Musicae Scientiae最新文献_第6页

Mapping the cultural elements that support and inhibit music teachers’ sociomusical identities in Chile 绘制支持和抑制智利音乐教师社会音乐身份的文化元素

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-12-01 DOI: 10.1177/10298649221110834

R. Angel-Alvarado, Guadalupe López-Íñiguez, Isabel Quiroga-Fuentes, Bayron Gárate-González

{"title":"Mapping the cultural elements that support and inhibit music teachers’ sociomusical identities in Chile","authors":"R. Angel-Alvarado, Guadalupe López-Íñiguez, Isabel Quiroga-Fuentes, Bayron Gárate-González","doi":"10.1177/10298649221110834","DOIUrl":"https://doi.org/10.1177/10298649221110834","url":null,"abstract":"Sociomusical identities determine the social positions of individuals based on traditions and historical backgrounds, deriving from the reciprocal interchange of cultural elements within social groups. This study aimed to identify the cultural elements that support and inhibit the sociomusical identities of music teachers in Chile. Because the country is exceptionally long and narrow, it was possible to examine the distinctive features of the sociomusical identities of teachers in its four geographical zones. Thirty school music teachers took part in semi-structured interviews, in which they shared their professional stories in terms of their social position and transcultural processes. The researchers took a humanistic standpoint, employing a multiple-case study design in which boundaries of time, space, and place formed the basis of the analysis of teachers’ stories. The findings reveal that sociomusical identities are supported and inhibited by elements of the national education system. Furthermore, music teaching is informed by music teachers’ personal interests, which in turn reflect their sociomusical identities resulting from their pedagogical knowledge, teaching experience, and the environmental conditions of their particular milieu. The implications are that country-wide generalizations about music pedagogy should be avoided, as each geographical zone has its own particular issues.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"6 1","pages":"761 - 776"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74999568","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}

引用次数: 2

Identity processes and musicians during the COVID-19 pandemic COVID-19大流行期间的身份流程和音乐家

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-12-01 DOI: 10.1177/10298649221102526

G. Breakwell, R. Jaspal

{"title":"Identity processes and musicians during the COVID-19 pandemic","authors":"G. Breakwell, R. Jaspal","doi":"10.1177/10298649221102526","DOIUrl":"https://doi.org/10.1177/10298649221102526","url":null,"abstract":"Musicians, both professional and amateur creators of music, faced economic, social, and psychological hardship during the pandemic. In this article, we use identity process theory from social psychology to interpret the potential impact of the COVID-19 pandemic on identity processes among musicians, including the significance of identity resilience and identity threat to their experience, and the strategies that may be employed in response to possible threats to identity. First, we provide a brief overview of empirical research into identity and well-being among musicians during the pandemic, which has shown the potential for identity threat and the multitude of coping strategies deployed by musicians during this period, most notably the move to virtual settings. We exemplify the theoretical observations made regarding identity processes and coping through three case studies focusing on quite different strategies musicians used to deal with identity threat during the 2020–2021 COVID-19 lockdowns. Awareness of the risks of identity threat and the variety of coping strategies that they can deploy against it could be valuable to musicians and others in the creative industries facing future societal upheavals. In crises, musicians can use music to create coping strategies both for themselves and to support others.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"96 1","pages":"777 - 798"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80631532","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}

引用次数: 2

Validation of the Musical Identity Measure: Exploring musical identity as a variable across multiple types of musicians 音乐身份测量的验证:探索音乐身份作为多种类型音乐家的变量

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-12-01 DOI: 10.1177/10298649221108576

Karen Burland, Dawn Bennett, Guadalupe López-Íñiguez

{"title":"Validation of the Musical Identity Measure: Exploring musical identity as a variable across multiple types of musicians","authors":"Karen Burland, Dawn Bennett, Guadalupe López-Íñiguez","doi":"10.1177/10298649221108576","DOIUrl":"https://doi.org/10.1177/10298649221108576","url":null,"abstract":"This article introduces the validation of a Musical Identity Measure (MIM), developed to support individuals’ self-conceptions in relation to their musical activities (e.g., performance, composition, music technology). Initial model validation was carried out using a principal axis factor analysis with a diverse and international sample of 336 musicians. The factor analysis revealed a four-factor measure: Musical Calling, Musical Self-Efficacy, Emotional Attachment, and Growth Mindset. Confirmatory factor analysis with the 25-item measure suggested that the model fit would be improved with the removal of three items, resulting in the same four-factor model with 22 items. Further validation with a different dataset confirmed MIM as a strong fit as a bifactor model. Measurement invariance tests confirmed that the bifactor structure was the same for male and female participants; individual measurement invariance in relation to age could not be fully examined due to variance in group sizes. Subsequent analysis of variance (ANOVA) calculations suggested gender differences in musical self-efficacy and highlighted possible changes in MIM factors across the lifespan. MIM has the potential to provide individuals with insights into their motivations to engage with musical activities, to help identify areas requiring additional support or guidance, and to support future-oriented decision making. The measure may also support educators and researchers wishing to understand and support the processes of musical development and skill acquisition.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"101 1","pages":"704 - 728"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88120313","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}

引用次数: 1

Always liminal, always learning: Why community learning is needed, and how to start 永远是有限的，永远是学习的:为什么需要社区学习，以及如何开始

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-12-01 DOI: 10.1177/10298649221122173

Nicola Beech

引用次数: 3

Musical identities in action: Embodied, situated, and dynamic 行动中的音乐身份:具体化的、定位的和动态的

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-12-01 DOI: 10.1177/10298649221108305

Raymond J MacDonald, Suvi Saarikallio

{"title":"Musical identities in action: Embodied, situated, and dynamic","authors":"Raymond J MacDonald, Suvi Saarikallio","doi":"10.1177/10298649221108305","DOIUrl":"https://doi.org/10.1177/10298649221108305","url":null,"abstract":"This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by how music is physically expressed and experienced), and situated (emergent from interaction with social contexts, technologies, and culture). Musical identities are presented as fluid and constructed through embodied and situated action. Interdisciplinary research on music and adolescence is utilized to show how the MIIA framework can be applied to specific contexts and how musical identities interact with other aspects of life. Examples of the embodied nature of musical identities are provided from early interactions to professional performance and everyday informal engagement. Technology is highlighted as one topical and situated context, using digital playlists and a recent online improvisation project as examples. Implications of the MIIA framework for education and health are also presented, proposing that a key goal of music education is the development of positive musical identities. Recent advances in humanities research such as post-qualitative inquiry (PQI) and metamodern philosophical theory are proposed as useful multidisciplinary approaches for developing new knowledge related to musical identities.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"32 1","pages":"729 - 745"},"PeriodicalIF":2.4,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78537654","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}

引用次数: 3

Book Review: Aaron Williamon, Jane Ginsborg, Rosie Perkins, and George Waddell. Performing music research: Methods in music education, psychology, and performance science 书评:亚伦·威廉，简·金斯伯格，罗茜·珀金斯，乔治·瓦德尔。表演音乐研究:音乐教育、心理学和表演科学的方法

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-11-28 DOI: 10.1177/10298649221129749

R. Timmers

引用次数: 0

Hearing functional harmony in jazz: A perceptual study of music-theoretical accounts of extended tonality 爵士乐中功能性和声的听觉:扩展调性的音乐理论描述的感性研究

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-11-05 DOI: 10.1177/10298649221122245

G. Cecchetti, S. Herff, Christoph Finkensiep, Daniel Harasim, M. Rohrmeier

{"title":"Hearing functional harmony in jazz: A perceptual study of music-theoretical accounts of extended tonality","authors":"G. Cecchetti, S. Herff, Christoph Finkensiep, Daniel Harasim, M. Rohrmeier","doi":"10.1177/10298649221122245","DOIUrl":"https://doi.org/10.1177/10298649221122245","url":null,"abstract":"Functional harmony is an integral part of many repertoires in the Western musical practices, including both diatonic and extended tonality. In the latter context, music-theoretical accounts suggest that the three octatonic equivalence classes (OECs) consisting of pitch-classes related by stacked minor-third intervals may be associated with tonic (T), dominant (D), and subdominant (S) functions. Whether this theoretical description of music is also relevant to the perception of music has not yet been tested empirically. In this study, 100 participants familiar with Western repertoires were presented with jazz chord progressions containing chord substitutions. When each stimulus had been played, participants predicted how many more chords they would have expected to hear before the progression could reach a plausible conclusion. We computed the similarity of responses for pairs of stimuli containing different harmonic substitutions and modeled such similarity values based on different measures of harmonic relatedness between substitutions. Data show that the OEC membership of substitutions strongly predicts the similarity of participants’ completion ratings. Bayesian mixed-effects modeling of similarity values further showed a categorical distinction between D and S as functional categories, on one hand, and T, on the other hand. The data also appear to reflect the prevalent influence of rock and pop repertoires on the participants, encouraging further research into the influence of stylistic diversity and musical expertise. Overall, results contribute to the characterization of listeners’ implicit knowledge of the principles of harmonic structure in extended tonality and support the relevance of OECs not only as descriptors of extended-tonal compositional practices but also parsimonious predictors of perceived functionality.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"16 1","pages":"672 - 697"},"PeriodicalIF":2.4,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87071809","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}

引用次数: 2

The effect of dichotic music presentation on ratings of emotional facial expressions 二元音乐呈现对情绪性面部表情评分的影响

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-11-04 DOI: 10.1177/10298649221126904

Erika Y Hae, Bianca DM Hatin

{"title":"The effect of dichotic music presentation on ratings of emotional facial expressions","authors":"Erika Y Hae, Bianca DM Hatin","doi":"10.1177/10298649221126904","DOIUrl":"https://doi.org/10.1177/10298649221126904","url":null,"abstract":"Music has a cross-modal influence on the emotional appraisal of pictures, probably due to a misattribution of emotion from music to the visually perceived images. Moreover, dichotic listening studies have demonstrated a left-ear (right-hemisphere) advantage for processing emotional and/or musical stimuli. The present study investigated the role of laterality in cross-modal affect misattribution: that is, whether visual judgments of emotion would be affected differently depending on which ear was presented with music via the dichotic listening task. Participants rated the emotionality of happy, sad, and neutral faces while listening to happy or sad music in one ear and white noise in the other. Baseline ratings without music were used as a comparison to see whether and how emotionality judgments shifted in the music conditions. As predicted, the results showed that happy music played to the left ear had a stronger cross-modal influence on ratings of sad faces than the same music played to the right ear. Furthermore, sad music affected the ratings of all faces regardless of whether it was played to the left or right ear. These results do not fully align with any given lateralized model of emotion processing, suggesting that other factors such as negativity bias may play a role.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"16 1","pages":"741 - 756"},"PeriodicalIF":2.4,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77068637","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}

引用次数: 0

Tell me what you see: An exploratory investigation of visual mental imagery evoked by music 告诉我你看到了什么:音乐引发的视觉心理意象的探索性调查

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-11-03 DOI: 10.1177/10298649221124862

S. Dahl, Antonio Stella, Thomas Bjørner

{"title":"Tell me what you see: An exploratory investigation of visual mental imagery evoked by music","authors":"S. Dahl, Antonio Stella, Thomas Bjørner","doi":"10.1177/10298649221124862","DOIUrl":"https://doi.org/10.1177/10298649221124862","url":null,"abstract":"The link between musical structure and evoked visual mental imagery (VMI), that is, seeing in the absence of a corresponding sensory stimulus, has yet to be thoroughly investigated. We explored this link by manipulating the characteristics of four pieces of music for synthesizer, guitars, and percussion (songs). Two original songs were selected on the basis of a pilot study, and two were new, specially composed to combine the musical and acoustical characteristics of the originals. A total of 135 participants were randomly assigned to one of the four groups who listened to one song each; 73% of participants reported experiencing VMI. There were similarities between participants’ descriptions of the mental imagery evoked by each song and clear differences between them. A combination of coding and content analysis produced 10 categories: Nature, Places and settings, Objects, Time, Movements and events, Color(s), Humans, Affects, Literal sound, and Film. Regardless of whether or not they had reported experiencing VMI, participants then carried out a card-sorting task in which they selected the terms they thought best described a scene or setting appropriate to the music they had heard and rated emotional dimensions. The results confirmed those of the content analysis. Taken together, participants’ ratings, descriptions of VMI, and selection of terms in the card-sorting task confirmed that new songs combining the characteristics of original songs evoke the elements of VMI associated with the latter. The findings are important for the understanding of the musical and acoustical characteristics that may influence our experiences of music, including VMI.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"1 1","pages":"717 - 740"},"PeriodicalIF":2.4,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77067450","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}

引用次数: 5

Expressive goals for performing musicians: The case of clarinetists 表演音乐家的表达目标:以单簧管演奏家为例

IF 2.4 3区心理学

Musicae Scientiae Pub Date : 2022-09-20 DOI: 10.1177/10298649221122155

A. Almeida, Weicong Li, Emery Schubert, John Smith, J. Wolfe

{"title":"Expressive goals for performing musicians: The case of clarinetists","authors":"A. Almeida, Weicong Li, Emery Schubert, John Smith, J. Wolfe","doi":"10.1177/10298649221122155","DOIUrl":"https://doi.org/10.1177/10298649221122155","url":null,"abstract":"Music can convey emotions. Even in the performance of written rather than improvised music, the performer can modify the way they play particular elements of the music to convey specific emotions. Considerable research attention has been paid to the ways in which performers convey a small set of so-called basic emotions. In the current work, we investigated how musicians think they can convey a larger set of emotions in their performances by modifying musical elements and varying playing parameters. We presented 12 clarinetists trained in Western classical music with 55 pairs of expressive goals (EGs) derived from a list of 11 (e.g., to make the music sound happy, sad, or expressive), and asked them to provide similarity judgments for each pair representing how well they thought they would be able to distinguish between them when performing four excerpts of music, and how they would do it. The similarity judgments produced dissimilarity scores that were grouped using cluster analysis to form six independent, coherent clusters of EGs. Four clusters consisted of, or included, EGs representing four basic emotions: happy/humorous; sad; angry/mad/ugly; and fearful. The other two clusters consisted of the EGs expressive/overly expressive/beautiful and deadpan. We therefore suggest that this set of six clusters could be used in future research on emotional and musical expression in music. Participants reported that to achieve specific EGs, they would vary the way they played a wider range of musical elements than in previous studies, albeit including many of the same elements. Among the playing parameters they reported, reed-bite force was mentioned most often, with consistent associations between more force and ugly or angry, and between less force and fearful and expressive EGs.","PeriodicalId":47219,"journal":{"name":"Musicae Scientiae","volume":"75 1","pages":"655 - 671"},"PeriodicalIF":2.4,"publicationDate":"2022-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83378914","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}

引用次数: 1