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Tetelea, Margarita, and Ana Glebov. "2. Some Aspects of Developing Musical Thinking in the Training of Musical Student." Review of Artistic Education 11, no. 1 (March 1, 2016): 15–19. http://dx.doi.org/10.1515/rae-2016-0002.
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Abstract This article examines various approaches and methods used to develop musical thinking in students. It also reveals some of the principles, developed by a number of scientists to facilitate the process. One of the new principles of developing musical thinking is internalization of music, proposed by the Moldovan professor and musicologist Ion Gagim, who in his works justifies its use from the philosophical, musicological, psychological and pedagogical perspectives.
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Abdul-Adil, Jaleel K. "Modern Rap Music: Mining the Melodies for Mental Health Resources." Journal of Youth Development 9, no. 2 (June 1, 2014): 149–52. http://dx.doi.org/10.5195/jyd.2014.66.
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Modern Rap music is a very popular, powerful, and controversial form of contemporary youth media. Despite clearly counter-productive aspects of certain lyrics, videos, and other cultural elements, Rap music also offers prosocial material that can enhance the appeal and impact of mental health interventions. This article describes the Young Warriors program as an example of a Rap-based program that promotes positive development in urban ethnic minority youth. Future directions and similar scholarly efforts are also highlighted.
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Uhlig, Sylka, Erik Jansen, and Erik Scherder. "“Being a bully isn’t very cool…”: Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting – a randomized controlled trial." Psychology of Music 46, no. 4 (July 21, 2017): 568–87. http://dx.doi.org/10.1177/0305735617719154.
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Music as an effective self-regulative tool for emotions and behavioural adaptation for adolescents might enhance emotion-related skills when applied as a therapeutic school intervention. This study investigated Rap & Sing Music Therapy in a school-based programme, to support self-regulative abilities for well-being. One-hundred-and-ninety adolescents in grade 8 of a public school in the Netherlands were randomly assigned to an experimental group involving Rap & Sing Music Therapy or a control group. Both interventions were applied to six classes once a week during four months. Measurements at baseline and again after four months provided outcome data of adolescents’ psychological well-being, self-description, self-esteem and emotion regulation. Significant differences between groups on the SDQ teacher test indicated a stabilized Rap & Sing Music Therapy group, as opposed to increased problems in the control group ( p = .001; ηp2 = .132). Total problem scores of all tests indicated significant improvements in the Rap & Sing Music Therapy group. The RCT results imply overall benefits of Rap & Sing Music Therapy in a school setting. There were improved effects on all measures – as they are in line with school interventions of motivational engagement in behavioural, emotional and social themes – a promising result.
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Segalo, Puleng. "The psychological power of rap music in the healing of black communities." Muziki 3, no. 1 (January 2006): 28–35. http://dx.doi.org/10.1080/18125980608538781.
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Dorchin, Uri. "In quest of truth: the meaning of message making in Israeli rap." Popular Music 34, no. 3 (September 8, 2015): 452–70. http://dx.doi.org/10.1017/s0261143015000367.
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AbstractThis article explores the meaning of ‘message’ in rap made in Israel. I suggest that since Israeli rappers perceive rap not just as music but as an instrument for the articulation of one's true self, they invest heavily in the notion of truth, rendering the making-of-a-message a message in its own right. I draw on two different analytical methods to explore the meaning of truth in this context: text analysis, based on a ‘word-system approach’, and ethnography of performance. The analysis of speech strategies exposes the different aspects attached to the idea of truth, and this is complemented by my fieldwork experiences, which illustrate how these aspects and perceptions are being practised during performance. I argue that for Israeli rappers the ideals of message making and ‘keeping things real’ draw simultaneously on the global stylistic capital of hip-hop and on local traditions of straightforward verbal expression.
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Mirka, D. "Hearing in Time: Psychological Aspects of Musical Meter." Journal of Music Theory 48, no. 2 (January 1, 2004): 325–36. http://dx.doi.org/10.1215/00222909-48-2-325.
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Nzinga, Kalonji L. K., and Douglas L. Medin. "The Moral Priorities of Rap Listeners." Journal of Cognition and Culture 18, no. 3-4 (August 13, 2018): 312–42. http://dx.doi.org/10.1163/15685373-12340033.
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AbstractA cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring what the members of a community subjectively perceive to be moral or immoral in their local context. This study seeks to identify the moral concerns that are most relevant to listeners of hip-hop music. We use validated psychological surveys including the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess which moral concerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justice and authenticity more than non-listeners and deprioritize concerns of respecting authority. These results suggest that the concept of the “good person” within hip-hop culture is fundamentally a person that is oriented towards social justice, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a discussion of the role of youth subcultures in moral socialization.
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GRASSE, JONATHON. "Conflation and conflict in Brazilian popular music: forty years between ‘filming’ bossa nova in Orfeu Negro and rap in Orfeu." Popular Music 23, no. 3 (October 2004): 291–310. http://dx.doi.org/10.1017/s0261143004000182.
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Popular music plays important roles in two related films portraying Brazilian slum life. Based on a 1953 play by Vinícius de Morais, Marcel Camus's 1959 film Orfeu Negro, and a 1999 feature by Brazilian director Carlos Diegues titled Orfeu, augment traditional samba styles with bossa nova and rap, respectively. Interpreting musical style as allegorical texts within fictive landscapes, this paper examines conflation and conflict among musical meanings, Brazilian social histories, and discursive identities marking the twentieth century. Broad aspects of Brazilian political and socio-cultural development are implicated, such as authoritarianism, the politics and sociology of race, technological advances, mass media, and modes of modernisation. Here, bossa nova and rap engage society through reflexive and generative interpretations within a narrative designed to illustrate connections between processes of innovative, trans-national cultural production, myths of national identity, social change, and the powerful role of popular music in film.
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QUINN, EITHNE. "“Who's The Mack?”: The Performativity and Politics of the Pimp Figure in Gangsta Rap." Journal of American Studies 34, no. 1 (April 2000): 115–36. http://dx.doi.org/10.1017/s0021875899006295.
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Mack: pimp; talk someone into something“Pimptionary,” Ice-TMack man: Short for Mackerel man, a pimp. Possibly from the French maquereau. Connotes the working side of pimping, especially the line, the “rap,” the psychological game.“Pimp Talk,” Christina and Richard MilnerMack, as these definitions attest, is synonymous with pimp and is so deployed in gangsta rap as both noun and verb. From this denotative meaning, the term has assumed secondary meanings: to persuade, or as Ice-T says “to talk someone into.” The mack comes to mean the persuader, the trickster, the rapper. This semantic shift strikes at the centre of the equivalencies between rap artist and pimp. As music critic S. H. Fernando asserts, “the one specific quality that pimps and rappers share is their way with words.” If broad parallels can be drawn between pimping and rapping, what is distinctive about the notorious and highly successful subgenre of gangsta rap, which emerged in late-1980s urban California, is that here this equivalence is literalized. Many gangsta rappers actually assume pimp personae, presenting oral narratives which fulfil both denotative and connotative meanings of the word mack.
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Mukhtarova, A. S., and O. A. Alimuradov. "Some linguistic peculiarities of the English and Russian rap texts: a comparative study drawing on the material of texts of grime microgenre." Current Issues in Philology and Pedagogical Linguistics, no. 2(2020) (June 25, 2020): 133–46. http://dx.doi.org/10.29025/2079-6021-2020-2-133-146.
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The article is devoted to a comparative analysis of the linguistic characteristics of the English- and Russian-language song discourse of the late XXth – early XXIst centuries drawing on the material of music works of rap genre. Today, rap is one of the most popular music genres around the world. This musical genre is developing dynamically, comprehending various aspects of modern life, people’s problems, and therefore it has a fairly wide audience. The topicality of the research is determined by the need to deepen the linguistic understanding of creolized texts, the lacunarity of the concept of genres of polycode texts, as well as a high degree of intertextuality of the studied texts. The English and Russian-language texts of rap music works by such artists as Skepta, Oxxxymiron hae served as the material for the research. The Genius website was the source of the texts. Special attention is paid to the classification of subgenres and microgenres of rap with the allocation of the grime microgenre, which has been taken as the key genre for the study. On the basis of the results of the empirical analysis of the discursive material, the authors claim that the Russian- and English-language grime microgenres have some common and differential features. Common features include the use of precedent names, explicit citations, the use of metaphors, antitheses, repetitions, pun, slangisms, obscene lexis, and edlibs. In the English-language grime, there are no allusions to mythology, biblical text, or other literary works that are frequently present in the tracks of the Russian-speaking artist. The authors conclude that various ways of implementing intertextuality are represented in a wider spectrum in the Russian-language grime than in the English-language grime
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Tayyebi, Seyed Farhad, and Yuksel Demir. "Musical Preferences Correlate Architectural Tastes: An Initial Investigation of the Correlations Between the Preferred Attributes." Advanced Journal of Social Science 7, no. 1 (September 22, 2020): 96–108. http://dx.doi.org/10.21467/ajss.7.1.96-108.
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Despite a large number of discussions on the analogical and technical interrelations between architecture and music, very few studies have looked at the interrelations between the appreciations of the attributes among them. This study investigates the correlations between the preferences of architectural and musical attributes to reflect how they generally interrelate with each other. The considered visual qualities related to architectural forms are symmetricity, complexity, rhythm, pattern, and stress; and the considered musical attributes are related to the main four categories of Genres, perceived psychological attributes, five factors of music, and 3-Factors (arousal, valence, and depth). To discover the correlations, at first, a survey was designed to gather individual appreciations of the attributes. The responses were then filtered to remove the invalid ones before Pearson’s correlation coefficient analysis unveils the relationships between every single considered attribute. In total, 5,184 correlations have been thoroughly explored, and a number of strong correlations were discovered and discussed in a classified manner; for instance, rap-followers showed higher satisfaction to asymmetrical building façade. This study also confirms some musical attributes are stronger reflectors of architectural taste, like rap, jazz, sophisticated, poetic music. Lastly, this paper confirms the significant effects of demographic attributes on the discovered correlations.
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Jatmika, Ovan Bagus. "Musician Problem: Internal and External Aspects." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 103–23. http://dx.doi.org/10.31091/jomsti.v3i2.1151.
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Purpose: This paper explores various problems faced by music players in general and the solutions about the problems. Research methods: These problems are categorized into two, namely internal and external. Internal problems are related to technical and psychological problems, while external problems are related to communication capacity. Results and discussion: Internal problems can be experienced by all music players without considering the kind of their performances (solo or ensemble), external problems specifically only appear in the ensemble. The solution to the technical problems is trying to understand the score from the broadest possible perspective (accommodating at least three things: assumptions about the style of music, the intention of the composer, and the role of the player in interpreting the work) so that the player can construct sound imaginations without being overshadowed by technical constraints. Implication: Psychological problems can be mitigated by many things, but the most recommended method is cognitive behavior therapy, where musicians are taught to always bring positive thoughts in any situations
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Shuker, Roy. "New Zealand popular music, government policy, and cultural identity." Popular Music 27, no. 2 (May 2008): 271–87. http://dx.doi.org/10.1017/s0261143008004066.
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AbstractThe New Zealand popular music industry has recently undergone impressive growth, and is poised to make a significant international impact. Two aspects of this newly privileged position are examined. First, broadly sketching twenty years of developments, I argue that Government willingness to get behind the local industry, especially the role of the post-2000 Labour Government, is a crucial determinant of the present success story. Secondly, I consider the debated relationship between local music and New Zealand cultural identity, with particular reference to two prominent musical styles: Kiwi ‘garage’ rock, and Polynesian-dominated local rap, reggae and hip-hop-inflected music. I argue that the local must not be overly valorised, and that it is necessary to distinguish between ‘local music’ as a cultural signifier and locally made music, with both worthy of support.
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Bergeson, Tonya R. "Book Review: Hearing in Time: Psychological Aspects of Musical Meter." Psychology of Music 34, no. 3 (July 2006): 405–7. http://dx.doi.org/10.1177/030573560603400309.
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Watt, Roger J., and Roisin L. Ash. "A Psychological Investigation of Meaning in Music." Musicae Scientiae 2, no. 1 (March 1998): 33–53. http://dx.doi.org/10.1177/102986499800200103.
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Music has a strong effect on people's mental state and behaviour. This effect can be at a simple motor level, or it can be at a more complex level of arbitrary association or it can be at a much more complex cognitive and representational level. This latter case is of specific interest because it implies that, to some degree, music can be said to have a content that is not musical. Thus, when music is taken to depict a rough sea, then something in the music causes that: the music contains something that is being taken to signify roughness-of-sea. The existence of a large, natural yet arbitrary vocabulary (as is demonstrably the case for language) to relate musical expressions to non-musical events/objects seems implausible. In this paper, the possibility is explored that the vocabulary of musical expression concerns psychological aspects of people. Thus music, it is hypothesised, can express male/female-ness and good/evil-ness and happy/sad-ness and so on. Data obtained in a novel paradigm designed to test this hypothesis are described. Substantial support for the hypothesis is found: the implications of this are discussed.
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ZHURAVLOVA, Natalia, and Irina KALENYK. "Psychological aspects of the concertmaster’s activity in the sphere of music art." Humanities science current issues 1, no. 36 (2021): 74–78. http://dx.doi.org/10.24919/2308-4863/36-1-10.
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Shear, Neil H., and Carol Levine. "Needs Survey of Canadian Rosacea Patients." Journal of Cutaneous Medicine and Surgery 3, no. 4 (April 1999): 178–81. http://dx.doi.org/10.1177/120347549900300403.
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Background: In 1995, a Rosacea Awareness Program (RAP) was initiated in Canada to make available educational resources for physicians and rosacea patients. Material is in French or English, and is accessible though physician offices and by toll-free telephone. Information was communicated to the public via noncommercial, editorial media. The RAP created a database of rosacea patients in Canada. Objective: We investigated if individuals in the database had a confirmed diagnosis of rosacea, how they perceived their treatment by the medical system, and identified their needs. Methods: A two-page questionnaire was mailed to 7874 individuals registered with the RAP. Thirty percent of these individuals responded. Where comparisons were made a chi-squared statistic was used. Results: Over 70% learned of the RAP via public media. It took patients an average of 5 years to have a diagnosis made after the first symptoms appeared. In the majority of patients (53%) the diagnosis was ultimately made by a specialist. Fifty-eight individuals said they had not discussed their condition with their doctor. Patients were likely to continue on medication that was prescribed (60%) and topical metronidazole was the most common medication used, mostly the gel formulation. Most patients used these twice daily. Patients were very satisfied with treatments and almost 90% had reduced symptoms. Despite receiving explanations and written material, patients expressed a strong interest in more information being available on skin care, make-up, and psychological aspects of rosacea. Conclusions: The RAP provides a needed educational service and is a useful database. Patients are very knowledgeable about their disease, but despite this and excellent therapeutic responses, the patients demand more information.
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Marks, Bryant T., Chauncey Smith, Jordan Madison, and Cary Junior. "The Psychology of Black Males Attending Urban Private Colleges and Universities." Urban Education 52, no. 9 (February 2, 2016): 1080–105. http://dx.doi.org/10.1177/0042085915623348.
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The purpose of this study is to describe the psychology of Black males attending private, not-for-profit, colleges and universities in urban areas. Surveys were administered over three semesters to 886 Black male college students attending 28 national colleges/universities in various urban settings across the United States. The psychological domains examined in this study included academic and racial attitudes, expressive behaviors, mental and physical health, values/priorities, rap music listening habits, leadership, masculinity, and spirituality. Overall, the results reveal that Black males in these settings are mentally healthy, possess predominantly positive attitudes, and tend to engage in constructive and/or productive behaviors.
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Rentfrow, Peter J., Lewis R. Goldberg, David J. Stillwell, Michal Kosinski, Samuel D. Gosling, and Daniel J. Levitin. "The Song Remains the Same: A Replication and Extension of the MUSIC Model." Music Perception 30, no. 2 (December 1, 2012): 161–85. http://dx.doi.org/10.1525/mp.2012.30.2.161.
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there is overwhelming anecdotal and empirical evidence for individual differences in musical preferences. However, little is known about what drives those preferences. Are people drawn to particular musical genres (e.g., rap, jazz) or to certain musical properties (e.g., lively, loud)? Recent findings suggest that musical preferences can be conceptualized in terms of five orthogonal dimensions: Mellow, Unpretentious, Sophisticated, Intense, and Contemporary (conveniently, MUSIC). The aim of the present research is to replicate and extend that work by empirically examining the hypothesis that musical preferences are based on preferences for particular musical properties and psychological attributes as opposed to musical genres. Findings from Study 1 replicated the five-factor MUSIC structure using musical excerpts from a variety of genres and subgenres and revealed musical attributes that differentiate each factor. Results from Studies 2 and 3 show that the MUSIC structure is recoverable using musical pieces from only the jazz and rock genres, respectively. Taken together, the current work provides strong evidence that preferences for music are determined by specific musical attributes and that the MUSIC model is a robust framework for conceptualizing and measuring such preferences.
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Roussou, Evgenia. "Book review: J. London, Hearing in time: Psychological aspects of musical meter." Psychology of Music 42, no. 3 (April 23, 2014): 470–72. http://dx.doi.org/10.1177/0305735613503915.
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Cannon, James W., and Alinka E. Greasley. "Exploring Relationships Between Electronic Dance Music Event Participation and Well-being." Music & Science 4 (January 1, 2021): 205920432199710. http://dx.doi.org/10.1177/2059204321997102.
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While an increasing amount of literature highlights the psychological well-being benefits of musical participation, research focusing on electronic dance music (EDM) event contexts remains scarce. This exploratory mixed methods research draws influence from interdisciplinary research on EDM culture and psychological well-being research on music festivals that suggest EDM event attendance may have a positive influence on well-being. Two studies were implemented. Semistructured interviews with regular attendees of EDM events were undertaken and analyzed thematically (Study 1, n = 7). Four main themes were identified, namely the importance of social, musical, and emotional experiences, and shared values at EDM event. These themes were then used as a basis for developing a questionnaire which explored relationships between scores on facets of EDM event attendance and measures of subjective, social, and psychological well-being (Study 2, n = 103). Results showed that all four EDM event facets were positively associated with psychological and social well-being measures. Principal component analysis was utilized to elucidate nuanced aspects of the four themes and their links to well-being scores. A four-factor model (SMEV) that encapsulates the key psychological beneficial aspects of EDM event attendance has been suggested, and the implications of this model and findings are discussed within the context of future research avenues.
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Baroni, Mario. "Music, musicality, “musilanguage”." Musicae Scientiae 12, no. 1_suppl (March 2008): 197–218. http://dx.doi.org/10.1177/1029864908012001091.
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The aims of this article are to select, to summarise, and to critically discuss the principal topics presented in the papers of this special issue. Two main themes have been developed: the first makes reference to the origins of music, with a comparison of anthropological conceptions (the origins of mankind) with psychological conceptions (the musical development of infants). Particular attention is given to the “musilanguage” theory proposed by Steven Brown in 2000. The second main theme is related to the impact of theories of “origins” on what musicology today thinks of as the nature and sense of music. In order to provide concrete arguments pertaining to these topics, a section of the article is devoted to the main relationships between primordial proto-musical behaviours and adult musical activity. The presence of pre-verbal, “multimodal”, affective, interactive and ritual aspects of proto-musical behaviour, thought of as the more important characteristics of musical phenomena, has been considered as common both to anthropological and psychological theories and to their impact on today's conceptions of music. Three specific topics are discussed: proto-narrativity, musicality, and the relationships between musical structures and temporal dynamics.
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Burgoyne, John Ashley. "Justin London: Hearing in Time: Psychological Aspects of Musical Meter." Computer Music Journal 30, no. 4 (December 2006): 99–100. http://dx.doi.org/10.1162/comj.2006.30.4.99.
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Sandve, Birgitte. "Unwrapping ‘Norwegianness’: politics of difference in Karpe Diem." Popular Music 34, no. 1 (December 19, 2014): 45–66. http://dx.doi.org/10.1017/s0261143014000695.
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AbstractThis article addresses notions of ‘Norwegianness’ in rap music. Based on comparative audiovisual analyses and close readings of two different versions of Norwegian rap group Karpe Diem's 2010 hit ‘Byduer i dur’, the author's main objective is to question how issues concerning ethnicity and cultural belonging are negotiated through audiovisual representations and in the self-fashioning of the artists. The analyses and readings rest upon two central issues. First, to uncover how Karpe Diem's spectacle of ‘otherness’ might be considered alongside aspects of ethnicity, cultural belonging and national identity within a Norwegian context. Secondly, to argue that identity is constructed as flexible and free-floating, which provides an opportunity to reconsider notions of ‘Norwegianness’ through musical performance. By proposing a decentred approach to analysing audiovisual texts, the author intends to shed light on how Karpe Diem's performances could be read as part of a discourse on nationhood in contemporary Norwegian society. Following this, the national trauma of 22 July 2011 should be considered a significant backdrop for the readings and critical discussions undertaken throughout this paper.
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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (June 7, 2019): 176. http://dx.doi.org/10.3390/socsci8060176.
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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three create a life-course narrative where the rambunctious country boy will eventually settle into monogamous heterosexual romance, with marriage and fatherhood presented as the ultimate achievement of successful manhood. A fourth, lesser, archetype, the roughneck, presents an “arrested development” version of the country boy, fully-grown but rejecting the social and familial responsibilities of the other archetypes. These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).
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Matiashchuk, O., and V. Shumska. "Psychological aspects of the influence of music art on the formation of national consciousness." Pedagogy of the formation of a creative person in higher and secondary schools 63, no. 1 (2019): 55–58. http://dx.doi.org/10.32840/1992-5786.2019.63-1.11.
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Thierbach, Helga. "Physiological and Psychological aspects of the experience of music - report on two experimental studies." International Journal of Psychophysiology 7, no. 2-4 (August 1989): 412–13. http://dx.doi.org/10.1016/0167-8760(89)90348-6.
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Campen, Crétien van. "Artistic and Psychological Experiments with Synesthesia." Leonardo 32, no. 1 (February 1999): 9–14. http://dx.doi.org/10.1162/002409499552948.
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Artists and psychologists have been experimenting with synesthesia for centuries. The author provides a historical review to show that artists and psychologists have always had great difficulty manipulating and controlling the phenomenon of synesthesia. Within these limits, artistic experiments with color organs, musical paintings and visual music have primarily uncovered perceptual and emotional aspects of synesthesia. Psychological experiments have produced a variety of methodologies to aid the study of synesthesia. Currently, psychologists approach synesthesia foremost as a neurological phenomenon, while artists generally explore digital devices to simulate synesthesia.
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Davidova, Jelena, Galina Zavadska, Asta Rauduvaite, and Ming-Jen Chuang. "PSYCHOLOGICAL ASPECTS OF DEVELOPMENT OF COORDINATION BETWEEN 6-8 YEARS OLD CHILDREN’S MUSICAL HEARING AND VOCAL APPARATUS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 39. http://dx.doi.org/10.17770/sie2017vol4.2437.
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In the present article, the psychological aspects of the development and process of coordination between 6-8 years old children’s musical hearing and vocal apparatus are considered, among which an important role is played by such cognitive processes as music perception, representation of musical hearing, musical thinking, musical memory and self-control. This research aims at studying the psychological aspects of the process of coordination of musical hearing and vocal apparatus between 6-8 years old children.
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Nagel, Julie Jaffee. "How to Destroy Creativity in Music Students: The Need for Emotional and Psychological Support Services in Music Schools." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 15–17. http://dx.doi.org/10.21091/mppa.2009.1004.
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A decision to pursue a career in the performing arts is a lifelong and complex undertaking. Musicians begin instrument lessons in early childhood, when the ego and talent are developing simultaneously. In these vulnerable years and at any age, music teachers and schools can inhibit the creativity, musical and personal growth, and careers of their students by various common attitudes: e.g., overemphasis on improving technique and winning competitions; stress on prestigious performance careers; denial of the psychological implications of playing-related injury; or failure to promote other professional outlets in music as well as other professions. Sometimes, a musician's career plans are altered or aborted altogether. The author advocates the establishment of psychological and physical interdisciplinary programs and courses in the curriculum as important aspects of healthy music programs as well as career services programs to assist students with both performance and non-performance careers.
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Harris, Jennifer N. "Music for Life Sustenance: Does Music have a Role in Intensive Care Medicine?" Music and Medicine 6, no. 2 (October 25, 2014): 39. http://dx.doi.org/10.47513/mmd.v6i2.178.
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The application of music as a therapeutic, strategized intervention in the intensive care environment is considered as critical consideration and evaluation of current research is explored. Through a comprehensive literature review, it is considered why music might prove suitable in ICU care, and how it can significantly affect cardiovascular, respiratory and metabolic parameters amongst other physiological and psychological aspects pertinent to recovery. Consideration of music application outside of the intensive care unit in affiliated areas is discussed as well as its use in targeted therapy application with specific patient groups. The importance of distinguishing between a live or recorded musical intervention and the music type itself is highlighted, particularly with respect to research where this has typically been poorly defined.
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Tourage, Mahdi. "The Eighth Biennial Conference of the International Society for Iranian Studies." American Journal of Islam and Society 27, no. 3 (July 1, 2010): 147–49. http://dx.doi.org/10.35632/ajis.v27i3.1323.
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The Eighth Biennial Conference of the International Society for IranianStudies (ISIS), the largest international gathering of scholars in the field, washeld in Santa Monica, CA, on 27-30 May 2010. There were sixty-four panels,each with three to four presenters addressing topics ranging from literature,Shi`ism and Sufism, to modernity, politics, women and gender. Amongthe ones that I found most interesting were “Women’s Worlds in Qajar Iran,”“Engagements with Reason: Shi`ism and Iran’s Intellectual Culture,” “PersianLiterary and Cinematic Representations of a Society in Transition,”“Shi’i Modernity, Constitutionalism, Elections, and Factional Politics,”“Reconstructing the Forgotten Female: Women in the Realm of the Shahnama,”“Zones of Exploration: Society, Literature, and Film,” “Re-ReadingIranian Shi`ism: International and Transnational Connections and Influence,”“The Politics of the Possible in Iran,” “Women’s Issues in ModernIran (in Persian),” “Discourses on Self And Other,” and “Sufism: Poetry andPractice.”Also featured were classical Persian music presentations and additionalroundtable discussions. One telling example of often overlooked aspects ofIranian society was “‘Waking Up the Colours: Candour and Allegory inWomen’s Rap Texts,” a paper on Iranian women’s rap music. Presenter GaiBray, an ethnomusicologist, argued that unlike the common conception ofrap as direct language, Iranian female rappers often use allegory to deal withdifficult subject matters, such as rape and prostitution. In another memorablepaper Babak Rahimi (University of California, San Diego) argued thatBushehr’s commemoration of Ashura serves to solidify communal identity.The ritual ends by burning the stage upon which the performances tookplace, signifying a communal act of creative destruction through which newidentities are reconstructed via building new ritual sites ...
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Elorriaga, Alfonso. "The construction of male gender identity through choir singing at a Spanish secondary school." International Journal of Music Education 29, no. 4 (October 11, 2011): 318–32. http://dx.doi.org/10.1177/0255761411421091.
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Several authors have recently investigated the psychological aspects that play a determinant role in choral singing during adolescence. One of these aspects is vocal identity, which influences the construction of gender identity according to adolescents’ needs and societal gender roles. This article focuses on gender aspects of vocal identity during adolescence and describes a case study carried out with male adolescent singers at a secondary school choir in Spain. Qualitative data were collected and analyzed in order to get a deeper knowledge about the relationship between boys’ vocal identity and their gender identity. There was enough evidence to show that male adolescents felt more engaged with choral singing when they realized that their vocal identity was a powerful tool for constructing their male gender identity.
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Silva, José Carlos Gomes da. "Sounds of youth in the metropolis: the different routes of the Hip Hop movement in the city of São Paulo." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (June 2011): 70–94. http://dx.doi.org/10.1590/s1809-43412011000100003.
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In this article I examine different moments of the hip hop movement in the city of São Paulo. I analyze the intimate relationship of this phenomenon with urban segregation. I first discuss the rise of break dancing in the downtown region in the mid-1980s. I find that the themes and sounds present in the music of this period express aspects of the centrality of public life in the metropolis. In the following decades, there was a shift of hip hop towards peripheral neighborhoods. In this context, I analyze the relationships between rap and a new modality of urban segregation, marked by a withdrawal of the elites into vibrant v.8 n.1 josé carlos gomes da silva fortified enclaves and the transformation of peripheral neighborhoods into “war zones,” controlled by local micro-powers and police violence. At this time, rappers assumed a position as chroniclers of a violent, segregated and silenced urban reality. I also map new cultural productions with a focus on saraus, which are spaces that bring together rap musicians, as well as poets and marginal writers. The frontiers between these groups are increasingly tenuous, many artists have dual affiliation. What unifies them is their reaction to and protest against violence and urban segregation.
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Linek, Stephanie B., Birgit Marte, and Dietrich Albert. "Background Music in Educational Games." International Journal of Game-Based Learning 1, no. 3 (July 2011): 53–64. http://dx.doi.org/10.4018/ijgbl.2011070104.
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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
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Roy, Anjali Gera. "Black beats with a Punjabi twist." Popular Music 32, no. 2 (May 2013): 241–57. http://dx.doi.org/10.1017/s0261143013000111.
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AbstractThe bonding between black and brown immigrants in Britain has resulted in the emergence of a new musical genre called Bhangra, which hybridises Punjabi dhol rhythms with those of reggae, rap and hip hop. Bhangra's appropriation of Black sounds that are considered ‘Kool’ in the West has not only given Asian youth a new, distinctive voice in the form of ‘Asian dance music’ but has also led to the reinvention of Punjabi folk tradition in consonance with the lived realities of multicultural Britain. This essay examines various aspects of sonic hybridisation in ‘the diaspora space’ by British Asian music producers through tracing the history of Bhangra's ‘douglarisation’, beginning in the 1990s with Apache Indian's experiments with reggae. It covers all forms of mixings that came in between, including active collaborations, rappings, remixings, samplings and so on that made Punjabi and Jamaican patois dialogue in the global popular cultural space. The essay explores the possibilities of a ‘douglas poetics’ for Bhangra by juxtaposing the celebration of sonic douglarisation in postmodern narratives of migrancy and hybridity against the stigmatisation of biological douglarisation in miscegenation theories and ancient Indian pollution taboos.
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Christenson, Peter G., Silvia de Haan-Rietdijk, Donald F. Roberts, and Tom F. M. ter Bogt. "What has America been singing about? Trends in themes in the U.S. top-40 songs: 1960–2010." Psychology of Music 47, no. 2 (January 23, 2018): 194–212. http://dx.doi.org/10.1177/0305735617748205.
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This study explored 19 themes embedded in the lyrics of 1,040 U.S. top-40 songs from 1960 through 2010, using R strucchange software to identify trends and breaks in trends. Findings reveal both continuity and change. As in 1960, the predominant topic of pop music remains romantic and sexual relationships. However, whereas the proportion of lyrics referring to relationships in romantic terms remained stable, the proportion including reference to sex-related aspects of relationships increased sharply. References to lifestyle issues such as dancing, alcohol and drugs, and status/wealth increased substantially, particularly in the 2000s. Other themes were far less frequent: Social/political issues, religion/God, race/ethnicity, personal identity, family, friends showed a modest occurrence in top-40 music throughout the studied period and showed no dramatic changes. Violence and death occurred in a small number of songs, and both increased, particularly since the 1990s. References to hate/hostility, suicide, and occult matters were very rare. Results are examined in the context of cultural changes in the social position of adolescents, and more specifically in light of the increased popularity of rap/hip-hop music, which may explain the increases in references to sex, partying, dancing, drug use, and wealth.
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Kuusi, Tuire, and Pertti Haukola. "Double Life: Music as Work and Serious Leisure." Journal of Arts and Humanities 6, no. 3 (March 12, 2017): 18. http://dx.doi.org/10.18533/journal.v6i3.1121.
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<p>Serious leisure (SL) is defined as an intensive, long-term free-time activity which has deep meaning for an individual and generates its own rewards without external incentives. SL has been studied intensively, yet studies on the mutual effects of an individual’s work and SL are scanty, especially when music is either the work or the SL. Our research addressed the connection between work and SL with both musicians and non-musicians. The data consisted of nine interviews. Four of the participants were professional musicians with various SLs (acting, woodwork, handicrafts, and urban culture). The other five (an architect, a librarian, two directors, and a project manager), conversely, had music as their SL. Qualitative content analysis of the data was conducted, and we analysed the data in relation to psychological recovery experiences (psychological detachment, relaxation, mastery and control), using the concepts of segmentation, spillover and compensation. The data were classified into three thematic clusters 1) Participants’ manner of talking about SL, 2) Aspects of SL, and 3) SL and work with further subdivisions into themes and categories. Our data did not show any difference between comments from the two participant groups. SL had positive effects on subjective well-being, notions of identity, and working abilities. It stimulated psychological recovery and gave meaning and content to the participants’ lives. We suggest that in today’s busy work life, employers should take advantage of SL and its positive effects.</p><p> </p>
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Lupak, R., V. Tarasyuk, and K. Varkholyak. "Aspects of festival events tourism development." Galic'kij ekonomičnij visnik 66, no. 5 (2020): 30–37. http://dx.doi.org/10.33108/galicianvisnyk_tntu2020.05.030.
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The importance of tourism development for the country's economy and the growing popularity of festival events tourism in the context of music, gastronomic and ethno-festival events is summarized. The conceptual characteristics of festival events tourism that require in-depth research are clarified. The economic advantages of each direction of festival event tourism and their interrelation with other economic processes are listed. Special attention is paid to marketing, technological, social, historical and other features of their formation and progressive growth. Peculiarities (in the context of meeting social needs, formation of new directions of tourist culture, development of economic and resource opportunities, expansion of interstate relations, introduction of advanced technologies) and factors (demographic, economic, political, technical-technological, social-psychological, organizational- cultural) of the development of music, gastronomic and ethnic festival tourism are determined. The characteristics of festival events tourism in Ukraine and certain European countries are given, particularly, taking into account the number of festivals, their visitors, the average ticket price and seasonality. The preconditions of the formed significant difference between the tourist activity organization in Ukraine and the group of European countries are determined. The required formation and implementation of tourism policy on the state basis, including the creation of extensive institutional network of tourism regulators, particularly festival events tourism are emphasized. It is proved that problems solution in the tourist complex has positive effect on the economic security of the country requiring a reasonable choice of the relative areas of industry development. The advantages of holding joint (music, gastronomic, ethnic) festivals are substantiated, forming at the same time new direction of tourist culture. It is concluded that organization and running of festival events create a wide range of opportunities for the territories development improving the market infrastructure, accelerating the rate of information technology development and increasing business activity.
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Ford, Jessica, and Monna Arvinen-Barrow. "Exploring the Use of Psychological Skills Training Interventions in a Music Domain: A Systematic Review." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 222–29. http://dx.doi.org/10.21091/mppa.2019.4033.
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AIM: The aim of this paper was to systematically review existing empirical literature addressing the use of psychological skills training (PST) interventions commonly employed in sport applied to a music domain. Included PST studies must have an experimental or quasi-experimental design and no clinical or pharmacological interventions and/or assessments. METHODS: The databases MEDLINE (EBSCO), PsychInfo, Psych Articles, CINAHL Plus with full text, Google Scholar, SportDiscus, and Music Index were searched using a combination of the terms. music*, performance psychology, performance enhancement, music performance, intervention, psychological skills training, and music performance psychology. Due to the novelty of the existing literature, there were no limitation restrictions to publication year, the standard of musician (e.g., expert, novice, professional, amateur), participant age, or type of intervention setting. RESULTS: The initial search revealed 323 published articles. After applying the inclusion and exclusion criteria, 10 articles were deemed sufficient for review. Four additional articles were found via pen-and-paper method by evaluating the reference sections of the included articles. All reviewed studies demonstrated that aspects of PST interventions commonly employed in sport (except Alexander technique) are effective at subjectively enhancing performance in a music domain. The PST interventions varied vastly in duration, as well as the types of (and a theoretical and empirical rationale for) psychological skills employed. CONCLUSIONS: Music performers may benefit from PST interventions typically used in sport; however, unique considerations of the music performance environment must be addressed in the design of such PST interventions.
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Gustar, Andrew James. "The Closest Thing to Crazy: The Shocking Scarcity of Septuple Time in Western Music." Journal of the Royal Musical Association 137, no. 2 (2012): 351–400. http://dx.doi.org/10.1080/02690403.2012.717472.
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AbstractThis article considers why septuple metres are so rare in Western music, despite being common in many other cultures. The scene is set by tracing the history of the septuple-time ‘meme’ (an idea that replicates by imitation) from ancient Greece through to Western art and popular music. The following sections consider the psychological, musical and environmental factors in more detail. The scarcity of septuple time in Western music is largely attributable to the development of the time signature, as a vertical conception of music evolved during the Renaissance. Subsequent evolution of the ‘Western music memeplex’ maintained septuple time on its periphery. Analysis of this interaction permits the construction of a meme-centred narrative of aspects of the development of Western music.
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Roberts, J. Christopher. "Self-Determination Theory and Children’s Singing Games In and Out of the Classroom: A Literature Review." Update: Applications of Research in Music Education 36, no. 3 (November 9, 2017): 12–19. http://dx.doi.org/10.1177/8755123317741488.
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In a bid to make formal music education experiences more relevant to children’s lives, teachers have sought to incorporate aspects of children’s informal learning practices into classroom settings. Singing games have a long history both in and out of school settings, and the recontextualization that occurs when brought into the music classroom typically leads to differences in issues such as player populations, modes of transmission, and pedagogical practices. This literature review examines the motivational impacts of these discrepancies, analyzing research on singing games through the lens of self-determination theory of achievement motivation. Self-determination theory posits that three basic psychological needs are essential for humans’ optional functioning—relatedness, competence, and autonomy. Each psychological need is defined, benefits are described, and distinctions are made between the ways that the need is met or thwarted in informal and formal settings during singing game play. Suggestions for music teachers are provided.
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Dengaova, Ao. "PROFESSIONAL TRAINING OF THE FUTURE MUSIC TEACHER FOR CONCERTMASTER ACTIVITIES IN THE CLASS OF CLASSICAL DANCE." Innovative Solution in Modern Science 7, no. 43 (December 27, 2020): 17. http://dx.doi.org/10.26886/2414-634x.7(43)2020.2.
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The article is devoted to the questions of a number of aspects of formation of skills of concertmaster activity as a component of piano preparation of the pianist-beginner in the class of classical choreography, revealing of the functional connections of the tandem teacher-choreographer – pianist-concertmaster, determination of the level of psychological-pedagogical students and performers interaction with the choreographer. The data are analyzed in the context of consideration of the general laws concerning the selection of the performing repertoire for musical design of classical choreography lessons, their importance, expediency and correspondence to the students' age characteristics, their level of musical perception. Key words: concertmaster activities, beginner concert pianist, choreography art, classical dance, psychological and performance barriers, musical design.
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Drummond, Rob. "Maybe it's a grime [t]ing:th-stopping among urban British youth." Language in Society 47, no. 2 (January 26, 2018): 171–96. http://dx.doi.org/10.1017/s0047404517000999.
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AbstractThis article examines how voicelessth-stopping (e.g.tingforthing) is used by a group of adolescents in Manchester, UK. The data come from an ethnographic project into the speech of fourteen to sixteen year olds who have been excluded from mainstream education. Althoughth-stopping is often strongly associated with black varieties of English, multiple regression analysis finds ethnicity not to be a statistically significant factor in its production. Instead, conversational context and involvement in aspects of particular social practices—grime (rap) and dancehall music—emerge as potentially more relevant. Subsequent interactional analysis adds support to this interpretation, illustrating how the feature is being used more or less strategically (and more or less successfully) by individuals in this context in order to adopt particular stances, thereby enacting particular identities that are only tangentially related to ethnicity. I argue that use ofth-stopping in this context indexes a particular street identity that is made more available through participation in grime especially. (th-stopping, youth language, identity, ethnography, grime, hip hop)*
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Omarova, A. K., A. Zh Kaztuganova, B. Turmagambetova, and G. Tursunova. "KAZAKH ELITE AND MUSIC (1920-1930)." BULLETIN 3, no. 391 (June 12, 2021): 208–13. http://dx.doi.org/10.32014/2021.2518-1467.123.
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The article discusses specific period in development of the Kazakh music in the XX century and the tasks of its adequate scientific interpretation. In the new development of the stage of the 1920s-1930s. the formulation of a complex of historical and theoretical problems is proposed, which corresponds to the modern level of musicology and related disciplines. This approach is aimed at filling the “white spots” in the culture of Kazakhstan, which are still numerous. In this context, exploring the selfless activity of the national intelligentsia of that time, who made special contribution to the preservation of traditional art, is relevant. The creative figures of musicians-performers, including eminent and, for some reasons, unknown ones in broad and professional circles, will be shown not only through various components of their artistic individuality, but also in connection with problems that go back to anthropological, worldview, psychological and other research aspects. On this basis, through the enrichment of factual base, it is planned to generalize their experience to ensure continuity and inviolability of spiritual priorities and values.
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Adamyan, Anna. "Music Education Issues for Adult Beginners in Armenia: Specifically the Analysis of the Difficulties of Piano Playing." British Journal of Music Education 35, no. 2 (February 12, 2018): 191–202. http://dx.doi.org/10.1017/s0265051717000249.
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This paper reveals contemporary issues of music education in post-soviet Armenia. The author analyses the state of music education and draws special attention to the music education of adult beginners, which is a new challenge for the educational system of Armenia. In particular, the author reveals new problems in the performing arts, especially piano playing by adults, which brings with it many questions about new methodical approaches.The author details ideas with respect to the psychological aspects of adults who wish to play piano and presents results of her tests on students from the chair of Music Education, Armenian State Pedagogical University after Khachatur Abovyan. She also provides observations and a number of recommendations for even more productive work.
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Fabricio, Branca Falabella, and Luiz Paulo da Moita-Lopes. "Transidiomaticity and transperformances in Brazilian queer rap: toward an abject aesthetics." Gragoatá 24, no. 48 (April 30, 2019): 136–59. http://dx.doi.org/10.22409/gragoata.v24i48.33623.
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Queer rap has been shining in the homophobic world of hip-hop lately, especially in the contemporary New York music scene. Considered by many as the new kids on the block, queer rappers have been breaking down mainstream ways of composing, delivering and enacting rap tunes by working on more outwardly feminine performances characterized by ambivalence, hybridity and defiance. In this paper, we focus on how Rico Dalasam, a contemporary Brazilian rap performer, radicalizes this type of rupture, engaging in what we have termed ‘abject aesthetics’. The latter constitutes a spectacular semiotic landscape, in which mixed sexualities, genders, races, ethnicities, clothing styles, hair styles, rhythms, languages and registers interact. In fact, transperformances and transidiomaticity dominate his work, which we approach through a scalar sensitive lens (CARR; LEMPERT, 2016) and metapragmatic indexicality (SILVERSTEIN, 1993) as we analyze the artist’s lyrics, performances and their reception by different audiences. In doing so, we shed light on the smuggling of semiotic resources which subverts the usual circulation of linguistic and non-linguistic goods across borders. In particular, we discuss how Dalasam’s deterritorializing-multisemiotic enactments confront modernist epistemological and linguistic regimes by subverting logocentrism. The analysis focuses on the transit between the so-called margin and center and on the enigmatic meanings generated by the mixture of languages and performances. As a whole, these aspects leave interactants in a state of uncertainty since the assembled resources are not directly intelligible in a conventional sense, most often preventing straightforward object-designation associations. However, this sense of indetermination does not necessarily prevent communication from taking place. We therefore argue that Rico Dalasam, by forging faltering ways with signs, orients to constant movement as a way of inhabiting the border and formulating alternative rules for re-existence.----------------------------------------------------------------------------------TRANSISIOMATICIDADE E TRANSPERFORMANCES NO RAP QUEER BRASILEIRO: POR UMA ESTÉTICA ABJETAO rap queer tem tido grande repercussão no mundo homofóbico do hip-hop nos últimos tempos, especialmente no cenário contemporâneo musical de Nova York. Considerado por muitos como a nova sensação, os rappers queer têm desconstruído os modos considerados tradicionais de compor, falar e apresentar o rap ao fazerem uso mais abertamente de performances femininas, caracterizadas por ambivalência, hibridismo e resistência. Neste artigo, focalizamos como Rico Dalasam, um performer brasileiro contemporâneo, radicaliza esse tipo de ruptura, ao se engajar no que chamamos de “estética abjeta” Ela compõe uma paisagem semiótica espetacular, na qual sexualidades, gêneros, raças, etnias, estilos de roupa, cortes de cabelos, ritmos, línguas e registros se entrecruzam. Na verdade, transperformances e transidiomaticidade dominam seu trabalho, o qual abordamos por meio das noções de escala (CARR; LEMPERT, 2016) e indexicalidade metapragmática (SILVERSTEIN,1993) ao analisarmos as letras do rap, suas performances e sua recepção por audiências diferentes. O movimento analítico gera visibilidade para o atravessamento de recursos semióticos que subvertem a circulação de artefatos linguísticos e nãolinguísticos pelas fronteiras. Em particular, discutimos como o desempenho multissemiótico-desterritorializador de Dalasam confronta regimes epistemológicos e linguísticos modernistas, subvertendo o logocentrismo. O foco do estudo está no trânsito entre os chamados centro e periferia e nos significados enigmáticos gerados pela mistura de línguas e performances. Em sua totalidade, esses aspectos deixam os interactantes em um estado de incerteza, uma vez que os recursos reunidos não são diretamente inteligíveis em um sentido convencional, já que, muito frequentemente, evitam associações referenciais diretas a objetos. Contudo, esse sentido de indeterminação não necessariamente prejudica a comunicação. Argumentamos que Rico Dalasam, ao forjar modos vacilantes de usar signos, se coloca em movimentação constante como um modo de habitar a fronteira e de formular regras alternativas de reexistência.---Original em inglês.
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Pedro, Catarina, Beatriz Jorge, and Mariana Duarte. "405 - Music Therapy in the management of dementia." International Psychogeriatrics 32, S1 (October 2020): 121. http://dx.doi.org/10.1017/s1041610220002586.
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Introduction:Dementia has become a worldwide concern. According to the World Health Organization, there are 50 million individuals suffering from dementia across the world and approximately 20 million new cases are diagnosed each year. The efficacy of medications in controlling agitation and psychotic symptoms is modest and may cause serious adverse effects, outlining the urge for new treatment methods for patients with dementia. Music therapy (MT) is a nonpharmacologic strategy that is used in patients with early-to-late stages of dementia with promising results.Objectives:The aim of this presentation is to evaluate the benefits of music therapy in cognitive functioning and neuropsychiatric symptoms in patients diagnosed with dementia. We also summarize the current knowledge about this topic.Methods:A non-systematic review of the literature was performed on PubMed, PsycINFO and Web of science using selected keywords.Results:MT sustains its benefit because musical memory regions in the brain are relatively spared compared to cognitive function. “Musical memories” can, thus, be stored longer than non-musical memories, allowing to recall associated life events and emotions. Systematic reviews suggest that MT seem to have a positive effect on symptoms such as depression, anxiety and behavioral problems while the findings concerning agitation/aggression are inconsistent. No large differences were found between studies using live or recorded music although the latter reported more of a consistently positive impact on behavioral and psychological outcomes. The studies using live music, however, reported specific benefits to relationships and interactions.Conclusions:The majority of the studies have methodological limitations, making it difficult to offer firm conclusions. Despite this, there were positive results on aspects of quality of life, cognitive function, behavioral, psychological, physiological and communication outcomes.
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Mkrtichian, Oksana. "Development of preschoolers’ musical abilities by means of the K. Orff's method: theoretical aspects." Professional Education: Methodology, Theory and Technologies, no. 12 (November 24, 2020): 128–44. http://dx.doi.org/10.31470/2415-3729-2020-12-128-144.
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The article reveals the problem of forming a comprehensively developed child’s personality by means of musical art. The development of the child, his or her formation as a person is a significant problem of preschool education. One of the ways to achieve this goal is to involve children in the process of music education, which has a great impact on child development. The purpose of the article is to reveal the influence of the Karl Orff’s concept of music education on the preschoolers’ musical abilities. Research methods at the scientific and theoretical level include: method of analysis – the analysis of scientific and methodological literature, methods of teaching music, methods of synthesis and generalization; system analysis – to display the basic components of the methodology.
The results. On the basis of the conducted analysis, the principles of the pedagogical approach of Karl Orff and features of aesthetic education of children in the conditions of the given system were defined. Since preschool education requires new approaches in the context of the development of preschoolers by means of musical art, it is advisable to introduce the K. Orff’s method in the educational process of preschool institution. Moreover it is proved that the presence of music in the educational process opens opportunities for the harmonious development of preschool children. K. Orff’s musical and pedagogical approach is a concentrated carrier of the ideas of humanistic pedagogy, pedagogy of the freedom of creative personality.
Conclusions. K. Orff’s method is spreading and influencing the music education of Ukraine, involving Ukrainian culture in the educational process, using folk and children’s songs, elementary music, which is an act of elementary self-expression, to which man is adapted by nature. Consequently, the K. Orff’s methods is universal, flexible and open, which allows us to combine its principles with various methods of music education, which is spread and successfully used in preschool institution; and the creation of special pedagogical conditions, the use of aesthetic techniques and musical means in the classroom with the active participation of children helps them to keep the dominance of positive emotions, significantly increases motivation for learning and music, has an effective impact on motor, speech, communication and psychological development.
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Brooks, Marc. "Strauss and Hofmannsthal's Arabella and the Resacralization of the Operatic Tradition." 19th-Century Music 38, no. 3 (2015): 272–301. http://dx.doi.org/10.1525/ncm.2015.38.3.272.
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Abstract The obvious debt that Strauss's operas owe to Wagner often led early critics to view their conspicuous lack of spiritual depth as an unintentional failure. Recent commentators such as Charles Youmans, Leon Botstein, and Michael Walter have rightly characterized this feature as a conscious Nietzschean strategy calculated to avoid or ironize metaphysical tropes. Following the critique of the concept of “secularization” by Jürgen Habermas and Charles Taylor, however, I wish to complicate this newer interpretation by arguing that Strauss's operas do not represent the point in music history when German music threw off its pretentions to Kunstreligion, but mark yet another point of “re-sacralization”—a term I borrow from Simon Critchley's Faith of the Faithless (2012). The Wagner-indebted music in Arabella (1933)—an opera given much less critical attention than it deserves—certainly never gestures toward any transcendent truth beyond the physical confines of what is presented. Nevertheless, I argue, a sacred economy still operates in the opera whereby certain aspects of the immanent stage-world are figured as “sacred” and others as “profane.” It is possible to trace the influence of the operas Tannhäuser and Parsifal on Arabella, specifically in the harmonic, rhythmic, and timbral techniques Wagner used to mark certain suprahuman forces as possessing a transcendent aura. The music of Arabella uses moderated versions of these techniques to redistribute the same sacred status onto different aspects of material and psychological reality.