Pub Date : 2024-02-12DOI: 10.1177/03057356231225673
María Jánez-Álvarez, Iván Moreno-Llanos, Cristina Santacatalina-Pulido, Yinay José De León-Barrios, Eduardo García-Laredo, María Jesús Del Olmo-Barros, Cintia Rodríguez-Garrido
In the period between birth and approximately 9 months, adults introduce infants to triadic (adult–infant–object) communication. The objective of this study is to explore how early triadic interactions arise and develop in moderate–late preterm infants. We observed and analyzed seven preterm infants at 2, 3, and 4 months of age in triadic interactions with a caregiver and a sonorous object. In the first 2 months of the infant’s life, the responsibility for the interaction rests with the adult. As time went by, parents used a wider range of semiotic systems to communicate with the child, about and through the object. The results demonstrated the presence of triadic interactions in a preterm population beginning in the third month of life. Interaction is structured with the object, its sound, rhythm, and pauses. The parents’ use of pauses was adjusted to the child’s availability. These pauses became longer and more communicative over time, which allowed more participation on the part of the infants. Communication is facilitated by the rhythmic components of the triadic interaction (time/pauses/structure of the interaction sequence).
{"title":"Analysis of triadic interaction between parents, their preterm infants, and a sonorous object","authors":"María Jánez-Álvarez, Iván Moreno-Llanos, Cristina Santacatalina-Pulido, Yinay José De León-Barrios, Eduardo García-Laredo, María Jesús Del Olmo-Barros, Cintia Rodríguez-Garrido","doi":"10.1177/03057356231225673","DOIUrl":"https://doi.org/10.1177/03057356231225673","url":null,"abstract":"In the period between birth and approximately 9 months, adults introduce infants to triadic (adult–infant–object) communication. The objective of this study is to explore how early triadic interactions arise and develop in moderate–late preterm infants. We observed and analyzed seven preterm infants at 2, 3, and 4 months of age in triadic interactions with a caregiver and a sonorous object. In the first 2 months of the infant’s life, the responsibility for the interaction rests with the adult. As time went by, parents used a wider range of semiotic systems to communicate with the child, about and through the object. The results demonstrated the presence of triadic interactions in a preterm population beginning in the third month of life. Interaction is structured with the object, its sound, rhythm, and pauses. The parents’ use of pauses was adjusted to the child’s availability. These pauses became longer and more communicative over time, which allowed more participation on the part of the infants. Communication is facilitated by the rhythmic components of the triadic interaction (time/pauses/structure of the interaction sequence).","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139844953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-12DOI: 10.1177/03057356231225673
María Jánez-Álvarez, Iván Moreno-Llanos, Cristina Santacatalina-Pulido, Yinay José De León-Barrios, Eduardo García-Laredo, María Jesús Del Olmo-Barros, Cintia Rodríguez-Garrido
In the period between birth and approximately 9 months, adults introduce infants to triadic (adult–infant–object) communication. The objective of this study is to explore how early triadic interactions arise and develop in moderate–late preterm infants. We observed and analyzed seven preterm infants at 2, 3, and 4 months of age in triadic interactions with a caregiver and a sonorous object. In the first 2 months of the infant’s life, the responsibility for the interaction rests with the adult. As time went by, parents used a wider range of semiotic systems to communicate with the child, about and through the object. The results demonstrated the presence of triadic interactions in a preterm population beginning in the third month of life. Interaction is structured with the object, its sound, rhythm, and pauses. The parents’ use of pauses was adjusted to the child’s availability. These pauses became longer and more communicative over time, which allowed more participation on the part of the infants. Communication is facilitated by the rhythmic components of the triadic interaction (time/pauses/structure of the interaction sequence).
{"title":"Analysis of triadic interaction between parents, their preterm infants, and a sonorous object","authors":"María Jánez-Álvarez, Iván Moreno-Llanos, Cristina Santacatalina-Pulido, Yinay José De León-Barrios, Eduardo García-Laredo, María Jesús Del Olmo-Barros, Cintia Rodríguez-Garrido","doi":"10.1177/03057356231225673","DOIUrl":"https://doi.org/10.1177/03057356231225673","url":null,"abstract":"In the period between birth and approximately 9 months, adults introduce infants to triadic (adult–infant–object) communication. The objective of this study is to explore how early triadic interactions arise and develop in moderate–late preterm infants. We observed and analyzed seven preterm infants at 2, 3, and 4 months of age in triadic interactions with a caregiver and a sonorous object. In the first 2 months of the infant’s life, the responsibility for the interaction rests with the adult. As time went by, parents used a wider range of semiotic systems to communicate with the child, about and through the object. The results demonstrated the presence of triadic interactions in a preterm population beginning in the third month of life. Interaction is structured with the object, its sound, rhythm, and pauses. The parents’ use of pauses was adjusted to the child’s availability. These pauses became longer and more communicative over time, which allowed more participation on the part of the infants. Communication is facilitated by the rhythmic components of the triadic interaction (time/pauses/structure of the interaction sequence).","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139785050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-11DOI: 10.1177/03057356231222432
Michael S. Zelenak
While self-efficacy is known to play an important role in music performance, the magnitudes of reported effect sizes are inconsistent. The purpose of this meta-analysis was to estimate the population effect size for (a) the relationship between self-efficacy and achievement, (b) the relationship between self-efficacy and music performance anxiety (MPA), and (c) the influence of self-efficacy interventions. A literature search identified 220 self-efficacy studies with 46 meeting the inclusion criteria. Heterogeneity among findings required the use of a random-effects model. The results revealed a medium positive effect size between self-efficacy and achievement. Moderator analysis based on age identified a significant difference between secondary school and collegiate participants, while a comparison of instrumentalists and vocalists failed to reject the null. The relationship between self-efficacy and MPA exhibited a medium negative effect size with a significant difference between secondary school and collegiate participants. Self-efficacy interventions demonstrated a substantial impact on self-efficacy beliefs. Multiple contrasts identified differences in intervention effectiveness between K-12, collegiate, and older adult participants. The absence of vocal studies limited comparisons between instrumentalists and vocalists. This study establishes benchmarks for understanding self-efficacy’s role in music performance and makes recommendations for future research to improve achievement and the well-being of musicians.
{"title":"Self-efficacy and music performance: A meta-analysis","authors":"Michael S. Zelenak","doi":"10.1177/03057356231222432","DOIUrl":"https://doi.org/10.1177/03057356231222432","url":null,"abstract":"While self-efficacy is known to play an important role in music performance, the magnitudes of reported effect sizes are inconsistent. The purpose of this meta-analysis was to estimate the population effect size for (a) the relationship between self-efficacy and achievement, (b) the relationship between self-efficacy and music performance anxiety (MPA), and (c) the influence of self-efficacy interventions. A literature search identified 220 self-efficacy studies with 46 meeting the inclusion criteria. Heterogeneity among findings required the use of a random-effects model. The results revealed a medium positive effect size between self-efficacy and achievement. Moderator analysis based on age identified a significant difference between secondary school and collegiate participants, while a comparison of instrumentalists and vocalists failed to reject the null. The relationship between self-efficacy and MPA exhibited a medium negative effect size with a significant difference between secondary school and collegiate participants. Self-efficacy interventions demonstrated a substantial impact on self-efficacy beliefs. Multiple contrasts identified differences in intervention effectiveness between K-12, collegiate, and older adult participants. The absence of vocal studies limited comparisons between instrumentalists and vocalists. This study establishes benchmarks for understanding self-efficacy’s role in music performance and makes recommendations for future research to improve achievement and the well-being of musicians.","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139845934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-11DOI: 10.1177/03057356231222432
Michael S. Zelenak
While self-efficacy is known to play an important role in music performance, the magnitudes of reported effect sizes are inconsistent. The purpose of this meta-analysis was to estimate the population effect size for (a) the relationship between self-efficacy and achievement, (b) the relationship between self-efficacy and music performance anxiety (MPA), and (c) the influence of self-efficacy interventions. A literature search identified 220 self-efficacy studies with 46 meeting the inclusion criteria. Heterogeneity among findings required the use of a random-effects model. The results revealed a medium positive effect size between self-efficacy and achievement. Moderator analysis based on age identified a significant difference between secondary school and collegiate participants, while a comparison of instrumentalists and vocalists failed to reject the null. The relationship between self-efficacy and MPA exhibited a medium negative effect size with a significant difference between secondary school and collegiate participants. Self-efficacy interventions demonstrated a substantial impact on self-efficacy beliefs. Multiple contrasts identified differences in intervention effectiveness between K-12, collegiate, and older adult participants. The absence of vocal studies limited comparisons between instrumentalists and vocalists. This study establishes benchmarks for understanding self-efficacy’s role in music performance and makes recommendations for future research to improve achievement and the well-being of musicians.
{"title":"Self-efficacy and music performance: A meta-analysis","authors":"Michael S. Zelenak","doi":"10.1177/03057356231222432","DOIUrl":"https://doi.org/10.1177/03057356231222432","url":null,"abstract":"While self-efficacy is known to play an important role in music performance, the magnitudes of reported effect sizes are inconsistent. The purpose of this meta-analysis was to estimate the population effect size for (a) the relationship between self-efficacy and achievement, (b) the relationship between self-efficacy and music performance anxiety (MPA), and (c) the influence of self-efficacy interventions. A literature search identified 220 self-efficacy studies with 46 meeting the inclusion criteria. Heterogeneity among findings required the use of a random-effects model. The results revealed a medium positive effect size between self-efficacy and achievement. Moderator analysis based on age identified a significant difference between secondary school and collegiate participants, while a comparison of instrumentalists and vocalists failed to reject the null. The relationship between self-efficacy and MPA exhibited a medium negative effect size with a significant difference between secondary school and collegiate participants. Self-efficacy interventions demonstrated a substantial impact on self-efficacy beliefs. Multiple contrasts identified differences in intervention effectiveness between K-12, collegiate, and older adult participants. The absence of vocal studies limited comparisons between instrumentalists and vocalists. This study establishes benchmarks for understanding self-efficacy’s role in music performance and makes recommendations for future research to improve achievement and the well-being of musicians.","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139786097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-07DOI: 10.1177/03057356231223207
Yu Sun, Shangpeng Li, Zheng Li
Group identification is a key process in the development of an individual’s social identity. This study examined whether student-perceived social interactions in university ensembles could shape their group identification. The sample included 517 university students from 7 ensembles of 2 universities in China. Student-perceived teacher–student relationships, peer relationships, cooperation, and equity in university ensembles were measured by the revised College and University Classroom Environment Inventory. Students’ group identification was measured by the questionnaire for identification with art-based groups. Data were collected and further analyzed by structural equation modeling via Amos 23. The results showed that students’ perceptions of teacher–student relationships, peer relationships, and cooperation had positive effects on their identification with the university ensemble, but the teacher’s differential treatment had negative effects on their group identification.
{"title":"Student-perceived social interactions in university musical ensembles predicted group identification","authors":"Yu Sun, Shangpeng Li, Zheng Li","doi":"10.1177/03057356231223207","DOIUrl":"https://doi.org/10.1177/03057356231223207","url":null,"abstract":"Group identification is a key process in the development of an individual’s social identity. This study examined whether student-perceived social interactions in university ensembles could shape their group identification. The sample included 517 university students from 7 ensembles of 2 universities in China. Student-perceived teacher–student relationships, peer relationships, cooperation, and equity in university ensembles were measured by the revised College and University Classroom Environment Inventory. Students’ group identification was measured by the questionnaire for identification with art-based groups. Data were collected and further analyzed by structural equation modeling via Amos 23. The results showed that students’ perceptions of teacher–student relationships, peer relationships, and cooperation had positive effects on their identification with the university ensemble, but the teacher’s differential treatment had negative effects on their group identification.","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139797025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-07DOI: 10.1177/03057356231223207
Yu Sun, Shangpeng Li, Zheng Li
Group identification is a key process in the development of an individual’s social identity. This study examined whether student-perceived social interactions in university ensembles could shape their group identification. The sample included 517 university students from 7 ensembles of 2 universities in China. Student-perceived teacher–student relationships, peer relationships, cooperation, and equity in university ensembles were measured by the revised College and University Classroom Environment Inventory. Students’ group identification was measured by the questionnaire for identification with art-based groups. Data were collected and further analyzed by structural equation modeling via Amos 23. The results showed that students’ perceptions of teacher–student relationships, peer relationships, and cooperation had positive effects on their identification with the university ensemble, but the teacher’s differential treatment had negative effects on their group identification.
{"title":"Student-perceived social interactions in university musical ensembles predicted group identification","authors":"Yu Sun, Shangpeng Li, Zheng Li","doi":"10.1177/03057356231223207","DOIUrl":"https://doi.org/10.1177/03057356231223207","url":null,"abstract":"Group identification is a key process in the development of an individual’s social identity. This study examined whether student-perceived social interactions in university ensembles could shape their group identification. The sample included 517 university students from 7 ensembles of 2 universities in China. Student-perceived teacher–student relationships, peer relationships, cooperation, and equity in university ensembles were measured by the revised College and University Classroom Environment Inventory. Students’ group identification was measured by the questionnaire for identification with art-based groups. Data were collected and further analyzed by structural equation modeling via Amos 23. The results showed that students’ perceptions of teacher–student relationships, peer relationships, and cooperation had positive effects on their identification with the university ensemble, but the teacher’s differential treatment had negative effects on their group identification.","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139856949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-07DOI: 10.1177/03057356231221958
Xi Zhang
In tone languages where pitch is used to distinguish word meanings, questions arise about how tonal pitch is preserved in singing. While most studies focus on tone-melody matching by examining pitch changes between tones/notes, the pitch change of tones realized within individual notes is less investigated. This article explores how singers realized tones when singing in Chaozhou, a Southern Chinese language with a complex tonal system. It used a Chaozhou song containing 10 tonal patterns to collect data from 34 Chaozhou singers. Results show that tones are realized to varying degrees when sung, and pitch range, pitch level, and neighboring pitch of tones appear to be influential factors. Vocal training affected the realization of falling tones /53/ and /42/ by reducing the pitch fall and also affected rising tone /23/ with a larger pitch change being found for non-professional singers than for professionals. However, the singers’ experience of singing in Chaozhou did not greatly affect the tone realization. An effect of the metrical structure was only found for tones /53/ and /42/. In addition, tone sandhi affects tones /53/ and /21/. The analysis also hints at the potential effect of melodic intervals on the pitch change of tones when sung.
{"title":"Tones shape notes: The realization of lexical tones in Chaozhou songs","authors":"Xi Zhang","doi":"10.1177/03057356231221958","DOIUrl":"https://doi.org/10.1177/03057356231221958","url":null,"abstract":"In tone languages where pitch is used to distinguish word meanings, questions arise about how tonal pitch is preserved in singing. While most studies focus on tone-melody matching by examining pitch changes between tones/notes, the pitch change of tones realized within individual notes is less investigated. This article explores how singers realized tones when singing in Chaozhou, a Southern Chinese language with a complex tonal system. It used a Chaozhou song containing 10 tonal patterns to collect data from 34 Chaozhou singers. Results show that tones are realized to varying degrees when sung, and pitch range, pitch level, and neighboring pitch of tones appear to be influential factors. Vocal training affected the realization of falling tones /53/ and /42/ by reducing the pitch fall and also affected rising tone /23/ with a larger pitch change being found for non-professional singers than for professionals. However, the singers’ experience of singing in Chaozhou did not greatly affect the tone realization. An effect of the metrical structure was only found for tones /53/ and /42/. In addition, tone sandhi affects tones /53/ and /21/. The analysis also hints at the potential effect of melodic intervals on the pitch change of tones when sung.","PeriodicalId":509991,"journal":{"name":"Psychology of Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139797445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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