Pub Date : 2023-03-03DOI: 10.1177/10298649231157099
A. Crooke, W. Thompson, Trisnasari Fraser, J. Davidson
Regional conflict, growing technological developments, and climate change have seen high migration rates, which are likely to rise. Discrimination and violence at the hands of host societies continue to threaten the well-being of immigrant communities, as well as wider social cohesion in migration destinations. The urgency of the situation has been highlighted in several international policy documents released since 2020 by the United Nations (UN) and related agencies. In response, we have seen a global movement of intercultural music ensembles intended to break down cultural barriers and explore sites of cultural intersection, yet the real-world benefits of such initiatives remain unclear. There is a need to further explore and understand how and when music can be used as an instrument or site for fostering inclusion, understanding, and cohesion between migrants and their host communities. On appraising the evidence, we propose a conceptual framework for explaining how different cultures can interact with each other through musical participation.
{"title":"Music, social cohesion, and intercultural understanding: A conceptual framework for intercultural music engagement","authors":"A. Crooke, W. Thompson, Trisnasari Fraser, J. Davidson","doi":"10.1177/10298649231157099","DOIUrl":"https://doi.org/10.1177/10298649231157099","url":null,"abstract":"Regional conflict, growing technological developments, and climate change have seen high migration rates, which are likely to rise. Discrimination and violence at the hands of host societies continue to threaten the well-being of immigrant communities, as well as wider social cohesion in migration destinations. The urgency of the situation has been highlighted in several international policy documents released since 2020 by the United Nations (UN) and related agencies. In response, we have seen a global movement of intercultural music ensembles intended to break down cultural barriers and explore sites of cultural intersection, yet the real-world benefits of such initiatives remain unclear. There is a need to further explore and understand how and when music can be used as an instrument or site for fostering inclusion, understanding, and cohesion between migrants and their host communities. On appraising the evidence, we propose a conceptual framework for explaining how different cultures can interact with each other through musical participation.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89741212","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 : 2023-02-03DOI: 10.1177/10298649221149109
Yiqing Ma, D. Baker, Katherine Vukovics, Connor J Davis, E. Elliott
What factors affect listeners’ perception of the emotions conveyed by music? Ali and Peynircioğlu conducted a series of experiments in which listeners rated emotional judgments of the melodies and lyrics of songs. Here, we present a pre-registered replication and extension of their study with newly adapted stimuli, including several covariates using the Goldsmiths Musical Sophistication Index (Gold-MSI). Using a within-subjects design, we asked participants ( n = 104) to rate the emotions they perceived to be conveyed by unfamiliar happy, sad, calm, and angry songs, with and without lyrics, to model the extent to which each factor contributed to participants’ ratings. The results we obtained in our replication contradicted those of the original study, for several variables. The results of our extension, revealing a significant effect of the emotional engagement subscale of the Gold-MSI, indicate that emotion perception can and should be divorced from aspects of musical training. Taken together, the findings of our replication and extension highlight the value of replicating frequently cited studies in music psychology literature.
{"title":"Lyrics and melodies: Do both affect emotions equally? A replication and extension of Ali and Peynircioğlu (2006)","authors":"Yiqing Ma, D. Baker, Katherine Vukovics, Connor J Davis, E. Elliott","doi":"10.1177/10298649221149109","DOIUrl":"https://doi.org/10.1177/10298649221149109","url":null,"abstract":"What factors affect listeners’ perception of the emotions conveyed by music? Ali and Peynircioğlu conducted a series of experiments in which listeners rated emotional judgments of the melodies and lyrics of songs. Here, we present a pre-registered replication and extension of their study with newly adapted stimuli, including several covariates using the Goldsmiths Musical Sophistication Index (Gold-MSI). Using a within-subjects design, we asked participants ( n = 104) to rate the emotions they perceived to be conveyed by unfamiliar happy, sad, calm, and angry songs, with and without lyrics, to model the extent to which each factor contributed to participants’ ratings. The results we obtained in our replication contradicted those of the original study, for several variables. The results of our extension, revealing a significant effect of the emotional engagement subscale of the Gold-MSI, indicate that emotion perception can and should be divorced from aspects of musical training. Taken together, the findings of our replication and extension highlight the value of replicating frequently cited studies in music psychology literature.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"36 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86778402","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 : 2023-02-03DOI: 10.1177/10298649221149110
Y. Arthurs, K. Petrini
Reading music notation is not an easy skill to acquire and can take years of training to master. In addition, it is not strictly necessary to be able to read music to make music. Nevertheless, music teaching and learning in the West has traditionally centered around the skill of reading music. This study explored participants’ reasons for learning to read music and the reported benefits of this skill for musical activities. We developed an online questionnaire with open-ended questions to gather the views of 64 people, both music readers and non-readers, on their musical activities using or not using notated scores. Their responses were analyzed thematically. The analysis showed that participants believe that learning and engaging with music notation adds to their multisensory experience of music involving vision, sound, and action; that, compared to learning by ear, the visual aspects of notation support the quick learning and improved theoretical understanding of a musical work: and that the skill of reading music is valuable in the context of group music making. They also believe, however, that notation can inhibit expressive performance or improvisation, and non-readers believe that sound technologies can be used as an alternative to notation. Finally, reading music was seen by readers, but not non-readers, as integral to playing an instrument. This may reflect differences between the practices and genres of music favored by the two groups.
{"title":"Musicians’ views on the role of reading music in learning, performance, and understanding","authors":"Y. Arthurs, K. Petrini","doi":"10.1177/10298649221149110","DOIUrl":"https://doi.org/10.1177/10298649221149110","url":null,"abstract":"Reading music notation is not an easy skill to acquire and can take years of training to master. In addition, it is not strictly necessary to be able to read music to make music. Nevertheless, music teaching and learning in the West has traditionally centered around the skill of reading music. This study explored participants’ reasons for learning to read music and the reported benefits of this skill for musical activities. We developed an online questionnaire with open-ended questions to gather the views of 64 people, both music readers and non-readers, on their musical activities using or not using notated scores. Their responses were analyzed thematically. The analysis showed that participants believe that learning and engaging with music notation adds to their multisensory experience of music involving vision, sound, and action; that, compared to learning by ear, the visual aspects of notation support the quick learning and improved theoretical understanding of a musical work: and that the skill of reading music is valuable in the context of group music making. They also believe, however, that notation can inhibit expressive performance or improvisation, and non-readers believe that sound technologies can be used as an alternative to notation. Finally, reading music was seen by readers, but not non-readers, as integral to playing an instrument. This may reflect differences between the practices and genres of music favored by the two groups.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"55 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2023-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77132610","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 : 2023-01-12DOI: 10.1177/10298649221148796
M. Reybrouck
neuropsychological correlates of musical imagery; newly available meth-ods of neuroimaging; the synthesis of subjective/private internal experiences and objective measurements by combining behavioral and neuroscience methods; and the connection of specific aspects of mental imagery to broader cognitive processes.
{"title":"Book Review: Mats B. Küssner, Liila Taruffi, & Georgia A. Floridou (Eds.), Music and mental imagery","authors":"M. Reybrouck","doi":"10.1177/10298649221148796","DOIUrl":"https://doi.org/10.1177/10298649221148796","url":null,"abstract":"neuropsychological correlates of musical imagery; newly available meth-ods of neuroimaging; the synthesis of subjective/private internal experiences and objective measurements by combining behavioral and neuroscience methods; and the connection of specific aspects of mental imagery to broader cognitive processes.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"247 ","pages":"815 - 819"},"PeriodicalIF":2.4,"publicationDate":"2023-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72505029","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 : 2023-01-06DOI: 10.1177/10298649221146050
Mehdi Zemestani, Matineh Azadbakht, E. Storch
Adjunctive strategies that effectively incorporate adolescents’ developmental needs may augment the therapeutic benefits of cognitive behavioral therapy (CBT) for adolescents with attention deficit hyperactivity disorder (ADHD). This preliminary study evaluated a combined CBT and music-based treatment designed to enhance emotion-regulation skills in adolescents with ADHD. Utilizing a single-case experimental design, eight adolescents with ADHD were assigned to a 3-week baseline assessment phase followed by 12 weekly individual sessions of treatment and a 2-month follow-up phase. The intervention was effective in reducing the core symptoms of ADHD, such that, participants showed an increase in adaptive emotion-regulation strategies (cognitive reappraisal) and decrease in maladaptive emotion-regulation strategies (expressive suppression). The intervention was also found to be highly acceptable to participants. The findings provide initial support for combining standard CBT with music-based treatment designed to enhance emotion-regulation skills, and add to the growing body of literature showing that adjunctive strategies can augment the therapeutic benefits of CBT for adolescents with ADHD.
{"title":"Preliminary evaluation of music-based emotion-regulation skills to augment CBT for adolescents with ADHD","authors":"Mehdi Zemestani, Matineh Azadbakht, E. Storch","doi":"10.1177/10298649221146050","DOIUrl":"https://doi.org/10.1177/10298649221146050","url":null,"abstract":"Adjunctive strategies that effectively incorporate adolescents’ developmental needs may augment the therapeutic benefits of cognitive behavioral therapy (CBT) for adolescents with attention deficit hyperactivity disorder (ADHD). This preliminary study evaluated a combined CBT and music-based treatment designed to enhance emotion-regulation skills in adolescents with ADHD. Utilizing a single-case experimental design, eight adolescents with ADHD were assigned to a 3-week baseline assessment phase followed by 12 weekly individual sessions of treatment and a 2-month follow-up phase. The intervention was effective in reducing the core symptoms of ADHD, such that, participants showed an increase in adaptive emotion-regulation strategies (cognitive reappraisal) and decrease in maladaptive emotion-regulation strategies (expressive suppression). The intervention was also found to be highly acceptable to participants. The findings provide initial support for combining standard CBT with music-based treatment designed to enhance emotion-regulation skills, and add to the growing body of literature showing that adjunctive strategies can augment the therapeutic benefits of CBT for adolescents with ADHD.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"27 1","pages":"757 - 779"},"PeriodicalIF":2.4,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87379942","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 : 2022-12-01DOI: 10.1177/10298649221110834
R. Angel-Alvarado, Guadalupe López-Íñiguez, Isabel Quiroga-Fuentes, Bayron Gárate-González
Sociomusical identities determine the social positions of individuals based on traditions and historical backgrounds, deriving from the reciprocal interchange of cultural elements within social groups. This study aimed to identify the cultural elements that support and inhibit the sociomusical identities of music teachers in Chile. Because the country is exceptionally long and narrow, it was possible to examine the distinctive features of the sociomusical identities of teachers in its four geographical zones. Thirty school music teachers took part in semi-structured interviews, in which they shared their professional stories in terms of their social position and transcultural processes. The researchers took a humanistic standpoint, employing a multiple-case study design in which boundaries of time, space, and place formed the basis of the analysis of teachers’ stories. The findings reveal that sociomusical identities are supported and inhibited by elements of the national education system. Furthermore, music teaching is informed by music teachers’ personal interests, which in turn reflect their sociomusical identities resulting from their pedagogical knowledge, teaching experience, and the environmental conditions of their particular milieu. The implications are that country-wide generalizations about music pedagogy should be avoided, as each geographical zone has its own particular issues.
{"title":"Mapping the cultural elements that support and inhibit music teachers’ sociomusical identities in Chile","authors":"R. Angel-Alvarado, Guadalupe López-Íñiguez, Isabel Quiroga-Fuentes, Bayron Gárate-González","doi":"10.1177/10298649221110834","DOIUrl":"https://doi.org/10.1177/10298649221110834","url":null,"abstract":"Sociomusical identities determine the social positions of individuals based on traditions and historical backgrounds, deriving from the reciprocal interchange of cultural elements within social groups. This study aimed to identify the cultural elements that support and inhibit the sociomusical identities of music teachers in Chile. Because the country is exceptionally long and narrow, it was possible to examine the distinctive features of the sociomusical identities of teachers in its four geographical zones. Thirty school music teachers took part in semi-structured interviews, in which they shared their professional stories in terms of their social position and transcultural processes. The researchers took a humanistic standpoint, employing a multiple-case study design in which boundaries of time, space, and place formed the basis of the analysis of teachers’ stories. The findings reveal that sociomusical identities are supported and inhibited by elements of the national education system. Furthermore, music teaching is informed by music teachers’ personal interests, which in turn reflect their sociomusical identities resulting from their pedagogical knowledge, teaching experience, and the environmental conditions of their particular milieu. The implications are that country-wide generalizations about music pedagogy should be avoided, as each geographical zone has its own particular issues.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"6 1","pages":"761 - 776"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74999568","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 : 2022-12-01DOI: 10.1177/10298649221102526
G. Breakwell, R. Jaspal
Musicians, both professional and amateur creators of music, faced economic, social, and psychological hardship during the pandemic. In this article, we use identity process theory from social psychology to interpret the potential impact of the COVID-19 pandemic on identity processes among musicians, including the significance of identity resilience and identity threat to their experience, and the strategies that may be employed in response to possible threats to identity. First, we provide a brief overview of empirical research into identity and well-being among musicians during the pandemic, which has shown the potential for identity threat and the multitude of coping strategies deployed by musicians during this period, most notably the move to virtual settings. We exemplify the theoretical observations made regarding identity processes and coping through three case studies focusing on quite different strategies musicians used to deal with identity threat during the 2020–2021 COVID-19 lockdowns. Awareness of the risks of identity threat and the variety of coping strategies that they can deploy against it could be valuable to musicians and others in the creative industries facing future societal upheavals. In crises, musicians can use music to create coping strategies both for themselves and to support others.
{"title":"Identity processes and musicians during the COVID-19 pandemic","authors":"G. Breakwell, R. Jaspal","doi":"10.1177/10298649221102526","DOIUrl":"https://doi.org/10.1177/10298649221102526","url":null,"abstract":"Musicians, both professional and amateur creators of music, faced economic, social, and psychological hardship during the pandemic. In this article, we use identity process theory from social psychology to interpret the potential impact of the COVID-19 pandemic on identity processes among musicians, including the significance of identity resilience and identity threat to their experience, and the strategies that may be employed in response to possible threats to identity. First, we provide a brief overview of empirical research into identity and well-being among musicians during the pandemic, which has shown the potential for identity threat and the multitude of coping strategies deployed by musicians during this period, most notably the move to virtual settings. We exemplify the theoretical observations made regarding identity processes and coping through three case studies focusing on quite different strategies musicians used to deal with identity threat during the 2020–2021 COVID-19 lockdowns. Awareness of the risks of identity threat and the variety of coping strategies that they can deploy against it could be valuable to musicians and others in the creative industries facing future societal upheavals. In crises, musicians can use music to create coping strategies both for themselves and to support others.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"96 1","pages":"777 - 798"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80631532","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 : 2022-12-01DOI: 10.1177/10298649221108576
Karen Burland, Dawn Bennett, Guadalupe López-Íñiguez
This article introduces the validation of a Musical Identity Measure (MIM), developed to support individuals’ self-conceptions in relation to their musical activities (e.g., performance, composition, music technology). Initial model validation was carried out using a principal axis factor analysis with a diverse and international sample of 336 musicians. The factor analysis revealed a four-factor measure: Musical Calling, Musical Self-Efficacy, Emotional Attachment, and Growth Mindset. Confirmatory factor analysis with the 25-item measure suggested that the model fit would be improved with the removal of three items, resulting in the same four-factor model with 22 items. Further validation with a different dataset confirmed MIM as a strong fit as a bifactor model. Measurement invariance tests confirmed that the bifactor structure was the same for male and female participants; individual measurement invariance in relation to age could not be fully examined due to variance in group sizes. Subsequent analysis of variance (ANOVA) calculations suggested gender differences in musical self-efficacy and highlighted possible changes in MIM factors across the lifespan. MIM has the potential to provide individuals with insights into their motivations to engage with musical activities, to help identify areas requiring additional support or guidance, and to support future-oriented decision making. The measure may also support educators and researchers wishing to understand and support the processes of musical development and skill acquisition.
{"title":"Validation of the Musical Identity Measure: Exploring musical identity as a variable across multiple types of musicians","authors":"Karen Burland, Dawn Bennett, Guadalupe López-Íñiguez","doi":"10.1177/10298649221108576","DOIUrl":"https://doi.org/10.1177/10298649221108576","url":null,"abstract":"This article introduces the validation of a Musical Identity Measure (MIM), developed to support individuals’ self-conceptions in relation to their musical activities (e.g., performance, composition, music technology). Initial model validation was carried out using a principal axis factor analysis with a diverse and international sample of 336 musicians. The factor analysis revealed a four-factor measure: Musical Calling, Musical Self-Efficacy, Emotional Attachment, and Growth Mindset. Confirmatory factor analysis with the 25-item measure suggested that the model fit would be improved with the removal of three items, resulting in the same four-factor model with 22 items. Further validation with a different dataset confirmed MIM as a strong fit as a bifactor model. Measurement invariance tests confirmed that the bifactor structure was the same for male and female participants; individual measurement invariance in relation to age could not be fully examined due to variance in group sizes. Subsequent analysis of variance (ANOVA) calculations suggested gender differences in musical self-efficacy and highlighted possible changes in MIM factors across the lifespan. MIM has the potential to provide individuals with insights into their motivations to engage with musical activities, to help identify areas requiring additional support or guidance, and to support future-oriented decision making. The measure may also support educators and researchers wishing to understand and support the processes of musical development and skill acquisition.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"101 1","pages":"704 - 728"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88120313","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 : 2022-12-01DOI: 10.1177/10298649221122173
Nicola Beech
This article sets out the case that there is a conflation of personal and situational liminality in the music industry. The response to this needs to include greater dynamism and development both of musical identities and innovations in the production and business of music. However, the confluence of liminalities produces vulnerabilities and precarities which militate against learning and innovation and lean toward stasis. I offer an alternative way forward, which adopts a different conceptualization of vulnerability and discusses how a situated learning approach can be used to develop socially enabled resilience.
{"title":"Always liminal, always learning: Why community learning is needed, and how to start","authors":"Nicola Beech","doi":"10.1177/10298649221122173","DOIUrl":"https://doi.org/10.1177/10298649221122173","url":null,"abstract":"This article sets out the case that there is a conflation of personal and situational liminality in the music industry. The response to this needs to include greater dynamism and development both of musical identities and innovations in the production and business of music. However, the confluence of liminalities produces vulnerabilities and precarities which militate against learning and innovation and lean toward stasis. I offer an alternative way forward, which adopts a different conceptualization of vulnerability and discusses how a situated learning approach can be used to develop socially enabled resilience.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"66 1","pages":"799 - 810"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89196839","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 : 2022-12-01DOI: 10.1177/10298649221108305
Raymond J MacDonald, Suvi Saarikallio
This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.
{"title":"Musical identities in action: Embodied, situated, and dynamic","authors":"Raymond J MacDonald, Suvi Saarikallio","doi":"10.1177/10298649221108305","DOIUrl":"https://doi.org/10.1177/10298649221108305","url":null,"abstract":"This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"32 1","pages":"729 - 745"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78537654","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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