The Technological Impact on Well-Being Through Listening to Music
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Psychological Approach to Musical Form: the Habituation–Fluency Theory of Repetition
A Psychological Approach to Musical Form: The Habituation–Fluency Theory of Repetition David Huron With the possible exception of dance and meditation, there appears to be nothing else in common human experience that is comparable to music in its repetitiveness (Kivy 1993; Ockelford 2005; Margulis 2013). Narrative arti- facts like movies, novels, cartoon strips, stories, and speeches have much less internal repetition. Even poetry is less repetitive than music. Occasionally, architecture can approach music in repeating some elements, but only some- times. There appears to be no visual analog to the sort of trance–inducing music that can engage listeners for hours. Although dance and meditation may be more repetitive than music, dance is rarely performed in the absence of music, and meditation tellingly relies on imagining a repeated sound or mantra (Huron 2006: 267). Repetition can be observed in music from all over the world (Nettl 2005). In much music, a simple “strophic” pattern is evident in which a single phrase or passage is repeated over and over. When sung, it is common for successive repetitions to employ different words, as in the case of strophic verses. However, it is also common to hear the same words used with each repetition. In the Western art–music tradition, internal patterns of repetition are commonly discussed under the rubric of form. Writing in The Oxford Companion to Music, Percy Scholes characterized musical form as “a series of strategies designed to find a successful mean between the opposite extremes of unrelieved repetition and unrelieved alteration” (1977: 289). Scholes’s characterization notwithstanding, musical form entails much more than simply the pattern of repetition. -
Cognitive Processes for Infering Tonic
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 8-2011 Cognitive Processes for Infering Tonic Steven J. Kaup University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Cognition and Perception Commons, Music Practice Commons, Music Theory Commons, and the Other Music Commons Kaup, Steven J., "Cognitive Processes for Infering Tonic" (2011). Student Research, Creative Activity, and Performance - School of Music. 46. https://digitalcommons.unl.edu/musicstudent/46 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COGNITIVE PROCESSES FOR INFERRING TONIC by Steven J. Kaup A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Music Major: Music Under the Supervision of Professor Stanley V. Kleppinger Lincoln, Nebraska August, 2011 COGNITIVE PROCESSES FOR INFERRING TONIC Steven J. Kaup, M. M. University of Nebraska, 2011 Advisor: Stanley V. Kleppinger Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. -
The Influence of Characteristics on Music Enjoyment and Preference
Page 12 Oshkosh Scholar The Influence of Characteristics on Music Enjoyment and Preference Kristie Wirth, author Dr. Quin Chrobak, Psychology, faculty mentor Kristie Wirth is a senior at UW Oshkosh studying psychology and French. She plans to pursue a Ph.D. in counseling psychology after graduating. Her ideal career would involve both teaching and counseling at a university. She conducted the following research study as part of the McNair Scholars Program during spring 2012. Dr. Quin Chrobak received his B.A. from Drew University, his M.A. from American University, and his Ph.D. in experimental psychology from Kent State University. His research focuses on understanding how memory and cognition operate in complex real-world situations. Most recently, his research has begun to explore the notion that the nature of the relationship between witnessed and suggested/fabricated events may contribute to the false memory development. Abstract Past research has indicated that two specific personality traits, openness and empathy, may contribute to greater enjoyment of music that expresses negative emotions. Individuals with elevated levels of depressive symptoms may similarly have a preference for negative music. However, no research to date has explored the impact of both personality traits and depressive symptoms in the same investigation. The current study measured both music enjoyment (how much people like certain music) and music preference (how often people choose to listen to certain music) after exposure to negative, neutral, and positive music. Supporting prior research, this study indicated that individuals high in overall empathy (the ability to experience the emotions of another) had a greater enjoyment of negative emotional music. -
The BG News December 12, 2003
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 12-12-2003 The BG News December 12, 2003 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News December 12, 2003" (2003). BG News (Student Newspaper). 7211. https://scholarworks.bgsu.edu/bg-news/7211 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Bowling Green State University FRIDAY December 12, 2003 HOCKEY: BG hockey takes on PARTLY CLOUDY Findlay, looking to break HIGH: 31 I LOW: 18 their winless streak www.hgnews.com A daily independent student press VOLUME 98 ISSUE 71 before holiday; PAGE 5 NEWS Third Ohio 'Pif open on Wooster By Monica Frost then choose between a selection a.m. to 3 a.m. Thursday through University. "It's a healthy alter- . REPORICO of fresh meat or vegetarian Saturday from 11 a.m. to 4 a.m. native to fast food," Paglio said. Watch out local sandwich options. Customers can also and Sunday from noon until 3 "Everything is so fresh - I just shops — there's a new kid on the customize their pita selection a.m. love them." block. with cheeses, vegetable top- Stein said he believes The Pita The Pita Pit has 11 pitas under ". -
Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk
Research on the history of modern acoustics François Ribac, Viktoria Tkaczyk To cite this version: François Ribac, Viktoria Tkaczyk. Research on the history of modern acoustics. Revue d’Anthropologie des Connaissances, Société d’Anthropologie des Connaissances, 2019, Musical knowl- edge, science studies, and resonances, 13 (3), pp.707-720. 10.3917/rac.044.0707. hal-02423917 HAL Id: hal-02423917 https://hal.archives-ouvertes.fr/hal-02423917 Submitted on 26 Dec 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RESEARCH ON THE HISTORY OF MODERN ACOUSTICS Interview with Viktoria Tkaczyk, director of the Epistemes of Modern Acoustics research group at the Max Planck Institute for the History of Science, Berlin François Ribac S.A.C. | « Revue d'anthropologie des connaissances » 2019/3 Vol. 13, No 3 | pages 707 - 720 This document is the English version of: -------------------------------------------------------------------------------------------------------------------- François Ribac, « Recherche en histoire de l’acoustique moderne », Revue d'anthropologie -
Classical Net Review
The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective. -
Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
Large Scale Sound Installation Design: Psychoacoustic Stimulation
LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction ................................................................................................................. -
Introduction
Music THE SOUND AND THE UNSOUND Introduction “I don’t care how good of a home a child has been brought up in, and how it’s been taught to do right; if that child hasn’t accepted the experience of the New Birth, rock and roll music catches his attention just as quick as he hears it. Because in him, born in him by nature, is a carnal spirit. And the power of the Devil is so great today that it catches the spirit of that little one.”1 Americans are addicted to music. It is an addiction that last year alone, cost us seven billion dollars2 and helped make music the most prosperous industry on earth. However, we are not without company. The whole world has tuned in with us to become a part of the greatest social phenomena in all of history: Rock’n’roIl music. Rock is now a generation old, and that in itself is nothing short of a miracle for something that was dismissed by the previous generation as being a flash-in-the-pan, in-one-ear-and-out-the-other, teenage craze. Even though we live in an era of blinding changes, rock has been able to assimilate, integrate and even mutate its way through nearly five decades to become something that is much more than music in the ear of the rock- believer. Resurrecting the deep-seated spiritual attributes of its ancient forbearers, rock has now achieved the elevated status of deification. In every sense, it has become a religion, complete with a full contingent of its own high priests and false prophets. -
Analysis of Emotional Dimensions in Music Using Time Series Techniques
Analysis of Emotional Dimensions in Music Using Time Series Techniques Emery Schubert Few who have experienced the thrill of emotional interactions with music would deny that such experiences are important and enriching. These intoxicating episodes can be superior to any heightening or soothing drug because they occur without unpleasant side-effects. The fact that music can express such emotions—move people to tears of lament and to teeth-clenching ecstasy—is, for many, a wondrous mystery. How is it that by manipulating combinations of innocuous acoustic parameters composers and performers can produce such potent effects? The question has occupied scholars and practitioners for over twenty centuries. One of the many problems that face researchers is the lack of objective data available for comparing music and emotion. Further, experimental research in this area has tended to treat music as a stimulus that can be dealt with by a single point response. While experimental methodology requires an element of reductionism, in this article I argue that it is possible to obtain an additional dimension to the understanding of emotion in music by tracking emotional responses to music continuously. My work is based on the fundamental assumption that there are underlying rules that govern the relationship between music and emotion within a given culture.1 The strength of the experimental approach has been summarised by Pike, who indicated the benefit of collecting responses from several people instead of the introspections of the 1 My approach implies both a reductionist and behaviourist approach. While the approach of the reductionist is present, I rebuff the claim of a behaviourist approach. -
Volume 58, Number 07 (July 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1940 Volume 58, Number 07 (July 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 07 (July 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/259 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ) . — < @ — — — —— . — — — — — — repertoire suggests the use of Summer enlarging ofthe £F\ •viert — I HOE Recent Additions mmsd(s m at qj d n fi coj to the Catalog of FAMOUS SONGS PUBLISHED MONTHLY By Theodore presser Co., Philadelphia, pa. H. E. KREHBIEL, Editor editorial and ADVISORY staff Volume Editor Price, $1.50 Each Tor ALTO DR. JAMES FRANCIS COOKE, Ditson Co. Hipsher, Associate Editor Oliver For SOPRANO outstanding writers on musical Dr. Edward Ellsworth America's • Mode by one of Contents William M. Felton. Music Editor music critic of leading metropolitan Contents subjects, for years the Guy McCoy volumes of Famous bongs Verna Arvev Or. Nicholas Doury Elizabeth Ciest journals, this collection in the four Beethoven. Good Friend, for Hullah. Three Fishers RoyPeery Went Dr. S. Fry George C. Knck Dr. Rob Jensen.