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The quality of parental support is recognized as a crucial factor in the early stages of a student’s development, and particularly in instrumental music education. At the start of 2020, the outbreak of a global pandemic crisis posed new and unprecedented challenges to education, forcing families to stay at home to prevent contagion. This investigation was conducted during the period of a COVID pandemic lockdown in Portugal. We explored whether parental support, provided during the lockdown period, was associated with their child’s achievement as reported by their instrumental music teacher. For this study, 39 parent–teacher dyads of first-grade students of an instrument music course were recruited from two public music conservatories. Parents supplied information on the frequency in which they provided student-support-related attitudes and actions in the home context. Simultaneously, teachers provided information about the student’s achievement during the lockdown compared with the previous in-person performance period. Results indicate a strong relationship between parental support and musical achievement, with students who received higher levels of supportive parental involvement performing better than before the pandemic crisis. The findings are discussed in relation to the importance of parental involvement in a child’s instrumental music education.

A 78-year-old woman with hypertension, diabetes mellitus type 2 and bilateral sensorineural hearing loss was referenced to geriatric psychiatry consultation. She presented cognitive dysfunction, erotomanic delusion and complex musical hallucinations (MH), described as hearing her neighbour singing a familiar church song along with bells in the background, making comments and talking to her. A computed tomography (CT) of the brain detected small right nucleocapsular and bilateral external capsules hypodensities of presumed vascular aetiology during hospitalisation. MH are a rare phenomenon with heterogeneous aetiology. Most frequently, the cause is hearing impairment; other causes include social isolation, cognitive dysfunction, vascular risk factors and medication. Studies suggest that some brain areas related to musical memory circuitry might be related and not fully mapped. Auditory verbal hallucinations with a voice that either comments, talks or sings to the patient have never been described in the literature, making this clinical case attractive. info:eu-repo/semantics/publishedVersion

Context: We previously reported positive behavioral effects of both daily mantra meditation and classical music listening interventions in breast cancer survivors with cancer related cognitive complaints. Objective: The objective of this pilot study was to compare the effects of the meditation intervention to a music listening intervention on biomarkers of inflammation and cellular aging (secondary outcomes) in breast cancer survivors. Design: Randomized control trial, baseline data collection (time 1), post intervention data collection (time 2) Setting: Community-based, Central Texas Participants: 25 breast cancer survivors (BCS) who were 3 months to 6 years post chemotherapy completion and reported cognitive decline Intervention(s): Kirtan Kriya meditation (KK) or music listening (ML), 8 weeks, 12 minutes a day Main Outcome: Telomerase activity [TA], c-reactive protein [CRP], soluble IL-2 receptor alpha [sIL-2Rα], soluble IL-4 receptor [sIL-4R], soluble IL-6 receptor [sIL-6R], soluble tumor necrosis factor receptor II [sTNF-RII], VEGF receptor 2 [sVEGF-R2], and VEGF receptor 3 [sVEGF-R3] Results: Repeated measures analysis of variance models were analyzed from time 1 to time 2 by group for each biomarker. A pattern of greater telomerase activity across time in both groups (F (1,15) = 3.98, p = .06, η²p = .21); significant decreases in sIL-4R across time for both groups (F (1,22)= 6.28, p = .02, η²p = .22); group*time effect was nominally different but not statistically different for sIL-4R (F(1,22)= 3.82, p = .06, η²p = .15); and a pattern for a group*time effect with ML group showing higher levels of sVEGF-R3 at time 2 (F (1,20)=, p = .12, η²p = .11). No significant effects were found for CRP, sIL-2Rα, sIL-6R, sTNF-RII, or sVEGF-R2.

This article reviews a recent wave of literature on the resurgence of vinyl records, examining what it has claimed about vinyl's capacity for tangibility and the contrast to digital media, associated with intangibility. These claims are explained with reference to other literatures on touch, and it is suggested that vinyl's haptics mediates and embodies the emotionally rewarding production of a sense of self. The apparent contrast of vinyl aesthetics with classical music aesthetics is also discussed, and the presence of contemporary classical music within the vinyl resurgence is considered.

What does it mean to be punk within the Canadian music industry? This article offers a close reading of the band PUP’s politics, grassroots partnerships and personal interviews to argue that they not only skew punk in genre terms, but also embody a punk ethos. Furthermore, this article will confront the ambivalent politics of punk as it becomes entangled with cultural nationalism and national identity-building through institutional arts funding and awards. If punk is about resisting the establishment, how might we reconcile PUP’s reputation as a definitively ‘Canadian’ band with their outspokenness around issues ranging from anti-Black racism to police violence to ongoing colonialism? In what ways might PUP’s leftist politics be absorbed into Canada’s national identity through their receipt of institutional recognition, funding and awards? To make sense of these entanglements, we draw on Tavia Nyong’o’s punk or punk’d theory, which responds to the apparent reification of queer theory and calls on scholars to cultivate a punk spirit. Following Nyong’o and other punk scholars, we ask: is PUP punk’ing the Canadian music machine?

This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War.

Little research exists concerning the Western marriage proposal ritual, and rejected proposals are particularly understudied. The current research used the lens of life script theory to quantitatively and qualitatively analyze 374 first-person written accounts of accepted and rejected marriage proposals between men and women that were sampled from online forums. Rejected proposals were more likely than accepted proposals to violate the proposal script. Compared to accepted proposals, rejected proposals included fewer ritual elements and they often happened "off-time." Specifically, rejected proposals came earlier in the relationship, typically prior to the discussion of the topic of marriage by the couple, and rejected men sometimes proposed to "save" an unstable or abusive relationship that was headed toward dissolution. As with other important life transition events, audiences played an important role in many proposals. Rejected proposals were more likely to occur in public than accepted proposals, and when present, audience members often participated in the proposal by encouraging couples to follow the proposal script and by expressing dissatisfaction when the script was violated. Some audiences became hostile when the woman said "no." Also consistent with life script theory, couples evinced strong emotions during proposals, and confusion and anger were common emotional responses among rejected suitors. Indeed, 15% of rejected proposal accounts described intimate partner violence. Yet, about 30% of relationships continued after the rejection, sometimes for years. These and other novel results contribute to the science of close relationships, family psychology, life script theory, commitment, rejection, and social rituals. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Objective The importance of integration in psychotherapy is a growing area of research, theory, and practice, especially regarding traumatic events. Although research relates to integration in the context of music therapy with trauma survivors, it has rarely been the main focus of research. The current study investigates which principles and techniques guide music therapists to facilitate integration of trauma survivors. Method Using the phenomenological approach, analysis of semistructured interviews with 41 experienced music therapists working with traumatized populations was conducted to identify themes regarding their perception on integration. Results The findings yielded three different ways of integration. Body integration entails the ability of active music playing to serve as a sensorial stimulus that bypasses linguistic and logical mediation and enables clients to live in peace with their body and feel whole. Event integration relates to a process by which a repressed traumatic event reemerges into consciousness through music and leads to emotional and cognitive integration of that event. Lastly, life story integration relates to the ability to perceive a life story as a whole. The process includes embedding a trauma into the natural flow of a life story through music and achieving emotional and cognitive integration. Conclusions These three ways of integration are conceptualized as a progression of three consecutive levels of integration which may assist music therapists in their work with trauma survivors. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

This article provides a critical account of Brahms’s early collection of quotations, aphorisms and poems commonly known as Des jungen Kreislers Schatzkästlein in the context of the composer’s youthful engagement with German literature. Drawing on archival materials housed in Vienna, it evaluates the 1909 publication of the Schatzkästlein by the Deutsche Brahms-Gesellschaft and traces Brahms’s path in assembling his quotations to reveal borrowings from sources he encountered in the Schumann house in Düsseldorf in 1854. The second section of the article considers the different modes of reading implied by Brahms’s collection, while the third reflects on the artistic worldview articulated by the assembled entries. While scholars have viewed the Schatzkästlein largely as evidence of Brahms’s adolescent infatuation with the writings of the German Romantics, this investigation emphasizes the competing conceptions of artistry present in these fascinatingly messy notebooks and argues that this youthful collection points to the important role played by literature in the development of Brahms’s distinctive musical sensibility.

During the 1990s and early 2000s, the Montreal hardcore scene was a vibrant, thriving and dynamic subculture with a strong sense of community. The generational and cyclical nature of such scenes has led, over the past two decades, to a significant crowd turnover with older people leaving and newcomers taking over. However, through the emergence of an Instagram account created by a man named Andy Chico Mak, its past memories are resurfacing. The recent dissemination of the Bone in the Throat series on social media, along with other archives including flyers, interviews and never-seen-before footage from the era, sparks a series of questions regarding the role and impact of archiving subcultures. Since the archival turn in social sciences, archives are considered as a reflexive and constitutive process of identity building and collective memory creating. In the case of subcultures, often overlooked by official heritage institutions, the importance of understanding archives as a site of cultural production is paramount. The collection and preservation of self-produced documents is key to scholars in order to understand the social and political dynamics at the heart of those communities. This article analyses the impact of years of video archives, gathered and organized through the work of Andy Chico Mak, in the process allowing the creation of collective memory and the development of ‘scene identity’. By relating to contemporary conversations about archiving subcultures, it also provides insight into the impact of new technologies and the creation of ‘subcultural collective memory’.

Since its crisis-marked beginnings, punk’s relationship with anarchism could be described as ‘complicated’. In spite of the wide use of the word and the circled ‘A’ symbol, not every artist considered anarchy in its political meaning of radical egalitarianism and libertarian socialism. This article explores the ‘impulse of anarchy’ in punk, as considered by Edoardo Sanguineti, as a more-than-political aesthetic phenomenon present in all avant-garde poetry (and arts in general) in modern history, consciously or not, whose ultimate goal is to change life and modify the world. Through this perspective, the article presents a comparative analysis of three expressions of crisis by three different punk groups from three different European countries, in three different languages: ‘Možgani na asfaltu’ (‘Brains on the Asphalt’) in Slovene by Berlinski zid from (then) Yugoslavia, ‘Lasciateci sentire ora’ (‘Let Us Hear Now’) in Italian by Franti from Italy and ‘Crisis’ in English by Poison Girls from the United Kingdom. The article will thus try to contribute to the understanding of anarchist and anarchic influences in coping with crisis under international capitalism and bourgeois hegemony.

Viking-rock grew out of the diminishing Swedish punk scene in the early 1980s and is lyrically linked to British Oi! and the far-right ‘Rock against Communism’ (RAC) scene. Previous research on Viking-rock either emphasizes the genre as a cultural expression of the Swedish white power milieu of the 1990s or as a product of the skinhead subculture. However, critical analyses of Viking-rock lyrics are scarce. This study emphasizes the development of the Other, as expressed in the lyrics of Viking-rock flagship band Ultima Thule from the 1980s to the 2010s, in relation to the development of the political party the Sweden Democrats. The lyrics are analyzsed from a comparative literature perspective that draws upon both borealism and the concept of the subaltern as an anti-intellectual voice of power as well as the idea that long-lasting political change is preceded by cultural change. The results suggest that Ultima Thule’s lyrical Other has gone from vague to distinct characterization. Ultima Thule also makes use of self-victimization when confronting journalism and intellectualism, much like the Sweden Democrats’ own view of themselves as political outcasts. Ultimately, the lyrics toe the party line and describe nationalists as an outcast Other in an alleged, politically correct, discourse.

The use of empty space (ES) is ubiquitous in Asian art. The authors use a computational method to quantitatively assess the amount of ES in Chinese landscape painting (CLP). The data show that 56.8% of ancient CLPs contain mostly ES, while only 9.4% from modern times do. ES reached its peak during the Yuan dynasty (1271–-1368) and its lowest point in the 1960s. Chan culture, literati ink play, the “exhibition hall effect,” and Maoist politics, as well as other social factors, may have had an impact on this shift. This empirical study indicates that art keeps abreast of current developments: The philosophy, culture, politics and general education of a specific era influence artists’ perception, aesthetics and creative output.

Artists engaging with the nanoscale have a particular problem of representation: Humans are unable to directly perceive nanoscale phenomena. Even without sensory or temporal experience of these phenomena, nanoartists are exploring technological, interactive and audiovisual mediation techniques. The author discusses this “problematic perception,” describes a key piece of nanoscientific instrumentation and finds diverse nanoart practices that exhibit a common concern for multisensoriality and embodied experience. This reflects our human desire to use our bodies to explore the world. Finally the author explores the question: How might nanoscientific and cinematic imaging systems work together with the perceiving body to further facilitate this multisensoriality?

This article traces the 20-year history of the New York Digital Salon (NYDS). Initiated in 1993 to provide an annual venue for digita art images in New York City, the NYDS quickly expanded into an international forum for exhibitions, lectures, screenings and a website. The salon also featured panel discussions with well-known digital artists and curators in its 2002 Digital Art & Culture Symposium. From 1995 to 2002, salon artworks and essays were featured in eight issues of Leonardo. In 2013, the salon’s 20th-anniversary celebration included an exhibition and catalog featuring Jean Pierre Hébert, Manfred Mohr, Michael Noll, Roman Verostko and Mark Wilson.

In this article, the authors explore the relations and interactions between sense and nonsense with a threefold goal: (1) elaborations of formal definitions of these concepts; (2) investigation of the processes of making sense from nonsense; (3) establishment of the mathematical foundations for a sense-nonsense theory. The authors thus extend the dyad sense-nonsense by introducing the concept no-sense, situated between sense and nonsense, and by extending the concept sense to the concept poly-sense. The authors construct a mathematical model of these concepts and related processes using structures such as logical calculus, logical variety and logical prevariety. This approach accords with Leonardo da Vinci’s opinion that “no human investigation can claim to be scientific if it doesn’t pass the test of mathematical proof.”

This article explains how visitors’ unpredictable movements are transformed into a consistent narrative musical form by using electronic devices with no central software to control them in the interactive installation, Ancestral Symbol. The installation uses a paleolithic cave sign as the basis for the connection of sounds and images through the visitors’ movements in the installation room, thus connecting art, archaeology, and interactivity This text explains the technology and sounds and visual materials used for the piece. It also describes how the visual elements work as loudspeakers and the strategic spatial distribution of all the elements to organize the installation.

The author addresses the place of visual representation in his body of work, focusing on the genesis of his interest in digital imaging and the relationship between digital imaging and photography. He also discusses the connection between photography and collage/montage, the extended imagination enabled by digital imaging, human-machine collaboration and the design of narrative structures, both of which are guided by the interplay between certainty and uncertainty. In addition, the author presents aspects of his creative and research processes, referring to some of his artworks and conceptual concerns. Using a retrospective and personal approach, the author’s analysis is unavoidably incomplete.

It is common in the academic reception of the legacy of Edward Said to limit the analysis of his theorization of a contrapuntal perspective on colonial history to the dominant theme of Said’s published writings. Nevertheless, alternative narratives emerge in unpublished texts preserved in the Edward W. Said Papers at Columbia University. Archival research reveals that Said actually proposes a heterophonic, instead of contrapuntal, perspective in early drafts for Culture and Imperialism (1993). Said’s legacy itself requires a heterophonic reading to analyze the overlap and interactions of these variations in his writings.

The authors present an automated, rule-based system for converting piano compositions into paintings. Using a color-note association scale presented by Edward Maryon in 1919, which correlates a 12-tone scale with 12 hues of the color circle, the authors present a simple approach for extracting colors associated with each note played in a piano composition. The authors also describe the color extraction and art generation process in detail, as well as the process for creating “moving art,” which imitates the progression of a musical piece in real time. They share and discuss artworks generated for four well-known piano compositions.

The authors present a system built to generate arrangements of threedimensional models for aesthetic evaluation, with the aim being to support an artist in their creative process. The authors explore how this system can automatically generate aesthetically pleasing content for use in the media and design industry, based on standards originally developed in master artworks. They then demonstrate the effectiveness of their process in the context of paintings using a collection of images inspired by the work of the artist Giorgio Morandi (Bologna, 1890–1964). Finally, they compare the results of their system with the results of a well-known Generative Adversarial Network (GAN).

Embodied composition is the practice of organizing sound in relation to the body and its internal/external experiences. It includes the intuitive and corporeal capacity to create, remember and respond to the environment. This creative practice manifests in the use of voice, gesture and the creative state. While many composers work with embodied composition, a clear definition is lacking. Toward this end, the author offers a perspective from her own creative practice as research. Her definition is illustrated with examples from Meredith Monk, Pamela Z and Cassandra Miller.

Although virtual reality (VR) is largely associated with a dependency on realist imagery award-winning visual effects professional Kevin Mack and oil painter Jane LaFarge Hamill use VR to produce abstract works. Abstract art and early abstract film reveal the importance of such experimentation to each medium’s latent potential and how early oddities, in due course, enter the mainstream. The author examines Mack and Hamill’s respective works to propose that experimenting with abstraction in virtual reality is crucial to its unfolding as a creative medium.

The mainstream contemporary art world is suddenly showing interest in AI art. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an AI artist. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art’s interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

The present study aimed to examine the perception of music and prosody in patients who had undergone a severe traumatic brain injury (TBI). Our second objective was to describe the association between music and prosody impairments in clinical individual presentations. Thirty-six patients who were out of the acute phase underwent a set of music and prosody tests: two subtests of the Montreal Battery for Evaluation of Amusia evaluating respectively melody (scale) and rhythm perception, two subtests of the Montreal Evaluation of Communication on prosody understanding in sentences, and two other tests evaluating prosody understanding in vowels. Forty-two percent of the patients were impaired in the melodic test, 51% were impaired in the rhythmic test, and 71% were impaired in at least one of the four prosody tests. The amusic patients performed significantly worse than non-amusics on the four prosody tests. This descriptive study shows for the first time the high prevalence of music deficits after severe TBI. It also suggests associations between prosody and music impairments, as well as between linguistic and emotional prosody impairments. Causes of these impairments remain to be explored.

Although the fields of music psychology and music therapy share many common interests, research collaboration between the two fields is still somewhat rare. Previous work has identified that disciplinary identities and attitudes towards those in other disciplines are challenges to effective interdisciplinary research. The current study explores such attitudes in music therapy and music psychology. A sample of 123 music therapists and music psychologists answered an online survey regarding their attitudes towards potential interdisciplinary work between the two fields. Analysis of results suggested that participants’ judgements of the attitudes of members of the other discipline were not always accurate. Music therapists indicated a high degree of interest in interdisciplinary research, although in free text answers, both music psychologists and music therapists frequently characterized music therapists as disinterested in science. Music therapists reported seeing significantly greater relevance of music psychology to their own work than did music psychologists of music therapists. Participants’ attitudes were modestly related to their reported personality traits and held values. Results overall indicated interest in, and positive expectations of, interdisciplinary attitudes in both groups, and should be explored in future research.

Objective: This research examines the relationship between passion for a romantic partner and obsessive relational intrusion (ORI) which is defined as repeated and unwanted behaviors toward a partner that invade his/her personal privacy and cause fear for his/her safety.Method: Based on the dualistic model of passion, we predicted that obsessive passion (OP) would be associated with fear of abandonment, which in turn would be associated with ORI. In contrast, harmonious passion (HP) should not be associated with ORI.Results: Four studies (N = 1257) supported these predictions. Study 1 found cross-sectional support for these hypotheses from the victim's perspective. Study 2 replicated Study 1 and extended it to the perpetrator's perspective by demonstrating that the relationship between passion and ORI is mediated by fear of abandonment. Study 3 replicated these findings using an experimental manipulation of passion. Study 4 found similar results by experimentally manipulating fear of abandonment, the mediator, to demonstrate its causal influence on ORI.Conclusions: Taken together, the present results demonstrate that passion and fear of abandonment play an important role in the type of behavior people are willing to pursue to maintain their romantic relationship.

This study investigated how signed performances express musical meaning and emotions. Deaf, Hard-of-Hearing (HoH), and hearing participants watched eight translated signed songs and eight signed lyrics with no influence of music. The participants rated these videos on several emotional and movement dimensions. Even though the videos did not have audible sounds, hearing participants perceived the signed songs as more musical than the signed lyrics. Deaf/HoH participants perceived both types of videos as equally musical, suggesting a different conception of what it means for movement to be musical. We also found that participants’ ratings of spatial height, vertical direction, size, tempo, and fluency related to the performer’s intended emotion and participants’ ratings of valence/arousal. For Deaf/HoH participants, accuracy at identifying emotional intentions was predicted by focusing more on facial expressions than arm movements. Together, these findings add to our understanding of how audience members attend to and derive meaning from different characteristics of movement in performative contexts.

This article will explore themes that emerged from writings and interviews with creative arts therapy colleagues from around the world during the COVID-19 pandemic. We conducted this research from March through October 2020. During this time, everything we thought we knew about our world shifted. People are living in a ‘liminal’ in-between threshold space from pre-pandemic times to the space of the moment, in between what was and will be. Issues we are living through are immediate and also existential as we negotiate local, national and global collective anxiety, trauma and survival. Artists are familiar with navigating and working in this type of liminal space. The creative process involves learning to stay with unknowns and ambiguity as part of the act of creation. This article shares thoughts and reflections with regard to being of service to others in this time of worldwide crisis.

Professional popular musicians are at increased risk of psychological distress, substance use problems, and suicide, yet little evidence is available on effective psychotherapeutic practices to address these issues. This scoping review aims to understand how professional popular musicians perceive, engage with, and respond to mental health interventions. Four databases were searched, garnering a total of 310 articles. Of these, six met inclusion criteria. Four thematic categories were explored: (1) amenability of professional popular musicians to particular therapeutic approaches; (2) attribution of treatment outcomes to tailored approaches; (3) professional popular musicians’ perceived barriers to treatment; and (4) recommendations for treatment approaches. The scoping review supports the importance of considering the characteristics of professional popular musicians as a distinct group with unique well-being needs, challenges, and strengths. There is a clear preference for tailored, affordable, and accessible approaches that consider the uniquities of musicianship and the need to explore the role of nonclinical support, such as friends, family, and industry peers.

Most polyphonic compositions of the fifteenth century have at least one voice which begins without rests. The exceptions usually use the rests to create a musical upbeat, potentially motivated by t...

Empathy—understanding and sharing the feelings and experiences of others—is one of our most important social capacities. Music is a social stimulus in that it involves communication of mental states, imitation of behavior, and synchronization of movements. As empathy and music are so closely linked, we investigated whether higher empathy is associated with stronger social bonding in interpersonal interactions that feature music. In two studies, participants watched videos in which we manipulated interpersonal synchrony between the movements of a virtual self and a virtual other person during walking with instrumental music or a metronome. In both studies, temporally aligned movements increased social bonding with the virtual other and higher empathy was associated with increased social bonding in movement interactions that featured music. Additionally, in Study 1, participants with lower empathy felt more connected when interacting with a metronome compared to music. In Study 2, higher trait empathy was associated with strong increases of social bonding when interacting with a temporally aligned virtual other, but only weak increases of social bonding with a temporally misaligned virtual other. These findings suggest that empathy plays a multifaceted role in how we enjoy, interpret, and use music in social situations.

This essay explores the musical life of a German-American ‘Forty-Eighter’ and his family, with particular attention to their domestic musical preferences as reflected in five surviving sheet-music albums. Otto Dresel, easily confused with the far more prominent German musician of the same name who settled in Boston, was a gifted amateur whose public musical activities, both choral and instrumental, typified those of many German arrivals of that generation. This was a largely male realm of affirmative, expansive ideals; here the stress was on civic virtues, happy fraternal bonds, and the celebration of German musical culture as an elevating force in America. The family albums suggests that the music he shared with his wife and children at home in Columbus, Ohio, served quite different purposes. It was performed intimately, in an often melancholy and even mournful mode that reflected the need for personal consolation and was thus more in keeping with typical Victorian attitudes toward the domestic, womanly sphere. Evidence about the troubled course of Dresel's life helps us understand his growing need to take refuge in his home and family as well as in music that helped him and his loved ones deal – for a time, at least – with deepening feelings of regret, failure and loss. This marked contrast between the public and private sides of the Dresels’ musical lives points to a need for greater attention to the distinctive character and functions of intimate family music-making in nineteenth-century America, especially during the years of widespread disillusionment and cultural reorientation that followed the Civil War.

Intimate Partner Violence (IPV) involves physical and sexual violence and coercive controlling behaviours to maximise power inequality in abusive relationships. Many women make the decision to exit abusive relationships due to the detrimental impact of IPV on their children. In a qualitative exploration, semi-structured in-depth interviews were conducted with 10 women recruited by purposive and snowballing sampling techniques. Two overarching themes of single mothers’ unique experiences of co-parenting with IPV were revealed through interpretative phenomenological analysis. The first theme was Continuous Victimisation, which indicated that post-separation victimisation was an extension of existing IPV whereby fathers used intimidation, threatening behaviours such as stalking and other monitoring tactics and the deliberate undermining of the mother–child relationship. The second theme identified was Systemic Challenges, indicating how court officials applied a ‘pro-contact’ approach and either minimised or denied mothers’ allegations of IPV and the impact on them and the children. The analysis found a persistent bias against mothers . Implications of the study are discussed before the article concludes that attitudinal change regarding IPV is required by decision makers in court processes with a recognition that abusive men may be unwilling to engage in cooperative parenting that focuses on the children’s developmental, social, emotional, psychological and physical needs.

In AABA songs (sometimes called verse–bridge songs) written and performed by the Beatles, the song texts’ scansion and rhyme show significant contrasts between different sections, and these contrasts often have important formal and narrative functions. Combining rock Formenlehre with phonetic analysis, this article shows that A modules tend to have irregular scansion and frequent rhyme, while B modules tend to show regular scansion and less frequent rhyme. In the unusual cases where A modules have infrequent rhyme, the B modules tend to offer contrast by showing greater rhyme frequency. These contrasts represent an independent, recurring formal device in the Beatles’ catalogue that does not entirely comport with other well-defined formal processes, such as the loose-verse/tight-chorus schema. The scansion and rhyme have various narrative and formal functions: They often suggest a contrast between an active and passive state in the song’s protagonist, and disruptions to regular patterns or conflict with grammatical boundaries can play a critical role in shaping phrases. B modules that thwart the norm can connote an especially high emotional arousal or suggest a process of intensification and conclusion, linking the form to an expanded statement–response–departure–conclusion form. The analyses demonstrate the central role that prosody often plays in popular song and show the importance of considering its relation to other musical patterns.

Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness.

Engaging along with music during lockdown is a kind of common behavior of human beings. This article mirrors the mass perception of music during the specific situation of lockdown in Nepal. The descriptive online survey design was used by taking 136 participants from Fine Arts Campus by purposive sampling technique. Frequency, percentage, and presentation of chars were major statistical techniques used in this research. The finding indicates that most of the participants were enjoying by listening and participating in musical activities during the pandemic. Whatever the purpose of listening, singing, dancing, composing, recording, playing the musical patterns, mass people knowingly-unknowingly connected with music during a lockdown. So, concluded that almost all respondents voted for the need for musical activities and varieties of music for managing their stress.

This article locates social relationships within late-nineteenth-century German orchestral music by examining orchestration practices and aesthetics. Wagner's innovations in tone colour, Liszt's use of programmes, and Hanslick's formalism all took attention away from orchestra performers and forged a more direct relationship between audience and composer. This article argues that commercial exchange of serious music displaced social relationships between composer, performer and audience into aesthetic dictums. In particular, the widely agreed upon subordination of orchestration and colour to compositional ‘content’ was a manifestation of the social subordination of performers to composers and resulted in the decreased visibility of performers to consumers.In ultimately breaking from both New German and formalist conventions, Strauss's Don Juan and Mahler's First Symphony brought unwanted attention to orchestration and a renewed focus on performance and performers. In contrast to Wagner's use of doublings, which created timbres without clear instrumental provenance, the orchestration choices of Strauss and Mahler emphasize distinctions between instruments and themes, further highlighting the virtuosic demands they place on performers. Strauss and Mahler made performers into co-producers of their music and raised orchestral colour to the status of content. By employing Marx's concept of commodity fetishism, which Adorno himself largely obscures, this article goes beyond Adorno's and Dahlhaus's analysis of the ‘emancipation of colour’ to show how concert consumption objectified social relations and hierarchies as issues of mere aesthetic form, while compositions themselves became imbued with life-like subjectivity.

Recent research describing the practices of specialist elementary general music teachers and students is limited, and few research studies specifically examine how practicing music educators think about their music teaching practices. In this mixed-methods case study, we bridged these areas of research by examining music educators’ expressed beliefs about music teaching and learning in light of descriptive analysis and hierarchical linear models (HLM) of time sampling data of their teaching practices in elementary music classrooms. Participants ( N = 7) shared beliefs that everyone is musical and that music educators must therefore create an environment in which children develop their musicianship by singing, moving, and playing. Time sampling data indicated that teachers spent most of their time talking, while students spent most of their time sitting still and silent. Children in younger grades spent significantly more time in movement activities than those in older grades. HLM analyses provided predictive implications for teachers’ use of singing and movement. In this article, we present findings from qualitative analysis of planning artifacts, reflections, and interviews and from HLM of time sampling data, and discuss potential meanings for music teaching and music teacher education.

The Scottish composer Sir James MacMillan (b. 1959) is a vocal proponent of contemporary sacred music, yet little scholarly analysis looks beyond the surface to explore how theological themes and language influence his work. This article offers a fresh perspective on the relationship between theology and music via an analysis of MacMillan’s characterization of his compositional process as ‘transubstantiation’. Far from being merely an evocative description, transubstantiation is a conceptual metaphor that signifies a distinctively eucharistic logic and practice in music. I trace these implications through MacMillan’s Miserere (2009), which reinscribes past music and rituals as part of refashioning the contemporary imagining of religion.

This article explores an important, yet infrequently explored, topic in youth studies: far-right festivals. Drawing upon contemporary international examples, this article suggests the powerful imagery of embodied militancy in far-right festivals may cut through to potential young recruits, especially young men, on a visceral and emotional level. They experience a strong sense of nationalist heritage, cultural belonging and radical political identity. Youth may be attracted to the far-right through festivals because they seem to be an exciting space to express resistance against the mainstream, including hatred for ethnic minorities. There is an active process of becoming that takes place. Through collectively lived experience, young people, especially young white men, are guided towards right-wing extremist membership. Such events offer not only a powerful face-to-face experience for youth, but later become a compelling digital recruitment tool, targeted at young people, when photos and videos of the festival are uploaded on social media.

This book has been in my bag for a long time and, on reflection, I am glad that I have read it gradually. When the central premise is so simple – Grand Opera Outside Paris is, indeed, about Grand Opera outside Paris – the payback comes in the detail of individual chapters and the slow emergence of a Europe-wide survey of encounter and exchange. The volume's editor, Jens Hesselager, provides an erudite and generous introduction, beginning with the familiar difficulty of defining grand opera and the importance of attending to specific performance contexts. In the first instances, of course, this meant the Paris Opéra, and Hesselager draws our attention to Sarah Hibberd's observation that the coherence of the genre was initially established ‘more through the licensing requirements of [this] institution than by [any] specific dramatic content’ (1). From here, the introduction gently encourages us to look outward.

Emotion is one of the main reasons why people engage and interact with music [1] . Songs can express our inner feelings, produce goosebumps, bring us to tears, share an emotional state with a composer or performer, or trigger specific memories. Interest in a deeper understanding of the relationship between music and emotion has motivated researchers from various areas of knowledge for decades [2] , including computational researchers. Imagine an algorithm capable of predicting the emotions that a listener perceives in a musical piece, or one that dynamically generates music that adapts to the mood of a conversation in a film—a particularly fascinating and provocative idea. These algorithms typify music emotion recognition (MER), a computational task that attempts to automatically recognize either the emotional content in music or the emotions induced by music to the listener [3] . To do so, emotionally relevant features are extracted from music. The features are processed, evaluated, and then associated with certain emotions. MER is one of the most challenging high-level music description problems in music information retrieval (MIR), an interdisciplinary research field that focuses on the development of computational systems to help humans better understand music collections. MIR integrates concepts and methodologies from several disciplines, including music theory, music psychology, neuroscience, signal processing, and machine learning. Juan Gómez-Cañón is partially supported by the European Commission under the TROMPA project (H2020 770376).