Relevant bibliographies by topics / Music-making behavior

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music-making behavior'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Music-making behavior"

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Palazzi, Ambra, Bruna Wagner Fritzen, and Gustavo Gauer. "Music-induced emotion effects on decision-making." Psychology of Music 47, no. 5 (2018): 621–43. http://dx.doi.org/10.1177/0305735618779224.

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This qualitative systematic review aimed to examine music-induced emotion effects on decision-making. Empirical articles published from 2006 to 2016 were searched for in PubMed and PsycInfo. Through the main search, 634 records were identified and 15 articles were included and analyzed according to the following categories: aims of the study, participants, study design, type of music, type of emotion, decision-making tasks, and study results. The included studies aimed to investigate the effects of music on prosociality and aggression, risk-taking, and other decision-making processes. All stud
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Reybrouck, Mark, Piotr Podlipniak, and David Welch. "Music Listening as Coping Behavior: From Reactive Response to Sense-Making." Behavioral Sciences 10, no. 7 (2020): 119. http://dx.doi.org/10.3390/bs10070119.

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Coping is a survival mechanism of living organisms. It is not merely reactive, but also involves making sense of the environment by rendering sensory information into percepts that have meaning in the context of an organism’s cognitions. Music listening, on the other hand, is a complex task that embraces sensory, physiological, behavioral, and cognitive levels of processing. Being both a dispositional process that relies on our evolutionary toolkit for coping with the world and a more elaborated skill for sense-making, it goes beyond primitive action–reaction couplings by the introduction of h
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Colverson, Aaron, Damon Lamb, Cyndi Garvan, et al. "Relationships Between Music and Empathic Decision Making in Healthy Young Adults." Music & Science 4 (January 1, 2021): 205920432110158. http://dx.doi.org/10.1177/20592043211015865.

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Music and empathy are components of social experience. Similar and adjacent functional brain systems are required in the production and understanding of music, the processing of emotion, and engagement in social behavior. Activity in these brain systems is often reflected in autonomic features, including dynamic behavior of the parasympathetic and sympathetic nervous systems. Music may influence prosocial behavior and this effect may be reflected by the behavior of the autonomic nervous system. This experiment was designed to evaluate these relationships. Healthy undergraduate students ( N = 6
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Kirschner, Sebastian, and Michael Tomasello. "Joint music making promotes prosocial behavior in 4-year-old children☆☆☆." Evolution and Human Behavior 31, no. 5 (2010): 354–64. http://dx.doi.org/10.1016/j.evolhumbehav.2010.04.004.

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Bryant, Gregory A. "The evolution of coordinated vocalizations before language." Behavioral and Brain Sciences 37, no. 6 (2014): 549–50. http://dx.doi.org/10.1017/s0140525x1300397x.

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AbstractAckermann et al. briefly point out the potential significance of coordinated vocal behavior in the dual pathway model of acoustic communication. Rhythmically entrained and articulated pre-linguistic vocal activity in early hominins might have set the evolutionary stage for later refinements that manifest in modern humans as language-based conversational turn-taking, joint music-making, and other behaviors associated with prosociality.
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Cesareo, Ludovica, and Alberto Pastore. "Consumers’ attitude and behavior towards online music piracy and subscription-based services." Journal of Consumer Marketing 31, no. 6/7 (2014): 515–25. http://dx.doi.org/10.1108/jcm-07-2014-1070.

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Purpose – This paper analyzes consumers’ attitudes and behaviors towards online piracy and their willingness to try subscription-based music services. The objective is to develop and test an attitude-intention model which includes ethical considerations in consumers’ decision making process regarding music consumption. Design/methodology/approach – The study analyzes 505 consumer questionnaires using a structural equations model. Findings – Attitude toward online piracy is positively determined by economic and hedonic benefits and negatively by moral judgment. A favorable attitude toward onlin
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Fenn, John. "The Building of Boutique Effects Pedals—The “Where” of Improvisation." Leonardo Music Journal 20 (December 2010): 67–72. http://dx.doi.org/10.1162/lmj_a_00014.

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Based on 2 years of ethnographic fieldwork with builders of boutique music effects boxes, this essay explores the ways in which improvisation figures into the creation of music technology. The author argues that expanding the rubric of improvisation to encompass the processes of designing and building effects boxes pushes scholars to understand relationships between music and improvisation as existing beyond the boundaries of performance. Ultimately he posits that improvisatory behavior and exploratory engagement with material at hand is central to building pedals, and should be assessed as pa
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Clements, Alexander M. "Joint Music Making and Prosocial Behavior in Infants and Young Children: A Review of Literature." Perspectives: Journal of the Early Childhood Music & Movement Association 13, no. 1 (2018): 4–15. http://dx.doi.org/10.1386/ijmec_0361_1.

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Lewis, George E. "Too Many Notes: Computers, Complexity and Culture in Voyager." Leonardo Music Journal 10 (December 2000): 33–39. http://dx.doi.org/10.1162/096112100570585.

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The author discusses his computer music composition, Voyager, which employs a computer-driven, interactive & “virtual improvising orchestra” that analyzes an improvisor's performance in real time, generating both complex responses to the musician's playing and independent behavior arising from the program's own internal processes. The author contends that notions about the nature and function of music are embedded in the structure of software-based music systems and that interactions with these systems tend to reveal characteristics of the community of thought and culture that produced the
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Figueiredo, Edson Antônio de Freitas. "Associations between training, employment, and motivational styles of Brazilian instrumental music teachers." International Journal of Music Education 37, no. 2 (2019): 198–209. http://dx.doi.org/10.1177/0255761419839170.

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Teachers follow a motivational style based on their own beliefs about motivation affected by environmental events. External events such as rules and traditions often affect orientation towards controlling; however, it is not known if events such as training and employment affect the extent to which music teachers try to control a student’s behavior. The aim of the current study is to investigate associations between the motivational styles of instrumental music teachers, their training, and the type of employment they possess. A survey was conducted with 358 instrumental music teachers. Partic
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Dissertations / Theses on the topic "Music-making behavior"

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Morehouse, Paul G. "Investigating Young Children's Music-making Behavior: A Developmental Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cgu_etd/73.

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We have many developmental theories contributing to our understanding of children as they meander steadfastly toward maturation. Yet, none have reported on how young children interpret the qualitative meaning and importance of their own music-making experiences. Music created by average, not prodigious, young children is perceived by adults as “play” music rather than “real” music. But do young children take the same view as adults? When Piaget speaks of the young child’s qualitatively unique view and experience of the world (Ginsberg & Opper, 1988), can we assume that his statement encompasse
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Cary, Melissa A. "Making Music Sustainable: The Case of Marketing Summer Jamband Festivals in the U.S., 2010." TopSCHOLAR®, 2012. http://digitalcommons.wku.edu/theses/1206.

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Commercial music festivals in the United States have been growing in popularity since the 1960s. Today, many weekend-long music festivals are annual events spanning a variety of genres and often occur at the same locations each year. My research compares and contrasts how jamband music festivals are marketed as sustainable events and attempts to determine how the advertised sustainable practices are implemented and utilized at selected jamband music venues. The jamband genre of music emphasizes musical improvisation and borrows from other styles of music: rock, electronic, jazz, blues, folk, a
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"Music Therapy-Based Workplace Health Promotion Programming: Wellness Facilitated Through Community Music-Making Experientials." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57330.

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abstract: Wellness in the workplace is a significant concern for many companies as employees experience both physical and mental health issues based on the environment in which they work. Both sedentary behavior and job-related stress, which may cooccur, are associated with the development of chronic disease, occupational stress, absenteeism/presenteeism in the workplace, increased employee turnover, and ultimately higher health care costs for companies. The development and implementation of workplace health promotion programs (WHPPs) is a popular, and at times, highly successful option to mit
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Sweeny, Ryan Michael. "Making sense of the Mozart effect correcting the problems created by null hypothesis significance testing /." 2006. http://etd.nd.edu/ETD-db/theses/available/etd-12082006-122440/.

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Books on the topic "Music-making behavior"

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Gleick, James. Chaos: Making a new science. Abacus, 1993.

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Gleick, James. Chaos: Making a new science. Viking, 1987.

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Gleick, James. Chaos: Making a new science. Penguin, 1988.

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Gleick, James. Chaos: Making a new science. 2nd ed. Penguin Books, 2008.

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Vaccaro, Valerie L. A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.21.

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This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actual
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McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.

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Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts.
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Eldridge, Alice, and Oliver Bown. Biologically Inspired and Agent-Based Algorithms for Music. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.18.

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This chapter examines a range of approaches to algorithmic music making inspired by biological systems, and considers topics at the intersection of contemporary music, computer science, and computational creativity. A summary of core precursor movements both within and beyond musical practice (A Life, cybernetics, systems art, etc.) sets the scene, before core models and algorithms are introduced and illustrated. These include evolutionary algorithms, agent-based modelling and self-organizing systems, adaptive behaviour and interactive performance systems, and ecosystemic approaches to composi
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Gleick, James. Chaos: Making a New Science. Penguin (Non-Classics), 1988.

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(Narrator), Michael Jackson, ed. Chaos: Making a New Science. New Millennium Audio, 2002.

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Gleick, James. Chaos: Making a New Science. Penguin (Non-Classics), 1988.

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Book chapters on the topic "Music-making behavior"

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Pimenta, Marcelo S., Evandro M. Miletto, Damián Keller, Luciano V. Flores, and Guilherme G. Testa. "Technological Support for Online Communities Focusing on Music Creation." In Cyber Behavior. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5942-1.ch038.

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People have always found music significant in their lives, whether for enjoyment in listening, performing, or creating. However, music making in modern life tends to be restricted to the domain of the professional artists, instrumentalists, and singers. Since the advent of Web 2.0 and Rich Internet Applications, the authors' research group has been investigating the use of Web-based technology to support novice-oriented computer-based musical activities. The main motivation of their work is the belief that no previous musical knowledge should be required for participating in creative musical activities. Consequently, any ordinary user—non-musician or novice—may enhance his creativity through engagement, entertainment, and self-expression. The goal of this chapter is to propose several concepts that emerged during their research concerning novice-oriented cooperative music creation and musical knowledge sharing (a sophisticated activity distinct from the common and well-known music sharing for listening). The authors also discuss key characteristics of Brazilian culture and the creativity styles that inspired their work. They illustrate their perspective by showing how concepts implemented and derived from cases investigated in Brazil represent a comprehensive context for embracing cooperation, flexibility, cross-cultural diversity and creativity. The resulting communityware has music as its intrinsic motivation.
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Jakelski, Lisa. "A Raucous Education." In Making New Music in Cold War Poland. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520292543.003.0004.

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Chapter 3 considers the effects that festival performances had on Warsaw Autumn audiences, as well the work these audiences performed through their listening practices. Public response was what demonstrated the Warsaw Autumn’s legitimacy as a socialist education project. Concertgoers’ uninhibited behaviors had additional meaning as forms of political action and strategies to accrue social and cultural prestige. Drawing on political scientist Michael Chwe’s theory of common knowledge formation, the chapter further argues that scandals were an important aspect of public education and taste formation at the Warsaw Autumn. The public contributed to the genre-making that took place via festival events, for their concert-hall behavior suggested that, in addition to various compositional styles and techniques, “contemporary music” entailed certain modes of audience response.
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Renko, Sanda, and Tomislav Gregur. "The Aural Nature of Atmosphere in a Retail Setting." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-2139-6.ch014.

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The potential influence of music in eliciting organic reactions has been appreciated since ancient times. Knowing that consumers typically receive exposure to many hours of music each day, scientists and marketers have recognized its potential in consumer behaviour and decision making. Literature suggests that customers like hearing music when they shop, and feel that the retailer providing music cares about them. Retailers have to work diligently to keep their stores favourable in the mind of consumers. Both practitioners and researchers supported the argument that music is a beneficial element in the use of atmospherics in business. Based on the empirical research this chapter provides an insight into the role of music as an important element in retail store atmosphere. The chapter explains the complex character of music, its classifications and key variables, and interaction with other atmospheric cues. The chapter concludes that music has a significant influence on consumer behavior, and that retailers must ensure that they are playing music that their target markets like in their stores.
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Choudhury, Suddhaloke Roy, and Kaushal B. K. "Consumer Buying Behavior of Budding Musicians Between 15 and 25 Purchasing Guitars in Pune." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-5690-9.ch009.

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The earth-shattering effect of Rock and Roll on popular music put guitars on the map. Buying behavior of a guitar (instrument) is relatively a nascent topic in academic literature, although listening to and playing music itself has been an important part of human culture for centuries. Thus, the primary objective of this study is to investigate consumer buying behavior of budding musicians between the ages of 15 and 25, purchasing guitars in the city of Pune. The study ended up providing a significant insight into the mind of a budding musician while purchasing a guitar. All of this has helped shape the buying behavior of a potential consumer. Surprisingly, family influence has been low for most people since they have been quite sure while making a purchase.
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Haroutounian, Joanne. "Unveiling the Spark." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0018.

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Once again returning to that third grade class of music-makers and donning the role of observer, we now recognize the breadth of musical talent we seek, and have a taste of activities that can highlight different aspects of this talent. It is now necessary to know why we are there, what happened prior to our arrival, and what happens next. We are ready to look at the overall process required to recognize musical talent in a school setting and the programing that will serve the needs of these identified students. The rationale behind including musical talent in gifted identification rests on the renewed interest in musical ways of knowing or “musical intelligence” and the broadened philosophy and definition of “outstanding talent” recently embraced in the field of gifted education. Music-related neurological research has drawn interest from the media and general public, which also helps swing the educational pendulum toward the recognition of musical talent as a viable educational necessity. First and foremost, administrators must realize that talent identification is an extension of an existing music program, not a replacement. All children should learn music as a basic part of their education. As discussed earlier, identification is not for the purpose of choosing students for a music program. Its purpose is to provide more challenging and individualized instruction for students who have the potential to develop talents beyond what is provided by the normal school curriculum. Effective procedures for talent recognition require solid understanding of the criteria of potential talent, observation of students in the process of music-making, and multiple stages reflecting local gifted/music program needs. Gifted specialists, who have traditionally relied on the quantitative assurance of test scores for identification, should broaden their scope to include the assessment of musical performance and listening behavior. They should also understand the process of metaperceptive learning in the arts. Music educators, who have traditionally relied on performance-driven assessment as the sole means of talent recognition, must seek ways to include talents beyond performance and consider the option of music aptitude testing in this identification.
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O'Brien, John. "“Cool Piety”." In Keeping It Halal. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691197111.003.0002.

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This chapter discusses how participation in hip hop culture could lead to recognition from non-Muslim peers. “Hip hopper” was for the Legendz a widely recognized and desirable identity that could momentarily precede and eclipse that of “religious Muslim” in an interaction with non-Muslim peers. In making meaningful social connections with other urban youth based on a shared engagement with hip hop culture, the Legendz were following a pattern observed by sociologists among other second-generation immigrants whose participation in hip hop music and style allowed them to gain acceptance and make social inroads among young people from outside their immediate ethnic community. In addition to employing hip hop as a way to gain acceptance and make connections with a broader urban American community of non-Muslims, the Legendz also actively adapted the genre's music and culture in creative ways to develop their own in-group Muslim American identity and style. The resulting identity performance—referred to as cool piety—tapped into broader African American urban cool while still exhibiting a close association with local standards of Islamic behavior to produce a nuanced and multifaceted presentation of Muslim American self.
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Jones, Alisha Lola. "Setting the Atmosphere." In Flaming? Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0001.

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Flaming?: The Peculiar Theopolitics of Fire and Desire in Black Male Gospel Performance intervenes into the crisis narrative of black male participation in historically black Pentecostal churches by examining the striking aural-visual performances of gender expression and sexuality as the Spirit moves upon vocalists’ bodies. By following the discourse surrounding the “flaming” choir director stereotype, I investigate the extent to which men’s unique approaches to music-making are met with spectators’ derision and queries about the extent to which their worship generates queer connotations. Participants are essentially guided by what constitutes a practice of the adage “where there is smoke, there is fire.” If there are rumors about a man’s sexual behavior or if he demonstrates queer potential, than it must be so. This perception is tied to the biblical notion that believers are to stay away from the appearance of activity and affiliations that are regarded as evil.
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Haroutounian, Joanne. "Final Reflections." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0023.

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As we reach the end of our journey in search of the “spark,” initial perspectives may have been stretched or transformed, resulting in a new level of understanding of the term, musical talent. During the course of writing this book, I found myself acutely aware of the musical behavior of friends, students, and performers. What do I see and hear that describes the “spark”? The process of exploring the enigma of musical talent allowed me to reflect on past aesthetic musical experiences, still fresh in my memory. Hopefully, as you paused between chapters of this book, you found your ears focusing on surrounding sounds and your mind reflecting on past musical experiences as well. There are still unanswered questions to ponder and research to pursue, but the basics of musical talent remain constant. The spark of talent is experienced when someone expresses himself or herself through music, making a personal aesthetic statement to others. We have learned that capacities underlying this personal statement can be measured objectively and that the process of developing this interpretation requires metaperceptive reasoning. Students who show potential talent are motivated to learn, eager to hurdle over the next musical challenge. They may have different technical levels, training, and music aptitude scores, but their desire to express themselves through music is readily observable. Can it really be this simple? In looking back at the hundreds of children, teenagers, and adults I have worked with in my studio and classrooms, I visualize a collage of musical capabilities, each unique in its own way. I remember the sensitive, creative seven-year-old who sought out independent ideas from the first lesson, developing into a highly individual composer and musician as an adult. There was the young boy who arrived at the audition/interview with the Moonlight Sonata under his tiny fingers, self-taught, with nuances closely matching the recording he had used as a “teacher.” He reached his goal of playing the Emperor Concerto as a teenager, still craving more Beethoven.
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Butler, Melvin L. "Perfecting Holiness." In Island Gospel. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042904.003.0003.

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This chapter examines social and sonic constructions of holiness as expressed by Pastor Philips and the members of Mercy Tabernacle in Liliput. It argues that these constructions reinforce distinctions between piety and pleasure that, in turn, influence the kinds of musical activities Pentecostals deem appropriate. The conduct and clothing of women is often the topic of concern by church leaders who view music making as a significant part of a broader holiness aesthetic. Styles of music making are strongly tied to standards of holiness and a cultural politics of pleasure, which govern ways of dressing and behaving in society. Moreover, perceptions of musical holiness influence the types of flow that are operative in Pentecostal congregations as members position themselves before God and country as exemplars of authentic Christianity in Jamaica.
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Bennett, Peggy D. "Principles of teaching and learning." In Teaching with Vitality. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190673987.003.0081.

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A set of principles for teaching and learning can serve us well. We may become more aware of our aims, more consistent in our communications with students and parents, more articulate at stating our positions, more adept at describing our rationales. There is a security that comes with knowing the principles, the tenets, to which we ascribe. Principles give us a platform for making choices and taking directions. Instead of rudderless improvisation, we can check ourselves to judge if we are on or off the path we have chosen. “Principles are important to us because they shape boundar­ies and supply tracks for our choices and behaviors as teach­ers . . . . Our principles form the foundation on which we base our actions and build our teaching identities . . . . Knowing our principles makes us better teachers. Because we know on what foundations our behaviors are based, we see congruency with those foundations in all that we do, say, and think as we work with students” Bennett and Bartholomew’s principles for teaching and learn­ing provide one example of principles that can guide our school practices. Principle 1: Students have the right to be treated with respect and dignity for their ideas, skills, and stages of development. Principle 2: Students deserve an engaging learning environment in which they feel safe enough to demonstrate freely their understandings and skills through various types of participation. Principle 3: Student learning is the responsibility of both teachers and students. Principle 4: Learning is holistic and constructive. Principle 5: A teacher’s attitudes, behaviors, and methodologies should be compatible with one another. Principle 6: Quality of life is enriched through music and singing.
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Conference papers on the topic "Music-making behavior"

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Kurtz, Gila, and Yehuda Peled. "Digital Learning Literacies – A Validation Study." In InSITE 2016: Informing Science + IT Education Conferences: Lithuania. Informing Science Institute, 2016. http://dx.doi.org/10.28945/3480.

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[The final form of this paper was published in the journal Issues in Informing Science and Information Technology.] This paper presents a validation research of seven Digital Learning Domains (DLDs) and sixty-five performance statements (PSs) as perceived by students with experience in learning via ICT. The preliminary findings suggest a statistical firmness of the inventory. The seven DLDs identified are Social Responsibility, Team-based Learning, Information Research and Retrieval, Information Management, Information Validation, Processing and Presentation of Information, and Digital Integri
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Poon Chong, Peter, and Terrence Lalla. "APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical i
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