scholarly journals Creative Music Neurotechnology with Symphony of Minds Listening

Author(s):  
Eduardo Reck Miranda ◽  
Dan Lloyd ◽  
Zoran Josipovic ◽  
Duncan Williams
Keyword(s):  
1991 ◽  
Vol 5 (2) ◽  
pp. 18-27 ◽  
Author(s):  
Gary Ansdell

This paper outlines a model for assessing adult clients in creative music therapy based on a phenomenological approach to organising the descriptive level.


Author(s):  
Friederike Barbara Haslbeck ◽  
Lars Schmidli ◽  
Hans Ulrich Bucher ◽  
Dirk Bassler

Developmental problems in extremely preterm (EP) infants and the associated longitudinal burden for their families are major health issues worldwide. Approaches to social-emotional support such as family-integrating Creative Music Therapy (CMT) are warranted. We aimed: (1) to explore parental perspectives on the use of CMT with EP infants in the neonatal hospitalization period and (2) to examine the possible longitudinal influence of CMT. A qualitative design was used to examine the perspective of six families from various backgrounds. Semi-structured interviews were carried out when the infants reached school age. We used an inductive–deductive thematic analysis to identify three main themes, each with three sub-themes: (1) the positive impact of CMT on the infants, the parents, and bonding; (2) the attitude toward CMT, from being open-minded to recommending it as complementary therapy; and (3) the experience of overall healthy infant development despite unique developmental delay issues. The findings elucidate the positive and formative impact of CMT on both infants and parents in the stressful NICU setting and beyond. CMT may empower positive transformation in the parents through individualized early nurturing musical interactions, capacity building, and positive reinforcement. Further research may help to identify and implement potentially modifiable factors for improving health care in this vulnerable group through early family-integrating, resource-based approaches such as CMT.


1996 ◽  
Vol 13 (3) ◽  
pp. 259-270 ◽  
Author(s):  
Julia Winterson

Originally, the creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom, but today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own. Their role in partnership with schools and colleges now requires clarification: a survey of education policies has revealed some confusion of aims with few bodies looking closely at objectives, outcomes and effects. Music companies could profit from the experience of museums and art galleries.


2021 ◽  
Vol 13 (2-3) ◽  
pp. 163-179 ◽  
Author(s):  
Adam Martin ◽  
Morten Büchert

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.


1938 ◽  
Vol 24 (6) ◽  
pp. 60-60
Keyword(s):  

1978 ◽  
Vol 1 (1) ◽  
pp. 29-37
Author(s):  
Michael E. Cleveland

Formal composition should not be a beginning creative musical activity, but should be preceded by freer, more divergent experiences with sound. Also, the concept of “composition” should be put aside in favor of that “organization of sounds.” Free exploration of sounds, using poetry or other means, may ultimately lead to the convergent skills required for formal composition. Five ways of using poetry and the language for creative experiences in music are discussed: 1. Inventing words for familiar songs 2. Writing song lyrics to a familiar melodic pattern 3. Adding sounds to an existing poem 4. Creating an original sound-piece from a poem 5. Improvising upon verbal stimuli


Author(s):  
N. Khymytsia ◽  
M. Kuchma

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.


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