Relevant bibliographies by topics / Musical scales

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

Academic literature on the topic 'Musical scales'

Author: Grafiati
Published: 5 June 2025
Last updated: 24 June 2025

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Journal articles on the topic "Musical scales"

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José, María, Garmendia Ridríguez, and Juan Antonio Navarro González. "Musical Scales." Irish Mathematical Society Bulletin 0035 (1995): 24–41. http://dx.doi.org/10.33232/bims.0035.24.41.

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Swallowe, G. M., T. Charnley, and R. Perrin. "New musical scales." Journal of the Acoustical Society of America 94, no. 2 (1993): 1166–67. http://dx.doi.org/10.1121/1.406968.

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Nikolsky, Sergei S. "Musical Scales with Pythagorean Intervals." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2020): 17–23. http://dx.doi.org/10.33779/2587-6341.2020.3.017-023.

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Sethares, William A. "Specifying spectra for musical scales." Journal of the Acoustical Society of America 102, no. 4 (1997): 2422–31. http://dx.doi.org/10.1121/1.419604.

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Sevgen, Alpar. "Musical scales, signals, quantum mechanics." Journal of the Acoustical Society of America 120, no. 5 (2006): 3237. http://dx.doi.org/10.1121/1.4788249.

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Sethares, William A. "Adaptive tunings for musical scales." Journal of the Acoustical Society of America 96, no. 1 (1994): 10–18. http://dx.doi.org/10.1121/1.410471.

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Kohl, Philipp. "Scales of sustain and decay: making music in deep time." Popular Music 39, no. 1 (2020): 108–20. http://dx.doi.org/10.1017/s0261143019000588.

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AbstractThis article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music's most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today's effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical events by nuclear decay. While language uses metaphors of sustain and decay as figurative ways to express both musical and planetary dimensions, practices of music offer alternative ecologies of relating the seemingly unrelatable scales of deep time and musical time. If in the Anthropocene humankind becomes aware of its role as a geophysical force, thinking about making music in the Anthropocene requires an awareness for the temporalities involved in the materials at hand. Besides an ecological perspective, the article looks at various media (magazines, ads, and manuals) and thus positions economical mechanisms of the musical instrument manufacturing market as a small-scale experimental setting for larger-scale industrial processes.
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Pelofi, Claire, and Morwaread M. Farbood. "Asymmetry in scales enhances learning of new musical structures." Proceedings of the National Academy of Sciences 118, no. 31 (2021): e2014725118. http://dx.doi.org/10.1073/pnas.2014725118.

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Despite the remarkable variability music displays across cultures, certain recurrent musical features motivate the hypothesis that fundamental cognitive principles constrain the way music is produced. One such feature concerns the structure of musical scales. The vast majority of musical cultures use scales that are not uniformly symmetric—that is, scales that contain notes spread unevenly across the octave. Here we present evidence that the structure of musical scales has a substantial impact on how listeners learn new musical systems. Three experiments were conducted to test the hypothesis that nonuniformity facilitates the processing of melodies. Novel melodic stimuli were composed based on artificial grammars using scales with different levels of symmetry. Experiment 1 tested the acquisition of tonal hierarchies and melodic regularities on three different 12-tone equal-tempered scales using a finite-state grammar. Experiments 2 and 3 used more flexible Markov-chain grammars and were designed to generalize the effect to 14-tone and 16-tone equal-tempered scales. The results showed that performance was significantly enhanced by scale structures that specified the tonal space by providing unique intervallic relations between notes. These results suggest that the learning of novel musical systems is modulated by the symmetry of scales, which in turn may explain the prevalence of nonuniform scales across musical cultures.
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Misto, Riccardo. "Therapeutic Musical Scales: Theory and Practice." OBM Integrative and Complementary Medicine 06, no. 02 (2020): 1. http://dx.doi.org/10.21926/obm.icm.2102019.

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Using musical scales in a therapeutic key is one of the fundamental music therapy techniques of the Yoga of Sound (Nāda Yoga). The practice consists of singing particular sound formulas (scales), which are devised on a logical mathematical basis formed by specific musical intervals. These scales can bring to the surface, in a clear (objective), recognizable, and predictable way, psycho-emotional states and transform the blocked emotional energies. These blocked emotional energies are caused by repeated emotional stress, which, according to the psychosomatic principle, is the main cause of the physical and mental problems and pathologies. In this article, the fundamental principles of this music therapy, in theory and practice, are uncovered and analyzed.
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Sevgen, Alpar. "Symmetries and dynamics of musical scales." Journal of the Acoustical Society of America 109, no. 5 (2001): 2483. http://dx.doi.org/10.1121/1.4744829.

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Dissertations / Theses on the topic "Musical scales"

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Vail, Kimberly Gail. "Musical Priming and Operant Selection." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.

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Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.
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Gerhardt, Kris. "The tritone paradox : an experimental and statistical analysis /." *McMaster only, 2002.

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McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.

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The perception of musical intervals by musicians can be envisaged as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. In the first of four experiments, most subjects in both groups were able to name accurately standard sequential musical intervals based on the equal-tempered scale. In the second experiment, most subjects in the AP group were able accurately and consistently to name notes of the equal-tempered scale, whereas subjects without AP were not able to name them consistently or accurately. In the third experiment, subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4 semitone range, using the standard musical note names. This experiment also demonstrated that not all subjects had the same internal pitch reference. In the final and major experiment, subjects identified sequential musical intervals ranging in 20-cent steps from 260 to 540 cents, using the standard musical interval names. Subjects, both with and without AP, appeared to identify the intervals by directly evaluating the musical interval between the two notes, rather than first identifying the two pitches and then inferring the musical interval. One subject in the AP group showed a strong tendency to use the latter method, but only in certain contexts, the reason for which remains unexplained. Although more research is needed for stronger conclusions to be drawn, it appears that most musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.<br>Medicine, Faculty of<br>Audiology and Speech Sciences, School of<br>Graduate
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Berens, Melody Sue. "Limitations on contextual assistance for relative-temporal-duration-judgment." Diss., Online access via UMI:, 2004. http://wwwlib.umi.com/dissertations/fullcit/3150496.

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Klein, Rolf. "Die Intervallehre in der deutschen Musiktheorie des 16. Jahrhunderts." Regensburg : G. Bosse, 1989. http://books.google.com/books?id=IkxGAAAAMAAJ.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Ng, Kwok Wai. "The modes of tōgaku from Tang-period China to modern Japan : focusing on the ōshikichō, banshikichō and hyōjō modal categories." Thesis, Department of Music, 2007. http://hdl.handle.net/2123/8716.

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Tung, Anne An-Yi Lin. "A Study Of Lu-Pitch Name Signification: A Translation with Commentary." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500549/.

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The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.
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Bernal, Leonardo Camacho. "Miles Davis the road to modal jazz /." connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3693.

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Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.

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Books on the topic "Musical scales"

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Associates, Independent Communications, British Broadcasting Corporation, Royal Institution of Great Britain, and Films for the Humanities (Firm), eds. Scales, synthesizers, and samplers. Films for the Humanities & Sciences, 2004.

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Neuwirth, Erich. Musical temperaments. Springer, 1997.

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Cameron, Powers, ed. Arabic musical scales: Basic maqam teachings. G.L. Designs, 2005.

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Powers, Cameron. Arabic musical scales: Basic maqam teachings. G.L. Designs, 2005.

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Righini, Pietro. Gli intervalli musicali e la musica: Dai sistemi antichi ai nostri giorni. 2nd ed. G. Zanibon, 1988.

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Rué, Roberto, and Roberto Rué. Sonido, estructura y percepción musical. s.n., 1992.

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Rechberger, Herman. Scales and modes around the world. Fennica-Gehrman, 2008.

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Tiozzo, Loris. Gioseffo Zarlino: Teorico musicale. Veneta, 1992.

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Lindley, Mark. Mathematical models of musical scales: A new approach. Verlag für Systematische Musikwissenschaft, 1993.

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Andrews, Lee "Drew ." Banjo scales chart. Mel Bay, 2008.

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Book chapters on the topic "Musical scales"

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Sethares, William A. "Musical Scales." In Tuning, Timbre, Spectrum, Scale. Springer London, 1998. http://dx.doi.org/10.1007/978-1-4471-4177-8_3.

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Moravcsik, Michael J. "Pitch and Musical Scales." In Musical Sound. Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_9.

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Hooker, J. N. "Finding Alternative Musical Scales." In Lecture Notes in Computer Science. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44953-1_47.

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Dodds, Phil. "Musical Metropolis: Janelle Monáe’s Scalar Agility." In Music and the Cultural Production of Scale. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_2.

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AbstractJanelle Monáe—whose output spans the genres of R&amp;B, psychedelic soul, hip-hop and Afrofuturist funk—is a prime example of a musician with scalar agility. Through a range of simple and complex musical techniques in a series of ‘Metropolis’ concept records, she has produced a multi-scalar ‘sonic fiction’. The scalar qualities and relations of this musical world—and her ability to musically subvert, split and reimagine the relationships between scales such as the body, the metropolitan, the global and the universal in tracks such as ‘Dance or Die’ and ‘Cold War’—make her work politically transgressive and capable of unsettling the present scaled reality.
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Dodds, Phil. "Introduction." In Music and the Cultural Production of Scale. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_1.

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AbstractScales are neither natural nor neutral but actively and constantly produced and practised, with real political effects. Human-geographical and anthropological scholarship has demonstrated this with special attention to political-economic and social processes, but the project of understanding how cultural practices produce scale remains unfinished. A review of music research shows that it tends to use scalar categories (e.g. local, urban, regional, global, world) in varyingly critical ways, and as a field it therefore has both most to gain from and most to offer to a fuller conceptualisation of the cultural production of scale. In particular, music scholars should treat scales as open questions, and as phenomena potentially produced through musical practices, rather than as stable categories upon which to base, or with which to frame, other arguments. Attending to how music harnesses, manipulates, contests and constructs the scales that have been more commonly used to frame and explain it enables a richer musicological analysis and a deeper understanding of the world’s geographies.
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Clampitt, David. "Mathematical and Musical Properties of Pairwise Well-Formed Scales." In Communications in Computer and Information Science. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04579-0_46.

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Dodds, Phil. "Musical Scale-Jumping: ‘What a Wonderful World’ from Lysekil to Lviv." In Music and the Cultural Production of Scale. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_4.

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AbstractLouis Armstrong’s ‘What a Wonderful World’ exemplifies popular music’s tendency and ability to build from the particular into the general—or to connect the personal to the universal. The lyrics’ logical leap from local observation to general claim is accompanied by several musical features that enable this leap to be landed. The musical transition to what Édouard Glissant calls ‘Whole-World thinking’ also functions in various cover versions of the song, including politically charged live performances at a Swedish climate protest in 2019, and outside Lviv train station (and widely shared on social media) during Russia’s ongoing invasion of Ukraine. This Armstrong classic shows the potential of what might be called musical ‘scale jumping’, following Neil Smith, reorienting audiences to new scales of political contest. It also exemplifies how cultural practices have long been involved in fusing relations between the experiential and the general, or between particular places and what Glissant calls the ‘Whole-World’.
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Tsai, Cheng-Min, Ya-Ting Chang, and Wang-Chin Tsai. "A Pilot Study on Synesthesia Between Color Senses and Musical Scales in Chinese Musical Instrument “Guqin”." In Human Aspects of IT for the Aged Population. Design, Interaction and Technology Acceptance. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05581-2_10.

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Milne, Andrew J., David Bulger, Steffen A. Herff, and William A. Sethares. "Perfect Balance: A Novel Principle for the Construction of Musical Scales and Meters." In Mathematics and Computation in Music. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_9.

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Marandola, Fabrice. "The Study of Musical Scales in Central Africa: The Use of Interactive Experimental Methods." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-39900-1_4.

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Conference papers on the topic "Musical scales"

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Pedroza, Hegel, Wallace Abreu, Ryan M. Corey, and Iran R. Roman. "Guitar-TECHS: An Electric Guitar Dataset Covering Techniques, Musical Excerpts, Chords and Scales Using a Diverse Array of Hardware." In ICASSP 2025 - 2025 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2025. https://doi.org/10.1109/icassp49660.2025.10887996.

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Long, Phillip, Zachary Novack, Taylor Berg-Kirkpatrick, and Julian McAuley. "PDMX: A Large-Scale Public Domain MusicXML Dataset for Symbolic Music Processing." In ICASSP 2025 - 2025 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2025. https://doi.org/10.1109/icassp49660.2025.10890217.

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Biletska, Maryna, Tatiana Pidvarko, Lina Kotova, and Karina Oleksenko. "THE CREATIVE HERITAGE OF DAVID OISTRAKH IN THE MUSICAL ART OF THE XX CENTURY." In 11th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2024. SGEM WORLD SCIENCE, 2024. https://doi.org/10.35603/sws.iscah.2024/s08.21.

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The creation of D. Oistrakh is one of the highest achievements in the native musical art of the 20th century. D. Oistrakh�s impressive performing skills, the philosophical depth and the scale of his interpretations, the sensitivity to everything new were combined with the inspiration of the pedagogical work, the special care about the transformation of his great creative experience to the new generation of the violinists. Studying the creative heritage of D. Oistrakh, we can confirm that he has created the original pedagogical system that synthesized the most progressive methods of the native and the world violin pedagogy and combined organically them with the tasks of instrumentalperforming practice. The purpose of the research is to reveal the essence of performing aesthetics and the content of D. Oistrakh�s pedagogical principles and to trace their influence on the modern practice of violin art. The scientific basis of the article is the interdisciplinary approach, which led to the complex use of the general scientific and the special methods. They are, in particular, the methods of analysis and synthesis, induction and deduction, comparative-historical and logical analysis, and also the principles of historicism, the scientific objectivity, systematicity during the research of the creative heritage of the outstanding personality. The tasks of the research included revealing the main features of D. Oistrakh�s musical-performing and the pedagogical activity and investigating the meaning of his creative heritage for the modern art. Conclusions. The main features of performing aesthetics and the technological regulations of D. Oistrakh�s music-performing system have been determined in the research, especially from the point of view of musical-interpretative approaches, which significantly affect the development of the modern violin art, and also the prospects of the development of the modern violin schools in the synthesis of the different directions of violin art.
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Yuan, Zhengwu, Qiuliang Wang, Hao Yang, and Hanqing Yang. "Multi-Scale HyperGraph Node Embedding via Random Walking for Music Recommendation." In 2024 5th International Conference on Artificial Intelligence and Computer Engineering (ICAICE). IEEE, 2024. https://doi.org/10.1109/icaice63571.2024.10864189.

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Liang, Xiao, Zijian Zhao, Weichao Zeng, et al. "PianoBART: Symbolic Piano Music Generation and Understanding with Large-Scale Pre-Training." In 2024 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2024. http://dx.doi.org/10.1109/icme57554.2024.10688332.

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Yang, Ziyi. "Music generation model based on WGAN network and multi-scale null convolution module." In 2024 2nd International Conference on Mechatronics, IoT and Industrial Informatics (ICMIII). IEEE, 2024. http://dx.doi.org/10.1109/icmiii62623.2024.00033.

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Ouyang, Zhihao, Ju-Chiang Wang, Daiyu Zhang, Bin Chen, Shangjie Li, and Quan Lin. "MQAD: A Large-Scale Question Answering Dataset for Training Music Large Language Models." In ICASSP 2025 - 2025 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2025. https://doi.org/10.1109/icassp49660.2025.10890561.

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SWALLOWE, GM, T. CHARNLEY, and R. PERRIN. "ANHARMONIC MUSICAL SCALES." In Acoustics '93. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/20499.

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Taitz, Alan, Diego Shalom, Marcos Trevisan, and Bruno Mesz. "The taste of scales and chords." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10445.

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Reliable crossmodal correspondences between basic tastes and music features have been found in recent studies [1,2]. In this work, we explore associations between scales, chords and tastes. Several of these elementary musical structures show non-random patterns of matching with basic tastes. Moreover, their aggregate dyadic consonance [3] anti-correlates with the relative frequency of their matching to bitter taste.
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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral, and Rodrigo Mendes de Carvalho Pereira. "A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.

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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.
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Reports on the topic "Musical scales"

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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.
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4

Wang, Lili, Xuesong Wang, Yin Wu, Lingxiao Ye, Yahua Zheng, and Rui Fan. The Effects of Non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Era: A Protocol Network Meta-Analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2022. http://dx.doi.org/10.37766/inplasy2022.2.0080.

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Review question / Objective: To compare and rank the clinical effects of Non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Eradifferent. Eligibility criteria: The published randomized controlled trials (RCT) of non-Pharmacological Therapies for Psychological State of Medical Staff in the Post-epidemic Era, regardless of age and gender. Patients had clear diagnostic criteria to be diagnosed. Interventions in the treatment group included were various types of non-pharmacological therapies, including various types of acupuncture therapies (such as simple acupuncture, electroacupuncture, warm acupuncture, acupuncture catgut embedding, Auricular therapy, or the combination of acupuncture and other Non-Pharmacological Therapies), meditation, Baduanjin, Tai Chi, aerobic exercise, yoga, psychotherapy, music therapy, etc.; the control group was conventional treatment groups or different non-pharmacological therapies compared with each other. The results of the report are required to include at least one of the following outcome indicators: The self-Rating Anxiety Scale (SAS), the Self-Rating Depression Scale (SDS), the Pittsburgh sleep quality index (PSQI), and effectiveness rate. The language of the publication is limited to Chinese or English.
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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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