Book Review: The Convergence of Musicology and Music Cognition: Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice

1998 ◽  
Vol 2 (1) ◽  
pp. 99-101
Author(s):  
Bengt Edlund
Keyword(s):  
Instrumental Music ◽  
Music Cognition ◽  
Current Theory ◽  
Music Practice

Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?

2015 ◽  
Vol 3 (3) ◽  
pp. 24-31
Author(s):  
Chong Lee Suan
Keyword(s):  
Young People ◽  
Instrumental Music ◽  
Contemporary Music ◽  
Musical Instruments ◽  
Music Practice ◽  
Musical Styles

Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Findings - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their young people, as well as to open up opportunities to venture into the exotic blooms of globalized musical festivals and tourism, their music is manifold and endeavoring in captive of the hearts of the global audience. Novelty - This study attempts to disclose the grounds and rationales behind the persistence of the Dusun Tindals in upholding their ancient musical essence until today Type of Paper - Empirical Keywords: Bamboo Orchestra; Dusun Tindal Contemporary Music; Dusun Tindal Music

Self-Regulated Music Practice: Microanalysis as a Data Collection Technique and Inspiration for Pedagogical Intervention

2018 ◽  
Vol 66 (3) ◽  
pp. 295-319 ◽  
Author(s):  
Peter Miksza ◽  
Jennifer Blackwell ◽  
Nicholas E. Roseth
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Self Regulation ◽  
Daily Practice ◽  
Data Sources ◽  
Practice Session ◽  
Music Practice ◽  
Instrumental Music Education ◽  
Data Collection Technique ◽  
Music Education Majors

The purpose of this study was to explore a microanalysis technique for measuring instrumentalists’ self-regulation tendencies during music practice. A secondary purpose was to investigate whether an intervention informed by the features of the microanalysis technique would increase the students’ self-regulated learning tendencies. Three undergraduate instrumental music education majors volunteered to participate in this study. This study was designed as a multiple-baselines experiment spanning 15 consecutive days. Data sources included (a) entrance interviews; (b) daily practice efficacy ratings; (c) data gathered from pre- and posttest microanalysis sessions; (d) detailed behavioral analyses of video-recorded, pre- and posttest practice sessions; and (e) a focus group exit interview. The microanalytic intervention designed for this study involved a coaching session in which a member of the research team explicitly drew attention to the affective, behavioral, and metacognitive qualities related to effective practicing during a student’s practice session. The pretest microanalysis data revealed distinct learning profiles for each student that were corroborated with information from the other data sources. The intervention had modest effects that varied across participants, suggesting that it was useful for bringing to light and addressing individuals’ specific self-regulatory deficiencies in a manner respective to their needs.

scholarly journals Method Development for Multimodal Data Corpus Analysis of Expressive Instrumental Music Performance

2020 ◽  
Vol 11 ◽  
Author(s):  
Federico Ghelli Visi ◽  
Stefan Östersjö ◽  
Robert Ek ◽  
Ulrik Röijezon
Keyword(s):  
Instrumental Music ◽  
Method Development ◽  
Music Cognition ◽  
Music Performance ◽  
Movement Analysis ◽  
Pilot Project ◽  
Musical Performance ◽  
Multimodal Data ◽  
Qualitative And Quantitative ◽  
High Level

Musical performance is a multimodal experience, for performers and listeners alike. This paper reports on a pilot study which constitutes the first step toward a comprehensive approach to the experience of music as performed. We aim at bridging the gap between qualitative and quantitative approaches, by combining methods for data collection. The purpose is to build a data corpus containing multimodal measures linked to high-level subjective observations. This will allow for a systematic inclusion of the knowledge of music professionals in an analytic framework, which synthesizes methods across established research disciplines. We outline the methods we are currently developing for the creation of a multimodal data corpus dedicated to the analysis and exploration of instrumental music performance from the perspective of embodied music cognition. This will enable the study of the multiple facets of instrumental music performance in great detail, as well as lead to the development of music creation techniques that take advantage of the cross-modal relationships and higher-level qualities emerging from the analysis of this multi-layered, multimodal corpus. The results of the pilot project suggest that qualitative analysis through stimulated recall is an efficient method for generating higher-level understandings of musical performance. Furthermore, the results indicate several directions for further development, regarding observational movement analysis, and computational analysis of coarticulation, chunking, and movement qualities in musical performance. We argue that the development of methods for combining qualitative and quantitative data are required to fully understand expressive musical performance, especially in a broader scenario in which arts, humanities, and science are increasingly entangled. The future work in the project will therefore entail an increasingly multimodal analysis, aiming to become as holistic as is music in performance.

scholarly journals Cross-cultural perspectives on music and musicality

2015 ◽  
Vol 370 (1664) ◽  
pp. 20140096 ◽  
Author(s):  
Sandra E. Trehub ◽  
Judith Becker ◽  
Iain Morley
Keyword(s):  
Instrumental Music ◽  
Cognitive Skills ◽  
Music Cognition ◽  
Human Populations ◽  
Cultural Perspectives ◽  
European Tradition ◽  
Musical Activity ◽  
Ritual Activity ◽  
Neural Underpinnings ◽  
Musical Forms

Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music—what it is and where it originates—as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition.

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