Pub Date : 2025-05-21DOI: 10.1177/03057356241296852
Max Delle Grazie, Cameron J Anderson, Michael Schutz
Experimental research on musical emotion has identified clear links between specific aspects of musical structure and emotional responses. However, growing recognition of changes in the affective meaning of specific cues over time raises intriguing questions about the degree to which these links hold across historical eras. In particular, the traditional focus on compositional principles from common-practice period music (ca. 1600–1900) might not capture how emotion is perceived in later compositions. Here we explore perceived emotion ratings in a set of 24 preludes by Dmitri Shostakovich (Op. 34), comparing the effects of cues in his preludes vs. those by Bach and Chopin. We find that prosodic cues (i.e., pitch height, timing) play a stronger role than mode in these pieces. Because music theorists widely recognize Shostakovich’s music as tonal, this result reflects not his abandonment of mode, but rather his decision to use it differently than his predecessors. This provides an important perspective complementing a growing body of research using score-based analyses to explore historical changes in the “meaning” of specific cues. Our findings illustrate how modern compositions can provide novel insight into cues’ historically changing roles in emotional communication.
{"title":"Breaking with common practice: Exploring modernist musical emotion","authors":"Max Delle Grazie, Cameron J Anderson, Michael Schutz","doi":"10.1177/03057356241296852","DOIUrl":"https://doi.org/10.1177/03057356241296852","url":null,"abstract":"Experimental research on musical emotion has identified clear links between specific aspects of musical structure and emotional responses. However, growing recognition of changes in the affective meaning of specific cues over time raises intriguing questions about the degree to which these links hold across historical eras. In particular, the traditional focus on compositional principles from common-practice period music (ca. 1600–1900) might not capture how emotion is perceived in later compositions. Here we explore perceived emotion ratings in a set of 24 preludes by Dmitri Shostakovich (Op. 34), comparing the effects of cues in his preludes vs. those by Bach and Chopin. We find that prosodic cues (i.e., pitch height, timing) play a stronger role than mode in these pieces. Because music theorists widely recognize Shostakovich’s music as tonal, this result reflects not his abandonment of mode, but rather his decision to use it differently than his predecessors. This provides an important perspective complementing a growing body of research using score-based analyses to explore historical changes in the “meaning” of specific cues. Our findings illustrate how modern compositions can provide novel insight into cues’ historically changing roles in emotional communication.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"25 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144113539","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 : 2025-05-19DOI: 10.1177/03057356251322655
Thomas J Nicholl, Maree J Abbott
The availability of effective and timely interventions targeting the core features of debilitating performance anxiety (PA) is necessary to support musicians across the lifespan. The aim of this review was to provide an updated search of the research on treatments for PA in musicians and conduct a meta-analysis for available randomised controlled trials (RCTs). A systematic search identified 57 published articles on interventions targeting a reduction in PA symptoms in musicians. Results identified a range of intervention types, with cognitive-behavioural-based therapies most studied. Quality appraisal identified a low–moderate risk of bias, with a lack of detailed information on study design and participant awareness noted as contributors to studies falling in the moderate range. A total of 16 RCTs were included in the meta-analysis, which revealed treatment is more effective than control. Moderators of intervention delivery (individual or group) and age of participants (adolescents, college students, or a mixture of ages) were not significant. Future studies are recommended to be grounded in a theoretical model with the intervention targeting core contributing and maintaining factors, with a focus on greater methodological rigour. Comparing intervention types in future meta-analysis will aid in supporting one treatment above or equal to another.
{"title":"Treatments for performance anxiety in musicians across the lifespan: A systematic review and meta-analysis","authors":"Thomas J Nicholl, Maree J Abbott","doi":"10.1177/03057356251322655","DOIUrl":"https://doi.org/10.1177/03057356251322655","url":null,"abstract":"The availability of effective and timely interventions targeting the core features of debilitating performance anxiety (PA) is necessary to support musicians across the lifespan. The aim of this review was to provide an updated search of the research on treatments for PA in musicians and conduct a meta-analysis for available randomised controlled trials (RCTs). A systematic search identified 57 published articles on interventions targeting a reduction in PA symptoms in musicians. Results identified a range of intervention types, with cognitive-behavioural-based therapies most studied. Quality appraisal identified a low–moderate risk of bias, with a lack of detailed information on study design and participant awareness noted as contributors to studies falling in the moderate range. A total of 16 RCTs were included in the meta-analysis, which revealed treatment is more effective than control. Moderators of intervention delivery (individual or group) and age of participants (adolescents, college students, or a mixture of ages) were not significant. Future studies are recommended to be grounded in a theoretical model with the intervention targeting core contributing and maintaining factors, with a focus on greater methodological rigour. Comparing intervention types in future meta-analysis will aid in supporting one treatment above or equal to another.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"18 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144097083","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 : 2025-05-13DOI: 10.1177/03057356251326065
Tuomas Eerola, Michael Schutz
Mode is a foundational concept of Western music, serving as the basis for chords and harmonies, detecting and assessing cadences and form, and conveying musical emotion. Traditionally treated categorically, here we build upon recent work exploring this crucial musical construct on a continuum, an approach we refer to as ‘relative mode’. Specifically, we formulate and evaluate a computational model calculating this property from either symbolic or audio representations of music by adapting common key-finding techniques traditionally used to identify mode categorically. Here, we use them to infer the relative mode based on differences between the potential strength of major and minor key candidates. The model evaluation is based on a corpus of excerpts from Preludes by Bach, Chopin, and Shostakovich previously assessed by expert music analysts. Our results suggest that the model (using only audio files) is able to predict relative mode to a degree closely aligning with experts (using both audio and notated scores). A pragmatic set of parameters for the model is identified, and the shortcomings and the applicability of the model to other eras and genres are discussed.
{"title":"Major-minorness in tonal music: Evaluation of relative mode estimation using expert ratings and audio-based key-finding principles","authors":"Tuomas Eerola, Michael Schutz","doi":"10.1177/03057356251326065","DOIUrl":"https://doi.org/10.1177/03057356251326065","url":null,"abstract":"Mode is a foundational concept of Western music, serving as the basis for chords and harmonies, detecting and assessing cadences and form, and conveying musical emotion. Traditionally treated categorically, here we build upon recent work exploring this crucial musical construct on a continuum, an approach we refer to as ‘relative mode’. Specifically, we formulate and evaluate a computational model calculating this property from either symbolic or audio representations of music by adapting common key-finding techniques traditionally used to identify mode categorically. Here, we use them to infer the relative mode based on differences between the potential strength of major and minor key candidates. The model evaluation is based on a corpus of excerpts from Preludes by Bach, Chopin, and Shostakovich previously assessed by expert music analysts. Our results suggest that the model (using only audio files) is able to predict relative mode to a degree closely aligning with experts (using both audio and notated scores). A pragmatic set of parameters for the model is identified, and the shortcomings and the applicability of the model to other eras and genres are discussed.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"33 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143945662","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 : 2025-05-10DOI: 10.1177/03057356251334142
Nathan Pond
Despite a growing literature suggesting that the lyrics of music may have an emotional effect, there are as of yet no studies examining which elements of lyrics influence emotional experience. The present study explored the emotional effect of lyrics sung without a melodic accompaniment, examining whether the vocal expression or the semantic content of the lyrics had a greater influence on emotional state. A sample of 170 participants were presented four variants of sung lyrics, representing all possible combinations of vocal expression (happy; sad) and semantic content (happy; sad) condition, with emotional state being measured using the Brief Mood Introspection Scale (BMIS) following each presentation. A 2 × 2 repeated-measures analysis of covariance (ANCOVA) revealed that, after controlling for familiarity with the song, both the emotional valence of the vocal expression and the semantic content influenced emotional experience, though the vocal expression did so to a greater magnitude. Therefore, the vocal expression of lyrics may have the dominant effect on emotions, though the semantic content still has a minor influence.
{"title":"Comparing the emotional effects of semantic content and vocal expression of lyrics","authors":"Nathan Pond","doi":"10.1177/03057356251334142","DOIUrl":"https://doi.org/10.1177/03057356251334142","url":null,"abstract":"Despite a growing literature suggesting that the lyrics of music may have an emotional effect, there are as of yet no studies examining which elements of lyrics influence emotional experience. The present study explored the emotional effect of lyrics sung without a melodic accompaniment, examining whether the vocal expression or the semantic content of the lyrics had a greater influence on emotional state. A sample of 170 participants were presented four variants of sung lyrics, representing all possible combinations of vocal expression (happy; sad) and semantic content (happy; sad) condition, with emotional state being measured using the Brief Mood Introspection Scale (BMIS) following each presentation. A 2 × 2 repeated-measures analysis of covariance (ANCOVA) revealed that, after controlling for familiarity with the song, both the emotional valence of the vocal expression and the semantic content influenced emotional experience, though the vocal expression did so to a greater magnitude. Therefore, the vocal expression of lyrics may have the dominant effect on emotions, though the semantic content still has a minor influence.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"2 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143932546","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 : 2025-05-07DOI: 10.1177/03057356251334601
Flóra Fülöp, Ferenc Honbolygó
Earworms are a form of involuntary musical imagery which are in many ways similar to musical hallucinations and obsessions present in clinical disorders, such as schizophrenia and obsessive-compulsive disorder (OCD). Previous research has shown relationships between earworms and schizotypy as well as subclinical OCD. The aim of this study was to investigate these associations in a Hungarian sample of 4301 participants. We hypothesized that (1) there would be significant correlations between aspects of schizotypy, subclinical OCD and earworms; (2) higher scores on either the Obsessive-Compulsive Inventory – Revised (OCI-R) or the Schizotypal Personality Questionnaire – Brief Revised (SPQ-BR) would be associated with more negative attitudes toward earworm experiences, as measured with the Negative valence factor of the Involuntary Musical Imagery Scale (IMIS), as well as (3) longer and more frequent earworm episodes. Bayesian Kendall’s tau-b correlations showed weak relationships between several aspects of both schizotypy and subclinical OCD, and introspection related to earworms and earworm-related movement. S tructural equation models showed that subclinical OCD had a weak, positive association with negative attitudes toward earworms, while schizotypy had a positive association with earworm frequency, earworm-related movement, and earworm-related introspection. These results partially support previous findings, and provide new, relevant information about the associations of personality traits and earworms in a large sample.
{"title":"The melody in the mind: Associations between earworms, schizotypy, and subclinical obsessive-compulsive disorder","authors":"Flóra Fülöp, Ferenc Honbolygó","doi":"10.1177/03057356251334601","DOIUrl":"https://doi.org/10.1177/03057356251334601","url":null,"abstract":"Earworms are a form of involuntary musical imagery which are in many ways similar to musical hallucinations and obsessions present in clinical disorders, such as schizophrenia and obsessive-compulsive disorder (OCD). Previous research has shown relationships between earworms and schizotypy as well as subclinical OCD. The aim of this study was to investigate these associations in a Hungarian sample of 4301 participants. We hypothesized that (1) there would be significant correlations between aspects of schizotypy, subclinical OCD and earworms; (2) higher scores on either the Obsessive-Compulsive Inventory – Revised (OCI-R) or the Schizotypal Personality Questionnaire – Brief Revised (SPQ-BR) would be associated with more negative attitudes toward earworm experiences, as measured with the <jats:italic>Negative valence</jats:italic> factor of the Involuntary Musical Imagery Scale (IMIS), as well as (3) longer and more frequent earworm episodes. Bayesian Kendall’s tau-b correlations showed weak relationships between several aspects of both schizotypy and subclinical OCD, and introspection related to earworms and earworm-related movement. S tructural equation models showed that subclinical OCD had a weak, positive association with negative attitudes toward earworms, while schizotypy had a positive association with earworm frequency, earworm-related movement, and earworm-related introspection. These results partially support previous findings, and provide new, relevant information about the associations of personality traits and earworms in a large sample.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"63 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143920226","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 : 2025-05-06DOI: 10.1177/03057356251316885
Viktor Kemény, Szabolcs Bandi, Dorian Vida, Mátyás Káplár, György Révész
Musical improvisation is a widely used practice within many musical genres and cultures. But although there have been several studies on the experience and psychological benefits of music listening and music making, few have focused specifically on musical improvisation outside the practices of music therapy and jazz improvisation. In this study, we aim to explore the phenomenology of musical improvisation to find the possible psychological motives and everyday mental health functions related to it. Semi-structured interviews were recorded with 11 musicians (2 female/10 male, mean age 27.8 years) and analyzed using Interpretative Phenomenological Analysis. The analysis found two master themes (with five emergent themes): self-actualization (with need for growth, self-expression, and peak experiences) and intersubjectivity (with receptivity and rapport). In this empirical study, we found that musical improvisation provides a medium for self-expression and self-exploration, and by creating an intersubjective field within the improvisers and listeners. These motives also reliably trigger peak and optimal experiences, such as flow state.
{"title":"“My musical self-portrait”: The phenomenology of musical improvisation","authors":"Viktor Kemény, Szabolcs Bandi, Dorian Vida, Mátyás Káplár, György Révész","doi":"10.1177/03057356251316885","DOIUrl":"https://doi.org/10.1177/03057356251316885","url":null,"abstract":"Musical improvisation is a widely used practice within many musical genres and cultures. But although there have been several studies on the experience and psychological benefits of music listening and music making, few have focused specifically on musical improvisation outside the practices of music therapy and jazz improvisation. In this study, we aim to explore the phenomenology of musical improvisation to find the possible psychological motives and everyday mental health functions related to it. Semi-structured interviews were recorded with 11 musicians (2 female/10 male, mean age 27.8 years) and analyzed using Interpretative Phenomenological Analysis. The analysis found two master themes (with five emergent themes): self-actualization (with need for growth, self-expression, and peak experiences) and intersubjectivity (with receptivity and rapport). In this empirical study, we found that musical improvisation provides a medium for self-expression and self-exploration, and by creating an intersubjective field within the improvisers and listeners. These motives also reliably trigger peak and optimal experiences, such as flow state.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"16 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143915972","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 : 2025-04-30DOI: 10.1177/03057356251329229
Alinka E Greasley, Alice O’Grady, Shauna E Stapleton
Participation in electronic dance music events has a range of benefits for health and wellbeing and attracts a broad range of attendees, including those who no longer fit within the category of ‘youth’. Although a broadening demographic indicates growing diversification and inclusivity within club culture, experiences differ between groups and reveal socially constructed norms associated with age and gender. This study investigated older women’s motivations for and experiences of participating in Electronic Dance Music (EDM) and explored how this group sustains and maintains their involvement. One hundred and thirty-six female clubbers aged 40 years or over (age range = 40–65 years) completed a survey. EDM participation played a central role in women’s mental and physical health and provided them with social connectedness, an outlet for self-expression, and a release from pressures of daily life. Despite these positive benefits, participation was not without challenges as women reported navigating other people’s views on what was deemed to be ‘appropriate’ behaviour for older, female clubbers and highlighted grappling with their own prejudices about age. The research identified strategies they use to manage their continued participation in a music scene traditionally associated with youth and considered the extent to which their experiences of ageing affect and shape their involvement.
{"title":"Age is just a number: Persistent participation in Electronic Dance Music by women over 40 years","authors":"Alinka E Greasley, Alice O’Grady, Shauna E Stapleton","doi":"10.1177/03057356251329229","DOIUrl":"https://doi.org/10.1177/03057356251329229","url":null,"abstract":"Participation in electronic dance music events has a range of benefits for health and wellbeing and attracts a broad range of attendees, including those who no longer fit within the category of ‘youth’. Although a broadening demographic indicates growing diversification and inclusivity within club culture, experiences differ between groups and reveal socially constructed norms associated with age and gender. This study investigated older women’s motivations for and experiences of participating in Electronic Dance Music (EDM) and explored how this group sustains and maintains their involvement. One hundred and thirty-six female clubbers aged 40 years or over (age range = 40–65 years) completed a survey. EDM participation played a central role in women’s mental and physical health and provided them with social connectedness, an outlet for self-expression, and a release from pressures of daily life. Despite these positive benefits, participation was not without challenges as women reported navigating other people’s views on what was deemed to be ‘appropriate’ behaviour for older, female clubbers and highlighted grappling with their own prejudices about age. The research identified strategies they use to manage their continued participation in a music scene traditionally associated with youth and considered the extent to which their experiences of ageing affect and shape their involvement.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"19 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143893535","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 : 2025-04-29DOI: 10.1177/03057356251331062
Oksana Komarenko, Rebecca Gold, Gerardo Ramirez
We investigate the prevalence, development, and impact of pre-performance rituals among music education students, uncovering their significant role in enhancing individual and group performance and in fostering community and belonging. Our study employed a mixed-methods approach, combining a survey of 97 undergraduate music students with an in-depth qualitative analysis of open-ended responses. We developed a novel framework to categorize rituals based on their instrumental purpose, psychological influence, and symbolic significance. With 93% of participants incorporating rituals into their preparation, these practices range from symbolic actions to direct performance strategies, highlighting a deep engagement with rituals across a spectrum of music disciplines. Our research further explores the development of these rituals through personal experimentation and community influence, emphasizing the critical role of educators and peers in shaping these practices. Group rituals, in particular, strengthen feelings of camaraderie and support among ensemble members, reinforcing the importance of rituals in creating a cohesive and supportive musical community. Our results offer insights for educators to integrate ritualistic practices into teaching strategies to enhance students’ performance, group identity, and psychological well-being.
{"title":"How music education students embrace pre-performance rituals to enhance their craft","authors":"Oksana Komarenko, Rebecca Gold, Gerardo Ramirez","doi":"10.1177/03057356251331062","DOIUrl":"https://doi.org/10.1177/03057356251331062","url":null,"abstract":"We investigate the prevalence, development, and impact of pre-performance rituals among music education students, uncovering their significant role in enhancing individual and group performance and in fostering community and belonging. Our study employed a mixed-methods approach, combining a survey of 97 undergraduate music students with an in-depth qualitative analysis of open-ended responses. We developed a novel framework to categorize rituals based on their instrumental purpose, psychological influence, and symbolic significance. With 93% of participants incorporating rituals into their preparation, these practices range from symbolic actions to direct performance strategies, highlighting a deep engagement with rituals across a spectrum of music disciplines. Our research further explores the development of these rituals through personal experimentation and community influence, emphasizing the critical role of educators and peers in shaping these practices. Group rituals, in particular, strengthen feelings of camaraderie and support among ensemble members, reinforcing the importance of rituals in creating a cohesive and supportive musical community. Our results offer insights for educators to integrate ritualistic practices into teaching strategies to enhance students’ performance, group identity, and psychological well-being.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"43 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143889530","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 : 2025-04-21DOI: 10.1177/03057356251325450
Eloise C Doherty, Margaret S Barrett, Wayne J Wilson
Music education for individuals with hearing loss has a long history, yet it is not comprehensively understood how children with hearing loss progress in mainstream instrumental music settings. The present study addressed this by assessing the progress of eight flute students, four with hearing loss who wore hearing aids and four with normal hearing, over 9 months of group lessons. Results showed that children with hearing loss achieved equivalent levels of musical skill to their peers with normal hearing when undertaking the same training. This suggests that children with hearing loss can participate in instrumental music lessons on the same basis as their typically hearing peers. Furthermore, they can do this by playing instruments that require careful attention to pitch and tone, such as the flute, rather than being limited to instruments of fixed pitch such as percussion or piano.
{"title":"How do children with hearing loss progress in group flute lessons compared to their normally hearing peers? A preliminary study","authors":"Eloise C Doherty, Margaret S Barrett, Wayne J Wilson","doi":"10.1177/03057356251325450","DOIUrl":"https://doi.org/10.1177/03057356251325450","url":null,"abstract":"Music education for individuals with hearing loss has a long history, yet it is not comprehensively understood how children with hearing loss progress in mainstream instrumental music settings. The present study addressed this by assessing the progress of eight flute students, four with hearing loss who wore hearing aids and four with normal hearing, over 9 months of group lessons. Results showed that children with hearing loss achieved equivalent levels of musical skill to their peers with normal hearing when undertaking the same training. This suggests that children with hearing loss can participate in instrumental music lessons on the same basis as their typically hearing peers. Furthermore, they can do this by playing instruments that require careful attention to pitch and tone, such as the flute, rather than being limited to instruments of fixed pitch such as percussion or piano.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"16 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143857538","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 : 2025-04-16DOI: 10.1177/03057356241311817
Helen Jossberger, Erkki Huovinen, Martin Ritter, Hans Gruber
This study explored how professional conductors understand the role of individual (purposeful) practice and how they describe the contents of such practice. Twelve professional conductors were interviewed and content analysis was used to analyze the data. The results show that the participants understood conducting as a lifelong learning process. Through intensive individual practice, they had built up a significant repertoire of musical works. Being well prepared allowed them to impart knowledge, which helped them to achieve an authoritative and communicative relationship with musicians. While technical aspects such as baton technique had been important during early career stages, these were mostly no longer practiced. Studying the score was perceived as the most central practice activity aiming at performance improvement. It required disciplined, persistent, and goal-oriented learning, and thus carried the marks of purposeful practice. Individual activities during score study were mainly carried out mentally and in particular situations supported with external tools (e.g., piano, audio recordings). The findings shed light on differences in opinion and implicit tensions, especially regarding memorization and the use of tools.
{"title":"Conductors’ views on individual practice activities","authors":"Helen Jossberger, Erkki Huovinen, Martin Ritter, Hans Gruber","doi":"10.1177/03057356241311817","DOIUrl":"https://doi.org/10.1177/03057356241311817","url":null,"abstract":"This study explored how professional conductors understand the role of individual (purposeful) practice and how they describe the contents of such practice. Twelve professional conductors were interviewed and content analysis was used to analyze the data. The results show that the participants understood conducting as a lifelong learning process. Through intensive individual practice, they had built up a significant repertoire of musical works. Being well prepared allowed them to impart knowledge, which helped them to achieve an authoritative and communicative relationship with musicians. While technical aspects such as baton technique had been important during early career stages, these were mostly no longer practiced. Studying the score was perceived as the most central practice activity aiming at performance improvement. It required disciplined, persistent, and goal-oriented learning, and thus carried the marks of purposeful practice. Individual activities during score study were mainly carried out mentally and in particular situations supported with external tools (e.g., piano, audio recordings). The findings shed light on differences in opinion and implicit tensions, especially regarding memorization and the use of tools.","PeriodicalId":47977,"journal":{"name":"Psychology of Music","volume":"108 1","pages":""},"PeriodicalIF":1.7,"publicationDate":"2025-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143841227","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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