Pub Date : 2022-08-15DOI: 10.1177/10298649221116024
S. Knight, N. Spiro
This article focuses on behavioral markers—changes in communicative behaviors that reliably indicate the presence and severity of mental health conditions. We explore the potential of behavioral markers to provide new insights and approaches to diagnosis, assessment, and monitoring, with a particular focus on music therapy for depression. We propose a framework for understanding these markers that encompasses three broad functional categories fulfilled by communicative behaviors: semantic, pragmatic, and phatic. The disordered interactions observed in those with depression reflect changes in many types of communicative behavior, but much research has focused on pragmatic behaviors. However, changes in phatic behaviors also seem likely to be important, given their crucial role in facilitating interpersonal relationships. Given the strong phatic element of music-making, music represents a fertile context in which to explore these behaviors. We argue here that the uniquely multimodal and profoundly interactive environment of music therapy in particular allows for the identification of changes in pragmatic and phatic communicative behaviors that reliably indicate depression presence/severity. By identifying these behavioral markers, we open the door to new ways of assessing depression, and improving diagnosis and monitoring. Furthermore, this markers-based approach has broad implications, being applicable beyond depression and beyond music therapy.
{"title":"Tracing change during music therapy for depression: Toward a markers-based understanding of communicative behaviors","authors":"S. Knight, N. Spiro","doi":"10.1177/10298649221116024","DOIUrl":"https://doi.org/10.1177/10298649221116024","url":null,"abstract":"This article focuses on behavioral markers—changes in communicative behaviors that reliably indicate the presence and severity of mental health conditions. We explore the potential of behavioral markers to provide new insights and approaches to diagnosis, assessment, and monitoring, with a particular focus on music therapy for depression. We propose a framework for understanding these markers that encompasses three broad functional categories fulfilled by communicative behaviors: semantic, pragmatic, and phatic. The disordered interactions observed in those with depression reflect changes in many types of communicative behavior, but much research has focused on pragmatic behaviors. However, changes in phatic behaviors also seem likely to be important, given their crucial role in facilitating interpersonal relationships. Given the strong phatic element of music-making, music represents a fertile context in which to explore these behaviors. We argue here that the uniquely multimodal and profoundly interactive environment of music therapy in particular allows for the identification of changes in pragmatic and phatic communicative behaviors that reliably indicate depression presence/severity. By identifying these behavioral markers, we open the door to new ways of assessing depression, and improving diagnosis and monitoring. Furthermore, this markers-based approach has broad implications, being applicable beyond depression and beyond music therapy.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89317821","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 : 2022-08-04DOI: 10.1177/10298649221114568
J. Walduck
thinking about knowledge and research methods and uncertainties about “getting it right.” That is not to say that the book lacks reflective scrutiny. By contrast, in discussing advantages and disadvantages of approaches, and highlighting important developments such as the replication crisis and open access publication, it provides a fruitful basis for these discussions to be promoted in the teaching contexts where this book is used. In conclusion, I am convinced that this book will support the teaching of empirical research techniques at conservatoires and in music programs across the world, and as such will help to further this flourishing area of research from its foundations upward.
{"title":"Book Review: Raymond A. R. MacDonald and Graeme B. Wilson. The art of becoming: How group improvisation works","authors":"J. Walduck","doi":"10.1177/10298649221114568","DOIUrl":"https://doi.org/10.1177/10298649221114568","url":null,"abstract":"thinking about knowledge and research methods and uncertainties about “getting it right.” That is not to say that the book lacks reflective scrutiny. By contrast, in discussing advantages and disadvantages of approaches, and highlighting important developments such as the replication crisis and open access publication, it provides a fruitful basis for these discussions to be promoted in the teaching contexts where this book is used. In conclusion, I am convinced that this book will support the teaching of empirical research techniques at conservatoires and in music programs across the world, and as such will help to further this flourishing area of research from its foundations upward.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72476941","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 : 2022-07-26DOI: 10.1177/10298649221103210
Juliane Deil, Nina Markert, Philip Normand, Philipp Kammen, M. Küssner, Liila Taruffi
During a live concert, the mind can wander to unrelated thoughts such as personal concerns or past memories or to vivid images that are inspired by the music. This is an omnipresent phenomenon commonly referred to as mind-wandering. Psychological research on mind-wandering has explored its main characteristics, such as frequency, phenomenology, and impact on mood, both in the laboratory and in daily life contexts. This study aimed to harness the ecological setting of a live music concert to examine the occurrence and content of mind-wandering, as well as visual mental imagery as a mode through which mind-wandering occurs, and its relationship with the concertgoers’ moods before and after the music event. A self-report questionnaire (n = 43) was used to collect data at two concerts of ambient music given as part of the CTM Festival. Findings suggest that mind-wandering occurs extensively in a concert environment. While mind-wandering episodes feature negative themes and moods—in the form of dark content of the visual mental imagery associated with the program’s musical tone—the concert environment still contributes to participants feeling more inspired afterward. Overall, this study points to the potential of live music contexts to stimulate a beneficial style of mind-wandering (i.e., one that leads to a positive impact on mood and imagery), and its findings are in line with those of previous research showing that live concerts lead to increased well-being of concertgoers. Implications for well-being and a call for more systematic research on this subject are discussed.
{"title":"Mind-wandering during contemporary live music: An exploratory study","authors":"Juliane Deil, Nina Markert, Philip Normand, Philipp Kammen, M. Küssner, Liila Taruffi","doi":"10.1177/10298649221103210","DOIUrl":"https://doi.org/10.1177/10298649221103210","url":null,"abstract":"During a live concert, the mind can wander to unrelated thoughts such as personal concerns or past memories or to vivid images that are inspired by the music. This is an omnipresent phenomenon commonly referred to as mind-wandering. Psychological research on mind-wandering has explored its main characteristics, such as frequency, phenomenology, and impact on mood, both in the laboratory and in daily life contexts. This study aimed to harness the ecological setting of a live music concert to examine the occurrence and content of mind-wandering, as well as visual mental imagery as a mode through which mind-wandering occurs, and its relationship with the concertgoers’ moods before and after the music event. A self-report questionnaire (n = 43) was used to collect data at two concerts of ambient music given as part of the CTM Festival. Findings suggest that mind-wandering occurs extensively in a concert environment. While mind-wandering episodes feature negative themes and moods—in the form of dark content of the visual mental imagery associated with the program’s musical tone—the concert environment still contributes to participants feeling more inspired afterward. Overall, this study points to the potential of live music contexts to stimulate a beneficial style of mind-wandering (i.e., one that leads to a positive impact on mood and imagery), and its findings are in line with those of previous research showing that live concerts lead to increased well-being of concertgoers. Implications for well-being and a call for more systematic research on this subject are discussed.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83517996","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 : 2022-07-26DOI: 10.1177/10298649221110089
Makiko Sadakata, Yasumasa Yamaguchi, Chie Ohsawa, Masaki Matsubara, Hiroko Terasawa, Andres von Schnehen, Daniel Müllensiefen, K. Sekiyama
This study presents a Japanese translation of the Goldsmiths Musical Sophistication Index (Gold-MSI). The index consists of 38 self-report questions and provides a general sophistication score as well as subscale scores for Active Engagement, Perceptual Abilities, Musical Training, Singing Abilities, and Emotions. The validation of the translation with 689 native Japanese speakers indicated excellent internal consistency and test–retest reliability. Confirmatory factor analysis revealed that the bifactor model structure formulated by the original study of Gold-MSI is maintained reasonably in our data. The strengths of the Gold-MSI self-report inventory are (1) it offers a multifaceted view of musical sophistication, (2) a subset of five subscales can be used to measure different aspects of musical sophistication independently, and (3) the ease of administration as it is a self-report questionnaire. In view of the fact that this inventory and its translations increasingly contribute to research on musical expertise, skills, and abilities, having a Japanese translation may enhance future research in these areas even further.
{"title":"The Japanese translation of the Gold-MSI: Adaptation and validation of the self-report questionnaire of musical sophistication","authors":"Makiko Sadakata, Yasumasa Yamaguchi, Chie Ohsawa, Masaki Matsubara, Hiroko Terasawa, Andres von Schnehen, Daniel Müllensiefen, K. Sekiyama","doi":"10.1177/10298649221110089","DOIUrl":"https://doi.org/10.1177/10298649221110089","url":null,"abstract":"This study presents a Japanese translation of the Goldsmiths Musical Sophistication Index (Gold-MSI). The index consists of 38 self-report questions and provides a general sophistication score as well as subscale scores for Active Engagement, Perceptual Abilities, Musical Training, Singing Abilities, and Emotions. The validation of the translation with 689 native Japanese speakers indicated excellent internal consistency and test–retest reliability. Confirmatory factor analysis revealed that the bifactor model structure formulated by the original study of Gold-MSI is maintained reasonably in our data. The strengths of the Gold-MSI self-report inventory are (1) it offers a multifaceted view of musical sophistication, (2) a subset of five subscales can be used to measure different aspects of musical sophistication independently, and (3) the ease of administration as it is a self-report questionnaire. In view of the fact that this inventory and its translations increasingly contribute to research on musical expertise, skills, and abilities, having a Japanese translation may enhance future research in these areas even further.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":null,"pages":null},"PeriodicalIF":2.4,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80307352","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 : 2022-07-14DOI: 10.1177/10298649221110680
Y. Kim
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:
{"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":null,"pages":null},"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}
Pub Date : 2022-05-31DOI: 10.1177/10298649221097953
Jennifer Macritchie, Anthony Chmiel, Madeleine J Radnan, John R. Taylor, R. Dean
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.
{"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":null,"pages":null},"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}
Pub Date : 2022-05-25DOI: 10.1177/10298649221095135
Stanisław K. Czerwiński, Rafał Lawendowski, Michał Kierzkowski, P. Atroszko
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.
{"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":null,"pages":null},"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}
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.
{"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":null,"pages":null},"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}
Pub Date : 2022-05-18DOI: 10.1177/10298649221089869
Guadalupe López-Íñiguez, Karen Burland, D. Bennett
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.
{"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":null,"pages":null},"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}
Pub Date : 2022-05-09DOI: 10.1177/10298649221091483
Trevor de Clercq
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.
{"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":null,"pages":null},"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}
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：