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This article discusses two books that provide valuable insights into the music industry and its challenges. The first book, "Career Choices in Music beyond the Pandemic: Musical and Psychological Perspectives" by Julie Jaffee Nagel, explores the impact of the COVID-19 pandemic on musicians and addresses issues of musical identity and career development. Nagel incorporates psychological models to discuss the formation of a musician's identity and the challenges they face. The second book, "Working Musicians: Labor and Creativity in Film and Television Production" by Timothy D. Taylor, focuses on the working conditions of musicians in the film and television industry. Taylor argues that musicians are part of a capitalist system and challenges the notion of creativity in music work. The text also explores the power dynamics and contradictions within the creative industries, highlighting how access to the creative function is limited and how the concept of creativity is coded as feminine. It further examines how studios and producers view composers as providing a service, with their creative labor being obtained and refined for use-value. Overall, the text delves into the enduring features of capitalism and their impact on the creative industries. [Extracted from the article]

We describe the development of the Singing Ability Assessment (SAA) open-source test environment. The SAA captures and scores different aspects of human singing ability and melodic memory in the context of item response theory. Taking perspectives from both melodic recall and singing accuracy literature, we present results from two online experiments (N = 247; N = 910). On-the-fly audio transcription is produced via a probabilistic algorithm and scored via latent variable approaches. Measures of the ability to sing long notes indicate a three-dimensional principal components analysis solution representing pitch accuracy, pitch volatility and changes in pitch stability (proportion variance explained: 35%; 33%; 32%). For melody singing, a mixed-effects model uses features of melodic structure (e.g., tonality, melody length) to predict overall sung melodic recall performance via a composite score [R2c =.42; R2m =.16]. Additionally, two separate mixed-effects models were constructed to explain performance in singing back melodies in a rhythmic [R2c =.42; R2m =.13] and an arhythmic [R2c =.38; R2m =.11] condition. Results showed that the yielded SAA melodic scores are significantly associated with previously described measures of singing accuracy, the long note singing accuracy measures, demographic variables, and features of participants' hardware setup. Consequently, we release five R packages which facilitate deploying melodic stimuli online and in laboratory contexts, constructing audio production tests, transcribing audio in the R environment, and deploying the test elements and their supporting models. These are published as open-source, easy to access, and flexible to adapt. [ABSTRACT FROM AUTHOR]

Emotion terms such as “sad”, “happy”, and “joyful” apply to a wide range of entities. We use them to refer to mental states of sentient beings, and also to describe features of non‐mental things such as comportment, nature, events, artworks and so on. Drawing on the literature on polysemy, this article provides an in‐depth analysis of emotion descriptions. It argues that emotion terms are polysemous and distinguishes seven related senses. In addition, the article applies the analysis to shed light on a long‐standing debate in philosophy of music concerning emotion descriptions of music. [ABSTRACT FROM AUTHOR]

In this study, we investigated how musicians use descriptive imagery to perform expressively. The study’s procedure was carried out by university musicians alone in a naturalistic practice environment. They recorded their performance of two melodies both before and after receiving imagery-based instruction designed to make performance of the melodies very expressive. Participants read and considered a teacher’s expressive instructions for each melody, practiced in light of it, and recorded a final expressive performance, transcribing their thoughts while practicing. Results showed that ratings of expressiveness increased significantly from pretest to posttest, indicating that the imagery-based instruction was effective at improving participants’ expressive performance quality. Also, some musicians used a cognitive translation process, by which they explicitly generated plans for the musical sound properties in their performance, but others exclusively reflected on and personalised the provided imagery in their thoughts. Further analysis revealed that scoring high in the use of the cognitive translation process corresponded with greater improvement in expressive performance. We were also able to identify ‘cases of mistaken expressivity’, i.e. instances when participants believed their performance had effectively improved, but a change in expressive sound properties was not perceived by the listeners who made up our panel of judges. [ABSTRACT FROM AUTHOR]

The article focuses on evaluating music as a mood regulator in Slovakia using the Music in Mood Regulation Scale (MMR). It investigates how effectively the MMR tool, originally developed in Finland, can be adapted to Slovak conditions. It aims to identify how music influences mood regulation in Slovak respondents, analyze differences in mood regulation strategies based on demographic factors such as age and gender.

The article explores the experience of listening to classic songs with place titles, such as "San Francisco" and "New York, New York," and the emotions and nostalgia they evoke. The author describes how these songs provide a temporary escape from a fast-paced lifestyle and mundane reality, and how they create a sense of longing for an idealized past and an envisioned reality. The article also discusses the collective resonance and social connections that these songs can foster, particularly during times of social isolation. Overall, the article highlights the power of music to transport listeners and evoke deep emotions and connections. [Extracted from the article]

In recent years, collective human behavior has been investigated by using small wireless sensors in several fields including medical and educational settings, where individuals’ body movements and their proximity are observed and analyzed. These data have been mainly collected in several educational and medical settings, and few data observed in other situations are thus far available. We here investigate the collective human behavior of audience members during a live music concert by observing their body movements. We examine how different pieces of music to which audience members listen affect their body movements, using the time series data of the magnitude of body movements and the similarities in the body movements of the audience members. The results suggest that fast-tempo music can lead to an increase in the magnitude of body movements of audience members. Moreover, slow-tempo music might cause an increase in similarity between the body movements of the audience members. [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]

AbstractObjectivesMethodConclusionPeople living with dementia often experience behavioural and psychological symptoms of dementia (BPSD), which severely affect their well-being during the course of the disease. Particularly for BPSD outcomes, there is a high demand for increasing the evidence-based knowledge of non-pharmacological approaches, such as music-based interventions. Although previous reviews emphasize the potential effects of music-based interventions in people with dementia, they cover a wide range of different interventions and outcomes.Therefore, this systematic review (SR) and network meta-analysis (NMA) aims to not only investigate the efficacy of music-based interventions on BPSD, but also to compare the impact of different types of music-based interventions on outcomes. Preferred reporting items for SR and meta-analysis protocols (PRISMA-P) and the PRISMA NMA extension were followed. Several databases will be searched from inception to the date the search will be performed, for relevant randomized or non-randomized controlled trials comparing a music-based intervention with treatment as usual, active controls, or another music-based intervention. Multivariate pairwise meta-analyses will be conducted for each outcome. NMA based on a frequentist random-effects model will be used to estimate the comparative effects of each type of music-based intervention and related components across outcomes. Heterogeneity will be investigated by meta-regression models.Based on our knowledge, this may be the first SR and NMA study to compare the efficacy of different types of music-based interventions. In addition, combined with our multivariate analysis approach, it will allow us to identify potential effect modifiers in music-based intervention for treating BPSD. [ABSTRACT FROM AUTHOR]

The aim of this research was to enhance understanding of the relationship between brief music listening and working memory (WM) functions. The study extends a previous large-scale experiment in which the effects of brief exposure to music on verbal WM were explored. In the present second phase of the experiment, these effects were assessed for the visuospatial subcomponent of WM. For that aim, visuospatial WM was measured using the Corsi blocks task-backwards and Visual Patterns Test in a large sample of 311 young and older adults after being exposed to musical excerpts coming from different music composers (Mozart, Vivaldi, Glass). To account for possible effects of arousal, a silence condition was used. Individual preference for music excerpts and emotional reactions to each condition were also subjectively rated using the Positive and Negative Affect Schedule (PANAS) to account for the role of emotional reactions in shaping subsequent cognitive performance. Results showed that music affected the visuospatial sketchpad of WM. In line with the previously described Mozart effect, only Mozart's music had a significant positive impact on visuospatial WM in the two age groups, regardless of preferences, and on overall age-related WM decline in older adults. The Mozart effect was more prominent for the VPT than the Corsi task and was also expressed for the prevailing positive effect. These observations are in contrast to the selective influence of Vivaldi's music on verbal WM that was detected in our first study. Together, the results demonstrate a differential music influence on the phonological loop and on the visuospatial sketchpad. They thus contribute to the debate of whether music has the potential to affect distinct processes within working memory in an excerpt- or composer-specific manner. Also, they suggest that emotional activation and central executive attention are essentially involved in modulating the influence of music on subsequent cognition. These findings can assist in the selection of music excerpts used in cognitive rehabilitation programs that focus on visuospatial skills. [ABSTRACT FROM AUTHOR]

Purpose: The study aimed to determine the influential factors in marketing music psychology in Mashhad aerobic clubs and physical fitness. Method: The research method is a descriptive survey of which the required data were collected through a questionnaire. The questionnaire from the research background (Morton, Chang velin, 2010) was used. The statistical population included all male and female Mashhad Aerobic and Fitness Clubs (Region 9). Then 220 people on considering the sample size of five to ten times the number of research questions in survey studies. Were selected randomly. Results: Data were analyzed using descriptive and inferential statistics and statistically significant (P ≤ 0.05). The results of exploratory factor analysis showed that five factors could identify, and in total, 53.8% of the marketing variance explained the psychology of music. Also, the mean score of all components indicated a favorable relative status. Conclusion: According to the extracted factors, mental factors, psychological emotion, recognition power, influence power, and musical personality was the highest priority. The importance of marketing and customer attraction for clubs, especially concerning the fundamentals of music psychology, indicates the need to understand the influential components of sports spaces and venues. This review can have a positive and different impact on attracting customers to clubs. The psychology of music and the attention it has to people's influence can be used as a new way of marketing and attracting customers. [ABSTRACT FROM AUTHOR]

Numerous previous studies have shown the effectiveness of music therapy in enhancing cognitive functions in patients with dementia. Despite this, robust evidence in this field, especially concerning the comparison of different music therapy types, is lacking. Therefore, randomized controlled trials (RCTs) focusing on music therapy and cognitive functions in dementia patients, termed by "music" AND "dementia" OR "Alzheimer's disease" AND "cognitive", were identified from primary electronic databases to conduct this network meta-analysis (NMA). The primary outcome focused on the impact on cognitive functions, and the secondary outcome was the comparison of dropout rates between the intervention groups and the usual care control groups. Standardized mean difference (SMD) values and the corresponding 95% confidence intervals (CIs) were computed for effect evaluation. This study protocol has been registered in IPLASY (INPLASY202430082). A total of 14 RCTs with 1056 participants were enrolled, examining interventions including Active Music Therapy (AMT), Active Music Therapy with Singing (AMT + Sing), Rhythmic Music Therapy (RMT), Listening to Music (LtM), and Singing (Sing). The results indicated that RMT, AMT + Sing, and AMT all significantly improve cognitive functions in dementia patients, of which the SMD were 0.76 (95% CI = 0.32–1.21), 0.79 (95% CI = 0.03–1.49), and 0.57 (0.18–0.96), respectively. Compared with the control group (usual care), no music therapy type was associated with an increased dropout risk. In conclusion, music therapy can improve cognitive functions in patients with dementia without increasing the risk of dropout, particularly RMT, AMT + Sing, and AMT. [ABSTRACT FROM AUTHOR]

More than a century ago, Darwin proposed a putative role for music in sexual attraction (i.e., sex appeal), a hypothesis that has recently gained traction in the field of music psychology. In his writings, Darwin particularly emphasized the charming aspects of music. Across a broad range of cultures, music has a profound impact on humans’ feelings, thoughts and behavior. Human mate choice is determined by the interplay of several factors. A number of studies have shown that music and musicality (i.e., the ability to produce and enjoy music) exert a positive influence on the evaluation of potential sexual partners. Here, we critically review the latest empirical literature on how and why music and musicality affect sexual attraction by considering the role of music-induced emotion and arousal in listeners as well as other socio-biological mechanisms. Following a short overview of current theories about the origins of musicality, we present studies that examine the impact of music and musicality on sexual attraction in different social settings. We differentiate between emotion-based influences related to the subjective experience of music as sound and effects associated with perceived musical ability or creativity in a potential partner. By integrating studies using various behavioral methods, we link current research strands that investigate how music influences sexual attraction and suggest promising avenues for future research. [ABSTRACT FROM AUTHOR]

This article examines the concept of tonality in music theory and its potential connection to systemic racism. The author, a music psychology researcher and immigrant, questions the racial implications of tonality and explores its definition as both an institution and a set of organizing principles. The article suggests alternative approaches to studying diverse musical systems and proposes the use of artificial tonal systems and grammars for future research. It also discusses the Bohlen-Pierce scale, a 13-step scale that challenges traditional Western tonality, and emphasizes the importance of curiosity, humility, and interdisciplinary collaboration in music-theoretical development. The author advocates for a more inclusive and forward-thinking approach to music studies. [Extracted from the article]

Background/Objective: Alzheimer's disease is a condition that can cause memory, thinking, and behaviour impairments. This type of dementia affects approximately 50 million people globally. Currently, there is no remedy for this disease, but there are different treatment approaches, both pharmacological and non-pharmacological, that try to alleviate the symptoms. The remarkable fact about Alzheimer's response to music is that musical abilities can be preserved even though language could be lost. The objective of this systematic review is to assess the benefits of music therapy on cognitive impairments in older adults with Alzheimer's disease. Methods: This is a systematic review carried out following the PRISMA guidelines. The literature searches were conducted in the following databases: PubMed, SCOPUS, Cochrane Library, and Dialnet. The inclusion criteria established were as follows: randomised controlled studies and clinical trials published in English and Spanish from 2010 to 2024, patients diagnosed with dementia of the Alzheimer's type, aged 65 years or older, who had participated in music interventions and had cognitive changes. Results: Eleven studies were included in this review. They showed that music therapy interventions mainly improved memory, language, and orientation. The results of a methodological quality analysis showed that six of the articles had good methodological quality and four had excellent methodological quality. Conclusions: The results of this review suggest that treatment with music therapy improves cognitive impairments in patients with Alzheimer's disease. In addition, we can be sure that music creates a link between the patient and the specialist. [ABSTRACT FROM AUTHOR]

The purpose of this survey study was to describe how teacher preparation programs prepare undergraduate preservice music teachers to consider P–12 learners' socioemotional development. Music teacher education programs (N = 665) were identified from the 2019 Title II Report of National Teacher Preparation Data. Program representatives were invited via email to complete an online questionnaire; data from respondents (n = 133) were analyzed quantitatively and qualitatively. Findings revealed that programs varied greatly in providing opportunities, conceptions, and practices. Relevant, embedded coursework existed in most music teacher education programs. Just under one quarter of respondents reported requiring socioemotional development coursework, and 4.51% indicated at least one music-specific course. Course topics were directed at specific populations and teaching methods; courses were often housed in education, psychology, or sociology departments. Required experiences included fieldwork in general music, practicum, student teaching, or "diverse," rural, or urban settings. Methods of delivery for optional experiences were similar to required experiences, with the addition of conferences and partnerships with organizations. [ABSTRACT FROM AUTHOR]

The book review discusses "Destined to Fail": Carl Seashore's World of Eugenics, Psychology, Education, and Music by Julia Eklund Koza. The reviewer examines the history of eugenics and its impact on music education, particularly through the use of Seashore tests of musical ability. The book criticizes the narrow definition of musical ability based on Western classical traditions and calls for a more inclusive approach to music education. The University of Michigan Press has published a book titled "Education, and Music" by Koza, which explores the challenges and failures of the education system and may be of interest to researchers in the field. [Extracted from the article]

The performance profile (PP) technique is a standard intervention employed by mental performance consultants to enhance a range of psychological outcomes within individuals and groups. Since its inception, the PP has generated much applied and research interest in the field of sport and performance psychology. The last decade has seen a resurgence of performance profiling publications, including applied reflections and empirical investigations, as well as extending use of the technique to novel populations. In addition to novel applications, more psychological outcomes, formal adaptations, theoretical extensions, and validity data have been provided. This paper distills previous and recent PP literature so as to provide a comprehensive and updated overview of the popular PP procedure. To this end, the PP technique's implementation overview, theoretical roots, established variations, validity, and impacts to date are thoroughly discussed. Limitations of the technique and future directions to extend the performance profiling literature are offered. Collectively, this information provides readers with insight as to the flexibility, utility, and effectiveness of the PP technique and implications for professional practice. [ABSTRACT FROM AUTHOR]

This article discusses a recent publication in feminist music studies that explores the neglected aspects of 'electrosexual' music in the field of electronic music. The book examines themes such as the 'feminised' voice and sexual climax, and addresses exclusionary boundaries in electronic music based on race, gender, and prestige. It also explores the intersectionality of race in electrosexual music and discusses resistance and alternative expressions in Black popular electronic music. While the article acknowledges the book's ethical commitments, it suggests that certain identities and expressions remain unaddressed. The text offers a critical analysis of the book's content and structure, noting its exploration of the influence of academia on research and the rejection of that paradigm. It suggests that the book covers a wide range of topics but may lack emphasis on music analysis and interpretative reading. The article also discusses the role of music theory in feminist, queer, and trans music studies and suggests a broadened definition of music theory. Overall, the book provokes questions and contributes to the field of gender and sexuality studies in music. [Extracted from the article]

From a historical perspective, 'psychology' can be studied from an abundance of angels. Thus, a selected perspective requires some historiographical reflections, but also a conscious awareness of the actual chosen terms that are at stake. In this study, the historiographical perspective follows an emergent understanding of the history, which implies that the actual chosen terms are dynamically contributing to a web of terms, in which all of them may change in more or less unpredictable directions. In line with this, the aspect of music is consciously chosen, as it probably is one of the most ignored aspects of psychology in historical research. Thus, the findings in this study reveal that music as the 'direct factor' played an overarching role in the nineteenth centuries experimental psychology, but also that the changes in the understanding of music in the early sixteenth century is comparable with the changes the understanding of the soul underwent along with the introduction of the neologism 'psychology'. In the understanding of both music and the soul the sensational aspects replaced the mathematical. [ABSTRACT FROM AUTHOR]

This article provides a review of two volumes that delve into the early history of musicology. The first volume focuses on the development of musicology in Germany and Austria, while the second volume explores its development in other countries. The articles in these volumes examine the historical and institutional factors that shaped the field of musicology, as well as the influence of German and Austrian musicology on other regions. The volumes offer valuable insights into the establishment of musicology within universities and the transfer of scholarly knowledge. [Extracted from the article]

Substance craving may be triggered in people recovering from substance use disorder when listening to the same music genres they had listened to during active addiction. Given the limited research on this topic, this study examined how the combination of music and drugs facilitate addiction among people with active addiction and the role of music within this phenomenon. This phenomenological study included semi-structured interviews with 36 non-active addiction participants. Content analysis was employed to reveal themes and sub-themes regarding participants' views on the role and meaning of music during active addiction. Interview analysis revealed two main themes. The mutual enhancing effect theme relates to participants' utilization of music in service of the drug and vice versa. This mutual enhancing effect had an impact on sharpening sensory abilities and the mood participants wanted to amplify or evoke. The full addiction and music theme relates to a timepoint during active use, when music ceased to be relevant, and drugs dominated the entire experience. Participants reported down spiraling into their abuse, seeking seclusion and feeling lonelier and more depressed. The findings are discussed in light of theories in addiction and psychology of music. Rehabilitative implications are suggested. [ABSTRACT FROM AUTHOR]

Using three musical pieces as musical stimuli from Romania, Brazil, and Saudi Arabia, this study extended Fung's study by examining Chinese pre-service music teachers' (n = 115) and schoolteachers' (n = 131) personal preferences and external preferences for orchestral, folk, and popular music pieces. Two groups of participants were asked to select their preferred music from three pieces and to provide verbal descriptions of the reasons for their selections. The results showed (a) no significant differences in personal preference between the two groups but statistical significances in external preferences between the two groups; (b) the highest preference rating by both groups of teachers was folk music and the highest forced-choice preference was popular music; (c) statistically significant correlations between personal preference and external preference were evident in both groups across all three pieces; and (d) frequent descriptions by both groups of participants of the pieces in terms of musical characteristics were shared. The implications of this study are as follows. (1) Psychologists and music researchers gain insights about Chinese young adults' listening preferences, which might offer implications for future research in the field of psychology; and (2) By enhancing multicultural awareness, music education teachers and researchers should combine different music styles to broaden students' music horizons. [ABSTRACT FROM AUTHOR]

• Music may offer physiological and psychological impacts on humans. • Establishing centers of music for health in academia can help develop inter-disciplinary approaches to unravel the power of music. • Raising awareness about the potential health benefits of music can lead to further studies and the establishment of guidelines for employing music in health settings. A multitude of clinical trials measuring hemodynamic and psychological parameters have shown the beneficial effects of music on health. However, there are no clear instructions on how to utilize the potential benefits of music to improve health outcomes. Moreover, whether the effect of music is transient or enduring has yet to be determined. To address the effect of music on vital parameters and emotional well-being of patients we provide an overview of methods and findings of some studies that have evaluated the physiological or psychological impacts of music. This review puts forward a proposed model for fostering an individualized approach that can examine the therapeutic effects of music. [ABSTRACT FROM AUTHOR]

Musical large-scale form is investigated using an electronic dance music piece fed into a Finite-Difference Time-Domain physical model of the cochlea, which again is input into an Impulse Pattern Formulation (IPF) Brain model. In previous studies, experimental EEG data showed an enhanced correlation between brain synchronization and the musical piece's amplitude and fractal correlation dimension, representing musical tension and expectancy time points within the large-scale form of musical pieces. This is also in good agreement with a FitzHugh–Nagumo oscillator model.However, this model cannot display temporal developments in large-scale forms. The IPF Brain model shows a high correlation between cochlea input and brain synchronization at the gamma band range around 50 Hz, and also a strong negative correlation with low frequencies, associated with musical rhythm, during time frames with low cochlea input amplitudes. Such a high synchronization corresponds to temporal lobe epilepsy, often associated with creativity or spirituality. Therefore, the IPF Brain model results suggest that these conscious states occur at times of low external input at low frequencies, where isochronous musical rhythms are present. [ABSTRACT FROM AUTHOR]

The past two decades have seen an explosion of research on cross-modal correspondences. Broadly speaking, this term has been used to encompass associations between and among features, dimensions, or attributes across the senses. There has been an increasing interest in this topic amongst researchers from multiple fields (psychology, neuroscience, music, art, environmental design, etc.) and, importantly, an increasing breadth of the topic's scope. Here, this narrative review aims to reflect on what cross-modal correspondences are, where they come from, and what underlies them. We suggest that cross-modal correspondences are usefully conceived as relative associations between different actual or imagined sensory stimuli, many of these correspondences being shared by most people. A taxonomy of correspondences with four major kinds of associations (physiological, semantic, statistical, and affective) characterizes cross-modal correspondences. Sensory dimensions (quantity/quality) and sensory features (lower perceptual/higher cognitive) correspond in cross-modal correspondences. Cross-modal correspondences may be understood (or measured) from two complementary perspectives: the phenomenal view (perceptual experiences of subjective matching) and the behavioural response view (observable patterns of behavioural response to multiple sensory stimuli). Importantly, we reflect on remaining questions and standing issues that need to be addressed in order to develop an explanatory framework for cross-modal correspondences. Future research needs (a) to understand better when (and why) phenomenal and behavioural measures are coincidental and when they are not, and, ideally, (b) to determine whether different kinds of cross-modal correspondence (quantity/quality, lower perceptual/higher cognitive) rely on the same or different mechanisms. [ABSTRACT FROM AUTHOR]

The online community of vaporwave music is a cultural development that emerged in the 2010s and therefore fully within the ideological sphere of postindustrialism. Consisting of slowed-down samples from pop songs and advertising jingles from the 1980s and 1990s stitched together with original synthesizer pieces that resemble those used in horror-film scores, vaporwave is an undead, artificial soundscape that floats somewhere between music and sound. Its fake nostalgia for an alternative yet ossified past aims to confront our contemporary social paralysis in the face of postmillennial economic failure and political crisis. This article examines gothic elements of the vaporwave music phenomenon to analyze how vaporwave expresses sociopolitical traumas of late capitalism. Derridean notions of hauntology articulate the individual's self-isolation and objectification under the neoliberal homogenization of culture in vaporwave artist Begotten's contributions to the hushwave subgenre of the scene (2018-19). Vaporwave's cyclical and uncanny sounds embody the spectral haunting of Marx in capitalism's repetitive pronunciation of victory over its vanquished, communist foe in Sunsetcorp's 2009 single "nobody here" and the manifestations of American political trauma after 9/11 in Cat System Corporation's signalwave album, News at 11 (2016). [ABSTRACT FROM AUTHOR]

This document is a collection of abstracts from the International Journal of Psychology, covering various topics related to psychology and the arts. One abstract discusses the role of aesthetic education in developing psychomotor skills, while another explores the relationship between artistic work and the Rorschach test. Additional abstracts examine gender differences and chronic stress in music undergraduates, the effects of expressive arts-based intervention on traumatized adolescents, and the impact of aesthetic education on cognitive development. There are also abstracts on the classification and consistency of Indian musical modes, the aesthetic appreciation of haiku poetry, and the impact of musical impressing on individuals and society. The article specifically focuses on the art form called Aitys, analyzing its psychological nature and its ability to foster skills needed in the modern market world. It emphasizes the communicative and interactive aspects of Aitys, highlighting its role in promoting creative thinking and creating a sense of ethnic unity among Kazakh young people. [Extracted from the article]

An attempt is made to comprehend the latest developments in such a field of neuroscience as neuroethics, music through the perception of the human brain. Yes, for example, the key ideas of neuroethics are generally in line with the spirit of Kantian apriorism, reinterpreted in the current terms of cognitive neuroscience. Today, more and more arguments are found that "music excites such internal physiological programs that contribute to the restoration of the homeostatic equilibrium of the organism .... This means that music plays a role in human evolution. The article proposes the concept of a musical module, which correlates with a cognitive neurostructure. The theoretical and methodological features of the formation of today's classical music are investigated. The methods of analysis, synthesis, explanatory, research and scientific methods have been applied to conduct an effective research. Priority directions of modern music development in the context of neurophysiological development have been determined. Formed the results of the study, which were the basis for determining aspects of prospective musical development. Scientific research in the field of music and the field of psychology is investigated, which is the basis for the development of neuroscience. The relevance of the article is determined by the need to adapt music to the challenges of information and communication society and to determine the prospects for further development of today's classical music. [ABSTRACT FROM AUTHOR]

REPORTED STUDIES ABOUT CROSSMODAL correspondences between music and smell basically focus on individual musical parameters. An experiment was carried out to explore such correspondences emerging from musical improvisation elicited by 20 olfactory stimuli, which allows the study of multiple musical parameters at the same time. A group of 14 pianists was asked to smell each stimulus and to play a short free improvisation inspired by it. From each improvisation, 14 musical parameters were extracted. The same odorants were also described by a panel of 15 volunteers. The main outcomes were the following: 1) The mean sensory ratings on a scale of fresh vs. warm appeared correlated with the average pitch of the improvisation. 2) The four odorants perceived as somewhat camphoraceous like lavender and mint yielded more non legato/staccato articulation or rests. 3) The feminine odor character was negatively correlated with the ambitus of the improvisation, defined as the difference between the highest and lowest note, and was positively correlated with pitch-class entropy. 4) Pleasantness yielded a negative correlation with pitch-class entropy and dissonance, being positively correlated with the lowest note. The first outcome is consistent with earlier studies, but outcomes 2-4 were novel findings. [ABSTRACT FROM AUTHOR]

Purpose: Despite the use of perioperative anxiolytics and pain medication, surgery can be a stressful and painful experience. Providing patients with distractions using video and/or audio tools in addition to medication may be helpful. To date, no studies have compared different distraction modalities in a same-day surgical setting in adults. This study aims to determine whether audio-visual distraction with video glasses (AVD) is more effective in reducing anxiety and pain compared to audio distraction (AD) in conscious patients undergoing orthopaedic surgery. It was hypothesised that AVD, being the more immersive modality, would be more effective than AD on the outcome parameters. Methods: Fifty patients undergoing orthopaedic surgery with local and/or regional anaesthesia in a clinical day-care setting were randomly assigned to receive either fixed-scenery AVD or patient-choice AD with music. Primary outcome was anxiety, as measured by the Dutch version of the Spielberger State–Trait Anxiety Inventory-6 (STAI-6) prior to and 15 min after the intervention. Secondary outcomes were pain (Numeric Rating Scale Pain [NRS-P]), systolic and diastolic blood pressure, heart rate and patient satisfaction. Results: Within each group, there was a significant reduction in anxiety (p = 0.028 for AVD, p < 0.001 for AD). In contrast to our hypothesis, listening to music without watching a video (AD group) reduced anxiety significantly more than experiencing full AVD (p = 0.018). The mean pain score did not change significantly within either user group, nor did pain scores differ between user groups. Conclusion: In conscious patients undergoing surgery, watching a movie (using video glasses and a headphone set) and listening to music (using only a headphone set) are able to significantly reduce anxiety. AVD, although believed to provide higher levels of distraction, did not prove to be superior to AD. The clinical relevance of this study highlights the potential benefits of AVD or AD modalities in improving the surgical experience for conscious patients. Further research is required to examine the influence of freedom of choice in content on the aforementioned outcomes. To estimate the true value of higher immersion levels, different distraction modalities (e.g. AVD versus virtual reality) featuring the exact same scenery or content need to be compared. Level of evidence: Level I. [ABSTRACT FROM AUTHOR]

Having participants listen and react to musical stimuli is one of music cognition's foundational methods. Whereas most researchers have used stimuli adapted from existing musical traditions in such work, others have incorporated artificial stimuli (i.e., stimuli generated specifically for research that are not borrowed from any existing musical system) into their research designs. No review of this growing literature on artificial stimuli exists, leaving open the question of how useful they are in helping formulate and test research questions in music cognition. To this end, a systematic narrative review of empirical studies utilizing artificial musical stimuli (N = 52) was conducted. Comparing these studies to analogous works involving conventional stimuli in the areas of music preference, music learning, and musical emotion revealed the power of artificial stimuli in reducing concerns regarding stimulus familiarity and musical enculturation confounds, as well as in refining theory by reiterating the need for the development of composite predictive models in music cognition. This review also suggests that using artificial stimuli has the potential to help clarify the neurological and sociocognitive factors surrounding music listening behavior. Furthermore, because artificial stimuli are not tied to any existing sociocultural musical system, they may also lead to more generalizable findings. This enhanced generalizability may also coincide with expanded inclusivity, toward which the field of music cognition (and psychology more generally) are increasingly striving. Other potential uses, benefits, and limitations of artificial musical stimuli are discussed, as well as recommendations for researchers seeking to utilize such stimuli in future studies. [ABSTRACT FROM AUTHOR]

Absolute pitch (AP) is a fairly rare and special phenomenon that has relevance for musicology, psychology, genetics, and neuroscience. AP possessors are able to identify the pitch of an isolated sound or to produce that sound without a reference point. The authors' aim is to review the literature on AP. The phenomenon of AP was described in the era of Mozart, but it was only in the last decades of the 19th century that it became the focus of research. The standardization of the tuning system and organized music education underlied the interest in AP, and Bachem's tone chroma concept was relevant as well. The prevalence of AP is estimated to be between 0.01% and 1% in the general population, however, larger-scale epidemiological studies are lacking. AP's prevalence is much higher in special groups, such as among trained musicians, relatives of AP possessors, blind persons, people native in tonal languages, Asian music students or musicians, and those with an autism spectrum disorder. The genetic and environmental factors behind this ability are briefly summarized, followed by a detailed discussion of the solfège methods (movable-do and fixed-do systems) that can facilitate the development of AP. [ABSTRACT FROM AUTHOR]

From 2012 to 2023, the American Psychological Association served as publisher of Psychomusicology: Music, Mind, and Brain. Annabel Cohen and Mark Schmuckler were the successive editors-in-chiefs during this time. As the journal is ceasing publication, the two editors reflect on the development and progress of the journal in the context of the history of psychology and publication trends. They present their review in 10 short movements each with a unique musical emotional expressivity: overture, amabile, vivace, elegy doloroso, sforzando, capriccio, con brio, pendolo, agilmente, and finale risonante, ending on a very upbeat note! Early on, Psychomusicology offered a much-needed research forum for the psychology of music. More recently, the recognized importance of music psychology to almost all areas of psychology has led to increasing numbers of outlets for publication. During the 12 recent years under APA's stewardship, the journalmore than doubled the number of articles published since the journal's inception in 1981. The entire corpus of almost 600 articles represents foundational and well-cited contributions to such current research areas as musical expectancy, performance excellence, musical development, neuroscience, emotion, preference, and film music, among others. Cohen and Schmuckler express deep gratitude to the authors, past editorial board members, and reviewers for their contributions to this corpus, and to the American Psychological Association Publications office and staff both for support and, importantly, for holding and making accessible in perpetuity the outstanding scholarship within the archives of Psychomusicology: MusicMind & Brain and Psychomusicology: A Journal of Music Cognition. [ABSTRACT FROM AUTHOR]

Within Aotearoa New Zealand (NZ), in general, and Taranaki, in particular, research on understanding experiences of individual practice for amateur adult string players has been limited. In 2021, with the aim of contributing to musical development in the Taranaki Symphony Orchestra (TSO), four adult string instrumentalists agreed to participate in semi-structured interviews, which were transcribed, coded, analysed and interpreted. Through the lens of interpretive phenomenology and a realist stance in music psychology, this article examines the emergence of complex, layered and dynamic experiences from players, including "Gestalt," "deliberate" and "additive" approaches to practising music (Tan et al., Tan, S.L., Pfordresher, P. & Harre, R. (2010). Psychology of Music: From Sound to Significance. (77,79, 179–197). Psychology Press. and "metacognitive strategies" (Concina, Concina, Frontiers in Psychology 10:1–17, 2019), "performance cues" (Ginsborg et al., Ginsborg, J., Chaffin, R., & Nicholson, G. (2006, August 22–26). Shared performance cues: Predictors of expert individual practice and ensemble rehearsal. [Conference session]. In 9th International conference on music perception and cognition, university of Bologna, Italy. https://www.researchgate.net/publication/265508058), "mental models" (Keller, P.E. Annual New York Academy of Sciences 1252:206–213, 2012) and "mental imagery rehearsal" (Davidson-Kelly, K., Moran, N. & Overy, K. (2012, July 23–28). Learning and memorisation amongst advanced piano students: a questionnaire survey. [Conference session]. International Conference on Music Perception and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music, Thessaloniki, Greece. http://icmpc-escom2012.web.auth.gr/files/papers/248%5fProc.pdf, Davidson-Kelly, K. (2014). Mental Imagery Rehearsal Strategies for Expert Pianists. [Doctor of Philosophy thesis, University of Edinburgh]. https://era.ed.ac.uk/handle/1842/14215) in music psychology. After receiving written feedback from stakeholders, recommendations include the implementation of individual practice forms (Hart, J.T. Music Educators Journal 101:57–64, 2014), and creating an online space for TSO players to exchange and reflect on individual practice experiences. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Rezensionen zur Germanistischen Sprachwissenschaft is the property of De Gruyter 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 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.)

The therapeutic effect of music on mental and physical health is a well-known fact. However, there is a knowledge gap in understanding music’s effect on university students coping with the mental health effects of the COVID-19 pandemic. The qualitative analysis method has been used in the research. In this context, an online survey has prepared and presented to the participants. NVIVO 12™, a qualitative data analysis method, has been used to evaluate the survey results. Our study demonstrates that physical distancing measures negatively impact university students’ mental health (e.g., stress, depression, anxiety) due to a lack of social interaction, support and the distinction between study and rest areas during the COVID-19 pandemic. Our study also reports diverging opinions regarding the virtual learning system. Some students expressed positivity towards the virtual learning system due to the absence of commuting stress and flexibility. However, many students still answered negatively due to perceived lowered lecture quality and the challenge of adjusting to the new educational environment. Musical experiences were found to be effective coping strategies that help maintain well-being and health among students due to their effectiveness in immediate mood change and distraction from reality. [ABSTRACT FROM AUTHOR]

Musical abilities and the possibilities of measuring them have drawn the attention of both music educators and music psychologists for decades. Due to parallel development of these disciplines, the assessment of musical abilities can be categorized into two main types – evaluation by music educators (primarily based on reproduction assessment) and the measurement of perceptual abilities through tests. Although the majority of standardized psychological tests for musical abilities emerged during the 20th century, it is evident that this issue continues to inspire researchers in more recent times. Consequently, there is a considerable number of newer tests for assessing musical abilities. The aim of this study is to present the characteristics of tests published after the year 2000, highlighting their potential applications in educational practice and within the scope of research on musical abilities across different disciplines. The following instruments have been analyzed: Goldsmiths Musical Sophistication Index (Gold-MSI), Montreal Battery of Evaluation of Amusia (MBEA), University of Washington Clinical Assessment of Music Perception Test, The Montreal Battery of Evaluation of Musical Abilities (MBEMA), MBEMA on tablet, Implicit Tonal Ability Test (ITAT), Musical Aptitude Test (MAT), Musical Ear Test (MET), Profile of Music Perception Skills (PROMS), Brief PROMS, PROMS-S, Mini-PROMS, and Micro-PROMS. The results of the research reveal evident differences in the content and purpose of the tests. Some tests can be applied as early as the age of 4 to 6 years (MBEMA on tablet), from 6 to 8 years (MBEMA), and from 6 to 12 years (ITAT), while others are intended solely for adult participants. Variations also exist in the content of the tests, determining which types of musical abilities will be measured. While MET includes only two subtests (Melody and Rhythm), others incorporate tasks such as Harmony, Dynamics (MAT), Tuning, or Loudness (PROMS). Another significant variable is the duration of the assessment, ranging from as little as 10 minutes for implementation (Micro-PROMS) to as much as 90 minutes (MBEA). Depending on the research needs, the manner of expressing results should be considered, as most tests calculate a total score, whereas MAT presents results in the form of a five-dimensional profile. In conclusion, there is a solid selection of tests for musical abilities published after the year 2000, accessible to researchers. Some of them are adapted for online use, enabling a broader range of participants in research in the field of music pedagogy and other disciplines. We hope that the test overview presented in this study will aid researchers in selecting suitable instruments for their investigations, taking into account different types of abilities in relation to research needs, participant age, or planned assessment time. [ABSTRACT FROM AUTHOR]

Background: Music therapy is often used to relieve anxiety and depression in breast cancer patients, but the clinical effect of music therapy on breast cancer patients is still controversial. This study was a systematic review to investigate the effects of music intervention on anxiety, depression, pain, and quality of life in breast cancer patients. Method: A computer search of PubMed, Embase, Web of Science, and The Cochrane Library repositories was conducted. We searched for randomized controlled trials (RCTs), published in English until October 2023, on the effects of music interventions on anxiety, depressive symptoms, pain levels, and quality of life in breast cancer patients. The Cochrane Manual of Systematic Review 5.3 was used to evaluate the quality of the included references, and Stata15.0 software was selected for meta-analysis of the study indicators. Results: A total of 10 articles were included in this study, including 593 patients. Meta-analysis showed that music intervention could effectively alleviate anxiety symptoms [standardized mean difference (SMD) = -2.12, 95% confidence interval (CI): -3.17-1.07], depression symptoms (SMD: -0.77, 95% CI: -1.47-0.07), and pain degree (SMD: -3.47, 95% CI: -6.45--0.48). There was no significant difference in the improvement of patients' quality of life (SMD: -0.07, 95% CI: -0.48-0.34). Conclusion: Music intervention can effectively relieve anxiety and depression symptoms in patients with breast cancer, and reduce the degree of pain, but demonstration of its ability to improve the quality of life of patients requires additional research. [ABSTRACT FROM AUTHOR]

Background Music therapy is a promising complementary intervention for addressing various mental health conditions. Despite evidence of the beneficial effects of music, the acoustic features that make music effective in therapeutic contexts remain elusive. Aims This study aimed to identify and validate distinctive acoustic features of healing music. Methods We constructed a healing music dataset (HMD) based on nominations from related professionals and extracted 370 acoustic features. Healing-distinctive acoustic features were identified as those that were (1) independent from genre within the HMD, (2) significantly different from music pieces in a classical music dataset (CMD) and (3) similar to pieces in a five-element music dataset (FEMD). We validated the identified features by comparing jazz pieces in the HMD with a jazz music dataset (JMD). We also examined the emotional properties of the features in a Chinese affective music system (CAMS). Results The HMD comprised 165 pieces. Among all the acoustic features, 74.59% shared commonalities across genres, and 26.22% significantly differed between the HMD classical pieces and the CMD. The equivalence test showed that the HMD and FEMD did not differ significantly in 9.46% of the features. The potential healing-distinctive acoustic features were identified as the standard deviation of the roughness, mean and period entropy of the third coefficient of the mel-frequency cepstral coefficients. In a three-dimensional space defined by these features, HMD’s jazz pieces could be distinguished from those of the JMD. These three features could significantly predict both subjective valence and arousal ratings in the CAMS. Conclusions The distinctive acoustic features of healing music that have been identified and validated in this study have implications for the development of artificial intelligence models for identifying therapeutic music, particularly in contexts where access to professional expertise may be limited. This study contributes to the growing body of research exploring the potential of digital technologies for healthcare interventions. [ABSTRACT FROM AUTHOR]

Music interventions in medicine have been shown to reduce anxiety and depression, decrease pain, and improve quality of life; however, a review of clinical music interventions in dermatology is lacking. Studies have shown that playing music for patients undergoing dermatologic procedures (Mohs surgery and anesthetic injections) can decrease pain and anxiety. Patients with pruritic conditions—such as psoriasis, neurodermatitis, atopic dermatitis, contact eczema, and situations requiring hemodialysis—have exhibited decreased levels of disease burden and pain when listening to preferred music, pre-chosen music, and live music. Studies suggest that listening to certain types of music may also alter serum cytokines, affecting the allergic wheal response. Additional research is necessary to determine the full potential and practical applications for clinical music interventions in dermatology. Future research should focus on targeting skin conditions that may benefit from the psychological, inflammatory, and immune effects of music. [ABSTRACT FROM AUTHOR]

This study aims to analyze and discuss traditional and alternative theories of leadership in organizations, through a literature review encompassing the main approaches utilized in contemporary leadership research. The analysis considers such theories´ underlying assumptions about the nature of social science and society. To obtain the results, the literature is categorized in a novel and ex post facto way in Burrell and Morgan´s four-paradigm matrix. It is concluded that the majority of research on the topic is functionalist with a pragmatic orientation and that, from the trait theories of leadership to the evolutionary psychology, more plural knowledge is required to promote more effective organizations, persons, and, consequently, societies. [ABSTRACT FROM AUTHOR]

Music plays a significant role in various celebratory occasions and is integral to the human experience. This article focuses on six components of music perception: pitch, melody and contour, harmony, timbre, structure, and temporal events. By examining studies on infant music perception, it becomes evident that these components are innately present rather than acquired through learning. The findings of this research contribute to a better understanding of these innate qualities and provide insights into human musicality and language development. [ABSTRACT FROM AUTHOR]