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While the dominant orthodoxy within the field of educational research tends to document educational inequalities, it often fails to name the key drivers of advantage. By reflecting on core concepts of Bourdieu this article seeks to name the complex blend of parental capitals that enable access to and success in structured, extra-curricular activities (ECA) such as instrumental and vocal music education (IME). Besides the intrinsic benefits of IME, the article points to a particular extrinsic benefit that is unique to Ireland, in that performance is one of the essential activities on the Leaving Certificate (LC) music syllabus. This is important as it has implications for universal equality of access and opportunity. The research draws data from selected interviews conducted with mothers whose children were engaged in structured IME. In highlighting the often hidden and taken for granted capitals needed for IME access, the research also raises the issue of intra-class differences which can and do impact on outcome when navigating the structured IME market in Ireland. It also seeks to operate as a springboard for a set of broader theoretical arguments and highlights the role of institutional demands and material forces when considering the power of family capitals in this context. [ABSTRACT FROM AUTHOR]

In 1950, percussionist and pedagogue Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the country. In this article, I argue that Price's accreditation of the genre, coupled with his many other entrepreneurial initiatives, was made possible by the higher education's renewed desire for democracy and intellectual achievement that emerged after World War II and ultimately led to percussion's own 'Golden Age' that endured until the late 1970s. I achieve this objective by highlighting Price's role as an institutional entrepreneur, as demonstrated through his relationships and compositional collaborations with two American composers of midcentury percussion works, Michael Colgrass and Vivian Fine. By advocating for new standards of learning, musicianship, and composition, Price negotiated institutionalized norms to help turn percussion into an art form worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States. An investigation of the correlations between midcentury collegiate percussion practices and the patterns of change and growth evident in higher education at the time help illuminate the powerful influence of educational institutions on music discourse in the postwar era. [ABSTRACT FROM AUTHOR]

Summary The active system consolidation theory assumes that sleep between encoding and retrieval promotes memory consolidation. In the present study, we cued new memories during slow‐wave (SWS) or rapid eye movements (REM) sleep stages by presenting an instrumental music stimuli that had been previously presented during a learning session. In a within‐subjects design, 18 participants slept for three nonconsecutive nights (cue during SWS, cue during REM, and no cue during control night) and were trained in a visuo‐spatial memory task. The administration of cue during SWS produced better memory accuracy in comparison with REM and the control condition. [ABSTRACT FROM AUTHOR]

Music listening affects time perception, with previous studies suggesting that a variety of factors may influence this: musical, individual, and environmental. Two experiments investigated the effect of musical factors (tonality and musical tempo) and individual factors (a listener's level of musical sophistication) on subjective estimates of duration. Participants estimated the duration of different versions of newly composed instrumental music stimuli under retrospective and prospective conditions. Stimuli varied in tempo (90–120 bpm) and tonality (tonal-atonal), in a 2 × 2 factorial design, while other musical parameters remained constant. Estimates were made using written estimates of minutes and seconds in Experiment 1, and the reproduction method in Experiment 2. Two-way analyses of variance (ANOVAs) showed no main effect of tonality on estimates and no significant interactions between tempo and tonality, under any condition. Musical tempo significantly affected estimates, with the faster tempo leading to longer estimates, but only in the prospective condition, and with the use of the reproduction method. Correlation matrices using the Pearson correlation coefficient found no correlation between musical sophistication scores (measured using the Goldsmiths Musical Sophistication Index [Gold-MSI]) and verbal or reproduction estimates. In conclusion, together with the existing literature, findings suggest that (1) changes in tonality, without further changes in rhythm, metre, or melodic contour, do not significantly affect estimates; (2) small changes in musical tempo influence only prospective reproduction estimates, with larger tempo differences or longer stimuli being needed to cause changes in retrospective estimates; (3) participants' level of musical sophistication does not impact estimates of musical duration; and (4) empirical research on music listening and subjective time must consider potential method-dependent results. [ABSTRACT FROM AUTHOR]

Music listening can evoke a range of extra-musical thoughts, from colors and smells to autobiographical memories and fictional stories. We investigated music-evoked thoughts as an overarching category, to examine how the music's genre and emotional expression, as well as familiarity with the style and liking of individual excerpts, predicted the occurrence, type, novelty, and valence of thoughts. We selected 24 unfamiliar, instrumental music excerpts evenly distributed across three genres (classical, electronic, pop/rock) and two levels of expressed valence (positive, negative) and arousal (high, low). UK participants (N = 148, Mage = 28.68) heard these 30-second excerpts, described any thoughts that had occurred while listening, and rated various features of the thoughts and music. The occurrence and type of thoughts varied across genres, with classical and electronic excerpts evoking more thoughts than pop/rock excerpts. Classical excerpts evoked more music-related thoughts, fictional stories, and media-related memories, while electronic music evoked more abstract visual images than the other genres. Positively valenced music and more liked excerpts elicited more positive thought content. Liking and familiarity with a style also increased thought occurrence, while familiarity decreased the novelty of thought content. These findings have key implications for understanding how music impacts imagination and creative processes. [ABSTRACT FROM AUTHOR]

"William Byrd: Consort Music" by Anne Martin is a comprehensive analysis of Byrd's thirty-three textless consort compositions, a category of instrumental music often overlooked in Byrd scholarship. The book discusses the sources, genres, and historical context of these compositions, making it a valuable resource for viol players, performers interested in early instrumental music, and those studying Byrd's music. The book fills a gap in Byrd scholarship and offers new perspectives on the renowned English composer. Additionally, the volume consists of twenty-eight essays organized into five parts, with a central theme of the relationship between music and poetry. Despite the diverse contributions, the book maintains a cohesive structure and explores common themes and motifs, providing valuable insights into nineteenth-century music. [Extracted from the article]

Angelo Notari, a Paduan-born musician who immigrated to England in the early Stuart period, has been overlooked in the study of seventeenth-century music. However, Jonathan P. Wainwright's new edition of Notari's complete works brings his music back into focus. The edition includes three volumes of Notari's printed and manuscript music, providing valuable insights into his contributions to early modern British music. Wainwright's edition is comprehensive, with a detailed biographical introduction, transcriptions of Notari's compositions, and recommendations for performance. While the edition may be expensive, it is a significant contribution to the study and performance of Notari's music. Additionally, Wainwright's publication "Descriptive Piano Fantasias" offers a collection of descriptive piano music that highlights Notari's contributions to music history. This volume provides an opportunity for a wider audience to appreciate Notari's work and is expected to be featured in academic and performance settings. [Extracted from the article]

In Ireland access to instrumental music education (IME) largely operates through the private market. Unlike other European countries Ireland does not have a music school law or policy position. The purpose of this article is to examine how a long-established history of subsidiarity which is enshrined in the Irish Constitution together with the ideology of choice, has underpinned the provision of IME. This has led to the growth of a market-led system of provision that promotes inequalities. The data suggests that parents seeking IME for their children are compelled to act as customers and competitive citizens and that the private choices of those who can pay to play, masks the dearth of state-supported universal IME provision. In conclusion, it is argued that by continuing to adopt the principles of subsidiarity, the State is both exonerated from being fully responsible and accountable for the adequate provision of IME and is complicit in perpetuating structural inequalities that favour access to capitals-rich families, be in the state-supported IME, or IME in the private education market. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: The delivery of dental treatment might be negatively impacted by a child’s unwillingness to cooperate. Judging a behavior-guiding strategy that successfully lowers fear and anxiety during dental treatment, results in a change in the child’s attitude toward the treatment, and is also accepted by the parents is necessary given the variety of behavior management strategies that are available. While conventional techniques of behavior modification have been effective, parents’ and dental professionals’ attitudes regarding them are evolving. New nonaversive approaches that are acceptable to parents are thus required. One such approach that may find favor with parents and dental professionals is music therapy. Methods: Pertinent medical databases such as PubMed, Cochrane, Embase, and Google Scholar were searched from January 1, 2001, to April 20, 2023, for randomized controlled trials and clinical studies that used music and no music (control) in children undergoing dental treatment. Primary outcomes included a decrease in pulse rate as measured through pulse oximeter in children undergoing dental treatment. Results: Through search strategy and screening through titles and abstracts, four randomized clinical trials (Grading of Recommendations, Assessment, Development, and Evaluation [GRADE] high certainty) and eight nonrandomized studies (GRADE high certainty) were included and the pooled results bared that the music pulse rate was significantly reduced in children who were made to listen to the music than those who did not listen to music during dental treatment. Conclusion: It was established that music distraction was a better behavior management technique as compared to no music group and instrumental music was better when compared to the nursery rhyme for anxiety reduction in children.

The creative heritage of composer N.N. Sidelnikov (1930-1992) covers many musical genres — from piano miniatures and film music to large-scale oratorio and symphonic concepts. As a professor at the Moscow Conservatory, Sidelnikov always followed current artistic trends, masterfully rethinking and refining them in his creative work. Sidelnikov’s instrumental music represents one of the most important and at the same time unexplored areas of his activity. Nevertheless, seventeen works for solo instrument, ensembles and orchestra form a large layer in his legacy and clearly characterize the composer’s creative individuality. Performing instrumentalists in Sidelnikov’s works are not regulated by the traditions of musical genres — for example, his heritage includes symphonies for a solo instrument, an ensemble and an orchestra. The genres are most often mixed, and a set of certain genre features, as a rule, is determined by a specific author’s idea; meanwhile, double genre definitions (symphony-sonata, concert symphony, symphony-divertimento, etc.) raise questions of the relationship between several genre definitions within one composition. In the composer’s diverse and heterogeneous instrumental heritage, there is a clear tendency for him to turn to several favourite topoi — certain ‘common places’ that are characterized by a certain theme and means of musical language characteristic of its expression. From the above it follows that the question of systematizing Sidelnikov’s instrumental works is ambiguous and may involve different approaches — depending on performing instrumentalists in a musical work or a group of compositions belonging to different toposes. In this article we consider both approaches and their relevance in relation to the composer’s legacy.

The aim of this study is to analyze the beginning of different dance tunes in connection with variously performed dance tunes. The purpose of this paper is also to draw attention to the need for micro-analysis, which has been neglected for a long time in instrumental folk music research, in order to better understand instrumental musical melody creation. The selected musical examples come from different (partly historical) eras and different geographical areas of Western Transdanubian and Transylvanian Hungarian folk music collections. Typical starting elements (fifth-forth changes, direction of moving of scales, etc.) are related to dance music with different names. The analysis ignores the evolution of tempo and variation throughout the piece, as well as the ensemble's "Primas" ornamentation, timbre, harmonies and unique solutions of the accompaniment. At the same time, the author paid attention to the form and structure of the entire piece in addition to the beginnings of the melody. The study was written in honor of the 100th birthday of Walter Deutsch, the creator of modern Austrian ethnomusicology. [ABSTRACT FROM AUTHOR]

Building on research demonstrating the benefits of music training for emotional prosody recognition in nontonal languages, this study delves into its unexplored influence on tonal languages. In tonal languages, the acoustic similarity between lexical tones and music, along with the dual role of pitch in conveying lexical and affective meanings, create a unique interplay. We evaluated 72 participants, half of whom had extensive instrumental music training, with the other half serving as demographically matched controls. All participants completed an online test consisting of 210 Chinese pseudosentences, each designed to express one of five emotions: happiness, sadness, fear, anger, or neutrality. Our robust statistical analyses, which included effect size estimates and Bayesian factors, revealed that music and nonmusic groups exhibit similar abilities in identifying the emotional prosody of various emotions. However, the music group attributed higher intensity ratings to emotional prosodies of happiness, fear, and anger compared to the nonmusic group. These findings suggest that while instrumental music training is not related to emotional prosody recognition, it does appear to be related to perceived emotional intensity. This dissociation between emotion recognition and intensity evaluation adds a new piece to the puzzle of the complex relationship between music training and emotion perception in tonal languages. [ABSTRACT FROM AUTHOR]

Purpose: This research was conducted to determine the impact of a planned training program and music on fear, anxiety, and depression among women undergoing cesarean section. Methods: The sample of the randomized-controlled experimental study consisted of a total of 120 pregnant women (music 40, training 40, and the control 40) scheduled for cesarean section at the Obstetrics Service. Instrumental music from the Turkish music modes (the Hejaz, Neva, and Acemaşıran modes) was played for the music group, a planned training was given for the training group (what a cesarean section is, why a cesarean section should be performed, breastfeeding, mobilization, etc.) before the cesarean section, and no additional interventions were made for the control group. The data were collected using the Personal Information Form, Surgical Fear Questionnaire, and the Hospital Anxiety and Depression Scale. Results: After the planned training and listening to music applications, statistically significant differences were found between the music, training, and the control groups in terms of the short-term, long-term sub-scale scores and the overall score of the Surgical Fear Questionnaire and the anxiety sub-scale scores of the Hospital Anxiety and Depression Scale (p < 0.05). Conclusions: Listening to music before the cesarean section was effective in reducing women's short-term and general surgical fears, and the training was also effective in reducing their short-term, long-term, and general surgical fears and anxiety levels. However, the applications did not change depression levels. According to these findings, listening to music and provision of training are recommended to reduce surgical fears and anxiety levels of women before a planned cesarean section. [ABSTRACT FROM AUTHOR]

Instrumental music teaching traditionally emphasizes the cognitive, motor, and motivational processes of score reproduction, often at the expense of creative musical activities, such as improvisation or composition. Since today's international art school curricula prominently include creativity competencies, opportunities to integrate creativity in instrumental lessons must be explored. This study investigates instrument teachers' conception of musical creativity: its scope, opportunities, and risks. About 273 teachers completed an online questionnaire on their use of creative class time, beliefs, and barriers to creative instrument teaching. Although the majority acknowledged the benefits of creative activities for score-playing, they invested little in improvisation and composition due to a lack of time and training in musical creativity. Teachers considered interpretation a valuable form of musical creativity, next to improvisation and composition, but questioned its feasibility in instrument lessons. Implications for instrument-teacher training are discussed. [ABSTRACT FROM AUTHOR]

Objective Methods Results Conclusion To determine the effect of instrumental music played during Nonstress Test (NST) on pain, anxiety and satisfaction.This research was planned as randomised controlled. The sample of the study consists of 64 pregnant women. In data collection, a survey form containing socio‐demographic characteristics, State‐Trait Anxiety Scale, Visual Analog Scale (VAS) and Evgeny Grinko‐Valse piece were used as music.Among the groups where music was applied, satisfaction with the procedure was significantly high (X2: 12.666, p: 0.049). No significant difference was detected between anxiety and pain conditions (p > 0.05). The scale scores of the groups before and after the procedure were evaluated; Before the procedure, significant differences were detected between the groups in terms of trait anxiety and fear of pain. As a result of the evaluation made after the procedure, there are significant differences between state anxiety and fear of pain (p < 0.05). It was determined that music played during the NST procedure reduced state and trait anxiety. Satisfaction levels are also higher among the group that is listened to music.A successful pregnancy is important for the health of mother and baby. Reducing anxiety and stress, especially during the examinations, ensures that the process continues successfully. It is recommended that music played during pregnancy examinations and screening tests be used in clinics and during the procedure to increase satisfaction and reduce anxiety. [ABSTRACT FROM AUTHOR]

Music is ubiquitous, both in its instrumental and vocal forms. While speech perception at birth has been at the core of an extensive corpus of research, the origins of the ability to discriminate instrumental or vocal melodies is still not well investigated. In previous studies comparing vocal and musical perception, the vocal stimuli were mainly related to speaking, including language, and not to the non‐language singing voice. In the present study, to better compare a melodic instrumental line with the voice, we used singing as a comparison stimulus, to reduce the dissimilarities between the two stimuli as much as possible, separating language perception from vocal musical perception. In the present study, 45 newborns were scanned, 10 full‐term born infants and 35 preterm infants at term‐equivalent age (mean gestational age at test = 40.17 weeks, SD = 0.44) using functional magnetic resonance imaging while listening to five melodies played by a musical instrument (flute) or sung by a female voice. To examine the dynamic task‐based effective connectivity, we employed a psychophysiological interaction of co‐activation patterns (PPI‐CAPs) analysis, using the auditory cortices as seed region, to investigate moment‐to‐moment changes in task‐driven modulation of cortical activity during an fMRI task. Our findings reveal condition‐specific, dynamically occurring patterns of co‐activation (PPI‐CAPs). During the vocal condition, the auditory cortex co‐activates with the sensorimotor and salience networks, while during the instrumental condition, it co‐activates with the visual cortex and the superior frontal cortex. Our results show that the vocal stimulus elicits sensorimotor aspects of the auditory perception and is processed as a more salient stimulus while the instrumental condition activated higher‐order cognitive and visuo‐spatial networks. Common neural signatures for both auditory stimuli were found in the precuneus and posterior cingulate gyrus. Finally, this study adds knowledge on the dynamic brain connectivity underlying the newborns capability of early and specialized auditory processing, highlighting the relevance of dynamic approaches to study brain function in newborn populations. [ABSTRACT FROM AUTHOR]

The purpose of the research. The paper reveals the features of the approaches of academic musicians to the creativity of ―The Beatles‖ and characterises the musical projects created on the basis of the song heritage of the legendary British group. The research methodology consists in the application of historical cultural, comparative and musical analytical methods, which allowed to reveal the academic potential of ―The Beatles‖ music and outline the ways and directions of academisation of their song creativity. The scientific novelty consists in the fact that for the first time academic interpretations of the songs of ―The Beatles‖ group, carried out by L. Berio, J. Bayless and P. Breiner, were characterised, and two approaches to musical transcriptions of the song heritage of the group were outlined - academic and academicized, the type corresponds to all the parameters of academic music, the second gravitates towards classical crossover as a direction of pop music. Conclusions. Among the numerous cover versions, transcriptions and paraphrases of ―The Beatles‖ music, a number of original musical interpretations are attractive, the authors of which turn to the Baroque style. The vocal cycle ―Beatles Songs‖ by L. Berio (1967), the instrumental albums ―Bach Meets the Beatles‖ (1984), ―Bach Meets the Beatles. Revisited‖ (2004) by J. Bayless and ―Beatles Go Baroque‖ (1993) by P. Breiner have already acquired the status of iconic. Their authors, who received a classical musical education, give priority to academic interpretive versions, where the songs of ―The Beatles‖ group are considered as thematic material, which becomes the basis for academic type compositions with classical musical dramaturgy formed in the instrumental music of the Modern period. A number of compositions, in which the basic features of a song are preserved, gravitate towards academicized type interpretations, approaching a classical crossover, and can represent both academic and pop musical creativity. [ABSTRACT FROM AUTHOR]

While Instrumental Music Education (IME) is offered to students in most developed countries, its rationale and implementation differ significantly due to the sociocultural values and expectations of each society, which tend to remain implicit within educational policies. In this article, we argue that each society should be fully aware of the characteristics of their IME models, which requires self-reflection and careful examination of alternative models. To facilitate this process, we propose a framework to analyze the strengths and weaknesses of IME models. The field of comparative education provides strategies to analyze similarities and differences in policies around the world. With the goal of identifying the various dimensions involved in IME models, we provide a detailed analysis of three contrasting cases: Spain, the United States of America, and Singapore. The variables considered are educational philosophy, presence of IME within schools, curriculum and assessment, and teacher education. Based on a documentary analysis, these cases lead to the identification of four analytic dimensions: Accessibility, Value attributed to IME, Professionalization and Specialization, and Teacher's Qualification and Requirements. We encourage policymakers around the world to utilize this four-dimension framework to gain awareness of the role IME plays in their respective countries. [ABSTRACT FROM AUTHOR]

Music has been found to be an effective aid in foreign language learning, but its potential use has yet to be explored. This study utilised a quantitative research method to examine the effect of music type on generating English-as-a-foreignlanguage (EFL) students' pre-writing ideas, which were moderated by gender. Fifty-three students from three classes without academic writing experiences were assigned to three different music types, including no music, instrumental music, and pop music. The results showed that female students outperformed male students, regardless of music types, in pre-writing idea generation tasks. In particular, female students significantly performed the best in instrumental music, followed by no music and pop music. On the contrary, male students obtained the greatest achievement in task when listening to pop music and the lowest performance when listening to instrumental music. The findings of the study imply the recognition of gender-specific preferences in using different types of music to enhance the processes of pre-writing idea generation, prompting tailored writing environments for EFL students' needs. [ABSTRACT FROM AUTHOR]

The basic elements in Yoga are 1-Yamas (ethics) 2-Niyamas (guidelines) 3-Āsanas (postures) 4-Prāṅāyāma (breath) 5-Pratyāhāra (awareness) 6-Dhāraṅā (concentration) -Dhyāna (reflection) 8-Samādhi (meditation). A deeper comparison and analysis unveil all these characteristics are embedded in Bharatiya Shastriya Sangeet (BSS). Music revolves around sound and its expression (vocal or instrumental music) is a manifestation of emotions (rasas as in Indian parlance) which has the ethics of production of sruti madhur or pleasing melody of sounds, niyama/guidelines for expression of a melody which requires voice culture, through varied combinations of notes and so on which have been discussed in this article. In Indian music, the most important creation of the musicologists/musicians is rāga which is synonymous with classical music. Different types of expressions through a variety of forms with svara and tāla, ascent and descent prescribed for the particular rāga, path/chalan, guidelines like vādi, samvādi, anuvādi, vivādi, jātis, etc. are the elements for a unique structure. The technique to manifest requires awareness, concentration, breath control, creative analysis and reflection. The technicality requires aesthetics to breathe in and release nāda which is the most important aspect of Music considered the main centre of energy. This invigorates the soul for the apt deliverance of a rāga. In Yoga, all exercises may appear to be showcasing the art of exercising the limbs or different parts of the body but on critical analysis each action deepens the insight for reflection, to create a semblance of the mind and body invoking virtues like inner serenity and harmony, giving ānanda. [ABSTRACT FROM AUTHOR]

This study investigates the relationship between musical training and Emotional Intelligence (EI) among undergraduate and postgraduate students from diverse academic disciplines across six universities in India. The primary objectives are to assess EI levels in students trained and not trained in Indian Classical Music and to examine the influence of gender and type of musical training on EI. A sample of 130 students was divided into two groups: those with compulsory musical association for five years or more and those without musical exposure. Data was collected using a validated Emotional Intelligence Scale based on Goleman's model. The results indicate that students with musical training have significantly higher EI levels than their non-musical counterparts. Additionally, male students demonstrated higher EI levels than female students, while no significant difference was found between students learning instrumental and vocal music. These findings highlight the positive impact of musical training on emotional intelligence and suggest that music education could play a crucial role in enhancing students' emotional and social competencies. The study's implications extend to educational and developmental contexts, advocating for integrating music education compulsorily in education at every level. [ABSTRACT FROM AUTHOR]

Some of the perspectives on the area of research indulging the two disciplines-Psychology and Music are - the studies around the effects of classical music on human brain, hormonal changes, behavior (mood and emotions), effects of lyrical music versus instrumental music, effect of meaningful versus pleasurable music, effects of learning music on the neuroplasticity etc. These studies are focused on the changes in physiology and behavior as variables where the music as the stimulant remains constant. In classical music or performance-based music, the music has to be limited to pre-determined parameters to keep the individual identities of the art forms. In the Social Science context of music and Musicology, the perspectives of music are more expanded as they include folk music as a cultural expression of the thought processes of any community where some indigenous tribes add melody in their day-to-day conversations; i.e., Music becomes the variable depending on the mood and emotions of the person. This paper reviews the existing literature of 10 years on the area of music, human emotions and behavior; and attempts to find out the gaps, if any, in this area of research to explore further scopes of research. [ABSTRACT FROM AUTHOR]

Cognitive deterioration and gait balance disturbances are the core symptoms of idiopathic normal pressure patients with normal pressure hydrocephalus -- NHP (J. Larson et al, 2021). The manifestations caused by NPH directly foul the patient's autonomy. Rehabilitation in NPH and supervised physical exercise are important factors to improve patient's functions (J. Rydja et al, 2021). Music therapy and background music have cognitive, psychosocial, behavioural, and motor benefits for people with neurological disorders. Various forms and genres of music can be engaging, emotional, physical, personal, social, persuasive, and music also promotes synchronization of movement (O. Brancatisano et al., 2020). The process of music therapy intervention was structured and designed according to American Music Therapy Association (2005) in a 3-step process of preparation, implementation, and evaluation. Background music and instrumental and movement music activities were aimed at relaxation and cognitive stimulation in a patient with NPH during physiotherapy. In instrumental activities three music instruments were used, two Orff instruments a tambourine, a rattle, and a plastic string resembling an accordion (made from recycled material) -- to improve the range of movements, strength, endurance, and coordination of the upper limb bilaterally and to improve walking motor skills. Furthermore, we selected background music according to the patient's taste and choice. The music genres in our sessions were electronic music, pop, and relaxing jazz: The music styles were Synth-pop, Ambient, Disco, Eurodance, Dance-pop and Relaxing jazz. A total of 5 music therapy sessions were held within two months. Each session lasted for 60 min. We observed the following changes in the patient: The mechanism of regulation of fine motor movements was affected in his upper arm bilaterally, and communication skills were also improved. The gross motor skills in upper arm improved bilaterally. The walking speed was more pronounced, and his submaximal performance distance was extended. During background music the patient myofascially relaxed -- the spasticity began to subside, and music induced psychological and physical well-being on his emotional level. [ABSTRACT FROM AUTHOR]

Contemporary research into community music programmes highlights diverse contexts for collaborative music making. This article contributes a case of the collaboration in music making to a growing literature on creative practice in community music initiatives led by major orchestras. The authors reflect on field research involving an after-school programme that provides free, classical instrumental music instruction to primary school-age students who would not normally have an opportunity due to their socio-economic circumstances. The Pizzicato Effect, run by the Melbourne Symphony Orchestra (MSO) in the City of Hume, Australia has operated in the northern suburbs of Melbourne since 2009. Through focus group interviews with students, family members and teaching artists, the researchers examined community experiences of accruing cultural capital in conditions of social inequality and multicultural practice. Using qualitative methods, the case study aimed to position respondents as experts in their own lives, who own their knowledge of their worlds. Collaboration was central to a model of improvisation developed locally by teaching artists and applied on site. Furthermore, improvisation took the programme in different directions to the El Sistema model of youth orchestra training in Venezuela, which had been the original source of inspiration for the programme. [ABSTRACT FROM AUTHOR]

This article discusses the publication of Maria Szymanowska's "Twenty Etudes and Preludes" by Polish Music Publishers (PWM). Szymanowska, a Polish-Jewish virtuoso and composer, was a prominent figure among women composers and considered the first professional female pianist in history. The article explores the two different groups of compositions in Szymanowska's body of work, with the "Twenty Etudes and Preludes" being highlighted as a significant collection. The article also delves into the mystery surrounding the original publication of the collection and the subsequent demand for Szymanowska's music. The text emphasizes the technical aspects of the etudes and the expressive nature of the preludes, and mentions the influence Szymanowska had on Fryderyk Chopin. It concludes by noting the importance of the publication of Szymanowska's complete works, but raises concerns about the limited international sales policy of the publisher. [Extracted from the article]

The objective of this study was to determine the effect of the suggestopedia method on students' capacity to retell short tale passages. The research method adopted was quasi-experimental. Students in class IX at Maitreyawira Middle School in Palembang served as the research subjects. The study included two classes: 27 students in the control class and 27 students in the experimental class. The research findings revealed that the average experimental score during the pretest was 65.93, but the average posttest score was 87.85. Meanwhile, the research findings revealed that the control class had an average pretest score of 68.15 and an average posttest score of 80.96. The Independent Samples Test yielded a significance value of 0.000 < 0.05. Thus, Ha claimed that the suggestopedia method influenced students' ability to retell short story texts. [ABSTRACT FROM AUTHOR]

Both music and language are found in all known human societies, yet no studies have compared similarities and differences between song, speech, and instrumental music on a global scale. In this Registered Report, we analyzed two global datasets: (i) 300 annotated audio recordings representing matched sets of traditional songs, recited lyrics, conversational speech, and instrumental melodies from our 75 coauthors speaking 55 languages; and (ii) 418 previously published adult-directed song and speech recordings from 209 individuals speaking 16 languages. Of our six preregistered predictions, five were strongly supported: Relative to speech, songs use (i) higher pitch, (ii) slower temporal rate, and (iii) more stable pitches, while both songs and speech used similar (iv) pitch interval size and (v) timbral brightness. Exploratory analyses suggest that features vary along a "musi-linguistic" continuum when including instrumental melodies and recited lyrics. Our study provides strong empirical evidence of crosscultural regularities in music and speech. [ABSTRACT FROM AUTHOR]

• Music has an immediate positive effect on objective measurements of driving fatigue. • The effect of music is transient (15–25 min duration) • The effect is more pronounced and long-lasting on subjective measurements of fatigue. • Listening to music can serve as a viable short-term countermeasure to driving fatigue. Listening to music while driving is a commonly adopted fatigue-coping strategy, yet its effectiveness has been explored in only a limited number of studies. Here, we aim to evaluate its impact on passive task-related driving fatigue, as measured by a set of both objective and subjective indicators. A driving simulator experiment was conducted involving 60 participants, who completed a 50-minute driving task on a monotonous highway scenario. The participants were divided into a control group, which did not listen to any music, and an experimental group, which drove for 20 min without music and then listened to a self-selected music playlist played at the preferred intensity for the remaining 30 min. Results show that music had a positive acute effect on objective measurements of driving fatigue. However, this effect was transient (15–25 min duration), and more prominently observed in subjective measures of fatigue. An exploratory analysis of song features suggests that higher intensity, higher tempo, more danceable, and less instrumental music tend to be more effective. These findings indicate that listening to music can serve as a viable short-term countermeasure to driving fatigue. [ABSTRACT FROM AUTHOR]

Despite its importance to jazz's origins, jazz singing has often been seen as secondary to the "higher" art of instrumental music largely dominated by male musicians (Pellegrinelli). Using interviews and ethnographic data from the Shanghai jazz scene, I show how the institutionalization of jazz programs without the inclusion of vocal training pathways has exacerbated gender inequality in the Chinese jazz field. The exclusion of vocal training in jazz programs in China further solidifies the idea of singing being "artless," while the ideology of meritocracy leads to common discrimination against vocalists in the scene for their perceived lack of professional training. [ABSTRACT FROM AUTHOR]

The article discusses the issue of racism in American academic music theory, particularly in relation to the term "tonality." The author agrees with the argument that American music theory is structurally racist due to its emphasis on a white, European, and notated canon, as well as its overemphasis on functional-harmonic conventions. However, the author disagrees with the rejection of the term tonality altogether and argues that it can still be used in an ethical and intellectually responsible manner. The author also addresses the arguments against the term tonality, including its alleged uselessness, manifest racism, confusion of meanings, and association with a racist inventor. The author suggests that instead of focusing on linguistic solutions, music theorists should engage in rational discussion, testing hypotheses, and striving for agreement through empirical evidence. [Extracted from the article]