Music Science最新文献_第2页

“If We Don’t Have a Good Relationship, We Won’t Deliver Anything Good”: Emotion Regulation in Small Music Ensembles, Insights from Higher Music Education “如果我们没有良好的关系，我们就不会提供任何好的东西”:小型音乐合奏中的情绪调节，高等音乐教育的启示

Music Science Pub Date : 2023-01-01 DOI: 10.1177/20592043231202009

Damla Tahirbegi

{"title":"“If We Don’t Have a Good Relationship, We Won’t Deliver Anything Good”: Emotion Regulation in Small Music Ensembles, Insights from Higher Music Education","authors":"Damla Tahirbegi","doi":"10.1177/20592043231202009","DOIUrl":"https://doi.org/10.1177/20592043231202009","url":null,"abstract":"Situated within the context of higher music education, the empirical orientation of this study is on the reflective accounts of young musicians participating in collaborative ensemble work in an educational institution in Norway. Drawing on theories of regulated learning from educational psychology, this study explores the affective and relational aspects of music students’ experiences of small ensembles. Specifically, it examines students’ perceptions of an ideal ensemble environment, socio-emotional challenges encountered during rehearsals, and the emotion-regulation strategies employed within these contexts. Eleven participants, 4 women and 7 men, with a median age of 22, were interviewed. The data were analyzed using a combination of inductive and deductive approaches to thematic analysis. The findings reveal that music students highly value collaborative ensembles as a gateway to acquiring new knowledge and performance skills, which are predominantly gained through peer interaction and active participation in the learning processes. Respect and receptivity emerged as critical qualities for fruitful musical collaborations. Notably, participants prioritized the well-being of the socio-emotional climate over musical competency, underscoring the formative role of emotions in these social learning environments. Furthermore, the study explored the self-reported emotion-regulation strategies employed by student musicians to maintain and/or re-establish a positive socio-emotional group climate. These regulation strategies involved both self- and other- directed processes.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"275 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135650487","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}

引用次数: 0

Widespread but Limited in Context: Absolute Tuning Judgments are Disrupted by Relative Pitch Cues 广泛但有限的语境:绝对调音判断被相对音高线索打乱

Music Science Pub Date : 2023-01-01 DOI: 10.1177/20592043231208626

Stephen C. Van Hedger, Noah R. Bongiovanni

{"title":"Widespread but Limited in Context: Absolute Tuning Judgments are Disrupted by Relative Pitch Cues","authors":"Stephen C. Van Hedger, Noah R. Bongiovanni","doi":"10.1177/20592043231208626","DOIUrl":"https://doi.org/10.1177/20592043231208626","url":null,"abstract":"Most listeners exhibit absolute pitch memory for familiar pitched sounds, ranging from simple tones (e.g., the “bleep” used to censor broadcast media) to rich, polyphonic melodies (e.g., excerpts from popular songs). Given that relative pitch is the predominant means of processing music for most listeners, this observed absolute pitch memory suggests that most listeners have hybrid representations, containing both absolute and relative pitch cues. The present experiment assesses how relative pitch cues influence absolute pitch memory in a variety of listening contexts, varying in terms of ecological validity. Participants were asked to explicitly judge different musical sounds (isolated notes, chords, scales, and short excerpts), varying in complexity, in terms of absolute tuning (i.e., whether a musical sound adhered to conventional, A440 tuning). Listeners showed robust above-chance performance in judging absolute tuning when the to-be-judged sounds did not contain relative pitch changes (i.e., isolated notes and chords), replicating prior work. Critically, however, performance was significantly reduced and was not statistically different from chance when the musical sounds contained relative pitch changes (scales and short excerpts). Taken together, the results suggest that most listeners possess some long-term memory for absolute tuning, but this ability has limited generalizability to more ecologically valid musical contexts that contain relative pitch changes.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134889452","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}

引用次数: 0

3D-Printed Musical Instruments: Lessons Learned from Five Case Studies 3d打印乐器:从五个案例研究中吸取的教训

Music Science Pub Date : 2023-01-01 DOI: 10.1177/20592043231210653

Ricardo Simian

{"title":"3D-Printed Musical Instruments: Lessons Learned from Five Case Studies","authors":"Ricardo Simian","doi":"10.1177/20592043231210653","DOIUrl":"https://doi.org/10.1177/20592043231210653","url":null,"abstract":"The music field is lively and creative, and innovation in the final product is a leading force in the sector. However, the physical instruments used by musicians to produce their craft are highly conservative and have developed little over the last centuries. Computers, audio software, and electronic musical instruments have been integrated into musical practice, but acoustic instrument design has remained virtually frozen. Although mass production methods are frequently applied to musical instrument production nowadays, the designs have changed minimally, which makes the musical landscape unique. Additive manufacturing (AM) provides novel possibilities that can be of interest in music and musical research. In this article, we present the results of five case studies on AM use within specific musical niches. Each niche represents a unique market space and cultural background that is critical in tradition-oriented environments. Starting from the analysis of these five case studies, we extract lessons on AM application to unique environments. From these, we discuss the potential for AM-driven innovation in design and production in general and propose a holistic evaluation matrix for identifying suitable market niches.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135562464","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}

引用次数: 0

Mental Effort and Expressive Interaction in Expert and Student String Quartet Performance 专家与学生弦乐四重奏演奏中的心理努力与表达互动

Music Science Pub Date : 2023-01-01 DOI: 10.1177/20592043231208000

Laura Bishop, Simon Høffding, Olivier Lartillot, Bruno Laeng

{"title":"Mental Effort and Expressive Interaction in Expert and Student String Quartet Performance","authors":"Laura Bishop, Simon Høffding, Olivier Lartillot, Bruno Laeng","doi":"10.1177/20592043231208000","DOIUrl":"https://doi.org/10.1177/20592043231208000","url":null,"abstract":"Resilience to changes in performance environments is a hallmark of expertise in music performance. Research has shown that skilled non-expert ensemble musicians maintain synchronization when visual interaction between them is disrupted, but that the quality of their expressive body motion changes. Our study extended these findings by testing how an expert string quartet responds to playing conditions that disrupt visual contact. We tested for potential effects on the musicians’ expressive head motion, sound quality, and mental effort. The Danish String Quartet (DSQ), a world-class classical ensemble, performed an excerpt from a Haydn piece five times without an audience, then once for an audience of about 20 people. During the performances without audience, their seating configuration was manipulated to disrupt their audiovisual interaction. Audio, head motion, eye-tracking, and pupillometry data were collected. The DSQ's data were compared to data from a student quartet who completed the same experiment. Our results show that the DSQ maintained the quality of their musical sound and interactive body motion across disruptive and non-disruptive conditions, but mental effort (indexed by pupil size) was greater in non-disruptive conditions. In contrast, the student quartet moved less overall than the DSQ, moved less when they could not see each other, and did not show differences in pupil size across conditions. The quartets spent a similar percentage of performance time watching their co-performers. These findings suggest that the quality of audio and visual components of the DSQ's performance do not require visual interaction to maintain; however, these musicians do interact visually when given the opportunity. This visual interaction stimulates greater mental effort, perhaps reflecting increased social engagement.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135506922","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}

引用次数: 0

Short-term Effects of Listening to Music on Breathing and Emotional Affect in People Suffering From Chronic Lung Diseases 听音乐对慢性肺病患者呼吸和情绪的短期影响

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043221074665

Ulrike Frischen, Antje Bullack, Ingo Roden, G. Kreutz

{"title":"Short-term Effects of Listening to Music on Breathing and Emotional Affect in People Suffering From Chronic Lung Diseases","authors":"Ulrike Frischen, Antje Bullack, Ingo Roden, G. Kreutz","doi":"10.1177/20592043221074665","DOIUrl":"https://doi.org/10.1177/20592043221074665","url":null,"abstract":"Chronic lung diseases (CLD) are often associated with abnormal, ineffective breathing patterns. Some studies already suggest that nonpharmacological interventions can have positive effects on symptoms related to CLD. However, in the current state of research there is a lack of studies investigating the influence of music listening on breathing rate and oxygen saturation in people affected by CLD. In the present study, we conducted two quasi-experiments to investigate the immediate effects of attentive music listening and music listening combined with a breathing instruction on breathing rate, oxygen saturation, and emotional affect in people affected by CLD and healthy controls. In total, we recruited 58 participants affected by CLD and healthy controls. Participants with CLD and healthy controls were either quasi-randomized to a music-oriented instruction (Experiment 1) or to a breathing-related instruction (Experiment 2). In both experiments we measured physiological measures and emotional affect during a baseline measurement (silence) and during one “relaxing” and one “activating” piece of music. We conducted 3 × 2 repeated measures analyses of variances with condition (baseline/relaxing music/activating music) on the first and group (with/without CLD) on the second factor for both experiments. The results of the experiments suggest that there is no immediate effect of music listening on breathing related outcomes irrespective of the instruction of participants. Moreover, we found some indication that the disease severity might influence the processing of the music. Future studies could investigate whether music listening as a long-term intervention can lead to more promising results in relation to improved breathing.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45171898","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}

引用次数: 0

Postural Variability in Piano Performance 钢琴演奏中的体位变异

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043221137887

Grace K. Wong, G. Comeau, D. Russell, V. Huta

{"title":"Postural Variability in Piano Performance","authors":"Grace K. Wong, G. Comeau, D. Russell, V. Huta","doi":"10.1177/20592043221137887","DOIUrl":"https://doi.org/10.1177/20592043221137887","url":null,"abstract":"Variability is inevitable in human movement and posture, including piano performance, although little research has been conducted in this area. The purpose of this study was to determine if, when comparing individuals to themselves, pianists demonstrate consistent postural angles within a task across multiple measurements and to ascertain if, between various tasks, there are discernible task-related postural patterns. Fifteen pianists participated in this study. Each pianist returned for a total of three measurement sessions. The tasks they were required to perform at each session were quiet sitting, raising their hands on and off the keyboard, playing an ascending and descending scale, sight reading, and playing a piece in three expressive conditions (i.e., deadpan, projected, exaggerated). The following postural angles were calculated based on motion capture data collected during the performance of these tasks: craniovertebral angle, head tilt, head-neck-trunk angle, trunk angle, thoracic angle, thoracolumbar angle, and lumbar angle. The within-person variability ratio across the three measurements was calculated for each angle and across all tasks. Task-related patterns in angles were examined by comparing the same postural angle across different tasks. Results showed that there is a considerable amount of within-person variability, but not enough to be inconsistent over time. Task-related patterns indicate that reading a musical score or playing at the extreme ends of the keyboard tend to involve leaning closer to the instrument. Implications for future studies, intervention studies in particular, include taking more than a single baseline measurement to provide a more accurate picture of an individual pianist's typical posture.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41490097","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}

引用次数: 2

Development of the Social Experience of a Concert Scales (SECS): The Social Experience of a Live Western Art Music Concert Influences People's Overall Enjoyment of an Event but not Their Emotional Response to the Music 音乐会社会体验的发展尺度（SECS）：现场西方艺术音乐会的社会体验影响人们对活动的整体享受，而不是他们对音乐的情感反应

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043221106478

Katherine O’Neill, Hauke Egermann

{"title":"Development of the Social Experience of a Concert Scales (SECS): The Social Experience of a Live Western Art Music Concert Influences People's Overall Enjoyment of an Event but not Their Emotional Response to the Music","authors":"Katherine O’Neill, Hauke Egermann","doi":"10.1177/20592043221106478","DOIUrl":"https://doi.org/10.1177/20592043221106478","url":null,"abstract":"Social experience is often considered to be a key motivating factor for engaging with leisure activities and attendance at music concerts is no exception. Despite this, until recently, there has been limited interest in measuring the collective or social experience of live concerts in a quantitative way. Therefore, we created and validated a new measure of the social experience of a concert. In a pilot study, 103 participants were recruited across two concert settings. An extensive list of 65 items was used to measure the social experience of a concert. Based on the results, the measurement scale was reduced to 22 items. In the main study, a further 113 participants were recruited at several concerts from a weekly series with a range of musical genres. Participants provided self-ratings of their social experience, emotional response (GEMIAC), enjoyment and demographic information in a paper survey. Based on the results of exploratory and confirmatory factor analysis we were able to reduce the number of items in the Social Experience of a Concert Scales (SECS) to 17 validated statements representing a five-factor model: Depth of Processing, Attention, Solidarity, Satisfaction, and Self-Definition. Using MANOVA, we tested the influence of these factors on the emotional response of participants to the music and found that they are not significant predictors; however, the social experience of a concert was found to be a significant predictor of enjoyment. We have developed and validated the first quantitative measure of the social experience of a Western art music concert. Our results also suggest that the emotional response to music and the overall experience of a concert are separate and that only the latter can be influenced by the social experience of a concert.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46464441","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}

引用次数: 5

Sweet Participation: The Evolution of Music as an Interactive Technology 甜蜜的参与:音乐作为一种互动技术的演变

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043221084710

Dorothy O. Shilton

引用次数: 4

Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity by Linda T. Kaastra 音乐表演认知过程分析的基础：音乐活动中的分布式认知

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043221108055

E. Payne

引用次数: 0

An Interactive Approach to Emotional Expression Through Musical Cues 通过音乐线索进行情感表达的互动方法

Music Science Pub Date : 2022-01-01 DOI: 10.1177/20592043211061745

Annaliese Micallef Grimaud, T. Eerola

{"title":"An Interactive Approach to Emotional Expression Through Musical Cues","authors":"Annaliese Micallef Grimaud, T. Eerola","doi":"10.1177/20592043211061745","DOIUrl":"https://doi.org/10.1177/20592043211061745","url":null,"abstract":"Previous literature suggests that structural and expressive cues affect the emotion expressed in music. However, only a few systematic explorations of cues have been done, usually focussing on a few cues or a limited amount of predetermined arbitrary cue values. This paper presents three experiments investigating the effect of six cues and their combinations on the music's perceived emotional expression. Twenty-eight musical pieces were created with the aim of providing flexible, ecologically valid, unfamiliar, new stimuli. In Experiment 1, 96 participants assessed which emotions were expressed in the pieces using Likert scale ratings. In Experiment 2, a subset of the stimuli was modified by participants (N = 42) via six available cues (tempo, mode, articulation, pitch, dynamics, and brightness) to convey seven emotions (anger, sadness, fear, joy, surprise, calmness, and power), addressing the main aim of exploring the impact of cue levels to expressions. Experiment 3 investigated how well the variations of the original stimuli created by participants in Experiment 2 expressed their intended emotion. Participants (N = 91) rated them alongside the seven original pieces, allowing the exploration of similarities and differences between the two sets of related pieces. An overall pattern of cue combinations was identified for each emotion. Some findings corroborate previous studies: mode and tempo were the most impactful cues in shaping emotions, and sadness and joy were amongst the most accurately recognised emotions. Novel findings include soft dynamics being used to convey anger, and dynamics and brightness being the least informative cues. These findings provide further motivation to investigate the effect of cues on emotions in music as combinations of multiple cues rather than as individual cues, as one cue might not give enough information to portray a specific emotion. The new findings and discrepancies are discussed in relation to current theories of music and emotions.","PeriodicalId":33047,"journal":{"name":"Music Science","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47055053","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}

引用次数: 4