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Artigos de revistas sobre o tema "Saz music"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 28 de julho de 2025

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1

Çetinkaya, Bayram Ali. "Mevlânâ ve Müzik." Marife 7, no. 3 (2007): 175–94. https://doi.org/10.5281/zenodo.3343877.

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Mevlânâ, gök cisimlerinin dönüşlerinde çıkardığı sesleri müziğin kaynağı olarak değerlendirir. Onun düşüncesinde, güzel ses âşıkların gıdasıdır. Mevlânâ eserlerinde saz, davul, zurna, rebâp, kemençe, kudüm, def, tanbur, kopuz ve neyden bahsetmektedir. Mevlânâ için ney, dosttur, sevgilidir, sırdaştır ve panzehirdir.<b>Mawlana and Music</b>Mewlânâ, considers that the source of music is sounds that the celestial objects give out while turning. In his thought of Mewlânâ the fine voice is the nourishment of lovers. In his Work Mewlânâ mentions saz, drum, zurna (a kind of pipe), rebâp, kemenche (sma

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Değirmenci, Zehra Tülin. "Vestiges of Reftâr in historical music notations." Journal of Human Sciences 18, no. 2 (2021): 143–58. http://dx.doi.org/10.14687/jhs.v18i2.6064.

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Reftâr is known as a woman composer who lived in the Ottoman Empire Harem in the 17th century. We see compositions attributed to her in musical archives under names such as Reftâr Kalfa, Tanburi Reftâr Kalfa, and Musahip. Today, the claim that Reftâr was the first woman composer in Turkish classical music is based on a Peşrev – Der Makâm -ı Saba ‘‘Sabâ -yı Reftâr’’usüleş Düyek - found in the Kantemiroğlu Edvârı. In this study, Hamparsum Manuscripts, which were written using the Hamparsum musical notation developed at the beginning of the 19th century, were studied and it has been discovered th

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Perigo, Jeremy. "Beyond Translated vs. Indigenous: Turkish Protestant Christian Hymnody as Global and Local Identity." Religions 12, no. 11 (2021): 905. http://dx.doi.org/10.3390/rel12110905.

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At Turkey’s first national worship conferences in 2011, a passionate debate arose on whether Western music or indigenous Turkish music was most appropriate for worship. Some Turks felt that the Western missionaries were imposing indigenous musics on Turks as a type of “reverse colonization”. They felt that the current Western musical styles were best for worship. One Turk stated, “the saz is being forced down our throats”. Other Turks felt liberated to sing and play songs in traditional Turkish musical styles. The debate at the conference highlights the desire of missionaries and Turks to see

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Gurbanova, J., and O. Gujimov. "GENRE AND STYLE FEATURES AND PRINCIPLES OF SHAPING OF TURKMEN DUTAR MUSIC." Slovak international scientific journal, no. 74 (August 8, 2023): 31–39. https://doi.org/10.5281/zenodo.8223355.

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The purpose of this article is to identify the formative foundations and genre and style features of the Turkmen dutar saz (instrumental folk piece). For this purpose, more than 150 dutar pieces were analyzed, which made it possible to identify stable features that determine the compositional structure and genre features of the instrumental music of the Turkmens. In order to identify the principles of formation in Turkmen music, we, along with traditional terminology, needed the introduction of special terms that made it possible to adequately characterize the functions of compositional sectio

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Çınar, Sevilay. "Female Representatives of Traditional Folk Instruments (Saz): in The Representation of Sipsili, Uyguncaklı Düdük, Delbek and Bağlama." Rast Müzikoloji Dergisi 1, no. 1 (2013): 236–57. http://dx.doi.org/10.12975/rastmd.2013.01.01.0010.

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Folk instruments, which play an important role in the production and transferof music, are cultural products that sometimes give voice to non-expressible feelings,save time for remembering the lyrics, increase the joy by adding to the sound, andsometimes maintain the rituals and serves as a means of communication. Thematerials they are made from, their shape and sound, they bear the traces of societyand they are also the most important indicator of character of music. As ancient ashumanity in terms of existence, they are the proof of cultural values of humanity withtheir rich variety. Besides

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Eraslan, İsmail. "AI-Supported Analysis of Formal and Stylistic Transformations in Ottoman-Turkish Music (16th–19th Centuries)." INSAM Journal of Contemporary Music, Art and Technology, no. 14 (July 20, 2025): 48–66. https://doi.org/10.51191/issn.2637-1898.2025.8.14.48.

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This study investigates the formal and stylistic transformations in Ottoman-Turkish music between the 16th and 19th centuries through artificial intelligence (AI)-assisted methodologies. While traditional musicology has often approached Ottoman music through qualitative and performance-centered analyses, this research offers a data-driven and computationally grounded alternative that leverages machine learning and digital humanities techniques to trace musical evolution across centuries. The corpus consists of 45 digitized compositions, including peşrevs and saz semais by three canonical compo

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Erdal, Gülşen. "The conveyance of Andalusian music culture to Medieval Europe through Qiyan GirlsEndülüs müzik kültürünün Qiyan Kızları aracılığı ile Ortaçağ Avrupasına aktarımı." Journal of Human Sciences 15, no. 4 (2018): 1817. http://dx.doi.org/10.14687/jhs.v15i4.5438.

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In this study, cultural influences of Andalusian music on medieval Europe was attempted to be assessed. In Andalusia, music was institutionalized in the field of education within the musical identity of the musician Ziryab from Baghdad. It was seen that the techniques and methods used in this school now take part in "conservatory" education. It was determined that some of the instruments used today are of Andalusian origin and were transferred to medieval Europe through cultural interactions. It was seen that the forms of singing move to Europe with examples of minstrels and religious music in

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Алиярзаде, Ф. Э. "Ashygsayagy in chamber and instrumental music by Azerbaijani composers." Музыкальное искусство Евразии. Традиции и современность, no. 2(15) (June 30, 2024): 37–48. http://dx.doi.org/10.26176/maetam.2024.15.2.004.

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Статья посвящена исследованию проблемы взаимодействия композиторского творчества с ашыгской музыкой на примере камерно-инструментальных произведений У.Гаджибейли, Ф.Амирова и Э.Дадашевой. Как показал сравнительный анализ, использование выразительных средств ашыгской стилевой модели связано с передачей приемов игры на сазе. Композиторы применяют кварто-квинтовые созвучия, длительные органные пункты, упругие четкие ритмы, переменную метрическую организацию, повторность звуков на одной высоте, вариантность мотивных ячеек. Рассмотренные произведения позволяют сделать вывод о том, что в азербайджан

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Uludağ, Ali Korkut, and Ferhat Devecioğlu. "Determining the level of usability the techniques of the Western music violin performer for the field of Turkish music violin teaching." Journal of Human Sciences 17, no. 2 (2020): 432–57. http://dx.doi.org/10.14687/jhs.v17i2.5788.

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This work has been made in order to see how much the techniques are useful at West music playing violin on teaching Turkish music playing violin. Studying group was formed by the graduate students (n=8) who attends Kafkas University State Conservatory Traditional Turkish Music during Autumn- sprig term. Experimental value which contains pre test and final test groups is used in the investigation. The investigation consists of control groups (n=4) and experience groups (n=4). During the experimental process which lasted 8 weeks, Although experience group students were applied a teaching p

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Nedlina, Valeriya. "Neotraditionalism and Innovations in Kazakh Instruments and Music-Making." International peer-reviewed journal 11, no. 4 (2023): 34–53. http://dx.doi.org/10.59850/saryn.4.11.2023.33.

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In the XX and XXI centuries, Kazakh music went through three waves of innovations: first, after centuries of solo-only performance, ensembles and orchestras appeared in the first decades of the Soviet period. Then, ethnographic, iconographic, and archaeological research brought back to life lost or nearly-forgotten instruments in 1970-80s, and in the 2000s new types of ensembles and neo-folk instruments appeared under global influences. All these changes were driven by two opposite tendencies: intensive cross-cultural interaction (primarily on the West-East axis) met the growing interest to th

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José, Salvador Blasco Magraner, and Carlos Bueno Camejo Francisco. "Erotismo y Música Para La Escena: El Género Sicaliptico: Vicente Lleó Balbestre Eroticism and music for the scene: The sicaliptic genre: Vicente Lleó Balbastre." Música Oral del Sur, no. 12 (November 3, 2015): 63–82. https://doi.org/10.5281/zenodo.4636607.

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Resumen: A principios del siglo XX, el género sicalíptico, es decir el erotismo y lo picante, comenzó a invadir los proscenios de aquellos coliseos en donde se representaba el género chico. El compositor valenciano Vicente Lleó Balbastre se convirtió en la figura de referencia de esta modalidad teatral; con obras tan insignes como La Corte de Faraón, opereta bíblica estrenada en 1910 en el teatro Eslava de Madrid,a la sazón el templo de la sicalipsis, y de la que se llegaron a realizar setecientas setenta y dos representa

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Köymen, Erol. "“Really, We Should Have Been Playing Saz in a Little Room”: “New Wave” Turkish Migrants, Performance, and Counterpathways of Incorporation in Berlin." Ethnomusicology 67, no. 1 (2023): 72–95. http://dx.doi.org/10.5406/21567417.67.1.06.

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Abstract Drawing on extended fieldwork, I analyze the performative aesthetics that incorporate a New Wave Turkish public in Berlin. Asking how elite migrants perform publics, I theorize counterpathways of incorporation to understand how urban professional New Wave migrants are located through performance along a pathway of identity and belonging shaped by authoritarian populism, Turkish diasporic counterpublics, and the hegemonic Berlin public sphere. I argue that a performative “aesthetics of displacement” shaped by academic theory produces a New Wave Turkish pathway from Istanbul to Berlin t

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Perkasa, Octaviannus N., Herdy Munayang, and Theresia M. D. Kaunang. "Pengaruh Musik terhadap Tingkat Kecemasan Mahasiswa Kedokteran dalam Menghadapi Ujian Modul." Medical Scope Journal 8, no. 1 (2025): 49–56. https://doi.org/10.35790/msj.v8i1.61409.

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Abstract: Anxiety is a common emotional response that can negatively affect academic performance. Medical students often face high-pressure academic environments, especially during module exams, which can impact their mental well-being. Music has been shown to have therapeutic effects that may reduce anxiety levels. This study aimed to analyze the effect of music on the anxiety levels of medical students at Sam Ratulangi University during module examinations. This was a mixed-method study with a sequential explanatory design. The quantitative phase involved a cross-sectional observational anal

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Khusna, Febriana Aminatul, and Sekar Lathifatul Aliyah. "Emotions Evoked from “Too Good at Goodbyes” Song by Sam Smith." Jambura Journal of English Teaching and Literature 1, no. 2 (2020): 101–12. http://dx.doi.org/10.37905/jetl.v1i2.7309.

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Music is one means to express the soul. Sad genre music is one of music with high emotional pressure. High emotional pressure allows triggering emotions in someone who hears it. According to Sloboda and Juslin (2001), the music can induce emotions in its listeners and is perceived by listeners as expressive of emotion. The aim of this study was to investigate the influence of music with the sad genre for emotions from the song "Too Good at Goodbyes" by Sam Smith. In this study, the researchers found that the majority of respondents revealed that sad music can trigger emotions in the soul. Desc

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weisbard, eric. "these magic moments: pop, writing, and the little stuff." Popular Music 24, no. 3 (2005): 307–10. http://dx.doi.org/10.1017/s0261143005000668.

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a couple of years ago, jane music editor jeff johnson began soliciting and compiling what he called ‘sad song scenarios’, a celebration, if you could call it that, of moments when music undoubtedly made a grim day worse. ideally, the whole project unfolds in a powerpoint of strained saccharine and swift kicks in the imagination. but here's one example, courtesy of the novelist sam lipsyte:

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Demenescu, Laura, and Ion-Alexandru Ardereanu. "Autoeducația muzicală - provocare sau certitudine?" Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field XI, no. 1 (2020): 17–21. http://dx.doi.org/10.47809/ictmf.2020.01.02.

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Adam Zamzam Putra Setiawan, Nasywa Aulia Khaerunissa, and Sri Mulyeni. "Pengaruh Lagu ”Satu Bulan” : terhadap Perubahan Emosi dan Harapan dalam Melodi Bernadya." Jurnal Bersama Ilmu Pendidikan (DIDIK) 1, no. 1 (2025): 13–19. https://doi.org/10.55123/didik.v1i1.7.

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Music is one of the most commonly used forms of communication and is enjoyed by various segments of society. The emotions contained in music certainly have a significant impact on the physiological state of the listener, and even the hopes embedded in a piece of music can greatly influence a persons outlook on life. The research on the influence of the song “Satu Bulan” aims to demonstrate how music can change a person’s emotions and hopes. A total of 30 repondents, consisting of Management students from Universitas Nasional PASIM, participate in this experiment. The method used in this resear

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Ny, Cheah Pei, and Cheong Ku Wing. "Listening to Sad Music: a Narrative Review." Harmonia: Journal of Arts Research and Education 24, no. 2 (2024): 285–98. https://doi.org/10.15294/harmonia.v24i2.18529.

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As noted in the tragedy paradox, the enjoyment of negative emotions evoked in artworks is a phenomenon acknowledged from ancient times to the present. Sad music listening induces a diverse range of emotional responses in the listener: some would experience pleasure, while others find it unpleasant; hence, this review aims to categorise sad music listening from the philosophical, psychological, sociological, and scientific perspectives. This review includes studies of journal articles, review articles, books, and book chapters from 2010-2022. The philosophical perspective reviewed the paradox o

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Vuoskoski, Jonna K., William F. Thompson, Doris McIlwain, and Tuomas Eerola. "Who Enjoys Listening to Sad Music and Why?" Music Perception 29, no. 3 (2011): 311–17. http://dx.doi.org/10.1525/mp.2012.29.3.311.

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although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad excerpts. However, other more positive and complex emotions such as n

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Adha, M. Fahzar, and A. Gathut Bintarto Triprasetyo. "Proses Komposisi Theme Song “A True Friend ” Berdasarkan Komik H2O: Reborn An Epic Trilogy Phase 0.2 Chapter 11 Karya Sweta Kartika." PROMUSIKA 7, no. 1 (2019): 38–47. http://dx.doi.org/10.24821/promusika.v7i1.3167.

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H2O:Reborn, adalah komik indonesia karya Sweta Kartika yang menceritakan epos Ramayana dalam versi modern dengan bentuk trilogy. H2O:Reborn terbagi menjadi tiga phase dimana pada setiap fase dilengkapi dengan theme song. Dengan adanya theme song, H2O:Reborn menjadi suatu inovasi komik yang memiliki branding dan daya tarik tersendiri dibanding komik pada umumnya. Kemudian inovasi yang di gagas oleh Sweta Kartika ini diwujudkan dengan membuat komposisi musik dan theme song berdasarkan setiap phase dalam komik H2O:Reborn. Pada penelitian ini akan dibahas theme song yang terdapat pada fase 0.2 yan

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Görner, Rüdiger. "nr="56"Gedankenklänge – oder: Tanz der Denkschritte : Nietzsche und die Musikalisierung der Reflexion." Zeitschrift für Germanistik 31, no. 2 (2021): 56–67. http://dx.doi.org/10.3726/92169_56.

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Abstract Ausgehend von der Nietzsche-Lektüre Clarisses in Musils Roman Der Mann ohne Eigenschaften untersucht dieser Beitrag die sonantische Grundierung von Nietzsches Denk- und Sprachstrukturen. Im Mittelpunkt stehen dabei Nietzsches thesenhafte Überlegungen zu einer Art ,Willen zum Klanghaften‘, durch den er die ästhetische Rechtfertigung des Daseins determiniert sah. Berücksichtigt wird dabei auch das Spannungsverhältnis zwischen erlebter und erdachter Musik bei Nietzsche, also einer Musik, die zum Bestandteil seiner Denkkunst wurde. Abschließend rekurriert dieser Aufsatz auf eine zeitgenös

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Alexander, Marilyn, and Lusia Savitri Setyo Utami. "Konstruksi Nilai Kesedihan dalam Lagu Pop." Koneksi 8, no. 2 (2024): 313–23. http://dx.doi.org/10.24912/kn.v8i2.27564.

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Music, as a universal means of communication, can be enjoyed by various groups. The uniqueness of communication through music lies in the message conveyed in the song lyrics. However, in the midst of the diversity of music types, there is one phenomenon that attracts the attention of the Indonesian people, namely their interest in sad songs. “Car's Outside” by James Arthur is an example of a song with sad lyrics. This study aims to describe the construction of sadness values contained in the lyrics of the song. Song lyrics are a tool to convey messages to a wide audience. The researcher uses a

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Haccoun, Yoav E. J., Horst Hildebrandt, Petra L. Klumb, Urs M. Nater, and Patrick Gomez. "Positive and Negative Post Performance-Related Thoughts Predict Daily Cortisol Output in University Music Students." Frontiers in Psychology 11, no. 585875 (2020): 1–9. https://doi.org/10.5281/zenodo.4767667.

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Psychophysiological research on music performance has focused on musicians' short-term affective, cognitive, and physiological responses. Much less attention has been devoted to the investigation of musicians' psychophysiological activity beyond the performance situation. Musicians report having both positive and negative performance-related thoughts (e.g., "My concert was good" and "I made a lot of mistakes") for days following performances. The potential physiological implications of this post-performance cognitive processing are largely unknown. Salivary cortisol

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Bullack, Antje, Niklas Büdenbender, Ingo Roden, and Gunter Kreutz. "Psychophysiological Responses to “Happy” and “Sad” Music." Music Perception 35, no. 4 (2018): 502–17. http://dx.doi.org/10.1525/mp.2018.35.4.502.

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Lundqvist, Carlsson, Hilmersson, and Juslin (2009) presented evidence of differential autonomic emotional responses to “happy” and “sad” music in healthy adult listeners. The present study sought to replicate and extend these findings by employing a similar research design and measurement instruments. Therefore, we used instrumental film music instead of vocal music, and assessed listeners’ music expertise. The present results show similarities and differences in patterns of psychological and physiological responses as compared to the previous work. Happy music evoked more happiness, higher sk

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Ziv, Naomi, and Maya Goshen. "The effect of ‘sad’ and ‘happy’ background music on the interpretation of a story in 5 to 6-year-old children." British Journal of Music Education 23, no. 3 (2006): 303–14. http://dx.doi.org/10.1017/s0265051706007078.

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Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger

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Basyah, Baby Lolita, Hustinawati Hustinawati, and Eldianisa Adesita. "RANCANG BANGUN APLIKASI RADIO ONLINE BERBASIS WEB." Jurnal Ilmiah FIFO 7, no. 2 (2015): 167. http://dx.doi.org/10.22441/fifo.v7i2.1252.

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Radio Online merupakan pengembangan dari radio konvensional dengan penyiaran secara online. Aplikasi Radio Online bertujuan untuk memudahkan masyarakat khususnya pencinta musik agar dapat menikmati beraneka ragam jenis musik yang dapat dijangkau dari berbagai wilayah manapun yang tentunya memiliki jaringan internet yang memadai.Fitur aplikasi ini meliputi menu entertainment, menu chart, dan menu contact me. Pada menu entertainment berisikan pilihan jenis hiburan yang disediakan, yaitu streaming radio dan music. Pilihan streaming radio untuk mendengarkan siaran radio, sedangkan pilihan music kh

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Gupta, Ashish, Braj Bhushan, and Laxmidhar Behera. "Neural response to sad autobiographical recall and sad music listening post recall reveals distinct brain activation in alpha and gamma bands." PLOS ONE 18, no. 1 (2023): e0279814. http://dx.doi.org/10.1371/journal.pone.0279814.

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Although apparently paradoxical, sad music has been effective in coping with sad life experiences. The underpinning brain neural correlates of this are not well explored. We performed Electroencephalography (EEG) source-level analysis for the brain during a sad autobiographical recall (SAR) and upon exposure to sad music. We specifically investigated the Cingulate cortex complex and Parahippocampus (PHC) regions, areas prominently involved in emotion and memory processing. Results show enhanced alpha band lag phase-synchronization in the brain during sad music listening, especially within and

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RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.

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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

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Stratton, Valerie N., and Annette H. Zalanowski. "Affective Impact of Music Vs. Lyrics." Empirical Studies of the Arts 12, no. 2 (1994): 173–84. http://dx.doi.org/10.2190/35t0-u4dt-n09q-lqhw.

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Three experiments were conducted to examine the relative impact of lyrics vs. music on mood. In Experiment 1, the lyrics, music, or lyrics plus music of a sad song were presented to college students. While the music alone increased positive affect and decreased depression, the lyrics plus music had the opposite effect. In Experiment 2, the sad lyrics plus music also increased depression and decreased positive affect even when performed in an up-beat style. Experiment 3 showed that pairing the melody with the sad lyrics led subjects to rate the melody alone as less pleasant one week later. Lyri

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CANNATA, AMANDA. "Articulating and Contesting Cultural Hierarchies: Guatemalan, Mexican, and Native American Music at the Panama-Pacific International Exposition (1915)." Journal of the Society for American Music 8, no. 1 (2014): 76–100. http://dx.doi.org/10.1017/s1752196313000618.

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AbstractThree case studies, on Guatemalan, Mexican, and Native American music performed at San Francisco's 1915 Panama-Pacific International Exposition, illustrate the complex and varied ways that music can both reflect and challenge dominant and local ideologies of cultural value. The Guatemalan Commission made a claim for cultural significance through the Hurtado Royal Marimba Band's residency in their pavilion. This claim, however, was made through a Euro-American framework of cultural progress; the band's performances thus obscured the important role of Afro-Guatemalans and indigenous grou

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Taruffi, Liila, Stavros Skouras, Corinna Pehrs, and Stefan Koelsch. "Trait Empathy Shapes Neural Responses Toward Sad Music." Cognitive, Affective, & Behavioral Neuroscience 21, no. 1 (2021): 231–41. http://dx.doi.org/10.3758/s13415-020-00861-x.

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AbstractIndividuals with a predisposition to empathize engage with sad music in a compelling way, experiencing overall more pleasurable emotions. However, the neural mechanisms underlying these music-related experiences in empathic individuals are unknown. The present study tested whether dispositional empathy modulates neural responses to sad compared with happy music. Twenty-four participants underwent fMRI while listening to 4-min blocks of music evoking sadness or happiness. Using voxel-wise regression, we found a positive correlation between trait empathy (with scores assessed by the Inte

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Huron, David. "Why is Sad Music Pleasurable? A Possible Role for Prolactin." Musicae Scientiae 15, no. 2 (2011): 146–58. http://dx.doi.org/10.1177/102986491101500202.

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A hedonic theory of music and sadness is proposed. Some listeners report that nominally sad music genuinely makes them feel sad. It is suggested that, for these listeners, sad affect is evoked through a combination of empathetic responses to sad acoustic features, learned associations, and cognitive rumination. Among those listeners who report sad feelings, some report an accompanying positive affect, whereas others report the experience to be solely negative. Levels of the hormone prolactin increase when sad – producing a consoling psychological effect suggestive of a homeostatic function. It

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Huron, David. "Why is sad music pleasurable? A possible role for prolactin." Musicae Scientiae 15, no. 2 (2011): 146–58. http://dx.doi.org/10.1177/1029864911401171.

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A hedonic theory of music and sadness is proposed. Some listeners report that nominally sad music genuinely makes them feel sad. It is suggested that, for these listeners, sad affect is evoked through a combination of empathetic responses to sad acoustic features, learned associations, and cognitive rumination. Among those listeners who report sad feelings, some report an accompanying positive affect, whereas others report the experience to be solely negative. Levels of the hormone prolactin increase when sad – producing a consoling psychological effect suggestive of a homeostatic function. It

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Starcke, Katrin, Johanna Mayr, and Richard von Georgi. "Emotion Modulation through Music after Sadness Induction—The Iso Principle in a Controlled Experimental Study." International Journal of Environmental Research and Public Health 18, no. 23 (2021): 12486. http://dx.doi.org/10.3390/ijerph182312486.

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Music therapy intervention manuals suggest that individuals who suffer from affective disorders benefit from listening to music according to the iso principle. The iso principle comprises listening to music that matches the current mood of patients at first, and then to gradually shift to music that represents a desired mood. Within the current study, we investigate whether the sequence of music with different emotional valence can modulate the emotional state. All participants were healthy adults who underwent a sadness induction via a movie clip. They were subsequently divided into four expe

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Naranjo Sánchez, Beatriz. "Moving music for moving source texts." Translation, Cognition & Behavior 1, no. 2 (2018): 319–40. http://dx.doi.org/10.1075/tcb.00014.nar.

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Abstract Based on previous findings about the role of music as an emotional stimulus, as well as the potential benefits of music-driven emotional engagement in written production and creative behaviour, the present study investigates the impact of emotional background music on translation quality and creativity. A translation experiment in two different conditions (music vs. silence) was conducted in a controlled environment. Participants translated two literary texts of opposing emotional contents (happy vs. sad) while they listened to an emotionally-matching soundtrack. Statistical analysis

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Sousou, Shaden Denise. "Effects of Melody and Lyrics on Mood and Memory." Perceptual and Motor Skills 85, no. 1 (1997): 31–40. http://dx.doi.org/10.2466/pms.1997.85.1.31.

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137 undergraduate Le Moyne College students volunteered in a study on music and its effects on mood and memory. In a 2 × 3 between-subjects design, there were 2 lyric conditions (Happy and Sad Lyrics) and 3 music conditions (No Music, Happy Music, and Sad Music). Participants were asked to listen to instrumental music or mentally to create a melody as they read lyrics to themselves. The study tested cued-recall, self-reported mood state, and psychological arousal. Analysis suggested that mood of participants was influenced by the music played, not the lyrics. Results also showed those exposed

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Attie-Picker, Mario, Tara Venkatesan, George E. Newman, and Joshua Knobe. "On the Value of Sad Music." Journal of Aesthetic Education 58, no. 1 (2024): 46–65. http://dx.doi.org/10.5406/15437809.58.1.03.

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Abstract Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see

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Wardoyo, Buchenita Naomi, Ricky Irawan, and I. Komang Darmayuda. "ANALISIS PENERAPAN METODE SISOLMI DALAM PEMBELAJARAN INSTRUMEN BIOLA BERBASIS CARA BELAJAR SISWA AKTIF DI BAVISCH MUSIC SCHOOL." MELODIOUS : JOURNAL OF MUSIC 3, no. 1 (2024): 30–36. http://dx.doi.org/10.59997/melodious.v3i1.3105.

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This research is motivated by the implementation of the Student Active Learning System (SAL/CBSA in Indonesia) in music education, specifically in violin instruction. The SAL system has been in existence since 1984 and is used in formal schools such as Elementary Schools, Junior High Schools, and Senior High Schools. In this case, the SAL system, which is typically applied in formal schools, is used in a music course setting, namely at Bavisch Music School. SAL itself can be applied in all branches of education, including formal, informal, and non-formal. However, the application of the SAL sy

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Taruffi, Liila. "Sad music and self-reflection." Physics of Life Reviews 25 (August 2018): 131–33. http://dx.doi.org/10.1016/j.plrev.2018.03.007.

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Shen, Shumeng. "The Characteristics of Film Music and Its Function in Film Works." Studies in Art and Architecture 3, no. 2 (2024): 113–16. http://dx.doi.org/10.56397/saa.2024.06.22.

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Film is a complex medium with multiple elements and art forms. It integrates various elements such as picture, sound and text, which together present the artistic language of film. Among these elements, music is a powerful artistic element. Through the combination of music, the picture creates different environmental atmosphere, shows the characters, promotes the story plot, and deepens the theme of the work, thus enhancing the appeal and artistic expression of the film. Based on this, this paper will analyze the characteristics and functions of film music, and explore the artistic value and p

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Shokrollahi, Kayvan. "The Classical Music Experience." Annals of Plastic Surgery 61, no. 2 (2008): 226. http://dx.doi.org/10.1097/sap.0b013e3181821ef0.

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Najhan Haque, Djannatun Ni’mah Dwi Astuti, and Tiara Fatima Syahrani Tiara. "The Influence of Music on Mood in Students." Indonesian Journal of Multidisciplinary Sciences (IJoMS) 3, no. 1 (2024): 64–70. http://dx.doi.org/10.59066/ijoms.v3i1.516.

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Music has a strong influence on human moods and emotions, it is said that music can stimulate feelings of happiness, sadness, relaxation, and even to increase energy. This study was conducted to determine whether music with a certain volume can affect a person's mood comfort either when given a stimulus of happy music or sad music. This type of research is experimental research which uses a single subject research model with 30 subjects, each subject is given a different stimulus with the same treatment and there is a control group that gets an experiment to hear songs that express sad and hap

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Garrido, Sandra, and Emery Schubert. "Music and People with Tendencies to Depression." Music Perception 32, no. 4 (2015): 313–21. http://dx.doi.org/10.1525/mp.2015.32.4.313.

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Depression is often associated with a reduced motivation to engage in behavior that will improve one’s mood. This paper presents a study in which 175 university students listened to a self-selected piece of music on Youtube that made them sad. Post- and pre-listening scores of depressed mood on the Profile of Mood States (POMS) were taken, as were measures of rumination and scores on the Like Sad Music Scale (LSMS). Results indicate that listening to sad music via this medium can significantly increase feelings of depression in people with a tendency to depression (as suggested by high ruminat

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Janowiak, John J. "Drug Education in Tune." Journal of Drug Education 25, no. 3 (1995): 289–96. http://dx.doi.org/10.2190/qk79-n5xm-rvj8-lywe.

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America's impassioned involvement with music has found its way into the schools. A great song is complete in itself and needs nothing more to enhance it. The nose-thumbing spirit of Vietnam protesters in the seventies was reflected in the music of American songwriters of that period which included John Prine. Written in the traditional folk music style, John Prine's “Sam Stone” follows the storyline of a Vietnam veteran addicted to heroin and his tragic death. This article examines the heroin-related lyricism and music of “Sam Stone” as a teaching method in drug education.

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Law, Man Hei, and Andrew B. Horner. "Emotion equalization app: The effectiveness of dynamic music therapy approaches." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A193—A194. http://dx.doi.org/10.1121/10.0027274.

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A recent study explored how static music playlists of relaxing or uplifting music can improve our mood. Unlike static playlists that rely exclusively on relaxing, uplifting, or consoling music, this study explores eight distinct methods to curate playlists. These approaches include transitions from one dimension to another (e.g., Angry-to-Relaxing, Angry-Uplifting, Relaxing-Uplifting, Relaxing- Natural, Sad-Relaxing, Sad-Uplifting, Uplifting-Relaxing, and Uplifting-Natural). To evaluate the effectiveness of these playlists, online experiments were conducted, wherein participants were surveyed

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Sujatmiko, Bagus, and Ropingi El Ishaq. "PESAN DAKWAH DALAM LAGU “BILA TIBA”." KOMUNIKA: Jurnal Dakwah dan Komunikasi 9, no. 2 (2017): 181–95. http://dx.doi.org/10.24090/komunika.v9i2.848.

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Music is one of the media to deliver a message. Music can contain norms of life, one of which is message of da’wah. Music containing da’wah messages is commonly called Religious Music. In Indonesia, such music started in a the 70s by the legendary band Sam Bimbo with the song Sajadah Panjang, and Nasyida Ria Nasyid group with the song Perdamaian. Many of their songs contain da’wah messages that could attract many listeners. At present, there is also a top Indonesian pop band, named Ungu, that always succeeded in making religious songs. Religious songs from Ungu contain many Da’wah messages wit

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Hill, W. Trey, and Jack A. Palmer. "Affective Response to a Set of New Musical Stimuli." Psychological Reports 106, no. 2 (2010): 581–88. http://dx.doi.org/10.2466/pr0.106.2.581-588.

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Recently, a novel set of musical stimuli was developed in an attempt to bring more rigor to a paradigm which often falls under scientific scrutiny. Although these musical clips were validated in terms of recognition for emotion, valence, and arousal, the clips were not specifically tested for their ability to elicit certain affective responses. The present study examined self-reported “elation” among 82 participants after listening to one of two types of the musical clips; 47 listened to happy music and 35 listened to sad music. Individuals who listened to happy music reported significantly hi

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Ofuani, Sunday, and Comfort Onyekachukwu Ofuani. "Social commentary in the song “Chineke doo” by Sam Ojukwu." Tydskrif vir Letterkunde 61, no. 2 (2024): 82–91. https://doi.org/10.17159/tl.v61i2.16454.

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Early art music in Nigeria was not based on nor conceived as a medium for social commentary. However, through cultural reawakening, contemporary Nigerian-Igbo composers now deliberately utilise social commentary themes in their music. This practice enhances their musical works as social-cum-functional art—a notable essence of music in traditional Africa. There is a dearth of studies on Igbo art music composers and social commentary. In this study, we focus on Sam Ojukwu and his composition “Chineke doo” (A prayer for Nigeria) to explicate the compositional utility of social commentary themes i

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Theorell, Töres, and Eva Bojner Horwitz. "Emotional Effects of Live and Recorded Music in Various Audiences and Listening Situations." Medicines 6, no. 1 (2019): 16. http://dx.doi.org/10.3390/medicines6010016.

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Background: We assume that the emotional response to music would correspond to increased levels of arousal, and that the valence of the music exemplified by sad or joyful music would be reflected in the listener, and that calming music would reduce anxiety. This study attempts to characterize the emotional responses to different kinds of listening. Methods: Three experiments were conducted: (1) School children were exposed to live chamber music, (2) two adult audiences who were accustomed to classical music as a genre listened to chamber music, and (3) elderly listeners were exposed to recorde

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Garrido Domené, Fuensanta, and Felipe Aguirre Quintero. "La tradición musical antigua en autores latinos de los siglos VI-VII." Vínculos de Historia Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 12 (June 28, 2023): 222–37. http://dx.doi.org/10.18239/vdh_2023.12.11.

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RESUMENEste artículo está dedicado a los tratados musicales escritos en latín entre los siglos vi y vii. A través de estas páginas se dará una visión concisa, ecléctica y panóptica de autores latinos que vivieron entre estos siglos y que dedicaron su obra o parte de ella a nociones relacionadas con la ciencia harmónica de los antiguos griegos. En este estudio se evidenciará la selección de ciertos aspectos de la teoría musical griega en su paso hasta la Edad Media, como la pérdida paulatina de la cuestión notacional vocal e instrumental, así como la progresiva importancia que fue adquiriendo l

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