Abstract Music possesses a remarkable capacity to evoke a broad spectrum of subjective responses and promote healing in humans, with rhythm playing a crucial role among its various elements. Rhythmic entrainment is considered as one of the fundamental mechanisms, yet its subsequent behavioral responses and quantitative relationship remain unclear. In the study presented here, we combined behavioral and electroencephalography experiments to explore the relationship between neural entrainment and emotional responses to rhythmic auditory stimuli, focusing on the emotional dimensions of valence, arousal, and dominance. Our findings reveal that while all sequences across 12 different presenting rates significantly entrain neural oscillations, sequences at different rates elicit distinct impacts on subjective emotional experience. The intensity of neural entrainment is associated with changes in emotional valence and dominance under specific frequency conditions. This insight addresses a gap in the existing literature regarding the dominance dimension and provides potential for developing more targeted and precise clinical interventions to enhance emotional well-being in the future.
This study aims to systematically sort out the existing research results on the development of the guzheng in the
Chinese society of Malaysia and respond to the current problem of insufficient theoretical integration in the construction
of ethnic identity and the inheritance of music culture in this field. As a traditional musical instrument
with both historical and cultural symbolism, the guzheng is not only a carrier of artistic practice in the multi-ethnic
society of Malaysia but also increasingly a medium for the expression of ethnic identity and cultural negotiation.
Therefore, clarifying the dissemination path, educational mechanism, and social function of the guzheng in Malaysia
is of great significance for understanding how overseas Chinese music can be continued and recreated in
the local context.
This study employed a systematic-informed integration methodology (Toronto XXABSTRACT Remington, 2020), which combines
the transparency of systematic with the thematic induction of an integration. Eight representative studies
were selected from the literature between 2000 and 2024 for analysis. The research content mainly revolves around
four aspects: historical development, teaching practice, cultural identity, and intergenerational inheritance and interaction.
The results show that the guzheng in Malaysia has gradually transformed from the early family inheritance
to institutionalized teaching in schools and communities and has strengthened identity recognition and intergenerational
cultural continuity in the Chinese community. However, most of the current related research focuses
on the Chinese community and is mostly qualitative analysis, lacking in-depth discussion on the participation
of other ethnic groups, the process of learner identity change, and localized teaching content.
This study not only outlines the overall knowledge landscape of guzheng research in Malaysia but also clearly
points out that in the future, teaching experiments, questionnaires, and ethnic comparative studies can be used to
promote the sustainable development of guzheng in any Southeast Asian society and expand the theoretical discussion
space of ethnomusicology on culturality, cross-cultural communication, and formal educational practice.
If, as several recent papers claim, we have entered a new wave of “Entanglement HCI,” then we are still at a liminal stage prior to consensus around which sources underpin this paradigm shift or how they might inform actionable approaches to design practice. Now is the time to interpret technosocial mediation from a range of disciplinary perspectives, rather than settling on a narrow canon of literature. To this end, our paper enacts a diffractive dialogue between researchers from different disciplines, focusing on digital musical instruments to examine how technical knowledge from design and engineering can be read against the grain of critical theories from music, media, and cultural studies. Drawing on two object lessons—keyboards and step sequencers, plus their remediations in recent musical interaction research—we highlight interdependencies of theory, design, and practice, and we show how the idea of entanglement is itself entangled in a cross-disciplinary web.
Fatemeh Nazarieh, Zhenhua Feng, Muhammad Awais
et al.
Cross-modal content generation has become very popular in recent years. To generate high-quality and realistic content, a variety of methods have been proposed. Among these approaches, visual content generation has attracted significant attention from academia and industry due to its vast potential in various applications. This survey provides an overview of recent advances in visual content generation conditioned on other modalities, such as text, audio, speech, and music, with a focus on their key contributions to the community. In addition, we summarize the existing publicly available datasets that can be used for training and benchmarking cross-modal visual content generation models. We provide an in-depth exploration of the datasets used for audio-to-visual content generation, filling a gap in the existing literature. Various evaluation metrics are also introduced along with the datasets. Furthermore, we discuss the challenges and limitations encountered in the area, such as modality alignment and semantic coherence. Last, we outline possible future directions for synthesizing visual content from other modalities including the exploration of new modalities, and the development of multi-task multi-modal networks. This survey serves as a resource for researchers interested in quickly gaining insights into this burgeoning field.
Why does music move us? What harmonic resources manage to cause a greater pleasant experience in listeners? The aestheticity of music lies in the repetition of forms, in the recognition of patterns. Composers take advantage of that predictability to play with listeners' expectations. Mastering the technique to cause sweating and piloerection in response to a musical stimulus is of great interest to creatives. Based on the publications of the musical theorist Frank Lehman, specialized in the harmony of the soundtracks of epic millennial cinema, this article analyzes some harmonic cadences present in different audiovisual formats to agree that it is in the violation of expectations through chromatisms and after their subsequent diatonic realignment where the astonishment of the spectators occurs. This research connects classical aesthetics with the psychology of music.
Music and books on Music, Musical instruction and study
Whether it is about literature, music, painting, graphic design, advertising, or other
creative domains, Artificial Intelligence (AI) finds its way in. The present study aims to offer a
pre-generative AI overview on AI creativity perception. It serves as a benchmark that enables
future researchers to compare earlier and recent AI advances so to explore the profound
technological shifts currently occurring. Focusing on domain comparative empirical dimension,
the paper exploratory investigates perceptions on AI creativity, on AI-human co-creation potential,
and AI creativity’s ethical and authorship considerations. A set of comparative semi-structured
expert interviews with Romanian computer scientists and artists (N=33) is conducted. The data is
analyzed using Atlas.ti software. As common grounds for computer scientists and artists, the
results show that AI can provide original artworks due to its capacity to manage large amounts of
data. However, it is deeply dependent on them. Within the creation process, AI is perceived as a
partner or a tool that can augment human abilities. Ethical aspects should be considered both
before and after the creation process. Artists, in comparison with computer scientists, emphasize
more on the trivialization of the AI creation act and on the unfair and threatening competition.
Although they believe that machines should not create, they also agree on machine-centric
authorship.
Saleh A. Alessy, Jesse D. Malkin, Eric A. Finkelstein
et al.
Abstract Background As Saudi Arabia is expected to face population aging in the future, the burden of diseases arising from inadequate physical activity (PA) and excess sedentary behavior (SB) may subsequently increase without successful interventions. The present study critically reviews the global literature on the effectiveness of PA interventions targeting community-dwelling older adults to draw on lessons and applications for future interventions in Saudi Arabia. Methods This umbrella review of systematic reviews included interventions designed to increase PA and/or reduce SB in community-dwelling older adults. We conducted searches in July 2022 in two electronic databases—PubMed and Embase—and identified relevant peer-reviewed systematic reviews in English. Results Fifteen systematic reviews focusing on community-dwelling older adults were included. Several reviews reported that PA- or SB-based interventions, including eHealth interventions (such as automated advice, tele-counseling, digital PA coaching, automated PA tracking and feedback, online resources, online social support, and video demonstrations), mHealth interventions, and non-eHealth interventions (such as goal setting, individualized feedback, motivational sessions, phone calls, face-to-face education, counseling, supervised exercise sessions, sending educational materials to participants’ homes, music, and social marketing programs), were effective in the short term (e.g., ≤ 3 months) but with wide heterogeneity in findings and methodologies. There were limited studies on PA- and SB-based interventions that could be effective for one year or more after the intervention. Most reviews were heavily skewed toward studies carried out in Western communities, limiting their generalizability to Saudi Arabia and other parts of the world. Conclusion There is evidence that some PA and SB interventions may be effective in the short term, but high-quality evidence regarding long-term effects is lacking. The cultural, climate, and environmental barriers related to PA and SB in Saudi Arabia require an innovative approach and research to evaluate such interventions in older individuals in the long term.
The works of such late-Victorian writers as Lionel Johnson, Ernest Dowson, Theodore Wratislaw, John Oliver Hobbes and Oscar Wilde represent Catholic churches as retreats set apart from the ugliness and mediocrity of Victorian England—religious versions of Des Esseintes’s Fontenay-aux-Roses house in À rebours—filled with incense, organ music, and coloured light filtering through medieval stained-glass windows. In Dowson’s correspondence or in his poem ‘Benedictio Domini’, in Johnson’s ‘Our Lady of France’, in Wratislaw’s ‘Palm Sunday’ and ‘Songs to Elizabeth’, in some of Wilde’s stories, the opposition between inside and outside expresses figuratively the fundamental incompatibility between an ideal of beauty, embodied in the aesthetic experience of the church, and the coarseness of the outside world. This article explores how such a polarised vision reflects contemporary debates about the interior organisation and decoration of churches. Drawing on William Whyte’s analyses of changing attitudes towards church architecture in the 19th century in Unlocking the Church: The Lost Secrets of Victorian Sacred Space (OUP 2017), it shows how literary representations of church interiors in fin-de-siècle literature reflect the shift from the Protestant aniconic, congregation-centred approach to church design, in favour of an architecture of affect and sensation, where space and ornamentation lead the worshipper to experience the divine through a sensory overload. It focuses on two aspects of church architecture and decoration that are foregrounded in fin-de-siècle poetry and fiction—and were highly polemical in the late Victorian context because of their association with the Ritualist controversy and with ‘Romishness’: the eastward position, i.e. the celebration of the Eucharist on a stone altar fixed to the back of the chancel rather than on a wooden communion table facing the congregation; and altar candles, which were condemned in anti-ritualist pamphlets as both pagan and ‘popish’. Through these two examples, this article argues that fin-de-siècle literary representations of church interiors reflect a major change in the perception of sacred space, from the ‘auditory church’ (Whyte) of the 18th century, where function (essentially focused on the proclamation of the word of God) dictated the organisation of space and even the furnishings, to the ‘visual church’, saturated with symbolism, where the eye, rather than the ear, becomes the central organ of religious experience.
Review of vols. 1–3 of a book series 'Muzyka polska za granicą' [Polish Music Abroad], eds. Beata Bolesławska-Lewandowska and Jolanta Guzy-Pasiak, Warszawa: Instytut Sztuki PAN, 2017–2020. Vol. 1: Twórcy – Źródła – Archiwa [Composers, Sources, and Archives]; Vol. 2: Między Warszawą a Paryżem (1918–1939) [Between Warsaw and Paris (1918–1939)]; Vol. 3: ‘American Dream’: Polscy Twórcy za oceanem [‘American Dream’: Polish Composers across the Atlantic].
It is well known that in 1812 Ludwig van Beethoven composed the Three Equali for Four Trombones (WoO 30) for the Linz Cathedral Kapellmeister Franz Xaver Glöggl. A letter from Glöggl to Robert Schumann, however, suggests that the composer originally composed four pieces. An examination of the autograph score of WoO 30 (D-B, Mus.ms.autogr.Beethoven, L.v., Grasnick 9), held by the Staatsbibliothek Berlin, seems to confirm this: one page of the manuscript most likely became detached.In 2018, an anonymous example of an equale turned up in the Diocesan Archives in Linz. Although the newly found manuscript (A-Lld-49) is not in Beethoven’s hand, comparison with additions written on the autograph of WoO 30 identifies it to be that of Glöggl. The Linz source is a working sketch of an arrangement for three vocal parts made from a four-part trombone movement. One possible scenario is that Glöggl, who is not otherwise known as a composer, used Beethoven’s presumed fourth equale for this purpose. This is indicated by aspects such as key relationships and the identical, unusual key designation of all the compositions in question. It is more likely, however, that the rediscovered piece—a simple chorale—belongs to an older class of repertoire.
In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century.
When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location.
According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.
Cassia Low Manting, Lau M. Andersen, Balazs Gulyas
et al.
Selective auditory attention allows us to focus on relevant sounds within noisy or complex auditory environments, and is essential for the processing of speech and music. The auditory steady-state response (ASSR) has been proposed as a neural measure for tracking selective auditory attention, even within continuous and complex soundscapes. However, the current literature is inconsistent on how the ASSR is influenced by selective attention, with findings based primarily on attention being directed to either ear rather than to sound content. In this experiment, a mixture of melody streams was presented to both ears identically (diotically) as we examined if selective auditory attention to sound content influences the ASSR. Using magnetoencephalography (MEG), we assessed the stream-specific ASSRs from three frequency-tagged melody streams when attention was directed between each melody stream, based on their respective pitch and timing. Our main results showed that selective attention enhances the ASSR power of an attended melody stream by 14% at a general sensor level. This ability to readily capture attentional changes in a stimuli-precise manner makes the ASSR a useful tool for studying selective auditory attention, especially in complex auditory environments. As a secondary aim, we explored the distribution of cortical ASSR sources and their respective attentional modulation using a distributed source model of the ASSR activity. Notably, we uncovered the existence of ASSR attentional modulation outside the temporal cortices. Across-subject averages of the attentional enhancement over the cortical surface suggest that frontal regions show up to ~80% enhancement, while temporal and parietal cortices were enhanced by 20–25%. Importantly, this work advocates a novel ‘beyond the temporal cortex’ perspective on ASSR modulation and also serves as a template for future studies to precisely pin-point which cortical sites are more susceptible to ASSR attentional modulation.
The psychological source of human activity is hidden in human nature. The values of life on which the affirmation and vitality of the individual are based are revealed in the aesthetic and ethical spheres. In the sphere of the aesthetic – it is an experience of beauty and magnificence, in the sphere of the ethical – it is love, faithfulness, dedication and cheerfulness, which are based at the active attitude of a person. Thus, ethos is closely connected with eros. The latter is used in the article in the sense of a strong, passionate AESTHETIC (rather than physiological or psycho-physiological) feeling.
The aim of this work is to investigate the interconnection of ethos and eros in the life of a prominent figure of Ukrainian musical culture, Mykola Lysenko (1842-1912).
The methodology of the research is to combine the cultural-historical method (elucidating the life and work of the composer through the prism of the aesthetic and ethical spheres), the method of analysis of scientific literature on the problem (to identify the degree of its development and prospects for further exploration), epistolary analysis and methods of personology (biographical and cultural-psychological reconstruction).
The scientific novelty of the article is due to the fact that for the first time M. Lysenko’s spiritual world, in which ethos and eros interacted organically, is considered as a factor that had a profound effect on his musical creativity. This, in particular, has been embodied in the vocal works (solo songs) that make up the gold fund of Ukrainian musical art.
Conclusions. The proposed research draws attention to the personal life of the composer, his value orientations and emotional states, in particular to the feeling of love for a woman. The results of the study make it possible to rethink the heritage of the national music culture in the context of the personality problem.
Los procesos creativos en música, suelen ser no-lineales: una serie de decisiones entre un gran número de opciones y probabilidades no sólo sonoras, sino también sígnicas. Interpretamos el mundo sonoro de acuerdo a nuestros parámetros y formas de escuchar el entorno; sin embargo, cuando el contexto que deseamos representar es distinto al nuestro y a nuestra cultura, no resulta claro qué debe entenderse bajo las premisas del “contexto originario”. De esta cuenta, el trabajo musical realizado a partir de una lengua originaria toma características de interpretación y “captura de datos” desde donde deberán andarse varios caminos que nos conduzcan a un “mejor resultado”, tanto sonoro como interpretativo de la alteridad que proporciona la información fuente necesaria para la creación. Así, este trabajo se enfoca en una estética del goce y la sensualidad cognitiva a través de que originario y no-originario, auténtico e inauténtico, autóctono y alóctono, pueden tratarse como contrariedades o bien como complementos relativos. Se propone una “armonización dialéctica” de las dos epistemologías de la cuales se dispone: la “escrita y pensada” desde la sonoridad de lo español/europeo, y la escrita pensada desde la sonoridad de lo k’iché/maya. Este ejercicio va más allá de la búsqueda abstracta de las historias y de los sonidos y sonidos de las historias, privilegiando la investigación de campo y la etnografía a partir de la cual es posible el análisis cualitativo y cuantitativo de datos dirigidos al abastecimiento de procesos creativos.
Music and books on Music, Musical instruction and study
Apresentação de duas ferramentas analíticas consecutivas, o MaPA (Mapa de Performance Audiovisual) e a EdiPA (Edição de Performance Audiovisual), com as quais proponho organizar e representar, analiticamente, conteúdos de fontes primárias constituídas por gravações de vídeo de música. O MaPA é construído a partir da seleção de fotogramas isolados ou de sequências de fotogramas extraídos do vídeo. Estas imagens são capturadas para explicitar elementos cênicos (gestos corporais, expressões faciais, objetos de cena, iluminação, efeitos de câmara, técnicas de manipulação de imagem etc.) detectados como fundamentais para a compreensão do trinômio texto-som-imagem e, por isto, compreensão da expressão musical. A EdiPA é construída a partir da notação gráfica de elementos sonoros fundamentais transcritos do vídeo em algum tipo de notação musical (como na partitura tradicional, em lead sheet, em gráficos, em espectrogramas etc.) à qual são acrescentados fotogramas do MaPA com seus timings no vídeo (em minutos e segundos) e informações textuais sucintas para facilitar a compreensão das relações texto-som-imagem. A utilização de ambas as ferramentas analíticas é exemplificada com MaPAs e EdiPAs mais simples ou mais complexos. São também apresentados três tipos de gravações de vídeo (com os artistas Elis Regina e Caetano Veloso), que levam em consideração a interferência da direção artística do vídeo e níveis de liberdade ou planejamento na realização musical: (1) performance não-espontânea, (2) performance quase-espontânea e (3) performance espontânea.