Search results for "musica."
showing 10 items of 1262 documents
Fifty shades of blue : Classification of music-evoked sadness
2016
It has been repeatedly shown that sad music induces mainly pleasant or mixed emotions, and is particularly relevant for self-regulation goals. However, this is not entirely compatible with the view that sadness is one of the basic emotions experienced in the face of an unpleasant event or a loss. Also, a distinction between grief and sadness is often drawn, which seemingly does not have relevance in relation to musical experiences. The discrepancy between the positive accounts of emotions associated with sad music and those present in ordinary sadness may be related to the previously unacknowledged spectrum of affects associated with music-related sadness. The present study aims to expose t…
Even violins can cry: specifically vocal emotional behaviours also drive the perception of emotions in non-vocal music.
2021
A wealth of theoretical and empirical arguments have suggested that music triggers emotional responses by resembling the inflections of expressive vocalizations, but have done so using low-level acoustic parameters (pitch, loudness, speed) that, in fact, may not be processed by the listener in reference to human voice. Here, we take the opportunity of the recent availability of computational models that allow the simulation of three specifically vocal emotional behaviours: smiling, vocal tremor and vocal roughness. When applied to musical material, we find that these three acoustic manipulations trigger emotional perceptions that are remarkably similar to those observed on speech and scream…
Looking into the eyes of a conductor performing Lerdahl's “Time after Time”
2010
The eye movements of a conductor were tracked during a performance of Lerdahl's “Time after time”. The analysis of the data revealed that, for most of the time, the conductor was looking at the score, rather than the performers. Most of the score-reading was in anticipation of the music to be played. Micro- and macro-anticipations could be defined, the former being between 2 to 5 seconds in advance, the later being more than 5 seconds in advance. The largest visual anticipations were as long as 10 seconds. The longer anticipations were found to correspond to the occurrence of those thematic cells the conductor considered to be of expressive importance for the piece. This suggests that the …
Las Preferencias Musicales de los Estudiantes: hacia un reconocimiento de sus Identidades Culturales
2021
Diversas tradiciones de educación musical crítica sostienen la necesidad de reconocer las identidades de los estudiantes mediante la incorporación curricular de sus preferencias musicales, las cuales pertenecen principalmente a la música popular urbana. Sin embargo, esta todavía no es utilizada de manera generalizada en los diferentes sistemas educativos y es comúnmente rechazada por los docentes, quienes la consideran estéticamente inferior. No obstante, un conocimiento en profundidad de la construcción e implicaciones psicosociales de dichas preferencias podría contribuir a aumentar su inclusión en el ámbito educativo. En este sentido, este artículo realiza una revisión bibliográfica de 1…
Music as emotional self-regulation throughout adulthood
2010
Emotional self-regulation is acknowledged as one of the most important reasons for musical engagement at all ages. Yet there is little knowledge on how this self-regulatory use of music develops across the life span. A qualitative study was conducted to initially explore central processes and strategies of the emotional self-regulation during adulthood. The data were collected through group interviews and analyzed through qualitative content analysis. Participants were 21 interviewees with an age range of 21—70 years. The results clarified conceptual features of music-related emotional self-regulation in adulthood and revealed two main trends. First, the basic nature of regulation, includi…
Performers’ experienced emotions in the construction of expressive musical performance: An exploratory investigation
2010
Does a performer feel sad when s/he performs a sad piece of music, or does s/he perform sadness? Not much is known about the relationship between felt and performed emotions in performing musicians. Some studies emphasize the importance of feeling the emotions; others underline the idea of planned expressiveness. The purpose of this study was to investigate the relationship between a performer’s experienced emotions and the construction of a musically expressive performance. Eight music students (mean age: 20.9, SD: 1.13) completed an introductory, semi-structured interview; a monitoring period during which they filled out an Individual Playing Diary; and an in-depth, semi-structured inter…
Music as a mnemonic to learn gesture sequences in normal aging and Alzheimer’s disease
2014
Strong links between music and motor functions suggest that music could represent an interesting aid for motor learning. The present study aims for the first time to test the potential of music to assist in the learning of sequences of gestures in normal and pathological aging. Participants with mild Alzheimer's disease (AD) and healthy older adults (Controls) learned sequences of meaningless gestures that were either accompanied by music or a metronome. We also manipulated the learning procedure such that participants had to imitate the gestures to-be-memorized in synchrony with the experimenter or after the experimenter during encoding. Results show different patterns of performance for t…
Music in school teaching processes through the centuries
2015
Acquisition of music terms is a significant component in a contemporary music lesson in a comprehensive school nowadays. Methodology of teaching music as a separate branch in Latvia started developing in the beginning of the 20th century with the analysis of music educators’ experience published by I. Palevics. However, music as a subject at school has a longer history therefore it would be important to explore the pedagogic role of music in different periods because during music lessons not only students’ musicality and personal development are facilitated but also the tradition of singing which includes the tradition of Song Festival is maintained. In 2008 the tradition of Baltic Song and…
Two Unknown Cases of Printed Incidental Music in the Sixteenth- and Seventeenth-Century Italian Theatre
2015
Francesco Contarini published his pastoral "La finta Fiammetta", staged in Padua with a set of intermedi in carnival 1610, under the patronage of Cardinal Scipione Borghese. A second edition (1611) – likewise dedicated to the cardinal – is accompanied by a separate libretto containing intermedi dedicated to Giovanni Mocenigo, Venetian ambassador at the Holy See in Rome. Against the background of the “War of the Interdiction” between Rome and Venice (1606–1607) the political role of these books is evident. The second of the four "Intermedi rappresentati nella f inta Fiammetta" (1611) , entitled "La lotta di Hercole con la Morte", was set to music in 1624 by Innocentio Vivarino ("Madrigali co…
From Solid Spaces To Liquid Spaces: New Ecologies of Musical Practices.
2019
Purpose: In recent years, the interest in creating new educational spaces has increased substantially, aiming to influence the methods of learning of our students and to adopt new educational strategies. This article highlights the importance of the atmosphere when remodeling musical practices. Methodologically, when transforming a space, we do not only have to improve the physical architectures but also the pedagogical ones, as well as keeping the practices consistent with these changes. The MUSICLAB CR-209 'Sound laboratory' have been built in Valencia (Spain). This is a hybrid space designed especially for collaborative projects -teachers, artists, students and researchers- in which soun…