Pub Date : 2024-02-05DOI: 10.1177/10298649241228898
Anton Killin
{"title":"Book Review: Music in evolution and evolution in music","authors":"Anton Killin","doi":"10.1177/10298649241228898","DOIUrl":"https://doi.org/10.1177/10298649241228898","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139862343","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 : 2024-02-05DOI: 10.1177/10298649241228898
Anton Killin
{"title":"Book Review: Music in evolution and evolution in music","authors":"Anton Killin","doi":"10.1177/10298649241228898","DOIUrl":"https://doi.org/10.1177/10298649241228898","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139802458","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 : 2024-02-03DOI: 10.1177/10298649231224261
Hyunah Cho
{"title":"Book Review: Collaborative insights: Interdisciplinary perspectives on musical care throughout the life course","authors":"Hyunah Cho","doi":"10.1177/10298649231224261","DOIUrl":"https://doi.org/10.1177/10298649231224261","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139868086","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 : 2024-02-03DOI: 10.1177/10298649231224261
Hyunah Cho
{"title":"Book Review: Collaborative insights: Interdisciplinary perspectives on musical care throughout the life course","authors":"Hyunah Cho","doi":"10.1177/10298649231224261","DOIUrl":"https://doi.org/10.1177/10298649231224261","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139808338","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 : 2024-02-03DOI: 10.1177/10298649231222548
Heidi Westerlund, Sari Karttunen
Socially engaged, participatory music making is slowly establishing itself as a complement to musicians’ portfolio careers, although it may still be considered of less value than established concert hall practices. To gain a better understanding of the drivers toward socially engaged practice in music field, we analyzed 20 semi-structured interviews with musicians in Finland, using the lenses of work values and career orientations. The abductive, theoretical reading analysis shows that the musicians viewed the social-relational nature of their work as a fundamental feature of the practice and sought congruence between their work values and other personal values. The interviewees renounced the hierarchy between intrinsic (autonomy, creativity, variety, achievement, challenge, and intellectual stimulation) and social work values (interacting with people, altruism, and contribution to society), and found participatory practice to be artistically freeing and personally rewarding. Their work appeared less driven by extrinsic values (economic gain and status); hence, their self-directed and values-driven orientation resonates strongly with the notion of the protean career. Although their sociopolitical stance involved the risk of weakening their professional status and they had to constantly justify their work amongst their colleagues, they all expressed conscious counternarratives to what they considered the elitism of expert culture in traditional music institutions. The study argues that the practice of socially engaged musicians can help the professional field of music reconsider and transform its stubborn value hierarchies in the complex social, political, ethical, and moral landscapes of contemporary society.
{"title":"The protean music career as a sociopolitical orientation: The mutually integrated, non-hierarchical work values of socially engaged musicians","authors":"Heidi Westerlund, Sari Karttunen","doi":"10.1177/10298649231222548","DOIUrl":"https://doi.org/10.1177/10298649231222548","url":null,"abstract":"Socially engaged, participatory music making is slowly establishing itself as a complement to musicians’ portfolio careers, although it may still be considered of less value than established concert hall practices. To gain a better understanding of the drivers toward socially engaged practice in music field, we analyzed 20 semi-structured interviews with musicians in Finland, using the lenses of work values and career orientations. The abductive, theoretical reading analysis shows that the musicians viewed the social-relational nature of their work as a fundamental feature of the practice and sought congruence between their work values and other personal values. The interviewees renounced the hierarchy between intrinsic (autonomy, creativity, variety, achievement, challenge, and intellectual stimulation) and social work values (interacting with people, altruism, and contribution to society), and found participatory practice to be artistically freeing and personally rewarding. Their work appeared less driven by extrinsic values (economic gain and status); hence, their self-directed and values-driven orientation resonates strongly with the notion of the protean career. Although their sociopolitical stance involved the risk of weakening their professional status and they had to constantly justify their work amongst their colleagues, they all expressed conscious counternarratives to what they considered the elitism of expert culture in traditional music institutions. The study argues that the practice of socially engaged musicians can help the professional field of music reconsider and transform its stubborn value hierarchies in the complex social, political, ethical, and moral landscapes of contemporary society.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139807890","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 : 2024-02-03DOI: 10.1177/10298649231225777
Sheng-Ying Isabella Weng, Erkki Huovinen
Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.
{"title":"Expressive semitones: Music students’ perceptual preferences for melodic intonation on the violin","authors":"Sheng-Ying Isabella Weng, Erkki Huovinen","doi":"10.1177/10298649231225777","DOIUrl":"https://doi.org/10.1177/10298649231225777","url":null,"abstract":"Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139808068","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 : 2024-02-03DOI: 10.1177/10298649231222548
Heidi Westerlund, Sari Karttunen
Socially engaged, participatory music making is slowly establishing itself as a complement to musicians’ portfolio careers, although it may still be considered of less value than established concert hall practices. To gain a better understanding of the drivers toward socially engaged practice in music field, we analyzed 20 semi-structured interviews with musicians in Finland, using the lenses of work values and career orientations. The abductive, theoretical reading analysis shows that the musicians viewed the social-relational nature of their work as a fundamental feature of the practice and sought congruence between their work values and other personal values. The interviewees renounced the hierarchy between intrinsic (autonomy, creativity, variety, achievement, challenge, and intellectual stimulation) and social work values (interacting with people, altruism, and contribution to society), and found participatory practice to be artistically freeing and personally rewarding. Their work appeared less driven by extrinsic values (economic gain and status); hence, their self-directed and values-driven orientation resonates strongly with the notion of the protean career. Although their sociopolitical stance involved the risk of weakening their professional status and they had to constantly justify their work amongst their colleagues, they all expressed conscious counternarratives to what they considered the elitism of expert culture in traditional music institutions. The study argues that the practice of socially engaged musicians can help the professional field of music reconsider and transform its stubborn value hierarchies in the complex social, political, ethical, and moral landscapes of contemporary society.
{"title":"The protean music career as a sociopolitical orientation: The mutually integrated, non-hierarchical work values of socially engaged musicians","authors":"Heidi Westerlund, Sari Karttunen","doi":"10.1177/10298649231222548","DOIUrl":"https://doi.org/10.1177/10298649231222548","url":null,"abstract":"Socially engaged, participatory music making is slowly establishing itself as a complement to musicians’ portfolio careers, although it may still be considered of less value than established concert hall practices. To gain a better understanding of the drivers toward socially engaged practice in music field, we analyzed 20 semi-structured interviews with musicians in Finland, using the lenses of work values and career orientations. The abductive, theoretical reading analysis shows that the musicians viewed the social-relational nature of their work as a fundamental feature of the practice and sought congruence between their work values and other personal values. The interviewees renounced the hierarchy between intrinsic (autonomy, creativity, variety, achievement, challenge, and intellectual stimulation) and social work values (interacting with people, altruism, and contribution to society), and found participatory practice to be artistically freeing and personally rewarding. Their work appeared less driven by extrinsic values (economic gain and status); hence, their self-directed and values-driven orientation resonates strongly with the notion of the protean career. Although their sociopolitical stance involved the risk of weakening their professional status and they had to constantly justify their work amongst their colleagues, they all expressed conscious counternarratives to what they considered the elitism of expert culture in traditional music institutions. The study argues that the practice of socially engaged musicians can help the professional field of music reconsider and transform its stubborn value hierarchies in the complex social, political, ethical, and moral landscapes of contemporary society.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139867828","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 : 2024-02-03DOI: 10.1177/10298649231225777
Sheng-Ying Isabella Weng, Erkki Huovinen
Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.
{"title":"Expressive semitones: Music students’ perceptual preferences for melodic intonation on the violin","authors":"Sheng-Ying Isabella Weng, Erkki Huovinen","doi":"10.1177/10298649231225777","DOIUrl":"https://doi.org/10.1177/10298649231225777","url":null,"abstract":"Studies of performance intonation and musicians’ own statements suggest that classical string instrumentalists often deviate in their intonation from equal temperament for expressive purposes. However, it is not clear to what extent corresponding perceptual preferences for intonational deviations might rely on listeners’ instrumental expertise or such contextual aspects as the metrical placement of tones. We investigated higher-education music students’ perceptual preferences for melodic intonation of local leading tones in unaccompanied classical violin performances. Recordings of 12 excerpts were manipulated in the size of ascending semitones (110, 90, or 70 cents) leading to tones that were more stable in the tonal context. Groups of violin students and music education students listened to pairs of excerpts differing only in the size of semitones and chose the intonation variant that they preferred. In the comparison between 90- and 110-cent semitones, violin students showed a stronger group consensus for preferring 90 cents. However, greater instrumental expertise did not result in a stronger overall preference for the sharpest 70-cent variant. Instead, the violin students showed an expertise-related connection between intonation preference and meter, which was not observed for the music education students. In particular, the violin students more often preferred 70-cent intonation (i.e., the sharpest leading tones) in metrically unaccented than in accented positions. In effect, this is to prefer an expressive intonation that colors the music while not challenging the harmonic structure at metrically salient tones. It is argued that understanding expressive intonation in musical performance requires consideration of the metrical context.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139868216","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: 10.1177/10298649231224260
Aniruddh D. Patel
{"title":"Book Review: The Unification of the Arts: A Framework for Understanding What the Arts Share and Why","authors":"Aniruddh D. Patel","doi":"10.1177/10298649231224260","DOIUrl":"https://doi.org/10.1177/10298649231224260","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139592498","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":null,"pages":null},"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}
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