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Music Preferences, Music Engagement and Healing  [PDF]
Durgesh K. Upadhyay
International Journal of Social Science and Humanity , 2013, DOI: 10.7763/ijssh.2013.v3.246
Abstract: Present paper aimed to explore and understand the nature of engagement of college students with music, their music preferences and their experiences of ‘healing through music’. A questionnaire, consisted of nine questions including trio of closed, open-ended and open-ended questions with partial pre-coding, was administered on two compare groups, music listeners (n1=44) and music learners (n2=45) of college students (N=89) from two universities. These two comparable groups were found having effect in terms of differences in students’ nature of music engagement, their music preferences, and their subjective healing experiences. Findings of this study provide insight about the musical taste, the relationships between affective state and music listening, and the manifold and multilevel healing experiences with music of both music listeners and learners. These findings may be useful in designing the music intervention plans to alleviate the human sufferings and in turn to promote psychological health and well-being in so called normal population.
Singing Gesualdo: Rules of Engagement in the Music History Classroom  [cached]
Sandra Sedman Yang
Journal of Music History Pedagogy , 2012,
Abstract: In our music history classrooms we all want to find ways to make musics of the past relevant and alive. One of these ways is to sing and play our way through the canon of music history. For music majors this can be both daunting and pleasurable at the same time. Depending on the strengths of aural training and the performance areas of the students, these experiences are rewarding in varying degrees. Placing a performance demand on students in a history-based course, however, is tricky, for to put a grade to their work is usually not appropriate or fair, since performance is not one of the learning objectives of the course. We all know, however, that students are driven by grades and need to see how their classroom activities will be rewarded. This paper explores three areas related to the teaching problem presented above. First of all, I seek to present the pedagogy of live engagement and encounters with the content under study. What is the degree of learning that occurs by performing music live? Can that be an improvement on reliable textbook learning, class discussion, and reliable professional recordings? What if the music is too hard to perform and the experiment fails? Second, I will discuss assessment methods for live performance components in traditionally non-performance courses. Third, I will present some of my experiments in the classroom; the good, the bad, and even an ugly one—singing Gesualdo.
MUSIC AND EXERCISE: DOES CREATING AN EXPECTANCY OF ENJOYMENT INCREASE REPORTED ENJOYMENT?
ANDREW KNIGHT,JAMES R. WHITEHEAD
Pamukkale Journal of Sport Sciences , 2012,
Abstract: Many exercisers listen to their favorite music during thei r workouts, and this has been shown to increase exercise enjoyment and decrease perceptions of exercise exertion. This study investigated whether suggestion of increased enjoyment from using music would create an expectancy effect that would, in turn, influence actual reported enjoyment of an exercise session. Participants (N=69)intending to voluntarily exercise at a college wellness center while listening to self-chosen music were invited to participate in the study. All participants were asked to volunteer to fill in an exercise enjoyment scale after their session, but using a simplerandomized experimental design in a field setting, expectancy of exercise enjoyment was manipulated by telling half of them that their choice of music was already known to improve exercise enjoyment before they began their workouts. There was a significant effect (p < 0.05) on reported exercise enjoyment with the experimental group scoring higher (ES = 0.48) on the modified PACES scale. This preliminary study indicates creating expectancy can influence the effect of music on reported exercise enjoyment. This effect might have measurement implications for future research and possible practical implications for the promotion of physicalactivity for health and wellness reasons.
MIDI-LAB, A Powerful Visual Basic Program for Creating Midi Music  [PDF]
Kai Yang,Xi Zhou
International Journal of Software Engineering & Applications , 2012,
Abstract: Creating MIDI music can be a practical challenge. In the past, working with it was difficult and frustratingto all but the most accomplished and determined. Now, however, we are offering a powerful Visual Basicprogram called MIDI-LAB, that is easy to learn, and instantly rewarding to even the newest users. MIDILAB has been developed to give users the ability to quickly create music with a limitless variety of tunes,tempos, speeds, volumes, instruments, rhythms and major scales. This program has a simple, intuitive, anduser-friendly interface, which provides a straightforward way to enter musical data with Numbered MusicalNotation (NMN) and immediately create MIDI music. The key feature of this program is the digitalizationof music input. It vastly simplifies creating, editing, and saving MIDI music. MIDI-LAB can be usedvirtually anywhere to write music for entertainment, teaching, computer games, and mobile phoneringtones.
MIDI-LAB, a Powerful Visual Basic Program for Creating MIDI Music  [PDF]
Kai Yang,Xi Zhou
Computer Science , 2012,
Abstract: Creating MIDI music can be a practical challenge. In the past, working with it was difficult and frustrating to all but the most accomplished and determined. Now, however, we are offering a powerful Visual Basic program called MIDI-LAB, that is easy to learn, and instantly rewarding to even the newest users. MIDI-LAB has been developed to give users the ability to quickly create music with a limitless variety of tunes, tempos, speeds, volumes, instruments, rhythms and major scales. This program has a simple, intuitive, and user-friendly interface, which provides a straightforward way to enter musical data with Numbered Musical Notation (NMN) and immediately create MIDI music. The key feature of this program is the digitalization of music input. It vastly simplifies creating, editing, and saving MIDI music. MIDI-LAB can be used virtually anywhere to write music for entertainment, teaching, computer games, and mobile phone ringtones.
Creating Values for Sustainability: Stakeholders Engagement, Incentive Alignment, and Value Currency  [PDF]
Frank T. Lorne,Petra Dilling
Economics Research International , 2012, DOI: 10.1155/2012/142910
Abstract: A shareholder theory of firm and a stakeholder theory of firm may differ in their respective evaluation method of firm performance. Both theories however recognize the importance of value creation as the economic role of firms as institutions. The New Institutional Economics (NIE) emphasizes incentives alignment, while also viewing stakeholder engagements as methods to expand the boundaries of firms. The difference in performance evaluation between the two approaches can be reduced if stakeholders, while formulating incentive alignment, also evaluate the mechanisms of establishing a common currency value. The concomitant development of stakeholder engagement, incentive alignment, and value currency creation is argued to be an evolutionary process with the efficiency implications of the two theories tending to converge.
Creating Values for Sustainability: Stakeholders Engagement, Incentive Alignment, and Value Currency  [PDF]
Frank T. Lorne,Petra Dilling
Economics Research International , 2012, DOI: 10.1155/2012/142910
Abstract: A shareholder theory of firm and a stakeholder theory of firm may differ in their respective evaluation method of firm performance. Both theories however recognize the importance of value creation as the economic role of firms as institutions. The New Institutional Economics (NIE) emphasizes incentives alignment, while also viewing stakeholder engagements as methods to expand the boundaries of firms. The difference in performance evaluation between the two approaches can be reduced if stakeholders, while formulating incentive alignment, also evaluate the mechanisms of establishing a common currency value. The concomitant development of stakeholder engagement, incentive alignment, and value currency creation is argued to be an evolutionary process with the efficiency implications of the two theories tending to converge. 1. Introduction Economist Armen Alchian, in an influential piece in 1950 entitled “Uncertainty, evolution, and economic theory,” articulated the basis for profit maximization as a criterion of survival for business firms. Over the years, the characteristics of firms have changed, perhaps responding to the same prophetic force of uncertainty and evolution predicted by Alchian, as the environment of business enterprises has changed significantly, responding to various stakeholders’ needs.1 Are stockholders’ interests being eroded? Stakeholders (including shareholders as a subgroup) reveal their interests via various types of engagement methods. Presumably, efficient engagement methods should generate values. If stakeholder considerations seek to encompass the intersection of business, environment, and society, the value so generated would satisfy the requirement of sustainable development according to a definition of the concept, and the value so created can be considered as value for sustainability.2 This paper examines to what extent sustainable values are capable of being captured. Stakeholders drive for a common value currency is argued to be also crucial. The most basic common value currency to examine as a first-step endeavor to examine value currency is that provided by profit maximization, that is, the traditional financial performance of a firm. This task has been attempted by many in the academic profession. Although work in this direction had started early and has been ongoing,3 sustainability measures and accounting practices recognizing sustainability have yet to be integrated into the mainstream practices. Reasons for this can be numerous, ranging from the credibility of data used, problems concerning the measurement, and the
Thanks to Scandinavia - Creating a Symphony of Global Music Therapy  [cached]
Britta Vinkler Frederiksen,Sunniva Ulstein Kayser
Voices: A World Forum for Music Therapy , 2012,
Abstract: In this essay we will describe our visit at Louis and Lucille Armstrong Centre for music and music therapy at Beth Israel Medical Centre in New York. We were selected as the 2011 Thanks to the Scandinavians scholars. We will describe the music therapy methods in medicine at different units at the medical centre. We will describe our experiences of the music therapist′s work and the special challenges they meet when working in medicine. Further more we will discuss our experiences from a Scandinavian perspective.
Creating an Apprenticeship Music Therapy Model Through Arts-Based Research  [cached]
Guylaine Vaillancourt
Voices: A World Forum for Music Therapy , 2011,
Abstract: Newly graduated music therapists often feel isolated within their practices. They leave the university’s structured educational environment to be on their own. Some of them miss the time they were improvising together, supporting each other, and sharing their struggles and successes through classes and group supervision. This paper addresses some of these issues by proposing an apprenticeship model using arts-based research to support new music therapists entering the profession. This study reinforces the importance of mentoring apprentice music therapists to assure that the next generation will feel confident and well-prepared to enter into and develop the field. A group of five music therapy interns and I participated in a co-researcher group using phenomenological arts-based research (ABR) and participatory action research (PAR) in order to explore principles and foundations for a future apprenticeship model. The findings show that an immediate need of apprentice music therapists in their direct experiences and lifeworlds is to identify support for their work through meaningful, trusting relationships among peers and with mentors.
Microbial Bebop: Creating Music from Complex Dynamics in Microbial Ecology  [PDF]
Peter Larsen, Jack Gilbert
PLOS ONE , 2013, DOI: 10.1371/journal.pone.0058119
Abstract: In order for society to make effective policy decisions on complex and far-reaching subjects, such as appropriate responses to global climate change, scientists must effectively communicate complex results to the non-scientifically specialized public. However, there are few ways however to transform highly complicated scientific data into formats that are engaging to the general community. Taking inspiration from patterns observed in nature and from some of the principles of jazz bebop improvisation, we have generated Microbial Bebop, a method by which microbial environmental data are transformed into music. Microbial Bebop uses meter, pitch, duration, and harmony to highlight the relationships between multiple data types in complex biological datasets. We use a comprehensive microbial ecology, time course dataset collected at the L4 marine monitoring station in the Western English Channel as an example of microbial ecological data that can be transformed into music. Four compositions were generated (www.bio.anl.gov/MicrobialBebop.htm.) from L4 Station data using Microbial Bebop. Each composition, though deriving from the same dataset, is created to highlight different relationships between environmental conditions and microbial community structure. The approach presented here can be applied to a wide variety of complex biological datasets.
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