Musical Experience Research Articles

Deep Learning Based Song Recommendation System Using Facial Expression And Heart Rate

In today’s music streaming landscape, personalized song recommendations are crucial for enhancing user experiences. This research study combines heart rate monitoring and facial expression detection to present a novel deep learning method for song suggestion. With a 92% accuracy rate, a Convolutional Neural Network (CNN) model is used to identify emotional states from facial expressions, and heart rate information adds more context to the user's emotional intensity. The large music library is matched to these emotional cues, guaranteeing that suggested songs correspond with the user's present emotional state. This approach provides a really interesting, emotionally stirring, and contextually appropriate music finding experience.

The combined effects of bilingualism and musicianship on listeners’ perception of non-native lexical tones

Non-native lexical tone perception can be affected by listeners’ musical or linguistic experience, but it remains unclear of whether there will be combined effects and how these impacts will be modulated by different types of non-native tones. This study adopted an orthogonal design with four participant groups, namely, Mandarin-L1 monolinguals and Mandarin-L1 and Cantonese-L2 bilinguals with or without musical training, to investigate effects of bilingualism and musicianship on perception of non-native lexical tones. The closely matched four groups, each encompassing an equal number of 20 participants, attended a modified ABX discrimination task of lexical tones of Teochew, which was unknown to all participants and consists of multiple tone types of level tones, contour tones, and checked tones. The tone perceptual sensitivity index of d’ values and response times were calculated and compared using linear mixed-effects models. Results on tone sensitivity and response time revealed that all groups were more sensitive to contour tones than level tones, indicating the effect of native phonology of Mandarin tones on non-native tone perception. Besides, as compared to monolinguals, bilinguals obtained a higher d’ value when discriminating non-native tones, and musically trained bilinguals responded faster than their non-musician peers. It indicates that bilinguals enjoy a perceptual advantage in non-native tone perception, with musicianship further enhancing this advantage. This extends prior studies by showing that an L2 with a more intricate tone inventory than L1 could facilitate listeners’ non-native tone perception. The pedagogical implications were discussed.

A Study on How to Cultivate Musical Transitions Using A. Copland’s Theory of Students of Liberal Arts Music Education at University

This study adopted literature analysis and hermeneutic research methods, utilizing Aaron Copland's theory of film music to explore strategies for promoting musical transfer among students in college-level general music education. Music courses in liberal arts education at the university level typically focus on enhancing students' appreciation and understanding of music. however, given the nature of such courses, there may be limitations in applying musical concepts to real-life situations unless a specific instructional design is considered. To address this issue, this study developed a preliminary educational model through a literature review, and subsequently refined and finalized the model by incorporating revisions identified during the actual process of designing lessons using film music. The findings indicate that the educational model employing film music has the potential to enhance students' musical comprehension and appreciation skills and serves as an effective tool for facilitating the transfer of musical concepts across various contexts. These results suggest that the integration of film music into liberal arts music education is an effective approach for expanding students' musical thinking and experiences, thus presenting a new direction for music education.

음악과 개념기반 탐구학습 수업모형 개발 및 수업설계 방안 탐색

This study begins with the issue that existing models of concept-based inquiry processes generally fail to capture the distinctive characteristics of music education, which involves creation, practice, immersion, and expression. The aim of this research is to develop a music class model applicable to concept-based inquiry learning. To achieve this, we examined the features of concept-based curricula and the unique characteristics of music education, analyzed existing related instructional models to derive their features, and then developed a seven-stage instructional model. This model, which incorporates feedback from a music education research group and expert reviews, was applied to music classes centered around the concept of "change". The seven stages include: 'Observing', 'Exploring Contextual Information', 'Refining', 'Immersing and Expressing', 'Meaning Constructing', 'Transferring', and 'Reflecting'. The focus on 'Immersing and Expressing', a core characteristic of music education, is central to this model, with the structure allowing for flexible transitions to 'Immersing and Expressing' from other stages as needed. This model is suitable for forming music concepts and transferring them to other musical areas, thus promoting enriched musical experiences and practical applications in life. It is expected that this model will contribute to discussions on various applications of concept-based inquiry learning in music and practical approaches to instructional methods in the future.

RESONANT REVERBERATIONS: MATERIAL INFLUENCE ON SOUND QUALITY IN PERCUSSION INSTRUMENT DESIGN AND PERFORMANCE

This paper is concerned with an in-depth investigation into the relation between material selection and sound quality of percussion instruments, arguing about the various aspects of materials influence on acoustic properties, vibrational behavior, and timbral characteristics. The ability that material properties have on design, performance techniques, pedagogical practice, and further research is made explicit through the complete experimental analysis, recommended here, covering comparative studies, acoustic measurements, modal analysis, expert evaluation, and field studies. Our results show the great degree by which material properties shape sound production, resonance, and expressive potential in percussion instruments, giving valuable insights for designers, manufacturers, performers, educators, and researchers. With careful material choices, adjustments of techniques of performance, teaching techniques informed by principles from science, and interdisciplinary collaborations building, we can continue the evolution of the art and science of percussion instrument making and performance practice toward bringing ever-richer musical experiences and cultural exchanges all over the world.

2015 개정 및 2022 개정 교육과정에 따른 '즐거운 생활' 교육과정과 교과서의 음악 학습 내용 비교

As the 2022 revised curriculum was implemented, significant changes emerged in the content structure and textbook system of the elementary school integrated curriculum. This study aims to investigate how the "Pleasant Life" curriculum and the music learning content in elementary school textbooks impact music education. To this end, the study first compares the characteristics of the "Joyful Life" curriculum in the 2015 and 2022 revised curriculum. Second, the study analyzes in detail the characteristics of songs and music learning activities included in the integrated textbooks of both periods. Third, it identifies the challenges faced in music education for first and second-grade students within the integrated curriculum system and proposes improvement strategies to address these issues. The findings reveal that while the 2022 revised curriculum emphasizes teacher and student autonomy, it does not adequately support foundational music learning. Specifically, as the difficulty of songs in the textbooks increased and music activities decreased, students lacked sufficient opportunities for meaningful musical experiences. Therefore, to ensure effective music education for lower grades, music instruction should be delivered separately from integrated subjects, with a more systematic and developmentally appropriate approach. Additionally, there is a need to present musical scores in varied formats and include easier songs in textbooks. Improvements should also focus on designing music learning activities that align with the developmental stages of young learners, making musical concepts easier to understand and learn systematically.

The Labyrinth: using new music experience in the performance of historical music

The education of a classical violinist – or mine at least, and I see scant evidence that anything else holds today – begins based on a mainstream Romantic ideal consisting of works, geniuses, and concepts of musical authenticity. This is quite useful as a tool to cajole the young violinist into learning the essentials of tone production and playing styles but is at odds with a questioning attitude towards normative traditions that might allow the musician greater interpretive freedom after gaining that technique. While the historically informed performance (HIP) movement was an early, important manifestation of this sort of questioning attitude, the experimental/avantgarde tradition, which has run parallel to these others from the early twentieth century, has not often been applied to the interpretation of historical music. The experimental tradition does not assume conventional tone production or historical authenticity: instead, it is asking the musician to interpret the symbols on the page according to their own artistically informed predilections and contexts to produce new performances emanating from the artwork, thereby transferring more responsibility for the performance from the composer to the musician. To what extent might the experience of the performer be allowed to contribute to the performance of a historical work? As part of a three-year artistic research project in Stockholm, I have been looking into ways of using interpretive techniques gleaned from the study of new music and applying these to historical works. This article describes some existing research that questions the traditional interpretive paradigm, along with the ontology of a musical work and its interpretation, and concludes with a case study, “The Labyrinth,” showing one way that these sorts of attitudes can be put into practice for a genre of music to which they seldom, if ever, have been applied.

Toward a conceptualization of the musical self: A theoretical-methodological approach to subjectivity in independent musicians

The objective of this study is to advance a theoretical and methodological proposal for the analysis of subjectivity construction in independent musicians. Existing social and cultural theories of subjectivity have not satisfactorily addressed the artistic experience of musicians. We present an analytic model that highlights the place of language from a perspective informed by dialogical theories and which also incorporates the aesthetic dimension of subjectivity in the occupational field. By analyzing six narrative interviews, we offer a qualitative insight into how independent musicians subjectively experience their musical activity. We constructed dialogical dimensions associated with four subjective movements in the interviewees’ discourse: aesthetic, activity, authorship, and reflectivity. Our findings about the configuration of musical subjectivity yielded three core points of articulation: musical self, existential self, and musical-occupational self. The musical self emerges as a particular subjective configuration, since creative activity represents a point of vital and occupational grounding where the boundaries between work and subjective experience appear to fade. Employing the aesthetic dimension of subjectivity made it possible to add complexity to the articulation and integration of various subjective elements of a psychological and social nature that have traditionally been studied in isolation.

Examining Cultural Identity in Secondary Music Classrooms: Perceptions of Teachers and Students

The purpose of this study was to explore the perceptions of secondary-level music teachers and students when teachers implemented cultural identity affirming activities for their culturally diverse students. The method of this qualitative study was a phenomenological interview design. Teachers ( n = 2) and students ( n = 6) were selected from a racially diverse suburban area in the southern United States. Participants recounted their past and present musical and cultural backgrounds to provide insight into how these identities are represented in their music classrooms. Data were collected an in-depth interview series where “meaning-making” was studied through recounting the lived human experience. Interview transcripts were analyzed to understand how participants aimed to respect cultural identities in the music classroom, while also identifying any power imbalances that could hinder these efforts. Findings revealed that teachers’ own cultural background affected their pedagogical decisions and how they provided culturally responsive music experiences for their students. Students shared the kinds of musical experiences they expected in their music classroom and how their cultural identities were being acknowledged in their music experiences. Students recognized culturally responsive environments when student input in programmed music was respected, community was built through acknowledgment of each other’s cultures, and when open discussion about one another’s cultures occurred.

MUSIC THERAPY AS A HOLISTIC APPROACH

This abstract summarizes a quantitative and a qualitative study that explored the typology of activities in music therapy for the inclusion of children with special educational needs. The aim of this research study is to test the possible relationship between musical acoustics and vocal discrimination in children of typical development and in children with special educational techniques of preschool and primary school age, as well as in comparison with each other. Moreover, to offer a thorough understanding of music therapy in order to explore how general school teachers perceive and approach the integration of music therapy within a single inclusive school environment. Data were collected through demographic questionnaires, assessments of music audibility, phonemic discrimination tests and semi-structured interviews. Notably, we utilized the L-a-T-o Criterion, a psychometric test tailored for the Greek language, alongside Gordon's Elementary Measures of Music Audibility. The findings of the research revealed that there is a positive impact of music in education and well-being of children, particularly those with special needs. Differences among groups were established (Typology), and also the research demonstrated the educators' positive attitudes toward integrating music therapy into the school curriculum. Quantitative results supported qualitative claims about the positive correlation between musical experiences and phonemic awareness. Both approaches identify challenges, such as the need for better infrastructure and trained music therapists. The outcomes of this research confirmed the existing theory on the profound impact of Music, both tonal and rhythmic, on Children's development in Greece, highlighting that phonological awareness, a crucial skill for language development and reading, is significantly influenced by musical audibility in young children and identified positive attitudes toward integrating music therapy into the school curriculum, despite limited awareness in Greece.

EXPRESS: Cross-Linguistic Effects of the Speech-to-Song Illusion in Speakers of Bangla and English.

The speech-to-song illusion is a phenomenon in which the continuous repetition of a spoken utterance induces the listeners to perceive it as more song-like. Thus far, this perceptual transformation has been observed in mostly European languages, such as English; however, it is unclear whether the illusion is experienced by speakers of Bangla (Bengali), an Indo-Aryan language. The current study, therefore, investigates the illusion in 28 Bangla- and 31 English-speaking participants. The experiment consisted of a listening task in which participants were asked to rate their perception of repeating short speech stimuli on a scale from 1-5, where 1 = "sounds like speech" and 5 = "sounds like song". The stimuli were composed of English and Bangla utterances produced by two bilingual speakers. To account for possible group differences in music engagement, participants self-reported musical experience and also performed a rhythm discrimination task as an objective measure of non-verbal auditory sequence processing. Stimulus ratings were analysed with cumulative link mixed modelling. Overall, English- and Bangla-speaking participants rated the stimuli similarly and, in both groups, better performance in the rhythm discrimination task significantly predicted more song-like ratings beyond self-reported musical experience. An exploratory acoustic analysis revealed a role of harmonic ratio in the illusion for both language groups. These results demonstrate that the speech-to-song-illusion occurs for Bangla speakers to a similar extent as English speakers and that, across both groups, sensitivity to non-verbal auditory structure is positively correlated with susceptibility to this perceptual transformation.

How Culture and Musical Engagement Shape Musical Reward Sensitivity in Danish Teens: A Validation Study of the Danish Barcelona Musical Reward Questionnaire With 4641 Adolescents.

The ability to convey emotions and induce pleasure is one of the most important aspects of the way that music becomes meaningful to humans. Affective responses to music are specific to both cultural and personal preferences, but little is known about the individual variability in adolescence. The Barcelona Music Reward Questionnaire (BMRQ) is a psychometric measure that identifies five factors associated with musical pleasure: Musical Seeking, Emotional Evocation, Mood Regulation, Social Reward, and Sensory-Motor. With this study, we aimed to validate the BMRQ in Danish teens and to explore the differences in music reward experiences in relation to the amount of musical activity, between genders and over ages. Approximately 30,000 Danish adolescents participated in a mass experiment with a subset (N = 4641, 51.2% girls, age range = 13-19 years old) responding to (1) a Danish adaptation of the BMRQ and (2) the Concurrent Musical Activities (CCM) Questionnaire. Both exploratory and confirmatory factor analyses were applied, and a seven-factor model of the BMRQ was found to fit the Danish adolescent population. The seven-factor version of the Danish BMRQ was due to the split of the dimensions "Sensory-Motor" and "Social Reward" into two further subfactors. The students with a higher amount of musical engagement scored higher across all dimensions. In particular, the higher the musical engagement, the higher scores were found for the facet of musical pleasure related to the sharing of musical activities, especially in the earliest stages of adolescence. Furthermore, we found that sensitivity to music generally tends to increase with age, and that girls reported overall to be more sensitive to music than boys in the dimension related to evocation of emotions. A slightly different model of the BMRQ has to be taken into account when testing the Danish adolescent population. In addition to utilizing the Danish version of the BMRQ on a large sample of adolescents, this study may provide insight into the relationship between changes in the level of musical reward depending on amount of musical engagement and how musical reward unfolds within and between genders and across age groups during this developmental stage.

Sensorial and Sonic Aspects in the Writings of the “English-American” Thomas Gage (c. 1603–1656) on Mexico and Guatemala

Objective/Context: This article examines dimensions of sensoriality within the writings of Thomas Gage (c. 1603–1656) regarding his experiences as a Dominican friar in Mexico and Guatemala between 1625 and 1637. His 1648 travelogue, The English-American His Travail by Sea and Land, is the first detailed eyewitness report of daily life in the Spanish colonies by an English writer. Yet this work and his other writings were published after he converted to Protestantism and formed an explicit part of anti-Catholic discourse in England. Methodology: Written from a historical-musicological perspective, this study is informed by the approaches of sensory history to identify and critique the sonic episodes and metaphors in Gage’s texts. It critically analyzes his travelogue and investigates how his accounts of musical, gastronomic, and religious experiences underpinned and influenced his political and theological views. To draw out his unique perspectives on music, it also considers soundscapes and the material and cultural dimensions in his descriptions. Originality: Recent scholarship has shown how Gage’s transnational and transconfessional identities did not fit traditional frameworks of analysis and limited scholarly attention to him. Lately, however, researchers have highlighted his mention of the senses. This article focuses specifically on hearing to show that his writings contain unique viewpoints and data on music and sound. Conclusions: Assessment of Thomas Gage within the frameworks of musicology and sensory history demonstrates that he invoked the senses in seemingly unique ways, especially by conflating their physical and metaphysical dimensions when critiquing Catholic practices in colonial contexts.

Chatbot: Music Recommendation System

This paper presents the development of a Chatbot Music Recommendation System that utilizes artificial intelligence to enhance user engagement through personalized music suggestions. The system operates on two primary mechanisms: passive recommendations based on contextual factors such as time of day and weather conditions, and interactive suggestions during user engagement. By integrating real-time data from external APIs, the chatbot can provide relevant song recommendations tailored to the user's environment, such as upbeat tracks for sunny days or calming melodies for rainy weather. Additionally, the system employs natural language processing techniques to understand user preferences and emotions, allowing it to refine its recommendations over time. A comprehensive evaluation of the system's performance is conducted through user feedback and interaction metrics, demonstrating its effectiveness in improving the music discovery experience. The findings indicate that the chatbot not only enhances user satisfaction but also fosters a deeper emotional connection with music. This research contributes to the field of music recommendation systems by merging technology with user-centric design, ultimately transforming how individuals interact with music in their daily lives

Joining alone: factors that influence the musical participation of young adults after leaving school

Abstract When young people leave the musical world of their school environment, a lack of clear routes into adult musical engagement brings a risk of wasted ability, motivation and enjoyment, which arguably undermines the value of music education. This study explored the factors that influence continued musical participation among young British adults who had been actively engaged in school music. Musical participation is defined in this research as group music-making in either a formal or informal setting. Participants (n = 102) completed an online questionnaire or were interviewed (n = 6) about their past and present musical experiences along with future expectations for music-making. The stark headline finding was that while 87% of participants had intended to continue with music-making beyond school, only 48% had found groups to join. Nonetheless, 78% expected to continue with music-making in the future. Our research therefore suggests that any break from musical participation need not be permanent for individuals who have established strong musical identities through their early experiences. To conclude, we present a model of lifelong musical participation that illustrates the influences, motivations and choices that contribute to sustained musical engagement.

A ‘New Social Virtuosity’; A Dissonant Manifest(o)

ABSTRACTThis paper examines the intersection of music, creativity, and society through the lens of a critical and self‐critical appraisal of the here.here concert series; ongoing research‐led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio‐politico‐environmental dynamics at play between all involved in a musical encounter. The authors, both academics and composers, contend that experimental music, in its super‐local, interpersonal connections, can challenge the conventional and institutional, serving as an alternative to the homogeneity and self‐centred individualism fostered by capitalist systems. We propose the concept of a ‘new social virtuosity (“social virtuosity” in a music context was coined by Maggie Nicols in the 1970s to describe Feminist Improvising Group and their challenge of the “technological or instrumental elitism”; often dismissed by male musicians. (We came across it through the PhD research of one of our students Maureen Wolloshin),’ viewing the music landscape as a vast terrain where various musical, artistic, and creative directions intersect and converge, transcending presumed binaries. The paper foregrounds the significance of curatorial practice in bridging these differences and harnessing social dissonance, particularly in the context of the capitalist systems which enable these concerts. The authors argue that curation, despite its necessary interplay with these systems, can act as a tool to disrupt and question them. They explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment. This approach serves as a contrast to those systems that often cause disconnection and isolation. The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4′33, Alexander J. Ellis (1814–1890)) for the former and three contemporary pioneers of ‘social virtuosity’—Eva‐Maria Houben—Maggie Nicols and Eddie Prevost for the latter. The concept of ‘social dissonance’ is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Finally, the paper introduces the concept of ‘a new social virtuosity’, emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4′33 within this context and underscores the power of dissonance as a tool for creative and critical thinking.

Michael Tippett: Specification of the Work for Orchestra and Soprano "Byzantia"

The purpose of the research is to reveal the deep image-sound layers and features of the Irish bardic tradition in the work of M. Tippett through the prism of the work for orchestra and soprano "Byzantium". The methodological basis of the research is historical-conceptual, hermeneutic method and comparative analysis of factual data based on the works of Thomas Weiskel, David Clark, Edward Venn, and Meirion Bowen. Scientific novelty. For the first time in the Ukrainian art history segment, M. Tippett's work for orchestra and soprano "Byzantium" was analysed with an emphasis on the dramaturgy of the composition, cyclical elements, metaphorical sound images, symbolism and characteristic features of the musical and poetic tradition of Irish bards. Conclusions. Biographical collisions of M. Tippett influenced his creative aspirations and attitude to the surrounding world. M. Tippett's aesthetic views are a dialogue between romantic aspirations and sceptical realism of the modern era. Michael Tippett's musical language absorbed both tradition and the entire palette of accumulated world musical experience, as well as duality of meanings, symbolism, imagery and conflict. The work analyses the composition for orchestra and soprano "Byzantium" by M. Tippet, which is based on the mosaic of images, the logical sequence of musical motifs, and cyclicity. It is necessary to highlight the fragmentary nature of musical sections, variable motifs, the presence of contrasting material, the symbolism of magical, changing life force as secular ephemerality, the destruction of the musical text using the technique of expansion and fragmentation. Thus, the composition "Byzantium" is a reincarnation of Irish cultural nationalism in the aspect of traditional forms of bardic poetry. The musical language of M. Tippett in the work "Byzantium" is based on the forms crystallised by the work of L. Beethoven and updated by the musical context of modern and postmodern.

Virtual Piano using Assembly Language Programming

In the field of music technology and computer programming, the concept of a virtual piano represents a fascinating intersection. This project aims to develop software using assembly language and TASM (Turbo Assembler), emulating the functionality of a physical piano. The goal is to replicate the production of musical notes similar to those generated by pressing keys on an actual piano. At its core, the virtual piano program orchestrates various components seamlessly. The audio processing module synthesizes distinct notes, each defined by a unique frequency, as users interact with the program by pressing mapped keyboard keys. A thoughtfully designed user interface is crucial, as it bridges the gap between the user and the underlying program, facilitating smooth interaction. By integrating these elements harmoniously, the virtual piano emerges as a comprehensive tool that merges creativity with technology. Harnessing the intricacies of low-level programming allows for the accurate translation of user input into coherent musical notes. Additionally, a solid foundation in audio processing is essential for achieving an authentic rendition of piano sounds. Ultimately, upon completion, the virtual piano program transcends mere software, embodying a transformative musical experience. It not only serves as a functional instrument but also showcases the potential of assembly language in creating sophisticated and engaging digital applications. Through detailed audio synthesis and a user-friendly interface, this project highlights the convergence of technology and art, offering users an immersive and educational encounter with music and programming.

The Interactive Role of Music as a Facilitator for Mother–Infant Bonding in Early Motherhood

This two-part study explored if mothers’ uses of music in everyday life enhanced and facilitated the quality of mother–infant interactions, and consequently influenced maternal bonding. Study 1 was an exploratory qualitative study, which analysed the patterns of the mothers’ general uses of music and general experiences of motherhood. Study 2 analysed and explored the effects of mothers’ self-selected music on the quality of mother–infant interactions. The second study was based on a two-week trial with a mixed-method design including quantitative and qualitative approaches. It examined how mothers’ self-selected uses of music (maternal singing and listening to music) might influence parental stress, maternal attachment, and the quality of mother–infant interactions over the two-week period. The general findings suggested that mothers’ self-selected uses of music during daily mother–infant interactions can enhance face-to-face interactions. Furthermore, it served as an effective tool for promoting mothers’ sense of well-being. Finally, a cycle of three elements was observed: mothers’ musical responses influenced the infants’ musical responses by the synchrony of behavioral parameters between mother and infant.

Artistic expression as a property of resonant musical experience: an interview study with upper secondary school music teachers

Background The curriculum for the courses given at the music specialization of the upper secondary school’s aesthetic program in Sweden includes the concept of artistic expression (AE). Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits (a) the relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.