Adaptation and Validation of Short Test of Music Preference Scale for Students With Music and Non-Music Majors

Music is a universal phenomenon however, despite its unified properties, the taste and preference of music may still vary as a function of ethnicity and culture. So, the present study aimed to adapt and validate the short test of music preference scale for music and non-music Pakistani students. In Phase I, the cultural adaption of the scale was carried out while the content validity index (Lawshe, 1975) was also established. However, in phase II, the Short test of Music Scale (STOMP) was validated, yielding confirmatory factor analysis. For the empirical evaluation, a sample of 561 students, including both 286 music and 275 non-music students of undergraduate level with the age range of 18-26 years were recruited. The psychometric evolution of STOMP turned into excellent validity and reliability estimates for first-order constructs. Moreover, strict measurement invariance was established for STOMP across music and non-music students. The validation of this scale would be a little effort to pave the way for music psychology to make research available to measure the construct indigenously.

Understanding expressive intonation

Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical measurements, it places such practice alongside the cellist’s conscious, theoretical recommendations apropos what he called “expressive” string intonation, showing that the interpretation of the latter should is not straightforward. It also proposes several reference points and tuning systems which could serve as models for Casals’ practice and looks for explanations beyond simple interval classification. In this manner, it ultimately proposes a structural function for intonation, in partnership with tempo and dynamics. Similarly, it understands Casals’ intonational practice not as a choice between but as a compromise for multiple options in tuning systems (mostly equal temperament and Pythagorean tuning), reference points (the fundamental note of the chord and the immediately preceding tone), the nature of the compositional materials (harmonic and melodic), and, most importantly, structure and expression.

MeloSol Corpus

This data report introduces the MeloSol corpus, a collection of 783 Western, tonal monophonic melodies. I first begin by describing the overall structure of the corpus, then proceed to detail its contents as they would be helpful for researchers working in the field of computational musicology or music psychology. In order to contextualize the MeloSol corpus in relation to other corpora in the literature, I present descriptive statistics of the MeloSol corpus alongside the The Densmore Collection of Native American Song and The Essen Folk Song Collection. I suggest possible future uses of this corpus including extending research investigating Western tonality, perceptual experiments needing novel ecological stimuli, or work involving the musical generation of monophonic melodies in the style of Western tonal music.

Redefining Groove

Groove is a popular and widely-used concept in the field of music. Yet its precise definition remains elusive. Upon closer inspection, groove appears to be used as an umbrella term with various connotations depending on the musical era, the musical context, and the individual using the term. Our aim in this paper was to explore different definitions and connotations of the term groove so as to reach a more detailed understanding of it. Consequently, in an online survey, 88 participants provided free-text descriptions of the term groove. A thematic analysis revealed that participants’ descriptions fit into three main categories: music-, experience-, and individual differences related aspects. Based upon this analysis, we propose a contemporary working definition of the term groove as used in the field of music psychology: “Groove is a participatory experience (related to immersion, movement, enjoyment, and social connection) resulting from subtle interaction of specific music- (such as time- and pitch-related features), performance- and/or individual difference-related factors.” Furthermore, we propose the terms perceived and induced groove to distinguish the different aspects of groove that are associated with its perceived musical features and induced effects on listeners. Importantly, this specification will permit further research with a common language to refer to distinct aspects of groove and thus create a more profound understanding in groove literature. Finally, we direct future studies to focus on the concept of groove under influence of different variables, such as the roles of individual differences (such as age, expertise and personality traits), execution of overt movements, or presences of others on listeners’ perceived and induced groove experiences. These will further elucidate our understanding of what groove actually is.

Reopening the Conversation Between Music Psychology and Music Therapy

Although the fields of music psychology and music therapy share many common interests, research collaboration between the two fields is still somewhat rare. Previous work has identified that disciplinary identities and attitudes towards those in other disciplines are challenges to effective interdisciplinary research. The current study explores such attitudes in music therapy and music psychology. A sample of 123 music therapists and music psychologists answered an online survey regarding their attitudes towards potential interdisciplinary work between the two fields. Analysis of results suggested that participants’ judgements of the attitudes of members of the other discipline were not always accurate. Music therapists indicated a high degree of interest in interdisciplinary research, although in free text answers, both music psychologists and music therapists frequently characterized music therapists as disinterested in science. Music therapists reported seeing significantly greater relevance of music psychology to their own work than did music psychologists of music therapists. Participants’ attitudes were modestly related to their reported personality traits and held values. Results overall indicated interest in, and positive expectations of, interdisciplinary attitudes in both groups, and should be explored in future research.

Psychology for Musicians

Throughout time, human beings have been fascinated with music. Research in music psychology has revealed how musicians acquire the ability to convey emotional intentions as sounded music, how listeners perceive it as feelings and moods, and how this powerful process relates to social and cultural dynamics. Of course, people who identify as musicians have special interest in these matters. In recent years, a psychological perspective has gained increasing acceptance in the education provided to musicians: teachers, performers, and “creatives” alike. The first edition of Psychology for Musicians: Understanding and Acquiring the Skills (2007, Oxford University Press) was a well-cited volume over the years. This new edition draws on the greater insights provided by recent research in music psychology. It combines academic rigor with accessibility to offer readers research-supported ideas that they can readily apply in their musical activities.

Introduction to Music Psychology

Psychology and music can be complementary fields of study. Psychology is the study of the amazing human mind, and music comprises some of people’s most fascinating behaviors. Psychology promotes understanding of people: how they perceive and process the world around them, how they feel emotion, how they learn, and how they can skillfully perform certain behaviors, just to name several areas of interest. Music is made by human beings for human beings. Because people are the most important elements of music, aspiring musicians really cannot optimally advance their craft without considering the insights offered by psychology. This chapter introduces the psychology of music as a field of study. It covers a number of topics, including the cultural nature of music, the contributors to emotionally powerful music experiences, and the acquired skill explanation of musical ability.

Development of The Music Background Experience Questionnaire

People with different levels of music experience have been reported to differ significantly in cognitive abilities such as verbal memory, phonological awareness and reading development. However, studies often comparing the cognitive ability between musicians and non-musicians. Among the non-musicians, there are differences in music experience levels. Besides, many non-musicians with higher music experience than musicians. However, at present there is no reliable and valid measure of music experience in the literature. In the current study we developed the Music Background Experience Questionnaire for use in the field of music psychology. An initial set of 45 items was compiled based on the literature and on semi-structured interviews with 10 musicians and psychologists. These items were then tested in a pilot study of 402 participants. Based on exploratory and confirmatory factor analysis, 11 items were selected and classified into the two dimensions of "music training" and "music contact." A sample of 2,228 participants (1,465 women, average age 27.62 years) then completed the new measure. A subsample of 49 completed the questionnaire again after three weeks. The internal consistency, test-retest reliability, structural validity and construct validity were strong. These strong psychometric properties suggest that the Music Background Experience Questionnaire is appropriate for use in music psychology research.

Persepsi Pemustaka Atas Suara Gamelan Terhadap Tingkat Kenyamanan Literasi Di Perpustakaan Lingkungan Fakultas Seni Pertunjukan (FSP) ISI Surakarta

Riset ini dilatarbelakangi oleh fenomena efek suara gamelan yang terjadi di ruang kuliah yang terdengar hingga perpustakaan di lingkungan FSP ISI Surakarta. Yang ingin diungkap dalam riset ini adalah 1) Bagaimana pemustaka meresepsi suara gamelan ketika melakukan aktivitas literasi di Perpustakaan Lingkungan Fakultas Seni Pertunjukan? 2) Bagaimana implikasi suara gamelan terhadap tingkat kenyamanan aktivitas literasi di Perpustakaan lingkungan Fakultas Seni Pertunjukan? Untuk mengungkap permasalahan digunakan teori kenyamanan Katharine Kolcaba tentang kenyamanan psikospiritual dan kenyamanan lingkungan serta psikologi musik Djohan Salim tentang musik dan emosi manusia. Penelitian ini dilakukan mengunakan kombinasi model, atau desain sequential explanatory (urutan pembuktian), yaitu metode yang menggabungkan kuantitatif dan kualitatif secara beurutan. Tahap pertama dilakukan dengan metode kuantitatif, yakni dengan mendistribusikan kuesioner kepada para pemustaka. Lantas selanjutnya dilakukan dengan metode kualitatif meliputi: observasi, wawancara, dokumentasi, dan analisis. Hasil dari penelitian ini adalah, 1) suara gamelan dirasa tidak mengganggu. 2) Suara gamelan dianggap lazim, sebagai kampus seni, dan dirasa bukan menjadi hal yang menggangu dalam aktivitas berliterasi. 3) suara gamelan dianggap sebagian pemustaka sebagai hal yang memberikan pengaruh baik terhadap kenyamanan mereka, artinya secara psikologi memberikan dampat baik dan tentu membuat nyaman di dalam ruangan. 4) Suara gamelan dianggap tidak perlu menjadi hal yang diperdebatkan. 5) Kenyamanan selalu berbanding lurus dengan pengalaman ketubuhan manusia, suara gamelan merupakan entitas yang menjadi pengalaman mayoritas mahasiswa ISI Surakarta, sehingga di dalam aktivitas literasi tidak menjadikan gangguan secara umum. This research is motivated by the phenomenon of gamelan sound effects that occur in lecture halls which are heard to the library in the Faculty of Performing Arts at Indonesian Institute of the Arts Surakarta environment. This research wants to reveal 1) How does the user perceive gamelan sound when doing literacy activities in the Environmental Library of the Performing Arts Faculty? 2) How the implications of the voice of gamelan to the comfort level of literacy activities in the Library of the Performing Arts Faculty? To uncover the problem Katharine Kolcaba's comfort theory is used about psychospiritual comfort and environmental comfort and Djohan Salim's music psychology about music and human emotions. This research was conducted using a combination of models, or sequential explanatory designs (sequences of proof), a method that combines quantitative and qualitative sequentially. The first stage is done by quantitative methods, namely by distributing questionnaires to users. Then the next is done by qualitative methods include: observation, interviews, documentation, and analysis. The results of this research are, 1) the sound of the gamelan is consistently felt not disturbing. 2) the sound of gamelan is considered to be common, as an art campus, and is not considered to be a disturbing thing in literated activities. 3) the sound of gamelan is considered part of the visitors as a matter of good influence on their comfort, meaning psychologically giving a good impact and of course making it comfortable in the room. 4) the sound of the gamelan is unnecessarily staged. 5) comfort is always directly proportional to the experience of human body, the sound of gamelan is an entity that is the experience of the majority of Indonesia Insititute of the Arts Surakarta students, so that literacy activities do not cause general disturbance.The results of this research are, 1) the sound of the gamelan is consistently felt not disturbing. 2) the sound of gamelan is considered to be common, as an art campus, and is not considered to be a disturbing thing in literated activities. 3) the sound of gamelan is considered part of the visitors as a matter of good influence on their comfort, meaning psychologically giving a good impact and of course making it comfortable in the room. 4) the sound of the gamelan is unnecessarily staged. 5) comfort is always directly proportional to the experience of human body, the sound of gamelan is an entity that is the experience of the majority of Indonesia Insititute of the Arts Surakarta students, so that literacy activities do not cause general disturbance.

Evaluation Method of Music Psychological Intervention Effect based on Deep Convolution Neural Network

—In order to improve the accuracy of the evaluation of the effect of music psychological intervention and ensure the application effect of music psychological intervention, a method of evaluation of the effect of music psychological intervention based on deep convolution neural network is proposed. Based on the research of the theoretical basis of music therapy, according to the characteristics of music psychology, the psychological intervention of music is carried out by using music, and the information of music psychological intervention is obtained by using deep convolution neural network. The ability of preparation for music psychological intervention is determined by setting the intensity of music psychological interference, the behavioral intervention coefficient and the evaluation index of utility. The emotional relief ability coefficient of patients was set up to obtain the tracking results of psychological intervention effect, and the evaluation of music psychological intervention effect was realized. The experimental results show that the evaluation results of the method based on the deep convolution neural network are in line with the actual situation, the accuracy of the evaluation is high and the application effect is good.