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Artículos de revistas sobre el tema "Zapato 3 (Musical group)"

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Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Petrus Geraldino Resha Almi, Hubertus Lado Lewar, Alfonsia Maria Resaa, Maria Silvani Kupu Da, and Agustinus Renaldus Afoan Elu. "Pelatihan Ansambel Musik bagi Siswa – siswi Kelas X dan XI SMA Katolik Giovanni Kupang." Pandawa : Pusat Publikasi Hasil Pengabdian Masyarakat 3, no. 1 (2025): 112–19. https://doi.org/10.61132/pandawa.v3i1.1618.

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Ensemble music is a musical presentation consisting of a mixture of several musical instruments that contain rhythmic, melodic, and harmonious elements. Etymologically, the word ensemble comes from the French word ensemble which means group. An ensemble is also known as a musical ensemble that plays one or several types of musical instruments. In education at school, ensembles have a fairly important role in improving the quality of students' music. In addition to gaining theoretical ensemble knowledge, students are also directed to practice musical ensembles, so that they can channel their cr
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2

Kawase, Satoshi, and Jun’ichi Ogawa. "Group music lessons for children aged 1–3 improve accompanying parents’ moods." Psychology of Music 48, no. 3 (2018): 410–20. http://dx.doi.org/10.1177/0305735618803791.

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This study investigated the improvement in parents’ moods when attending group music lessons targeting their children aged 1–3 years. A questionnaire survey of parents’ moods was conducted under three conditions: immediately before and after the lesson, and on a non-lesson day. Results suggested that group music lessons for children enhanced parents’ positive mood and reduced anxiety. Thus, even peripheral participation in children’s group music lessons can be beneficial for parents. In addition, such mood improvements were more significant in the parents whose everyday state anxiety was high
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3

Brown, Geoffrey, and Helen Harrison. "Motivation and Musical Literacy in the Education of Year 3 Children." British Journal of Music Education 12, no. 1 (1995): 45–50. http://dx.doi.org/10.1017/s0265051700002382.

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This paper describes how a teacher explored her teaching of an introduction to recorder playing to children, and how she tested her belief that music notation was an essential component of that teaching.Two roughly parallel classes of 7 to 8 year-olds were introduced to recorder playing. One group was given tuition accompanied by music notation, the other group learned to play by ear. An interaction was found between the ability of the child and the relative success of a method of teaching. More able pupils became demotivated without access to written music, whilst less able pupils retained th
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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 (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 researc
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Risqi, Dini Permata, and Syahrul Syah Sinaga. "Musical Expression On The Ksyr Lestari Group’s The Sintren Art Of Luwijawa Village In Tegal Regency." Jurnal Seni Musik 11, no. 1 (2022): 92–101. http://dx.doi.org/10.15294/jsm.v11i1.53017.

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The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in
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6

Giménez, Alicia, Rosa María Cibrián, and Salvador Cerdá. "Subjective Assessment of Concert Halls: a Common Vocabulary for Music Lovers and Acousticians." Archives of Acoustics 37, no. 3 (2012): 331–40. http://dx.doi.org/10.2478/v10168-012-0042-3.

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Abstract In recent years we have interviewed members of the audience after musical performances and asked them to evaluate the acoustics of the concert halls. A group of ‘music lovers’ (with a high level of musical training and experience) and ‘acousticians’ (with a wide knowledge of the physical characteristics of sound transmission) also attended each performance and answered the same questions as the general public. This group thereby served as a control group when evaluating surveys of the general public. In this paper, the results obtained when analyzing these control group surveys are pr
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7

Castro-Alonso, Vicente, and Rocío Chao-Fernández. "RETRACTION NOTICE: Musical creation through time." TECHNO REVIEW. International Technology, Science and Society Review /Revista Internacional De Tecnología, Ciencia Y Sociedad 16, no. 1 (2024): 1–15. http://dx.doi.org/10.37819/revtechno.1966.

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Retraction note: Castro-Alonso, V. & Chao-Fernández, R. (2022). Musical creation through time: Curriculum review in secondary education. TECHNO REVIEW. International Technology, Science and Society Review Revista Internacional De Tecnología, Ciencia Y Sociedad, 12(3), 1–15. https://doi.org/10.37467/revtechno.v11.4410 The Editorial Office of Eurasia Academic Publishing Group has retracted this article. An investigation carried out by our Research Integrity Department has found a group of articles, among which this one is found, that are not within the thematic scope of the journal. We belie
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8

Ong, Peter, Fauzila Abdul Latif, Nik Hartini Nik Latif, Rozaina Abd Razak, and Ong Eng Tek. "Mastery Learning in Recorder Playing: A Focus on Posture and Breathing." Journal of Creative Arts 2, no. 1 (2025): 11–24. https://doi.org/10.24191/jca.v2i1.5113.

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The research investigates how mastery learning influences novice recorder players by studying essential elements of posture and breathing which form the basis for musical instruction and tone sound production. A research project with 70 Year 3 novice recorder learners who were new to playing the recorder applied a quasi-experimental design. The researcher divided 70 Year 3 recorder students into two separate groups of 35 students each for this study. The study used quantitative methods which included both preliminary and final evaluation assessments used to measure posture and breathing result
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9

Vongpattaranon, Nilobon. "One-Wan Musical in Museum: A New Normal of Theatre Experiential Practice in the COVID-19 Era." Proceedings of The World Conference on Teaching and Education 1, no. 1 (2023): 26–35. http://dx.doi.org/10.33422/worldcte.v1i1.38.

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This qualitative research aims to explore the integration of experiential learning theory (ELT) by David Kolb with theatre practice for degree programs in the musical class during the COVID-19 pandemic. By adapting the concept of Kolb Experiential Learning Cycle (ELC) and Learning Style Inventory (LSI), the instructor designed A New Experiential Cycle for Theatre Practice, comprised of 7 components for creating a musical show called “One-Wan Musical in Museum”. There are 1) Large Group Activity 2) Group Assignment 3) Independence Learning Task 4) Self-Reflective Class 5) Rehearsal Practice 6)
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10

Yang, Hui. "Peculiarities of the Development of Students’ Musical Skills Under the Influence of Modern Software." International Review of Research in Open and Distributed Learning 26, no. 1 (2025): 118–34. https://doi.org/10.19173/irrodl.v26i1.7977.

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This study explored the impact of digital technologies on the development of musical skills among music students. A learning experiment was conducted with 66 students between the ages of 18 and 21 from China, France, Italy, and Spain. The study used the methods of a survey and online discussions. Participants verified that the present advancement of digital technologies allows artists to participate in a professional musical environment without formal schooling. Students in the experimental group had a more positive attitude toward learning and its significance for their personal and professio
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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 (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 leve
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Park, Hyun Sook, and Euy Soon Choi. "Effects of Musical Listening on Anxiety in Patients before Undergoing Hysterectomy." Korean Journal of Women Health Nursing 3, no. 1 (1997): 58–66. http://dx.doi.org/10.4069/kjwhn.1997.3.1.58.

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The purpose of this study was to elucidate the effects of musical listening on anxiety in patients undergoing abdominal hysterectomy. On the basis of the research criterias, 46 patients were recruited from Kang-Nam St. Mary's Hospital in Seoul from October 1 to December 31, 1995. 20 patients of them were participated as the experimental group who received musical listening session with self-selected music tapes, while 26 patients as the control group who didn't receive that session. The musical listening sessions composed of 3 periods, the pre-operation evening, just before sleeping, the opera
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13

Kim, So-Yeon. "The Effect of Competency-Based Performance Assessment on Musical Emotion⋅Communication Competency: A Case Study on the 1st Grade of Middle School Girls." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 24 (2022): 465–87. http://dx.doi.org/10.22251/jlcci.2022.22.24.465.

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Objectives The purposes of this study were to find out the effect of the competency-based performance assessment on musical emotion and communication competencies.
 Methods 89 middle school girls in Seoul were classified into a competency-based performance assessment group and a skill-based performance assessment group. They performed each performance assessment for 3 months. And then independent t-test and pre-post t-test were conducted to measure the improvement level of the musical emotion⋅communication competency. Finally, correlation analysis and simple regression analysis were condu
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14

Rosemarin, Shoshana. "The Modifiability of Analytical and Musical Abilities as a Function of Exposure to Instrumental Enrichment (IE)." Gifted Education International 17, no. 3 (2003): 266–71. http://dx.doi.org/10.1177/026142940301700307.

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In the present study, the modifiability of both visual and auditory modalities of analytical perception was studied, as a result of mediation through IE in a teachers' college. The experimental group consisted of students specializing in special education. The two control groups consisted of students specializing in general teaching and in special education. The training period lasted 3 months. Prior to and after the 3 month training period in which only the experimental group was given IE all the groups were tested for their analytical and musical abilities (pitch, tonal memory, chords, and r
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Schiavio, Andrea, Jan Stupacher, Richard Parncutt, and Renee Timmers. "Learning Music From Each Other: Synchronization, Turn-taking, or Imitation?" Music Perception 37, no. 5 (2020): 403–22. http://dx.doi.org/10.1525/mp.2020.37.5.403.

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In an experimental study, we investigated how well novices can learn from each other in situations of technology-aided musical skill acquisition, comparing joint and solo learning, and learning through imitation, synchronization, and turn-taking. Fifty-four participants became familiar, either solo or in pairs, with three short musical melodies and then individually performed each from memory. Each melody was learned in a different way: participants from the solo group were asked via an instructional video to: 1) play in synchrony with the video, 2) take turns with the video, or 3) imitate the
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Zitkeviciene, Daiva, and Ona Monkeviciene. "Applying the pattern of generalisation of variation theory in encouraging 5-6-year-old children to discover and graphically express musical sounds." Problemy Opiekuńczo-Wychowawcze 611, no. 6 (2022): 20–34. http://dx.doi.org/10.5604/01.3001.0015.8927.

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The article analyses the ways of communication with pre-school children used by the music teacher which are based on the pattern of generalisation of variation theory and which encourage children to feel, discern and graphically express the qualities of musical sounds and their features while listening to music. The application of the pattern of generalization of variation theory is a new didactic approach in the music education of pre-school children. In this research, the learning study based on variation theory as a phenomenographic approach and a strategy for the lesson study as participat
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17

Dansereau, Diana R. "Young Children’s Interactions With Sound-Producing Objects." Journal of Research in Music Education 63, no. 1 (2015): 28–46. http://dx.doi.org/10.1177/0022429415574001.

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The purpose of this study was to observe, analyze, and document the range of young children’s interactions with sound-producing objects in order to better understand the nature of such interactions. Of particular interest was whether theories of cognitive play, social play, object play, and existing research on musical play could guide concurrently the interpretation of children’s interactions with these objects and whether the interactions were consistent with these theories. Two groups of participants, nine 3-year-old children and seven 4-year-old children, played with sound-producing object
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18

Delogu, Franco, and Marta Olivetti Belardinelli. "Children's Recognition of Their Musical Performance." Musicae Scientiae 7, no. 1_suppl (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 reas
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Soldatova, G. E. "Music in Northern Khanty Folktales." Sibirskiy filologicheskiy zhurnal, no. 4 (2020): 41–62. http://dx.doi.org/10.17223/18137083/73/3.

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The paper describes the musical component in the folktales of the Northern Khanty. The work is based on published and unpublished sources. The author selected eighteen samples of folktales in three formats: sound recording, text transcript, and translation. Three basic types of intonating in the Khanty folktale were identified: singing, speech, rhythmized speech. Singing, in this case, is considered as intonating, intermediate between vocalization and speech. It can be shown in the musical notation indicating the pitch and rhythm. Rhythmized speech can be written without transmitting the sound
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Okely, Judith A., Ian J. Deary, and Katie Overy. "The Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ): Responses and non-musical correlates in the Lothian Birth Cohort 1936." PLOS ONE 16, no. 7 (2021): e0254176. http://dx.doi.org/10.1371/journal.pone.0254176.

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There is growing evidence of the potential effects of musical training on the human brain, as well as increasing interest in the potential contribution of musical experience to healthy ageing. Conducting research on these topics with older adults requires a comprehensive assessment of musical experience across the lifespan, as well as an understanding of which variables might correlate with musical training and experience (such as personality traits or years of education). The present study introduces a short questionnaire for assessing lifetime musical training and experience in older populat
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Inabinet, Devin, Jan De La Cruz, Justin Cha, Kevin Ng, and Gabriella Musacchia. "Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians." Brain Sciences 11, no. 12 (2021): 1592. http://dx.doi.org/10.3390/brainsci11121592.

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The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (
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Jurková, Zuzana. "Listening to the Music of a City." Lidé města 14, no. 2 (2012): 293–321. https://doi.org/10.14712/12128112.3515.

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The article consists of two parts. The first is focused on different theoretical approaches used/usable when researching music of a city. The second part offers five topics (which merged on the basis of several criteria): 1) music and the stratified and specialized society; 2) music and rebellion; 3) commodification and music; 4) electronic dance music; 5) music and spirituality. In their frameworks, different musical events and their contexts (“soundscapes”) are discussed. Two important features are recognized when studying Prague soundscapes.The first of them is the blurring of various music
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Rodsakan, Tepika. "Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements." International Journal of Creative and Arts Studies 2, no. 2 (2015): 35. http://dx.doi.org/10.24821/ijcas.v2i2.1796.

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This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of
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Murillo, Adolf, María Elena Riaño, and Alfredo Bautista. "Collaborative Musical Creativity between Students and Adults: The Sonorous Paella." Creativity. Theories – Research - Applications 8, no. 2 (2021): 32–52. http://dx.doi.org/10.2478/ctra-2021-0016.

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Abstract While creativity is a key element of contemporary curriculum frameworks around the world, it is still insufficiently fostered in formal education settings. This study analyzes a project for collaborative musical creativity, entitled The Sonorous Paella. Participants (N = 12) were eight Year 4 secondary students, two professional musicians, an artist-in-residence, and a music teacher. Drawing on a graphic musical score, the participants worked together for 1.5 months to produce a group composition and performance. They were provided with various sound producers (instruments, everyday o
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Xuan, Wu. "Criteria, indicators and levels of musical arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 143–50. http://dx.doi.org/10.24195/2617-6688-2019-3-20.

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The article presents the criteria, indicators and levels of Musical Arts masters’ preparedness (proficiency levels) for developing schoolchildren’s vocal culture by means of the participation technology. The art- and worldview-oriented, creative-performing and innovative-organizational criteria have been determined on the basis of the structure of the Musical Art masters’ training. The art- and worldview-oriented criterion is determined by: the openness of the process of emotional experience and artistically justified interpretation of an image as a worldview of an artistic character (hero); c
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Morrison, Steven J. "A Comparison of Preference Responses of White and African-American Students to Musical versus Musical/Visual Stimuli." Journal of Research in Music Education 46, no. 2 (1998): 208–22. http://dx.doi.org/10.2307/3345624.

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The purpose of this study was to examine the role of same- and other-group identification in musical preference decision-making. Subjects were African-American (n = 189) and white (n = 280) music students in Grades 6, 7, and 8. Each subject responded along a 9-point Likert scale to 10 instrumental music excerpts, five performed by African-American jazz artists and five performed by white jazz artists. Examples were presented according to one of three conditions: (1) music only, (2) music accompanied by a photograph of the performers, or (3) music accompanied by a photograph of different perfor
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Tsvetkovskaya, Tatiana A. "Musica Elettronica Viva. Musical Participation in the Experiments of 1960s." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 173–85. http://dx.doi.org/10.35852/2588-0144-2023-3-173-185.

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This article analyzes early experiments of Musica Elettronica Viva. The music of this avantgarde group, which emerged on the wave of widespread interest in collective creative process and free improvisation, is usually considered jointly the socio-political upheavals of the late 1960s. Although the historical canvas — student unrest, mass riots, the rise of counterculture — reflects the spirit of the era, external facts obscure the artistic innovation of MEV. Meanwhile, the aim of the group, created to be a composer’s laboratory, was to find a new sound through spontaneous interaction with sta
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Ocaña-Fernández, Almudena, and Mª Luisa Reyes-López. "‘My Favorite Song’: understanding a music learning ecology of children from interaction among media, family and school contexts." British Journal of Music Education 36, no. 02 (2019): 113–23. http://dx.doi.org/10.1017/s0265051719000081.

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AbstractIn the present case study, we used observation and interviews to investigate the musical experience of a group of children of 3–4 years old. We look into the uniqueness of music in the child’s environment which belongs to the media, family and school contexts. The present study allows us to understand some implications of musical experiences for building social identity and the need to link formal music learning processes with those taking place in non-formal and informal spaces. Through this paper, we provide a vicarious experience that will enable the reader to understand our finding
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Vermeulen, Ivar, Anika Batenburg, Camiel J. Beukeboom, and Tim Smits. "Breakthrough or One-Hit Wonder?" Social Psychology 45, no. 3 (2014): 179–86. http://dx.doi.org/10.1027/1864-9335/a000182.

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Three studies replicated a classroom experiment on single-exposure musical conditioning of consumer choice ( Gorn, 1982 ), testing whether simultaneous exposure to liked (vs. disliked) music and a pen image induced preferences for the shown (vs. a different) pen. Experiments 1 and 2 employed the original music, Experiment 3 used contemporary music. Experiments 2 and 3 employed hypothesis-blind experimenters. All studies incorporated post-experimental inquiries exploring demand artifacts. Experiments 1 and 2 (original music; N = 158, N = 190) showed no evidence for musical conditioning, and wer
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Moura, Fernanda Gomez, Alex Bacadini França, Humberto Rodrigues, and Edvaldo Soares. "Musical activities as a therapeutic intervention for depression and cognitive function in institutionalized older adults." International Journal of Psychology and Neuroscience 10, no. 2 (2024): 1–13. https://doi.org/10.56769/ijpn10201.

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Background: Music offers a non-invasive, non-pharmacological approach to addressing psychological symptoms in the elderly. Culturally sensitive interventions effectively enhance cognitive function and mental health in older adults. Objectives: This study examined the effects of group activities through musical stimulation on the index of symptomatology for depression and cognitive impairment in a group of institutionalized elderly people. Methods: The research was carried out in 3 phases: 1) Pre-Intervention, in which 28 were institutionalized elderly of both sexes; survey of socio-demographic
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Norris, Charles E. "A Nationwide Overview of Sight-Singing Requirements of Large-Group Choral Festivals." Journal of Research in Music Education 52, no. 1 (2004): 16–28. http://dx.doi.org/10.2307/3345522.

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The purpose of this study was to examine sight-singing requirements at junior and senior high school large-group ratings-based choral festivals throughout the United States. Responses to the following questions were sought from each state: (1) Are there ratings-based large-group choral festivals? (2) Is sight-singing a requirement? (3) Are there specific levels or classes of difficulty ? (4) Is musical content specified for each level or class ? (5) Is there an overall rating that includes both the performance and sight-singing ratings? Data revealed that less than half of all states require s
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Kvammen, Anne Cecilie Røsjø, and Johanne Karen Hagen. "Putting It Together." Nordic Journal of Art & Research 13, no. 3 (2024): 1–27. https://doi.org/10.7577/ar.5468.

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This article demonstrates how collaborative teaching in the field of musical theatre has served as a platform for uncovering the research methodology of artography. This methodology explores the intricate entanglement of the roles of artist, researcher, and teacher. The reorganization of a new curriculum and collaborative teaching among a group of teachers at the bachelor program in musical theatre at Kristiania University College forms the basis of our reflections. We, the two authors, were involved in this process. We connect these experiences to theories of artography and collaborative teac
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Creel, Sarah C., Reina Mizrahi, Alicia G. Escobedo, Li Zhao, and Gail D. Heyman. "No Heightened Musical Pitch Weighting For Tone Language Speakers in Early Childhood." Music Perception 40, no. 3 (2023): 193–201. http://dx.doi.org/10.1525/mp.2023.40.3.193.

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Numerous studies suggest that speakers of some tone languages show advantages in musical pitch processing compared to non-tone language speakers. A recent study in adults (Jasmin et al., 2021) suggests that in addition to heightened pitch sensitivity, tone language speakers weight pitch information more strongly than other auditory cues (amplitude, duration) in both linguistic and nonlinguistic settings compared to non-tone language speakers. The current study asks whether pitch upweighting is evident in early childhood. To test this, two groups of 3- to 5-year-old children—tone-language speak
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Lee, Kyoung Yeon, and Jin Hee Kim. "The Effects of Play-Centered Activities Utilizing Original Children's Songs on the Musical Expression Abilities and Playfulness of Three-Year-Old Children." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 19 (2023): 331–47. http://dx.doi.org/10.22251/jlcci.2023.23.19.331.

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Objectives The purpose of this study is to investigate the effects of play-centered activities utilizing original children's songs on the musical expression abilities and playfulness of three-year-old children.
 Methods The study focused on 40 children aged 3, attending the preschool class at S Kindergartens in Seoul. In the experimental group, play-centered activities utilizing original children's songs were implemented for 16 weeks, while the comparison group engaged in music-centered activities based on the Nuri curriculum for the same duration. Measurement tools included the music exp
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Poole, Adrian. "Comparing Timeline Rhythms in Pygmy and Bushmen Music." Empirical Musicology Review 12, no. 3-4 (2018): 172. http://dx.doi.org/10.18061/emr.v12i3-4.5823.

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Combining theories of African rhythm from ethno/musicology and findings from anthropological research and population genetics with musical analyses based on transcriptions and computational phylogenetic techniques, this article compares rhythms used in Pygmy and Bushmen music in an attempt to provide new perspectives on an old debate that these musical cultures may share a common heritage. To do this, the comparative analyses focus on timelines: foundational rhythmic features that provide the structural basis of the music. The findings suggest that Pygmy and Bushmen timelines are interrelated
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36

Jack, Robert H., Adib Mehrabi, Tony Stockman, and Andrew McPherson. "Action-sound Latency and the Perceived Quality of Digital Musical Instruments." Music Perception 36, no. 1 (2018): 109–28. http://dx.doi.org/10.1525/mp.2018.36.1.109.

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Asynchrony between tactile and auditory feedback (action-sound latency) when playing a musical instrument is widely recognized as disruptive to musical performance. In this paper we present a study that assesses the effects of delayed auditory feedback on the timing accuracy and judgments of instrument quality for two groups of participants: professional percussionists and non-percussionist amateur musicians. The amounts of delay tested in this study are relatively small in comparison to similar studies of auditory delays in a musical context (0 ms, 10 ms, 10 ms ± 3 ms, 20 ms). We found that b
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37

Steinbeis, Nikolaus, and Stefan Koelsch. "Affective Priming Effects of Musical Sounds on the Processing of Word Meaning." Journal of Cognitive Neuroscience 23, no. 3 (2011): 604–21. http://dx.doi.org/10.1162/jocn.2009.21383.

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Recent studies have shown that music is capable of conveying semantically meaningful concepts. Several questions have subsequently arisen particularly with regard to the precise mechanisms underlying the communication of musical meaning as well as the role of specific musical features. The present article reports three studies investigating the role of affect expressed by various musical features in priming subsequent word processing at the semantic level. By means of an affective priming paradigm, it was shown that both musically trained and untrained participants evaluated emotional words co
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38

Pradoko, Susilo, Maria Goretti Widyastuti, Fu’adi Fu’adi, and Birul Walidaini. "8Th Century Musical Instrument on Kalasan Temple’s Relief." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 115–22. http://dx.doi.org/10.15294/harmonia.v21i1.28530.

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This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky’s iconology analysis in three steps, which are pre-iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the hea
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39

Mesz, Bruno, Nicolás Gorla, and Manuel Zarzo. "The Music of Perfume." Music Perception: An Interdisciplinary Journal 41, no. 2 (2023): 110–31. http://dx.doi.org/10.1525/mp.2023.41.2.110.

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Reported studies about crossmodal correspondences between music and smell basically focus on individual musical parameters. An experiment was carried out to explore such correspondences emerging from musical improvisation elicited by 20 olfactory stimuli, which allows the study of multiple musical parameters at the same time. A group of 14 pianists was asked to smell each stimulus and to play a short free improvisation inspired by it. From each improvisation, 14 musical parameters were extracted. The same odorants were also described by a panel of 15 volunteers. The main outcomes were the foll
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40

Franco, Fabia, Marcia Chew, and Joel Simon Swaine. "Preschoolers’ attribution of affect to music: A comparison between vocal and instrumental performance." Psychology of Music 45, no. 1 (2016): 131–49. http://dx.doi.org/10.1177/0305735616652954.

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Research has shown inconsistent results concerning the ability of young children to identify musical emotion. This study explores the influence of the type of musical performance (vocal vs. instrumental) on children’s affect identification. Using an independent-group design, novel child-directed music was presented in three conditions: instrumental, vocal-only, and song (instrumental plus vocals) to 3- to 6-year-olds previously screened for language development ( N = 76). A forced-choice task was used in which children chose a face expressing the emotion matching each musical track. All perfor
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41

Tahwin, Muhammad, and Dian Anita Sari. "Pemberdayaan Remaja Desa Tahunan Kecamatan Sale Kabupaten Rembang dengan Keterampilan Karawitan, Dalang dan Seni Tari Sebagai Upaya Mengurangi Angka Kemiskinan." Journal of Dedicators Community 3, no. 2 (2019): 99–110. http://dx.doi.org/10.34001/jdc.v3i2.827.

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These community service activities are carried out in the Tahunan Village, Sale District, Rembang. The existence of arts groups in the village still requires assistance from human resource such as trainer. Therefore, this service aims to 1) strengthen the position of the arts group to be more empowered; 2) increasing the number of group members from young people; 3) improve the skills of group members in musical, orchestrating, and dancing; and 4) increase the income of group members. The method used in this community service program is training and mentoring. The results of this program are:
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42

Van Hedger, Stephen C., Shannon LM Heald, and Howard C. Nusbaum. "Long-term pitch memory for music recordings is related to auditory working memory precision." Quarterly Journal of Experimental Psychology 71, no. 4 (2018): 879–91. http://dx.doi.org/10.1080/17470218.2017.1307427.

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Most individuals have reliable long-term memories for the pitch of familiar music recordings. This pitch memory (1) appears to be normally distributed in the population, (2) does not depend on explicit musical training and (3) only seems to be weakly related to differences in listening frequency estimates. The present experiment was designed to assess whether individual differences in auditory working memory could explain variance in long-term pitch memory for music recordings. In Experiment 1, participants first completed a musical note adjustment task that has been previously used to assess
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43

Awopetu, Anna. "Psychological Bases of Formation of Sense of Musical Rhythm in Preschool Age Children." International Journal of Elementary Education 14, no. 3 (2025): 55–59. https://doi.org/10.11648/j.ijeedu.20251403.11.

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The present situation in music education shows that it is carried out without taking into account the psychological aspect of musical art, and this greatly reduces the efficiency of learning. This study attempted to examine the psychological bases of formation of sense of musical rhythm in preschool age children, identify the methods of individual training of the children on the formation of sense of rhythm and to contribute to the general understanding of the psychological mechanisms of musical abilities and patterns of their formation. The study adopted pre-test – post-test, control group ex
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44

Leterme, Gaëlle, Caroline Guigou, Geoffrey Guenser, Emmanuel Bigand, and Alexis Bozorg Grayeli. "Effect of Sound Coding Strategies on Music Perception with a Cochlear Implant." Journal of Clinical Medicine 11, no. 15 (2022): 4425. http://dx.doi.org/10.3390/jcm11154425.

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The goal of this study was to evaluate the music perception of cochlear implantees with two different sound processing strategies. Methods: Twenty-one patients with unilateral or bilateral cochlear implants (Oticon Medical®) were included. A music trial evaluated emotions (sad versus happy based on tempo and/or minor versus major modes) with three tests of increasing difficulty. This was followed by a test evaluating the perception of musical dissonances (marked out of 10). A novel sound processing strategy reducing spectral distortions (CrystalisXDP, Oticon Medical) was compared to the standa
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45

Hutchins, Sean. "Early Childhood Music Training and Associated Improvements in Music and Language Abilities." Music Perception 35, no. 5 (2018): 579–93. http://dx.doi.org/10.1525/mp.2018.35.5.579.

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Adult musicians tend to outperform nonmusicians in a variety of language and language-relevant tasks. Moreover, children who take music lessons will show an increased ability in several types of language skills. However, it is still unclear what the time course of these developmental effects might be, and the degree to which young children improve in their musical abilities. Here, we present the first year of data from an ongoing longitudinal study, aimed at finding if measurable improvements in musical and linguistic abilities can be seen among children taking music classes. We studied 90 chi
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46

Høffding, Simon, Wenbo Yi, Eigil Lippert, et al. "Into the Hive-Mind: Shared Absorption and Cardiac Interrelations in Expert and Student String Quartets." Music & Science 6 (January 2023): 205920432311685. http://dx.doi.org/10.1177/20592043231168597.

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Expert musicians portray awe-inspiring precision, timing, and phrasing and may be thought to partake in a “hive-mind.” Such a shared musical absorption is characterized by a heightened empathic relation, mutual trust, and a sense that the music “takes over,” thus uniting the performers’ musical intentions. Previous studies have found correlations between empathic concern or shared experience and cardiac synchrony (CS). We aimed to investigate shared musical absorption in terms of CS by analyzing CS in two quartets: a student quartet, the Borealis String Quartet (BSQ), and an expert quartet, th
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47

Liu, Xiaoyu. "APPROBATION IN CHINA OF THE EDUCATIONAL AND METHODOLOGICAL KIT «MUSICAL WORL." Municipal education: innovations and experiment 3, no. 95 (2024): 66–70. https://doi.org/10.36871/2306-8329_2024_95_3_66.

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Currently, in China, much attention is paid to the study of foreign innovative ideas, methodological approaches and pedagogical technologies, which are advisable to adapt to the reformed Chinese educational system. In this regard, the attention of the author of the article was attracted by the innovative educational and methodological set (hereinafter referred to as the EMS) by T. I. Baklanova “Musical World” for grades 1-4. Purpose of the article: to reveal the process of approbation in China of the educational complex “Musical World”. Research methods: analysis of literature and Internet res
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48

Ferguson, David A. "Birth of the Cool Musical Quotes in Marty Paich Arrangements on Mel Tormé Swings Shubert Alley." Athens Journal of Humanities & Arts 11, no. 3 (2024): 223–36. http://dx.doi.org/10.30958/ajha.11-3-1.

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In 1957, Miles Davis released Birth of the Cool (Davis, 1957) which featured Davis with a unique instrumental ensemble called a nonette. This ground-breaking collaboration between Davis and arranger Gil Evans featured works that had been released either in radio broadcast or as singles several years prior to the album’s release. In 1960, arranger Marty Paich collaborated with singer Mel Tormé and produced the album Mel Tormé Swings Shubert Alley (Tormé, 1960). This album, the fifth collaboration with Paich, featured Tormé with a 10-person ensemble. This group was inspired by the Miles Davis No
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49

Granot, Roni Y., and Nori Jacoby. "Musically puzzling I: Sensitivity to overall structure in the sonata form?" Musicae Scientiae 15, no. 3 (2011): 365–86. http://dx.doi.org/10.1177/1029864911409508.

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Previous studies have suggested that listeners are not sensitive to the overall tonal structure of musical pieces. This assumption is reexamined in the current study in an active musical puzzle task, with no time constraints, focusing on the presumably most directional musical form – the sonata form. In our first study (reported here, and referred to as “the Mozart study”), participants with varying levels of musical training were presented with disordered sections of Mozart’s piano sonata K. 570/I in B flat major and asked to rearrange the ten sections into a musically logical coherent whole.
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50

Чернишенко, Тамара, Віктор Романенко та Тетяна Краснобаєва. "СПЕЦІАЛЬНА ПІДГОТОВКА ЗАСОБАМИ МУЗИЧНОГО РИТМУ ГІМНАСТОК- ХУДОЖНИЦЬ 6-7 РОКІВ НА ЕТАПІ ПОЧАТКОВОЇ ПІДГОТОВКИ". Physical culture sports and health of the nation 19, № (38) (2025): 250. https://doi.org/10.31652/2071-5285-2025-19(38)-250-260.

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Abstract. Relevance. The growth of increased requirements for the training of young rhythmic gymnasts necessitates further improvement of the educational and training process in the system of multi-year training, in particular at the stage of initial training. The ability to perform the most complex technical elements, gymnasts must obey the musical rhythm, demonstrate artistry during competitive exercises, and have impeccable control of their body and object. Due to the importance of musical means, rhythm, meter, and duration, it is necessary to carry out pedagogical work with musical materia
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