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Journal articles on the topic 'Musical factors'
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1
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.
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Fu, Linzi, and Kyung Hoon Han. "Analyzing the Box Office Success of the Chinese Remake of the Musical “Apollonia”: Centering on the 7Ps of Marketing Mix." Korean Society of Culture and Convergence 45, no. 11 (2023): 1277–88. http://dx.doi.org/10.33645/cnc.2023.11.45.11.1277.
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This study aims to analyze the localization success factors of the Chinese reimagined musical Apollonia in terms of seven factors based on the marketing mix 7P, reveal the impact of localization marketing strategies on the production, and provide effective ideas for the marketing of future reimagined musical. To this end, the performance, advantages and disadvantages of the localization marketing strategy were analysed on the basis of reviewing literature such as relevant articles and musical promotional films, as well as the box office factors and physical evidence factors in the localization process. The analysis showed that the musical Apollonia was more recognized by audiences by focusing on genres that Chinese people could relate to and share similar emotions in the content delivery, and the main promotion method was new media promotion such as Weibo and TikTok. The audience of the musical was analyzed and sales promotion such as “fandom effect”, “collecting desire” were used to induce repeated viewing, and musical IP animation images musical derivatives played an important role in the marketing strategy.
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Trukhacheva, Elena Andreevna, and Karina Vramovna Vartanova. "French Musical: history and specificity of the genre." Философия и культура, no. 8 (August 2021): 21–35. http://dx.doi.org/10.7256/2454-0757.2021.8.36651.
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French Musical is &ldquo;younger&rdquo; than the Broadway, popular; however, there is yet no serious scientific approach towards its examination. The subject of this research is nationalization of the French Musical in historical and genre contexts. The goal is to disclose role of French Musical as a relatively young genre on the theoretical level. The article employs the interdisciplinary approach, which involves the scientific theories and concepts from other fields; historical-culturological approach, which reveals the factors contributing to assimilation of French culture with the traditions of other cultures; systemic approach aimed at examination of professional performance in French Musical as a result of development of the genre in late XX &ndash; early XXI centuries. The scientific novelty consists in introduction of the previously missing biographical materials and new information on the establishment and development of the genre of French Musical and its national specificity. The theoretical significance lies in characterization of the concepts of &ldquo;French Musical&rdquo;, &ldquo;popular culture&rdquo;, &ldquo;interpretation of classical music&rdquo;, &ldquo;musical performance&rdquo; in the context of art history knowledge, as well as methodology of science. The practical significance lies in broader understanding of the role of establishment and proliferation of French Musical, comparison of the use of chanson and jazz in the Musicals of France and the United States. The main result consists the statement that French Musical contains the key to understanding the French people, their thought pattern, and tastes. This genre allows them to express and defend their values and uniqueness.
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Choi, Tae-Kyu. "Choice ＆ Satisfaction Factors of Musical as Culture Contents." Journal of the Korea Contents Association 11, no. 6 (2011): 205–14. http://dx.doi.org/10.5392/jkca.2011.11.6.205.
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Fyodorova, A. M., E. A. Mironova, and K. M. Ksenofontova. "Psychological Factors of Success in Musical Performance Activity." Musical Art and Education 10, no. 2 (2022): 65–78. http://dx.doi.org/10.31862/2309-1428-2022-10-2-65-78.
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Ma, Xie, Yun Tao, and Yufang Yang. "Factors inducing complexities in musical embedded structure processing." Neuropsychologia 169 (May 2022): 108153. http://dx.doi.org/10.1016/j.neuropsychologia.2022.108153.
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Slayton, Matthew, Adam S. Bristol, and Indre V. Viskontas. "Factors affecting group creativity: lessons from musical ensembles." Current Opinion in Behavioral Sciences 27 (June 2019): 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.
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Janata, Petr, Joshua Peterson, Clinton Ngan, Bokyoung Keum, Hannah Whiteside, and Sonia Ran. "Psychological and Musical Factors Underlying Engagement with Unfamiliar Music." Music Perception 36, no. 2 (2018): 175–200. http://dx.doi.org/10.1525/mp.2018.36.2.175.
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What are the factors that determine how long a person chooses to listen to an unfamiliar piece of music? We examined this question across three experiments in which we played participants novel repeating multi-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (&gt; 450 items), we manipulated novelty along several musical dimensions. In Experiment 1, all instruments entered simultaneously. In Experiment 2, instrument entrances were also offset in time. In Experiment 3, we composed core multi-instrument loops and manipulated them to further minimize harmonic variability, minimize rhythmic variability, introduce spatialization, or change timbral characteristics. Novelty introduced by instrument entrances was the strongest determinant of listening times, though harmonic variability and timbral features were also important. Subjective enjoyment was the best predictor of listening times, mediating the effects of the degree of perceived groove in a stimulus, the urge to move, interest in a stimulus, perceived complexity, and congruency with current mood. We conclude that naturalistic looping musical stimuli serve well to examine the diverse psychological and musical determinants of choice behavior underlying music consumption.
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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.
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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Manchester, Ralph A. "Musical Instrument Ergonomics." Medical Problems of Performing Artists 21, no. 4 (2006): 157–58. http://dx.doi.org/10.21091/mppa.2006.4033.
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David Nabb's interview of Maarten Visser on page 159 of this issue and Brenda Wristen's article on the 7/8ths keyboard from the March issue are two recent examples of articles on musical instrument ergonomics. Ergonomics, literally the study of work, is defined as "the applied science of equipment design intended to maximize productivity by reducing operator fatigue and discomfort." When I was an undergraduate student at Tufts University in the 1970s, my engineering roommate studied "human factors engineering" (but never applied it to music, as far as I know). In 2006, a Google search for "ergonomic musical instruments" yields over 1 million websites; a search for "musical instruments" yields 16 million websites.
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Stramkale, Ligita. "STUDENTS’ PERSPECTIVES ON THE IMPLEMENTATION OF MUSICAL ACTIVITIES IN PRESCHOOL EDUCATION." Journal of Education Culture and Society 9, no. 2 (2018): 109–16. http://dx.doi.org/10.15503/jecs20182.109.116.
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Aim. The aim of the study is to find out students’ perspectives on the necessity, readiness and disturbing factors of implementing musical activities in preschool. The theoretical part of the paper describes the particularity of preschool teachers’ work, the children’s interest in musical activities, and the benefits of implementing musical activities in preschool. 
 Method. The empirical study involved 168 students (N=168), of which 132 students (N=132) are already working as preschool teachers in parallel with their study at the university. The study identified three questions: why do preschool teachers use musical activities? What factors prevent a preschool teacher from using musical activities? Is there a relationship between the competence of a preschool teacher in the field of music and the implementation musical activities in preschool? In order to answer the study questions, a questionnaire consisting of twelve statements was created, which had to be assessed on a four-point Likert scale.
 Results and conclusion. As a result of the analyses of the data obtained in the study, it was ascertained that preschool teachers use musical activities to make children happy and improve their abilities. The use of musical activities is connected with preschool teacher’s willingness to do that. One of the key factors that hinder the implementation of musical activities is an insufficient material base in the preschool. The study also found that there is a correlation between the competence of a preschool teacher in the field of music and the implementation of musical activities.
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Janurik, Márta, Tun Zaw Oo, Noémi Kis, Norbert Szabó, and Krisztián Józsa. "The Dynamics of Mastery Motivation and Its Relationship with Self-Concept in Music Education." Behavioral Sciences 13, no. 8 (2023): 667. http://dx.doi.org/10.3390/bs13080667.
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Musical education hinges on students’ mastery motivation and self-concept, which are crucial for effective musical learning. Despite the acknowledgement of their individual importance, the relationship between these factors within music education remains unexplored. Hence, this study aimed to investigate the dynamics of mastery motivation (MM) and its relationship with self-concept (SC) in the context of music education. A survey was administered to 139 Hungarian grade 7 students, employing a musical MM questionnaire, a musical SC inquiry, and the collection of demographic information collection. We employed descriptive statistics (IBM SPSS 23), a Rasch analysis (WINSTEPS), and correlational and regression analyses (R programming and SmartPLS4) for data analysis. The findings demonstrated that the utilized instruments were reliable and valid in measuring students’ MM and SC in music education. This study revealed a strong positive correlation (r = 0.778) between students’ MM and SC, with moderate to strong inter-relationships among various subfactors. Furthermore, comparisons unveiled significant disparities in musical MM across school levels, with higher MM and SC observed among female students. Furthermore, gender, a musical family background, and awareness of musical lesson usefulness were predictive factors for both students’ MM and SC within music education. This study provides valuable insights for professionals and policy makers to enhance music education, nurturing students’ musical growth effectively. By understanding the relationship between MM and SC and considering predictive factors, stakeholders can develop strategies that optimize the impact of music education on students’ musical development.
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Shi, Nuo. "Exploring Factors Affecting the Development of Children's Interest in Piano." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 167–72. http://dx.doi.org/10.54097/gn00zy48.
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Children's piano music lessons are well-liked in learning because they make use of children's minds, which are better able to acquire new information quickly. The purpose of this study is to identify and analyze the factors that influence children's interest in learning the piano, taking into account their family environment, the teaching methods and approaches used by their teachers, and their own motivations. It takes time, consideration, and a good outlook to encourage kids to study the piano. The correct time, a musical environment, and tutors can all help make learning the piano enjoyable. Children can experience the rhythm and emotion of music via their bodies when they are exposed to percussion instruments and activities. It aims to develop children's musical abilities, enhance instructors' teaching strategies, foster a positive musical environment for children, and encourage children to understand the concepts of piano music, so promoting children's intellectual and emotional learning.
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Cheremisova, Irina V. "Secondary Musical Personality: Structure, Psychological Mechanism of Development." SHS Web of Conferences 50 (2018): 01039. http://dx.doi.org/10.1051/shsconf/20185001039.
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Today’s socio-cultural situation requires new approaches to education. The aesthetic and semiotic approach promotes the humanization of the modern education and the development of the student’s holistic creative personality by means of classical musical art. From the standpoint of the aesthetic and semiotic approach, music is understood as a complex psychosemantic text. Due to the theoretical analysis of the studies of a secondary language personality and the studies of music and speech psychological kinship, the notion of a secondary musical personality as a kind of a secondary linguistic personality has been elaborated. The author has developed the structure and disclosed a psychological mechanism for developing a secondary musical personality. This psychological mechanism was tested as part of the longitudinal study. The structure of a secondary musical personality is presented as an aggregate of musical and cognitive, motivational, emotional, communicative, pragmatist, and spiritual and moral (axiological) components. The psychological mechanism for developing a secondary musical personality is a system of interrelated conditions and factors. These conditions and factors include: the complexity, polysemy, and semantic versatility of a musical text; musical valence; the psychological mechanism of figurative verbalization, etc. Musical enculturation serves as a universal developing mechanism.
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Rašković, Božana, and Daliborka Popović. "Determinants of music development and the influence of music education on overall personal development." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 4 (2021): 367–86. http://dx.doi.org/10.5937/zrffp51-32598.
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The development of musical abilities and the space given to music education is determined by various factors. Disagreement in opinions about the role of some factors carries the danger of neglecting some activities that would contribute to the development of musical talent. In that sense, the aim of the paper is pointed at understanding the importance of hereditary and environmental factors for the development of musical abilities, with special emphasis on determining the activities of adults in the function of music education and achievement, but also overall development. Applying the method of theoretical analysis, a comparison of different conceptual approaches was performed, as well as of the results of the conducted research and the conclusions of the authors. After considering these issues, it is concluded that although debates about giving preference to certain factors still exist, there is no dilemma that innate and environmental factors are both important, but not in themselves without the activities of an individual. Accordingly, the role of parents, educators, and teachers in motivating and provoking children's musical development with adequate musical content, overall communication, and atmosphere was emphasized. The pedagogical implications are contained in the above recommendations for the correct approach in creating musical content and a stimulating environment. Future research should be focused on examining and possibly improving the competencies of professionals-educators and teachers-to discover and support musically gifted children
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Zhang, Yuchen. "Rossini and Beethoven: Exploring the Characteristics and Influencing Factors of Musical Value from the Perspective of Opera." Journal of Education, Humanities and Social Sciences 42 (December 12, 2024): 621–27. https://doi.org/10.54097/c6v8t735.
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Analyzing musicians' works is a hot topic in the academic world, but for abecedarian, how to preliminarily analyze the musical value orientation of musicians' works is still an important issue that needs to be solved. Besides, there are very few essays to help beginners analyze the work's musical value. This essay takes Rossini, a representative of the Italian school, and Beethoven, a representative of the German school, as examples to study the quality of musical works, their popularity among the public, the inner meaning conveyed by the works, and the social environment of the times. The results show that when analyzing the value of musical work, we should not only focus on the inner value of the work itself but also combine the experience of the composer’s life and the aesthetic judgment of different periods. This study gives opinions and suggestions for music beginners to synthetically analyze the musical value of musicians' works from an objective optic angle.
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Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.
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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.
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Polite, Brandon. "Shared Musical Experiences." British Journal of Aesthetics 59, no. 4 (2019): 429–47. http://dx.doi.org/10.1093/aesthj/ayz024.
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Abstract In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise.
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POPOVA, Marianna V., and Ksenia M. TOKMAKOVA. "THE ROLE OF THE MUSICAL HEARING IN THE FORMATION OF PHONETIC AND PHONOLOGICAL COMPETENCE." Ezikov Svyat (Orbis Linguarum), ezs.swu.v20i2 (May 30, 2022): 199–205. http://dx.doi.org/10.37708/ezs.swu.bg.v20i2.4.
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The main objective of the study was to determine whether the musical hearing may be considered among factors affecting the degree of a foreign accent in a second language (L2) and how important it is mastering the perceptual and productive aspects of the suprasegmental level of foreign languages by students of linguistics specializations. The results of the study showed that subjects with developed musical hearing performed tasks on both aspects perceptual and productive more successfully. However, there are reasons to assume that the significance degree of the influence of a developed musical hearing on both the perceptual and productive aspects may differ depending on a range of other factors. Therefore, further research aimed at establishing the role of musical hearing in the hierarchy of the factors affecting the development of the phonetic and phonological competence is of great importance. The obtained results might contribute to finding new original forms and methods of teaching phonetics of foreign languages based on musical art, as well as to improving the efficiency of mastering the phonetic-phonological competence by students of linguistics majors, and to creating auxiliary programs aimed at the developing of musical, and, consequently, phonetic hearing.
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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera, and Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference." Musicae Scientiae 23, no. 4 (2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.
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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lorenzo, Herrera, and Cremades (2008) was used; however, it was shortened and culturally adapted to the Brazilian context. The participants were asked to evaluate how often they listened to 19 different styles of music. The overall results indicated that the participants’ musical preferences were heavily influenced by mass media. However, ANOVA results indicated significant differences and a variety of size effects in the frequency of musical listening based on gender and religion. Females had a greater preference for styles with emotional content, dance music and music with a strong connection to mass culture, while males preferred more vigorous styles. Regarding religion, Protestants had a stronger preference for gospel music, while Catholic preferences were more diverse.
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Довжинець І. Г. "МУЗИЧНЕ СЕРЕДОВИЩЕ УКРАЇНЦІВ: РЕАЛІЇ ТА ПЕРСПЕКТИВИ". World Science 3, № 1(53) (2020): 10–14. http://dx.doi.org/10.31435/rsglobal_ws/31012020/6904.
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 The article analyses the state of musical environment in contemporary Ukraine. It is noted that musical environment is a complex heterogeneous phenomenon which is formed in the process of musical activity and includes all its components: creativity, performance, spreading and perception. At the macrolevel musical environment includes all musical sound atmosphere of the Earth. At the microlevel – it is a direct musical surrounding of the individual. The article focuses only on some factors which influence the state of contemporary Ukrainian musical environment: mass musical teleproduction, teaching music in comprehensive educational institutions, musical education and education for adults, festivals, specific character of regional music playing. In conclusion it is noted that “improvement” of one of the mentioned kinds of musical activity cannot change considerably surrounding sound reality. «Reformation» of musical environment as well as other spheres of social existence implies complex approach.
 
 
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Zyryanov, Mikhail L. "The Deacon’s Service in the Orthodox Church: Musical Factors." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (May 2015): 41–44. http://dx.doi.org/10.17674/1997-0854.2015.2.19.041-044.
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Aránguiz, R., P. Chana-Cuevas, D. Alburquerque, and X. Curinao. "Focal dystonia in musicians: Phenomenology and musical triggering factors." Neurología (English Edition) 30, no. 5 (2015): 270–75. http://dx.doi.org/10.1016/j.nrleng.2013.12.014.
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Xu, Lanxin. "Sounding Habitus: An Interdisciplinary Study on the Factors Influencing Musical Preferences." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 374–80. http://dx.doi.org/10.54097/9rm7be23.
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This paper employs Pierre Bourdieu’s concept of 'habitus' as a theoretical framework to scrutinize the multifaceted elements that influence musical preferences and inclinations in individuals. Drawing from an interdisciplinary approach, this study weaves historical accounts with empirical analyses conducted on scholarly articles primarily in sociology and educational studies. It seeks to explore how the constitutive factors of habitus, specifically education, Social Class Background, Cultural Background, and Ideology, affect one’s taste in music. The paper argues that these variables are not merely incidental but play an integral role in shaping a person’s musical predilections. Through a detailed examination of academic literature and historical contexts, the study further contends that understanding the complex web of these contributing factors can offer profound insights into not just musical tastes but also social hierarchies and cultural legitimacies. The findings aim to contribute to the existing discourse in both sociology of music and educational theory, offering a nuanced perspective on how identity is musically constructed and socially embedded.
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Peddell, Lewes T. "Factors Influencing Listeners’ Perception of Expressiveness for a Conducted Performance." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 47–61. http://dx.doi.org/10.2307/40319338.
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Abstract This study investigated (a) how participants’ (N = 116) real-time ratings of perceived expressiveness were influenced by observing conducted musical stimuli from five observational perspectives characterized by various combinations of visual audio and audiovisual presentation; (b) factors that may have influenced participants’ expressiveness ratings, including level of college music education, researcher-declared conductor behaviors, and participant-declared factors; and (c) assessment of the validity and reliability of the Personal Digital Assistant with Continuous Response Digital Interface software (PDA-CRDI) used in this study Participants’ mean perception of expressiveness rating for audio-only stimuli was significantly higher than those for both visual-only stimuli, as well as for the audiovisual stimuli presented from the audience perspective. Graduate level music majors commented with greater frequency than expected on conductor behavior and less than expected on musical stimuli. The factors Musical Experience with the Stimuli and Conductor Behavior were rated significantly more influential than Performer Behaviors. The PDA-CRDI was found to be a markedly reliable and moderately valid method for measuring continual response data.
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Pawley, Alisun, and Daniel Müllensiefen. "The Science of Singing Along: A Quantitative Field Study on Sing-along Behavior in the North of England." Music Perception 30, no. 2 (2012): 129–46. http://dx.doi.org/10.1525/mp.2012.30.2.129.
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the study investigates contextual and musical factors that incite audiences in Western music entertainment venues to sing along to pop songs. Thirty nights of field research were carried out in five entertainment venues across northern England. The percentage of people singing along was recorded for each of the 1,054 “song events,” serving as the dependent variable. In addition, musical analysis was carried out on the songs of a subset of 332 song events. Nine contextual factors as well as 32 musical features of the songs were considered as different categories of explanatory variables. Regression trees and a random forest analysis were employed to model the empirical data statistically. Results indicate that contextual factors can account for 40% of the variability in sing-along behavior, while adding musical factors into the model – in particular those relating to vocal performance – was able to explain about another 25% of the variance. Results are discussed with respect to theoretical approaches on neo-tribal behavior.
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Gisbert Caudeli, Vicenta. "Constructivismo y conexionismo en aprendizaje musical." HUMAN REVIEW. International Humanities Review / Revista Internacional De Humanidades 11, no. 5 (2022): 1–12. https://doi.org/10.37819/humanrev.v11i5.971.
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A musical experience developed with a total sample of one hundred and ninety participants between two and three years of age is presented. The objective is to facilitate the discrimination of two musical parameters: duration and intensity, through several musical sessions developed with constructivist and connectionist methodology. The Seashore Musical Aptitude Test is adapted for the infant stage. The incorporation of these methodologies has been very positive, observing evolution in the identification of the stimuli provided. Family origin and attendance at musical activities were contemplated and may be conditioning factors due to exposure to musical listening.
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Gisbert Caudeli, Vicenta. "Constructivismo y conexionismo en aprendizaje musical." HUMAN REVIEW. International Humanities Review / Revista Internacional De Humanidades 11, no. 5 (2022): 1–12. https://doi.org/10.37819/revhuman.v11i5.971.
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A musical experience developed with a total sample of one hundred and ninety participants between two and three years of age is presented. The objective is to facilitate the discrimination of two musical parameters: duration and intensity, through several musical sessions developed with constructivist and connectionist methodology. The Seashore Musical Aptitude Test is adapted for the infant stage. The incorporation of these methodologies has been very positive, observing evolution in the identification of the stimuli provided. Family origin and attendance at musical activities were contemplated and may be conditioning factors due to exposure to musical listening.
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Yang, Wenjing. "On the Translation of English Musical Songs from the Perspective of Skopos Theory." Studies in English Language Teaching 12, no. 2 (2024): p190. http://dx.doi.org/10.22158/selt.v12n2p190.
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With the increased frequency intercultural communication, western musicals have been introduced into China and become a popular entertainment of the Chinese people. Some musicals will be dubbed in Chinese version for performance, so that the audience can enjoy the plots and songs more deeply. However, the different historical origins, social customs and religious cultures have formed specific cultural backgrounds, which in turn have formed different ways of thinking, values and pragmatic rules. All these factors have become obstacles in the translation of English musicals. As the main content of musicals songs, librettos have become an important medium for audience to appreciate musicals. Therefore, the translation of songs in musicals becomes the most important part in the study of musicals translation. Based on the Skopos Theory of functional translation, this thesis takes the Chinese version of a series of western musicals produced by SEVENAGES as the object, and analyzes the Chinese translation of these musicals from the rules of Skopos, coherence and fidelity, with the aim to find out the best techniques of translating musical songs, and improve the quality of the translation.
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Porflitt, Felipe, and Ricardo Rosas. "Musical sophistication explains a good deal of cognitive performance. A cross-sectional study of musicians and non-musicians." Resonancias: Revista de investigación musical 24, no. 47 (2020): 147–67. http://dx.doi.org/10.7764/res.2020.47.9.
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Musical sophistication is a psychometric construct that can be measured both in people with musical training and without training. Through backgrounds related to musical activities in their lifetime, and other indicators referring to their current events, the person’s musical sophistication can be estimated with a relatively high level of reliability (Cronbach’s α =.78). In turn, few studies have covered the relationships between variables of this type and cognitive performance, leaving an area of research with little evidence. This study explores the relationship between musical sophistication and cognition, taking a sample of 35 musicians and 35 non-musicians (N=70). The objective was to determine to what extent musical sophistication explains cognitive performance. The Ollen Musical Sophistication Index (Ollen 2006) was used to measure this variable, and a battery of tests enabled the measurement of cognitive performance, which considered verbal and visual-spatial working memory, inhibition, flexibility, a go/no-go test, processing speed, fluid intelligence, and divided attention. Exploratory factor analysis was run, showing two factors for cognition variables. Then regression analyses were run for factors 1 and 2, and both collapsed. The results show that 6 out of 8 cognitive variables correlate positively with musical sophistication, explaining 30% of cognitive performance, after controlling for demographic variables.
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Vigl, Julia, Francesca Talamini, Andreas Feller, Sonja Gerstgrasser, and Heike Henning. "Accuracy and Stability of Musical Tempo Memory and the Role of Musical Expertise." Music Perception: An Interdisciplinary Journal 41, no. 1 (2023): 15–35. http://dx.doi.org/10.1525/mp.2023.41.1.15.
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Previous studies have demonstrated that musical tempo memory, as the ability to recall a musical tempo without an external reference, is highly accurate. However, little is known about the stability of tempo memory for different genres and reproduction methods over time, and the factors that may influence them. In two longitudinal studies conducted over a 15-day period, we examined the accuracy and stability of musical tempo memory in individuals with different levels of music training. Specifically, we measured tempo memory every three days, and explored various factors including physiological arousal, musical aptitude, and current mood. In Study 1 (N = 111), participants reproduced the tempos of two well-known pieces (one classical and one pop piece) from memory by isochronous tapping, while in Study 2 (N = 61), participants actively performed a self-selected piece of music. Our results suggest that musical tempo memory is generally highly accurate and stable, with even greater accuracy and stability when participants played an instrument to reproduce the tempo. Furthermore, we found no evidence for an effect of arousal and mood. The impact of musical expertise, however, was mixed: individuals with higher expertise performed better in Study 1 but with no statistically significant difference in Study 2.
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Cohrdes, Caroline, Lorenz Grolig, and Sascha Schroeder. "The development of music competencies in preschool children: Effects of a training program and the role of environmental factors." Psychology of Music 47, no. 3 (2018): 358–75. http://dx.doi.org/10.1177/0305735618756764.
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The present study investigated the development and training of music competencies in children in transition from kindergarten to school. In an intervention study with three experimental groups (music training, language training, no training) we investigated music performances of N = 202 5-year-old children before and after a period of 6 months. Results indicate substantial improvement in several low- and high-level musical competencies independent of children’s participation in one of the training groups. In addition, the music training group improved significantly more in their tonal discrimination, rhythm repetition, and synchronization skills compared to the no-training group. Results show that children in the language training group also improved in their music skills, which indicates noticeable overlap between these two domains. By contrast, interindividual differences in potentially relevant environmental factors, such as home musical environment and their socioeconomic status, did not affect children’s musical skills. By disentangling music training effects from musical experience based on informal exposure, the present findings contribute to the understanding of the development of various music competencies and to the effects of musical trainings in preschool.
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OSADCHA, SVITLANA, ZHAO RONG, WU YUYANG, SAI CHULEI, and YANG HUIYAN. "FIGURATIVE AND LOGICAL COMPONENTS OF MUSICAL SEMANTICS AS FACTORS OF PIANO PERFORMANCE INTERPRETATION." AD ALTA: 13/01-XXXII. 13, no. 1 (2023): 81–83. http://dx.doi.org/10.33543/1301328183.
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The reproduction of a musical work by a performer forms a special sphere of his creative being transformative, perceived by him on a sensual level. The personified functions of performing interpretation come to the fore and acquire their own special meanings: suggestion, evaluation of the “event”, imitation, imitation, contemplation, “sensual deception”, actualization of the musical text into an aesthetic ideal for its subsequent reproduction. The artistic process of performing interpretation is considered in the article as its emotional and value meaning. This problematic area of performance interpretation intersects with artistic and aesthetic knowledge, the specificity of which lies in the emotional and figurative color of reality. It is shown that the piano-performing interpretation represents the universal nature of the pianist's activity. Its core is the search for the meaning of the composition, which involves not only the individual decoding of the signs and symbols embedded in it, but also their integration into a holistic concept. The object of this study is the musical language of the professional academic tradition as a system of means in a semantic projection. The subject of study is semantic clichés, formulas of meanings that have developed in musical practice as a reflection of cultural conventions, traditions and metamorphoses in their use.
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BAGRIY, T. "INTERPRETATION OF CHORAL WORK AS A CREATIVE COMPONENT IN THE SYSTEM OF FACTORS OF PERFORMANCE SKILLS OF THE FUTURE TEACHER - MUSICIAN." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 27 (December 13, 2021): 10–15. http://dx.doi.org/10.33989/2075-146x.2021.27.246975.
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The article considers the issues of training a future music teacher, substantiates the importance of musical performance in his professional development. The views of scientists on the interpretation of the concepts of "performance", "performing skills" are analyzed. The components that determine the performance skills are highlighted. The meaning of the concepts "creation" and "creativity" is specified, their differences are defined. The phenomenon of interpretation as a type of creative activity is analyzed. Different approaches of music teachers and scholars to the interpretation of the term "interpretive skills", which are manifested in analytical work with musical text, technical and performing skills, artistic taste, the performer's own attitude to the figurative content of a musical work and reflect the level of his creative abilities. The key provisions of the theory and practice of interpretive activity of the future music teacher are indicated. The stages of creation of interpretation of a choral work are singled out and the range of tasks of each stage is defined. Analysis of a musical work is considered as one of the components of interpretation. The focus is on the formation of interpretation skills during individual lessons in the class of choral conducting. Methods and forms of work are proposed to activate the creative thinking of students to expand the musical horizons. It was found that the state of creative search deepens the performer's knowledge of the musical image, forms the skills and abilities of full-fledged work on interpretation. Emphasis is placed on the peculiarities of reading the musical text, on the development of skills and abilities in the independent analysis of a musical work. The role of personal qualities of the student and own experience in creative process is defined.
 The peculiarities of the formation of interpretive abilities are characterized, in particular, the sketch study of works as one of the forms of analytical-synthetic activity of the student is singled out. It was found that musical interpretation is a key aspect of the performing activity of a future musician teacher.
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Wannawattawong, Raksarn, Narong Khamwijit, and Emeritus Sakda Pannengpetch. "A STUDY ON ARTISTIC STYLES AND ARTISTISM IN MUSICAL PERFORMANCE." EUrASEANs: journal on global socio-economic dynamics, no. 3(46) (May 30, 2024): 447–53. http://dx.doi.org/10.35678/2539-5645.3(46).2024.447-453.
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Musical performance represents a secondary creation of musical works, necessitating performers to possess a high level of artistic cultivation and a deep understanding of the artistic style inherent in the music. Performers must bring unique aesthetic characteristics to their performances. The performer's personality, temperament, and experience, along with the local cultural background, influence the artistic style in musical performance. Therefore, performers must specifically analyze these influencing factors and explore methods of artistic expression in musical performance. By accurately understanding and interpreting musical works, performers can achieve a perfect rendition.
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Neville, J. "Pop Music, Preference and Personality." British Journal of Music Education 2, no. 2 (1985): 145–52. http://dx.doi.org/10.1017/s0265051700004745.
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In an attempt to clarify thinking about the musical preferences of fourteen-year old schoolchildren, the author devised an experiment to test the hypothesis that musical preference relates to the personality types of extroversion and introversion, as defined by Eysenck. The results did not confirm this hypothesis, so other factors – the sex of the subjects, the kinds of music and the chosen items themselves – were analysed and their interaction evaluated. There was no hierarchy of factors and the conclusion is that fourteen-year-olds are able to make judgements based on musical criteria.
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Hewitt, Allan. "Levels of significance attributed to musical and non-musical factors of individual difference by classroom music teachers." Research Studies in Music Education 20, no. 1 (2003): 48–59. http://dx.doi.org/10.1177/1321103x030200010301.
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Creel, Sarah C. "Metrical Restoration From Local and Global Melodic Cues." Music Perception 38, no. 2 (2020): 106–35. http://dx.doi.org/10.1525/mp.2020.38.2.106.
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What factors influence listeners’ perception of meter in a musical piece or a musical style? Many cues are available in the musical “surface,” i.e., the pattern of sounds physically present during listening. Models of meter processing focus on the musical surface. However, percepts of meter and other musical features may also be shaped by reactivation of previously heard music, consistent with exemplar accounts of memory. The current study explores a phenomenon that is here termed metrical restoration: listeners who hear melodies with ambiguous meters report meter preferences that match previous listening experiences in the lab, suggesting reactivation of those experiences. Previous studies suggested that timbre and brief rhythmic patterns may influence metrical restoration. However, variations in the magnitude of effects in different experiments suggest that other factors are at work. Experiments reported here explore variation in metrical restoration as a function of: melodic diversity in timbre and tempo, associations of rhythmic patterns with particular melodies and meters, and associations of meter with overall melodic form. Rhythmic patterns and overall melodic form, but not timbre, had strong influences. Results are discussed with respect to style-specific or culture-specific musical processing, and everyday listening experiences. Implications for models of musical memory are also addressed.
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Cheremisova, Irina V. "Semantics of Musical Text as a Key Condition for Development of Secondary Musical Personality." SHS Web of Conferences 69 (2019): 00028. http://dx.doi.org/10.1051/shsconf/20196900028.
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From the standpoint of the aesthetic and semiotic approach music is understood as a complex psychosemantic text. Theoretical analysis of studies of the psychological connection between music and speech allowed to develop the concept of secondary musical personality as a sort of secondary linguistic personality. The author has developed a musical-semantic pattern of development of secondary musical personality in the educational process. This theoretical pattern is a system of interrelated conditions and factors of development of secondary musical personality. The author determines complexity, polysemy and semantic diversity of the musical text as the key condition. The author attaches special importance to forming potentials of classical music masterpieces in the musical-semantic pattern. The author identifies the artistic, spiritual and ethical levels of music as the main criteria of the musical masterpiece.
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Castiglione, Claudia, Alberto Rampullo, and Silvia Cardullo. "Self representations and music performance anxiety: A study with professional and amateur musicians." Europe’s Journal of Psychology 14, no. 4 (2018): 792–805. http://dx.doi.org/10.5964/ejop.v14i4.1554.
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Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).