Enjoyment Of Music Research Articles

Appreciation of music in adult patients with cochlear implants: a patient questionnaire

Many cochlear implant candidates express hopes of enjoying music following implantation. Our aim was to assess the appreciation of music after cochlear implantation in adult patients. Thirty-five out of 45 cochlear implantees (78%) from the North East Programme responded to a questionnaire. Only 16 out of 35 patients (46%) listened to music after implantation. Enjoyment of music on a self-assessment scale was graded a mean of 8.7/10 before deafness but only 2.6/10 after implantation. Listening to music after implantation was more likely in younger patients, those with higher speech perception scores and those with a shorter length of deafness, but was not found to be related to gender, type of implant, processing strategy, time since implant or music enjoyment before becoming deaf. Appreciation of music after cochlear implantation is disappointingly low. Future developments in implant technology should strive to improve satisfaction with music listening.

Music to the Impaired or Implanted Ear

Music to the Impaired or Implanted Ear

Musical Backgrounds, Listening Habits, and Aesthetic Enjoyment of Adult Cochlear Implant Recipients

This paper describes the listening habits and musical enjoyment of postlingually deafened adults who use cochlear implants. Sixty-five implant recipients (35 females, 30 males) participated in a survey containing questions about musical background, prior involvement in music, and audiologic success with the implant in various listening circumstances. Responses were correlated with measures of cognition and speech recognition. Sixty-seven implant recipients completed daily diaries (7 consecutive days) in which they reported hours spent in specific music activities. Results indicate a wide range of success with music. In general, people enjoy music less postimplantation than prior to hearing loss. Musical enjoyment is influenced by the listening environment (e.g., a quiet room) and features of the music.

Comment on “Absorption and Enjoyment of Music” by Rhodes, David, and Combs

Rhodes, David, and Combs (1988) first administered the Tellegen Absorption Scale to 35 students who then rated how much they liked eight musical selections representing classical, new age, rock, and country Correlations were .51 (p < .01) for classical music, .40 (p < .05) for new age music, .20 (n.s.) for rock music, and .ll (n.s.) for country The authors concluded that the findings were consistent with the hypothesis that the trait of absorption is related to the enjoyment of music and that such a relation is strongest for classical They also argued that new age music, which also yielded a significant correlation with the absorption scale, was most similar to classical music in format and complexity. We believe, however, that the methodology is not closely tied to the authors' hypotheses, nor are their conclusions entirely consistent with the data presented. The authors hypothesized that a positive relation exists the trait of absorption and the ability to enjoy music. In fact, the authors did not test the hypothesis that absorption is related to an ability to enjoy music Because there are large individual differences in preference for musical styles, it cannot be assumed that enjoyment of a musical piece implies anything about a subject's ability to enjoy muslc Although enjoyment of music was shown to correlate with absorption, the ability to enjoy mlis~c was not measured and was therefore not examined. Although the authors hypothesized that the relation between absorption and classical music would be strongest because of its musical complexity, complexity was not operationalized. Indeed, the presence or absence of lyrics, rather than complexity, might have mediated the correlations obtained. Further, the conclusion that the relation between absorption and enjoyment of classical music is the strongest is not justified by the data presented. To demonstrate this, the authors would have had to show that the correlation between classical music and absorption is greater than that obtained between absorption and other musical stvles Simply inspecting the correlations is not a sufficient basis for comparing the relative slrength of the relation between absorption and type of Moreover, although the authors collapsed across musical selections to compute correlations, this procedure may not be appropriate: the relation becween absorption and musical type may vary across the selections. As a final caveat, the possibility that context effects (Council, Kirsch, & Hafner, 1986) artificially inflated the correlation becween absorption and music enjoyment should be considered. Because the absorption scale was administered in the same context as the music-racing task, context-based expectancies could have mediated the positive correlations obtained. Despite the Limitations we have noted, the hypothesis that absorption and music enjoyment are correlated is interesting and warrants further investigation.

What contributed most to your enjoyment of music?

What contributed most to your enjoyment of music?

Effects of Guided Listening on Musical Enjoyment of Junior High School Students

This study centered on whether greater liking of specific styles of music (Baroque and twentieth century) would result at the junior high school level in classes providing guided, analytical listening. The dependent variables, liking for Baroque and twentieth-century music, were measured by an investigator-developed test. The research design was pretest-training-post test with control groups. The training consisted of twelve tape-recorded listening lessons for each style of music. The manner of presentation was influenced by Leonard Bernstein's children's concerts. Within the limits of the procedures of this investigation, the findings suggested that greater liking for a particular style of music did not result in classes where music of this style was presented with analytic commentary. The investigator concluded that, in the light of this and other studies, general music teachers should be cautious in their expectations of teaching junior high school students to increase their appreciation of particular styles of music.

Effect of Repeated Listenings on Structural Discrimination and Affective Response

Knowledge of musical form and of the structural elements that make up that form is basic to musical understanding and, eventually, musical enjoyment.1 Nevertheless, the relationship between liking a specific piece of music and understanding its composition is not always apparent. Establishing such a relationship is important, for the more that is known about creating positive reactions to music, especially art music, the more likely will better teaching methods be developed to achieve these kinds of reactions. Certain educators have indicated that more effective ways of teaching discriminative listening are necessary to achieve greater sensitivity to the formal structural elements of music.2 Listening to music may occur with relatively little awareness of what is happening within the musical performance. However, listening discriminatively necessarily involves some degree of recognition, perception, or identification of musical stimuli by a process of distinguishing and sifting out certain stimulus characteristics. It is not always possible to make fine discriminations of music in one hearing.

In a Soundless World of musical Enjoyment

In a Soundless World of musical Enjoyment

The Matepe mbira music of Rhodesia

My aim in this article is to introduce the reader to an instrument, the matepe or bera of Rhodesia, so that he may appreciate something of its music and its musical enjoyment; also that he may be able to make it, if he wishes, and play it himself. The article is accompanied by two records in the International Library of African Music’s ‘Sound of Africa’ Series, Nos. TR. 212 and 213, which I recorded in Rhodesia in June 1969. As a whole it is intended as part of a series on the many types of Rhodesia’s national instrument (yet unrecognised!), the mbira, which will serve as material for Rhodesian schools and universities, and for any Rhodesian concerned with the culture of his country.

The Enjoyment of Music

The Enjoyment of Music

The Enjoyment of Music

The Enjoyment of Music

Review: The Enjoyment of Music; An Introduction to Perceptive Listening by Joseph Machlis; The Enjoyment of Music by Joseph Machlis; An Introduction to Music by David D. Boyden

Review: The Enjoyment of Music; An Introduction to Perceptive Listening by Joseph Machlis; The Enjoyment of Music by Joseph Machlis; An Introduction to Music by David D. Boyden

The Enjoyment of Music

The Enjoyment of Music

Apocalyptic Trumpets: The Inception of Mozart auf Der Reise Nach Prag

On a monday morning in February 1843, Eduard Mörike enjoyed a unique musical experience, significant alike for its evocation of past memories and its foreshadowing of subsequent literary creation. He was at the home of David Friedrich Strauß in Sontheim, on the edge of Heilbronn. Strauß and another of Mörike's boyhood friends, the composer Friedrich Kauffmann, had surprised Mörike in Cleversulzbach the preceding Saturday and taken him to meet Strauß's bride, the former operatic mezzo-soprano Agnes Schebest. The sensational career which Agnes had sacrificed for marriage to Mörike's friend, reports of her beauty and “demonic charm,” rumors concerning her personal life in the past, and indications of Strauß's restlessness in marriage had made Mörike look forward to this introduction for some months with tense anticipation. But the first twenty-four hours of the visit had now passed happily, rich in the spontaneous sociability and informal musical enjoyment that Mörike so passionately loved. Just a few minutes earlier the unexpected arrival of Klärchen Mörike in a peasant costume had completely mystified all of the company but her brother.

Keyboard Experience: A Foundation for Musical Knowledge and Enjoyment

Keyboard Experience: A Foundation for Musical Knowledge and Enjoyment

Preferred Regions in Musical Compositions and the Effect of Repetition upon Them

The purpose of this study is, first, to discover how much agreement exists among a group of 'musical' individuals as to which parts of a musical composition are especially pleasing, and, secondly, to note some of the characteristics of these passages which might account for their 'popularity.' Much has already been discovered about the sources of musical enjoyment through the work of Washburn and Dickin-

'The Enjoyment of Music'

'The Enjoyment of Music'

THE ENJOYMENT OF MUSIC

Journal Article THE ENJOYMENT OF MUSIC Get access HANS SCHNEIDER HANS SCHNEIDER Search for other works by this author on: Oxford Academic Google Scholar The Musical Quarterly, Volume VII, Issue 2, April 1921, Pages 218–225, https://doi.org/10.1093/mq/VII.2.218 Published: 01 April 1921