Musicae Scientiae最新文献

{"title":"Fugue for Four Voices: Building narratives through music behind bars","authors":"Inês Lamela","doi":"10.1177/10298649211015505","DOIUrl":"https://doi.org/10.1177/10298649211015505","url":null,"abstract":"The project On the Wings of a Piano . . . I Learn to Fly was developed with four women in custody inside a Portuguese prison during 2013–2014 over a period of eight months. Weekly individual sessions focused on improvisation, composition, memorization, and learning repertoire. This one-to-one work with participants resulted in the presentation of three distinct public performances in different contexts and for different audiences. Community music principles of decentralization, accessibility and equal opportunity were the foundation of a strong triangular relationship between the participants, the music they played on the piano, and the facilitator. With the narrative of each participant at its core, this article explores different ways in which this project can be identified as community music, despite the emphasis on individual work with each of the participants. The importance of adapting to each participant’s personal needs, requests and skills is highlighted, as well as the value of the affection developed between facilitator and participants. The subjectivity inherent in the involvement of the facilitator as a researcher is discussed, and the pedagogic outcomes of the project are also considered as an important contribution to research on music in prisons.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"9 1","pages":"303 - 316"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90602276","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}

{"title":"“A reward rather than a right”: Facilitators’ perspectives on the place of music in Norwegian prison exceptionalism","authors":"Áine Mangaoang","doi":"10.1177/10298649211014235","DOIUrl":"https://doi.org/10.1177/10298649211014235","url":null,"abstract":"Scholarship on prison music-making projects and programmes to date has largely overlooked the perspectives of prison music facilitators, who form an integral part of many prison music activities. The aim of the study, which was exploratory in nature, was to contribute to a better understanding overall of the relationship between music and imprisonment by focusing on the perspectives of prison music practitioners. Drawing from data collected in four Norwegian prisons through ethnographic research, data was analysed thematically with four key themes emerging: interpersonal communication and emotional connection; social responsibility; prison system and environment, and (in)difference and exclusion. The findings highlight the fact that the range of prison music activities offered in many Norwegian prisons affects music facilitators deeply in a number of ways, and support existing studies that find that prison music practices can contribute to creating a community of caring individuals both inside and outside prisons. Notably, the emergence of the (in)difference and exclusion theme demonstrates a more critical and nuanced view of prison music facilitators’ experiences as going beyond simplistic, romantic notions of music’s function in social transformation. Concerns raised for those who appear to be excluded or differentiated from music-making opportunities in prison – in particular foreign nationals and women – suggest that (even) in the Norwegian context, music in prisons remains a “reward” rather than a fundamental “right.” This study marks a step towards a richer and more critical understanding of prison musicking and aims to inform future research, practice, and the processes involved in the possibilities for offering music in prisons.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"14 1","pages":"274 - 289"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78926479","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}

{"title":"The social impact of music making","authors":"B. Bartleet, Lukas Pairon","doi":"10.1177/10298649211018533","DOIUrl":"https://doi.org/10.1177/10298649211018533","url":null,"abstract":"This Special Issue of Musicae Scientiae focuses on the growing field of music projects that seek to have a positive social impact. Research in this field is gaining significant momentum as musicians across the world are increasingly working on initiatives that feature a strong social dimension (see Sloboda et al., 2020). For example, these musicians are using participatory approaches to music making that facilitate conflict resolution, explore issues of racism, empower women’s human rights and build resiliency in youth (see Hesser & Bartleet, 2020). This burgeoning field of socially engaged practices encompasses projects of international reach, outreach programmes of arts organizations and local grass roots initiatives (see Bartleet & Howell, 2021). Despite the increasing numbers of musicians working in this realm, there are still major gaps in our understanding as to how and when music can operate as a mechanism of social impact. While the field is growing, more systematic research that brings together practitioners, scholars and participants is needed to keep up with the expansion of programs and practices worldwide. This Special Issue seeks to make important empirical and methodological contributions to this field by featuring articles that showcase emerging key contexts, practices, research approaches, findings and dimensions of social impact. It features six articles from scholars who have presented at meetings of the international research platform Social Impact of Music Making (SIMM) (www.simm-platform.eu). This international SIMM platform was developed in 2017 by a group of academics and practitioners from seven different countries, in order to develop and recognize this new multi-disciplinary field of research. The specific aim of the organization is to support critical research on the potential role that learning and making music can play in social and community work. SIMM is grateful to Musicae Scientiae for publishing this Special Issue. For a comparatively young field such as ours, perhaps not quite yet ready for its own journal, we have relied on the open arms of Musicae Scientiae, with its broader remit, being willing to embrace this work that falls somewhat outside the journal’s normal focus. This Special Issue presents research on social music practices that are occurring across a wide range of contexts, such as detention centres, traditional music festivals, culturally diverse communities, cities affected by war and impoverished and violence-stricken urban neighbourhoods. Most of the authors are active themselves as practitioners, offering a distinctive view of the intentions, creative processes and outcomes of these practices in concrete terms, as well as unique perspectives from those participating in these social music programmes themselves. The articles in this Special Issue illuminate the wide range of methodological possibilities that can be 1015465 MCS0010.1177/01634437211015465Media, Culture & SocietyEditorialeditorial20","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"50 1","pages":"271 - 273"},"PeriodicalIF":2.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81462719","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}

{"title":"Interval patterns are dependent on metrical position in jazz solos","authors":"P. Cross, Andrew Goldman","doi":"10.1177/10298649211033973","DOIUrl":"https://doi.org/10.1177/10298649211033973","url":null,"abstract":"During jazz improvisation, performers employ short recurrent musical motifs called licks. Past research has focused on the pitch, intervallic, and rhythmic characteristics of licks, but less attention has been paid to whether they tend to start in the same place within the measure (metrical dependence). Licks might be metrically dependent, and where a given lick starts in a measure (metrical position) may thus be part of the performer’s mental representation of that lick. Here we report the use of a corpus study to investigate whether licks are metrically dependent. We analyzed a subset of solos, all those in 4/4 time (n = 435), from the Weimar Jazz Database (WJD; Pfleiderer et al., 2017). Using a sliding window technique, we identified melodic sequences (interval n-grams) between 3 and 10 intervals in length. We counted the number of times each interval n-gram occurred, and noted the metrical position of the initial note of each occurrence, using different levels of quantization (8th and 16th note). We compared the entropy of the distribution of metrical positions for each n-gram—with lower values indicating a stronger metrical dependence—against simulated counterparts that assumed no relationship between an n-gram and its metrical position (no metrical dependence). Overall, we found that shorter n-grams were metrically dependent, with varying results for longer n-grams. We suggest two possible explanations: either mental representations of licks may encode their metrical features or the metrical position may make certain licks more accessible to the performer. On the basis of our findings we discuss future studies that could employ our methods.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"15 1","pages":"299 - 312"},"PeriodicalIF":2.4,"publicationDate":"2021-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75643726","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}

{"title":"Listening to music to cope with everyday stressors","authors":"A. Krause, W. Scott, Sarah Flynn, Beatrice Foong, Kitye Goh, Stephanie Wake, Dan J. Miller, D. Garvey","doi":"10.1177/10298649211030318","DOIUrl":"https://doi.org/10.1177/10298649211030318","url":null,"abstract":"Everyday stressors—the irritating and disturbing events that happen in the context of everyday life—are common. The present research examined the relationship between everyday stressors and the use of music listening as a coping mechanism. In particular, it examined the use of music listening to cope with different types of everyday stressor and examined the relationship between this usage and listener characteristics, including demographics and music engagement style. Participants in the USA, Australia, and Malaysia (N =553) completed an online survey. A factor analysis was used to identify five types of everyday stressor: Social, Financial, Performance Responsibilities, Work-related, and Daily Displeasures. Individuals listened to music significantly more often to cope with social and work-related stressors than performance responsibilities and daily displeasures. Moreover, individuals who demonstrated a stronger affective listening style and those who reported listening to music for emotion/problem-orientated and avoidance/disengagement reasons were found to listen to music most often to cope with everyday stressors. These findings have implications, for both listeners and health professionals, when considering how music listening can be used as a self-administered tool for coping with everyday stressors.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"34 1","pages":"176 - 192"},"PeriodicalIF":2.4,"publicationDate":"2021-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74523533","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}

{"title":"A systematic review of music-induced substance craving","authors":"Michael J. Silverman, Sonia Bourdaghs, Jessica M. Abbazio, Amy Riegelman","doi":"10.1177/10298649211030314","DOIUrl":"https://doi.org/10.1177/10298649211030314","url":null,"abstract":"Background: Conditioning- and cue-induced craving theories indicate that music has the potential to induce substance craving. A better understanding of this phenomenon could enhance treatment and prevent misuse, relapse, and overdose. Objective: The purpose of this systematic review was to locate and examine studies using music to induce substance craving in humans. We sought to discover if music can induce substance craving as well as specific aspects of the music and how it was used. Method: Adhering to the PRISMA Statement and Checklist, we conducted a systematic review of literature on music-induced substance craving in nine databases. We extracted data from studies meeting our inclusion criteria, which related to substance craving induced by music and data based on music intervention reporting guidelines. Results: We reviewed 751 research outputs. A total of 33 articles meeting the inclusion criteria were found, indicating that various types of music can induce alcohol, cannabis, nicotine, and general substance craving. In most of the studies, music was used as a component of a mood induction technique or in a virtual reality setting that led to craving. There tended to be a lack of detail about the music itself and most authors did not adhere to music intervention reporting guidelines. In the majority of studies, the researchers selected the music to induce negative mood states so as to elicit craving. Conclusion: Music has the potential to induce substance craving. While the music used in studies varied considerably and tended to be well controlled from a research design perspective, the music was not based on the music psychology literature, and authors did not adequately report essential aspects of the music. Implications for clinical practice, limitations, and suggestions for future research are provided.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"115 1","pages":"137 - 175"},"PeriodicalIF":2.4,"publicationDate":"2021-08-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80136913","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}

{"title":"Superior pitch identification ability is associated with better mental rotation performance","authors":"Jiancheng Hou, Chuansheng Chen, Q. Dong, V. Prabhakaran, V. Nair","doi":"10.1177/10298649211013409","DOIUrl":"https://doi.org/10.1177/10298649211013409","url":null,"abstract":"Musicians with absolute pitch ability show better spatial ability, but little is known about whether non-musicians’ pitch identification (PI) ability is associated with their spatial ability. In the present study, a PI test, two mental rotation (MR) tests (Three-Dimensional Mental Rotation [3DMR] and Spatial Relationship [SR]), and eight executive function (EF) tests were administered to a large sample (N = 525) of Chinese college students who were non-music majors. A subsample with superior PI ability (n = 42) was identified and compared with a sample with average PI ability matched in age and IQ (n = 42). Two-way analysis of covariance (ANCOVA) (PI ability x musical training, with gender as a covariate due to a minor difference in matching by gender) revealed that superior PI ability was associated with better performance on MR and various EF tests. Musical training was associated with performance on select visual and EF tests (i.e., visual perception, working memory, and executive attention control), but not with MR performance. Additional ANCOVA showed that PI ability was significantly associated with 3DMR, but not SR, even after scores on EF tests were included as covariates. These results indicate a unique association between PI ability and 3DMR, which helps shed light on the cognitive mechanisms related to PI ability.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"40 1","pages":"117 - 136"},"PeriodicalIF":2.4,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80158523","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}

{"title":"Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues","authors":"R. Chaffin, J. Ginsborg, James Dixon, Alexander P. Demos","doi":"10.1177/10298649211025491","DOIUrl":"https://doi.org/10.1177/10298649211025491","url":null,"abstract":"To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started (losses) and ended (gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues (PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"40 1","pages":"94 - 116"},"PeriodicalIF":2.4,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88841471","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}

{"title":"Expert pianists’ practice perspectives: A production and listening study","authors":"N. Loimusalo, Erkki Huovinen","doi":"10.1177/1029864920938838","DOIUrl":"https://doi.org/10.1177/1029864920938838","url":null,"abstract":"The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"4 1","pages":"480 - 508"},"PeriodicalIF":2.4,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87180802","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}

{"title":"Time-of-day practices echo circadian physiological arousal: An enculturated embodied practice in Hindustani classical music","authors":"Tanushree Agrawal, D. Shanahan, David Huron, Hannah Keller","doi":"10.1177/10298649211020053","DOIUrl":"https://doi.org/10.1177/10298649211020053","url":null,"abstract":"Traditionally, various Hindustani (North Indian) ragas have been performed at specific times of day, such as dawn, dusk, midday, and evening. Human physiology also exhibits common circadian patterns, with reduced arousal at night, rising during the morning, culminating in peak arousal, and then declining arousal towards the end of the day. This raises the question of how and whether the musical features of ragas for each time of day are related to these circadian patterns of arousal. We formally examined associations between traditionally designated time-of-day classifications and musical features from 65 Hindustani raga performances. Our results showed that only pitch-related features are predictive of time-of-day classifications. Surprisingly, non-pitch factors known to correlate with arousal, such as tempo, did not covary with raga time-of-day practices. In general, the results are consistent with rules for North Indian raga performances described by Vishnu Narayan Bhatkhande (1860–1936) that emphasize the presence or prevalence of particular tones in the raga. The results point to a combination of enculturated and embodied influences in conveying musical arousal. Specifically, they suggest that while time-of-day-related raga listening practices may have been initially influenced by embodied processes, they have ultimately been reshaped by pitch-related cultural norms.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"30 1","pages":"70 - 93"},"PeriodicalIF":2.4,"publicationDate":"2021-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84681801","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}