Pub Date : 2024-01-25DOI: 10.1177/10298649231225713
M. Biasutti, Roberta Antonini Philippe, Andrea Schiavio
The COVID-19 pandemic caused major changes to many areas at the very heart of our lives, triggering interventions that affected people’s everyday activities, both socially and individually. The use of e-learning and online platforms to support music education and performance created a drastic shift in how music was taught, made, and enjoyed. This qualitative study provides personal insights into the practices that choir conductors developed when in-person music-making became impossible due to health risks. Thirty-four Italian choir conductors answered 11 open questions about their musical activities and associated personal experiences during the main lockdown periods in 2020 and 2021. Our findings highlighted four overarching themes—adapted strategies, the perception of technology for choral music performances, needs for achieving mental health, and remote music-making—that are contextualized and discussed.
{"title":"“A choir is a social organism that needs human contact.” Conducting a choir during the COVID-19 lockdown period","authors":"M. Biasutti, Roberta Antonini Philippe, Andrea Schiavio","doi":"10.1177/10298649231225713","DOIUrl":"https://doi.org/10.1177/10298649231225713","url":null,"abstract":"The COVID-19 pandemic caused major changes to many areas at the very heart of our lives, triggering interventions that affected people’s everyday activities, both socially and individually. The use of e-learning and online platforms to support music education and performance created a drastic shift in how music was taught, made, and enjoyed. This qualitative study provides personal insights into the practices that choir conductors developed when in-person music-making became impossible due to health risks. Thirty-four Italian choir conductors answered 11 open questions about their musical activities and associated personal experiences during the main lockdown periods in 2020 and 2021. Our findings highlighted four overarching themes—adapted strategies, the perception of technology for choral music performances, needs for achieving mental health, and remote music-making—that are contextualized and discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139596913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-10DOI: 10.1177/10298649231217718
Nathaniel Condit-Schultz, Beach Clark
Musicians have long sought technology to facilitate and develop their abilities to maintain stable tempos. The rise of inherently tempo-stable instruments and performance technologies in the late 20th century—for example, turntables, sequencers, drum machines, click tracks, and post-production quantization—has fed an increasing trend toward tempo stability in Western popular music. However, the exact progression of this historical change has not been systematically documented. In this article, we report a historical analysis of tempo stability in recordings of Western Classical and Anglo-American popular music released between 1920 and 2020, in particular testing the hypothesis that tempo in certain popular genres became significantly more stable in the period 1980–2000. We distinguish between gradual changes of tempo that are not perceived as discontinuities ( tempo drift) and abrupt changes of tempo ( tempo shifts), and seek to quantify both types of tempo instability. Using the Spotify web API, we sampled measure-by-measure tempo estimates from over 45,000 tracks in seven genres: Blues, Classical, Country, Electronic Dance Music (EDM), Hip hop, Jazz, and Rock. Our analyses reveal significant changes in tempo stability in Rock, Country, and Blues music, consistent with our hypothesis. We next propose, compare, and evaluate several approaches to identifying artificially tempo-stable tracks from their tempo estimates, using the opposition between Classical and Hip hop as a faux ground truth. Data, analyses, and interactive visualizations are available for inspection on our website https://ccml.music.gatech.edu/TempoStability .
{"title":"Have we sold our souls to the drum machine? A historical analysis of tempo stability in Western music recordings","authors":"Nathaniel Condit-Schultz, Beach Clark","doi":"10.1177/10298649231217718","DOIUrl":"https://doi.org/10.1177/10298649231217718","url":null,"abstract":"Musicians have long sought technology to facilitate and develop their abilities to maintain stable tempos. The rise of inherently tempo-stable instruments and performance technologies in the late 20th century—for example, turntables, sequencers, drum machines, click tracks, and post-production quantization—has fed an increasing trend toward tempo stability in Western popular music. However, the exact progression of this historical change has not been systematically documented. In this article, we report a historical analysis of tempo stability in recordings of Western Classical and Anglo-American popular music released between 1920 and 2020, in particular testing the hypothesis that tempo in certain popular genres became significantly more stable in the period 1980–2000. We distinguish between gradual changes of tempo that are not perceived as discontinuities ( tempo drift) and abrupt changes of tempo ( tempo shifts), and seek to quantify both types of tempo instability. Using the Spotify web API, we sampled measure-by-measure tempo estimates from over 45,000 tracks in seven genres: Blues, Classical, Country, Electronic Dance Music (EDM), Hip hop, Jazz, and Rock. Our analyses reveal significant changes in tempo stability in Rock, Country, and Blues music, consistent with our hypothesis. We next propose, compare, and evaluate several approaches to identifying artificially tempo-stable tracks from their tempo estimates, using the opposition between Classical and Hip hop as a faux ground truth. Data, analyses, and interactive visualizations are available for inspection on our website https://ccml.music.gatech.edu/TempoStability .","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2024-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139438997","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 : 2023-12-29DOI: 10.1177/10298649231217121
Chen-Gia Tsai
A number of studies have established a connection between musical anticipation and reward processing, yet the interrelated roles of the musical themes, their anticipatory cues, and the large-scale design of musical forms have not been adequately explored. To fill this gap, I present in this article a psychological model that focuses on listeners’ anticipation of musical themes while listening to familiar pieces written in sonata form. Active listening may engage prospective memory, which refers to the ability to recall an intended action in the future. While listening to a piece in sonata form, an intended action is to monitor the recapitulation of the main theme in the home key. The retransition preceding the recapitulation may prompt listeners to engage in anticipatory imagery of the imminent theme. I identify four types of musical cues present in retransitions: dissonance-related, attention-related, goal-related, and time-based. These cues can foster listeners’ attention allocation toward predicting the theme through sequence processing and subvocal humming along with the music. The confirmation of this prediction and the harmonic resolution at the beginning of the recapitulation can serve as positive reinforcers, strengthening the listening habit of anticipatory imagery of main themes. Drawing on recent brain-imaging studies, the proposed model suggests that sensitization to anticipatory musical cues and precise prediction/imagery of themes are essential for reward-based learning of music. Moreover, this model clarifies both the presence of themes in various musical forms and a critical attribute of effective musical themes, namely, their ease of memorization and imaginability.
{"title":"Anticipating the main theme: A model for understanding prospective memory and reward learning in sonata-form listening","authors":"Chen-Gia Tsai","doi":"10.1177/10298649231217121","DOIUrl":"https://doi.org/10.1177/10298649231217121","url":null,"abstract":"A number of studies have established a connection between musical anticipation and reward processing, yet the interrelated roles of the musical themes, their anticipatory cues, and the large-scale design of musical forms have not been adequately explored. To fill this gap, I present in this article a psychological model that focuses on listeners’ anticipation of musical themes while listening to familiar pieces written in sonata form. Active listening may engage prospective memory, which refers to the ability to recall an intended action in the future. While listening to a piece in sonata form, an intended action is to monitor the recapitulation of the main theme in the home key. The retransition preceding the recapitulation may prompt listeners to engage in anticipatory imagery of the imminent theme. I identify four types of musical cues present in retransitions: dissonance-related, attention-related, goal-related, and time-based. These cues can foster listeners’ attention allocation toward predicting the theme through sequence processing and subvocal humming along with the music. The confirmation of this prediction and the harmonic resolution at the beginning of the recapitulation can serve as positive reinforcers, strengthening the listening habit of anticipatory imagery of main themes. Drawing on recent brain-imaging studies, the proposed model suggests that sensitization to anticipatory musical cues and precise prediction/imagery of themes are essential for reward-based learning of music. Moreover, this model clarifies both the presence of themes in various musical forms and a critical attribute of effective musical themes, namely, their ease of memorization and imaginability.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139146358","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 : 2023-12-08DOI: 10.1177/10298649231214537
Reed M. Morgan, Brett Marroquín
Music listening, an inherently emotional activity, is commonly used as a form of emotion regulation (ER). Although research suggests that some strategies of listening to music to regulate emotion are linked with psychological well-being and symptoms of affective disorders, the mechanisms underlying these relationships have not been thoroughly explored. The present study examined whether associations between music as ER and symptoms of depression and anxiety were mediated by individuals’ use of other adaptive and maladaptive ER strategies. A nationwide online sample of US adults ( n = 146) completed measures assessing their use of music as ER, other adaptive and maladaptive ER strategies, and symptoms of depression and anxiety. The results indicated that the overall use of music as ER was not directly associated with symptoms of depression and anxiety, whereas using music as discharge (venting negative emotions by listening to mood-congruent music) was positively associated with such symptoms. Mediational analyses revealed that adaptive ER mediated the relationship between overall use of music as ER and symptoms of depression and anxiety, whereas maladaptive ER mediated the relationships between discharge and symptoms. These findings suggest that people use music as ER alongside their other ER efforts, which in turn are linked with symptoms of depression and anxiety. Furthermore, although the overall use of music to regulate emotion may be beneficial for well-being via its association with adaptive ER, a more maladaptive pattern when using music for emotional discharge suggests that music plays a more nuanced role in ER and mental health.
{"title":"Music listening as emotion regulation: Associations with other emotion regulation strategies and symptoms of depression and anxiety","authors":"Reed M. Morgan, Brett Marroquín","doi":"10.1177/10298649231214537","DOIUrl":"https://doi.org/10.1177/10298649231214537","url":null,"abstract":"Music listening, an inherently emotional activity, is commonly used as a form of emotion regulation (ER). Although research suggests that some strategies of listening to music to regulate emotion are linked with psychological well-being and symptoms of affective disorders, the mechanisms underlying these relationships have not been thoroughly explored. The present study examined whether associations between music as ER and symptoms of depression and anxiety were mediated by individuals’ use of other adaptive and maladaptive ER strategies. A nationwide online sample of US adults ( n = 146) completed measures assessing their use of music as ER, other adaptive and maladaptive ER strategies, and symptoms of depression and anxiety. The results indicated that the overall use of music as ER was not directly associated with symptoms of depression and anxiety, whereas using music as discharge (venting negative emotions by listening to mood-congruent music) was positively associated with such symptoms. Mediational analyses revealed that adaptive ER mediated the relationship between overall use of music as ER and symptoms of depression and anxiety, whereas maladaptive ER mediated the relationships between discharge and symptoms. These findings suggest that people use music as ER alongside their other ER efforts, which in turn are linked with symptoms of depression and anxiety. Furthermore, although the overall use of music to regulate emotion may be beneficial for well-being via its association with adaptive ER, a more maladaptive pattern when using music for emotional discharge suggests that music plays a more nuanced role in ER and mental health.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138589001","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 : 2023-11-15DOI: 10.1177/10298649231179430
Maria Chełkowska-Zacharewicz, Lidia Baran
Musicians face demands such as long-term practice, skill assessment, mental preparation difficulties, anxiety, depression, and study addiction. These challenges extend to their professional life with occupational demands influencing well-being, which underlines the necessity for psychological interventions and preventive programs. Acceptance and Commitment Therapy/training, based on the psychological flexibility model (acceptance, defusion, self as context, committed action, values, and contacting the present moment), has recently been implemented in work with musicians and appears to be effective in lowering performance anxiety and enhancing performance. This study aimed to conceptualize the psychological functioning of musicians using the psychological flexibility model and to qualitatively analyze possible differences between musicians with high and low experiential avoidance measured with the Measurement of Experiential Avoidance Questionnaire (MEAQ-30PL). The survey was administered twice, with slight modifications the second time, to two samples of 57 and 63 musicians, respectively. In both experiential avoidance groups, we observed flexibility processes such as values and engaged actions, and inflexibility processes such as fusion with thoughts and avoidance of unease. We also found differences between the ways in which committed actions, fusion, and inflexible attention were expressed by participants with high and low experiential avoidance. We discuss these results in light of preventive programs in music education, with an indication of improvements that could be made on the basis of the psychological flexibility model.
{"title":"Psychological flexibility for the well-being of musicians: New possibilities for psychological counseling","authors":"Maria Chełkowska-Zacharewicz, Lidia Baran","doi":"10.1177/10298649231179430","DOIUrl":"https://doi.org/10.1177/10298649231179430","url":null,"abstract":"Musicians face demands such as long-term practice, skill assessment, mental preparation difficulties, anxiety, depression, and study addiction. These challenges extend to their professional life with occupational demands influencing well-being, which underlines the necessity for psychological interventions and preventive programs. Acceptance and Commitment Therapy/training, based on the psychological flexibility model (acceptance, defusion, self as context, committed action, values, and contacting the present moment), has recently been implemented in work with musicians and appears to be effective in lowering performance anxiety and enhancing performance. This study aimed to conceptualize the psychological functioning of musicians using the psychological flexibility model and to qualitatively analyze possible differences between musicians with high and low experiential avoidance measured with the Measurement of Experiential Avoidance Questionnaire (MEAQ-30PL). The survey was administered twice, with slight modifications the second time, to two samples of 57 and 63 musicians, respectively. In both experiential avoidance groups, we observed flexibility processes such as values and engaged actions, and inflexibility processes such as fusion with thoughts and avoidance of unease. We also found differences between the ways in which committed actions, fusion, and inflexible attention were expressed by participants with high and low experiential avoidance. We discuss these results in light of preventive programs in music education, with an indication of improvements that could be made on the basis of the psychological flexibility model.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271958","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 : 2023-11-15DOI: 10.1177/10298649231184920
P. Atroszko, Aleksandra Buźniak, N. Woropay-Hordziejewicz, Michał Kierzkowski, Rafał Lawendowski
Individual vulnerabilities, such as particular personality characteristics, may be important risk factors that can hinder the development of young musicians and affect their professional careers. This study aimed to examine the relationship between obsessive–compulsive personality disorder (OCPD) and rigid perfectionism, study addiction, and well-being among music students. It was hypothesized that OCPD is a strong risk factor for addictive studying; compulsive learning, however, is an addictive disorder with its own etiology, symptomatology, epidemiology, and course. A total of 255 students from various music academies in Poland participated in the study. It used the Bergen Study Addiction Scale, assessing seven core addiction symptoms related to studying; Five-Factor Obsessive Compulsive Inventory; Perceived Stress Scale; Hospital Anxiety and Depression Scale; Three-Item Loneliness Scale; and a single-item measure of learning engagement. Both study addiction and OCPD showed positive relationships with stress, anxiety, depression, and loneliness. Multiple hierarchical regression analyses showed that study addiction was related to well-being above and beyond OCPD and was more strongly associated with compromised functioning. Furthermore, mediation analyses indicated that study addiction is a full mediator between OCPD and stress, as well as loneliness, and a partial mediator for anxiety and depression. Moderation analyses revealed that OCPD was related to well-being only for those participants who scored low for study addiction. There was no significant relationship between OCPD and well-being for participants who scored high for study addiction. These results strongly indicate that OCPD is an important risk factor for study addiction although these are different disorders. Like students with high levels of OCPD, students with high levels of study addiction but low levels of OCPD experience reduced well-being. The polythetic cut-off score showed that 24.6% of young musicians could be addicted to studying. Due to the high prevalence of this disorder, further systematic studies among young musicians are highly warranted to prevent and provide better help with the problem.
{"title":"Identifying individual vulnerabilities and problematic behaviors hindering musicians’ development: Obsessive–compulsive personality disorder versus study addiction","authors":"P. Atroszko, Aleksandra Buźniak, N. Woropay-Hordziejewicz, Michał Kierzkowski, Rafał Lawendowski","doi":"10.1177/10298649231184920","DOIUrl":"https://doi.org/10.1177/10298649231184920","url":null,"abstract":"Individual vulnerabilities, such as particular personality characteristics, may be important risk factors that can hinder the development of young musicians and affect their professional careers. This study aimed to examine the relationship between obsessive–compulsive personality disorder (OCPD) and rigid perfectionism, study addiction, and well-being among music students. It was hypothesized that OCPD is a strong risk factor for addictive studying; compulsive learning, however, is an addictive disorder with its own etiology, symptomatology, epidemiology, and course. A total of 255 students from various music academies in Poland participated in the study. It used the Bergen Study Addiction Scale, assessing seven core addiction symptoms related to studying; Five-Factor Obsessive Compulsive Inventory; Perceived Stress Scale; Hospital Anxiety and Depression Scale; Three-Item Loneliness Scale; and a single-item measure of learning engagement. Both study addiction and OCPD showed positive relationships with stress, anxiety, depression, and loneliness. Multiple hierarchical regression analyses showed that study addiction was related to well-being above and beyond OCPD and was more strongly associated with compromised functioning. Furthermore, mediation analyses indicated that study addiction is a full mediator between OCPD and stress, as well as loneliness, and a partial mediator for anxiety and depression. Moderation analyses revealed that OCPD was related to well-being only for those participants who scored low for study addiction. There was no significant relationship between OCPD and well-being for participants who scored high for study addiction. These results strongly indicate that OCPD is an important risk factor for study addiction although these are different disorders. Like students with high levels of OCPD, students with high levels of study addiction but low levels of OCPD experience reduced well-being. The polythetic cut-off score showed that 24.6% of young musicians could be addicted to studying. Due to the high prevalence of this disorder, further systematic studies among young musicians are highly warranted to prevent and provide better help with the problem.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273777","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 : 2023-11-15DOI: 10.1177/10298649231191430
Heiner Gembris
The lifespan trajectory of musical achievement in the field of classical music and the factors that promote or hinder the development of talent in music are the focus of Manturzewska’s model of the lifespan development of professional musicians. This article aims to describe Manturzewska’s model briefly, relate it to recent research, and explore the extent to which it fits the diversity of musical careers of contemporary professional musicians. A brief depiction of the developmental model provides insight into the six developmental phases of the model and the factors that influence them. Recent research investigating talent development and career research in music suggests that Manturzewska’s theoretical model is largely consistent with findings from expertise research, research examining the determinants of musical development, and current models of talent development. The development of musicians with traditional careers as orchestral musicians in permanent, full-time employment or as successful soloists in contemporary musical culture is likely to be represented largely accurately in Manturzewska’s model. However, the diversity of typical portfolio careers, characterized by simultaneous irregular musical and non-musical activities in musical and non-musical fields, cannot be depicted in a single, more-or-less linear development model. Appropriate research, especially long-term studies that model the lifetime development of professional musicians (not only) in classical music, is lacking. Furthermore, Manturzewska’s model addresses important aspects that have been insufficiently studied by others, such as the development of professional musicians in the second half of life, and provides a sound and inspiring basis for future research.
{"title":"Maria Manturzewska’s model of the lifespan development of professional musicians in the light of recent research and cultural changes","authors":"Heiner Gembris","doi":"10.1177/10298649231191430","DOIUrl":"https://doi.org/10.1177/10298649231191430","url":null,"abstract":"The lifespan trajectory of musical achievement in the field of classical music and the factors that promote or hinder the development of talent in music are the focus of Manturzewska’s model of the lifespan development of professional musicians. This article aims to describe Manturzewska’s model briefly, relate it to recent research, and explore the extent to which it fits the diversity of musical careers of contemporary professional musicians. A brief depiction of the developmental model provides insight into the six developmental phases of the model and the factors that influence them. Recent research investigating talent development and career research in music suggests that Manturzewska’s theoretical model is largely consistent with findings from expertise research, research examining the determinants of musical development, and current models of talent development. The development of musicians with traditional careers as orchestral musicians in permanent, full-time employment or as successful soloists in contemporary musical culture is likely to be represented largely accurately in Manturzewska’s model. However, the diversity of typical portfolio careers, characterized by simultaneous irregular musical and non-musical activities in musical and non-musical fields, cannot be depicted in a single, more-or-less linear development model. Appropriate research, especially long-term studies that model the lifetime development of professional musicians (not only) in classical music, is lacking. Furthermore, Manturzewska’s model addresses important aspects that have been insufficiently studied by others, such as the development of professional musicians in the second half of life, and provides a sound and inspiring basis for future research.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274346","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 : 2023-11-15DOI: 10.1177/10298649231188272
Małgorzata Chmurzyńska
The assessment of music performance by experts is vital for the measurement of performers’ achievements both in the course of their training and in the context of competitions. More than 350 international piano competitions are held every year, in which the main task of the jury is to judge performances as they take place in the moment, without taking into account any other information such as performers’ previous competition successes. A vast body of evidence shows that many factors influence such judgments. In this article, I discuss these factors, as first identified in early and comparatively little-known research by Maria Manturzewska, the first Polish music psychologist (1930–2020). The principal purpose of her studies was to examine the inter- and intra-rater reliability of judges’ scores in the 6th International Fryderyk Chopin Piano Competition (IFCPC), held in Warsaw in 1960, and in an experiment in which the judges were, respectively, 28 competition jurors and a panel of 10 experts (2 competition jurors, a participant in the competition, and 8 further outstanding pianists). Based on the analysis of the jurors’ scores in the competition and those of the experts, Manturzewska found low values for both inter- and intra-rater reliability: different judges assessed the same performances in different ways, as did experts hearing the same performance on two occasions. Manturzewska proposed several explanations for the discrepancies between judges’ assessments. Not only have her students and collaborators continued her work by testing and verifying some of her hypotheses, but more recent research conducted outside Poland has also done so. In conclusion, although some kinds of objective measurement can be made using new tools and technologies, human judges with their own competences, ability to evaluate, value systems, preferences, and a sense of fairness and morality will always be needed for reliable and accurate assessments.
{"title":"Research on the assessment of music performance from Maria Manturzewska’s early experiments to more recent studies","authors":"Małgorzata Chmurzyńska","doi":"10.1177/10298649231188272","DOIUrl":"https://doi.org/10.1177/10298649231188272","url":null,"abstract":"The assessment of music performance by experts is vital for the measurement of performers’ achievements both in the course of their training and in the context of competitions. More than 350 international piano competitions are held every year, in which the main task of the jury is to judge performances as they take place in the moment, without taking into account any other information such as performers’ previous competition successes. A vast body of evidence shows that many factors influence such judgments. In this article, I discuss these factors, as first identified in early and comparatively little-known research by Maria Manturzewska, the first Polish music psychologist (1930–2020). The principal purpose of her studies was to examine the inter- and intra-rater reliability of judges’ scores in the 6th International Fryderyk Chopin Piano Competition (IFCPC), held in Warsaw in 1960, and in an experiment in which the judges were, respectively, 28 competition jurors and a panel of 10 experts (2 competition jurors, a participant in the competition, and 8 further outstanding pianists). Based on the analysis of the jurors’ scores in the competition and those of the experts, Manturzewska found low values for both inter- and intra-rater reliability: different judges assessed the same performances in different ways, as did experts hearing the same performance on two occasions. Manturzewska proposed several explanations for the discrepancies between judges’ assessments. Not only have her students and collaborators continued her work by testing and verifying some of her hypotheses, but more recent research conducted outside Poland has also done so. In conclusion, although some kinds of objective measurement can be made using new tools and technologies, human judges with their own competences, ability to evaluate, value systems, preferences, and a sense of fairness and morality will always be needed for reliable and accurate assessments.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274357","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 : 2023-11-15DOI: 10.1177/10298649231189153
Anna Antonina Nogaj
This article presents the main aims and scope of the psychological counseling service for young musicians that was first introduced in the Polish music education system during the 1950s. It discusses the contribution of Maria Manturzewska, a pioneer of music psychology in Poland, to the establishment of a network of professionals providing counseling to students at specialist primary and secondary music schools and conservatoires. Manturzewska’s work was also a major influence on current policies and practice in relation to counseling for music students. The article introduces different forms of psychological counseling provided by psychologists and school pedagogists to music students. It outlines the formal and legal aspects of counseling for students who experience various issues, as well as those with developmental deficits or special educational needs, and discusses the scope of responsibilities of psychologists and pedagogists working with young musicians, and the issues reported by teachers, students, and their parents. It also considers the professional activities of psychologists and school pedagogists in the light of the social, political, and economic changes that occurred in Poland between 1950 and 2020, which have had a significant impact on the developments in the field. Finally, the article discusses the provision of psychological counseling services for music, ballet, and (visual) art schools across Poland since 2011. These schools are supervised by the Artistic Education Centre, which was established by the Ministry of Culture and National Heritage. The psychological counseling services also conduct research to examine the physical and psychological well-being of music students in Poland.
{"title":"Psychological counseling services in music schools in Poland: History and current status","authors":"Anna Antonina Nogaj","doi":"10.1177/10298649231189153","DOIUrl":"https://doi.org/10.1177/10298649231189153","url":null,"abstract":"This article presents the main aims and scope of the psychological counseling service for young musicians that was first introduced in the Polish music education system during the 1950s. It discusses the contribution of Maria Manturzewska, a pioneer of music psychology in Poland, to the establishment of a network of professionals providing counseling to students at specialist primary and secondary music schools and conservatoires. Manturzewska’s work was also a major influence on current policies and practice in relation to counseling for music students. The article introduces different forms of psychological counseling provided by psychologists and school pedagogists to music students. It outlines the formal and legal aspects of counseling for students who experience various issues, as well as those with developmental deficits or special educational needs, and discusses the scope of responsibilities of psychologists and pedagogists working with young musicians, and the issues reported by teachers, students, and their parents. It also considers the professional activities of psychologists and school pedagogists in the light of the social, political, and economic changes that occurred in Poland between 1950 and 2020, which have had a significant impact on the developments in the field. Finally, the article discusses the provision of psychological counseling services for music, ballet, and (visual) art schools across Poland since 2011. These schools are supervised by the Artistic Education Centre, which was established by the Ministry of Culture and National Heritage. The psychological counseling services also conduct research to examine the physical and psychological well-being of music students in Poland.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271337","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 : 2023-11-15DOI: 10.1177/10298649231173565
Julia Kaleńska-Rodzaj
Emotion-regulation abilities and skills are important determinants of performance success, as they lead to emotional stability and psychological well-being in the course of practicing and performing. Research on musicians’ emotionality has revealed a positive relationship between music performance anxiety (MPA) and the temperamental factors of emotional reactivity, low self-esteem, and maladaptive coping, with sex as a moderator in these relationships. In the current study, we attempted to analyze the structure of the relationships between selected variables using the assumptions of the developmental model of human emotionality as a framework for a proposed MPA regulation model. Students at music academies (N = 196) completed the EAS Temperament Survey, the Rosenberg Self-Esteem Scale, the modified Levels of Emotional Awareness Scale, the Brief-COPE Inventory, and the revised Kenny Music Performance Anxiety Inventory. The results confirm the regularities found in the general population, female musicians showing more intense negative emotionality, temperamental activity traits, emotional awareness, and the use of emotional support strategies. In turn, male musicians obtained medium results on measures of temperamental traits, and often used problem-orientation and perspective-change strategies for emotion regulation. In general, both male and female musicians scored within the medium range for MPA. Tests of the MPA regulation model showed two pathways from temperamental traits to coping strategies: from sociability to problem orientation, and from emotionality to perspective change. There was a positive relationship between the use of the problem-orientation strategy and MPA. The major predictor negatively related to MPA was the use of the perspective-change strategy. The direction of relationships may indicate that techniques for accepting experience are more effective than control techniques for reducing MPA in the context of public performance.
{"title":"Emotionality and performance: An emotion-regulation approach to music performance anxiety","authors":"Julia Kaleńska-Rodzaj","doi":"10.1177/10298649231173565","DOIUrl":"https://doi.org/10.1177/10298649231173565","url":null,"abstract":"Emotion-regulation abilities and skills are important determinants of performance success, as they lead to emotional stability and psychological well-being in the course of practicing and performing. Research on musicians’ emotionality has revealed a positive relationship between music performance anxiety (MPA) and the temperamental factors of emotional reactivity, low self-esteem, and maladaptive coping, with sex as a moderator in these relationships. In the current study, we attempted to analyze the structure of the relationships between selected variables using the assumptions of the developmental model of human emotionality as a framework for a proposed MPA regulation model. Students at music academies (N = 196) completed the EAS Temperament Survey, the Rosenberg Self-Esteem Scale, the modified Levels of Emotional Awareness Scale, the Brief-COPE Inventory, and the revised Kenny Music Performance Anxiety Inventory. The results confirm the regularities found in the general population, female musicians showing more intense negative emotionality, temperamental activity traits, emotional awareness, and the use of emotional support strategies. In turn, male musicians obtained medium results on measures of temperamental traits, and often used problem-orientation and perspective-change strategies for emotion regulation. In general, both male and female musicians scored within the medium range for MPA. Tests of the MPA regulation model showed two pathways from temperamental traits to coping strategies: from sociability to problem orientation, and from emotionality to perspective change. There was a positive relationship between the use of the problem-orientation strategy and MPA. The major predictor negatively related to MPA was the use of the perspective-change strategy. The direction of relationships may indicate that techniques for accepting experience are more effective than control techniques for reducing MPA in the context of public performance.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272203","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：