Musicae Scientiae最新文献

{"title":"Book Review: Ernst Kurth, Music psychology","authors":"Y. Kim","doi":"10.1177/10298649221110680","DOIUrl":"https://doi.org/10.1177/10298649221110680","url":null,"abstract":"In his first monograph, based on his habilitation thesis, Ernst Kurth hinted at the prospect of defining music psychology (Kurth, 1913). He accomplished this approximately 18 years later when he published his final work, simply titled Musikpsychologie (Kurth, 1931). Opinions varied as to its success. While it was generally well received by music theorists, several contemporary psychologists viewed it less enthusiastically due to its lack of scientific rigor. According to them, Kurth himself does not appear convincing in his foreword to the book, which concludes with the following remarks:","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"66 1","pages":"811 - 815"},"PeriodicalIF":2.4,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79787201","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}

{"title":"Going online: Successes and challenges in delivering group music instrument and aural learning for older adult novices during the COVID-19 pandemic","authors":"Jennifer Macritchie, Anthony Chmiel, Madeleine J Radnan, John R. Taylor, R. Dean","doi":"10.1177/10298649221097953","DOIUrl":"https://doi.org/10.1177/10298649221097953","url":null,"abstract":"As a result of the COVID-19 pandemic, many cultural and artistic programs for older adults have been put on hold, despite the numerous physical, social, and emotional well-being benefits continued participation may bring. This article details a cross-section of participants (n = 13) in the Active Minds Music Ensemble—a longitudinal Australian-based research project that provides 12 months of group music instrument lessons to healthy older adult novices—who transitioned from face-to-face (F2F) to an online format. Research questions include the benefits and challenges for older adults as they cope with the technological demands of “going online,” perceived effects on teaching and older adults’ musical learning, as well as perceived effects on group learning benefits. Qualitative data were collected from three different perspectives: i) a frequently asked questions (FAQ) report from the research team documenting technological issues, ii) individual semi-structured interviews with the participants, and iii) a reflective report from the teacher. The findings confirm that online group music instrument lessons are viable for and valued by older adults, with appreciation of continued technical support. Teaching and learning changed as a result of the online format, primarily in the reduction of individual feedback and less interplay between participants; this was mitigated by use of various functions such as chat, whiteboards, and breakout rooms. Implications for older adult online music instrument lessons include providing continued technical support to learners and helping them maintain confidence with technology. Social opportunities for informal “side-chatter” may also help them to empathize with and encourage each other during music learning activities.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"5 1","pages":"596 - 615"},"PeriodicalIF":2.4,"publicationDate":"2022-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90478840","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}

{"title":"Can perseverance of effort become maladaptive? Study addiction moderates the relationship between this component of grit and well-being among music academy students","authors":"Stanisław K. Czerwiński, Rafał Lawendowski, Michał Kierzkowski, P. Atroszko","doi":"10.1177/10298649221095135","DOIUrl":"https://doi.org/10.1177/10298649221095135","url":null,"abstract":"Grit, defined as perseverance and passion for long-term goals, is investigated as a predictor of academic success and well-being. This trait may have special importance for musicians’ functioning as their lives revolve around practice routines and mastering their craft for years. However, there is a growing recognition that extreme perseverance may be maladaptive in some cases. Persistent overinvolvement in goal-oriented activities is related to compulsive overworking, conceptualized within the behavioral addiction framework as work and study addiction. A previous study showed that study addiction is relatively highly prevalent among young musicians and has a clearly negative effect on their functioning. The aim of this study was to investigate the relationships between grit, study addiction, and psychosocial functioning among music academy students. It was hypothesized that perseverance of effort is related to well-being, grade point average (GPA), and study addiction, and that it becomes maladaptive for individuals addicted to studying. A cross-sectional correlational study was conducted among 213 music academy students in Poland. Perseverance of effort was positively related to GPA and study addiction. The relationships between perseverance of effort and self-rated general health, and between perseverance of effort and quality of life, were moderated by study addiction. The results suggest that grit may become maladaptive perseverance in the cases of individuals at risk of study addiction. Based on these findings, further investigations of grit among musicians, as well as further studies of the negative aspects of grit in general, are warranted. Implications for prevention and intervention programs are discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"11 1","pages":"568 - 595"},"PeriodicalIF":2.4,"publicationDate":"2022-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86977511","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}

{"title":"Music students’ experienced workload in higher education: A systematic review and recommendations for good practice","authors":"Tuula Jääskeläinen, Guadalupe López-Íñiguez, Michelle Phillips","doi":"10.1177/10298649221093976","DOIUrl":"https://doi.org/10.1177/10298649221093976","url":null,"abstract":"While there is extensive research on student workload in higher education, research-based findings relating to music students’ workloads are, to a great extent, lacking. In this study, we aim to review the literature systematically (a) to identify the factors that have an impact on students’ experiences of workload (experienced workload) and (b) to better understand music students’ experiences of their workloads in relation to their studies. The overall aim is to offer recommendations for students, teachers, administrators, and student health and well-being services as to how to deal with music students’ workload. We conducted a systematic search of literature in 23 electronic databases and 19 music research journals following the Preferred Reporting Items for Systematic Reviews guidelines. Eligibility criteria consisted of design, sample, phenomenon of interest, evaluation, and type of research. Twenty-nine qualitative, quantitative, and multistrategy studies fulfilled the inclusion criteria. Data were extracted and the quality of the studies was appraised. Extended meta-ethnography was used to create a synthesis revealing specific themes offering recommendations for good practice to (a) increase music students’ ability to cope with their workload, (b) provide tools for teachers to support music students to manage and cope with workload, and (c) develop learner-centered environments in higher music education. In addition to presenting recommendations for good practice, we conclude that more research using high-quality designs is needed to investigate music students’ discipline-specific experienced workload.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"48 1","pages":"541 - 567"},"PeriodicalIF":2.4,"publicationDate":"2022-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84868693","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}

{"title":"Understanding the musical identity and career thinking of postgraduate classical music performance students","authors":"Guadalupe López-Íñiguez, Karen Burland, D. Bennett","doi":"10.1177/10298649221089869","DOIUrl":"https://doi.org/10.1177/10298649221089869","url":null,"abstract":"The classical music sector faces an urgent challenge as increasing numbers of performance graduates struggle to establish themselves as full-time professional musicians. In part, this situation relates to narrow higher music education curricula that do not sufficiently prepare musicians for the precarious and nonlinear careers that characterize music work. The study reported here employed Version 1 of the Musical Identity Measure (MIMv1) together with three open-ended questions to explore student musicians’ motivations to engage in music and their career-related meaning-making. A lexicometry analysis based on Bayesian statistics was applied to six psychological and environmental areas identified in MIMv1: (1) resilience and adaptability, (2) approach to learning, (3) emotional attachment, (4) social factors, (5) music and self, and (6) career calling. Results indicate that postgraduate classical music performance students have a strong musical calling and emotional attachment to music. They also recognize the importance of identifying themselves as learners to thrive in the profession, and they accept that the development of social capital, resilience, and adaptability needs attention both during their studies and during their professional life. The article presents recommendations for higher music education and identifies potential risks related to strong identification with music.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"21 1","pages":"746 - 760"},"PeriodicalIF":2.4,"publicationDate":"2022-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75273887","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}

{"title":"Tempo versus average rates of harmonic rhythm in popular music: A study of three corpora","authors":"Trevor de Clercq","doi":"10.1177/10298649221091483","DOIUrl":"https://doi.org/10.1177/10298649221091483","url":null,"abstract":"This article reports a pair of studies that test two opposing hypotheses derived from music theory scholarship with regard to chord durations in popular music. The first hypothesis is that, regardless of tempo, chords will tend to last on average an ideal span of relative time, such as a bar. The second hypothesis is that, regardless of tempo, chords will tend to last on average an ideal span of absolute time, such as 2 s. Given the subjectivity of these parameters, three large encoded collections of harmony in popular music, each based on different musical styles and annotated by different musicians, were used to study the evidence for and against these two hypotheses. Average chord lengths were calculated for each song in the corpora based on geometric mean length in bars, geometric mean length in seconds, median length in bars, and median length in seconds. Following a description of the data-wrangling stages, the article reports the use of analysis of variance and linear regression models to examine the validity of each hypothesis. Although neither hypothesis was supported consistently, more evidence was found to support the second hypothesis that chord lengths tend to last on average an ideal span of absolute time, regardless of tempo. This finding suggests the existence of a perceptual ideal for chord durations in popular music that should be quantified in seconds rather than bars.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"521 - 540"},"PeriodicalIF":2.4,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89662865","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}

{"title":"Mechanisms of absolute pitch: I. Acoustical beating","authors":"J. Baggaley, Alan Thurlow","doi":"10.1177/10298649221085205","DOIUrl":"https://doi.org/10.1177/10298649221085205","url":null,"abstract":"Musicologists and philosophers have commonly attributed distinctive qualities to individual musical pitches, and absolute pitch (AP) possessors recognize and recall notes and keys with immediacy and accuracy, leaving little doubt that they are aware of such characteristics. Bachem proposed that these distinct tonal qualities underlie the rapid and accurate judgments that he identified as genuine AP, and he defined the qualities as tone chroma (TC). The TCs of notes and keys, and of notes separated by a musical octave (pitch class) are frequently expressed in visual terms, and studies of synaesthesia, the association of intersensory stimuli, provide clues to the systematic variation of TC qualities. The historical literature relating to note and key characteristics is commonly overlooked in the study of AP, however, and the article seeks to address this problem. Long-standing conclusions are reviewed, leading to the hypothesis that TC sensitivity can derive from an awareness of variations in the acoustical beats that occur in the tuning of instruments to equal temperament and which are perceived with particular clarity in organ tuning. This acoustical hypothesis is supported by modern neuroscientific findings and was predicted by theoretical observations in the literature as long ago as three centuries. In a follow-up article, Thurlow and Baggaley discuss the role of synaesthesia-type judgments in musical skills not previously regarded as absolute: for example, a perfect touch capacity observed in keyboard players.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"46 1","pages":"471 - 483"},"PeriodicalIF":2.4,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81000577","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}

{"title":"Perception of violin performance expression through expressive musical terms","authors":"Aviel Sulem, E. Bodner, N. Amir","doi":"10.1177/10298649211051018","DOIUrl":"https://doi.org/10.1177/10298649211051018","url":null,"abstract":"Expressive musical terms (EMTs) are often used in classical Western music as verbal instructions to performers to convey particular forms of expression. Recently, Sulem et al. (2019) analyzed the perception of EMTs by professional string players without reference to heard musical performances, defining four representative categories of EMTs located in the four quadrants of the two-dimensional model of affect whose parameters are valence and arousal. The present study focuses on listeners’ perceptions of musical expression in short excerpts from the violin repertoire, played according to the four representative categories and in a Neutral (i.e., non-expressive) manner. In Experiment 1, listeners’ perceptions of the performances were examined in terms of these five categories. In Experiment 2, listeners concentrated on the playing and sound characteristics of the performances, and paired-comparison analysis was used to estimate the perceived similarities between the performances in terms of their expression. The findings of the two experiments show that performances can be mapped in a three-dimensional perceptual space in which the valence and arousal dimensions are supplemented by a third dimension that can be associated with degree of expressiveness. This demonstrates the relevance of valence and arousal as fundamental parameters for characterizing the musical expression conveyed by the EMTs, as perceived by listeners, and introduces the concept of degree of expressiveness, reflecting the contrast between Neutral and expressive performances.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"7 1","pages":"442 - 470"},"PeriodicalIF":2.4,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87794087","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}

{"title":"Book Review: Stefan Östersjö. Listening to the other","authors":"Jonathan De Souza","doi":"10.1177/1029864920983965","DOIUrl":"https://doi.org/10.1177/1029864920983965","url":null,"abstract":"In a way, the new book by Stefan Östersjö is not just a book. And in a way, it is not just by Stefan Östersjö. First, it isn’t just a book because the publication includes both the printed text and illustrations, and also several short video recordings and films that present some of Östersjö’s activities as a specialist in contemporary music, playing classical guitar and other plucked string instruments. These audiovisual materials are available online. But they should not be understood as merely supplemental examples supporting the main text. Unlike the examples of a typical companion website, these video recordings can stand on their own. It might even be possible to imagine the films as the principal contribution, with the text as an extended program note or artist’s statement. Either way, Östersjö suggests that they are equal parts of the publication (pp. 11, 165), and they enact a kind of cross-media dialogue. Second, the book isn’t just by Östersjö because all of these projects are essentially collaborative. He has co-created the music and films with composers, fellow performers, technicians, and directors. These artistic colleagues are often research colleagues too, and Östersjö has co-authored texts with several of them. Here another dialogue emerges between musical practice and theoretical reflection as Östersjö puts his performance projects into conversation with broader perspectives from musicology, cognitive science, and philosophy. This publication, then, invites us to listen to sounds and words by Östersjö and his collaborators—even to listen to them listening together. Listening to the Other examines listening in musical creation and performance. Yet Östersjö is also concerned with listening as a mode of thought (what he calls “thinking-in-listening”) and with the ethics and politics of listening. Can we truly listen to each other? How is listening facilitated by bodies, technologies, and culture? How is listening constrained? When does it fail? How might listening affect thoughts, attitudes, and relations? And how might listening transform a listener? The book pursues these questions through three central chapters, devoted to Östersjö’s performance-research projects. They are framed by more theoretical chapters, yet it is possible to start with these case studies. Chapter 3 examines performer–composer collaboration, and it also considers musical instruments as a kind of Other. More specifically, it discusses the development of Strandlines, a piece for classical guitar and electronics by the American composer Richard Karpen. As Östersjö explains, “Strandlines is a composition that has no notation but is also conceived not to be improvised” (p. 56). Instead, the composer and performer co-create a set of musical materials and a plan for their development in the piece. Here the composer resembles a record producer or artistic director, and composition resembles the practice of filmmakers, such as Mike Leigh, who develop scripts collab","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"19 1","pages":"218 - 221"},"PeriodicalIF":2.4,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85512920","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}

{"title":"Mechanisms of absolute pitch: II. Pitch shift and perfect touch","authors":"Alan Thurlow, J. Baggaley","doi":"10.1177/10298649211072505","DOIUrl":"https://doi.org/10.1177/10298649211072505","url":null,"abstract":"The previous article in this series reviewed the historical and modern academic literature concerning the distinctive characteristics of individual musical notes and keys. It stressed Bachem’s definition of tone chroma (TC) as the quality that allows notes/keys to be identified instantly and accurately by musicians possessing the type of absolute pitch (AP) that Bachem described as genuine. TC qualities were shown to vary in the same systematic manner as the second-order acoustical beats predicted to accumulate during the tuning of instruments to equal temperament. This article offers further evidence for the connection between TC and acoustical sensitivity, as indicated by an examination of paracusis musicalis (PM), the shifting of the pitch sense with age to a level sharper or flatter than its original level. It is also noted that AP judgments have been shown to be based on kinaesthetic and tactile sensations, which perform the same cueing functions as auditory TC, and that types of AP judgment may, therefore, exist not typically identified as absolute: for example, an absolute or perfect touch capacity observed in keyboard players. Evidence of this capacity supports the theory of instrument-specific AP.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"28 1","pages":"484 - 494"},"PeriodicalIF":2.4,"publicationDate":"2022-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83581614","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}