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1
Deutsch, Ralph. "Note group selectable musical effects in an electronic musical instrument." Journal of the Acoustical Society of America 78, no. 4 (October 1985): 1455. http://dx.doi.org/10.1121/1.392817.
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Sawyer, R. Keith. "Group creativity: musical performance and collaboration." Psychology of Music 34, no. 2 (April 2006): 148–65. http://dx.doi.org/10.1177/0305735606061850.
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Bispham, John C. "Music's “design features”: Musical motivation, musical pulse, and musical pitch." Musicae Scientiae 13, no. 2_suppl (September 2009): 41–61. http://dx.doi.org/10.1177/1029864909013002041.
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This paper focuses on the question of what music is, attempting to describe those features of music that generically distinguish it from other forms of animal and human communication — music's “design features”. The author suggests that music is generically inspired by musical motivation — an intrinsic motivation to share convergent intersubjective endstates - and is universally identifiable by the presence of musical pulse — a maintained and volitionally controlled attentional pulse — and/or musical pitch — a system for maintaining certain relationships between pitches. As such music's design features are viewed as providing an interpersonal framework for synchronous and group affective interaction. The implications of this approach to an evolutionary perspective on music and on arguments of the primary evolutionary functionality of musical abilities in human evolution are discussed.
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Burland, Karen, and Jane W. Davidson. "Investigating Social Processes in Group Musical Composition." Research Studies in Music Education 16, no. 1 (June 2001): 46–56. http://dx.doi.org/10.1177/1321103x010160010901.
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Towse, Esme. "Group Analysis and Improvisation: A Musical Perspective." British Journal of Music Therapy 11, no. 2 (December 1997): 51–55. http://dx.doi.org/10.1177/135945759701100204.
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The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.
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Elliott, David. "Assessing Musical Performance." British Journal of Music Education 4, no. 2 (July 1987): 157–84. http://dx.doi.org/10.1017/s026505170000591x.
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The arts pose some particular problems in the field of assessment. In the study reported here, we examined some of the problems performance presents to assessors especially in the context of the GCSE examination, and with reference to the model for assessment given in the APU Report on Aesthetic Development.A small-scale experiment was devised with the aim of investigating the reliability and different perceptions of judges of musical performances. As well as assessment by professional musicians, we investigated self assessment and assessment by peer-group members. There was a generally high measure of agreement between judges, both in terms of their individual comments and the rank order they each devised. This suggests that there were some objective criteria at work in their assessments. Self-assessments proved very realistic, although those of the peer-group were slightly less so.
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Slayton, Matthew, Adam S. Bristol, and Indre V. Viskontas. "Factors affecting group creativity: lessons from musical ensembles." Current Opinion in Behavioral Sciences 27 (June 2019): 169–74. http://dx.doi.org/10.1016/j.cobeha.2018.12.013.
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Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.
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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. However, it focuses mainly on educational content, training and professional develop- ment of musicians and music and singing teachers in various types of schools (conservatories and music academies, primary and secondary schools, courses).
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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (September 21, 2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.
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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rated by each member on an ad-hoc questionnaire; and (b) an expert rating of performance, based on the evaluation of audio-video recordings of each group. Findings showed the multifaceted nature of the relationship between social presence and flow. Group flow score was a significant predictor of self-reported performance, but not of expert-evaluated performance. Moreover, several correlations were found between flow, social presence and patterns of interpersonal coordination (both implicit and explicit). Specifically, SNA reveals that flow was positively related to exchanges of gazes and negatively associated with exchanges of orders. Overall, this study contributes to further elucidating the complex interplay between group flow and intersubjective dynamics in music collaboration.
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Kim, Jin Hyun, Andres Reifgerst, and Marta Rizzonelli. "Musical Social Entrainment." Music & Science 2 (January 1, 2019): 205920431984899. http://dx.doi.org/10.1177/2059204319848991.
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Over the last decade, the concept of entrainment—emerging from the fields of physics and biology—has grown as a tool for investigating rhythmic adjustments among musicians, and between different groups of musicians. When combined with methods of audio data analysis, this approach has benefits for the assessment of musical behavior, previously limited to largely descriptive ethnomusicological research based on ethnographic data collected through field study. However, musical behavior is not only biophysically determined, but also a highly social activity. Therefore, this article focuses on “social entrainment”—a concept coined by the social scientists Joseph E. McGrath and Janice R. Kelly in 1986 which recently has been taken up in music research. Relating this concept to certain approaches in relevant current empirical studies on interpersonal coordination, the authors develop their own categories of social behavior, which are broader than those of social entrainment but can accordingly be applied to the social entrainment that may occur in musical practices. These categories range from basic behaviors that do not involve social cognition but are meaningful to interacting individuals and groups, to high-order social behaviors that require collective intentionality and can lead to sophisticated interaction involving music-specific phenomena such as a “groove.” Consequently, a concept of entrainment which goes beyond both an adaptation of the established concept of physical and biological entrainment and McGrath and Kelly’s original concept of social entrainment is proposed: “musical social entrainment.” The authors use this term to refer to intra-individual, inter-individual, intra-group, and inter-group entrainment to exogenous musical rhythms—including the rhythms of other musically acting individuals and groups—embedded in a social context and contributing to sociality. Finally, reviewing selected studies relevant to musical social entrainment, the authors discuss problems and open questions concerning music-related entrainment research, and potential contributions in the future of entrainment studies in general.
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dos Santos, Andeline, and Claire Wagner. "Musical Elicitation Methods." International Journal of Qualitative Methods 17, no. 1 (October 1, 2018): 160940691879742. http://dx.doi.org/10.1177/1609406918797427.
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Music is an underutilized resource for research in the social sciences. This article presents examples of musical elicitation methods that were used within a study that explored how adolescents who were referred to group music therapy for aggression produced meanings of aggression through the therapeutic process. The study was conducted within a poststructuralist paradigm, particularly using the theoretical thinking tools of Deleuze and Gergen. The elicitation methods discussed include drumming, creating images during music listening, and songwriting. The article argues for the role of musical elicitation methods particularly within research that values a radical relational stance that allows participants to comfortably territorialize the research encounter, and in light of considering the transformative potential of research itself.
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Sastra, Andar Indra. "THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN." Jurnal Humaniora 27, no. 1 (June 3, 2015): 42. http://dx.doi.org/10.22146/jh.v27i1.6408.
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The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.
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P. Pineda, Shiela Jay. "The Effects of Group Musical Activities on Children’s Behaviour." Malaysian Journal of Music 6, no. 2 (March 2, 2017): 49–70. http://dx.doi.org/10.37134/mjm.vol6.2.3.2017.
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Buino, Sarah, and Shirley R. Simon. "Musical Interventions in Group Work with Chemically Dependent Populations." Social Work With Groups 34, no. 3-4 (July 2011): 283–95. http://dx.doi.org/10.1080/01609513.2011.558825.
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Huovinen, Erkki, and Heli Rautanen. "Interaction affordances in traditional instruments and tablet computers: A study of children’s musical group creativity." Research Studies in Music Education 42, no. 1 (June 29, 2019): 94–112. http://dx.doi.org/10.1177/1321103x18809510.
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In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.
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Lonsdale, Adam J., and Adrian C. North. "Musical Taste and Ingroup Favouritism." Group Processes & Intergroup Relations 12, no. 3 (April 17, 2009): 319–27. http://dx.doi.org/10.1177/1368430209102842.
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Musical taste is thought to function as a social `badge' of group membership, contributing to an individual's sense of social identity. Following from this, social identity theory predicts that individuals should perceive and behave more favourably towards those perceived to share their musical taste than towards those who do not. The findings of two studies supported these predictions. The first showed that stereotypes of the fans of different musical styles demonstrate ingroup favouritism, and the second study used the minimal group paradigm to show that individuals allocate greater rewards to those believed to share their musical taste. This suggests that those who share our musical taste are likely to be considered ingroup members, and should be subject to ingroup favouritism.
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Messika, Jonathan, Yolaine Martin, Natacha Maquigneau, Christelle Puechberty, Matthieu Henry-Lagarrigue, Annabelle Stoclin, Nataly Panneckouke, et al. "A musical intervention for respiratory comfort during noninvasive ventilation in the ICU." European Respiratory Journal 53, no. 1 (December 21, 2018): 1801873. http://dx.doi.org/10.1183/13993003.01873-2018.
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Discomfort associated with noninvasive ventilation (NIV) may participate in its failure. We aimed to determine the effect of a musical intervention on respiratory discomfort during NIV in patients with acute respiratory failure (ARF).An open-label, controlled trial was performed over three centres. Patients requiring NIV for ARF were randomised to either a musical intervention group (where they received a musical intervention and were subjected to visual deprivation during the first 30 min of each NIV session), a sensory deprivation group (where they wore insulating headphones and were subjected to visual deprivation during the first 30 min of each NIV session), or a control group (where they received NIV as routinely performed). The primary outcome was the change in respiratory discomfort before and after 30 min of the first NIV session.A total of 113 patients were randomised (36 in the musical intervention group, 38 in the sensory deprivation group and 39 in the control group). Median (interquartile range (IQR)) change in respiratory discomfort was 0 (−1; 1) between the musical intervention and control groups (p=0.7). Between groups comparison did not evidence any significant variation of respiratory parameters across time or health-related quality of life (HRQoL) at day-90. The Peri-traumatic Distress Inventory (PDI) at intensive care unit (ICU) discharge was reduced in musical intervention group patients. However, a 30 min musical intervention did not reduce respiratory discomfort during NIV for ARF in comparison to conventional care or sensory deprivation.
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Middleton, Richard. "Articulating musical meaning/re-constructing musical history/locating the ‘popular’." Popular Music 5 (January 1985): 5–43. http://dx.doi.org/10.1017/s0261143000001914.
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In thinking about how to locate popular music within music history, I start from two propositions. Firstly, that attempts to isolate and define musical types, functions and effects by purely empirical means are likely to be unhelpful. Understanding ‘popular music’ – for example – in terms of a quantitively measured ‘popularity’ (sales figures) is not only methodologically difficult to do coherently but, more important, it hypostatises what is in reality a result of living, historically changing relationships. Secondly: if, then, musical categories should be grasped as part of social processes, it does not however follow that in this relationship (between musical type, concept or practice on the one hand, social group, factor or formation on the other) the relata are in a one-to-one correspondence. Thus – quoting again examples from commonly assumed positions – the idea that ‘popular music’ is ‘really’ confined to authentic proletarian self-expression is no less misleading than the Adornian notion that it is part of an undifferentiated blanket of leisure-goods imposed on the unresisting masses by a monopoly-capitalist ‘culture industry’.
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Williams, Esther. "RCS promotes musical theatre." Bulletin of the Royal College of Surgeons of England 94, no. 6 (June 1, 2012): 188. http://dx.doi.org/10.1308/147363512x13311314196933.
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Easy listening music in the operating theatre could reduce anxiety for millions of patients undergoing operations using local anaesthetic each year, according to research. This is just one of the surgical news stories that captured the media's imagination last month. Surgeons from the plastic and reconstructive department at the John Radcliffe Hospital in Oxford measured the respiratory rates of emergency patients and asked them to rate their feelings of worry. Half the patients had their operation in a theatre with music playing and half without – the group who were exposed to music reported lower levels of anxiety and had a lower breathing rate.
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Macdonald, Raymond, and Graeme Wilson. "Musical identities of professional jazz musicians: a focus group investigation." Psychology of Music 33, no. 4 (October 2005): 395–417. http://dx.doi.org/10.1177/0305735605056151.
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Wilson, Graeme B., and Raymond A. R. MacDonald. "Musical choices during group free improvisation: A qualitative psychological investigation." Psychology of Music 44, no. 5 (July 9, 2016): 1029–43. http://dx.doi.org/10.1177/0305735615606527.
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Athanasopoulos, George, and Nikki Moran. "Cross-Cultural Representations of Musical Shape." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.
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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians’ associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group’s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants’ responses point to profoundly different ‘norms’ of musical shape association, which may be linked to literacy and to the functional role of music in a community.
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Benguerel, André-Pierre, and Carol Westdal. "Absolute Pitch and the Perception of Sequential Musical Intervals." Music Perception 9, no. 1 (1991): 105–19. http://dx.doi.org/10.2307/40286161.
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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either group were able to name standard sequential musical intervals based on the equal-tempered scale accurately. Most subjects in the AP group were able to name notes of the equal-tempered scale accurately and consistently, whereas subjects without AP were not. 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. In the main experiment, subjects identified sequential musical intervals ranging in 20- cent steps from 260 to 540 cents, using the standard musical interval names. On the basis of their identification errors, subjects, both with and without AP, appeared to identify the intervals using the RP strategy rather than the AP strategy. It seems that musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.
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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (December 2001): 719–27. http://dx.doi.org/10.2466/pr0.2001.89.3.719.
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The different abilities involved in artistic creativity may be mirrored by differences among mental disorders prevalent in each artistic profession, taking poets, painters, and composers as examples. Using suicide rates as a proxy for the prevalence of mental disorders in groups of artists, we investigated the percentage of deaths by suicide in a sample of 4,564 eminent artists who died in the 19th and 20th centuries. Of the sample, 2,259 were primarily involved in activities of a linguistic nature, e.g., poets and writers; 834 were primarily visual artists, such as painters and sculptors; and 1,471 were musicians (composers and instrumentalists). There were 63 suicides in the sample (1.3% of total deaths). Musicians as a group had lower suicide rates than literary and visual artists. Beyond socioeconomic reasons, which might favour interpretations based on effects of health selection, the lower rate of suicides among musicians may reflect some protective effect arising from music.
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Machfauzia, Ayu Niza, Suminto A. Sayuti, and Djohan Djohan. "Musical interpretation: case study in musical instrument practice learning vocational high school." Jurnal Pendidikan Vokasi 8, no. 2 (July 14, 2018): 193. http://dx.doi.org/10.21831/jpv.v8i2.19875.
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This study was intended to reveal: (1) the dimensions of musical interpretation taught; (2) the strategy used by teachers to introduce musical interpretation in instrument practice class; and (3) teacher’s ability or competence to teach musical interpretation. This research is case study, with the subjects were 12 teachers responsible for instrument practice class. They were selected using purposive sampling method. The data collection method used were in-depth interviews, passive participation observation, documentation and focus group discussion (FGD). The instrument of study was the researcher herself. Data validity was conduct triangulation by reviewing data acquired from a source. All data then were analyzed using interactive model which included data reduction, data presentation, and conclusion/verification. The results show that: (1) the dimensions of musical interpretation taught in every instrument practice class, were only dimensions of knowledge; (2) the strategy used by teachers when teaching musical interpretation was a direct strategy, teacher-centered learning approach, and used individual approach; and (3) teachers’ competence in teaching musical interpretation must be improved, both pedagogical and professional competences.
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Rose, Dawn, Alice Jones Bartoli, and Pamela Heaton. "Measuring the impact of musical learning on cognitive, behavioural and socio-emotional wellbeing development in children." Psychology of Music 47, no. 2 (December 13, 2017): 284–303. http://dx.doi.org/10.1177/0305735617744887.
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This study investigated the effects of musical instrument learning on the concomitant development of cognitive, behavioural and socio-emotional skills in 38 seven- to nine-year-old children. Pre- and post-test measures of intelligence, memory, socio-emotional behaviour, motor ability and visual-motor integration were compared in children who received either extra-curricular musical training (EMT: n = 19) or statutory school music group lessons (SSM: n = 19). Results showed a significant association between musical aptitude and intelligence overall. The EMT group showed a significant increase in IQ (7 points), in comparison to 4.3 points for the SSM group, suggesting an effect of musical learning on intelligence. No effects were found for memory, or for visual motor integration or socio-emotional behaviour. However, significant improvements in gross motor ability where revealed for the EMT group only, for the aiming and catching composite. With regard to the measure of fluid intelligence, these findings support previous studies. The novel use of the Movement Assessment Battery for Children provides evidence that musical learning may support development in a child’s ability to judge distance, consider velocity, focus and use their proprioceptive, interoceptive and exteroceptive nervous systems.
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Peltola, Henna-Riikka. "Sharing experienced sadness: Negotiating meanings of self-defined sad music within a group interview session." Psychology of Music 45, no. 1 (July 8, 2016): 82–98. http://dx.doi.org/10.1177/0305735616647789.
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Sadness induced by music listening has been a popular research focus in music and emotion research. Despite the wide consensus in affective sciences that emotional experiences are social processes, previous studies have only concentrated on individuals. Thus, the intersubjective dimension of musical experience – how music and music-related emotions are experienced between individuals – has not been investigated. In order to tap into shared emotional experiences, group discussions about experiences evoked by sad music were facilitated. Interpretative phenomenological analysis revealed four levels of discourses in the sharing of experiences evoked by joint music listening: (1) describing the emotional experience, (2) describing the music, (3) interpreting the music, and (4) describing autobiographical associations. Negotiated meanings of musical expression and emotional content were present. When exposed to different types of music and musical expression, the informants distinguished various kinds of sadness with distinct meanings. Shared experiences were affected by expectations of the musical style, structure, and performance, as well as expectations of the emotional content of music. Additionally, social norms and cultural conventions played important roles in the negotiations.
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Prachumwan, Komphorn, and Chalermpol Ataso. "Influence of Long-Term Communist Confrontation on Inducing Changes in Society and Musical Culture of Hmong Ethnic Group in Thailand." Asian Culture and History 12, no. 1 (December 18, 2019): 1. http://dx.doi.org/10.5539/ach.v12n1p1.
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The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.
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Cohrdes, Caroline, Lorenz Grolig, and Sascha Schroeder. "The development of music competencies in preschool children: Effects of a training program and the role of environmental factors." Psychology of Music 47, no. 3 (February 23, 2018): 358–75. http://dx.doi.org/10.1177/0305735618756764.
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The present study investigated the development and training of music competencies in children in transition from kindergarten to school. In an intervention study with three experimental groups (music training, language training, no training) we investigated music performances of N = 202 5-year-old children before and after a period of 6 months. Results indicate substantial improvement in several low- and high-level musical competencies independent of children’s participation in one of the training groups. In addition, the music training group improved significantly more in their tonal discrimination, rhythm repetition, and synchronization skills compared to the no-training group. Results show that children in the language training group also improved in their music skills, which indicates noticeable overlap between these two domains. By contrast, interindividual differences in potentially relevant environmental factors, such as home musical environment and their socioeconomic status, did not affect children’s musical skills. By disentangling music training effects from musical experience based on informal exposure, the present findings contribute to the understanding of the development of various music competencies and to the effects of musical trainings in preschool.
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HARRISON, JILL, and JOHN RYAN. "Musical taste and ageing." Ageing and Society 30, no. 4 (March 17, 2010): 649–69. http://dx.doi.org/10.1017/s0144686x09990778.
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ABSTRACTThe purpose of this study was to explore musical taste patterns in old age. Having musical tastes, defined as individual preferences for certain musical genres, has been theorised as being a relational tool, something that can be used to negotiate social situations and interpersonal exchanges with others. Taste not only helps to make sense out of the endless array of products available on the cultural menu, but is also through consumption and display a way of signalling group membership, social location, identity and self. These concepts are important throughout the lifecourse, yet relatively unexplored in later life. What are the taste patterns of older adults and how do they compare to the musical preferences of other age groups? To address these questions we analysed data from the United States national Survey of Public Participation in the Arts (SPPA), a repeated cross-sectional survey, for the years 1982, 1992 and 2002. In each year, musical tastes displayed a positive relationship with age up to 55 years of age. The results indicate that across the three survey years, at older ages there was a negative relationship between tastes and age. We offer explanations for these results using theories from the sociology of culture and social gerontology.
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Hung, Ning-Hui. "Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 49. http://dx.doi.org/10.24821/ijcas.v4i1.1954.
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Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music group of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more liberal than other Islamic music genres in Indonesia, especially on musical performance, usage on instruments, etc. This research sees “music” as a communication system of sound which passes through social usage and cultural contexts in Ethnomusicological perspective. The focus of discussion in on this group to explore some topics in order to comprehend the interaction between social structural development and the innovation of kasidah musical structure in Indonesia, such as the transmission and development of the group Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its music, and the musical function of modern kasidah. By which to understand the current development of kasidah in Indonesia, explore the concept and the role of the word „modern‟ plays in the development of modern kasidah, and point out the cultural syncretism and impact occured in the development of modern kasidah.
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Delogu, Franco, and Marta Olivetti Belardinelli. "Children's Recognition of Their Musical Performance." Musicae Scientiae 7, no. 1_suppl (September 2003): 31–48. http://dx.doi.org/10.1177/10298649040070s102.
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The present study was designed to obtain indications about unskilled children's music performances by means of a computer-based performance task. In particular, we assessed children's abilities to recognize their own performances and their self-awareness of such competence. A total of 240 children from Southern Italy, subdivided into 3 age groups, performed their own version of a familiar song. After 4, 6, or 8 days according to the group, participants were asked to recognize their own interpretation among two other performances recorded by participants in the same age group. Finally, the reasons for their recognition were elicited. Children's verbal responses were sorted by independent judges into different categories reflecting the cognitive strategies used in the recognition task. Results show that children are able to discriminate their own musical interpretation with a great degree of accuracy. Concerning the verbal responses, children mentioned the Dynamics category more frequently than other categories like Duration, Tempo, Structure, Elimination strategy, Error detection, Aural and tactile discrimination. No significant differences among groups with different retention intervals have been found, suggesting that memory of children's own musical performances is stable for several days. The comparison with a similar American sample shows cultural differences in the strategies used for recognition. Theoretical and methodological implications are also discussed.
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Piegzik, Wioletta. "WPŁYW UMUZYKALNIENIA NA PRZYSWAJANIE PODSYSTEMU FONICZNEGO U UCZĄCYCH SIĘ JĘZYKÓW OBCYCH: WYNIKI BADANIA." Neofilolog 2, no. 43/2 (September 4, 2019): 168–79. http://dx.doi.org/10.14746/n.2014.43.2.3.
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This report presents the results of a study into the relationship between musical ability and the development of a phonological system by foreign language learners. Our own experiences both as a foreign language teacher and as a musical group leader have raised a number of questions and lines of enquiry. These challenge previous researchers’ findings concerning the allegedly absolutely positive effect of music on language learning and as a result this study has been undertaken.After a brief theoretical presentation, we describe the research project in which learners abilities to distinguish and produce different phonemes as well as the prosody of the language studying are analyzed. Two groups of learners were compared in this study. One group attended a music school. The second group had no musical experience. The study showed that receptive skills were not significantly different between the two groups. The group of learners with musical training was more articulate but this was the only difference. The statistical approach used in analysis of data was the Wilcoxon test.
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Dutchak, Violetta. "The Ukrainian Bandura as a Musical Instrument of the Chordophone Group." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 125–33. http://dx.doi.org/10.15330/jpnu.4.2.125-133.
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The article examines the characteristics of the bandura as a plucked chordophone. A comparative analysis of the researches undertaken by outstanding musicologists, performers, ethno-organologists S. Lyudkevych, E. Hornbostel, C. Sachs, H. Khotkevych, Z. Shtokalko, and others is carried out. The morphology of the instrument and the main stages in its evolution are discussed. The stable and mobile elements of the bandura’s structure and tuning are described. The technical characteristics of the instrument in different periods of its evolution and the achievements of the bandura makers and bandurists of Ukraine and the Ukrainian diaspora are analyzed. The common and distinguishing features of the bandura and some kindred instruments are pointed out
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Malakhova, Margaryta. "STUDENT’S FOLK MUSIC BAND: TECHNOLOGY OF GROUP INTERPRETATION OF MUSICAL COMPOSITION." Educological discourse, no. 3-4 (2019): 100–109. http://dx.doi.org/10.28925/2312-5829.2019.3-4.100109.
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The article deals with the problem of collaboration and group interaction during the production of a musical composition. The terms “music band”, “pedagogic technology” and “interpretation” are revealed. Based on author’s experience, the technological dimensions in the activity of student’s folk music band are shown. These dimensions are aimed at performance of musical compositions during collective interactions. According to this problem the four main stages are market out, such as familiarization with a musical composition, technical mastering, realization of artistic content and music performance. It is stressed, that performance interpretation covers all possibilities of musician. Thus for the sake of realization owns ideas it is necessary to have professional skills. Among them we point out creative thinking, performance skills, including ensemble mastering, possibilities, specifically good ear for music, and psychological stability, i.e. the high level of self-regulation during public performances. The main part of the article shows theoretical grounds, methodological recommendation and practical advice as for formation of collective thinking and common masterly performance. It is stressed, that necessary condition of good activity of student group is implementation of methods and tasks directed at development of creative individuality of every folk music band member, improvement of masterly performance and increasing of psychological stability during the performances. It is pointed out that team work during permanent cooperation creates band performance style and makes the conditions for generalization of masterly performance and development of creative potential, intuition and artistic feeling
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Ostapenko, Larysa. "THE PROBLEMS OF SOCIALIZATION OF CHILDREN IN A CHILDREN’S MUSICAL GROUP." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy, no. 2 (September 28, 2017): 157–62. http://dx.doi.org/10.25128/2415-3605.17.2.22.
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Wotton, Linde. "Between the Notes: A Musical Understanding of Change in Group Analysis." Group Analysis 46, no. 1 (July 31, 2012): 48–60. http://dx.doi.org/10.1177/0533316412455613.
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This article brings together insights from the fields of communicative musicality and group analysis and suggests that the matrix should be understood as a musical process. Linking the social and the biological, this offers an explanation of many of the mechanisms that are fundamental, both to our nature as social to the core and to the group process (particularly belonging and resonance), but which remain outside of awareness. This musical understanding leads to a recasting of the role of the group analyst, not as conductor but as tonic or home note and a view of change as the development of greater flexibility in relating. The basis for the analogy between music and the group process is, I suggest, the creative space from which meaning emerges that is common to both—the interval in music and the intersubjective space in the group.
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Ortega-Orozco, Areta, Gabriela Orozco-Calderón, Maura J. Ramírez-Flores, and Azucena Lozano- Gutiérrez. "Age of onset in musical practice on cognitive functioning." Journal of Basic and Applied Psychology Research 1, no. 2 (January 5, 2020): 1–6. http://dx.doi.org/10.29057/jbapr.v1i2.5363.
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Musical processing has been described as a structural and functional plasticity model in which the areas involved and the connections are modified, these changes depend on several variables, including the start of training. The study of music as a neuropsychological phenomenon has become important because it provides information about the possible cognitive benefits. Objective: Describe and compare how musical practice Describe and compare how musical practice affects cognitive functioning in musicians who began their training at an early and late age.affects cognitive functioning in musicians who began their training at an early and late age. Method: Three groups were formed: A group of early professional musicians, a group of late-start professional musicians and a non-musicians control group. The NEUROPSI battery attention and memory were applied individually. Results: In a descriptive way, it was found that the performance profiles of the three groups behave differently and significant differences were found in memory, attention, executive functions and musical perception, especially among musicians who started before adolescence vs non-musicians. Conclutsions: Early musical practice has a favorable impact on tasks that involve attentional processes, executive functions and memory, although the practice can be beneficial throughout life.
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Sari, Febriana Sartika, Winda Fitriani, Innez Karunia Mustikasari, Imam Rosyada, Heni Nur Kusumawati, S. Dwi Sulisetyawati, Ika Subekti Wulandari, Rufaida Nur Fitriana, and Mellia Silvy Irdianty. "Effect of Musical Therapy Langgam Jawa on Pre-chemotherapy Anxiety of Cancer Patients." Open Access Macedonian Journal of Medical Sciences 9, G (August 26, 2021): 52–56. http://dx.doi.org/10.3889/oamjms.2021.6755.
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BACKGROUND: Anxiety occurs in cancer patients who are undergoing chemotherapy for the 1st time. Excessive anxiety which occurred in the pre-chemotherapy phase can contribute to the failure of chemotherapy programs. One of attempts to reduce anxiety is providing musical therapy Langgam Jawa. AIM: The purpose of the research is to identify the effect of musical therapy Langgam Jawa to pre-chemotherapy anxiety score. METHODS: The research used quasi-experimental design which involved pre-posttest with control group. The research was conducted at a hospital in Central Java. The population was cancer patients who undergoing chemotherapy for the 1st time and experienced pre-chemotherapy anxiety. Samples were selected with purposive sampling technique that met inclusion criteria. Subjects were 42 respondents consisting of 21 in each group obtained by simple random sampling technique. Health education and deep breathing exercise were provided to the control group, while the treatment group obtained health education, deep breathing exercise, and musical therapy Langgam Jawa. The measurement of pre-chemotherapy anxiety in the cancer patients was using State-Trait Anxiety Inventory. An independent t-test performed the analysis. RESULTS: The results showed that pre-chemotherapy anxiety score decreases significantly in those two groups (p-value: 0.001; α: 0.05). The treatment group showed a higher decrease of pre-chemotherapy anxiety than the control group. CONCLUSION: The finding highlights musical therapy Langgam Jawa is effective to reduce pre-chemotherapy anxiety of cancer patients. It is recommended to apply musical therapy Langgam Jawa for cancer patients who’re undergoing chemotherapy.
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Williams, L. R. T. "Serial Movement Timing and Musical Experience." Perceptual and Motor Skills 60, no. 1 (February 1985): 31–36. http://dx.doi.org/10.2466/pms.1985.60.1.31.
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Musicians and non-musicians were compared on a serial movement-timing task incorporating six continuous 11-cm segments. The serial pattern was structured for both spatial and temporal symmetry. There were seven subjects in each group and 50 test trials were analyzed for timing error. The non-musicians were less accurate and more variable for certain parts of the pattern. The findings supported the view that musical practice can assist the process of mapping internal representations of serial relations to novel spatio-temporal patterns of movement.
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Nan, Yun, Li Liu, Eveline Geiser, Hua Shu, Chen Chen Gong, Qi Dong, John D. E. Gabrieli, and Robert Desimone. "Piano training enhances the neural processing of pitch and improves speech perception in Mandarin-speaking children." Proceedings of the National Academy of Sciences 115, no. 28 (June 25, 2018): E6630—E6639. http://dx.doi.org/10.1073/pnas.1808412115.
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Musical training confers advantages in speech-sound processing, which could play an important role in early childhood education. To understand the mechanisms of this effect, we used event-related potential and behavioral measures in a longitudinal design. Seventy-four Mandarin-speaking children aged 4–5 y old were pseudorandomly assigned to piano training, reading training, or a no-contact control group. Six months of piano training improved behavioral auditory word discrimination in general as well as word discrimination based on vowels compared with the controls. The reading group yielded similar trends. However, the piano group demonstrated unique advantages over the reading and control groups in consonant-based word discrimination and in enhanced positive mismatch responses (pMMRs) to lexical tone and musical pitch changes. The improved word discrimination based on consonants correlated with the enhancements in musical pitch pMMRs among the children in the piano group. In contrast, all three groups improved equally on general cognitive measures, including tests of IQ, working memory, and attention. The results suggest strengthened common sound processing across domains as an important mechanism underlying the benefits of musical training on language processing. In addition, although we failed to find far-transfer effects of musical training to general cognition, the near-transfer effects to speech perception establish the potential for musical training to help children improve their language skills. Piano training was not inferior to reading training on direct tests of language function, and it even seemed superior to reading training in enhancing consonant discrimination.
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Omosule, Segun. "Aesthetics in Biripo Musical Performance." AGOGO: Journal of Humanities 5 (February 14, 2021): 116. http://dx.doi.org/10.46881/ajh.v5i0.230.
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Music is a universal language. Biripo music, even when restricted to a group of people in the Ikale/Ilaje/Apoi milieux, is an embodiment of the consciousness of the folks that combines the art of the people with entertainment as a major cultural thrust, achieving religious indoctrination, and entrenching ethical values in the environment. This paper attempts an analysis of the musical performance of Zeblon Omoranmowo entitled: word hangs loose and bursts (Oro Ma Se Dugbe Dugbe o Be o) through an examination of the subject matter, themes and analogies that may constitute veritable sources of conflicts to the larger society and internal disquietude to individuals. The paper explores the stage performance through an examination of the persona, competence, interaction, talent and reception. While relying on aesthetics as a tool of explication, the study unveils the response of the audience finding expression in dancing, clapping and offer of monetary gift to band members and concludes that the musical performance fulfils the yearning of the folks for entertainment.
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Razduev, Aleksey V., and Eugenia G. Sharanova. "Semantic structure of the term and semantic oppositions in musical terminology (drawing on the English and Russian language material)." Current Issues in Philology and Pedagogical Linguistics, no. 4(2020) (December 25, 2020): 146–57. http://dx.doi.org/10.29025/2079-6021-2020-4-146-157.
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The analysis of the semantics and semantic oppositions of terminological units is one of the most productive ways to understand the systemic nature of terminological phenomena. The article is devoted to the study of semantic features of English- and Russian-language musical terminological units, namely, to the identification of the semantic structure of terms and semantic oppositions that arise between them. Within the semantic structure of musical terms, in the aggregate of their connections and relationships that form the musical terminological system, the core, semantic periphery and additional semantic area are distinguished and classified according to the presence of these components into uninuclear proper, uninuclear with the periphery and uninuclear with the periphery and additional semantic area. At the first stage, a selection of musical terms in modern English and Russian has been compiled, at the second stage, the semantic structure of terminological units has been analyzed, and at the third stage, the key aspects of nomination have been identified, according to which explicit and implicit oppositions are being formed. The material for the study comprises a selection of the English- and Russian-language musical terminological units with the total volume of 1000 units (500 units of each language), selected by the method of continuous selection from electronic and printed sources, including dictionaries and glossaries, musical notations, monographs, textbooks and manuals, web portals on music topics. The research methods of the English- and Russian-language musical terminological units include the method of continuous selection, methods of component and definition analysis, the method of linguacognitive modelling, as well as techniques of quantitative analysis. Within the framework of the study, three groups of musical terms have been identified depending on their semantic structure: the first group includes uninuclear terminological units with the semantic periphery, the second group includes uninuclear terms proper, and the third group is formed by uninuclear terms with the periphery and additional area of semantics. The first group is predominant in terms of quantity, the number of terms in which is almost 2.5 times more than in the second one, and the third group is represented by a small number of terminological units. There are at least 6 frequent and 12 less frequent key aspects of nomination within the musical terminology. The frequent key aspects of nomination with the help of which explicit oppositions are formed are: «Minor / major», «Volume / pitch», «Direction», «Location (locus)», «Singularity / Multiplicity», «Quantity». Less frequent aspects of nomination are: «Weakness / strength», «Perfection / imperfection», «Colour», «Presence / absence of sound», «Structure», «Quantity / Completeness / Size», «Genre of music», «Material», «Recommendations for performing a piece of music», «Role», «Style of playing an instrument», «Type of musical instrument».
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Woodcock, John. "Towards Group Analytic Music Therapy." Journal of British Music Therapy 1, no. 1 (June 1987): 16–21. http://dx.doi.org/10.1177/135945758700100105.
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Verbal material is inevitably encountered in adult psychiatry. This paper describes and discusses an approach to music therapy which admits of this, seeks to understand its significance and to use it in the service of therapy. The origins of the approach are considered and elements of theory and technique derived from group analysis and psychotherapy and their application are described and discussed. The therapist's verbal and musical role is considered in the light of this and conclusions are drawn as to the advantages and insights gained by the adoption of the approach.
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Skewes, Katrina. "A Review of Current Practice in Group Music Therapy Improvisations." British Journal of Music Therapy 16, no. 1 (June 2002): 46–55. http://dx.doi.org/10.1177/135945750201600107.
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The information contained in this article has been derived from a series of interviews conducted by the author with selected specialists in music therapy group improvisation. Although the music therapy literature barely addresses the musical material created in group improvisations, it is not true to say that there is no expertise in this area. Rather, it is likely that the difficulties in communicating these musical processes via the written word or transcribed score have discouraged researchers and clinicians from publishing current theories and understandings. For this reason, selected specialists were approached to take part in in-depth interviews aimed to solicit their current understandings of music therapy group improvisations. The results in this article are made up solely of the information shared in these interviews in response to a series of open-ended questions posed by the author.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Sokolova, Alla Nikolaevna. "Visualization of music, musicians, and musical instruments in the works of Adyghe artists." Философия и культура, no. 3 (March 2021): 1–21. http://dx.doi.org/10.7256/2454-0757.2021.3.35413.
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This article reviews painting and graphics of Adyghe artists, which plotlines and images resemble musical instruments, musicians, and in a certain way, music itself. The author assumes that the entire heritage in this area can be divided into three groups. The first group contains the artworks that are perceived as historical documents testifying to the presence or absence of certain types of musical instruments, ways of playing those, dances, dance positions, moves, etc.; this also includes paintings with ethnographically precise reproduction of the past or present reality, which depicts music and motions. The second group contains the portraits of prominent musicians who significantly contributed to the history of regional culture. The third group is comprised of the musical instruments and dance, which visualize something secret behind the traditional things. Each group has a special technique and means of visualization of music and musical instruments. The novelty of this research lies in examination of the canvases of Adyghe painters preserved in the funds of the North Caucasus branch of the State Museum of Oriental Art (Maykop), and are virtually unknown to the general audience; in articulation of the topic aimed at examination of means of visualization of music, musical instruments and musicians in painting and graphics; in the proposed non-homogeneous classification of painting heritage related to music, musical instruments and musicians, which can be implicated to any other regional culture; in determination of the role of this type of cultural heritage for future generation. It is stated that painting and graphics exhibited in museums are not perceives so much the past as the present, which is included in the cultural and emotional-psychological life of modernity.
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Zapata, Gloria P., and David J. Hargreaves. "The effects of musical activities on the self-esteem of displaced children in Colombia." Psychology of Music 46, no. 4 (July 17, 2017): 540–50. http://dx.doi.org/10.1177/0305735617716756.
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This article presents some of the results of a research project undertaken in a school located in a deprived neighbourhood of Bogotá, the capital of Colombia. The project investigated the effects of musical experiences on 6- to 8-year-olds’ social and musical development by means of a mixed-methods approach involving the children, their parents and teachers. The project comprised three studies, and this article reports the results of the first, an experimental intervention study which was carried out with two groups of 52 children. The experimental group followed an 18-week music programme of singing workshops involving Colombian traditional songs and musical improvisation, whereas the control group had no such musical programme. Harter’s (1999) Perceived Competence Scale for Children was administered before and after the 18-week singing programme to assess its effects on the children’s self-esteem. Analysis revealed that musical activities had a significant impact on children’s self-esteem, and especially upon its cognitive component. These results are of crucial importance in the context of forced displacement in the Colombian population as a result of violence.
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Toropova, Alla V. "Musical-Psychological Anthropology as an Interdisciplinary Field of Scientific Knowledge." Musical Art and Education 7, no. 2 (2019): 24–40. http://dx.doi.org/10.31862/2309-1428-2019-7-2-24-40.
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The article presents the conceptual positions of the interdisciplinary field of knowledge “Musical-Psychological Anthropology” as a scientific field that allows comprehending the history of musical art and ethno-cultural variations of musical traditions, historical and modern musical styles as a representation of the experience of developing consciousness and expressing the key experiences of humanity that form the mentality, psychological needs and values of a particular social or ethnic group. The development of the methodology of Music and Psychological Anthropology makes it possible to study such phenomena as: psychological identity of a certain culture or subculture, psychological roots of musical preferences and inclinations, musical style as the presentation of a “modal personality” of a certain social group or subculture, etc. The article contains a description of the procedure and the main results of the study of value orientations of lovers of different musical styles from the perspective of musical and psychological anthropology. The data obtained made it possible to make a generalization that the differentiation of society according to the types of musical preferences manifests deeper psychological complexes of life positions and anthropological images of virtual communities of people with different ideas about the main values of life and the meaning of life. Pedagogical feasibility of developing a university course Music-Psychological Anthropology is due to the search for a new productive synthesis of knowledge, which gives impetus for the development of the professional-personal reflection of future teachers-musicians, the conscious attitude to “their” and “other” as version of life and cultural practices, tolerance to uncertainty and to the dissimilarity of generational self-presentations with a common denominator – the value of the statement of life itself.
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Meng, Qi, Jiani Jiang, Fangfang Liu, and Xiaoduo Xu. "Effects of the Musical Sound Environment on Communicating Emotion." International Journal of Environmental Research and Public Health 17, no. 7 (April 6, 2020): 2499. http://dx.doi.org/10.3390/ijerph17072499.
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The acoustic environment is one of the factors influencing emotion, however, existing research has mainly focused on the effects of noise on emotion, and on music therapy, while the acoustic and psychological effects of music on interactive behaviour have been neglected. Therefore, this study aimed to investigate the effects of music on communicating emotion including evaluation of music, and d-values of pleasure, arousal, and dominance (PAD), in terms of sound pressure level (SPL), musical emotion, and tempo. Based on acoustic environment measurement and a questionnaire survey with 52 participants in a normal classroom in Harbin city, China, the following results were found. First, SPL was significantly correlated with musical evaluation of communication: average scores of musical evaluation decreased sharply from 1.31 to −2.13 when SPL rose from 50 dBA to 60 dBA, while they floated from 0.88 to 1.31 between 40 dBA and 50 dBA. Arousal increased with increases in musical SPL in the negative evaluation group. Second, musical emotions had significant effects on musical evaluation of communication, among which the effect of joyful-sounding music was the highest; and in general, joyful- and stirring-sounding music could enhance pleasure and arousal efficiently. Third, musical tempo had significant effect on musical evaluation and communicating emotion, faster music could enhance arousal and pleasure efficiently. Finally, in terms of social characteristics, familiarity, gender combination, and number of participants affected communicating emotion. For instance, in the positive evaluation group, dominance was much higher in the single-gender groups. This study shows that some music factors, such as SPL, musical emotion, and tempo, can be used to enhance communicating emotion.