Pub Date : 2021-08-21DOI: 10.1177/10298649211030318
A. Krause, W. Scott, Sarah Flynn, Beatrice Foong, Kitye Goh, Stephanie Wake, Dan J. Miller, D. Garvey
Everyday stressors—the irritating and disturbing events that happen in the context of everyday life—are common. The present research examined the relationship between everyday stressors and the use of music listening as a coping mechanism. In particular, it examined the use of music listening to cope with different types of everyday stressor and examined the relationship between this usage and listener characteristics, including demographics and music engagement style. Participants in the USA, Australia, and Malaysia (N =553) completed an online survey. A factor analysis was used to identify five types of everyday stressor: Social, Financial, Performance Responsibilities, Work-related, and Daily Displeasures. Individuals listened to music significantly more often to cope with social and work-related stressors than performance responsibilities and daily displeasures. Moreover, individuals who demonstrated a stronger affective listening style and those who reported listening to music for emotion/problem-orientated and avoidance/disengagement reasons were found to listen to music most often to cope with everyday stressors. These findings have implications, for both listeners and health professionals, when considering how music listening can be used as a self-administered tool for coping with everyday stressors.
{"title":"Listening to music to cope with everyday stressors","authors":"A. Krause, W. Scott, Sarah Flynn, Beatrice Foong, Kitye Goh, Stephanie Wake, Dan J. Miller, D. Garvey","doi":"10.1177/10298649211030318","DOIUrl":"https://doi.org/10.1177/10298649211030318","url":null,"abstract":"Everyday stressors—the irritating and disturbing events that happen in the context of everyday life—are common. The present research examined the relationship between everyday stressors and the use of music listening as a coping mechanism. In particular, it examined the use of music listening to cope with different types of everyday stressor and examined the relationship between this usage and listener characteristics, including demographics and music engagement style. Participants in the USA, Australia, and Malaysia (N =553) completed an online survey. A factor analysis was used to identify five types of everyday stressor: Social, Financial, Performance Responsibilities, Work-related, and Daily Displeasures. Individuals listened to music significantly more often to cope with social and work-related stressors than performance responsibilities and daily displeasures. Moreover, individuals who demonstrated a stronger affective listening style and those who reported listening to music for emotion/problem-orientated and avoidance/disengagement reasons were found to listen to music most often to cope with everyday stressors. These findings have implications, for both listeners and health professionals, when considering how music listening can be used as a self-administered tool for coping with everyday stressors.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"34 1","pages":"176 - 192"},"PeriodicalIF":2.4,"publicationDate":"2021-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74523533","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 : 2021-08-13DOI: 10.1177/10298649211030314
Michael J. Silverman, Sonia Bourdaghs, Jessica M. Abbazio, Amy Riegelman
Background: Conditioning- and cue-induced craving theories indicate that music has the potential to induce substance craving. A better understanding of this phenomenon could enhance treatment and prevent misuse, relapse, and overdose. Objective: The purpose of this systematic review was to locate and examine studies using music to induce substance craving in humans. We sought to discover if music can induce substance craving as well as specific aspects of the music and how it was used. Method: Adhering to the PRISMA Statement and Checklist, we conducted a systematic review of literature on music-induced substance craving in nine databases. We extracted data from studies meeting our inclusion criteria, which related to substance craving induced by music and data based on music intervention reporting guidelines. Results: We reviewed 751 research outputs. A total of 33 articles meeting the inclusion criteria were found, indicating that various types of music can induce alcohol, cannabis, nicotine, and general substance craving. In most of the studies, music was used as a component of a mood induction technique or in a virtual reality setting that led to craving. There tended to be a lack of detail about the music itself and most authors did not adhere to music intervention reporting guidelines. In the majority of studies, the researchers selected the music to induce negative mood states so as to elicit craving. Conclusion: Music has the potential to induce substance craving. While the music used in studies varied considerably and tended to be well controlled from a research design perspective, the music was not based on the music psychology literature, and authors did not adequately report essential aspects of the music. Implications for clinical practice, limitations, and suggestions for future research are provided.
{"title":"A systematic review of music-induced substance craving","authors":"Michael J. Silverman, Sonia Bourdaghs, Jessica M. Abbazio, Amy Riegelman","doi":"10.1177/10298649211030314","DOIUrl":"https://doi.org/10.1177/10298649211030314","url":null,"abstract":"Background: Conditioning- and cue-induced craving theories indicate that music has the potential to induce substance craving. A better understanding of this phenomenon could enhance treatment and prevent misuse, relapse, and overdose. Objective: The purpose of this systematic review was to locate and examine studies using music to induce substance craving in humans. We sought to discover if music can induce substance craving as well as specific aspects of the music and how it was used. Method: Adhering to the PRISMA Statement and Checklist, we conducted a systematic review of literature on music-induced substance craving in nine databases. We extracted data from studies meeting our inclusion criteria, which related to substance craving induced by music and data based on music intervention reporting guidelines. Results: We reviewed 751 research outputs. A total of 33 articles meeting the inclusion criteria were found, indicating that various types of music can induce alcohol, cannabis, nicotine, and general substance craving. In most of the studies, music was used as a component of a mood induction technique or in a virtual reality setting that led to craving. There tended to be a lack of detail about the music itself and most authors did not adhere to music intervention reporting guidelines. In the majority of studies, the researchers selected the music to induce negative mood states so as to elicit craving. Conclusion: Music has the potential to induce substance craving. While the music used in studies varied considerably and tended to be well controlled from a research design perspective, the music was not based on the music psychology literature, and authors did not adequately report essential aspects of the music. Implications for clinical practice, limitations, and suggestions for future research are provided.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"115 1","pages":"137 - 175"},"PeriodicalIF":2.4,"publicationDate":"2021-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80136913","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 : 2021-07-23DOI: 10.1177/10298649211013409
Jiancheng Hou, Chuansheng Chen, Q. Dong, V. Prabhakaran, V. Nair
Musicians with absolute pitch ability show better spatial ability, but little is known about whether non-musicians’ pitch identification (PI) ability is associated with their spatial ability. In the present study, a PI test, two mental rotation (MR) tests (Three-Dimensional Mental Rotation [3DMR] and Spatial Relationship [SR]), and eight executive function (EF) tests were administered to a large sample (N = 525) of Chinese college students who were non-music majors. A subsample with superior PI ability (n = 42) was identified and compared with a sample with average PI ability matched in age and IQ (n = 42). Two-way analysis of covariance (ANCOVA) (PI ability x musical training, with gender as a covariate due to a minor difference in matching by gender) revealed that superior PI ability was associated with better performance on MR and various EF tests. Musical training was associated with performance on select visual and EF tests (i.e., visual perception, working memory, and executive attention control), but not with MR performance. Additional ANCOVA showed that PI ability was significantly associated with 3DMR, but not SR, even after scores on EF tests were included as covariates. These results indicate a unique association between PI ability and 3DMR, which helps shed light on the cognitive mechanisms related to PI ability.
{"title":"Superior pitch identification ability is associated with better mental rotation performance","authors":"Jiancheng Hou, Chuansheng Chen, Q. Dong, V. Prabhakaran, V. Nair","doi":"10.1177/10298649211013409","DOIUrl":"https://doi.org/10.1177/10298649211013409","url":null,"abstract":"Musicians with absolute pitch ability show better spatial ability, but little is known about whether non-musicians’ pitch identification (PI) ability is associated with their spatial ability. In the present study, a PI test, two mental rotation (MR) tests (Three-Dimensional Mental Rotation [3DMR] and Spatial Relationship [SR]), and eight executive function (EF) tests were administered to a large sample (N = 525) of Chinese college students who were non-music majors. A subsample with superior PI ability (n = 42) was identified and compared with a sample with average PI ability matched in age and IQ (n = 42). Two-way analysis of covariance (ANCOVA) (PI ability x musical training, with gender as a covariate due to a minor difference in matching by gender) revealed that superior PI ability was associated with better performance on MR and various EF tests. Musical training was associated with performance on select visual and EF tests (i.e., visual perception, working memory, and executive attention control), but not with MR performance. Additional ANCOVA showed that PI ability was significantly associated with 3DMR, but not SR, even after scores on EF tests were included as covariates. These results indicate a unique association between PI ability and 3DMR, which helps shed light on the cognitive mechanisms related to PI ability.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"40 1","pages":"117 - 136"},"PeriodicalIF":2.4,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80158523","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 : 2021-07-21DOI: 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.
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