Results for 'biomarkers of loud music listening'

984 found
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  1. Music and Noise: Same or Different? What Our Body Tells Us.Mark Reybrouck, Piotr Podlipniak & David Welch - 2019 - Frontiers in Psychology 10.
    In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There (...)
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  2.  14
    Music Listening in Classical Concerts: Theory, Literature Review, and Research Program.Melanie Wald-Fuhrmann, Hauke Egermann, Anna Czepiel, Katherine O’Neill, Christian Weining, Deborah Meier, Wolfgang Tschacher, Folkert Uhde, Jutta Toelle & Martin Tröndle - 2021 - Frontiers in Psychology 12:638783.
    Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (...)
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  3.  40
    Everyday Music Listening: Absorption, Dissociation and Trancing.Ruth Herbert - 2011 - Ashgate Pub. Co..
    Music and listening, music and consciousness -- Conceptualizing consciousness -- The phenomenology of everyday music listening experiences -- Absorption, dissociation and trancing -- Musical and non-musical trancing in daily life -- Imaginative involvement -- Musical and non-musical trancing : similarities and differences -- Experiencing life and art : ethological and evolutionary perspectives on -- Transformations of consciousness -- Everyday music listening experiences reframed.
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  4.  78
    Music listening as music making.Charles D. Morrison - 2009 - Journal of Aesthetic Education 43 (1):pp. 77-91.
  5.  23
    Musical listening and performance as embodied dialogism.Deanne Bogdan - forthcoming - Philosophy of Music Education Review.
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  6.  36
    Music Listening as a Strategy for Managing COVID-19 Stress in First-Year University Students.Dianna Vidas, Joel L. Larwood, Nicole L. Nelson & Genevieve A. Dingle - 2021 - Frontiers in Psychology 12.
    The COVID-19 pandemic brought rapid changes to travel, learning environments, work conditions, and social support, which caused stress for many University students. Research with young people has revealed music listening to be among their most effective strategies for coping with stress. As such, this survey of 402 first-year Australian University students examined the effectiveness of music listening during COVID-19 compared with other stress management strategies, whether music listening for stress management was related to well-being, (...)
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  7.  36
    Female Listeners’ Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs.Tzu-Han Cheng & Chen-Gia Tsai - 2016 - Frontiers in Psychology 7.
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  8.  31
    Musical Design in Sophoclean Theater (review).Deborah H. Roberts - 1998 - American Journal of Philology 119 (1):123-125.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Musical Design in Sophoclean TheaterDeborah H. RobertsWilliam C. Scott. Musical Design in Sophoclean Theater. Hanover, N.H., and London: University Press of New England, for Dartmouth College, 1996. xxii 1 330 pp. Cloth, $45.Music and the chorus that performed most of this music were fundamental elements in Greek tragedy, but we know very little about the music of tragedy, and it is notoriously difficult to find (...)
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  9.  40
    From sound to music: Listening to the political with Gilles Deleuze.Franziska Strack - 2022 - Contemporary Political Theory 21 (4):522-544.
    This article offers a sonic reading of Gilles Deleuze’s political philosophy. It argues that Deleuze adopts a sonic-musical vocabulary to account for the affective and corporeal dimensions of politics or the ways that bodies and nonconscious forces shape political and epistemological experience. Suggesting that sonic expressions operate on both the musical and the linguistic register and inflect bodies before being consciously recognized, the article thus explores how the sound flows involved in political assemblages also find entrance into philosophical concepts. To (...)
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  10.  56
    Symposium: Philosophy, music education, and world engagement.Randall Everett Allsup, Estelle Ruth Jorgensen, Patrick K. Schmidt & Julia Koza - 2007 - Philosophy of Music Education Review 15 (2):143-144.
    In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which (...)
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  11.  51
    Extraordinary Rendition: On Politics, Music, and Circular Meanings.Randall Everett Allsup - 2007 - Philosophy of Music Education Review 15 (2):144-149.
    In lieu of an abstract, here is a brief excerpt of the content:Extraordinary Rendition:On Politics, Music, and Circular MeaningsRandall Everett AllsupThe purpose of this symposium is to look at music, education, and politics. I will begin with an examination of how musical meanings are politically rendered, and how these understandings are attached to moral consequences. Highly resistant to classification, musical meanings are those things we come to understand about ourselves through music, as opposed to musical knowledge which (...)
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  12.  16
    A Response to Deanne Bogdan," Musical Listening and Performance as Embodied Dialogism".Frank Heuser - forthcoming - Philosophy of Music Education Review.
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  13.  22
    Shared and Unshared Feature Extraction in Major Depression During Music Listening Using Constrained Tensor Factorization.Xiulin Wang, Wenya Liu, Xiaoyu Wang, Zhen Mu, Jing Xu, Yi Chang, Qing Zhang, Jianlin Wu & Fengyu Cong - 2021 - Frontiers in Human Neuroscience 15.
    Ongoing electroencephalography signals are recorded as a mixture of stimulus-elicited EEG, spontaneous EEG and noises, which poses a huge challenge to current data analyzing techniques, especially when different groups of participants are expected to have common or highly correlated brain activities and some individual dynamics. In this study, we proposed a data-driven shared and unshared feature extraction framework based on nonnegative and coupled tensor factorization, which aims to conduct group-level analysis for the EEG signals from major depression disorder patients and (...)
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  14. Another Response to Deanne Bogdan," Music Listening and Performance as Embodied Dialogism".Sondra Wieland Howe - forthcoming - Philosophy of Music Education Review.
     
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  15. (1 other version)Listening with imagination: Is music representational?Kendall Walton - 1994 - Journal of Aesthetics and Art Criticism 52 (1):47-61.
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  16. Musical materials, perception and listening.N. Dibben - 2003 - In Martin Clayton, Trevor Herbert & Richard Middleton (eds.), The Cultural Study of Music: A Critical Introduction. Routledge.
     
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  17.  28
    Listening to Music in the Digital Era.Giacomo Fronzi - 2016 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 9 (1):51-69.
    In this paper, I examine the relationship between new technologies and listening, starting from a distinction between two different levels. The first concerns the role new technologies play in the “mere” reproduction and diffusion of music materials that are not necessarily classifiable in the category of the so-called “technological music”; the second concerns the listening modes unavoidably involved in the reception of a music product, due to its very nature. To this end I shall focus (...)
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  18.  24
    Digital music use as ecological thinking: Metadata and historicised listening.Andreas Helles Pedersen - 2020 - Nordic Journal of Aesthetics 29 (59):97-118.
    In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers (...)
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  19.  19
    Listening in the Mix: Lead Vocals Robustly Attract Auditory Attention in Popular Music.Michel Bürgel, Lorenzo Picinali & Kai Siedenburg - 2021 - Frontiers in Psychology 12.
    Listeners can attend to and track instruments or singing voices in complex musical mixtures, even though the acoustical energy of sounds from individual instruments may overlap in time and frequency. In popular music, lead vocals are often accompanied by sound mixtures from a variety of instruments, such as drums, bass, keyboards, and guitars. However, little is known about how the perceptual organization of such musical scenes is affected by selective attention, and which acoustic features play the most important role. (...)
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  20.  33
    Music induces universal emotion-related psychophysiological responses: comparing Canadian listeners to Congolese Pygmies.Hauke Egermann, Nathalie Fernando, Lorraine Chuen & Stephen McAdams - 2014 - Frontiers in Psychology 5:116059.
    Subjective and psychophysiological emotional responses to music from two different cultures were compared within these two cultures. Two identical experiments were conducted: the first in the Congolese rainforest with an isolated population of Mebenzélé Pygmies without any exposure to Western music and culture, the second with a group of Western music listeners, with no experience with Congolese music. Forty Pygmies and 40 Canadians listened in pairs to 19 music excerpts of 29–99 s in duration in (...)
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  21.  27
    On listening to music.Thomas G. Miller - 1994 - Journal of Aesthetics and Art Criticism 52 (2):215-223.
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  22. Listening to Music Together.N. Zangwill - 2012 - British Journal of Aesthetics 52 (4):379-389.
    I discuss the social dimension of musical experience. I focus on the question of whether there is joint musical listening. One reason for this focus is that Adorno and those in his tradition give us little in the way of an understanding of what the social dimension of musical experience might be. We need a proper clear conception of the issue, which the issue of joint experience yields. I defend a radically individualistic view, while conceding that such a view, (...)
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  23.  94
    Listening to music: Performances and recordings.Theodore Gracyk - 1997 - Journal of Aesthetics and Art Criticism 55 (2):139-150.
  24. Listening to Music Enhances Spatial-Temporal Reasoning: Evidence for the "Mozart Effect".Lois Hetland - 2000 - The Journal of Aesthetic Education 34 (3/4):105.
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  25.  37
    Music-to-listener emotional contagion.Stephen Davies - 2013 - In Tom Cochrane, Bernardino Fantini & Klaus R. Scherer (eds.), The Emotional Power of Music: Multidisciplinary perspectives on musical arousal, expression, and social control. Oxford University Press. pp. 169.
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  26. Modeling Listeners' Emotional Response to Music.Tuomas Eerola - 2012 - Topics in Cognitive Science 4 (4):607-624.
    An overview of the computational prediction of emotional responses to music is presented. Communication of emotions by music has received a great deal of attention during the last years and a large number of empirical studies have described the role of individual features (tempo, mode, articulation, timbre) in predicting the emotions suggested or invoked by the music. However, unlike the present work, relatively few studies have attempted to model continua of expressed emotions using a variety of musical (...)
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  27.  25
    Listening subjects: music, psychoanalysis, culture.David Schwarz - 1997 - Durham: Duke University Press.
    In Listening Subjects, David Schwarz uses psychoanalytic techniques to probe the visceral experiences of music listeners.
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  28.  77
    Musical form and the listener.Nicholas Cook - 1987 - Journal of Aesthetics and Art Criticism 46 (1):23-29.
  29. Listening to Musical Performers.Aron Edidin - 2015 - Contemporary Aesthetics 13.
    In the philosophy of music and in musicology, apart from ethnomusicology, there is a long tradition of focus on musical compositions as objects of inquiry. But in both disciplines, a body of recent work focuses on the place of performance in the making of music. Most of this work, however, still takes for granted that compositions, at least in Western art music, are the primary objects of aesthetic attention. In this paper I focus on aesthetic attention to (...)
     
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  30.  14
    Musical agency and the social listener.Cora S. Palfy - 2021 - New York, NY: Routledge.
    Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field--musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to (...)
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  31.  9
    Infectious Music.Music-Listener Emotional Contagion - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy: Philosophical and Psychological Perspectives. Oxford, GB: Oxford University Press UK.
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  32.  91
    Listening for Whiteness: Hearing Racial Politics in Undergraduate School Music.Julia Eklund Koza - 2008 - Philosophy of Music Education Review 16 (2):145-155.
    This article describes how admissions auditions at schools of music may demonstrate and participate in what critical race theorist, Gloria Ladson-Billings, calls the full social funding of race. Julia Eklund Koza argues that the construction of musical difference, which is an effect of power and is accomplished by the materialization of styles of music, plays a role in the systemic inclusion or exclusion of people whose bodies have already been raced through a similar process of sorting and ordering. (...)
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  33.  20
    Listening for historic Manila: music and rejoicing in an international city.William John Summers - 1998 - Budhi: A Journal of Ideas and Culture 2 (1):203-254.
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  34.  26
    Listening to Music: What Is an Ideal Hearing?Marilyn Fischer - 1990 - The Journal of Aesthetic Education 24 (2):115.
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  35.  12
    Postmodern music, postmodern listening.Jonathan D. Kramer - 2016 - New York: Bloomsbury Academic. Edited by Robert Carl.
    Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can (...)
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  36.  9
    Listening to the unconscious: adventures in popular music and psychoanalysis.Kenneth M. Smith - 2023 - New York: Bloomsbury Academic. Edited by Stephen Overy.
    An examination of the unconscious as it relates to popular music and the first truly interdisciplinary book on philosophy and popular music with equal weight given to each discipline.
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  37.  17
    Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950-1980.Christina Dunbar-Hester - 2010 - Science, Technology, and Human Values 35 (1):113-139.
    Scholars have explored the influence of the field of cybernetics on scientific thought and disciplines. However, from the inception of the field, ‘‘cyberneticians’’ had explicitly envisioned applications reaching beyond the purview of scientific disciplines; cybernetics was remarkable for its portability and potential application in a wide variety of contexts. This article explores connections between cybernetics and experimental music from 1950-1980, which was a period of experimentation with electronic techniques in recording, composition, and sound production and manipulation. Examples include musicians, (...)
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  38.  21
    Music Therapy for Depression Enhanced With Listening Homework and Slow Paced Breathing: A Randomised Controlled Trial.Jaakko Erkkilä, Olivier Brabant, Martin Hartmann, Anastasios Mavrolampados, Esa Ala-Ruona, Nerdinga Snape, Suvi Saarikallio & Christian Gold - 2021 - Frontiers in Psychology 12.
    Introduction: There is evidence from earlier trials for the efficacy of music therapy in the treatment of depression among working-age people. Starting therapy sessions with relaxation and revisiting therapeutic themes outside therapy have been deemed promising for outcome enhancement. However, previous music therapy trials have not investigated this issue.Objective: To investigate the efficacy of two enhancers, resonance frequency breathing and listening homework, when combined with an established music therapy model.Methods: In a 2 × 2 factorial randomised (...)
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  39.  19
    Listening Back: Music, Cultural Heritage and Law.Robbie Sykes - 2018 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 31 (2):183-186.
    As a performative activity, music has the potential to help explain the interpretive and rhetorical work of lawyering. As an aesthetic creation that reflects and shapes individual identities and social bonds, music is a cultural force that may contest or enhance political and legal power. The papers in this special issue contribute to the expanding field that pairs law and music by examining how music has affected legal practices and legal thinking in particular historical and cultural (...)
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  40.  17
    Listening to Sound-based music: Defining a perceptual grammar based on morphodynamic theory.Riccardo D. Wanke - 2023 - Gestalt Theory 45 (3):199-223.
    Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores (...)
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  41.  25
    MUSIC has been linked to the emotions at least since Ancient Greece, and emotions do figure prominently in people's reported motives for listening to music. People use.Patrik N. Juslin - 2008 - In Susan Hallam, Ian Cross & Michael Thaut (eds.), Oxford Handbook of Music Psychology. Oxford University Press.
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  42.  88
    Listening In: Music, Mind, and the Modernist Narrative (review).Randall Everett Allsup - 2006 - Philosophy of Music Education Review 14 (1):93-97.
    In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. (...)
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  43.  43
    Listening to music.Martyn Evans - 1990 - Houndmills, Basingstoke, Hampshire: Macmillan.
    In this book the author argues that human musical understanding is rooted in the traditions of culture and that experience of music depends crucially on what the individual brings to it.
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  44.  14
    Music and embodied cognition: listening, moving, feeling, and thinking.Arnie Cox - 2016 - Indianapolis: Indiana University Press.
    Mimetic comprehension -- Mimetic comprehension of music -- Metaphor and related means of reasoning -- Pitch height -- Temporal motion and musical motion -- Perspectives on musical motion -- Music and the external senses -- Musical affect -- Applications -- Review and implications.
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  45.  28
    The emotional element in listening to music.Enid Robertson - 1934 - Australasian Journal of Philosophy 12 (3):199 – 212.
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  46.  21
    Against Music? Heuristics and Sense-Making in Listening to Contemporary Popular Music.Vincenzo Zingaro - 2022 - Philosophies 7 (2):38.
    Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, (...)
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  47.  36
    Listening for utopia in Ernst Bloch's musical philosophy.Benjamin M. Korstvedt - 2010 - New York: Cambridge University Press.
    Bloch's Teppich : an initial approach -- On the genealogy of the Teppich metaphor before Bloch -- The conceptual constellation of Bloch's musical philosophy -- Entering Bloch's musical system -- Wagner's animal lyricism -- Bloch's vision of the armored men, or the limits of enlightenment -- The achievement of symphonic authenticity -- Epilogue : an atheism of presence and absence.
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  48.  60
    Turning Listening Inside Out: Brian Eno's Ambient 1: Music for Airports.John Lysaker - 2017 - Journal of Speculative Philosophy 31 (1):155-176.
    Brian Eno's Ambient 1: Music for Airports is a seminal album in the history of electronic music. Using Deleuze and Guattari's notion of the assemblage, I explore the album's compositional structure as well as its ambient function, by attending to specific tracks and locating the album in musical history, particularly relative to the work of John Cage, La Monte Young, and Steve Reich. In an extended discussion of its ambient function, I argue that the LP offers music (...)
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  49.  27
    Platonism, music and the listener's share.Christopher Norris - 2006 - London: Continuum.
    This is an important piece of work from an influential and highly-acclaimed theorist exploring the New Musicology and other debates in recent philosophy of ...
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  50.  14
    Editorial: The Influence of Loud Music on Physical and Mental Health.Mark Reybrouck, Piotr Podlipniak & David Welch - 2019 - Frontiers in Psychology 10.
    Music and noise can be considered as a collection of vibrational events which may impinge upon the body and the mind. As such they can induce beneficial or harmful bodily and psychological reactions. Much contemporary music production and consumption, however, produces sensory saturation and/or overload with sounds being manipulated in terms of spectrum and dynamic range. Such manipulation is not harmful by definition, but the manipulations may increase the potential for harm. Much research has been devoted to the (...)
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