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"Miss, can we learn 'Rolling in the Deep' in choir?" This was a question posed by a middle school student at the first choir rehearsal of the year. This Adele song features the husky, bluesy tones of a mature female voice with lyrics that might possibly be considered suggestive and inappropriate for a middle school choir. As the year progressed student numbers ebbed and flowed from the choir whilst the director was attempting to prepare for the Anzac Day Service. At the same time, another teacher within the school formed a 'lunchtime music club', where students were welcome to turn up and 'sing-a-long' to their favourite songs with a CD player. To the students, there was a choice between listening and singing to 'their' music or learning to sing 'old people's music' (Green, 2006). Is this symptomatic of choirs generally, or only in schools where there was no established choral tradition? How do successful choral directors maintain their choirs in the age of 'The Voice'? Are school and community choral programs adapting to the popular culture? [ABSTRACT FROM AUTHOR]

In this case study, the author investigated intersections of secondary students’ musical engagement in a Songwriting and Technology Class (STC) and outside of school. The study traces the experiences of three individual participants and three participant groups (six embedded cases in total) in the creation, performance, recording, and production of original music over the course of a culminating class project. Findings suggest that the STC allowed students to experience smooth transitions between their musical engagement and learning in and out of school. Key factors that contributed to participants’ engagement in the STC were (a) their experience with instruments and software outside of school and (b) use of popular music. Participants’ engagement in the STC (a) informed and influenced the ways they listened to music outside of school, (b) broadened and deepened their aesthetic preferences, and (c) provided an environment in which participants could experience and negotiate their perspectives on issues related to popular music and the music industry. Participants also saw the STC as related and connected to their current and future lives as musicians. The study supports the inclusion of curricular offerings that allow for crossfading or overlap between students’ in-school and outside-school musical experiences. [ABSTRACT FROM PUBLISHER]

Background and aims: This study investigated whether adolescents who drink and those who are teetotal differ in the link between music motives and health-related outcomes (life satisfaction, self-rated health, school pressure, somatic complaints, depressed and aggressive mood, physical powerlessness, frequency of being bullied and bullying others and evenings spent out with friends). It also looked at whether associations between music motives and health-related outcomes remained significant when drinking motives were included among drinkers. Methods: Confirmatory factor analysis and structural equation models were estimated based on data from 4,481 adolescents from Switzerland (mean age 14.5, SD = 0.9). Results: It was confirmed that the four music motives and the four drinking motives obtained by crossing the valence (positive–negative) and the source (internal–external) of expected change in affect form distinct dimensions (i.e. the 8-factor model best fitted the data). Drinkers and non-drinkers differed in the various links between music motives and health-related outcomes. For example, almost all the links between conformity music motives and the health-related outcomes were significant for non-drinkers but not for drinkers. Enhancement music motives, by contrast, were often significant for drinkers but not for non-drinkers. Coping music motives were significant among both drinkers and non-drinkers. These links were basically unchanged when drinking motives were taken into account. Discussion and conclusions: This study indicates that music serves important functions in the lives of adolescents, even among those who use alcohol for different motives. This makes listening to music a promising potential alternative to alcohol use. [ABSTRACT FROM AUTHOR]

This study examined computer-mediated communication (CMC) – blogs and responses to YouTube postings – to better understand how CMCs reflect adolescents' attitudes towards musicians playing instruments that cross gender stereotypes. Employing purposive sampling, we used specific search terms, such as ‘girl drummer’, to identify a sample of 32 English-language blogs addressing boys' and girls' instrument choices. The texts of these blogs were analysed and coded according to emergent themes. Online participants used CMCs to provide mutual support, seek out role models, highlight the relationship between physical appearance and playing a specific instrument, comment on the performance of musicians of the opposite sex, examine the relationship between music genre and musicians' gender, and debate sexual orientation issues related to instrument choice. Our results show that the web can be a supportive place for these instrumentalists as well as a place that replicates the harassment they may experience in person. [ABSTRACT FROM PUBLISHER]

In Chinese society over the last two decades, modernisation and globalisation, together with the transition to a market economy, have created new imperatives and challenges for the school music curriculum. As a result, the 2011 reform of the Curriculum Standards for Primary Education and Junior Secondary Education marks the first time that the school music curriculum officially included popular songs. In response to this change, this empirical study explores Chinese adolescents' (mainly 12–17 years of age) popular music preferences in their daily lives and to what extent and in what ways they prefer learning about popular music in Beijing's schools. Data were drawn from survey questionnaires completed by 2971 secondary students and from interviews with 14 school leaders and teachers from 12 secondary schools in 2012. The survey findings of this research reveal the extent of Chinese students' preferences for a variety of popular music styles in their daily lives and in school and the consequent need for the teaching profession to improve students' learning in this area. This paper argues that teaching and learning about popular music rely on the interplay between music found inside and outside the school environment and between formal and informal school music activities, together with interactions between schools and students that might be enabled by developments in the school music curriculum. However, when a new wave of campaigns to assimilate popular music into school education is launched, what will remain to be seen is the degree of the Chinese government's zeal as it strives to transform popular music into a tool for its own purposes, whether it be political ideology, an integration of socialist educational ideals or a mediation of liberal education. [ABSTRACT FROM AUTHOR]

Current study discusses an approach of hard rock, in English, for high school students, from a multimodal perspective. The songs are analyzed in terms of their musicality and literariness and hard rock is considered a historically constituted complex cultural movement. The aesthetics of violence, present in the rock'n'roll scenario, specifically focused on the themes of drugs and alcohol abuse, is analyzed from the perspective of multiliteracies, for the development of teenagers' critical education. The paper is theoretically based on theory by Lévy (2010), Kress (2000) and Kalantzis and Cope (2000) for multiliteracy concepts and on Walser (1993) for the criticism on the musical language. Songs by the USA rock bands Metallica and Guns N'Roses are discussed. [ABSTRACT FROM AUTHOR]

Abstract: This study hypothesized that frequent exposure to and attention to music with substance-use references would be indirectly related to alcohol, cigarette, or marijuana use through pro-substance-use beliefs (e.g., norms, outcome expectancies, and refusal efficacy). Parent–child communication, however, would attenuate such associations, which would differ by ethnicity. Multigroup mediation and moderation analyses were conducted, using cross-sectional survey data from 253 Latino and 308 European American 6th–8th grades students. For Latino and European American early adolescents, best-friend-injunctive norms and weak refusal efficacy were significant mediators, but not positive outcome expectancies. Descriptive norms were a significant mediator, but only for European American early adolescents. Although targeted parent–child communication and parental mediation did not moderate the associations between the music-exposure variables and the pro-substance-use beliefs variables, targeted parent–child communication attenuated the association between listening to favorite songs and alcohol consumption. Parental mediation attenuated the association between attention to music and alcohol consumption. [Copyright &y& Elsevier]

Music is among the most pleasurable, motivating, and satisfying everyday artistic activities in adoles-cence. Although the domain of music psychology has shown that listening to music can induce happiness as an emotional state, there is a rarity of research examining whether music listening can be associated with a global happiness, namely, subjective well-being (SWB). The aim of this study was to test a self-determination model in which self-determined motivation for listening to music can be linked with more SWB among late adolescents. A Canadian sample of 229 late adolescents (M = 18.24 years old, SD = 0.95; range = 17 to 21 years old) completed measures of self-determined music listening (listening to music for autonomous motives vs. controlled motives) and of SWB (positive and negative affects, as well as life satisfaction). Results from structural equation modeling confirmed that higher levels of self-determined motivation for listening to music predicted more SWB. These findings suggest that young people may have a happier life when they listen to music for autonomous/self-determined reasons (e.g., because music is inherently pleasurable and personally meaningful). Therefore, our study draws research directions for music psychology and the psychology of positive youth development by discuss-ing the role of music motivation in the development of happiness in youth. [ABSTRACT FROM AUTHOR]

Understanding how young teen girls use music to navigate the emotional dramas of first love presents an important insight into the part media play in teens’ processes of identity formation. Through analysis of forum postings on the official Taylor Swift website, I explore how teen girls “talk” about Swift's music in an effort to understand how these girls use the lyrics of Swift songs in a prospective remembering of their future relationships. While many of Swift's lyrics reinforce social norms around the search for a Prince, I argue that they also highlight the complexity of relationships and foster a sense of nostalgia in reverse for young teen girls. My analysis draws attention to the integral role of this online forum as a safe space for the self-disclosure of feelings and as a key mechanism of emotional support during the teen years. [ABSTRACT FROM AUTHOR]

There is an increasingly robust literature of recent research findings that support the developmental importance of music in adolescence. However, this intriguing literature is not familiar to many developmental psychologists, possibly due to a lack of communication among researchers and because of publication trends in developmental journals. This review aims at informing on current knowledge of how music listening can play a role in the psychosocial development of adolescents. To this end, three arguments are discussed in light of recent empirical research: music influences important aspects of adolescent development; music can represent a protective and a risk factor; and music can serve as an adjunct component in prevention and intervention. Therefore, it is proposed how music is a developmental resource in adolescence. It is argued that research on the developmental role of music can create a window to the everyday psychological, social, and cultural needs of contemporary adolescents. [ABSTRACT FROM PUBLISHER]

Abstract: Several studies have focused on the potential impact of children''s hearing loss on learning and development. Recently, numerous teenage students have been found to be fond of listening to music on personal devices and participating in recreational music activities. The objective of this study was to investigate teenage students’ hearing impairment, their experience with recreational noise exposure, and their self-reported hearing. The participants were 1878 first-year students at a university in Taiwan. The result of the pure tone audiometry test showed that 11.9% of the participants had one or two ears with a hearing threshold over 25dB. Over the past year, approximately 80.9% of the participants had taken part in at least one loud-noise recreational activity, and 90.9% of the participants were in the habit of using earphones. Among the participants, 190 students with a high level of recreational noise exposure were assigned to the exposure group, and 191 students with a low level of recreational noise exposure constituted the control group. The exposure group had more hearing problems than the control group, but no significant difference existed between the two groups in the pure tone audiometry test (p =0.857). It is suggested that the schools should reinforce hearing health education and proactively provide intervention measures, such as hearing tests, evaluation of noise exposure, and hearing protection. [Copyright &y& Elsevier]

A speech from the 2012 Pop conference is presented, which discusses the meaning of the conference's title "Sound of the City," based on the book "The Sound of the City: The Rise of Rock and Roll" by Charlie Gillett. Gillett's career and his wife Buffy Chessum are discussed, as well as the history of popular culture and rock music. The psychological aspects of teenagers' music, 1960s popular music in the U.S. and Great Britain, and musical categorization are discussed.

The article discusses South Korean popular music, or K-pop groups, such as SHINee, TVXQ, and 2 PM, their popularity among teenagers in the U.S., and ways for libraries to provide information and materials about K-pop. Also mentioned are Korean television dramas such as "Shut Up Flower Boy Band," the founding of entertainment agency SM Entertainment by Lee Soo Man in the 1990s, and library programming for fans of K-pop. The author describes K-pop programs at the Los Angeles Public Library (LAPL) in California, and provides lists of male and female K-pop bands and online resources for K-pop culture such as the websites www.allkpop.com, www.dkpopnews.net, and www.freegalmusic.com.

The article looks at the depiction of music and emotions in several works of literature, focusing on the relationship between popular music and adolescence. Works discussed include the short story "Imagine Kissing Pete," by John O'Hara, the essay "Cruel Optimism," by Lauren Berlant, and the essay "Adultery," by Laura Kipnis. Aspects of utopianism addressed in these works are reviewed.

Several studies have addressed the importance and function of music for Western adolescents, but so far no research has considered whether these findings can be generalized to non-Western samples. Accordingly, data was collected from 1000 Pakistani postgraduate students which indicated that 98.1% enjoyed listening to music; average exposure was 1.45 hours per day; the most popular styles were Pakistani classical music, Western pop music, and ghazal; 8.9 % played a musical instrument with average 1.69 hours per day; listening to music was preferred to all indoor activities considered and to two outdoor activities; playing music was preferred to all but one of the indoor and one of the outdoor activities; preference for listening and playing music relative to other indoor and outdoor activities varied significantly between boys and girls and listening and playing music had different perceived benefits that could be grouped into six and seven factors respectively. These findings are compared with earlier Western research. [ABSTRACT FROM AUTHOR]

Listening to music from a variety of national, ethnic, and historical traditions may help adolescents develop respect for individual differences, particularly when they are challenged to confront music that has little immediate musical appeal for them. This article outlines strategies for two sample listening lessons, using Serbo-Croatian gusle epics as an example of seemingly "ugly" music. Information about the gusle tradition is given, along with suggested resources for teaching these lessons. One lesson helps students evaluate music using descriptive rather than judgmental words, whereas the other promotes discussion of music's cultural and personal meanings by comparing and contrasting very familiar and very unfamiliar music. In addition, suggestions are provided for legally downloading Internet videos for classroom use. [ABSTRACT FROM AUTHOR]

This paper explores the convergence of technology and the arts within the context of aurality in the twenty-first century. Jenkins argued this is taking place within a cultural convergence, whereby a vernacular culture focused upon participation, creation, performance, and migratory behaviour of media audiences has emerged. The developing changes to the creation and use of media technologies impact and intensify adolescents' experience of auditory expression and multi-modal performative experience. These changes have tremendous import and expand possibility within school music education. This paper conceptualises a twenty-first century understanding of aurality and: (1) develops contextual understanding of the terms orality, aurality, oral/aural culture, and secondary orality; (2) conceptualises secondary aurality as a phenomenon; (3) explores the impact of secondary aurality on creation processes for adolescents and discusses this within the design of current multi-media technologies; and (4) posits practical application to school music settings with the purpose of potentially including and engaging all adolescents. [ABSTRACT FROM AUTHOR]

The article presents news for music therapists about congresses and medical reports including the congress "Guided Imagery and Music" from April 27-29, 2012 in Hückeswagen, Germany, the meeting of the European Music Therapy Confederation (EMTC) in Vienna, Austria, from May 28-29, 2011, and a report about the numbers of young people listening to very loud music and the effects of listening to loud music.

This study examined the roles of popular music in the lives of immigrant adolescents from the Commonwealth of Independent States (CIS-former Soviet Union) in Israel. Based on 70 in-depth interviews with newly arrived adolescents aged 12-18, our research revealed that these adolescents' musical preferences matched different stages of adaptation to their new country, with different music styles fulfilling different integration needs. During their first two years in Israel, interviewees enthusiastically explored local musical fare. This stage was also characterised by positive attitudes towards their new home and their anticipated integration. In dramatic contrast, the next three to five years were characterised by disappointment with the local culture, accompanied by growing social alienation. Many adolescents found consolation in late-1980s Russian rock music, as texts critical of the Soviet regime helped them express anger and frustration felt as they came of age in new, difficult and often hostile surroundings. It seems, therefore, that, for immigrant adolescents, different types of popular music not only serve as a marker of their evolving cultural identity but also as indicators of social and psychological adaptation. [ABSTRACT FROM AUTHOR]

This investigation examined the precursors of adolescents’ participation in sport and music activities in the United States by testing a developmental model across 7 years. Data were drawn from youth questionnaires in the Childhood and Beyond Study (92% European American; N = 594). Findings suggest that patterns of participation across a 3-year period in elementary school predict adolescents’ participation through their motivational beliefs. Specifically, children who participated in an activity, children who participated consistently across multiple years, and children who were highly active had higher adolescent motivational beliefs 4 years later than their peers. These motivational beliefs, in turn, positively predicted adolescents’ participation 1 year later. Cross-domain analyses suggest that children typically maintain their orientation toward sports and music (e.g., high music-low sport orientation, not oriented toward either domain) as they age. These findings highlight the consistency in children’s leisure pursuits and interests from childhood through adolescence. [ABSTRACT FROM AUTHOR]

Using social cognitive theory and structural regression modeling, we examined pathways between early adolescents' music media consumption, involvement with music media, and 3 domains of self-concept (physical appearance, romantic appeal, and global self-worth; N=124). A mediational model was supported for 2 domains of self-concept. Music media consumption was positively associated with adolescents' involvement with media focusing on music personae. Higher involvement was associated with perceiving the self as less physically attractive and having lower overall self-worth. Music media consumption was directly related to adolescents' evaluations of their own romantic appeal. Results suggest that through involvement processes with music media characters, adolescents may use music media as a venue for social comparison against which they evaluate their own physical attractiveness and self-worth. Music media consumption may also provide social modeling for normative expectations about romantic relationships regardless of the level of involvement. Gender differences were nonsignificant in the mediational model. [ABSTRACT FROM AUTHOR]

The article focuses on the adolescents' identity in classroom music in England. It notes that the National Curriculum, which was implemented in the country in 1988, has provided a foundation to a new approach to school music lessons. Moreover, it stresses the potential of students between the ages of 5 and 14 to encounter geographically, historically and culturally wide range of music and to be actively participate in listening, composing and performing music.

Objectives. We estimated whether and to what extent a group of adolescents were at risk of developing permanent hearing loss as a result of voluntary exposure to high-volume music, and we assessed whether such exposure was associated with hearing-related symptoms. Methods. In 2007, 1512 adolescents (aged 12-19 years) in Dutch secondary schools completed questionnaires about their music-listening behavior and whether they experienced hearing-related symptoms after listening to high-volume music. We used their self-reported data in conjunction with published average sound levels of music players, discotheques, and pop concerts to estimate their noise exposure, and we compared that exposure to our own "loosened" (i.e., less strict) version of current European safety standards for occupational noise exposure. Results. About half of the adolescents exceeded safety standards for occupational noise exposure. About one third of the respondents exceeded safety standards solely as a result of listening to MP3 players. Hearing symptoms that occurred after using an MP3 player or going to a discotheque were associated with exposure to high-volume music. Conclusions. Adolescents often exceeded current occupational safety standards for noise exposure, highlighting the need for specific safety standards for leisure-time noise exposure. (Am J Public Health. 2010;100:1095-1100. doi:10.2105/AJPH.2009.168690) [ABSTRACT FROM AUTHOR]

The main aim of this study is to identify protective factors and risk factors linked to alcohol consumption in university students of both sexes. These factors were measured on the basis of a descriptive cross-sectional study developed in 2007-2008 at the University of Huelva. In order to analyze the relations among variables, we have used the chi-square test of Pearson. To identify risk and protective factors a binomial logistic regression analysis was conducted. The results confirm the influence of policonsumption and sex as the main risk factors. "Botellones" decrease predictive degree when compared with usual consumption. Reading habit, love of music and age behave as protective factors against drugs consumption. Finally, lower drinking degrees inside the college, higher frequency of attendance and lower weekly alcohol consumption, are protective factors. [ABSTRACT FROM AUTHOR]

Abstract: Objective: Recognizing melody in music involves detection of both the pitch intervals and the silence between sequentially presented sounds. This study tested the hypothesis that active musical training in adolescents facilitates the ability to passively detect sequential sound patterns compared to musically non-trained age-matched peers. Methods: Twenty adolescents, aged 15–18 years, were divided into groups according to their musical training and current experience. A fixed order tone pattern was presented at various stimulus rates while electroencephalogram was recorded. The influence of musical training on passive auditory processing of the sound patterns was assessed using components of event-related brain potentials (ERPs). Results: The mismatch negativity (MMN) ERP component was elicited in different stimulus onset asynchrony (SOA) conditions in non-musicians than musicians, indicating that musically active adolescents were able to detect sound patterns across longer time intervals than age-matched peers. Conclusions: Musical training facilitates detection of auditory patterns, allowing the ability to automatically recognize sequential sound patterns over longer time periods than non-musical counterparts. [Copyright &y& Elsevier]

This study explores the relationship between flow, transcendent music making experiences, transcendent religious experiences, and music education. As a teacher-researcher, I studied my graduate students' autobiographical accounts of their experiences making music. Across these narrative writings produced over the past four years, a pattern emerged: many of the texts describe transcendent experiences. Transcendent music making experiences are distinguished by two main qualities: (a) that the performer is functioning at the height of his or her abilities; and (b) that the performer has a sense of being a part of something larger than him or herself in some way. The concept of transcendent music making experiences provides powerful insights into a unique feature of musical engagement. Music educators at all levels can relate to and learn from a more nuanced understanding of the unique qualities of musical engagement. [ABSTRACT FROM AUTHOR]

Objective: In the aftermath of the double suicide of two teenage girls in 2007, the media linked the themes of 'emo' music and the girls' mental state. But it is not just emo music that has been the subject of scrutiny by the media. Rap music, country, and heavy metal have also been blamed for antisocial behaviours including violence, theft, promiscuity and drug use. It remains an important research and clinical question as to whether music contributes to the acting out of behaviours described in the music lyrics or whether the preferred music represents the already existing behavioural tendencies in the subject. This paper surveys and discusses the relevant literature on music preference and adolescent music listening behaviours, and their links with adolescent mental health. Conclusion: Studies have found a relationship between various genres of music and antisocial behaviours, vulnerability to suicide, and drug use. However, studies reject that music is a causal factor and suggest that music preference is more indicative of emotional vulnerability. A limited number of studies have found correlations between music preference and mental health status. More research is needed to determine whether music preferences of those with diagnosed mental health issues differ substantially from the general adolescent population. [ABSTRACT FROM AUTHOR]

Copyright of Journal for Sociology of Education & Socialization / Zeitschrift für Soziologie der Erziehung & Sozialisation is the property of Julius Beltz GmbH & Co. KG Beltz Juventa 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 article focuses on a research concerning the long-term cognitive effects of music as loud noise. The effects of other types of environmental noise have been investigated including industrial, traffic and aircraft noise, but the emphasis has been on the damage to hearing and effects of stress. It discusses various responses of teenagers as reflected on Very Loud Music questionnaire. The survey shows the extraordinarily important part that music play in their lives, hardly less than sport, their lesser interest in other hobbies, their astonishing knowledge of a wide range of modern music genres, and the reasons they gave for their musical tastes. Moreover, many students claim that loud background music helps them to concentrate when studying.

The present paper examined the structure of Dutch adolescents' music preferences, the stability of music preferences and the relations between Big-Five personality characteristics and (changes in) music preferences. Exploratory and confirmatory factor analyses of music-preference data from 2334 adolescents aged 12–19 revealed four clearly interpretable music-preference dimensions: Rock, Elite, Urban and Pop/Dance. One thousand and forty-four randomly selected adolescents from the original sample filled out questionnaires on music preferences and personality at three follow-up measurements. In addition to being relatively stable over 1, 2 and 3-year intervals, music preferences were found to be consistently related to personality characteristics, generally confirming prior research in the United States. Personality characteristics were also found to predict changes in music preferences over a 3-year interval. Copyright © 2007 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

South Africa is the only country in the world that makes constitutional provision for gays and lesbians. Nevertheless, despite much openness and the existence of progressive constitutional rights, gays in South Africa occupy a marginal space, often facing discrimination and marginalization. This article provides a descriptive account of the radio program In the Pink, which airs on the community radio station Bush Radio. In the Pink is presented as a case study of the only gay radio program in South Africa, and as one space where this subaltern counter public creates and builds community. The program ultimately represents the creation of an alternative space in which gays and lesbians in Cape Town are able to articulate their marginal identities and reify their sexual orientation. This is of particular interest in South Africa, where community radio is a relatively new medium, a space created specifically for the articulation of previously marginalized voices. Gays in Cape Town extend their struggles for equality and acceptance through the radio program, and the radio becomes an extension of the resistance that occurs in the individual as well as of forms of collective action such as street marches, protests, or debates at the policy level. Furthermore, the program builds community by bringing individuals together to produce the radio product, by creating a community of audience members who listen, and by sustaining a synergy between the producers and their audiences. In the Pink acts as a bridge between the gay community and others, both within the radio station and via the airwaves, and demonstrates the challenges of producing radio in a society that still reels from the aftermath of racial divisions, where "gay" and "straight" identities also negotiate old cultural baggage and the new challenges of class. Faint traces of the song, "It's Raining Men," drift down the stairs of the Bush Radio building in Salt River, Cape Town. The programming office is filled with people making last minute changes to the lineup. One young man wearing a T-shirt sporting the slogan, "I'm HIV positive," is on the phone confirming an interview with the Gugulethu Support Group for Gays. In the music library, a lesbian couple discusses how to advise teenagers who may be suicidal about their sexuality ... It's nearly 9 o' clock on a Thursday night, and time for In the Pink, Africa's only gay and lesbian radio program, produced for and by the gay community of Cape Town. [ABSTRACT FROM AUTHOR]

Despite its national and international appeal, rap is considered one of the most controversial of music genres. Given the political charge it generates, rap music has spawned research across the social and health sciences. The majority of the research has investigated its impact on African Americans. Further, the research has tended to focus on negative aspects of the music; there has been a dearth of in-depth qualitative studies that explore how rap impacts the listener. Our phenomenological study explores that impact on ethnically diverse college students. Results indicate a profound psychological and educational effect and the discussion goes on to highlight the potential and innovative ways rap music can be utilized with adolescents in fields such as education, risk reduction programs, and counseling psychology. [ABSTRACT FROM AUTHOR]

This study uses genre analysis, which combines ethnography and the exploration of textual forms and norms (Swales, 1990), to explore responses to different genres of rap. The participants were working-class adolescent Blacks and Latinos enrolled in a New York City high school arts class in hip-hop production and poetry. Their teachers, active rap artists, favored "conscious rap," an overtly politically progressive style. Their students, by contrast, preferred the more commercially successful style called hard-core rap, and they rejected the political message and norms entailed by the teachers' style. Whereas it is commonly assumed that hard-core rap is apolitical, this study, following Bynoe (2004) finds that hard-core rap in fact supports a strong capitalist ideology. The students find this ideology attractive because it supports their dreams and expectations of a successful and prosperous adulthood. By contrast, conscious rap paints them as victims whose only hope is a massive and unrealistic social change. [ABSTRACT FROM AUTHOR]

This article addresses a subject long overlooked by students and scholarship -- the musical annual. Emerging in London in 1829, this was an enormously popular brand of commercial publication conventionally produced for holiday sales. One particular copy -- given as a present to an 11-year-old girl that year -- proves a useful starting point from which to interrogate these items as a whole. Several avenues of inquiry suggest themselves: ideas of gift exchange and commerce, histories of the role such music played in adolescent upbringing and pianism, accounts of period notions of 'the fair sex', and considerations of the relation between authenticity and deception in annual poetics. In the end, the author attempts to recuperate some enigma or aura for the musical score -- not by appealing to some allusive or metaphysical 'work-content' immanent in the text, but by exploring the sense in which these volumes were and are souvenirs -- perhaps remote from traditional intellectual concerns, but redolent of a bygone and elusive 'social life'. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Music Education is the property of Sage Publications, Ltd. 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.)

How does music transform the contemporary teenage bedroom from the mundane (doing homework, sleeping) into a dynamic cultural and social space? Previous research has suggested that, in an exclusively female sphere, the role of music in teenage girls’ bedroom culture was purely one‐dimensional, part of the ideology of romance that rarely went beyond the adoration of the pop idol. More recent research not only demonstrates that both teenage boys and girls engage in bedroom culture, but also that, as a cultural form, music is integral to the creation and evolution of their youth cultural biographies, and works as a ‘soundtrack’ (DeNora 2000) to their social lives. In this paper I explore the dynamic relationship of young people, bedroom space and music. Through in‐depth ethnography, the complexities of the musicalisation of everyday teenage life are examined using the theoretical concept of ‘zoning’. Music is used by teenagers as a way of creating a specific type of atmosphere in their bedrooms. The dynamics of this are primarily controlled by the individual, depending on their age, their mood, the time of day, what other activities they are involved in and who else is occupying that space (friends or siblings for example). The creation of atmosphere through music is often spontaneous, of the moment and inter‐changeable. Significantly, music is a medium through which the boundaries of public and private space are necessarily blurred. For example, music played at a high volume spills out of the bedroom zone into other rooms in the house. Music is also used as a ‘prequel’ and a ‘sequel’, facilitating getting ready for nights out on the town, setting the right tone and atmosphere. The further multi‐layering of bedroom and music zones is also explored in relation to new technologies such as the Internet, which have the capacity to zone music from the physical into the virtual and back again. Finally, what is the significance of music in shaping a teenager’s cultural biography? Here teenagers’ influences on their musical interests are examined as evolutionary, alongside how musical biographies are translated into bedroom content. [ABSTRACT FROM AUTHOR]

Reprints the essay "Eminem Is Right: The Primal Scream of Teenage Music," taken from the book "Home-Alone America," by Mary Eberstadt. Difference between the rebellion of music created by past musicians and the artists during the 1990s and beyond; Analysis of the lyrics used by bands such as Papa Roach and Everclear; Implications of the music of rap artist Eminem for parents and children.

The article focuses on the decline of music services over the past decade in Great Britain. Providing music for study is just one of the important roles of any public library music collection. Without the provision of sets of scores that public libraries provide at low or no cost, many local amateur choral societies would find it very difficult, if not impossible, to finance the performance of many works. There is certainly no shortage of such societies throughout the country, those rely on public library provision. Further to the actual study and performance of music, public libraries also provide recordings of music as a form of entertainment. This has become increasingly important to libraries as a way of generating income through hire charges. Qualified specialist music librarians are becoming few and far between, and more money is being poured into information technology with the arrival of the People's Network. A research by the "Group Magazine," suggested that music is more popular than ever in Great Britain and this is an area that libraries should be exploiting, particularly with teenagers, a group notoriously difficult to attract into libraries.

This pilot study was undertaken to investigate whether music therapy is effective in promoting prosocial behaviors in aggressive adolescent boys who have social, emotional, and learning difficulties. Fifteen subjects (aged 11-15 years), enrolled at a special residential school in New Zealand, were randomly assigned to music therapy treatment groups (n = 6, n = 5), and a waitlist control group (n = 4). Examination of demographic data identified differences between groups for diagnosis (p =.044), with Group 1 all having Attention Deficit Hyperactivity Disorder (ADHD), and for age (p =.027), with Group 2 having a mean age 1.38 years older. Measures included parent and teacher versions of the Developmental Behaviour Checklist (DBC-P & DBC-T) (Einfeld & Tonge, 1994; Einfeld, Tonge, & Parmenter, 1998). While no definite treatment effects could be detected, results suggest that a music therapy program promoting autonomy and creativity may help adolescents to interact more appropriately with others in a residential villa setting, but might also lead to a temporary mild increase in disruptive behavior in the classroom. A more highly structured program and smaller group numbers may be advantageous for boys who have ADHD. [ABSTRACT FROM AUTHOR]

During the later 1960s, the Kinks wrote many songs confronting the dominant reception trope of reading the rock star as iconic 'youth' who 'authentically' presented his or her life on stage. The present article approaches this issue through Edward T. Cone's and other work on voice and persona in music. Several specific Kinks songs from the period are analysed, focusing on the divergence between vocal 'protagonists' and other personae or voices appearing in the music, which make it difficult to map the protagonists onto the writer/performer directly. The methods explored have broader implications for analysing rock songs as musical-cultural artefacts. [ABSTRACT FROM AUTHOR]

Focuses on the effect of rap music on adolescents. Details of study conducted by researchers Gina M. Wingood, Ralph J. DiClemente and coworkers on the effect of rap music videos on African-American females; Use of univariate analyses by researchers to describe music video viewing characteristics; Research conducted by associate professor Cheryl L. Keyes on problems of aggression and violent behavior in teenagers.

Outlines an international three-year Australian Research Council project on research approaches to youth and their music practices. Findings on the role of music in Australia's cultural identity; Characteristics of youth who have developed informal music-related strategies, networks and opportunities; Key interrelated interdisciplinary areas underlying the project; Issues of intellectual property and copyright among the young people.

Explores young girls' bodily praxis at promotional appearances by pop stars. Association of hysteria and screaming in the characterization of the young female contingent at music events; Correlation of the physicality of music with the collective body; Importance of the collective identity experience for girls.

Addresses the strategies of local and state governments in Australia in terms of live music venues and their implications for popular music and commercial youth leisure options within and on streetscapes. Complaints of the hotel and club industries on regulations in providing music entertainment; Importance of live music venues for engendering local communities and subcultures; Issues confronting performers, venue managers and governments regarding live music.

This study investigated adolescents' ability to identify melodies when extremely similar melodies are interpolated between the initial target melody and test melody. Participants from Argentina, Brazil and the United States listened to 16 initial melodies, each of which was followed by 8 extremely similar melodies in two presentation sets. Within each test trial, nine consecutive melodies were heard with the target melody in the first position. That same melody appeared again only once in one of the other eight recall positions. Each of the eight recall positions was tested twice within the 16 examples. Additionally, in the second presentation, the test melody also appeared in another recall position with meter and mode changes. Since all melodies in the study were extremely similar the study tested relative interference effects of passage of time and number of interpolated melodies between the original presentation of the target melody and its appearance in the set of test melodies. Results demonstrated that while there were differences across populations, young adolescents in each country are capable of remembering and discriminating among highly similar melodies. Implications for music education are discussed. [ABSTRACT FROM AUTHOR]

Describes the role and importance of music education as intervention in the lives of at-risk urban adolescents. Link between self-perceptions of musical competence and global self-worth; Discrepancy between ratings of the importance of music to the students and students' self-perception of their musical competency; Implications of the study's findings for music education.