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Many organizations rely on group work to generate creativity, but existing research lacks theory on how groups' responses to recognition for creative achievement shape their subsequent creative outcomes. Through an inductive study of bands nominated for a Best New Artist Grammy from 1980 to 1990, we develop a theory of reactions to early recognition in creative groups. Our multi-method analyses include oral histories from members of each band and quantitative data, which we use to triangulate the processes they describe. Our findings reveal that groups developed sets of emergent reactions and active adjustments to the recognition and its consequences, which we call "recognition orientations." We identify three such orientations—absorbing, insulating, and mixed—that reflect how groups interpret recognition and integrate it into their subsequent processes. Most groups struggled by absorbing recognition, which led to internalizing expectations and opening their relationships to outsiders, ultimately inhibiting creativity. Some groups began to insulate themselves from recognition by externalizing expectations and bounding relationships, allowing them to sustain creative output over time. Finally, other groups developed a mixed orientation, initially experiencing the pitfalls of elevated recognition-seeking but ultimately attempting to insulate their need for external recognition by refocusing on their creative process. These findings reveal that recognition can upend the creative process, and groups that begin absorbing recognition are, ironically, less likely to earn it again in the future. Filling a critical research gap on creative production among groups that intend to continue working together, the results distinguish the skills needed to manage recognition from those needed to generate creativity, and offer insight into how groups enact longevity. [ABSTRACT FROM AUTHOR]

The pervasive Eurocentric model of music education in the United States is hegemonic, pursuing a model of performance excellence in large ensembles that, by the time young people reach high school, excludes most from music making opportunities in school. Despite numerous efforts to challenge the dominant paradigm since the 1960s, little change has happened from within the music education profession. Since 2002, nonprofit organization Little Kids Rock (Music Will) has leveraged outsider perspectives and philanthropic resources to galvanize momentum nationally towards adoption of curricula and musicking practices that focus more on popular musics and lifelong learning. Through a programme of professional development, curriculum provision and instrument donations, Little Kids Rock has both engaged in active resistance against, and established strategic partnerships with, state governments, university departments, school districts, major industry players including the National Association of Music Merchants, and education brands such as Berklee College of Music. Little Kids Rock promotes a new stream of music making called "modern band" as a disruptive phenomenon that emphasizes creativity, cultural relevance and student-centred learning while reinforcing entrenched hegemonic structures. Drawing on the history of Little Kids Rock and the modern band movement, the authors use Kahn-Egan's (1998) five tenets of punk to frame a critical examination of the modern band phenomenon and the ways which Little Kids Rock operates at various points along punk's ideological spectrum in attempting to "transform lives through restoring, expanding and innovating music education" in US schools. [ABSTRACT FROM AUTHOR]

Music training programs have shown mixed results on children's executive functions. The purpose of the present study was to evaluate the impact of a 10‐week multimodal music program with vocal development, bimanual coordination, and musical improvisation, on children's executive functions. We hypothesized that a 10‐week music program would enhance executive functions in working memory in 4‐ to 6‐year‐old children. Eighty‐four children were randomly assigned to a multimodal music program, an active control Lego program, or no treatment control condition (i.e., randomized controlled design). All children completed measures of music aptitude, music achievement, and executive functions (i.e., EF Touch) pre‐ and post‐training. Results revealed enhanced pitch accuracy and working memory for children in the music training group as compared to the other conditions. Children in the Lego condition demonstrated significant enhancements of spatial working memory. Tonal music aptitude significantly predicted performance on measures of working memory. Contributions to the literature include the randomized controlled design, group multimodal music program appropriate for 4‐ to 6‐year‐old children, and the use of executive function measures sensitive to individual differences. [ABSTRACT FROM AUTHOR]

To investigate music selection as a treatment for anxiety during Intravitreal injections (IVI) for individuals of varying cultures. 106 individuals were enrolled in this randomized controlled study. Individuals were randomized into one to three categories: (1) a control group in which the IVI procedure was performed without music (n = 35), (2) an experimental group in which the music was selected by the physician (n = 36), (3) an experimental group in which the music was selected by the patient (n = 35). After the procedure, all patients responded to a questionnaire regarding their level of experienced anxiety, pain and discomfort (grade 0–10). The primary outcome was anxiety level during the procedure. The experimental group in which patients selected music had higher number of patients with low anxiety score compared to the other groups (anxiety score <4 in 19,18 and 27 patients, respectively, p =.04). Interestingly, patients who answered the questionnaire in Arabic were less likely to desire music on subsequent injections compared to Hebrew and English speakers (52% Vs 78% Vs 100%, p =.02). Music was deemed by both experimental groups as an effective method to induce relaxation (average score of 6.6 and 7.2 in group 2 and 3, respectively). Preference for music on subsequent injections was increased in both experimental groups compared to the control group (P <.01). Patients in the third group preferred music selection on future injections more than the other groups (P <.01). Music selection may be an effective way to reduce anxiety levels during IVI. Preference for music during future injections is higher in patients who were exposed to music during IVI and may be influenced by culture. [ABSTRACT FROM AUTHOR]

More than 4600 non-academic music groups had emerged in the USSR and post-Soviet independent nations during 1960–2015, performing in 275 genres. Some groups became legends and survived for decades, while others vanished and are known now only to the most dedicated music history scholars. To explain and predict success, we built a complex network of the groups and their almost 20,000 members based on performers' sharing using the data from Wikipedia and Google. We calculated the primary network measures: centralities, degree assortativity, and clustering coefficient — and discovered that they could not accurately predict music group success, but they could distinguish between coarse measures of success, such as which groups were above or below the median. In particular, all centralities positively correlate with success, and the clustering coefficient non-linearly maximizes it. The proposed network-based success exploration and prediction methods are transferable to other arts and humanities areas with medium- or long-term team-based collaborations. [ABSTRACT FROM AUTHOR]

New parenthood is demanding and can negatively impact socially, emotionally and financially on family members particularly those already experiencing stress due to poverty or hardship, mental illness or isolation. Vulnerable parents are at risk of lower self-efficacy in parenting and less positive relationships with their children. Sing&Grow is a federally funded music therapy programme utilizing group parent–child music therapy sessions, aimed at reducing the impact of adversity and improving child future trajectories. In this interview study, ten Sing&Grow participants from across Australia discussed their experiences of the Sing&Grow programme and the influence upon their family life. Participants perceived that the programme had developed their confidence as parents by increasing their knowledge in child development and parenting skills. Improved parental self-efficacy appeared to translate into enhanced family relationships. While Sing&Grow targets vulnerable parents, these findings suggest the programme may be valuable for all new parents. [ABSTRACT FROM AUTHOR]

This study aimed to examine the effect of an intradialytic exercise program in combination with music on heart rate variability (HRV) indices and functional capacity in patients on maintenance hemodialysis (HD). Methods: Forty HD patients were randomized to four training groups for six months: the combined music and exercise group (Group A), the exercise group (Group B), the music group (Group C), and the control group (Group D). At baseline and after 6 months, all participants underwent both short- (for 30 min) and long- (for 24 h) term measurements of HRV and functional capacity assessment with a 6 min walking test (6MWT). Patients of groups A and C listened to preferred music. Results: Long-term HRV analysis showed that standard deviation of all normal-to-normal RR intervals (SDNN) and the square root of the mean squared differences of successive RR intervals (rMSSD) were significantly higher at the end of the study in groups A (by 13.2% and 47.3%), B (by 15.1% and 50%), and C (by 9.0% and 30.1%), compared to group D (p < 0.05). Values of rMSSD and percentage of RR intervals differing by more than 50 ms from the preceding RR interval (pNN50) were elevated in groups A (by 35.6% and 142.9%), B (by 36.1% and 75%), and C (by 15.2% and 28.6%), compared to baseline measurements (p < 0.05). Also, pNN50 was increased in group A compared to groups B (by 21.4%), C (by 88.9%), and D (by 142.9%) (p < 0.05). Similar results were noted by short-term HRV analysis. Functional capacity was improved at the end of the 6-month study in groups A (by 20.3% and 25.7%) and B (by 15.8% and 21.1%) compared to groups C and D (p < 0.05). Conclusions: Intradialytic exercise combined with music-listening can improve the functional capacity and cardiac autonomic nervous system activity in hemodialysis patients. [ABSTRACT FROM AUTHOR]

Whether music can influence moral judgment is controversial in the aesthetics and philosophy of music. Aesthetic Autonomy pointed out that music had a morally educational function because of its lyrics or a particular context. The key to resolving the divergence is to select absolute music without lyrics or specific context as the eliciting material. In this study, 84 participants were recruited and randomly divided into three groups to complete the Ultimatum Game (UG) after listening to different stimuli: absolute music, white noise, and no sound. Behavioral results indicated that the participants' acceptance of unfair offers was significantly lower in the music group. Also, participants in the music group have a shorter reaction time for rejecting an unfair offer than other unfair conditions. However, ERP comparison showed no significant difference in medial frontal negativity (MFN) amplitude, which reflects fairness levels, between the music group and the no sound group for either accepting or rejecting the moderately unfair offer. Brain network analyses revealed that participants in the music group showed stronger activation of rewarding circuits, including the ventral striatum, during the decision-making process of rejecting unfair offers, before the decision especially, compared to the no sound group. These results suggest that absolute music can influence fair decision-making. The reward activated by music compensates participants vicariously for the reward they receive for choosing self-interest in an unfair offer, participants no longer have to choose between self-interest and fairness norms, so the participants reject the unfair offer due to the negative emotions induced by the unfair offer. [ABSTRACT FROM AUTHOR]

The paper aims to research group music activities in selected kindergartens in mainland China. Specifically, children's engagement in group music activities and teachers' perspectives of music curriculum practices to engage children are examined. The study was conducted in 44 classrooms across six kindergartens in mainland China. A mixed method research design was used to collect and analyse data. Observations of 1085 children's engagement in group music activities were conducted. A survey and interviews gathered the perspectives of 89 teacher participants about music curriculum practices that engage children. The findings showed that the percentage of children engaged in group music activities was relatively high across the 44 classrooms. Teachers' perspectives of music curriculum practices demonstrated an appreciation of play-based pedagogies to engage children in group music activities. The findings hold implications for the design and implementation of music learning experiences for young children in educational settings. [ABSTRACT FROM AUTHOR]

Copyright of Araucaria is the property of Araucaria-Revista Iberoamericana de Filosofia, Politica y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background and Objective: To investigate the efficacy of listening to music on pain reduction during colposcopy-directed cervical biopsy (CDB). Materials and Methods: From June 2020 to November 2021, 240 women undergoing CDB were enrolled. The participants were randomized into three groups: Group 1, colposcopic examination while wearing headphones and listening to music; Group 2, colposcopy while wearing headphones but not listening to music; Group 3 (control group), colposcopy while neither listening to music nor wearing headphones. All participating women completed a 10 cm visual analog scale for subjective pain at three time points: baseline, immediately after cervical biopsy, and 15 min after the procedure. The primary endpoint was the biopsy pain score. Result: Of the 240 women, a sample size of 80 was randomly assigned per group. The clinical–pathological and procedure-related characteristics of the participants in all groups were similar. The mean baseline pain score between each group was not significantly different (2.83 in the music group, 2.54 in group 2, and 2.94 in the control group, p = 0.47). There were no significant differences between each group in terms of mean biopsy pain score (4.21 in the music group, 4.24 in group 2, and 4.30 in the control group, p = 0.98). The differences in changes between the baseline pain score and the biopsy pain score were not statistically significant (1.39 in the music group, 1.70 in group 2, and 1.36 in the control group, p = 0.69). In the multiple comparison analysis, the differences in changes between the biopsy pain score and the baseline pain score between each group were also not statistically significant. There were no complications with the intervention observed. Conclusion: This study demonstrated that there was no beneficial effect of listening to music on pain reduction during colposcopy-directed cervical biopsies. [ABSTRACT FROM AUTHOR]

Copyright of Revista Memoria em Rede is the property of Revista Memoria em Rede 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 Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR 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.)

Is it time to retire the "female composer" label? While music educators would perhaps like to think society is beyond the need for such labels, gender inequity exists in programming, publisher's offerings, and college programs. This article considers some of the arguments advanced to explain these inequities and the social/systemic biases that consideration of this topic necessarily involves. Finally, the author suggests paths and some resources for those interested in seeking out and advocating for excellent music that happens to be composed by women. [ABSTRACT FROM AUTHOR]

In schools, band is often seen as a class where students and teachers can be creative. But is this true? Many schools use a traditional band model, which may not allow space for creative activities. This article, inspired by the Music Educators Journal March 2017 special focus on teaching for musical creativity, examines and critiques the traditional model of school band with respect to the space offered for creative music experiences and offers ideas for band directors of how to structure their programs to help foster more creative musical activities. [ABSTRACT FROM AUTHOR]

Alpha-band EEG was used to index how creative mental states relate to the creation of artistic works in skilled musicians. We contrasted differences in frontal upper alpha-band activity between tasks with high and low creativity demands by recording EEGs while skilled musicians listened to, played back, and improvised jazz melodies. Neural responses were compared for skilled musicians with training in musical improvisation versus those who had no formal improvisation training. Consistent with our hypotheses, individuals showed increased frontal upper alpha-band activity during more creative tasks (i.e., improvisation) compared to during less creative tasks (i.e., rote playback). Moreover, this effect was greatest for musicians with formal improvisation training. The strength of this effect also appeared to modulate the quality of these improvisations, as evidenced by significant correlations between upper alpha EEG power and objective post-hoc ratings of individuals’ performances. These findings support a conceptualization of creativity as a distinct mental state and suggest spontaneous processing capacity is better nurtured through formal institutional training than informal. [ABSTRACT FROM AUTHOR]

In its broadest sense, the Toilet Circuit comprises smaller and independent music venues in the UK that launched many now famous artists and bands, alongside supporting many that are locally known, igniting or sustaining all-important local music scenes and their cultural production. Fueled by alcohol, drugs and adrenalin, the turbulent atmosphere of Toilet Circuit venues offer escapism for disaffected youth within the seedy aesthetic environment evocative of a recalcitrant culture. These raucous grime-pits play a vital role in the ecology of Britain's music scene and broader cultural sector. Against a backdrop of closures, this paper seeks to explore the significance of these venues and their future, using three iconic examples in London, Leeds and Kent. [ABSTRACT FROM AUTHOR]

This article outlines the pressures on young gnawa musicians embarking on a career in contemporary Morocco. The influences of the popular music industry provide new options for those looking to learn and advance. They can choose to engage the traditional system of apprenticeship or navigate their career outside it. This article outlines the pathway and expectations built into an apprenticeship-based mode of learning and becoming gnawa. It then moves to explore the opportunities and pressures that affect those who chose to sidestep the established system. Young performers who do so adeptly respond to their audiences' desires and can find success, though they may measure it differently. Even so, however, they struggle for respect from the larger gnawa community. I examine how these artists strategise their careers between traditional and novel educational systems. They prioritise skills that are important to their movement through the popular music industry. This does not preclude opportunities for ritual performance, though it does affect how and where they find work. While some fail due to a poor knowledge of repertoire or a lack of experience, others utilise a nuanced understanding of their changing audience's tastes to animate possession innovatively and effectively. Even when they are not as adept at moving spirits in ritual, they master moving bodies in concerts. [ABSTRACT FROM AUTHOR]

This article explores the relationship between diatonic modal systems and form in the music of the progressive-rock band Yes. Within, I discuss the band's approach to scalar modulation, referencing key signatures and the concept of scalar voice leading. The study concludes with the analysis of four extended pieces by Yes, which demonstrates the applicability of the theoretical modal to matters of large-scale tonality and formal articulation. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the relationship between live bands and the music they play and aggression in barrooms catering to young, college-aged patrons. Twenty musicians representing 14 different cover bands playing in licensed drinking establishments throughout Northeast Pennsylvania were interviewed about their influence on the behaviors of bar patrons. Content analysis of completed interviews revealed several important findings. Most notably, each of the musicians interviewed in this study reported being able to control and manipulate patron behavior, not just through the music they play, but also through their stage presence, their physical appearance and attire, and the way they interact with patrons while on and away from the stage. While none of the musicians reported ever deliberately trying to push bar patrons towards aggression, most agreed that they had the power to do so if desired. Conversely, musicians identified themselves as potentially important agents of social control within bars. Implications for future research and policy are discussed. [ABSTRACT FROM AUTHOR]