Academic literature on the topic 'Musical factors'
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Journal articles on the topic "Musical factors"
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Kristiyanto, Eko, and Muhammad Nur Salim. "PERKEMBANGAN MUSIK KESENIAN GATHOLOCO CIPTO BUDOYO KABUPATEN TEMANGGUNG." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 19, no. 1 (2019): 25–38. http://dx.doi.org/10.33153/keteg.v19i1.2649.
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Penelitian ini bertujuan untuk mengungkap mengenai perkembangan musikal kesenian Gatholoco Cipto Budoyo Desa Kembangsari. Permasalahan utama yang dibahas adalah tentang periodisasi perkembangan musikal serta faktor-faktor yang mempengaruhinya. Untuk menjawab permasalahan tersebut, peneliti menggunakan konsep musik khususnya tentang garap dan konsep tentang perkembangan yang merujuk pada konsep periodisasi dan faktorfaktor penyebab perkembangan. Pendekatan yang digunakan adalah antropologi sosial dan musikologi dengan menggunakan metode deskripstif analisis. Hasil dari peneilitian ini mengungkap bahwa perkembangan musikal kesenian Gatholoco kelompok seni Cipto BudoyoDesa Kembangsari terjadi secara periodik, yakni melalui beberapa tahapan masa atau waktu. Periode pertama terjadi pada tahun 1963-1980, kemudian periode kedua terjadi pada tahun 1981-2000 dan periode ketiga terjadi pada tahun 2001-2018. Perkembangan musikal yang terjadi pada masing-masing periode dapat dilihat dari unsur-unsur garap diantaranya: materi garap, penggarap, sarana garap, prabot atau piranti garap, penentu garap, serta pertimbangan garap. Perkembangan musikal kesenian Gatholoco Cipto Budoyo terjadi karena adanya beberapa faktorpendukung. Faktor-faktor pendukung tersebut berasal dari dalam (internal) dan dari luar (eksternal).Kata kunci: Gatholoco, musikal, periodisasi, perkembangan, faktor-faktor. AbstractThis research aims to reveal the musical development of the Gatholoco Cipto Budoyo Kembangsari Village. The main problem discussed is about the periodization of musical development and the factors that influencing it. To answer this problem, researchers use the concept of music specifically about work and the concept of development that refers to the concept of periodization and the factors that causedevelopment. The approach used is social anthropology and musicology by using descriptive analysis methods. The results of this study revealed that the musical development of the art group Gatholoco Cipto Budoyo, Kembangsari Village that occurred periodically through several stages of time. The first period occurred in 1963-1980, then the second period occurred in 1981-2000 and the third periodoccurred in 2001-2018. Musical developments that occur in each period can be seen from the elements of cultivation including: works on material (garap), instrument players, facilities of the works (garap), instruments and determinants of the works (garap), and the consideration of the works (garap). The musical art development of Gatholoco Cipto Budoyo was due to several supporting factors. These supporting factors come from within (internal) and from outside (external).Keywords: Gatholoco, musical, periodization, development, factors.
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Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.
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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business models, this paper proposes multiple strategies to promote the sustainable development of the Chinese musical theater industry.
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Comănescu, Dorina Geta. "Psychological Factors of Preference for Academic Music." ARTES. JOURNAL OF MUSICOLOGY 30, no. 29-30 (2024): 69–84. http://dx.doi.org/10.35218/ajm-2024-0004.
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The willingness to listen to a new musical work is an important element for the artistic culture development, especially during school years. This topic has been at the center of concerns of specialists both in the field of education and in that of psychology. Thus, in the 90s, Albert LeBlanc scientifically demonstrated the theory of musical openness, using a group of 2262 subjects, measuring exactly how receptivity to an unfamiliar work depends on age and musical style. Thus, he highlighted that the highest level of openness is found before the age of 8 and in young adults, while the lowest level is found in adolescence and old age. The rise and fall of musical openness has been shown for fragments of academic music, jazz and rock. His discoveries were the starting point for a multitude of experiments that have extended to the present day, confirming and customizing LeBlanc’s theory, taking into account the socio-cultural environment, musical experience, educational strategies and other elements of musical discourse. The present analysis represents a review of the most important studies carried out in this research direction. The interpretation of the results sheds light on a series of educational implications, as well as ways to promote academic musical performances among young people.
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ZHANG, Jingjing, and Yufang YANG. "Influential factors in musical syntactic processing." Advances in Psychological Science 25, no. 11 (2017): 1823. http://dx.doi.org/10.3724/sp.j.1042.2017.01823.
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Fu, Linzi, and Kyunghoon Han. "A Study of Localization in the Stage Art of the Chinese Reimagined Musical <Fan Letter>." Korean Society of Culture and Convergence 45, no. 8 (2023): 1197–210. http://dx.doi.org/10.33645/cnc.2023.08.45.08.1197.
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The purpose of this study is to select “Fan Letter” as a representative work of the localization process of Chinese musicals; to identify the localization situation and success factors of the work from three aspects of stage design, costume design, and lighting design by referring to articles, monographs, musical videos, stage design manuscripts, costume design manuscripts, and other materials related to Chinese localized musicals; to analyze the impact of the integration of localized aesthetics and stage art on the overall performance of the musical; and to draw implications for the stage art production of Chinese localized re-created musicals in the future. The analysis shows that the stage design of the Chinese version of the musical Fan Letter deconstructed and utilized Shanghai architectural elements, the costume design referenced Chinese history and used traditional colors and local materials, and the lighting design used colors that are easy for Chinese to understand to highlight the characters' inner emotions. This shows that the production is innovative in its combination with Chinese culture in the localized re-creation of stage art. The clever fusion of Chinese elements and musicals can be a great expressive tool in the localization of musicals.
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Berrios, G. E. "Musical Hallucinations." British Journal of Psychiatry 156, no. 2 (1990): 188–94. http://dx.doi.org/10.1192/bjp.156.2.188.
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A sample of 46 subjects experiencing musical hallucinations was analysed – 10 new cases in addition to 36 culled from the literature. When compared with controls, it was found that musical hallucinations are far more common in females, and that age, deafness, and brain disease affecting the non-dominant hemisphere play an important role in their development. Psychiatric illness and personality factors were found to be unimportant.
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Kurbanbaevich, Zaretdinov Karamatdin. "PEDAGOGICAL AND PSYCHOLOGICAL CHARACTERISTICS AND FACTORS IN THE DEVELOPMENT OF MUSICAL AND AESTHETIC CULTURE AMONG STUDENTS." International Journal of Pedagogics 4, no. 10 (2024): 180–83. http://dx.doi.org/10.37547/ijp/volume04issue10-31.
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This article explores the pedagogical and psychological characteristics and factors that contribute to the development of musical and aesthetic culture among students. Recognizing the significance of musical engagement in educational settings, the study begins by defining musical and aesthetic culture and outlines its importance in fostering creativity, emotional expression, and cultural awareness. The interplay between pedagogical approaches and psychological development is highlighted through case studies that showcase successful educational practices. Moreover, the article identifies challenges and barriers faced in promoting musical and aesthetic culture, offering strategies for educators to overcome these obstacles. Ultimately, this study underscores the need for an integrated approach that combines pedagogical and psychological insights to enrich students' musical and aesthetic experiences, calling for further research and practical applications within educational frameworks. By fostering a supportive and enriching environment, educators can significantly enhance the cultural and artistic development of their students, preparing them for a more expressive and interconnected world.
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Cheng, Wenlin, and Rasa Kirliauskienė. "Current Situation and Factors Affecting the Musical Performance of Prospective Music Teachers." Pedagogika 153, no. 1 (2024): 165–84. http://dx.doi.org/10.15823/p.2024.153.8.
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Musical performance is the key content in the process of music education. Therefore, it is important for us to explore the current situation and factors affecting musical performance and further develop relevant skills for prospective music teachers. This study surveying 586 prospective music teachers using a questionnaire, the results indicate that physiological factors are the most important factors affecting musical performance, followed by psychological factors.
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Horn, David. "From Catfish Row to Granby Street: contesting meaning in Porgy and Bess." Popular Music 13, no. 2 (1994): 165–74. http://dx.doi.org/10.1017/s0261143000007029.
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For reasons which would themselves be worthy of an article, the musical theatre has been almost entirely ignored by popular music scholarship. This has often puzzled me, since such factors as the musical theatre's ambiguous position in the high/low culture debate, its close relationship with film (film musicals were for a time a favoured subject – with film theorists), its persistent playing with the links between song and drama, the sociality of its performance conventions, the durability of the amateur performance tradition, to name but a few, together suggest a promising vein of study. Musical theatre songs have been the subject of intermittent scholarly investigation, mostly from a perspective derived from classical musicology. Wilfrid Mellers, characteristically, sought meaning through musicology (he speaks of Cole Porter's chromatics as telling us ‘regretfully, that we are kidding ourselves’ (in love) and of the ‘queasy honesty’ of ‘Anything Goes’), but found too many musicals tend to ‘create an illusion that we can live on the surface of our emotions’ and never get beyond that point. (Mellers 1964, pp. 384, 385).
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Shelemay, Kay Kaufman. "Musical Communities: Rethinking the Collective in Music." Journal of the American Musicological Society 64, no. 2 (2011): 349–90. http://dx.doi.org/10.1525/jams.2011.64.2.349.
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Abstract This essay discusses the study of musical communities, taking as its point of departure the growing avoidance of the term “community” within much of recent musical scholarship. After exploring factors that have been responsible for the move away from community studies, the paper details both the creation of new nomenclature and the discourse surrounding the introduction of these new terms. Based on insights drawn from musical ethnography with recent African immigrants to the United States, the paper goes on to propose a revised framework for approaching “community.” It suggests that attention to processes of descent, dissent, and affinity both elucidates music's generative role in shaping new collectivities and unsettles the notion of music as a static sonic marker of social groupings. The conclusion touches briefly on new research from the sciences that is beginning to shed new light on music's role in generating social outcomes and the potential it holds for future collaboration with music scholars across disciplinary boundaries.
Dissertations / Theses on the topic "Musical factors"
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Wapper, Toni. "Factors associated with musical preference /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsw252.pdf.
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Howard, Sara Louise. "Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /." Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.
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XU, JIN. "The factors affecting the development of the musical performance : A study on the musical performance in Shanghai." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13680.
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The development of musical theatre in china is still in its initial stage, only a few big theatres have the ability of operating musical performance, and at this time, musical theatre is only performed in few big cities in China, like Shanghai and Beijing. The the-sis focuses on the development of musical theatre in Shanghai. As an entertainment ac-tivity and also one of the performing arts, the demand for musical theatre could be affect by many factors like educational background, income and competition from other forms of entertainment activities. There were many previous studies about the performing arts which also focused on the factors like education and income, however, the level of con-tributions of these factors to the development of different forms of performing arts are different. By reviewing related previous literatures and analyzing the data collected from Shanghai Grand Theatre which bases on a meta analysis of previous studies of performing arts, the thesis explores the current situation of the development of the mus-ical performance in Shanghai and studies various factors that affect the demand for musical theatre, as a result, a deeper understanding of how factors like educational background, income, competition among forms of entertainment activities etc. affect the development of musical theatre in Shanghai wish to be provided.
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Meinz, Elizabeth J. "When can experience reduce age differences in cognitive tasks? : a study of musical memory." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/28791.
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Chi, Ju-Yang. "Musical Instrument Ergonomics in Violin and Piano Performance." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/30064.
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The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players (violinists and violists). The use of adaptive accessories, such as a chin rest and/or a shoulder rest, has been proposed to be a way to improve the interface between the instrument and the player. For pianists, a “one-size-fits-all” keyboard has been the available industry standard with respect to the size of the keyboard in modern piano manufacturing, teaching and performing. However, recent demographic evidence proposes that this standardised piano keyboard discriminates against many pianists who have relatively smaller hand sizes. Controversies persist in best methods to ergonomically fit the instrument to the player among players and pedagogues of both these instruments, and no reviews to date have been conducted to determine whether a collection of evidence to support ergonomic ideals exists. This doctoral thesis presented the synthesis of work on investigating ergonomics in violin and piano performance and addressing knowledge gaps regarding optimising the interface between the instrument and the player.
A systematic review of this topic was undertaken in Chapter 2. The results revealed that only scarce evidence with heterogeneity and low quality of methodology available on instrumental ergonomics in violin and piano performance. An observational study on interaction between hand span and different sizes of keyboards on muscle activity in pianists was conducted in Chapter 3 to investigate the biomechanical responses under ergonomic modifications, while hand size was identified as a potential risk factor for PRMDs (Chapter 2). The results of this experiment showed less muscular loads in pianists while they were playing on a matched size of keyboard regarding their hand spans, suggesting a compatible interface between the player and instrument can enhance performance biomechanics.
Chapter 4 and 5 presented an interview study conducted to explore the factors that contribute to optimising the instrument-player interface in violin playing while the lack of comprehensive understanding of violin set-up was shown in Chapter 2. In Chapter 4, interview data was extracted in a way to present how the violin instrument should fit to a player. The results suggested there were fundamental inconsistencies in the use of physical elements (e.g. violin accessories and position the violin instrument) and the attitudes and beliefs towards instrument set-up while participants held onto different sources of knowledge. On the other hand, comfort and budget were commonly seen as the considerations in selecting the ergonomic set-up. Chapter 5 presents the findings from the aspect of how violinists should fit with their instruments, showing the biomechanics greatly varies but having a neutral posture may be the common aim in violin playing. It is also revealed the phenomenon that violinists tended to prioritise musical performance over monitoring their own posture and movement. Results in both Chapter 4 and 5 showed teacher plays an important role in either pedagogically providing ergonomic suggestions or working with body health professionals on improving a performance interface in violinists, and the process can be time-consuming.
The data presented in this thesis showed the complexity of optimising the interface between the musical instrument and the player. From the investigations on violinists and pianists, interdisciplinary collaborations and crossover trainings in the professionals are recommended so that musicians are able not only to be trained with adequate ergonomic supports but to sustain their desirable musical outcomes. Future research building upon the findings of this thesis will further facilitate the inclusion of ergonomics in the industry of musical performance.
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Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.
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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.<br>The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Hutchins, Sean. "Implicit memory for music : factors affecting musical priming and their time courses." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.
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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
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Newsome, R. "The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium." Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.
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This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.
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Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
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Hickok, Stephen Clyde Walls Kimberly C. "The relationships of parental involvement, motivating factors, and socioeconomic status to high school all-state choir and band membership." Auburn, Ala, 2009. http://hdl.handle.net/10415/1587.
Full textBooks on the topic "Musical factors"
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Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. s.n.], 1985.
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Zimmerman, Sally-Anne. Instrumental music: Factors in learning musical instruments for children and young people who are visually impaired. R.N.I.B., 1998.
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Stokes, W. Ann. Intelligence and feeling: A philosophical examination of these concepts as interdependent factors in musical experience and music education. [s.n.], 1990.
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Baltzer, Samuel W. A factor analytic study of musical creativity in children in the primary grades. s.n.], 1989.
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Michael, Orr. Handmade music factory: The ultimate guide to making foot-stompin'-good instruments. Fox Chapel, 2011.
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Shipovskaya, Lyudmila. Music as an element of spiritual culture is a powerful factor of integration and universalization of the entire spiritual life of society. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/2052437.
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The monograph is devoted to the ability of music in different phases of its functioning (creation, performance, perception) to convincingly demonstrate the associative and code principles of consciousness — mutual connection, induction and "translation" (encoding and decoding) of its various aspects, structures (in particular, emotional and rational) and levels (for example, individual and general, concrete and abstract). It is highlighted that music unites people, helps to resist disunity, indifference, feelings of loss and uselessness in the big world. It is revealed that the unifying power of music is manifested not only when a huge auditorium lives in one breath, when it freezes at once or suddenly bursts into a storm of applause in a single burst; a person feels this power, even if the sounds flow from a television or radio receiver.
 Spiritual culture should be addressed only to a person, it has a beneficial effect on a person's behavior, his work activity and the whole way of life. The socio-cultural significance of musical art is dramatically increasing in the context of a radical transformation of our society. It should ensure the assimilation of spiritual values that form the foundation of human life.
 It is intended for the widest audience of readers — from students of children's music schools and art schools to students of humanities faculties of universities and lovers of musical art.
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Marco, Bracci, ed. Da Modugno a X Factor: Musica e società italiana dal dopoguerra a oggi. Carocci, 2010.
Find full textBook chapters on the topic "Musical factors"
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Mochida, Yasunori. "Human Factors in Electronic Musical Instruments." In Application Development Systems. Springer Japan, 1986. http://dx.doi.org/10.1007/978-4-431-68051-2_10.
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Schmidt, Sebastian. "The Model of Musical Extrapolations – Basic Factors and their Inter-dependencies." In Musical Extrapolations. Springer Fachmedien Wiesbaden, 2015. http://dx.doi.org/10.1007/978-3-658-11125-0_4.
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Bogunović, Blanka. "12. Motivation and Personality as Factors of Musical Accomplishments." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.12.
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The chapter offers a developmental and cross-cultural perspective aiming to compare the results of the Western Balkans and international studies. It opens up questions about the joint contribution of motivation and personality in achieving musical excellence. Their core role is featured through the developmental prospect focusing on music performance accomplishments. The main results are presented from several research studies conducted in the Western Balkans, specifically in Serbia, which cover three age groups (aged 6–22) learning music as part of the three-staged specialist music education system. The research review indicates the relevance and differential contribution of motivational features and personality traits, as well as musical abilities and social settings, to various levels of achievement. Results indicate changes in prevalence of contribution depending on developmental stages. Attention is given to the nexus of psychological and environmental factors that strongly impact musical outcomes at each developmental stage. The studies from the Western Balkans are highlighted to evaluate cultural perspectives and variations.
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Park, Saebyul, Chung-Kon Shi, and Jeounghoon Kim. "The Role of Affective Factors in Computer-Aided Musical Learning for Non-musician Adults." In HCI International 2014 - Posters’ Extended Abstracts. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07854-0_24.
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Stepanović Ilić, Ivana, Marina Videnović, Zora Krnjaić, and Ksenija Krstić. "6. Adolescent Musical Preferences and their Relationship with Schwartz’s Basic Values." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.06.
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This study aimed to identify musical preferences in Serbian adolescents and determine a potential relationship between them and the adolescents’ values. The sample included 1,358 respondents (aged 15–17). Musical preferences were investigated through a scale that included twelve music genres and ten values from Schwartz’s instrument. Four musical preference factors were revealed: Rebellious (Metal, Rock, Punk, and avoidance of Folk music); Sophisticated (Jazz, R&B, Reggae); Energetic (Techno, Hip-hop, House); and Conventional (Pop). Relationships with value dimensions were established, e.g., Rebellious preference correlates positively with Universalism, Power, and Self-direction and negatively with Hedonism and Benevolence; Sophisticated preference is positively and strongly related to Self-direction and Stimulation, while negatively with Security, Conformity, and Tradition; Energetic preference correlates positively with Universalism and negatively with Hedonism; and Conventional preference correlates negatively with Power and Self-direction and positively with Benevolence. Results suggest that the music preferences of Serbian adolescents are comparable to those identified in other countries and that it is possible to relate them to values that the adolescents hold.
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Clarke, Martin V. "18. Music and Spirituality in Communal Song." In Music and Spirituality. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.18.
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This chapter explores the relationship between spirituality and identity through consideration of the musical practices of two groups long renowned for the vigour and vitality of their communal singing: Methodists and Welsh sporting crowds. It argues that lyrics, musical settings and performance contexts all contribute to the ways in which singing has become central to both the self-understanding of these groups and their perception by outsiders. In terms of lyrics, the chapter contends that matters of form, language and imagery are centrally important, while in musical terms, repetition and harmony are key factors in enabling and encouraging impassioned singing in specific communal contexts. Jeff Astley’s concept of ordinary theology is brought into dialogue with Ruth Finnegan’s work on hidden musicians and Benedict Anderson’s imagined communities to argue that text and music combine in particular contexts in which communal identity is already foregrounded to heighten and intensify the experiences of participants.
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Davies, Richard. "Two factors of unification for musical notes: Closeness in time and closeness in tone." In Paolo Bozzi’s Experimental Phenomenology. Routledge, 2018. http://dx.doi.org/10.4324/9781351232319-26.
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Timmers, Renee, Blanka Bogunović, and Sanela Nikolić. "17. Conclusion: Progressing the State of the Art of Music Psychology." In Psychological Perspectives on Musical Experiences and Skills. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.17.
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Research from Western Europe tends to be better known and more frequently published than research from the Western Balkans. Various factors contribute to such imbalances of publication and recognition, including socio-economic, political, linguistic, and psychological, in the case of implicit biases. This book demonstrates the rich history of research in the psychology of music in the Western Balkans and aims to address power imbalances by explicitly promoting research from this region. In this concluding chapter, we argue for the opportunities offered by collaborative, interdisciplinary research to enable a more inclusive discipline of the psychology of music, with greater equality of contributions and embracing the diversity of knowledge and understanding. We reflect on the overlaps and differences between the research captured in this book, which originated in Western Europe and the Western Balkans. Whilst similarities and overlaps are most prevalent, subtle differences are also apparent in specific specialisms in knowledge development. Furthermore, contexts such as variations in systems and practices of music education and variations in musical preferences demonstrate the need for research to be situated rather than being assumed to be context-independent. This offers a tension for researchers to add to generalisable knowledge or develop context-dependent insights. Such tensions need to be first of all acknowledged in mainstream music psychology, highlighting the limitations of published research, and opening a larger platform for research from a diversity of regions, and cultural and research practices.
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Zecchinelli, Luisa. "Comments on two factors of unification among musical notes: Closeness in time and closeness in tone." In Paolo Bozzi’s Experimental Phenomenology. Routledge, 2018. http://dx.doi.org/10.4324/9781351232319-27.
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Ross, James. "Musical Standards as Function of Musical Accomplishment." In The Interpretation of Music. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198239581.003.0006.
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Abstract Typically, human practices that are aimed at excellence have regulations, principles, procedures, customs, rules, and other routines for ‘how to do it’—some with very great force and others that belong to beginners or intermediate stages but give way in maturity—that, with other factors, make a framework against which competence and excellence can be discerned. Thus, fingering, bowing, intonation, metre, rhythm, accent, breathing, phrasing, drive, intensity, stance, and indeterminately many other physical conditions with which musicians deliberately, or with practised elections, make perceptually discriminable features of the sound, are elements of objective competence and of measurable objective excellence. Excellence is understood here as competence developed to certainty, ease, sensitivity, and musicality.
Conference papers on the topic "Musical factors"
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Zhao, Yunyan, Lisi You, and Wenguang Li. "Morinhuur Music Visualization Device Design." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001961.
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Using Morinhuur music as the research object of intangible cultural heritage music visualization, based on the synaesthetic effect, through research and analysis of Morinhuur music’s historical development, performance skills, and musical characteristics, using focus interviews, questionnaire surveys and other qualitative and quantitative methods to collect organized into visual data charts such as Sankey Diagrams. The visual aspects of the retrieved different music information are applied to the visualization device using the Processing programming language and the imaging technology of the Kinect equipment. A visual presentation of Morinhuur music is proposed, and visual design is used to enhance the digital protection and transmission of intangible cultural heritage music.
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Huggard, Amy, Anushka De Mel, Jayden Garner, Cagdas Toprak, Alan Chatham, and Florian Mueller. "Musical embrace." In CHI '13 Extended Abstracts on Human Factors in Computing Systems. ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2479517.
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Huggard, Amy, Anushka De Mel, Jayden Garner, Cagdas "Chad" Toprak, Alan D. Chatham, and Florian Mueller. "Musical embrace." In CHI '13 Extended Abstracts on Human Factors in Computing Systems. ACM Press, 2013. http://dx.doi.org/10.1145/2468356.2479612.
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Fukasawa, Masaya, and Masashi Yamada. "Impressions of Musical Pieces in the Pokémon Series." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004995.
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In recent years, Japanese anime and video games have been highly regarded as a part of Cool Japan content. Among them, a video game series Pokémon is standing out as globally famous content. The Pokémon series is a role-playing game developed by Game Freak Inc. and sold by The Pokémon Company. It has been popular since the release of Pokémon Red/Green in 1997, with many titles being released up to the latest. Throughout its long history, one of the important factors that has kept Pokémon popular is music.In a previous study, the character design of monsters was investigated, but there was no investigation on the music used in the Pokémon series. Pokémon includes various situations and scenes, such as battles with trainers and monsters, transfer on bicycles, walking around the towns, and visiting the hideouts of evil organizations, and so on. In the Pokémon series, corresponding musical piece is prepared for each situation and scene. The pieces are composed based on the theory and experience of musicians and it is not clarified whether they are matched to the situations or scenes. In the present study, a perceptual experiment was conducted to research the impressions of musical pieces in the Pokémon series using semantic differential method, and investigated whether the musical pieces are matched to the situations and scenes. For the experiment, 151 musical pieces used in the Pokémon series were prepared as sound stimuli. The stimuli were presented through headphones STAX SR-407 at the level of LAeq=55.9-70.4. Eighteen students of Kanazawa Institute of Technology participated as listeners. The participants listened to a stimulus and were requested to rate their impressions for the piece using 25 bipolar seven-step scales. The rated scores were averaged for each scale and used for factor analysis. The results of the factor analysis showed that the three-factor solution accounted for 86.9% of the data variance. These factors were labeled pleasantness, powerfulness and speed, respectively. The tonality of the musical piece determined the pleasantness, i.e. a piece with a major key was perceived as pleasant and a minor key was felt as unpleasant. A piece with a wide range of loudness change sounded powerful and a piece with a narrow range of loudness change sounded powerless. Contemporary game music is produced with various real sound sources and this allows realizing a wide range of loudness change. The rhythm and tempo of the musical piece determined speed. A piece with a fast rhythm and tempo sounded rapid and vice versa. Moreover, the results showed that the musical pieces were suitably composed and matched to the situations and scenes, in the Pokémon series. For example, the pieces used in the battle situations sounded powerful and rapid, the pieces used in the scene of towns sounded powerless, pleasant and slow, and so on. The results of the present study suggest how to compose for a situation or scene suitably, controlling the tonality, dynamic range of the loudness, rhythm and tempo.
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Jaśkiewicz, Marta, Piotr Francuz, and Emilia Zabielska-Mendyk. "The Effect of Music Harmonics and Level of Expertise on Aesthetic Judgment of Music: An ERP Study." In Applied Human Factors and Ergonomics Conference. AHFE International, 2020. http://dx.doi.org/10.54941/ahfe100383.
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The aim of our study was to investigate the influence of harmonic violation on aesthetic judgment of music in music experts and naives. Two groups took part in experiment: music experts (14 subjects, 8 female) and naives (13 subjects, 7 female). Music experts were graduates and undergraduates of music school, played musical instruments or educated in the field of singing from an average of 9.79 years. The group of naive did not have any special musical education besides normal school education. Participants were asked to listen the stimuli and judge whether each of them sounds beautiful (when the beauty judgment task was required) or correct (when the correctness judgment task was required). We used excerpts of five Bach’s chorales as a stimuli. Each of the excerpt was modified in order to obtain three versions of one excerpt differing only in one chord. This chord (‘target’) sounded: congruous, ambiguous or incongruous to harmonic context of the piece. Several differences in event-related potential (ERP) parameters were observed in aesthetic processing of music. The findings of our study showed that an affective aspect of music processing is reflected by LPP – Late Positive Potential. This effect differ in respect of degree of harmonic violation indicating that the incongruous chords enhanced the higher amplitudes. What is more, there was significant difference between two judgments (aesthetic or correctness) showing that the LPP is sensitive on task manipulation. Higher amplitudes for beauty judgment task than for correctness judgment task indicted that aesthetic evaluation is perceived as an affective task. However, our study did not confirm the influence of music expertise on affective aspect of music aesthetic processing. All our results are discussed in the context of previous studies.
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Yu, Ruihua. "The Role of Musical and Cultural Factors in Music Teaching." In 2017 7th International Conference on Education and Management (ICEM 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/icem-17.2018.147.
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Zhang, Hui, Wanyi Wei, and Yingping Cao. "The effect of congruity between background music language and brand culture on consumer behavior." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1005449.
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Numerous research have explored how musical elements affect consumer behavior in the retail scenario. But this claim has not been fully proven in the online shopping scenario, which has become one of the current mainstream consumption methods. Some researchers have stressed the value of musical congruity, the majority of their discussions have focused on the structural characteristics (rhythm, volume, genre, etc.) or affective characteristics (style, familiarity, valence, etc.), and the cultural characteristics (nation, territory, language, etc.) of music seem to be less discussed. This study focuses on the different music languages to explore the influence of the context effect brought by the cultural characteristics of music on consumer behavior. Language variations in music are primarily represented in the lyrics. The study aims to explore how music enhances the online shopping experience by influencing users' cognitive and emotional responses. It also provides guidance on music selection for e-commerce brands to use music strategically to promote goods consumption.In this study, we simulated the current mainstream e-commerce shopping websites to make online shopping pages of sneakers and selected the music (music with Chinese lyrics, music with English lyrics) on the mainstream music platform charts as experimental materials. The experiment recruited 30 participants (15 females; all of them have online shopping experience); they were divided into three groups (no music, music with Chinese lyric, music with English lyric) and asked to choose a pair of sneakers for themselves from randomly given goods (Chinese brands *8, European and American brands *8) under different background music. We captured the participants' browsing duration, trajectory, and focus position with the eye tracker. Participants' cognitive responses (product purchase intention ranking, product evaluation, music experience), emotional response (PAD emotion), and final behavioral response (direct purchase, shopping cart addition, sharing, collection) were collected through questionnaires.According to the experimental data's T-test, from the perspective of brand, when the music language and brand culture are consistent, the sharing rate of goods will increase. From the perspective of music, goods that have the same nation with background music will get a higher share rate. Compared with the environment without music, the user's pleasure and arousal are significantly improved under both Chinese songs and European and American songs.Our research shows that congruity between music language and brand culture leads to higher levels of pleasure and significantly affects online consumer behavior. When the music culture is consistent with the brand, the rate at which consumers share the goods increases. The pleasant user experience brought by musical congruity increases consumers' evaluation of the cognitive response of the product, thus positively affecting consumers' purchase intention. The experimental results provide new insights into music selection in the online shopping scene in the field of auditory marketing. It enriches the existing literature on musical congruity and cultural characteristics.
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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 instruments. The proposed modified QFD was developed to identify the product features chosen by the market and aid the manufacture of musical instruments. A standard QFD recognized and scored factors to develop and manufacture musical instruments. It accommodated some core engineering variables for the musical instruments but overlooked some feature stakeholder needs. For example, the musician may not have 100% gratification while playing the instrument as the manufacturer fails to capture acoustic features to psychologically satisfy the musician’s audience. Using fuzzy logic, QFD and MCDM increased the model performance by expanding the data set. It offered the manufacturer of musical instruments a mode to capture and analyse behavioural linguistic data covering more customer requirements. Hence, the approach increased the range to correlate the physical features and psychological behaviours of musical instruments. It allowed non-technical persons to provide an improved form of reliable information. This modified QFD can also be applied to develop other products involving linguistic data.
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Lyons, Michael J., and Sidney Fels. "Introduction to Creating Musical Interfaces." In CHI'16: CHI Conference on Human Factors in Computing Systems. ACM, 2016. http://dx.doi.org/10.1145/2851581.2856665.
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Hazzard, Adrian, Steve Benford, and Gary Burnett. "Sculpting a Mobile Musical Soundtrack." In CHI '15: CHI Conference on Human Factors in Computing Systems. ACM, 2015. http://dx.doi.org/10.1145/2702123.2702236.
Full textReports on the topic "Musical factors"
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Dairianathan, Eugene, Larry Francis Hilarian, Peter Stead, Chee Hoo Lum, and Hoon Hong Ng. Learning through popular music, lessons for the general music programme syllabus in Singapore. National Institute of Education, Nanyang Technological University, Singapore, 2024. https://doi.org/10.32658/10497/27422.
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This project sought to investigate the identity, role and function of popular music within classroom-based education in Singapore. Popular music is characterised by: (i) lnterdisclplinarity (music, dance, poetry, theatre, etc); (ii) It suffuses the lives of school-going youth in their out-of-school curriculum. (iii) Skill acquisition is frequently gained through more informal learning than is usual in institutional settings (Green, 2002). (iv) Participation in popular music by various communities seems to cut across ethnic, religious and age boundaries, which makes popular music participation an interesting study in social integration. (v) Engaging in popular music potentially provides students life-long engagement The impact of popular music in the classroom has not been fully explored. Creating, performing and responding to popular music genres arguably act as an apt medium of and for self expression considering the complex nature of an ever-shifting demographic mix and strategies to bring about more effective social integration across communities-of-practice (Wenger 1998) engaging the later cosmopolitan society in Singapore. The GMP (2008) document supports the value of popular music beginning with musical skills of composing, improvising and recreating extending to identity formation and multiplicity in identity negotiation in group dynamics (MOE 2008, pp. 7-10). Current broader educational aims are to develop creative, imaginative and socio-culturally well-tempered individuals and popular music has an important educational role to play in this respect. Dairianathan and Lum (2010) have discovered how popular musics re/iterate their place in the music curriculum for music as lived and living space. Secondary factors crucial to this research are: (a) to examine the place of popular music in local public and international schools across Singapore, (b) to draw out the intrinsic and extrinsic motivations for school-going youth to be engaged in popular music and (c) to critically examine popular music immersion in relation to the objectives established in the GMP syllabus (MOE 2008).
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.
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Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.