Music & Science最新文献

Family-centered Music Therapy as Procedural Support in the Pediatric Outpatient Unit: A Mixed Methods Pilot Study 以家庭为中心的音乐疗法作为儿科门诊病房的程序支持：混合方法试点研究

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231225734

Aviva Katzeff Silberstein, Emmy Ligård, Sara M. Edlund, Alexandra Ullsten

{"title":"Family-centered Music Therapy as Procedural Support in the Pediatric Outpatient Unit: A Mixed Methods Pilot Study","authors":"Aviva Katzeff Silberstein, Emmy Ligård, Sara M. Edlund, Alexandra Ullsten","doi":"10.1177/20592043231225734","DOIUrl":"https://doi.org/10.1177/20592043231225734","url":null,"abstract":"Needle procedures are one of the most common reasons for children to visit hospitals. If unaddressed, negative needle experiences can worsen over time and lead to needle noncompliance, needle fears, and healthcare avoidance. This mixed methods pilot study tested the effect of combined music therapy and standard pharmacological care compared to standard care alone on fear and discomfort in children in connection to a scheduled needle procedure. Children and their parents were also interviewed on their general experience of music therapy and how they regulated fear and discomfort during needle procedures while participating in music therapy. Thirty children aged 0 to 15 and their parents were recruited at the pediatric outpatient unit at The Central Hospital in Karlstad, Sweden. The participants were randomized to an intervention group with music therapy and to a control group that received standard care alone. The children rated their fear and discomfort before, during and after a needle procedure on a child-friendly visual analogue scale. The children and parents who were randomized to the music therapy condition were interviewed about their experiences of music therapy as procedural support. No significant differences between the intervention group and the group with standard care alone were found, indicating that the two groups were equivalent with regard to experienced fear and discomfort. The content analysis of the interviews indicated that the children and their parents considered that the music therapy intervention promoted the participants’ emotion regulation, promoted adaptive coping strategies for both children and the parents, and favorably but also ambivalently affected the context and interactions in the procedural room.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139631228","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

Music and Dance Training are not Uniquely Associated with Memory Skills 音乐和舞蹈训练与记忆能力并无独特联系

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231222124

Riya K. Sidhu, Kaitlin N. Ritchie, Kathleen A. Corrigall

{"title":"Music and Dance Training are not Uniquely Associated with Memory Skills","authors":"Riya K. Sidhu, Kaitlin N. Ritchie, Kathleen A. Corrigall","doi":"10.1177/20592043231222124","DOIUrl":"https://doi.org/10.1177/20592043231222124","url":null,"abstract":"Music training is robustly associated with cognitive skills, and with tonal and verbal memory more specifically. However, it is unclear whether these associations reflect near or far transfer and/or whether they indicate pre-existing differences between those who do or do not take music lessons for long durations. Dance training may similarly rely on or train visuospatial memory abilities and produce exercise-induced benefits for working memory, but there is far less research on its associations with cognition. In Study 1, women with varying durations of formal music and dance experience completed measures of visual and auditory memory, general intelligence, demographics, and personality. Music training was associated with auditory immediate and delayed memory, as well as visual working memory, but all associations disappeared when other variables were held constant. Furthermore, dance training was not associated with any memory measure. Study 2 was similar but focused on visual memory and included both men and women. We replicated the simple association between duration of music training and visual working memory, which once again ceased to remain significant when controlling for other variables. Similarly, dance training failed to correlate with any visual memory measure despite the use of more valid visual memory tasks. Our findings suggest that memory advantages among musicians most likely result from pre-existing differences rather than near transfer and provide no evidence of transfer from dance training to visual memory.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"4 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633422","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

Melodic Differences Between Styles: Modeling Music With Step Inertia 不同风格之间的旋律差异：用步进惯性模拟音乐

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231225731

Matt Chiu, David Temperley

{"title":"Melodic Differences Between Styles: Modeling Music With Step Inertia","authors":"Matt Chiu, David Temperley","doi":"10.1177/20592043231225731","DOIUrl":"https://doi.org/10.1177/20592043231225731","url":null,"abstract":"A well-known phenomenon in melodic structure is “step inertia”: the tendency for a step to be followed by another step in the same direction. There is strong evidence of step inertia in three corpora of Western common-practice melodies: European folk songs, classical instrumental themes, and English hymn tunes. Surprisingly, modern Western popular music does not reflect step inertia. In Billboard’s Hot 100, and Rolling Stone magazine's list of “greatest songs,” inertial (same-direction) steps are less likely than non-inertial ones. To further explore the role of step inertia in different corpora, we created a generative model that assigns probabilities to melodies, considering just four factors: range, pitch proximity, scale-degree frequency within a key, and step inertia. We optimized the weights of these factors for the Essen Folksong Collection and the Billboard corpus, and compared them with n-gram models. The optimal (normalized) weight of the inertia factor is large and positive for the Essen collection (.51) and small for the Billboard corpus (.02). This is further evidence that step inertia plays a much smaller role in popular melodies than common-practice ones, and that non-inertial steps are slightly favored.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140516839","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

Enacting Musical Aesthetics: The Embodied Experience of Live Music 演绎音乐美学：现场音乐的体现体验

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231225732

Remy Martin, Nanette Nielsen

{"title":"Enacting Musical Aesthetics: The Embodied Experience of Live Music","authors":"Remy Martin, Nanette Nielsen","doi":"10.1177/20592043231225732","DOIUrl":"https://doi.org/10.1177/20592043231225732","url":null,"abstract":"The vitality and affective potential of the live concert experience is a result of rich, cross-sensory interactions and varied participatory practices. The complexity of such entanglements has recently led philosophers to argue for an enactive, affordance-based approach that interrogates a variety of perceptual and sensory possibilities inherent in aesthetic experiences. Further, Shaun Gallagher's recent addition of the 4As (Affect, Agency, Affordance, Autonomy) to the 4Es (Embodied, Embedded, Enacted, Extended) for clarifying mind–world relations seem to have potent explanatory power for these kinds of encounters. Building on such current philosophical approaches while examining specific (and actual) live musical engagement, this article offers an interpretation of selected audience data from the MusicLab Copenhagen with the Danish String Quartet research concert to discuss particular responses from the audience physically present at the venue. Responding to neuroaesthetic approaches, we clarify the audience members’ individual and collective aesthetic experience through an enactive, affordance-based approach. We suggest that what is at play in the live concert environment is a mode of attentive dynamic listening. Rather than seeking to characterize the audience as passively responding to music, a 4Es/4As approach to aesthetic experience seeks to clarify embodied-enactive audience engagement for which anticipation is a dynamic factor that enables further musical action and resonance, also for the musicians on stage.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140521812","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

Musical Genre Preferences among School Students: The Role of the Family Background and Musical Instruments Learning 小学生的音乐体裁偏好：家庭背景和乐器学习的作用

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043241236639

Norbert Szabó, Fanni Földi, Tun Zaw Oo, Gábor Csizmadia, Kristian Józsa

{"title":"Musical Genre Preferences among School Students: The Role of the Family Background and Musical Instruments Learning","authors":"Norbert Szabó, Fanni Földi, Tun Zaw Oo, Gábor Csizmadia, Kristian Józsa","doi":"10.1177/20592043241236639","DOIUrl":"https://doi.org/10.1177/20592043241236639","url":null,"abstract":"The study presents the results of research that examines the popularity of videos representing four different musical styles among students aged 9–19 ( N = 1159). The measuring instrument was a self-developed online questionnaire that explores students’ musical genre opinions based on four types of music videos: street music, rock music, classical music, and folk music. In relation to the musical pieces, we inquired about background aspects, with a specific focus on engagement in instrument presentations and the viewing of music programs. We analyze the data considering the context of learning a musical instrument and attitudes toward instrument training and family background. Findings show that the perception of genres varies significantly between students who play instruments and those who do not, as well as based on their family background. Among the seven groups of students, encompassing both instrument learners and non-learners, a distinct pattern emerges those who neither learn nor have a desire to learn an instrument exhibit notably lower fondness for musical compositions. Furthermore, significant differences are apparent among the students based on the educational level of their parents. The implication of this study lies in its revelation of how instrument training and parental education significantly shape students’ musical opinions, underscoring the need for targeted interventions to enhance music education experiences and enrich young individuals’ musical tastes.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"10 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140527087","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

In Search of the “Phonograph Effect”: Sonic Gestures in Violin Performance and Their Modification by Early Recording and Playback Devices (1901–1933) 寻找 "留声机效应"：小提琴演奏中的声波手势及其在早期录音和重放设备（1901-1933 年）中的变化

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043241226832

Frithjof Vollmer, Boris-Alexander Bolles

{"title":"In Search of the “Phonograph Effect”: Sonic Gestures in Violin Performance and Their Modification by Early Recording and Playback Devices (1901–1933)","authors":"Frithjof Vollmer, Boris-Alexander Bolles","doi":"10.1177/20592043241226832","DOIUrl":"https://doi.org/10.1177/20592043241226832","url":null,"abstract":"To what extent did early recording technology affect the creation and representation of musical performances? According to Mark Katz (from 1999 onwards), historical studio environments led to crucial shifts in 20th century violin performances due to the restrictions imposed by early recording and reproduction devices (“phonograph effects”). In particular, this may have affected sonic gestures that include expressive means such as vibrato, portamento, articulation, and timbre variation. In order to trace potential modifications, we reenacted a 1911 “Liebesleid” performance by one of the most influential violinists of the 20th century, Fritz Kreisler. We then digitally ascertained the full acoustic transfer paths (impulse responses, IRs) from the 1911 studio to 20 historical gramophone setups and applied them to the reenactment. In this way, for the first time, our study generated comparative IR findings across multiple gramophones, soundboxes, and horns built by different manufacturers between 1901 and 1933. Sonic gestures were found to induce significant level modifications of up to 20 dB due to the devices’ resonances, leading to dynamical variations that have never been part of the performance. Accordingly, Kreisler's famous “golden tone” is due, in part, to the recording technologies of his time. Therefore, early recordings should not be understood as “neutral witnesses” but rather as artifacts with substantial influence on the creation and reproduction of musical performance(s).","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140518060","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

Mel2Word: A Text-Based Melody Representation for Symbolic Music Analysis Mel2Word：用于符号音乐分析的基于文本的旋律表示法

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231216254

Saebyul Park, Eunjin Choi, Jeounghoon Kim, Juhan Nam

引用次数: 0

End-to-End Bayesian Segmentation and Similarity Assessment of Performed Music Tempo and Dynamics without Score Information 在没有乐谱信息的情况下对已演奏音乐的节奏和动态进行端到端贝叶斯分割和相似性评估

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043241233411

Corentin Guichaoua, Paul Lascabettes, Elaine Chew

{"title":"End-to-End Bayesian Segmentation and Similarity Assessment of Performed Music Tempo and Dynamics without Score Information","authors":"Corentin Guichaoua, Paul Lascabettes, Elaine Chew","doi":"10.1177/20592043241233411","DOIUrl":"https://doi.org/10.1177/20592043241233411","url":null,"abstract":"Segmenting continuous sensory input into coherent segments and subsegments is an important part of perception. Music is no exception. By shaping the acoustic properties of music during performance, musicians can strongly influence the perceived segmentation. Two main techniques musicians employ are the modulation of tempo and dynamics. Such variations carry important information for segmentation and lend themselves well to numerical analysis methods. In this article, based on tempo or loudness modulations alone, we propose a novel end-to-end Bayesian framework using dynamic programming to retrieve a musician's expressed segmentation. The method computes the credence of all possible segmentations of the recorded performance. The output is summarized in two forms: as a beat-by-beat profile revealing the posterior credence of plausible boundaries, and as expanded credence segment maps, a novel representation that converts readily to a segmentation lattice but retains information about the posterior uncertainty on the exact position of segments’ endpoints. To compare any two segmentation profiles, we introduce a method based on unbalanced optimal transport. Experimental results on the MazurkaBL dataset show that despite the drastic dimension reduction from the input data, the segmentation recovery is sufficient for deriving musical insights from comparative examination of recorded performances. This Bayesian segmentation method thus offers an alternative to binary boundary detection and finds multiple hypotheses fitting information from recorded music performances.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"47 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140519447","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

The Experience of Music in Aphantasia: Emotion, Reward, and Everyday Functions 幻觉症患者的音乐体验：情感、奖赏和日常功能

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231216259

Sarah Hashim, Claudia Pulcini, A. Jansari, M. Küssner, Diana Omigie

{"title":"The Experience of Music in Aphantasia: Emotion, Reward, and Everyday Functions","authors":"Sarah Hashim, Claudia Pulcini, A. Jansari, M. Küssner, Diana Omigie","doi":"10.1177/20592043231216259","DOIUrl":"https://doi.org/10.1177/20592043231216259","url":null,"abstract":"Visual imagery has been proposed to be one of eight mechanisms by which music induces emotion in listeners. Initial research into aphantasia, a condition referring to individuals who do not (or only minimally) form visual imagery in their mind's eye, suggests that aphantasics may experience reduced emotional experiences in response to imagined stimuli. In this two-part online investigation, we sought to explore the emotional experiences of aphantasics within the context of music listening. In Survey 1, we compared 51 aphantasics to 51 control individuals in terms of their experiences of visual imagery, liking, and felt emotional intensity when listening to three film music excerpts. We found significant group differences in terms of visual imagery and felt emotional intensity, but not liking. In Survey 2, we examined aphantasics’ ability to recognize emotions conveyed by music, and their patterns of experience of, and engagement with, music in everyday life by comparing the responses of 29 aphantasics with 29 matched controls. We found no differences in terms of emotion discrimination ability. However, aphantasics generally experienced less Reminiscence (dimension from the Adaptive Functions of Music Listening scale) to music, as well as fewer Episodic Memories (dimension from the MecScale). Aphantasics and control listeners did not exhibit differences in terms of sensitivity to musical reward (measured using the BMRQ) or in terms of musical sophistication (measured using the Gold-MSI). Finally, our findings suggest nuanced differences between controls and those with pure and minimal aphantasia. In all, we reveal the influence that aphantasia can have on emotional responses to music and thus provide further evidence for the relationship between visual imagery and music-induced emotion.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"75 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139536757","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

A Survey into Piano Teachers’ Perceptions of Music Memorization in One-to-one Piano Lessons: A Preliminary Study 钢琴教师对一对一钢琴课音乐记忆的看法调查：初步研究

Music & Science Pub Date : 2024-01-01 DOI: 10.1177/20592043231225733

Chara Steliou, Kelly Jakubowski

{"title":"A Survey into Piano Teachers’ Perceptions of Music Memorization in One-to-one Piano Lessons: A Preliminary Study","authors":"Chara Steliou, Kelly Jakubowski","doi":"10.1177/20592043231225733","DOIUrl":"https://doi.org/10.1177/20592043231225733","url":null,"abstract":"Despite more than a century of research on music memorization and practicing strategies, there is a lack of comprehensive evidence on how instrumental music teachers teach memorization to children and adolescents in one-to-one lessons. The present qualitative study investigated the diversity of ways in which music memorization is taught in one-to-one piano lessons. Piano teachers (N = 37) completed an online survey collecting qualitative responses regarding music memorization. Participants were asked to give a brief description of music memorization, how they memorize as performers and how they teach music memorization to their students, amongst other questions. Results indicate that music memorization is perceived by most teachers as a skill that develops through practice rather than a natural talent. Reported strategies for teaching memorization fell into four categories: aural, visual, kinesthetic, and analytical, which align with previous theoretical conceptualizations of musical memorization. Recurring mentions of muscle memory practice and music theory knowledge suggest that kinesthetic and analytical methods are qualitatively dominant in the way teachers 1) define music memorization, 2) memorize as performers, and 3) teach music memorization. This suggests that aural and visual memorization methods might be less explored by piano teachers of children and adolescents and future research could be conducted in this area.","PeriodicalId":436334,"journal":{"name":"Music & Science","volume":"30 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139637185","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

Music &amp; Science最新文献

Music & Science最新文献