Music Ensembles Research Articles

Impact of studying practical instrumental music on the psychological well-being of disadvantaged university students

AbstractThe impact of practical instrumental music instruction on students’ psychological and sociological well-being is well documented in research literature. The extent to which these findings hold true for disadvantaged populations is unknown. Previous studies focused on young students with little to no research on disadvantaged young adults at university level. This study investigated the impact of group practical instrumental music instruction on the psychological well-being of disadvantaged university students. It particularly investigated changes in students’ optimism, self-esteem and happiness after participation in a wind ensemble. The study further looked at possible relationships between optimism, self-esteem, happiness and participation in an instrumental music ensemble. Results revealed increases in participant’s optimism, self-esteem and happiness and moderate to strong positive correlations between variables.

Patterns of verbal interaction in newly formed music ensembles.

Ensemble rehearsal in the European classical music tradition has a relatively homogenised format in which play-through, discussion, and practice of excerpts are employed to establish and agree on performance parameters of notated music. This research analyses patterns in such verbal communication during rehearsals and their development over time. Analysing two newly established ensembles that work over several months to a performance, it investigates the interaction dynamics of two closely collaborating groups and adaptation depending on task demands, familiarity with each other and an upcoming deadline. A case study approach with two groups of five singers allowed in-depth exploration of individual behaviours and contributions; results are reported descriptively and supported by qualitative data. The results highlight changes over time that reflect the development of implicit (faster decisions) interactions from explicit (slower decisions). They show a trajectory of opening up and closing down in terms of interactional flexibility, enabling members to significantly contribute to the group, followed by tightening the interaction to establish stability for performance. These findings and novel employment of T-pattern analysis contribute to the understanding of human group behaviour and interaction patterns leading to expert team performance.

Inclusion, auditions and American community choirs: A historical inquiry

This article brings a historical perspective to the study of inclusion and exclusion in American community music ensembles. Focusing specifically on community choirs and using Miami, Florida, as a case study, it traces the history of audition practices in the city’s community choirs, beginning at Miami’s founding in 1896 and ending at the present day. It shows that auditions have been a common, although not universal, practice among Miami’s community choirs and it identifies a trend in recent decades away from holding auditions. By offering a detailed historical account of community choirs’ various exclusive and inclusive practices, it prompts present-day community music scholars, facilitators and participants to reflect on the complex and multi-faceted nature of inclusion in community music.

An Exploration of Interest in Kompang Formasi among Secondary Students in Kota Tinggi Johor

The study is about An Exploration of Interest in Kompang Formasi among Secondary School Students in Kota Tinggi, Johor, Malaysia. This is a qualitative study that used Google Form to collect data through organized interviews. The interviews were conducted on six (6) secondary school teachers; three (3) from urban area and three (3) from rural area from different secondary schools in Kota Tinggi, Johor. This study will focus on identify the secondary school student’s interest in Kompang Formasi. Second, to explore the importance of knowing Kompang Formasi music ensemble. Lastly, to explore the challenges of teaching and learning Kompang Formasi.

Global Perspectives on Orchestras: Collective Creativity and Social Agency

Global Perspectives on Orchestras: Collective Creativity and Social Agency

Undersized music ensemble rooms: Challenges and case study design approaches

Music ensemble rooms require sufficient volume to develop adequate and appropriate reverberation, facilitate ensemble balance, and avoid excess loudness. Typical design practice begins with establishing minimum volume requirements based on expected ensemble sizes and types. When faced with inadequate room volume (e.g., due to existing building limitations, or otherwise), creative design solutions must be employed to achieve the best possible hearing conditions—and to avoid excess loudness in particular, which can be an occupational hazard for musicians. Case studies will illustrate a variety of design approaches: adding volume to existing spaces at the Crane School of Music (SUNY Potsdam), electronic reverberation enhancement (also at Crane), adding absorptive materials to an existing space and master-planning for larger spaces at Arkansas Tech, creative diffusive and absorptive material for the chorus rehearsal room at Boston Symphony Hall, and programming work to match ensembles to the most appropriate rooms available at a variety of educational institutions.

Interpersonal sensorimotor communication shapes intrapersonal coordination in a musical ensemble.

Social behaviors rely on the coordination of multiple effectors within one’s own body as well as between the interacting bodies. However, little is known about how coupling at the interpersonal level impacts coordination among body parts at the intrapersonal level, especially in ecological, complex, situations. Here, we perturbed interpersonal sensorimotor communication in violin players of an orchestra and investigated how this impacted musicians’ intrapersonal movements coordination. More precisely, first section violinists were asked to turn their back to the conductor and to face the second section of violinists, who still faced the conductor. Motion capture of head and bow kinematics showed that altering the usual interpersonal coupling scheme increased intrapersonal coordination. Our perturbation also induced smaller yet more complex head movements, which spanned multiple, faster timescales that closely matched the metrical levels of the musical score. Importantly, perturbation differentially increased intrapersonal coordination across these timescales. We interpret this behavioral shift as a sensorimotor strategy that exploits periodical movements to effectively tune sensory processing in time and allows coping with the disruption in the interpersonal coupling scheme. As such, head movements, which are usually deemed to fulfill communicative functions, may possibly be adapted to help regulate own performance in time.

Studi Deskriptif Kompetensi Pedagogik Guru dalam Pembelajaran Musik Ensambel Sejenis di Madrasah Tsanawiyah Negeri 1 Kerinci

Learning similar musical ensembles is one of the learning materials in arts and culture subjects at Madrasah Tsanawiyah Negeri (MTsN) 1 Kerinci. The formulation of the problem in this study is to describe the pedagogical competence of teachers who teach arts and culture, include: (1) Understanding the characteristics of students, namely understanding the physical, intellectual, social, emotional, moral and socio-cultural backgrounds. (2) Mastering learning theory, namely adjusting the learning method according to the subject matter. (3) Developing a curriculum, namely making, selecting, compiling, and developing the right curriculum for students. (4) Organizing educational learning activities, namely increasing student competence in observing listening, seeing, reading, listening, asking questions, associations, concluding, and communicating. (5) Utilizing technology in learning. (6) The development of the potential of students, namely providing facilities for the realization of the potential development of students. (7) Communication with students, namely creating interaction with students. (8) Conduct assessment and evaluation, (9) Conduct reflective activities in similar musical ensemble learning at MTsN 1 Kerinci.

Playing with A Different Beat: The Whitening of American Steelband

Although academic discussions of whiteness in music education have been prevalent for over a decade, critical examinations of whiteness in world music education have been disproportionately lacking. One specific world music ensemble that warrants examination is the steelband within American schools. The steelpan was introduced in the United States in the 1940s–1950s, and currently there are over 750 known school steelbands in the US. Many of these school ensembles have unintentionally distanced themselves from West Indian community ensembles and AfroTrinidadian traditions. In this paper, I explore the “whitening” of American steelband through ethnographic research conducted as a participant-observer. Through analysis of fieldnotes, interviews with participants, and current steelband resources, I examine approaches to pedagogy, membership, and performance. The article concludes with implications and recommendations for US-based steelpan ensemble directors and other world music ensemble directors.

BOOK REVIEW Sverre Molland. Safe Migration and the Politics of Brokered Safety in Southeast Asia. New York: Routledge, 2022.

Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions and the practice zikir by the Sultan and his subjects. The Sufi spiritual performativity continued in the 1980s at the court of Perak with the introduction of the Naqshbandi Haqqani tariqa, where certain devotional-musical practices such as zikir, qasida, and mawlid were occasionally performed. However, the nobat was not used in these Sufi practices but replaced by percussion-based musical ensembles. Both these Naqshbandi Sufi tariqa were theologically contested, and their esoteric doctrines were considered blasphemous by those with religious power. This article examines the parallel existence of two Malay sultanates in different times, their connections to branches of Sufi tariqa, musical practices and the contestations that ensued.

SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES

Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions and the practice zikir by the Sultan and his subjects. The Sufi spiritual performativity continued in the 1980s at the court of Perak with the introduction of the Naqshbandi Haqqani tariqa, where certain devotional-musical practices such as zikir, qasida, and mawlid were occasionally performed. However, the nobat was not used in these Sufi practices but replaced by percussion-based musical ensembles. Both these Naqshbandi Sufi tariqa were theologically contested, and their esoteric doctrines were considered blasphemous by those with religious power. This article examines the parallel existence of two Malay sultanates in different times, their connections to branches of Sufi tariqa, musical practices and the contestations that ensued.

The Songs of Old Europe—Ancient Belarusian Folk Songs

The Songs of Old Europe—Ancient Belarusian Folk Songs

Investigating well-being and participation in Florida New Horizons ensembles through the PERMA framework

The purpose of this study was to examine the well-being of older adults who participated in New Horizons ensembles and their perceptions of benefits from participation. The positive psychology framework, PERMA, was selected as a lens through which to explore participant well-being. Florida New Horizons members (N = 112) completed a survey that included the PERMA-profiler measure of well-being and researcher-designed questions that explored perceived benefits of participating. Benefits reported were consistent with past research on well-being supports from participation in community music groups. Participants received normal or high-functioning mean scores in all sub-domains of well-being. Participants in the 65+ age group (n = 95) also demonstrated significantly higher scores than the general population for overall well-being and for positive emotion, relationships and meaning sub-domains. Scores for negative emotion were significantly lower than the general population. Results suggest that participation in community music ensembles like New Horizons may have a positive impact on overall well-being for older adults.

Ensemble Combo Band For The Visually Impaired Person At SLB Negeri 1 Dauh Puri Klod, Denpasar Barat

SLB Negeri 1 Denpasar is one of the knowledge forums for children with special needs, one of them is visually impaired, for them to be able to study, and develop their talents in art, especially music. This research focuses on the process and role provided through the ensemble music combo band for children with visual impairments.
 This research uses a descriptive qualitative approach with 3 (three) aspects of the discussion that are methods and stages in playing music, the role of ensemble music, and the impact given by combo band ensemble music. Data collection techniques are used observation, interviews, documentation, and literature studies. The theories used in this research are musicology theory and music psychology. The source of this research data was obtained from data in the field in the form of primary data and secondary data from books or other literature studies.
 The results of the research explained that this had a positive impact. The role of music in each visually impaired individual can help in the development of their character such as a sense of discipline, responsibility, and self-confidence. Meanwhile, through the music ensemble, combo bands can be a medium to create collaboration and social interaction because this activity requires communication, cooperation, emotional and ego control as well as openness in playing music.

Online Group Music-Making in Community Concert Bands: Perspectives From Conductors and Older Amateur Musicians.

At the beginning of the pandemic, many music ensembles had to stop their activities due to the confinement. While some found creative ways to start making music again with the help of technologies, the transition from “real” rehearsals to “online” rehearsals was challenging, especially among older amateur musicians. The aim of this case study was to examine the effects of this transition on three community band conductors and three older amateur musicians. Specific objectives were to explore (1) intergenerational relationships to support online group music-making; (2) digital literacy and access in later life; and (3) online music-making in a COVID-19 context. Semi-structured interviews were conducted and theoretical thematic analysis was undertaken (Braun and Clarke, 2006). Results were analyzed from the conductors’ and older musicians’ perspectives, and common trends were combined to facilitate interpretation. The first theme showed that being part of an intergenerational ensemble contributed positively to the learning experience online. The second theme demonstrated that because both conductors and musicians were new to the online rehearsals, it contributed to attenuate the age-related digital divide that may have been observed in other studies. Regarding access in later-life, older musicians reported benefits associated with rehearsing online, specifically in terms of distance/commute, time, energy, and cost. However, for those who did not already have internet and electronic devices, the cost of acquiring all the necessary equipment to make music online could have been too high. Finally, the third theme revealed that musicians appreciated the opportunity to make music online and indicated that it was definitely better than having nothing, especially for its social aspects. In conclusion, while participants noted several challenges associated with online music-making (e.g., zoom fatigue and technological issues), they were also appreciative of the opportunity to continue making music at a time when in-person rehearsals were not possible. Pedagogical implications are discussed, specifically the importance of the support network, of meeting people where they are, of learning to adapt, and of collaborative teaching.

The First USA Performance of Tuvan Throat Singers

Until the 1990s khöömei or throat singing from Tuva was virtually unknown outside the then-USSR. Russian researchers like Aksenov and Shchurov had published the results of their fieldwork in Tuva, but their work was hardly known outside the USSR. In the 1980s researchers from outside the USSR like Tran Quang Hai and Ted Levin started paying attention to the subject, but it took until the early 1990s before a Western audience could make its acquaintance with Tuvan throat singers on stage. I ran the Paradox concert agency from 1978 until 2003, and it so happened that Paradox was the first to bring Tuvan throat singers to Europe and to North America in the early 1990s. The Iron Curtain had just fallen and it became possible to invite musicians from behind the Curtain without assistance from state agencies. Paradox had ample previous experience with state agencies in visa and work permit procedures. and that expertise proved very useful in dealing directly with musicians and music ensembles and their representatives then. My essay presents the story of the first concert of Tuvan khöömei singers in the USA in 1992 to which I was an eye witness (and also shortly explains the process of throat singing). This is an iconic story, because not only it describes how concert tours were organised in an age before the internet but also it documents the start of a hype. After that first concert in just a few years bands from Tuva were travelling all over the world and many audiences got to experience the phenomenon of throat singing. But in 1992 it was all new.

Pengembangan Media Pembelajaran Ansambel Musik Berbasis Video Animasi Untuk Kelas VII SMP Negeri 25 Padang

This research aims to find out how the process of developing music ensemble learning media based on animated videos and the validity of the development of animation video-based music ensemble learning media for class VII of SMP Negeri 25 Padang.This type of research is Research and Development (R&D), using ADDIE development models, namely Analysis, Design, Development, Implementation, and Evaluation. This research instrument is in the form of product validation sheets and student response questionnaires. Data collection techniques are carried out by means of library studies, observations, interviews and documentation. The data analysis techniques in this study are validation sheet analysis and student response questionnaire analysis.The result of this research is the development of educational media music ensembles based on animated videos carried out by passing the main stages, where there are five stages carried out, namely 1) Analysis of the needs of learners, 2) Design of learning media, 3) Development or media development, 4) Implementation or trial of products, and 5) Product evaluation. At the development stage, after the product is developed first the product is validated and then revised according to the advice before finally being tested. Validation results conducted by three validators after analysis produce the following data: (1) media expert validation sheets obtain an average of 4.2 with a percentage of 84% and the media category is very valid / decent, (2) the material expert validation sheet obtains an average of 4 and reaches an 80% percentage with a very valid / decent media category,(3) Validation sheets by educators earn an average of 4.1 reaching a percentage of 82% with a very valid / decent media category. The response of learners to the development of the learning media of music ensembles based on animated videos is satisfactory with good categories.

The musician’s personality: Do personality traits vary according to ensemble membership?

Despite many decades’ worth of investigations into associations between music and personality, the empirical findings are quite scant and scattered. Perhaps, this is because musicians are a diverse group of people, with far-reaching musical interests and wide-ranging personalities. Little research, however, has investigated whether musicians’ choice of musical genre bears a relationship to their personalities. In this study, we explore the limited literature on the relationship between music ensemble membership and personality by investigating personality differences between jazz and classical ensemble musicians on the Big Five personality dimensions. Musicians ( N = 221) were recruited from college music ensembles, an introductory psychology course, a Facebook page, and Amazon Mechanical Turk. Participants completed the Big Five Inventory (BFI), a validated self-report personality questionnaire, and analyses were conducted to compare the scores of jazz musicians to the scores of classical musicians. Significant differences emerged between jazz and classical musicians’ personalities, with gender playing a mediating role. These results may be beneficial for music educators and directors, as knowledge that specific personality traits predict music ensemble membership may help guide instruction techniques, communication, understanding between musicians of different musical genres, and general cooperation between music educators/directors and their ensembles.

The influence of socioeconomic status, parents, peers, psychological needs, and task values on middle school student motivation for school music ensemble participation

There are a multitude of influences on adolescents’ decisions to enroll in elective instrumental music ensembles. While some music teachers might rely on external rewards such as end-of-year trips to encourage retention from year to year, middle school students’ sociocultural and psychological characteristics may best account for their intentions to continue in band or orchestra. I examined needs satisfaction variables from Self-Determination Theory and task values from Expectancy Value Theory alongside environmental factors such as parent and peer influence as well as socioeconomic status (SES) as predictors of adolescent instrumental students’ elective intentions ( N = 42). Data were analyzed using structural equation modeling. Parents tended to exert a large amount of influence over the extent to which participants’ needs were satisfied and a small amount of influence over the task values of their children. Concurrently, peers and SES played small but important roles in the development of elective intentions. Moreover, when parents and teachers were supportive of students’ autonomy, competence, and relatedness, instrumental music learning tasks were valued. Task values, in turn, strongly predicted middle school instrumental students’ intentions to persist and enroll in future instrumental music courses.

악기합주 음악치료가 신경발달장애 청소년의 자기표현 및 사회성에 미치는 영향

The purpose of this study was to investigate the influence of musical and non-musical activities of traditional music, which consisted of various types of musical instruments, on the selfexpression and sociality of adolescents diagnosed with neurodevelopmental disorder. To find out this, the 00 School of Culture and Arts in Cheongju operated a program for five disabled people registered under the Welfare of Persons with Disabilities Act (two high school students with autism or intellectual disabilities and three middle school students). In the first and last sessions of the program, self-expression and social technology evaluation scales were measured, and video filming and activity records were made for each session. It was revealed by the nonparametric statistical method Wilcoxon test that Korean traditional music therapy using musical instrument ensemble improved self-expression and social skills of adolescents with developmental disabilities, and the degree of improvement by sub-variable of self-expression and social skills was graphically shown. The relationship between Korean traditional music treatment and self-expression and social performance of adolescents with developmental disabilities was discussed based on previous studies, and subsequent research tasks were presented.