Automatic Music Playlist Generation Based on Music-Programming of FM Radios

This article traces the origins and evolution of the music programs central to the Bonny Method (also called GIM or BMGIM). These programmed, sequenced western art music selections shape the core experience of GIM, eliciting intra-, inter-, and trans-personal phenomena through a range of visual, auditory, and kinesthetic feelings, images, memories, and metaphoric fantasies. Bonny’s original programs will be described and discussed in relation to GIM, and developments in programming will demonstrate how the Bonny Method programs have been expanded, including adaptations to music programming and selection.

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The Development of Computer Music Programming Systems

Journal of New Music Research ◽

10.1080/09298215.2013.778890 ◽

2013 ◽

Vol 42 (1) ◽

pp. 97-110 ◽

Cited By ~ 2

Author(s):

Victor Lazzarini

Keyword(s):

Computer Music ◽

Programming Systems ◽

Music Programming

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“We all Come Together to Learn About Music”: A Qualitative Analysis of a 5-Year Music Program in a Juvenile Detention Facility

International Journal of Offender Therapy and Comparative Criminology ◽

10.1177/0306624x18765367 ◽

2018 ◽

Vol 62 (13) ◽

pp. 4046-4066 ◽

Cited By ~ 1

Author(s):

Maud Hickey

Keyword(s):

Youth Development ◽

Urban Youth ◽

Rap Music ◽

Qualitative Content Analysis ◽

Juvenile Detention ◽

Detention Center ◽

Detention Facility ◽

Music Program ◽

Positive Feelings ◽

Music Programming

The purpose of this long-term qualitative study was to uncover evidence that might support components of positive youth development (PYD) in a music composition program at an urban youth detention center. The constructs of PYD come from self-determination theory—competence, autonomy, and relatedness—and formed the theoretical lens from which the data were analyzed. Over a period of 5 years, more than 700 youth participated in the program and created primarily rap music compositions. Comments from their feedback, as well as interviews, were analyzed using qualitative content analysis. Findings point to the emergence of two main categories as reasons for enjoying the program: competence and positive feelings. Creativity also emerged as linked to competence and autonomy as well as the “Good Lives Model” of detainee development. Further research on using culturally relevant and creative music programming as a tool in PYD is discussed.

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