Pub Date : 2021-12-13DOI: 10.1177/10298649211021458
Salvador Oriola-Requena, Diego Calderón-Garrido, José Gustems
Adolescents who are members of youth music groups learn music and develop other skills such as group work and conflict resolution. These skills and feelings may represent socioemotional factors underlying increased life satisfaction, leadership capacity, and academic motivation, together with the acquisition of emotional skills. The aim of the research was to determine the degree of life satisfaction reported by a sample of 660 Spanish adolescents who were members of a youth band or choir. It also aimed to examine correlations between life satisfaction, leadership capacity, academic motivation, and emotional development. Potential differences between these variables attributable to participants’ age, gender, type of youth music group, and musical instrument played were explored using a cross-sectional survey comprising four standardized questionnaires. The results show that the participants were highly satisfied with their lives. There were strong positive correlations between the variables studied but also some significant differences between the two groups (choirs and bands), and between players of different instrument families. These results are in line with those other studies, confirming the positive influence of group music making on adolescents’ social and emotional growth.
{"title":"Life satisfaction and adolescent music making: A comparison of youth choirs and bands in Spain","authors":"Salvador Oriola-Requena, Diego Calderón-Garrido, José Gustems","doi":"10.1177/10298649211021458","DOIUrl":"https://doi.org/10.1177/10298649211021458","url":null,"abstract":"Adolescents who are members of youth music groups learn music and develop other skills such as group work and conflict resolution. These skills and feelings may represent socioemotional factors underlying increased life satisfaction, leadership capacity, and academic motivation, together with the acquisition of emotional skills. The aim of the research was to determine the degree of life satisfaction reported by a sample of 660 Spanish adolescents who were members of a youth band or choir. It also aimed to examine correlations between life satisfaction, leadership capacity, academic motivation, and emotional development. Potential differences between these variables attributable to participants’ age, gender, type of youth music group, and musical instrument played were explored using a cross-sectional survey comprising four standardized questionnaires. The results show that the participants were highly satisfied with their lives. There were strong positive correlations between the variables studied but also some significant differences between the two groups (choirs and bands), and between players of different instrument families. These results are in line with those other studies, confirming the positive influence of group music making on adolescents’ social and emotional growth.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"6 1","pages":"263 - 277"},"PeriodicalIF":2.4,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85883408","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 : 2021-11-25DOI: 10.1177/10298649211055973
{"title":"The Editor-in-Chief of Musicae Scientiae would like to thank all reviewers of manuscripts submitted in 2020 and 2021 who are not already members of the editorial board:","authors":"","doi":"10.1177/10298649211055973","DOIUrl":"https://doi.org/10.1177/10298649211055973","url":null,"abstract":"","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"35 1","pages":""},"PeriodicalIF":2.4,"publicationDate":"2021-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73860913","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 : 2021-09-19DOI: 10.1177/10298649211028643
M. Pitman, T. Geffen, Philippa Nettleton
Involuntary musical imagery (INMI) is a common variety of musical imagery (MI) that has been a key research interest in the psychology of music over the last ten years. The Involuntary Musical Imagery Scale (IMIS), a closed-ended self-report instrument that offers a standardized means of assessing different aspects of earworm experience, has previously been evaluated psychometrically in at least two predominantly Euro-American samples. This report extends the study of INMI, and of the IMIS in particular, into a multicultural and multilingual African context. Responses to the IMIS from a South African student sample were subjected to factor analysis, reliability analysis, and a series of correlational analyses in order to assess its robustness and suitability for cross-cultural research. Results suggest the IMIS has a robust factor structure, reliability characteristics, and internal intercorrelation patterns when compared to previous findings, even outside a Global North setting. Item and subscale scores generally converged with other indicators of MI and INMI frequency, as well as INMI pleasantness and levels of disturbance. In contrast to the findings of much previous research, IMIS Negative Valence correlated negatively with earworm frequency, section length, and episode length, providing support for the claim that earworms are generally a positive rather than aversive experience. Although IMIS earworm frequency was strongly and positively correlated with INMI frequency, they shared only 36.8% variance – a result consistent with concerns that MI/INMI definitions have considerable impact on self-reports of these phenomena, and specifically that the earworm experience should not be equated with or considered prototypical of INMI experience.
{"title":"Psychometric evaluation of the Involuntary Musical Imagery Scale (IMIS) in a South African sample","authors":"M. Pitman, T. Geffen, Philippa Nettleton","doi":"10.1177/10298649211028643","DOIUrl":"https://doi.org/10.1177/10298649211028643","url":null,"abstract":"Involuntary musical imagery (INMI) is a common variety of musical imagery (MI) that has been a key research interest in the psychology of music over the last ten years. The Involuntary Musical Imagery Scale (IMIS), a closed-ended self-report instrument that offers a standardized means of assessing different aspects of earworm experience, has previously been evaluated psychometrically in at least two predominantly Euro-American samples. This report extends the study of INMI, and of the IMIS in particular, into a multicultural and multilingual African context. Responses to the IMIS from a South African student sample were subjected to factor analysis, reliability analysis, and a series of correlational analyses in order to assess its robustness and suitability for cross-cultural research. Results suggest the IMIS has a robust factor structure, reliability characteristics, and internal intercorrelation patterns when compared to previous findings, even outside a Global North setting. Item and subscale scores generally converged with other indicators of MI and INMI frequency, as well as INMI pleasantness and levels of disturbance. In contrast to the findings of much previous research, IMIS Negative Valence correlated negatively with earworm frequency, section length, and episode length, providing support for the claim that earworms are generally a positive rather than aversive experience. Although IMIS earworm frequency was strongly and positively correlated with INMI frequency, they shared only 36.8% variance – a result consistent with concerns that MI/INMI definitions have considerable impact on self-reports of these phenomena, and specifically that the earworm experience should not be equated with or considered prototypical of INMI experience.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"50 1","pages":"495 - 509"},"PeriodicalIF":2.4,"publicationDate":"2021-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83190394","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 : 2021-09-08DOI: 10.1177/10298649211034547
Jinyu Wang, Ming Xu, Zhi-shuai Jin, Lu Xia, Qiaoping Lian, Sizhu Huyang, Daxing Wu
Sensitivity to music reward varies across individuals. The Barcelona Music Reward Questionnaire (BMRQ) is an effective tool in the assessment of sensitivity to music reward. The current study investigated the psychometric properties of the Chinese version of the BMRQ, including its internal consistency, factor structure, criterion-related validity, and measurement invariance across gender. In addition, the relationship between personality traits and sensitivity to music reward was explored. A total of 1,120 Chinese undergraduate students completed a pen-and-paper version of the BMRQ, either in individual sessions or in class groups. Confirmatory factor analysis indicated a good fit for the revised model of the BMRQ. In addition, good internal consistency reliability of the overall scale and criterion-related validity with the BIS/BAS scale were also supported in this study. Evidence of configural, metric, and scalar invariance supported its measurement invariance across gender. On this basis, women in our sample reported themselves more sensitive than men to music reward. Results also showed that the personality traits Openness to Experience and Agreeableness were the strongest contributors to music reward sensitivity, while Extraversion did not make a significant contribution. These findings may provide a reference point for therapists wishing to predict the efficacy of music therapy for individuals.
{"title":"The Chinese version of the Barcelona Music Reward Questionnaire (BMRQ): Associations with personality traits and gender","authors":"Jinyu Wang, Ming Xu, Zhi-shuai Jin, Lu Xia, Qiaoping Lian, Sizhu Huyang, Daxing Wu","doi":"10.1177/10298649211034547","DOIUrl":"https://doi.org/10.1177/10298649211034547","url":null,"abstract":"Sensitivity to music reward varies across individuals. The Barcelona Music Reward Questionnaire (BMRQ) is an effective tool in the assessment of sensitivity to music reward. The current study investigated the psychometric properties of the Chinese version of the BMRQ, including its internal consistency, factor structure, criterion-related validity, and measurement invariance across gender. In addition, the relationship between personality traits and sensitivity to music reward was explored. A total of 1,120 Chinese undergraduate students completed a pen-and-paper version of the BMRQ, either in individual sessions or in class groups. Confirmatory factor analysis indicated a good fit for the revised model of the BMRQ. In addition, good internal consistency reliability of the overall scale and criterion-related validity with the BIS/BAS scale were also supported in this study. Evidence of configural, metric, and scalar invariance supported its measurement invariance across gender. On this basis, women in our sample reported themselves more sensitive than men to music reward. Results also showed that the personality traits Openness to Experience and Agreeableness were the strongest contributors to music reward sensitivity, while Extraversion did not make a significant contribution. These findings may provide a reference point for therapists wishing to predict the efficacy of music therapy for individuals.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":" 9","pages":"218 - 232"},"PeriodicalIF":2.4,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72382717","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 : 2021-09-01DOI: 10.1177/10298649211015793
G. Howell
In settings of conflict and hardship, education can be a portal through which future lives are imagined. Experiences of schooling are thus tied closely to the generation of hope and the transformation of young lives. The goal of the Afghanistan National Institute of Music (ANIM), a vocational music school in Kabul, is to transform lives through music and education, by restoring music practices, cultural rights, and the country’s relationships with the rest of the world. Hope is central to this multi-faceted project and is cultivated within the school, strategically, as a source of protection and a driver of desired change. Conceptual in scope, this article explores how hope was situated and configured within the learning experience at ANIM and entwined with the school’s transformation goals during the years 2015–2017. Using concepts of hope from critical anthropology and sociology and thematic analysis of interviews with ANIM students and teachers, it presents four configurations of hope at ANIM. It examines how these configurations were produced, nurtured, and distributed through activities, organisational culture, and environmental factors, in varying degrees of intensity and dynamism. In so doing, this article shows hope to be a complex and ambivalent resource for social impact in contexts in which music education, social transformation goals, and international aid converge. Hope produces agencies that can drive transformation, but it is always shaped and conditioned by the complex challenges and power asymmetries of the wider context.
{"title":"Configurations of hope at the Afghanistan National Institute of Music","authors":"G. Howell","doi":"10.1177/10298649211015793","DOIUrl":"https://doi.org/10.1177/10298649211015793","url":null,"abstract":"In settings of conflict and hardship, education can be a portal through which future lives are imagined. Experiences of schooling are thus tied closely to the generation of hope and the transformation of young lives. The goal of the Afghanistan National Institute of Music (ANIM), a vocational music school in Kabul, is to transform lives through music and education, by restoring music practices, cultural rights, and the country’s relationships with the rest of the world. Hope is central to this multi-faceted project and is cultivated within the school, strategically, as a source of protection and a driver of desired change. Conceptual in scope, this article explores how hope was situated and configured within the learning experience at ANIM and entwined with the school’s transformation goals during the years 2015–2017. Using concepts of hope from critical anthropology and sociology and thematic analysis of interviews with ANIM students and teachers, it presents four configurations of hope at ANIM. It examines how these configurations were produced, nurtured, and distributed through activities, organisational culture, and environmental factors, in varying degrees of intensity and dynamism. In so doing, this article shows hope to be a complex and ambivalent resource for social impact in contexts in which music education, social transformation goals, and international aid converge. Hope produces agencies that can drive transformation, but it is always shaped and conditioned by the complex challenges and power asymmetries of the wider context.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"232 1","pages":"358 - 373"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85315247","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 : 2021-09-01Epub Date: 2021-06-17DOI: 10.1177/10298649211013505
Julian Cespedes-Guevara, Nicola Dibben
This article reports a two-part study into the prosocial impacts of third sector cultural activities with children and adolescents in impoverished and violence-stricken urban neighbourhoods in Cali, Colombia. First, a year-long field study set out to compare a pre-existing music-training programme with a dance-training programme and a football-training programme with 9-14 year olds, to determine the extent to which each affords the development of empathic attitudes and prosocial behaviours. The music and dance programmes produced few significant changes in participants' empathy or prosociality, and there were few significant differences between the empathy and prosociality of the participants in the two groups. Participant dropout prevented comparison with the football-training programme. Second, an interview study was used to understand the place of prosociality in the aims and work of policymakers, funders and third-sector practitioners running cultural activities for social impacts in the Cali region. The study revealed that the organisations aimed to achieve individual and social transformation by creating the conditions for transformation, evidenced as positive outcomes. Neither the measures used by the organisations themselves nor the psychosocial constructs of prosociality and empathy used by the researchers adequately evidenced some of the intended outcomes, such as enabling individuals to build a life project, practising and sustaining social inclusion and transforming communities, nor a path from individual to social transformation. Differences between the structure of cultural activities and their associated values meant that different activities were believed to lend themselves to social transformation more or less well. This highlights the need for critically reflective, co-constructed research using a fuller range of constructs that can capture the outcomes of these programmes for both individuals and groups.
{"title":"Promoting prosociality in Colombia: Is music more effective than other cultural interventions?","authors":"Julian Cespedes-Guevara, Nicola Dibben","doi":"10.1177/10298649211013505","DOIUrl":"https://doi.org/10.1177/10298649211013505","url":null,"abstract":"<p><p>This article reports a two-part study into the prosocial impacts of third sector cultural activities with children and adolescents in impoverished and violence-stricken urban neighbourhoods in Cali, Colombia. First, a year-long field study set out to compare a pre-existing music-training programme with a dance-training programme and a football-training programme with 9-14 year olds, to determine the extent to which each affords the development of empathic attitudes and prosocial behaviours. The music and dance programmes produced few significant changes in participants' empathy or prosociality, and there were few significant differences between the empathy and prosociality of the participants in the two groups. Participant dropout prevented comparison with the football-training programme. Second, an interview study was used to understand the place of prosociality in the aims and work of policymakers, funders and third-sector practitioners running cultural activities for social impacts in the Cali region. The study revealed that the organisations aimed to achieve individual and social transformation by creating the conditions for transformation, evidenced as positive outcomes. Neither the measures used by the organisations themselves nor the psychosocial constructs of prosociality and empathy used by the researchers adequately evidenced some of the intended outcomes, such as enabling individuals to build a <i>life project</i>, practising and sustaining social inclusion and transforming communities, nor a path from individual to social transformation. Differences between the structure of cultural activities and their associated values meant that different activities were believed to lend themselves to social transformation more or less well. This highlights the need for critically reflective, co-constructed research using a fuller range of constructs that can capture the outcomes of these programmes for both individuals and groups.</p>","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"25 3","pages":"332-357"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/10298649211013505","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"39680421","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-01DOI: 10.1177/10298649211015505
Inês Lamela
The project On the Wings of a Piano . . . I Learn to Fly was developed with four women in custody inside a Portuguese prison during 2013–2014 over a period of eight months. Weekly individual sessions focused on improvisation, composition, memorization, and learning repertoire. This one-to-one work with participants resulted in the presentation of three distinct public performances in different contexts and for different audiences. Community music principles of decentralization, accessibility and equal opportunity were the foundation of a strong triangular relationship between the participants, the music they played on the piano, and the facilitator. With the narrative of each participant at its core, this article explores different ways in which this project can be identified as community music, despite the emphasis on individual work with each of the participants. The importance of adapting to each participant’s personal needs, requests and skills is highlighted, as well as the value of the affection developed between facilitator and participants. The subjectivity inherent in the involvement of the facilitator as a researcher is discussed, and the pedagogic outcomes of the project are also considered as an important contribution to research on music in prisons.
{"title":"Fugue for Four Voices: Building narratives through music behind bars","authors":"Inês Lamela","doi":"10.1177/10298649211015505","DOIUrl":"https://doi.org/10.1177/10298649211015505","url":null,"abstract":"The project On the Wings of a Piano . . . I Learn to Fly was developed with four women in custody inside a Portuguese prison during 2013–2014 over a period of eight months. Weekly individual sessions focused on improvisation, composition, memorization, and learning repertoire. This one-to-one work with participants resulted in the presentation of three distinct public performances in different contexts and for different audiences. Community music principles of decentralization, accessibility and equal opportunity were the foundation of a strong triangular relationship between the participants, the music they played on the piano, and the facilitator. With the narrative of each participant at its core, this article explores different ways in which this project can be identified as community music, despite the emphasis on individual work with each of the participants. The importance of adapting to each participant’s personal needs, requests and skills is highlighted, as well as the value of the affection developed between facilitator and participants. The subjectivity inherent in the involvement of the facilitator as a researcher is discussed, and the pedagogic outcomes of the project are also considered as an important contribution to research on music in prisons.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"9 1","pages":"303 - 316"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90602276","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 : 2021-09-01DOI: 10.1177/10298649211014235
Áine Mangaoang
Scholarship on prison music-making projects and programmes to date has largely overlooked the perspectives of prison music facilitators, who form an integral part of many prison music activities. The aim of the study, which was exploratory in nature, was to contribute to a better understanding overall of the relationship between music and imprisonment by focusing on the perspectives of prison music practitioners. Drawing from data collected in four Norwegian prisons through ethnographic research, data was analysed thematically with four key themes emerging: interpersonal communication and emotional connection; social responsibility; prison system and environment, and (in)difference and exclusion. The findings highlight the fact that the range of prison music activities offered in many Norwegian prisons affects music facilitators deeply in a number of ways, and support existing studies that find that prison music practices can contribute to creating a community of caring individuals both inside and outside prisons. Notably, the emergence of the (in)difference and exclusion theme demonstrates a more critical and nuanced view of prison music facilitators’ experiences as going beyond simplistic, romantic notions of music’s function in social transformation. Concerns raised for those who appear to be excluded or differentiated from music-making opportunities in prison – in particular foreign nationals and women – suggest that (even) in the Norwegian context, music in prisons remains a “reward” rather than a fundamental “right.” This study marks a step towards a richer and more critical understanding of prison musicking and aims to inform future research, practice, and the processes involved in the possibilities for offering music in prisons.
{"title":"“A reward rather than a right”: Facilitators’ perspectives on the place of music in Norwegian prison exceptionalism","authors":"Áine Mangaoang","doi":"10.1177/10298649211014235","DOIUrl":"https://doi.org/10.1177/10298649211014235","url":null,"abstract":"Scholarship on prison music-making projects and programmes to date has largely overlooked the perspectives of prison music facilitators, who form an integral part of many prison music activities. The aim of the study, which was exploratory in nature, was to contribute to a better understanding overall of the relationship between music and imprisonment by focusing on the perspectives of prison music practitioners. Drawing from data collected in four Norwegian prisons through ethnographic research, data was analysed thematically with four key themes emerging: interpersonal communication and emotional connection; social responsibility; prison system and environment, and (in)difference and exclusion. The findings highlight the fact that the range of prison music activities offered in many Norwegian prisons affects music facilitators deeply in a number of ways, and support existing studies that find that prison music practices can contribute to creating a community of caring individuals both inside and outside prisons. Notably, the emergence of the (in)difference and exclusion theme demonstrates a more critical and nuanced view of prison music facilitators’ experiences as going beyond simplistic, romantic notions of music’s function in social transformation. Concerns raised for those who appear to be excluded or differentiated from music-making opportunities in prison – in particular foreign nationals and women – suggest that (even) in the Norwegian context, music in prisons remains a “reward” rather than a fundamental “right.” This study marks a step towards a richer and more critical understanding of prison musicking and aims to inform future research, practice, and the processes involved in the possibilities for offering music in prisons.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"14 1","pages":"274 - 289"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78926479","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 : 2021-09-01DOI: 10.1177/10298649211018533
B. Bartleet, Lukas Pairon
This Special Issue of Musicae Scientiae focuses on the growing field of music projects that seek to have a positive social impact. Research in this field is gaining significant momentum as musicians across the world are increasingly working on initiatives that feature a strong social dimension (see Sloboda et al., 2020). For example, these musicians are using participatory approaches to music making that facilitate conflict resolution, explore issues of racism, empower women’s human rights and build resiliency in youth (see Hesser & Bartleet, 2020). This burgeoning field of socially engaged practices encompasses projects of international reach, outreach programmes of arts organizations and local grass roots initiatives (see Bartleet & Howell, 2021). Despite the increasing numbers of musicians working in this realm, there are still major gaps in our understanding as to how and when music can operate as a mechanism of social impact. While the field is growing, more systematic research that brings together practitioners, scholars and participants is needed to keep up with the expansion of programs and practices worldwide. This Special Issue seeks to make important empirical and methodological contributions to this field by featuring articles that showcase emerging key contexts, practices, research approaches, findings and dimensions of social impact. It features six articles from scholars who have presented at meetings of the international research platform Social Impact of Music Making (SIMM) (www.simm-platform.eu). This international SIMM platform was developed in 2017 by a group of academics and practitioners from seven different countries, in order to develop and recognize this new multi-disciplinary field of research. The specific aim of the organization is to support critical research on the potential role that learning and making music can play in social and community work. SIMM is grateful to Musicae Scientiae for publishing this Special Issue. For a comparatively young field such as ours, perhaps not quite yet ready for its own journal, we have relied on the open arms of Musicae Scientiae, with its broader remit, being willing to embrace this work that falls somewhat outside the journal’s normal focus. This Special Issue presents research on social music practices that are occurring across a wide range of contexts, such as detention centres, traditional music festivals, culturally diverse communities, cities affected by war and impoverished and violence-stricken urban neighbourhoods. Most of the authors are active themselves as practitioners, offering a distinctive view of the intentions, creative processes and outcomes of these practices in concrete terms, as well as unique perspectives from those participating in these social music programmes themselves. The articles in this Special Issue illuminate the wide range of methodological possibilities that can be 1015465 MCS0010.1177/01634437211015465Media, Culture & SocietyEditorialeditorial20
{"title":"The social impact of music making","authors":"B. Bartleet, Lukas Pairon","doi":"10.1177/10298649211018533","DOIUrl":"https://doi.org/10.1177/10298649211018533","url":null,"abstract":"This Special Issue of Musicae Scientiae focuses on the growing field of music projects that seek to have a positive social impact. Research in this field is gaining significant momentum as musicians across the world are increasingly working on initiatives that feature a strong social dimension (see Sloboda et al., 2020). For example, these musicians are using participatory approaches to music making that facilitate conflict resolution, explore issues of racism, empower women’s human rights and build resiliency in youth (see Hesser & Bartleet, 2020). This burgeoning field of socially engaged practices encompasses projects of international reach, outreach programmes of arts organizations and local grass roots initiatives (see Bartleet & Howell, 2021). Despite the increasing numbers of musicians working in this realm, there are still major gaps in our understanding as to how and when music can operate as a mechanism of social impact. While the field is growing, more systematic research that brings together practitioners, scholars and participants is needed to keep up with the expansion of programs and practices worldwide. This Special Issue seeks to make important empirical and methodological contributions to this field by featuring articles that showcase emerging key contexts, practices, research approaches, findings and dimensions of social impact. It features six articles from scholars who have presented at meetings of the international research platform Social Impact of Music Making (SIMM) (www.simm-platform.eu). This international SIMM platform was developed in 2017 by a group of academics and practitioners from seven different countries, in order to develop and recognize this new multi-disciplinary field of research. The specific aim of the organization is to support critical research on the potential role that learning and making music can play in social and community work. SIMM is grateful to Musicae Scientiae for publishing this Special Issue. For a comparatively young field such as ours, perhaps not quite yet ready for its own journal, we have relied on the open arms of Musicae Scientiae, with its broader remit, being willing to embrace this work that falls somewhat outside the journal’s normal focus. This Special Issue presents research on social music practices that are occurring across a wide range of contexts, such as detention centres, traditional music festivals, culturally diverse communities, cities affected by war and impoverished and violence-stricken urban neighbourhoods. Most of the authors are active themselves as practitioners, offering a distinctive view of the intentions, creative processes and outcomes of these practices in concrete terms, as well as unique perspectives from those participating in these social music programmes themselves. The articles in this Special Issue illuminate the wide range of methodological possibilities that can be 1015465 MCS0010.1177/01634437211015465Media, Culture & SocietyEditorialeditorial20","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"50 1","pages":"271 - 273"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81462719","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 : 2021-08-28DOI: 10.1177/10298649211033973
P. Cross, Andrew Goldman
During jazz improvisation, performers employ short recurrent musical motifs called licks. Past research has focused on the pitch, intervallic, and rhythmic characteristics of licks, but less attention has been paid to whether they tend to start in the same place within the measure (metrical dependence). Licks might be metrically dependent, and where a given lick starts in a measure (metrical position) may thus be part of the performer’s mental representation of that lick. Here we report the use of a corpus study to investigate whether licks are metrically dependent. We analyzed a subset of solos, all those in 4/4 time (n = 435), from the Weimar Jazz Database (WJD; Pfleiderer et al., 2017). Using a sliding window technique, we identified melodic sequences (interval n-grams) between 3 and 10 intervals in length. We counted the number of times each interval n-gram occurred, and noted the metrical position of the initial note of each occurrence, using different levels of quantization (8th and 16th note). We compared the entropy of the distribution of metrical positions for each n-gram—with lower values indicating a stronger metrical dependence—against simulated counterparts that assumed no relationship between an n-gram and its metrical position (no metrical dependence). Overall, we found that shorter n-grams were metrically dependent, with varying results for longer n-grams. We suggest two possible explanations: either mental representations of licks may encode their metrical features or the metrical position may make certain licks more accessible to the performer. On the basis of our findings we discuss future studies that could employ our methods.
在爵士乐的即兴演奏中，表演者使用被称为“舔”的短而重复的音乐主题。过去的研究主要集中在舔音的音高、音程和节奏特征上，但很少关注它们是否倾向于在拍子内的同一位置开始(韵律依赖)。舔舐可能是依赖于节拍的，一个给定的舔舐在一个小节(格律位置)开始，因此可能是演奏者对这个舔舐的心理表征的一部分。在这里，我们报告使用语料库研究来调查舔是否度量依赖。我们分析了来自魏玛爵士数据库(WJD;Pfleiderer et al.， 2017)。使用滑动窗口技术，我们确定了长度在3到10个音程之间的旋律序列(音程n-gram)。我们计算了每个音程n-gram出现的次数，并使用不同的量化级别(8和16音符)记录了每次出现的初始音符的格律位置。我们比较了每个n-gram的度量位置分布的熵-较低的值表明更强的度量依赖-与假设n-gram与其度量位置之间没有关系的模拟对应(无度量依赖)。总的来说，我们发现较短的n-gram与度量相关，较长的n-gram的结果不同。我们提出了两种可能的解释:对拍子的心理表征可能编码了它们的格律特征，或者格律的位置可能使演奏者更容易理解某些拍子。在我们的发现的基础上，我们讨论了可以采用我们的方法的未来研究。
{"title":"Interval patterns are dependent on metrical position in jazz solos","authors":"P. Cross, Andrew Goldman","doi":"10.1177/10298649211033973","DOIUrl":"https://doi.org/10.1177/10298649211033973","url":null,"abstract":"During jazz improvisation, performers employ short recurrent musical motifs called licks. Past research has focused on the pitch, intervallic, and rhythmic characteristics of licks, but less attention has been paid to whether they tend to start in the same place within the measure (metrical dependence). Licks might be metrically dependent, and where a given lick starts in a measure (metrical position) may thus be part of the performer’s mental representation of that lick. Here we report the use of a corpus study to investigate whether licks are metrically dependent. We analyzed a subset of solos, all those in 4/4 time (n = 435), from the Weimar Jazz Database (WJD; Pfleiderer et al., 2017). Using a sliding window technique, we identified melodic sequences (interval n-grams) between 3 and 10 intervals in length. We counted the number of times each interval n-gram occurred, and noted the metrical position of the initial note of each occurrence, using different levels of quantization (8th and 16th note). We compared the entropy of the distribution of metrical positions for each n-gram—with lower values indicating a stronger metrical dependence—against simulated counterparts that assumed no relationship between an n-gram and its metrical position (no metrical dependence). Overall, we found that shorter n-grams were metrically dependent, with varying results for longer n-grams. We suggest two possible explanations: either mental representations of licks may encode their metrical features or the metrical position may make certain licks more accessible to the performer. On the basis of our findings we discuss future studies that could employ our methods.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"15 1","pages":"299 - 312"},"PeriodicalIF":2.4,"publicationDate":"2021-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75643726","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：