Music and Psychology

A fundamental purpose of this study was to test whether theories and principles of music cognition and perception derived using western music can be applied to other styles of music, in this case, Carnātic music. Previous investigations showed that listeners use culture-specific and low-level sensory cues to comprehend familiar music, whereas they relied mainly on sensory cues and schematic knowledge gained from listening to music of their own culture to understand unfamiliar music. Research also shows that listeners hold mental representations of the hierarchical ordering of notes in musical scales of one’s culture which they readily access when listening to familiar and unfamiliar melodies. The existence of such representations has been demonstrated in real time using behavioral and neuroimaging techniques. The goals of the present study were to 1) behaviorally track listeners’ responses to two types of modulation as they developed over time in Carnātic music and 2) identify the various cues that listeners, familiar and unfamiliar with the music, utilized in order to perceive the modulations. The purpose of Experiment 1 was to obtain baseline profiles of four rāgams (modes) and compare these against profiles of modulating excerpts containing the same rāgams in Experiment 2. Carnātic and western music teachers heard brief Carnātic excerpts in one ear while in the other ear they heard a continuously sounded probe-tone. The probe-tone was one of the twelve chromatic notes of an octave. Participants judged continuously how well the probe-tone fitted with the melody. Results showed that western teachers’ responses matched those of the Indians on rāgams that had structures similar to the western scales but differed considerably when the rāgams were unfamiliar. Also, there were differences in the two groups’ responses to modulations. These discrepancies were primarily due to the influence of culture. The findings supported previous research and identified three types of cues: 1) culture-specific cues, which included theoretical knowledge of the rāgams and familiarity with the excerpts in the study, employed by Indian teachers, 2) basic psychophysical cues of duration and frequency of note occurrence employed by both Indian and western participants, and 3) transference of schematic knowledge of western music by western participants.

Background: Research on the effects of music education on cognitive abilities has generated increasing interest across the scientific community. Nonetheless, longitudinal studies investigating the effects of structured music education on cognitive sub-functions are still rare. Prime candidates for investigating a relationship between academic achievement and music education appear to be executive functions such as planning, working memory and inhibition.
Method: 147 primary school children, Mage= 6.4 years, SD=.65 were followed for 2.5 years. Participants were randomised into four groups: two music intervention groups, one active visual arts group and a no arts control group.
Neuropsychological tests assessed verbal intelligence and executive functions. Additionally, a national pupil monitor provided data on academic performance.
Results: Children in the visual arts group perform better on visuospatial memory tasks as compared to the three other conditions. However, the test scores on inhibition, planning and verbal intelligence increased significantly in the two music groups over time as compared to the visual art and no arts controls. Mediation analysis with executive functions and verbal IQ as mediator for academic performance have shown a possible far transfer effect from executive sub-function to academic performance scores.
Discussion: The present results indicate a positive influence of long-term music education on cognitive abilities such as inhibition and planning. Of note, following a two-and-a-half year long visual arts program significantly improves scores on a visuospatial memory task. All results combined, this study supports a far transfer effect from music education to academic achievement mediated by executive sub-functions.

This report evaluates the impact of live music in hospitals in the United Kingdom, as provided by OPUS Music Community Interest Company. Surveys and semi-structured interviews showed positive responses of hospitalised children. Parents reported increased well-being for their children and also for themselves, and similar patterns were found among hospital staff. Interactions with the musicians such as the child playing the instruments were important as well as hearing the music. Positive benefits were found in this music evaluation study from the three perspectives: the children, families and staff. The results suggest that 1) music can create a space for children in hospital to interact and ease their (and their parents’) anxiety and stress, and that 2) such music activities can support healthcare staff in their working environment by providing entertainment and creating more uninterrupted working time.

Abstract
This project will investigate the link between physical expression and emotions in music.  Since the emotive nature of music is already well known, it will focus on the following questions:
1. Is physical expression a natural result of emotions?
2. Alternatively, can emotions be induced by physical expression?
Section A will explore the answers to these questions using musicology.  After demonstrating that bodily movements both express and induce emotions, it will deal briefly with the possible danger of manipulation.  In section B, the Bible’s teaching on bodily expressions used in worship will be investigated.  After a broader framework of holistic worship has been established, it will explore some key worship terms in Hebrew and Greek.  Examples of physical gestures used in worship in the Bible will be given, followed by physical gestures used in musical worship.  In section C, musicology and the Bible will be brought into dialogue with each other.  In particular, the bi-directional nature of physical expression and emotions in music will be discussed from the perspective of both fields of study.  Practical implications for corporate worship involving music will be teased out .  Finally, it will be established that physical gestures should be used in corporate worship and concluding recommendations will be made.

Music is an effective, almost magical medium that can be used to learn and retain information. Music activates three different centers of the brain at the same time: the language centre, the hearing centre and the rhythmic motor control. Through effecting these neural centres, it induces emotions and creates a heightened condition of awareness and mental acuity. It is one of the best medium which helps in proper development of cognitive ability of a child. Introducing proper musical activities in the school curriculum and in daily life is proven to improve child's overall development. The present article highlights the impact of music on human brain & overall development of child in the light of various studies and researches done around the world. The aim of this article is to put forward the benefit of music in child development and inculcation of good habits. This article challenges the misconception prevalent in the society which assume music merely as a mode of entertainment and insist students to concentrate on general scholastic subjects. It further provide scientific justifications for including music as one of the core subject in school curriculum.

The aim of this study was to examine the effects of the different human tone colours on individuals’ moods. The research design was determined as quasi- experimental design with test control group. In accordance with this purpose, the workgroup totally consisted of 240 prep students receiving education in preparatory class in 2017-18 academic year at a university in Zonguldak. One hand, the moods of the students related to the tone colours (soprano-alto-tenor-bas) that they listened was assessed with the ‘Mood Scale’ developed by Coskun & Gültepe (2014), on the other hand the physiological variations related to the tone colours that they listened was assessed with ‘Physiological Scale (pulsimeter). The piano as a musical instrument play along with the tone colours utilized in the research. Hence, in order to determine whether the piano has any effect on moods or not, firstly a pilot study was conducted on 155 students who listened human voices both with the piano and without the piano. As a result of the pilot study, the students listened human voice along with a piano. In consequence of abnormal distribution, Mann-Whitney U test was used in the paired comparison of the tone colours, and Kruskal Wallis H test was used in overall comparison. Furthermore, in the physiological results of measurement conducted together with the main study comparison were performed with the Pearson product-moment correlation coefficient, then inter variance correlations were obtained with t test for paired samples and thereby t test results. While the data obtained from students were analysed with SPSS-25 statistical package, the wave graphics coupled with tone colours, amplitude analysis and spectrogram analysis were obtained with Matlab package.

At the end of the research, it was acknowledged that there was a significant difference among the moods of the students related to human tone colours. On the other Araştırma sonucunda, öğrencilerin insan ses renklerine ilişkin duygudurumları üzerinde anlamlı farklılık olduğu sonucuna ulaşılmıştır. Ancak araştırmaya ait fizyolojik ölçüm aşamasında ise anlamlı bir farklılık olmadığı belirlenmiştir.

Araştırmada, eğitim durumlarına ilişkin öneriler ile gelecekte yapılacak araştırmalara ilişkin önerilere de yer verilmiştir.

La salida a escena se constituye para muchos músicos, como la oportunidad para compartir el fruto de largas horas de ensayo y meticuloso trabajo musical. No obstante, el formidable reto que acompaña la ejecución musical en público puede ser objeto de una multiplicidad de experiencias y sensaciones que van, desde una enérgica anticipación, hasta el más profundo terror que rebasa cualquier posibilidad de expresión. Aunque la literatura psicológica a menudo se ha centrado en los aspectos cognitivos, medibles, sintomáticos y conscientes de la ansiedad escénica, existen otras formas de comprender este fenómeno en apariencia misterioso, y el cual no exime de un importante malestar para el ejecutante.
Este estudio presenta un abordaje psicoanalítico y problematizador de la comprensión teórica imperante de la ansiedad escénica musical (AEM) y sus derivadas aproximaciones de “cura”. Desde la voz de dos músicos costarricenses, se ha formulado un análisis crítico de aquellos discursos que han fundado la narrativa coloquial sobre la ansiedad escénica y ha profundizado sobre los retos y particularidades que acompañan al músico en cada salida a escena.
En este recorrido textual, se muestra lo inseparable del sujeto y su arte musical, íntima y recíprocamente ligados en la puesta en escena. El intérprete y su música se entretejen en su historia personal, los mitos, fantasmas, narcisismos, escenarios y públicos imaginarios que han marcado toda su vida. El presente estudio explora y hace hincapié sobre estas y otras marcas subjetivas que singularmente dotan de significado y dan forma al significante de ansiedad en la interpretación musical.

The purpose of this meta-analysis was to determine whether experimentally tested sightreading interventions positively influenced sightreading ability. A meta-analysis was conducted with 92 quasi-experimental research studies on sightreading (124 individual analyses) to determine the overall effect size of treatment and to examine how the effect size was influenced by treatment type, sightreading mode (sightreading/sightsinging), age and experience of sight reader, type of sightreading test, and other study design elements. The analysis revealed a small overall effect size for treatment (d = −0.18, 95% CI [−0.24, −0.11]). Of the moderator variables, only treatment-type was significant, with treatments categorized as “Aural Training,” “Controlled Reading,” “Creative Activities,” and “Singing/Solfege” significantly and positively affecting sightreading. There was a moderately strong within-group effect size (d = −0.48, 95% CI [−0.56, −0.40]), indicating that sightreading generally improved pre- to posttest for both control and treatment groups.

ÖZ Müzik, farklı kültürlerin kendine özgü dokusunu yansıtan ve içerisinde barındıran evrensel bir iletişim aracıdır. Müziğin bazı özelliklerinin insanlar üzerinde olumlu veya olumsuz yönde etki bıraktığı söylenebilir. Söz konusu etkinin hiç şüphesiz müziğin birleştirici ve bağlayıcı yönlerinden kaynaklandığı düşünülse de, müziğin diğer alanları (psikoloji, tıp, matematik vb.) kapsayıcı yönü, disiplinlerarası birçok alan ile ilişkisel bir görünüme sahip olmasını hem gerekli kılmış hem de daha belirgin bir hale getirmiştir. Müziğin; tedavi, beyin, psikolojik faktörler ve duygudurum gibi farklı ilişkiler üzerine yöneldiği ve bu ilişkilerde olumlu gelişmeler gösterdiği öteden beri bilinse ve müziğin duyguların dili olduğu söylense de, müzikteki duyguların psikolojik özellikleri hakkındaki fikirler, hâlâ çelişkili ve teorik bir temele dayandırılamamıştır. Bunun dışında sesin yapısında var olan duygusal anlam, insanların müzik dinlemeye başladığında farklı duygudurumunda olabilmesine imkan tanımaktadır. Bu ve benzeri birçok durum, ilk çağlardan itibaren müzik için seslerini kullanan insanoğlunun kendi sesini keşfetmesini ve daha güzel kullanma çabasını bir gereklilik olmaktan çıkarıp, adeta bir zorunluluk haline dönüştürmüştür. Bu dönüşüm, insanları yeni yöntemler için farklı arayışlara yöneltmiş ve bu yönelim de gelişmeyi paralelinde getirmiştir. İnsan sesi, hem insanların ellerindeki mevcut çok amaçlı enstrümanlardan biri, hem de insan vücudunda yer alan ve sürekliliği olan bir enstrüman olarak görülebilir. Dolayısıyla bilimsel ve teknolojik gelişmeler, birçok farklı alanda olduğu gibi, insan sesi için de farklı disiplinlerin bir araya gelmesini sağlamıştır. Bu sayede, günümüzde insan sesindeki etki, çekicilik, kişiliğe ait izler, duygu, duygudurum vb. farklılıklar keşfedilmiş ve insan sesi iyileştirme için olağanüstü enstrümanlardan biri ve en kolay kullanabileceğimiz ses aygıtı olması dolayısıyla hayatın birçok alanına entegre edilmiştir. Sonuç olarak, günümüz dünyasının hem bilim ve teknolojideki yenilikler ile birlikte sürekli bir sirkülasyon halinde olması, hem de bilgi ve iletişim çağına uygun hareket etme gerekliliği, beraberinde yenilikçi bakış açısını ve fenomenal bir gelişim evresini gerekli kılmaktadır. Nitekim, bilginin üretilip insanların hayatlarına yol gösterici bir konuma gelebilmesi, bilginin işlenip; kavrama, uygulama ve değerlendirilmesi ile mümkün olmaktadır. Dolayısıyla bilim dünyasındaki bu gelişim, insan duygularını da anlamlandırmaya çalışmaktadır. Bu doğrultuda düşünüldüğünde, görsel sanatlardan sinema ve televizyona kadar birçok alanda, insan duygularında değişim yaratmak istendiğinde, öncelikli tercihin müzik ya da insan sesi olduğu görülmektedir. Bu tercihin sebepleri arasında, müziğin evrenselliği ve insan üzerindeki etki boyutu sayılabilir. Müziğin; tedavi edici yönü, beyin üzerinde yarattığı çalışma potansiyeli, bir müzisyen için el kol koordinasyonu, ani duygu değişimlerine direktifler sağlaması (üzgün hissettiren bir müziğin, başka bir müzikle neşeli hissini sağlaması), resim/heykel/sinema ve tiyatro gibi farklı alanlarda duygu değişimine ve eserin içine katabilme özelliğinin bulunması gibi durumlar neticesinde araştırma önemlidir. İlaveten, son zamanlarda müzik, duygu ve duygudurum üçgeninde kayda değer bir artışın olduğunu, müzik ve duygu/duygudurumu tanımanın ayrıntılı bir konu haline geldiğini söylemek mümkündür. Ayrıca müzik ve duygudurum arasındaki ilişki, disiplinlerarası birçok çalışma alanının etkileşim halinde olmasına zemin hazırlayarak, bu alanlarda değişim, gelişim ve dönüşüm evresine paralel olarak müzik psikolojisi alanında yapılan araştırmaların da artmasına olanak sağlamıştır.

We used Toiviainen and Krumhansl's (2003) concurrent probe-tone technique to track Indian and Western musicians' tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic music because of the large number of modes (more than 300) in its tonal system. We first had musicians generate profiles to establish a baseline for each of four rāgams in isolation. Then we obtained dynamic profiles of two modulating excerpts, each of which incorporated two of the four baseline rāgams. The two excerpts used the two techniques of modulation in Carnātic music: grahabēdham (analogous to a Western shift from C major to A minor), and rāgamālikā (analogous to a shift from C major to C minor). We assessed listeners' tracking of the modulations by plotting the correlations of their response profiles with the baseline profiles. In general, the correlation to the original rāgam declined and the correlation to the new rāgam increased with the modulation, and then followed the reverse pattern when the original rāgam returned. Westerners' responses matched those of the Indians on rāgams with structures similar to Western scales, but differed when rāgams were less familiar, and surprisingly, they registered the shifts more strongly than Indian musicians. These findings converged with previous research in identifying three types of cues: 1) culture-specific cues—schematic and veridical knowledge—employed by Indians, 2) tone-distribution cues—duration and frequency of note occurrence—employed by both Indians and Westerners, and 3) transference of schematic knowledge of Western music by Western participants.

Este artigo tem como objetivo demonstrar o processo composicional e o planejamento macro e microestrutural da obra “Poço dos desejos”, para violão solo, revelando como a manifestação de um transtorno obsessivo-compulsivo (TOC) serviu de subsídio teórico para a geração e estruturação isomórfica de gestos composicionais. A partir de um único gesto tricordal que se expande, no decorrer da peça, em seus superconjuntos, e de um planejamento da taxa de variação da dinâmica, busca-se retratar o nível de tensão associado a esse transtorno.

Resumo: Trata-se de um estudo filosófico sobre as tensões e articulações entre a Estética e a Lógica na A Interpretação dos Sonhos de Sigmund Freud (1856-1939). Procuramos demonstrar como Freud, nesse texto que é estratégico para o estabelecimento da práxis psicanalítica e que repercute nos movimentos artísticos contemporâneos, estabelece um método amparado no rigor da observação e da lógica e, ao mesmo tempo, chama em auxílio a este método noções provenientes da Estética, quais sejam, as noções de representação, de forma, de conteúdo e de unidade, parecendo contrariar, desse modo, a tradição filosófica idealista, que estipulara historicamente a distinção entre o inteligível e o sensível.

Abstract: This paper presents a philosophical study of the tensions and interconections between Aesthetics and Logic in The Interpretation of Dreams by Sigmund Freud (1856-1939). We wish to demonstrate how Freud in this text which is strategic for the establishment of psychoanalytic praxis and that resonates in contemporary artistic movements, establishes a method supported in the accuracy of observation and logic and, at the same time, invocates in aid to this method notions of representation, form, content and unit, seemingly opposing thus the idealist philosophical tradition, historically founded in the distinction between the intelligible and the sensible.

L’articolo descrive un percorso didattico condotto nel corso dell’a. s. 2017-2018 in seno alla Scuola media “G. Marconi” – Istituto Comprensivo Centro 2 di Brescia. Una didattica dell’ascolto si sposava all’esigenza di gestire un fenomeno problematico e avvertito da docenti di ogni disciplina – la natura sovente indisciplinata delle classi, specialmente a partire dalla scolarità secondaria di primo grado, quando gli alunni devono affrontare il superamento della fase infantile e l’ingresso nella prima adolescenza. Un laboratorio incentrato sul provocatorio 4’33’’ di John Cage e sulla canzone "The Sound of Silence" del duo Simon & Garfunkel ha inteso adottare la categoria del silenzio, con le sue varie declinazioni, come strumento di disciplina, eleggendolo a momento di interesse e attenzione per un’educazione all’ascolto tanto in senso umano, quanto musicale.

We examined differences between musicians’ and nonmusicians’ perception of modulations as they unfolded in time in Carnātic music using Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique. Previous investigations showed that with culturally familiar music listeners use culture-specific and psychophysical cues, whereas with music from another culture they rely more on psychophysical cues and schematic knowledge imported from their own culture. We compared baseline profiles of four rāgams (modes) with profiles of modulating excerpts containing the same rāgams. Indian musicians’ tonal hierarchy profiles tracked the modulations in and out of the new rāgam. Western musicians’ profiles tended to match those of Indian musicians, indicating their employment of psychophysical cues as well as western schematic cues. Indian and western nonmusicians’ profiles did not reflect the modulations. Indian nonmusicians’ inability to identify modulations in melodies from their own culture suggests that musical training, irrespective of culture, facilitated performance on the continuous probe-tone task.

The study was aimed at (1) identifying cues that help listeners perceive tonality changes, (2) investigating if cues learnt from one culture help toward understanding music across cultures, and (3) understanding if musical training is advantageous for cross-cultural perception. Carnātic music has two kinds of tonality shifts: the popular rāgamālikā (shifts of rāgam, retaining tonal center; e.g., C to C minor), and the controversial grahabēdham (shifts of rāgam and tonal center; e.g., C to A minor). Stimuli consisted of songs containing 45 rāgamālikā and 46 grahabēdham shifts. South Indian and American teachers and students were further divided by age (older or younger than 60 yr), and served in either the rāgamālikā or grahabēdham condition. Participants indicated the point at which a modulation occurred which we measured in terms of accuracy and latency. Results showed that Indians were more accurate and faster with rāgamālikās while westerners performed better with grahabēdhams. Cues could explain performance differences between nationalities: Indians performed better than westerners with rāgamālikās presumably because of their familiarity with it; westerners, on the other hand, performed better with grahabēdhams because they were probably able to apply cues from their culture to a type of modulation that was familiar to them. Indians and westerners had similar hit rates with grahabēdhams. Increased caution toward the less familiar grahabēdhams for Indians could explain their slower response time compared to rāgamālikās. Musical training was advantageous to teachers across both conditions and ages: they had more hits and fewer errors than students. This could be attributed to an enhanced representation for systems of pitches and modalities.

The theory of context-dependent memory predicts that more memory lapses will occur when performances are in settings different from the learning environment. This theory could have tremendous implications for the performance of music. If applied to music, changes in both internal and physical environments between rehearsal and performance may account for unexplained memory lapses during a performance. Therefore, countering context effects is very important to the performing musician. The more alike the performance and learning situations are, the less likely that forgetting will occur. Context effects can also be overcome by distributing practice over time and multiple environments. Based on research findings, it may be predicted that novice musicians will be affected by changing contexts to a greater extent than experienced performers.

The current study aims to examine cross modal transference of valence from the auditory to the visual domain, conducting a simultaneous presentation task with 40 participants. Furthermore, what is of particular interest in this experiment is the attempt to bring in the relationship the aspect of time, as well as the aspect of alexithymia, as a potential factor mediating the relationship. It is assumed that on the early stage of the task emotions have been induced but on the late stage, these emotions have been accumulated to create mood, that is aggregated emotions, the effects of crossmodal transfer will be greater. Results however, were non-significant for all factors, so the null hypotheses were accepted.

Previous investigations showed that Western participants' perception of wrong notes in familiar Western melodies was influenced primarily by key membership (diatonic or nondiatonic) and to a lesser extent by interval size (1 or 2 semitones away from the original note). These results were supported by a cross-cultural study between South Indian classical (Carnātic) and Western musicians and nonmusicians with highly familiar Western melodies. However, Indian participants were slower and less accurate with Carnātic than with Western melodies, presumably due to the complexity of the Carnātic music system. In this study, we examined the effect of song familiarity in Westerners' perception of wrong notes. We chose 32 Western melodies previously rated as familiar, and 32 highly unfamiliar melodies, similar in style to the familiar melodies. Participants heard each melody twice, each time with one wrong note that was determined from one of eight possible types of wrong note based on key membership, interval size, and direction (up vs. down). Participants identified the wrong note by pressing a key. The results indicated an effect of music experience with unfamiliar melodies only, with musicians detecting wrong notes faster than nonmusicians. All groups were faster with familiar melodies than with unfamiliar melodies. Key membership influenced perception of wrong notes in both familiar and unfamiliar melodies: Participants were slower at recognizing wrong notes that were diatonic and faster when they were nondiatonic. Interval size influenced perception of wrong notes only in unfamiliar melodies: Participants were slower at recognizing wrong notes that were 2 semitones away than when they were 1 semitone away, which was the opposite of our previous studies with familiar melodies. We take these results as converging evidence that people remember the pitches in melodies in terms of steps of an overlearned modal scale, and not as successive intervals.

We examined the differences between musicians’ and nonmusicians’ perception of tonality in familiar and unfamiliar melodies. Previous investigations show that: (a) with familiar music listeners use culture-specific and psychophysical cues, whereas with unfamiliar music they use psychophysical cues and schematic knowledge imported from their own culture; (b) listeners access their mental representations of the hierarchy of notes in musical scales of their culture when listening to familiar and unfamiliar melodies. Indian and western musicians and nonmusicians rated brief South Indian classical excerpts in four modes (rāgams) using Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique. Indian and western musicians’ responses were similar on rāgams resembling western modes but differed with rāgams unfamiliar to westerners. Our findings supported previous research and identified three types of cues that musicians used: 1) culture-specific cues—theoretical knowledge of the rāgams and familiarity with the excerpts in the study—employed by Indian musicians, 2) psychophysical cues—note duration and frequency of note occurrence—employed by all musicians, and 3) transference of western schematic knowledge by western musicians. Nonmusicians’ responses differed from the musicians’; their partial use of these cues suggests that musical training facilitated performance on the binaural probe-tone task and in applying these cues.

In previous investigations, Western listeners were quicker to respond to wrong notes in familiar melodies that were out‐of‐key (vs. in‐key) and 2 (vs. 1) semitones away from the original note (APCAM, 2008). Here we examined responses of South Indian classical (Carnātic) music teachers, students, and aficionados to wrong notes in familiar Carnātic and Western melodies. Carnātic music provides a fertile ground for studying phenomena associated with key membership, given the
complexity of its tonal system, which employs around 350 distinct modes. We chose 6 Carnātic and 6 Western melodies on the basis of Carnātic listeners’ high familiarity ratings. Each melody was presented approximately 8 times—since some of the Carnātic melodies were not amenable to all conditions—during 2 blocks of 48 randomly‐ordered trials, with a different wrong note each time, defined by key membership, interval size, and direction (up or down from the original note).
Participants responded as quickly as possible to the wrong note by pressing a key. In general, teachers recognized wrong notes faster than students, who were faster than aficionados. All groups were faster and more accurate with Western than Carnātic melodies, reflecting the complexity of the Carnātic system. Carnātic listeners’ response times followed qualitatively the same pattern with both types of melodies, a pattern similar to the earlier Western results: out‐of‐key notes and notes more distant from the original notes were easier to notice. Data on accuracy followed generally the same pattern, but also suggested that 1‐semitone in‐key alterations in the Carnātic melodies are often perceived as permissible deviations rather than “wrong.” Control groups of Western listeners with three levels of musical training also responded to the 6 Western melodies in a qualitatively similar manner to the Carnātic listeners.

Although only 2% of Americans bought jazz albums in 2014, Edward Sarath is as confident as ever that jazz music can help our world on a scale that most would probably not consider. Fellow for the American Council of Learned Societies, the Ford Foundation, the National Center for Institutional Diversity, and the National Endowment of the Arts, sets out in his book, Improvisation, Creativity and Consciousness, to not only prove the need for major changes within academia’s approach to jazz education and overall musical pedagogy, but also how powerful an effect such changes could have on society. I have structured this review in three parts: The introduction will serve as background on the author and subject matter, accessorized with my own opinions. Part 1 is a discussion of the books themes and contents accompanied by my own commentary, and Part 2 is my takeaway and opinions on the book.

La musica nell'inconscio cinematografico è un percorso multidisciplinare sull'importanza storica ed estetica della musica per film e su ciò che rappresenta per il cinema. Mantenendo un approccio multimediale vengono analizzate le applicazioni sonore dal cinema delle origini fino alla moderna digital music, svelando i retroscena, le difficoltà e le particolarità che circondano la figura del compositore di musica cinematografica. Ampio spazio è dato agli elementi più pratici relativi al discorso filmico e alle teorie psicologiche che racchiudono la sfera emotiva dell'essere umano, sia nella vita quotidiana sia in relazione al cinema e alla musica, confluite poi in un test sperimentale. Quest'ultimo mostra in che modo la musica ha la capacità di influenzare un'immagine, una scena o l'intera interpretazione di un film e quanto il suono e la sua assenza siano in grado di comunicare innumerevoli messaggi allo spettatore.