样重要。研究结果与DeNora的工作进行了讨论，表明音乐项目可以为移囚社区提供环境，其规范与典型的监狱社会生活截然不同，而且比典型的监狱社会生活更好，并且可以改变或翻新更广泛的监狱环境，因为参与者在平台上和牢房里继续他们的音乐创作。
{"title":"Musical communities in the society of captives: Exploring the impact of music making on the social world of prison","authors":"Sarah Doxat-Pratt","doi":"10.1177/10298649211017616","DOIUrl":"https://doi.org/10.1177/10298649211017616","url":null,"abstract":"This article examines the ways in which music making can inspire and facilitate social change amongst the “society of captives.” It explores the social dynamics of prison music projects, and then looks at the ways in which music making can begin to transform the wider social world of prison. It reports a qualitative investigation of two such projects delivered by the Irene Taylor Trust (ITT) in a medium-security, adult male prison in England. Methods comprised participant observations of the projects over a period of 14 months, and semi-structured interviews with prisoner participants, facilitators, and members of prison staff. Much research shows that taking part in prison music projects can help participants develop social skills and thus contribute to their rehabilitation and desistance from crime. The present study revealed that the ITT projects were not merely the setting for learning individual social skills; the participants also felt themselves to be joining or forming a community that was distinct from the wider prison community. The impact of their musical activities on their lives in prison was as important to them as its potential contribution to their lives following release. The findings are discussed with reference to the work of DeNora, suggesting that music projects can provide the setting for removal communities, with norms distinct from and better than those of typical social life in prison, and can transform or refurnish the wider prison environment, as participants continue their music making on the landings and in their cells.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"32 1","pages":"290 - 302"},"PeriodicalIF":2.4,"publicationDate":"2021-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91179831","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 : 2021-06-16DOI: 10.1177/10298649211017602
J. Rojas
This paper reports an analysis of the roles of music performance in traditional patron saint celebrations from Afro-Colombian communities originally from the Pacific region but who currently live in the capital city of Bogotá. Since the late 1980s, a group of Afro-Colombian cultural leaders have used local traditional expressive cultural practices to construct social cohesion and a sense of collectivity among Afro-Colombians in the city. Here, I argue that the performative, expressive, and affective aspects inherent in Afro-Colombian patron saint celebrations can enable the potential of this transplanted practice for constructing ethnic identity and civic participation, thus catering to the needs of migrants and forcibly displaced people. Looking specifically at the case of the Virgin of Atocha saint wake in Bogotá, I discuss how several musicking, semiotic, and communicative techniques can be identified as facilitating social cohesion and cooperative behavior among participants. In this regard, creating an atmosphere overflowing with carefully selected social, expressive, cultural, and religious stimuli, as well as the idea of active participation, enables deep affective experiences that have an impact on elastic processes of identity construction and resignification of space and territory.
{"title":"Afro-Colombian internal migration and participatory music: Ethnically and politically charged religious festivals in Bogota","authors":"J. Rojas","doi":"10.1177/10298649211017602","DOIUrl":"https://doi.org/10.1177/10298649211017602","url":null,"abstract":"This paper reports an analysis of the roles of music performance in traditional patron saint celebrations from Afro-Colombian communities originally from the Pacific region but who currently live in the capital city of Bogotá. Since the late 1980s, a group of Afro-Colombian cultural leaders have used local traditional expressive cultural practices to construct social cohesion and a sense of collectivity among Afro-Colombians in the city. Here, I argue that the performative, expressive, and affective aspects inherent in Afro-Colombian patron saint celebrations can enable the potential of this transplanted practice for constructing ethnic identity and civic participation, thus catering to the needs of migrants and forcibly displaced people. Looking specifically at the case of the Virgin of Atocha saint wake in Bogotá, I discuss how several musicking, semiotic, and communicative techniques can be identified as facilitating social cohesion and cooperative behavior among participants. In this regard, creating an atmosphere overflowing with carefully selected social, expressive, cultural, and religious stimuli, as well as the idea of active participation, enables deep affective experiences that have an impact on elastic processes of identity construction and resignification of space and territory.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"32 1","pages":"317 - 331"},"PeriodicalIF":2.4,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81437000","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 : 2021-06-03DOI: 10.1177/10298649211015278
C. Hopkins, Saúl Maté-Cid, R. Fulford, G. Seiffert, J. Ginsborg
This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.
{"title":"Perception and learning of relative pitch by musicians using the vibrotactile mode","authors":"C. Hopkins, Saúl Maté-Cid, R. Fulford, G. Seiffert, J. Ginsborg","doi":"10.1177/10298649211015278","DOIUrl":"https://doi.org/10.1177/10298649211015278","url":null,"abstract":"This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"60 1","pages":"3 - 26"},"PeriodicalIF":2.4,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86113759","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 : 2021-04-28DOI: 10.1177/10298649211004662
João F. Soares-Quadros, L. G. C. D. Sá, Carmen María Román-Torres
Music consumption is widely recognized as an important facet of everyday life, and the use of algorithms by online streaming services to suggest songs has aroused a growing scientific interest in how musical preferences are structured. However, existing studies have failed to include Latin genres of music. Therefore, the aim of this study was to develop and validate a measure to assess the musical preferences of Spanish-speaking teenagers and adults. To do this, two independent studies were developed (N1 = 312 Spanish teenagers; N2 = 345 Spanish-speaking adults) using an instrument based on a theoretical structure consisting of 20 musical genres, which reflects the MUSIC model. The results indicated the exclusion of reggaetón for both groups, and confirmed the proposed theory of five dimensions of musical preferences: (a) Intense: emphasis on low sounds and use of electronic instruments; (b) Sophisticated: complex musical structure, dissonant harmonies, and melodies that explore unconventional patterns and diversified rhythms; (c) Contemporary: striking rhythm, emphasis on percussion and electronic instruments, versatility in the prosodic construction of lyrics, and often linked to themes such as inequality and social injustice; (d) Moving: strong connection to dance, especially partner dances, with strong potential for socialization; (e) Unpretentious: music with strong cultural roots specific to the research context. In conclusion, the Scale for Musical Preferences Assessment proved to be an effective instrument for assessing the musical preferences of teenagers and adults, presenting a standard structure for both groups, although there were differences in their perception of musical genres.
{"title":"Musical preferences of teenagers and adults: Evidence from a Spanish-speaking sample","authors":"João F. Soares-Quadros, L. G. C. D. Sá, Carmen María Román-Torres","doi":"10.1177/10298649211004662","DOIUrl":"https://doi.org/10.1177/10298649211004662","url":null,"abstract":"Music consumption is widely recognized as an important facet of everyday life, and the use of algorithms by online streaming services to suggest songs has aroused a growing scientific interest in how musical preferences are structured. However, existing studies have failed to include Latin genres of music. Therefore, the aim of this study was to develop and validate a measure to assess the musical preferences of Spanish-speaking teenagers and adults. To do this, two independent studies were developed (N1 = 312 Spanish teenagers; N2 = 345 Spanish-speaking adults) using an instrument based on a theoretical structure consisting of 20 musical genres, which reflects the MUSIC model. The results indicated the exclusion of reggaetón for both groups, and confirmed the proposed theory of five dimensions of musical preferences: (a) Intense: emphasis on low sounds and use of electronic instruments; (b) Sophisticated: complex musical structure, dissonant harmonies, and melodies that explore unconventional patterns and diversified rhythms; (c) Contemporary: striking rhythm, emphasis on percussion and electronic instruments, versatility in the prosodic construction of lyrics, and often linked to themes such as inequality and social injustice; (d) Moving: strong connection to dance, especially partner dances, with strong potential for socialization; (e) Unpretentious: music with strong cultural roots specific to the research context. In conclusion, the Scale for Musical Preferences Assessment proved to be an effective instrument for assessing the musical preferences of teenagers and adults, presenting a standard structure for both groups, although there were differences in their perception of musical genres.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"27 1","pages":"233 - 246"},"PeriodicalIF":2.4,"publicationDate":"2021-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80302816","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 : 2021-04-22DOI: 10.1177/10298649211003631
Ivan Jimenez, Tuire Kuusi, Isabella Czedik-Eysenberg, Christoph Reuter
It is currently believed that timbre plays a primary role in the identification of songs from very brief excerpts of music. However, its specific contribution, and those of other characteristics of the music, remain unclear. The aim of the present study was to investigate the contributions of timbre and chord type, voicing, and duration to participants’ ability to identify songs from their opening chords, played on the piano alone or on the piano and one other instrument. Ninety-three participants were asked to identify 20 songs from their opening chords. They were also asked to estimate the similarity between pairs of chords. We evaluated the contribution of 10 characteristics of chords to song identification rates, including brightness, pitch register, and duration, because of their high perceptual salience, and others chosen on the basis of theoretical predictions relating to auditory long-term memory. Song identification rates were associated with the chords’ brightness, familiarity and, to a lesser extent, pitch register, but not participants’ musical background. The results of the study suggest that listeners with and without musical training can identify songs from their opening chords, cued by both their timbral and non-timbral characteristics.
{"title":"Identifying songs from their piano-driven opening chords","authors":"Ivan Jimenez, Tuire Kuusi, Isabella Czedik-Eysenberg, Christoph Reuter","doi":"10.1177/10298649211003631","DOIUrl":"https://doi.org/10.1177/10298649211003631","url":null,"abstract":"It is currently believed that timbre plays a primary role in the identification of songs from very brief excerpts of music. However, its specific contribution, and those of other characteristics of the music, remain unclear. The aim of the present study was to investigate the contributions of timbre and chord type, voicing, and duration to participants’ ability to identify songs from their opening chords, played on the piano alone or on the piano and one other instrument. Ninety-three participants were asked to identify 20 songs from their opening chords. They were also asked to estimate the similarity between pairs of chords. We evaluated the contribution of 10 characteristics of chords to song identification rates, including brightness, pitch register, and duration, because of their high perceptual salience, and others chosen on the basis of theoretical predictions relating to auditory long-term memory. Song identification rates were associated with the chords’ brightness, familiarity and, to a lesser extent, pitch register, but not participants’ musical background. The results of the study suggest that listeners with and without musical training can identify songs from their opening chords, cued by both their timbral and non-timbral characteristics.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"27 - 53"},"PeriodicalIF":2.4,"publicationDate":"2021-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90870066","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 : 2021-04-15DOI: 10.1177/10298649211005531
Ee Ran How, Leonard Tan, Peter Miksza
We employed the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method to systematically review research on music practice from 1928 until June 2020 and identified a total of 3,102 records using our inclusion criteria, of which a total of 296 were eventually selected for the final analysis. We tabulated percentages and frequencies of (a) publications in ten-year periods, (b) type of publications, (c) sampling by geographical location, (d) methodologies used, (e) the top tenth percentile of the most highly cited research, and (f) topics covered. Our analyses reveal that particularly strong growth occurred in the literature between 2000 and 2020. In the literature we retrieved, the most commonly sampled research participants were those in the United States, followed by the United Kingdom and Australia. Quantitative research designs were most prevalent, accounting for two-thirds of all studies reviewed (66.2%), with questionnaires and recordings being the most common methods of data collection. Non-empirical papers (17.5%) as well as studies incorporating qualitative (13.5%) and mixed-methods designs (3.1%) were much less prevalent. Ericsson et al.’s (1993) seminal study of deliberate practice, Driskell et al.’s (1994) review of the research literature on mental practice, and Sloboda et al.’s (1996) study of young musicians were by far the most often cited. Overall, the most common topics addressed were deliberate practice, practice strategies, mental practice, the benefits of practice, metacognition, self-regulation, and self-efficacy, suggesting that music practice is a rich, multifaceted, and complex activity. In light of the findings, recommendations for practice and implications for future research are provided.
我们采用PRISMA(系统评价和荟萃分析的首选报告项目)方法系统地回顾了1928年至2020年6月之间的音乐实践研究，并根据我们的纳入标准确定了总共3102张唱片，其中共有296张最终被选中进行最终分析。我们列出了(a)十年期间的出版物的百分比和频率，(b)出版物类型，(c)按地理位置抽样，(d)使用的方法，(e)被引用最多的研究的前10%，以及(f)涵盖的主题。我们的分析显示，在2000年至2020年期间，文学作品出现了特别强劲的增长。在我们检索的文献中，最常见的抽样研究参与者是美国人，其次是英国和澳大利亚。定量研究设计最为普遍，占所有研究的三分之二(66.2%)，问卷调查和录音是最常见的数据收集方法。非实证论文(17.5%)以及结合定性研究(13.5%)和混合方法设计(3.1%)的研究要少得多。Ericsson et al.(1993)对刻意练习的开创性研究，Driskell et al.(1994)对心理练习研究文献的回顾，以及Sloboda et al.(1996)对年轻音乐家的研究是迄今为止最常被引用的。总的来说，最常见的主题是刻意练习、练习策略、心理练习、练习的好处、元认知、自我调节和自我效能，这表明音乐练习是一项丰富、多方面和复杂的活动。根据研究结果，提出了实践建议和对未来研究的启示。
{"title":"A PRISMA review of research on music practice","authors":"Ee Ran How, Leonard Tan, Peter Miksza","doi":"10.1177/10298649211005531","DOIUrl":"https://doi.org/10.1177/10298649211005531","url":null,"abstract":"We employed the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method to systematically review research on music practice from 1928 until June 2020 and identified a total of 3,102 records using our inclusion criteria, of which a total of 296 were eventually selected for the final analysis. We tabulated percentages and frequencies of (a) publications in ten-year periods, (b) type of publications, (c) sampling by geographical location, (d) methodologies used, (e) the top tenth percentile of the most highly cited research, and (f) topics covered. Our analyses reveal that particularly strong growth occurred in the literature between 2000 and 2020. In the literature we retrieved, the most commonly sampled research participants were those in the United States, followed by the United Kingdom and Australia. Quantitative research designs were most prevalent, accounting for two-thirds of all studies reviewed (66.2%), with questionnaires and recordings being the most common methods of data collection. Non-empirical papers (17.5%) as well as studies incorporating qualitative (13.5%) and mixed-methods designs (3.1%) were much less prevalent. Ericsson et al.’s (1993) seminal study of deliberate practice, Driskell et al.’s (1994) review of the research literature on mental practice, and Sloboda et al.’s (1996) study of young musicians were by far the most often cited. Overall, the most common topics addressed were deliberate practice, practice strategies, mental practice, the benefits of practice, metacognition, self-regulation, and self-efficacy, suggesting that music practice is a rich, multifaceted, and complex activity. In light of the findings, recommendations for practice and implications for future research are provided.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"675 - 697"},"PeriodicalIF":2.4,"publicationDate":"2021-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83069066","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：