Pregnancy-related anxiety commonly occurs among first-time pregnant women, carrying an increased risk of harmful effects to both mother and the growing fetus or newborns. This study aims to assess the effectiveness of a Comprehensive Health-literacy And Relaxing Music (CHARM) intervention compared with two other stand-alone interventions (relaxing music–only intervention, comprehensive health literacy–only intervention) and a standard care group on pregnancy-related anxiety. We conducted an open-label, parallel four-arms, randomized controlled trial among 128 low-risk primigravid women, who were randomly allocated to one of the four groups (1:1:1:1). Women were assigned with a separate web-based link for the three interventions, which were provided for 4 weeks. The pregnancy-related anxiety was measured using the Pregnancy-Related Anxiety Questionnaire-Revised (PRAQ-R) assessed at baseline and post-intervention. After the 4-week intervention, a repeated-measures analysis of variance showed significant mean changes, and interaction effect between the groups on pregnancy-related anxiety levels ( F(3,124) = 5.6, p = .001, ηp2 = .12); CHARM intervention significantly reduced pregnancy-related anxiety levels in comparison with other three groups including the standard care group. The CHARM intervention was thus found to be effective in reducing pregnancy-related anxiety levels, and may be recommended for pregnant women for promoting their perinatal mental well-being.
{"title":"Effectiveness of Comprehensive Health-literacy And Relaxing Music (CHARM) intervention on pregnancy-related anxiety among low-risk primigravid women: A randomized controlled trial","authors":"Meena Konsam, Samir Kumar Praharaj, Jyothi Shetty, Sunita Panda, Vani Lakshmi R, Asha Kamath, Sonia RB D’Souza","doi":"10.1177/03057356241258958","DOIUrl":"https://doi.org/10.1177/03057356241258958","url":null,"abstract":"Pregnancy-related anxiety commonly occurs among first-time pregnant women, carrying an increased risk of harmful effects to both mother and the growing fetus or newborns. This study aims to assess the effectiveness of a Comprehensive Health-literacy And Relaxing Music (CHARM) intervention compared with two other stand-alone interventions (relaxing music–only intervention, comprehensive health literacy–only intervention) and a standard care group on pregnancy-related anxiety. We conducted an open-label, parallel four-arms, randomized controlled trial among 128 low-risk primigravid women, who were randomly allocated to one of the four groups (1:1:1:1). Women were assigned with a separate web-based link for the three interventions, which were provided for 4 weeks. The pregnancy-related anxiety was measured using the Pregnancy-Related Anxiety Questionnaire-Revised (PRAQ-R) assessed at baseline and post-intervention. After the 4-week intervention, a repeated-measures analysis of variance showed significant mean changes, and interaction effect between the groups on pregnancy-related anxiety levels ( F(3,124) = 5.6, p = .001, η<jats:sub>p</jats:sub><jats:sup>2</jats:sup> = .12); CHARM intervention significantly reduced pregnancy-related anxiety levels in comparison with other three groups including the standard care group. The CHARM intervention was thus found to be effective in reducing pregnancy-related anxiety levels, and may be recommended for pregnant women for promoting their perinatal mental well-being.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-06-10DOI: 10.1177/03057356241250020
Jamie Ward, Stacy Maciel, R. Rouw, Julia Simner, Nicholas Root
Synaesthesia has often been linked to an artistic or creative temperament, but the nature of this link (and, hence, the possible underpinning mechanisms) are poorly understood. This study focusses primarily on people with synaesthesia who have visual experiences, including color, that are induced by music. We determine how this impacts their musical preferences and musical sophistication using previously validated self-report measures and contrast them against non-synaesthetes and synaesthetes with non-musical types. Our data show that people with music-color synaesthesia gravitate toward certain genres (e.g., Reflective and Complex) and show more active engagement with music relative to controls and other synaesthetes. However, synaesthesia as a whole is also linked to greater musical sophistication (e.g., perceptual abilities). A second study examines in detail the nature of associations from musical notes to colors in synaesthetes relative to non-synaesthetes. Synaesthetes have a distinctive way of associating colors with notes: They are more consistent over time, show a more sensitive pitch-luminance correspondence, and have a distinctive color palette (e.g., more browns, fewer greens). These indicative features can be used to determine the presence of this form of synaesthesia.
{"title":"Synaesthesia is linked to differences in music preference and musical sophistication and a distinctive pattern of sound-color associations","authors":"Jamie Ward, Stacy Maciel, R. Rouw, Julia Simner, Nicholas Root","doi":"10.1177/03057356241250020","DOIUrl":"https://doi.org/10.1177/03057356241250020","url":null,"abstract":"Synaesthesia has often been linked to an artistic or creative temperament, but the nature of this link (and, hence, the possible underpinning mechanisms) are poorly understood. This study focusses primarily on people with synaesthesia who have visual experiences, including color, that are induced by music. We determine how this impacts their musical preferences and musical sophistication using previously validated self-report measures and contrast them against non-synaesthetes and synaesthetes with non-musical types. Our data show that people with music-color synaesthesia gravitate toward certain genres (e.g., Reflective and Complex) and show more active engagement with music relative to controls and other synaesthetes. However, synaesthesia as a whole is also linked to greater musical sophistication (e.g., perceptual abilities). A second study examines in detail the nature of associations from musical notes to colors in synaesthetes relative to non-synaesthetes. Synaesthetes have a distinctive way of associating colors with notes: They are more consistent over time, show a more sensitive pitch-luminance correspondence, and have a distinctive color palette (e.g., more browns, fewer greens). These indicative features can be used to determine the presence of this form of synaesthesia.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-06-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141365154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-24DOI: 10.1177/03057356241250316
Charles R Robinson, Daniel J Keown
Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.
{"title":"The effect of differentiated video presentations of choral performances on aesthetic responses of undergraduate choral and instrumental ensemble musicians","authors":"Charles R Robinson, Daniel J Keown","doi":"10.1177/03057356241250316","DOIUrl":"https://doi.org/10.1177/03057356241250316","url":null,"abstract":"Research examining affective response to media modalities including film, television, gaming, video streaming, and virtual reality is expanding. This study examined aesthetic responses to choral performances presented in two contrasting video formats (stationary and produced). Volunteer undergraduate students ( N = 94) enrolled in ensembles (choral, n = 45; instrumental, n = 49) indicated their aesthetic responses to choral performances of Ēriks Ešenvalds’ “Only in Sleep” by manipulating a Continuous Response Digital Interface (CRDI) dial. Participants viewed video performances of two ensembles, one of which was digitally altered to allow for use of the same audio content for both videos. CRDI data were used to create temporal line graphs depicting participant responses to each video and indicated similar shapes with more intense aesthetic response to the produced video. Statistical analysis of cumulative mean responses to each performance found a main effect of video format (stationary vs. produced) and a video format × presentation order interaction. Initial exposure to each video garnered a more intense response than that of the second video, and the produced video elicited greater magnitude than the stationary perspective video. Findings support further examination of video and other media, studying differentiated impact on aesthetic response to music performances.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141096530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-24DOI: 10.1177/03057356241247533
Ivan Jimenez, Tuire Kuusi, Juha Ojala, Peter Harrison
This study investigates the effect of chord duration on the relative salience of chord-type and voicing changes. Participants ( N = 111) with varying levels of musical training were presented with sequences of five block chords on the piano and asked to indicate which chord sounded most different. Each sequence consisted of three identical chords and two oddballs, one with a voicing change and one with a chord-type change. All possible chord-type pairings between standard and oddball formed of major, minor, dominant seventh, major seventh, and minor seventh chords were tested. In addition, each sequence of five chords was tested using three chord duration conditions (500, 1,000, and 1,500 ms), and the durations were pseudo-randomized throughout the experiment. Chord-type changes became more salient with longer durations and this effect could be seen for all participants regardless of their levels of musical training. However, with higher level of musical training, chord-type changes became more salient across all duration conditions. Leman’s model of tonal contextuality suggests that the effect of duration in our experiment could be explained by sensory mechanisms related to echoic memory. The potential contribution of other factors to the effect of duration is discussed.
{"title":"The effect of chord duration on the relative salience of chord-type and voicing changes","authors":"Ivan Jimenez, Tuire Kuusi, Juha Ojala, Peter Harrison","doi":"10.1177/03057356241247533","DOIUrl":"https://doi.org/10.1177/03057356241247533","url":null,"abstract":"This study investigates the effect of chord duration on the relative salience of chord-type and voicing changes. Participants ( N = 111) with varying levels of musical training were presented with sequences of five block chords on the piano and asked to indicate which chord sounded most different. Each sequence consisted of three identical chords and two oddballs, one with a voicing change and one with a chord-type change. All possible chord-type pairings between standard and oddball formed of major, minor, dominant seventh, major seventh, and minor seventh chords were tested. In addition, each sequence of five chords was tested using three chord duration conditions (500, 1,000, and 1,500 ms), and the durations were pseudo-randomized throughout the experiment. Chord-type changes became more salient with longer durations and this effect could be seen for all participants regardless of their levels of musical training. However, with higher level of musical training, chord-type changes became more salient across all duration conditions. Leman’s model of tonal contextuality suggests that the effect of duration in our experiment could be explained by sensory mechanisms related to echoic memory. The potential contribution of other factors to the effect of duration is discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141096566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-15DOI: 10.1177/03057356241247528
Robert L Burke, Maria Sappho, Ross Birrell, Raymond MacDonald, Tia DeNora
This article presents a qualitative analysis of the opening section of an online improvisation session. The session, which was organized by the Glasgow Improvisers Orchestra, included an international group of musicians. It took place during the global COVID-19 pandemic where the participants were experiencing lockdown conditions. Phenomenological reflexive analysis and video elicitation techniques were utilized to develop a number of key themes related to the multimodal improvisation strategies identified as emergent in the session. The results highlight how technical, physical, and psychological constraints of online practice can facilitate new creative insights and approaches to improvisation. Particular emphasis is placed upon how an improvisation begins and the role of distributed and collaborative creativity within the overall process. The importance of the domestic environment, what we term The Theater of Home, is central to these new ideas, as is how particular scenarios/items function as psychological and creative boundary objects. The spontaneous multimodal integration of text, visual, and audio material within the domestic and virtual environment can be seen to support a new type of creative collaboration and one that draws out features of social improvisation.
{"title":"Opening up openings: Zooming in on improvisation in the Theater of Home","authors":"Robert L Burke, Maria Sappho, Ross Birrell, Raymond MacDonald, Tia DeNora","doi":"10.1177/03057356241247528","DOIUrl":"https://doi.org/10.1177/03057356241247528","url":null,"abstract":"This article presents a qualitative analysis of the opening section of an online improvisation session. The session, which was organized by the Glasgow Improvisers Orchestra, included an international group of musicians. It took place during the global COVID-19 pandemic where the participants were experiencing lockdown conditions. Phenomenological reflexive analysis and video elicitation techniques were utilized to develop a number of key themes related to the multimodal improvisation strategies identified as emergent in the session. The results highlight how technical, physical, and psychological constraints of online practice can facilitate new creative insights and approaches to improvisation. Particular emphasis is placed upon how an improvisation begins and the role of distributed and collaborative creativity within the overall process. The importance of the domestic environment, what we term The Theater of Home, is central to these new ideas, as is how particular scenarios/items function as psychological and creative boundary objects. The spontaneous multimodal integration of text, visual, and audio material within the domestic and virtual environment can be seen to support a new type of creative collaboration and one that draws out features of social improvisation.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140949747","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}
Recent studies have reported positive effects of music training on older adults’ executive functions. However, it is not completely known whether these outcomes were due to improvement in music performance skills or due to other components of training, such as social interaction and music listening. Here, we investigated the effect of a 10-week melodica training program on a group of healthy older adults in Japan and the relationship between their early music performance and improvements in executive functions. Participants were divided into an experimental and a passive control group; both completed a battery of executive function measures before and after the intervention. The experimental group also completed a music performance evaluation developed for the current study. We found a significant improvement in an executive function composite index for the intervention group as compared with the control group. Moreover, individual musical performance was the only factor to predict cognitive improvement. Our results suggest that musical instrument training has a positive impact on older adults’ cognition which is not solely attributed to social interaction or music listening. Further research should consider the potential of examining individual differences in music performance skills inside the experimental group to understand the effects of instrument training programs.
{"title":"The association between music performance skills and cognitive improvement in a musical instrument training program for older adults","authors":"Marcelo Kakihara, Xueyan Wang, Shoko Iwasaki, Takahiro Soshi, Masatoshi Yamashita, Kaoru Sekiyama","doi":"10.1177/03057356241248086","DOIUrl":"https://doi.org/10.1177/03057356241248086","url":null,"abstract":"Recent studies have reported positive effects of music training on older adults’ executive functions. However, it is not completely known whether these outcomes were due to improvement in music performance skills or due to other components of training, such as social interaction and music listening. Here, we investigated the effect of a 10-week melodica training program on a group of healthy older adults in Japan and the relationship between their early music performance and improvements in executive functions. Participants were divided into an experimental and a passive control group; both completed a battery of executive function measures before and after the intervention. The experimental group also completed a music performance evaluation developed for the current study. We found a significant improvement in an executive function composite index for the intervention group as compared with the control group. Moreover, individual musical performance was the only factor to predict cognitive improvement. Our results suggest that musical instrument training has a positive impact on older adults’ cognition which is not solely attributed to social interaction or music listening. Further research should consider the potential of examining individual differences in music performance skills inside the experimental group to understand the effects of instrument training programs.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140949746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-10DOI: 10.1177/03057356241246052
Elsa Perdomo-Guevara, Nicola Dibben
This article presents the findings of an intervention aimed at promoting positive emotions in music performance, as positive emotions are intrinsically valuable and can have associated benefits. The intervention sought to help participants conceive performance in more meaningful, self-transcendent terms. This study investigated whether the intervention helped performers to change their approach to performance; whether an increase in meaningfulness and self-transcendence led to more positive performance-related emotions; and whether an increase in positive emotions resulted in higher perceived quality of the performance. Comparison of self-report measures pre- and post-intervention indicated that after the intervention, participants approached performance in a more meaningful, self-transcendent manner. Specifically, they were more focused on the value of music, privilege of performing, and benefits for the audience. They also reported more rewarding performance experiences: they reported more joy, engagement, and self-confidence; more inspiration and connection with their audiences; and less anxiety. In addition, they reported being able to give better performances. None of these changes were found with a randomly assigned wait list control group. We conclude that an intervention designed to change performers’ conceptions of the meaningfulness of performing can have beneficial impacts on the quality of that experience.
{"title":"Cultivating meaning and self-transcendence to increase positive emotions and decrease anxiety in music performance","authors":"Elsa Perdomo-Guevara, Nicola Dibben","doi":"10.1177/03057356241246052","DOIUrl":"https://doi.org/10.1177/03057356241246052","url":null,"abstract":"This article presents the findings of an intervention aimed at promoting positive emotions in music performance, as positive emotions are intrinsically valuable and can have associated benefits. The intervention sought to help participants conceive performance in more meaningful, self-transcendent terms. This study investigated whether the intervention helped performers to change their approach to performance; whether an increase in meaningfulness and self-transcendence led to more positive performance-related emotions; and whether an increase in positive emotions resulted in higher perceived quality of the performance. Comparison of self-report measures pre- and post-intervention indicated that after the intervention, participants approached performance in a more meaningful, self-transcendent manner. Specifically, they were more focused on the value of music, privilege of performing, and benefits for the audience. They also reported more rewarding performance experiences: they reported more joy, engagement, and self-confidence; more inspiration and connection with their audiences; and less anxiety. In addition, they reported being able to give better performances. None of these changes were found with a randomly assigned wait list control group. We conclude that an intervention designed to change performers’ conceptions of the meaningfulness of performing can have beneficial impacts on the quality of that experience.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140910660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-08DOI: 10.1177/03057356231216950
You Jeong Hong, Ahyeon Choi, Chae-Eun Lee, WooJae Cho, Sumin Yoon, Kyogu Lee
The integration of music sounds with concurrent visual scenes or objects is a occurrence in our daily lives, attracting the attention of researchers investigating how music influences our perceptions of simultaneous visuals. This study specifically investigates the role of musical pitch height in shaping our judgments of visual brightness during concurrent music–visual events. Participants were presented with pitch-modified versions of a wide range of emotional music pieces alongside various visual stimuli. The results demonstrate that lower-pitched music tends to elicit darker judgments of visual objects than higher-pitched music, when the actual visual brightness level remains constant. These findings suggest the influence of musical pitch height on introducing biases in our evaluations of visual brightness within the context of concurrent music-visual experiences, contributing to the advancement of our theoretical understanding of the complex audiovisual integration involving music in our everyday lives.
{"title":"Concurrent musical pitch height biases judgment of visual brightness","authors":"You Jeong Hong, Ahyeon Choi, Chae-Eun Lee, WooJae Cho, Sumin Yoon, Kyogu Lee","doi":"10.1177/03057356231216950","DOIUrl":"https://doi.org/10.1177/03057356231216950","url":null,"abstract":"The integration of music sounds with concurrent visual scenes or objects is a occurrence in our daily lives, attracting the attention of researchers investigating how music influences our perceptions of simultaneous visuals. This study specifically investigates the role of musical pitch height in shaping our judgments of visual brightness during concurrent music–visual events. Participants were presented with pitch-modified versions of a wide range of emotional music pieces alongside various visual stimuli. The results demonstrate that lower-pitched music tends to elicit darker judgments of visual objects than higher-pitched music, when the actual visual brightness level remains constant. These findings suggest the influence of musical pitch height on introducing biases in our evaluations of visual brightness within the context of concurrent music-visual experiences, contributing to the advancement of our theoretical understanding of the complex audiovisual integration involving music in our everyday lives.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140895723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-26DOI: 10.1177/03057356241241535
Kathrin Smolarczyk, Lisa Birnbaum, Alexander Christ, Stephan Kröner
Extracurricular and out-of-school engagement with music is often associated with positive effects for musical goals while also holding potential for developmental and empowerment processes. The COVID-19 pandemic has highlighted the importance and the potential of digital technologies for facilitating musical engagement. The emergence of digitally transformed musicking has added complexity to the already multifaceted and complex field of research on non-formal musical engagement. Thus, the aims of this text-mining-supported scoping review are (1) to map and describe the underlying research topics in the field of children’s and adolescents’ musical engagement, (2) to explore potential for empowerment processes, and (3) to identify the extent to which digital aspects emerge. Based on N = 624 articles, a topic-modeling procedure yielded k = 10 topics covering cognitive, emotional and attitudinal, youth cultural and digital aspects. Among these, one predominantly digital topic comprised studies on the production and consumption of music. Implications for the potential for empowerment can be drawn from studies that focus on youth cultural aspects, such as hip-hop culture and digital aspects. Limitations and implications for further research are discussed, including how to transfer these findings and how new technologies can further enhance music-making and creation.
课外和校外音乐参与往往与音乐目标的积极影响相关，同时也具有发展和赋权过程的潜力。COVID-19 大流行突显了数字技术在促进音乐参与方面的重要性和潜力。数字化音乐的出现，使本已多层面、复杂的非正规音乐参与研究领域更加复杂。因此，本次文本挖掘支持的范围界定综述旨在：(1) 规划并描述儿童和青少年音乐参与领域的基本研究课题；(2) 探索赋权过程的潜力；(3) 确定数字方面出现的程度。在 N = 624 篇文章的基础上，通过主题建模程序得出了 k = 10 个主题，涵盖认知、情感和态度、青少年文化和数字方面。在这些主题中，有一个主要是数字主题，包括对音乐制作和消费的研究。从关注青年文化方面（如嘻哈文化和数字方面）的研究中可以得出赋权潜力的启示。还讨论了进一步研究的局限性和影响，包括如何转移这些研究成果以及新技术如何进一步促进音乐制作和创作。
{"title":"Children’s and adolescents’ engagement with music and the potential for (digital) empowerment processes: A text-mining-supported scoping review","authors":"Kathrin Smolarczyk, Lisa Birnbaum, Alexander Christ, Stephan Kröner","doi":"10.1177/03057356241241535","DOIUrl":"https://doi.org/10.1177/03057356241241535","url":null,"abstract":"Extracurricular and out-of-school engagement with music is often associated with positive effects for musical goals while also holding potential for developmental and empowerment processes. The COVID-19 pandemic has highlighted the importance and the potential of digital technologies for facilitating musical engagement. The emergence of digitally transformed musicking has added complexity to the already multifaceted and complex field of research on non-formal musical engagement. Thus, the aims of this text-mining-supported scoping review are (1) to map and describe the underlying research topics in the field of children’s and adolescents’ musical engagement, (2) to explore potential for empowerment processes, and (3) to identify the extent to which digital aspects emerge. Based on N = 624 articles, a topic-modeling procedure yielded k = 10 topics covering cognitive, emotional and attitudinal, youth cultural and digital aspects. Among these, one predominantly digital topic comprised studies on the production and consumption of music. Implications for the potential for empowerment can be drawn from studies that focus on youth cultural aspects, such as hip-hop culture and digital aspects. Limitations and implications for further research are discussed, including how to transfer these findings and how new technologies can further enhance music-making and creation.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140651892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-24DOI: 10.1177/03057356241245997
Francesco De Benedetto, Eleonora Ghiraldini, Nausicaa Capizzi, Alice Mado Proverbio
The study examined the impact of music’s emotional content on the aesthetic experience of visual artworks during combined stimulation. The hypothesis posited that incongruity of emotional states induced by music would impede accurate comprehension of emotional aspect of artworks. A total of 18 university students were presented with 192 paintings and 20 emotionally congruent or incongruent musical excerpts. Both paintings and music were validated as belonging to four emotional categories with different valence (positive vs negative) and arousal (high vs low). ERP data showed that visual N170 and auditory N400 were modulated by stimuli emotional valence and that negative visual stimuli attracted more attention than positive ones (larger P300). The multimodal LP was modulated by the stimulus emotional congruence, with larger responses to positive than negative congruent pairs. During multimodal artistic simulation, the most active brain areas were the left middle frontal gyrus, superior frontal gyrus, right precuneus, and right middle temporal gyrus. Taken together, these results suggest that visual stimuli with negative valence attract more attention than positive ones and that congruent pairs are more pleasant than incongruent. Also, these findings suggest that the neural basis of the emergence of aesthetic sensations may be similar for both auditory and visual emotional processing.
{"title":"Unraveling the interplay of emotions in art and music: An event-related potential investigation","authors":"Francesco De Benedetto, Eleonora Ghiraldini, Nausicaa Capizzi, Alice Mado Proverbio","doi":"10.1177/03057356241245997","DOIUrl":"https://doi.org/10.1177/03057356241245997","url":null,"abstract":"The study examined the impact of music’s emotional content on the aesthetic experience of visual artworks during combined stimulation. The hypothesis posited that incongruity of emotional states induced by music would impede accurate comprehension of emotional aspect of artworks. A total of 18 university students were presented with 192 paintings and 20 emotionally congruent or incongruent musical excerpts. Both paintings and music were validated as belonging to four emotional categories with different valence (positive vs negative) and arousal (high vs low). ERP data showed that visual N170 and auditory N400 were modulated by stimuli emotional valence and that negative visual stimuli attracted more attention than positive ones (larger P300). The multimodal LP was modulated by the stimulus emotional congruence, with larger responses to positive than negative congruent pairs. During multimodal artistic simulation, the most active brain areas were the left middle frontal gyrus, superior frontal gyrus, right precuneus, and right middle temporal gyrus. Taken together, these results suggest that visual stimuli with negative valence attract more attention than positive ones and that congruent pairs are more pleasant than incongruent. Also, these findings suggest that the neural basis of the emergence of aesthetic sensations may be similar for both auditory and visual emotional processing.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":1.7,"publicationDate":"2024-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140643163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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