Hasil untuk "Music"

B. Rao, K. Hari

Konstantinos Trohidis, Grigorios Tsoumakas, George M. Kalliris et al.

F. Baker, T. Wigram, D. Stott et al.

I. Peretz, R. Zatorre

U. Nilsson

P. Juslin, D. Västfjäll

P. Marler, H. Slabbekoorn

T. Turino

V. Salimpoor, Mitchel Benovoy, G. Longo et al.

Background Listening to music is amongst the most rewarding experiences for humans. Music has no functional resemblance to other rewarding stimuli, and has no demonstrated biological value, yet individuals continue listening to music for pleasure. It has been suggested that the pleasurable aspects of music listening are related to a change in emotional arousal, although this link has not been directly investigated. In this study, using methods of high temporal sensitivity we investigated whether there is a systematic relationship between dynamic increases in pleasure states and physiological indicators of emotional arousal, including changes in heart rate, respiration, electrodermal activity, body temperature, and blood volume pulse. Methodology Twenty-six participants listened to self-selected intensely pleasurable music and “neutral” music that was individually selected for them based on low pleasure ratings they provided on other participants' music. The “chills” phenomenon was used to index intensely pleasurable responses to music. During music listening, continuous real-time recordings of subjective pleasure states and simultaneous recordings of sympathetic nervous system activity, an objective measure of emotional arousal, were obtained. Principal Findings Results revealed a strong positive correlation between ratings of pleasure and emotional arousal. Importantly, a dissociation was revealed as individuals who did not experience pleasure also showed no significant increases in emotional arousal. Conclusions/Significance These results have broader implications by demonstrating that strongly felt emotions could be rewarding in themselves in the absence of a physically tangible reward or a specific functional goal.

P. Janata, Stefan T. Tomic, Jason M. Haberman

Setareh Beheshti, Iman Fakhr, saeed Majidi

Form is one of the most important and challenging concepts in music. Music scholars have long offered diverse interpretations and definitions of musical form, but the multiplicity of interpretations can sometimes lead to confusion and impede the attainment of a clear understanding of the structure of musical works. This is partly due to ‘reverse-engineering.’ When a compositional form is created, the composer may or may not be thinking primarily about structure.  The aesthetic message is at the forefront of the composer’s creative conscience followed by thematic phrases, the connective bridges, timbres of sound (orchestration) and most importantly artistic satisfaction.  Theoreticians get involved with a piece of music after it has been written, hence their point of view is an approximation of the composer’s intent.  Over the years, formal structure has become conclusive evidence for formal musical analysis, even though it is in the aftermath of the creative process.  This is the main reason why theories and examples are often hindered by exceptions and compromised by unique forms and structures. Over the years certain various analytical models have been widely accepted in order to highlight or emphasize certain structural elements in musical forms. The most common model is the sonata form which for the most part reflects the structural form of most repertoire from the mid-18th century up to the present.  But this model like others, only illuminates specific aspects of a musical structure, while overlooking compositional details that can stand to be further investigated. Therefore, conducting multifarious analyses on one musical structure can reveal more facets and result in a deeper understanding of the work. However, one must be aware that diversity in analytical perspectives can also lead to multiplicity and ambiguity in understanding musical structure, especially in the Romantic period. For this reason, Agawu, based on the archetypal tripartite structure of beginning, middle, and end, has proposed a theory for analyzing the structure of Romantic music. By simplifying the overall viewpoint of a musical form, Agawu allows for multiple persperctives or analysis to co-exist within one oeuvre.This qualitative research endeavors to apply Agawu's theory to provide a unified formulation of two different analytical approaches to the structure of Mendelssohn's Violin Concerto; a work whose structural innovations have been little studied. In this regard, using a descriptive-analytical method, the structure of the case study was analyzed using both the sonata form and arch form approaches, and it was determined which aspects of the structure were clarified by these approaches. Then, using Agawu's theory based on the two criteria of position and function, the structure of the case study was analyzed, and finally, two other analytical approaches were also formulated under Agawu's tripartite model to achieve a unified understanding of the different analytical models. By using a more general and simplified model, as suggested by Agawu, musicians and theoreticians are not limited to looking at a musical work with just one analysis.  By allowing mulitiple perspectives for interpretation and examination, a deeper understanding of the creative process can be achieved.

Khomdet Phapatanaburi, Longbiao Wang, Meng Liu et al.

Abstract Shouted and normal speech classification plays an important role in many speech-related applications. The existing works are often based on magnitude-based features and ignore phase-based features, which are directly related to magnitude information. In this paper, the importance of phase-based features is explored for the detection of shouted speech. The novel contributions of this work are as follows. (1) Three phase-based features, namely, relative phase (RP), linear prediction analysis estimated speech-based RP (LPAES-RP) and linear prediction residual-based RP (LPR-RP) features, are explored for shouted and normal speech classification. (2) We propose a new RP feature, called the glottal source-based RP (GRP) feature. The main idea of the proposed GRP feature is to exploit the difference between RP and LPAES-RP features to detect shouted speech. (3) A score combination of phase- and magnitude-based features is also employed to further improve the classification performance. The proposed feature and combination are evaluated using the shouted normal electroglottograph speech (SNE-Speech) corpus. The experimental findings show that the RP, LPAES-RP, and LPR-RP features provide promising results for the detection of shouted speech. We also find that the proposed GRP feature can provide better results than those of the standard mel-frequency cepstral coefficient (MFCC) feature. Moreover, compared to using individual features, the score combination of the MFCC and RP/LPAES-RP/LPR-RP/GRP features yields an improved detection performance. Performance analysis under noisy environments shows that the score combination of the MFCC and the RP/LPAES-RP/LPR-RP features gives more robust classification. These outcomes show the importance of RP features in distinguishing shouted speech from normal speech.

Ірина Іванівна Коденко

Стаття присвячена сучасним проблемам виконання барокової музики, представленим крізь призму сприйняття авторитетних фахівців. У процесі вивчення іноземної періодики (насамперед матеріалів, що публікуються журналом “Early Music”) виявлено шляхи формування та розвитку історично орієнтованого виконавства в Європі другої половини ХХ – початку XXI століття. Зазначена сфера виконавства як об’єкт наукової рефлексії спирається на відповідні норми художньої поетики, притаманні епосі Бароко. Достовірне відтворення стилістики барокових творів, переконлива інтерпретація старовинної музики пов’язані із глибоким вивченням численних трактатів і посібників, що належать до цього періоду, відновленням автентичного інструментарію, осягненням особливостей музичної мови та детальним аналізом конкретних творів. Автором статті обґрунтовується доцільність подальшого розвитку та популяризації виконавського історизму й автентизму, як значної складової частини сучасного звукового середовища та культурного ландшафту. Журнал “Early Music” оцінюється дослідницею як поле продуктивного діалогу, що сприяє актуалізації старовинної музики в музичній культурі наших днів: ідеться про специфіку сприйняття слухачів («тут і зараз»), про вибір оптимальних рішень у виконавській інтерпретації музичних творів минулих епох тощо. У сучасному виконавстві музикознавства дедалі частіше постає питання відповідності оригіналу виконавських інтерпретацій, створених і виконуваних у різні епохи й історичні періоди представниками різних національних шкіл. На цій основі виникло ще наприкінці минулого століття й інтенсивно розвивається в сучасному світі автентичне виконавство – історично інформована практика у відтворенні старовинної музики. У руслі цієї проблематики і перебуває стаття. Стаття присвячена одному із ключових питань сучасного музичного виконавства. У науково-дослідному плані стаття спрямована на конкретизацію положень теорії автентичного виконавства в його різних стильових утіленнях. Музична культура цього періоду спиралася на античні вчення, які протягом століть несли моральні й естетичні ідеали. Як центральний об’єкт досліджуваної проблеми обрано питання актуальності інтерпретації старовинної музики в сучасному культурному просторі. Вивчаючи епоху Бароко, ми поринаємо в цей яскравий, невичерпний, піднесений час. Перспектива теми статті полягає в поглибленому та різнобічному вивченні історично орієнтованого виконавства, діяльності сучасних ансамблів і виконавців старовинної музики, що забезпечують втрачений «зв’язок часів» і ведуть до справжнього історизму в освоєнні музичної спадщини минулих епох, зокрема й епохи Бароко. Наукова новизна одержаних результатів пов’язана з введенням у науковий обіг не досить досліджених у мистецтвознавстві джерел, присвячених старовинній музиці та способам її виконання. Можливості історично орієнтованого виконавства воістину невичерпні, сама же сфера його досліджень тільки збільшується. Оскільки питання щодо вивчення старовинної музики актуальне і зараз, то сучасні дослідники також продовжують вивчати тонкощі виконавства (акустика, темп, динаміка, інструментарій, орнаментика), а також вивчають праці попередників. Розглянуто основні аспекти музикознавчої думки у сфері історичного виконавства, а також визначені етапи розвитку історично орієнтованого виконавства. У результаті вивчення історичного виконавства як тенденції музичного мистецтва останньої третини ХХ – початку ХХІ століття постає цілісна система, на основі якої формуються виконавські принципи, відтворюються головні ознаки історичної інтерпретації старовинної автентичної музики, досліджуються й узагальнюються основні праці та концепції даного напряму. Немає конкретних універсальних музичних рішень, тому треба зауважити, що до кожної конкретної епохи, інструмента, композиції має бути особливий індивідуальний підхід, зумовлений історичним виконавством. Зазначені тенденції, на нашу думку, знаходять повномасштабне втілення у професійних дискусіях, які відбуваються на сторінках журналу “Early Music”.

Haowen Wang, Yiwen Chai, Yandong Xu et al.

As an environmental enrichment, music can positively influence the immune function, while noise has an adverse effect on the physical and mental health of humans and animals. However, whether music-enriched environments mitigate noise-induced acute stress remains unclear. To investigate the anti-inflammatory effects of music on the immune organs of broiler chickens under conditions of early-life acute noise stress, 140 one-day-old white feather broilers (AA) were randomly divided into four groups: control (C), the music stimulation (M) group, the acute noise stimulation (N) group, the acute noise stimulation followed by music (NM) group. At 14 days of age, the N and NM groups received 120 dB noise stimulation for 10 min for one week. After acute noise stimulation, the NM group and M group were subjected to continuous music stimulation for 14 days (6 h per day, 60 dB). At 28 days of age, the body temperature of the chicks, the histopathological changes, quantification of ROS-positive density and apoptosis positivity in tissues of spleen, thymus, and bursa of Fabricius (BF) were measured. The results showed that acute noise stimulation led to an increase in the number and area of splenic microsomes and the cortex/medulla ratio of the detected immune organs. The activities of superoxide dismutase (SOD) and glutathione peroxidase (GSH-Px) of immune tissues of broilers in N group were decreased compared to the broilers in C group, while the mRNA levels of malondialdehyde (MDA), TNF-α, IL-1, and IL-1β increased. In addition, the gene and protein expression levels of IKK, NF-κB, and IFN-γ of three immune organs from broilers in the N group were increased. Compared to the C and N group, chickens from the NM group showed a decrease in the number and area of splenic follicles, an increase in the activities of SOD and GSH-Px, and a decrease in the expression levels of MDA, TNF-α, IL-1, and IL-1β. Therefore, a music-enriched environment can attenuate oxidative stress induced by acute noise stimulation, inhibiting the activation of the NF-κB signaling pathway and consequently alleviating the inflammatory response in immune organs.

Daniel Mota-Rojas, Alexandra L. Whittaker, Adriana Domínguez-Oliva et al.

Several types of enrichment can be used to improve animal welfare. This review summarizes the literature on the use of mechanical brushes, tactile udder stimulation, music, and visual stimuli as enrichment methods for dairy cows. Mechanical brushes and tactile stimulation of the udder have been shown to have a positive effect on milk yield and overall behavioral repertoire, enhancing natural behavior. Classical music reduces stress levels and has similarly been associated with increased milk yield. A slow or moderate tempo (70 to 100 bpm) at frequencies below 70 dB is recommended to have this positive effect. Evidence on the impacts of other types of enrichment, such as visual stimulation through mirrors, pictures, and color lights, or the use of olfactory stimuli, is equivocal and requires further study.

S. Palmer, Karen B. Schloss, Zoe Xu et al.

E. Mas-Herrero, J. Marco-Pallarés, U. Lorenzo-Seva et al.

Nur Sabiha Md Hussin, Mahmathi Karuppannan, Yogheswaran Gopalan et al.

Introduction: Behavioural and psychological symptoms of dementia (BPSD) are considered integral parts of dementia. While pharmacotherapy is reserved for severe symptoms of BPSD, the associated adverse effects can be detrimental. Therefore, non-pharmacological intervention is recommended as the first line of treatment in the management of BPSD. This study aimed to explore the non-pharmacological approaches for the management of BPSD and the strategies and barriers to implementing them in secondary care facilities in Malaysia. Methods: A qualitative study design was employed. Data were collected through observations and semi-structured interviews of 12 caregivers and 11 people with dementia (PWD) at seven secondary care facilities. Observations were written in the field notes, and interviews were audio-recorded and transcribed. All data were subjected to thematic analysis. Results: Some personalised non-pharmacological interventions, such as physical exercise, music therapy, reminiscence therapy and pet therapy, were conducted in several nursing care centres. Collaborative care from the care providers and family members was found to be an important facilitating factor. The lack of family support led to care providers carrying additional workload beyond their job scope. Other barriers to non-pharmacological interventions were cultural and language differences between the care providers and PWD, inadequate staff numbers and training, and time constraints. Conclusion: Although non-pharmacological approaches have been used to some extent in Malaysia, continuous education and training of healthcare providers and the family members of PWD is needed to overcome the challenges to their successful implementation.

Asep Rohman, Khairunnisya Khairunnisya, Gusti Randa

This research is entitled Student Management for Children with Special Needs: Case Study of Blind Students at SLB-A PRPCN Palembang. This research aims to understand the management of students with special needs who are blind in depth and discover strategic factors and problems. This research is a Collective Case Study which breaks down several scopes and finds strategic factors for student management. Data collection methods are interviews, observation and documentation, while data analysis techniques are carried out by data collection, data reduction, data presentation and data verification. Data validity techniques use source triangulation and technical triangulation. Based on the research results, 12 important factors were found in student management at SLB-A PRPCN Palembang, 3 of which were strategic factors, namely student acceptance, training and self-development and alumni tracking. First, student acceptance is carried out openly. The school prepares for the meeting, new students fill out forms and complete the requirements and take a self-assessment. Early assessment aims to obtain clear information regarding prospective students, both physical and mental readiness. Second, training and personal development are carried out effectively. The school carries out religious training such as recitations and tahfidz of the Koran as well as training in music, computers, massage and scouting. Third, the school implements the alumni tracer program well. A group of alumni who have established alumni ties. These three things are strategic factors in student management for children with special needs who are blind.