Music Studio Research Articles

A Feasibility Study of a Music Enrichment Program on Relative Reinforcing Value of Food and Home Environmental Enrichment among Families of Low Socioeconomic Status.

Emerging evidence suggests that low socioeconomic status (SES) home environments may play a role by promoting excess energy intake through a lack of access to non-food reinforcers. Because of the deleterious effects of SES-related disparities on child health and development, feasible and culturally acceptable interventions are urgently needed. Community-based music enrichment programs may be an ideal intervention strategy. In collaboration with a local non-profit organization and music studio, we conducted a pilot randomized controlled trial to assess the effects of a music enrichment program versus a play date control in a group of 9-24-month-old healthy infants (N = 16). The study was conducted in accordance with the Declaration of Helsinki and approved by the Institutional Review Board of Children's Mercy Hospital Kansas City. This study is registered with clinicaltrials.gov (NCT05868811). Overall, we found some intervention effects on the relative reinforcing value of food (RRVfood) and the home environmental enrichment measures (i.e., increased music use at home and the home language environment). Our intervention demonstrated large effects on the increased use of music at home. We did not find significant group differences in the RRVfood and home language environment, but some of the effect sizes were medium-to-large. Results also suggest that our intervention is feasible and acceptable. Parent feedback indicated that the intervention was well-liked and that the steps we took to help reduce barriers worked. Music enrichment programs may be a high-impact, low-cost strategy to address socioeconomic disparities.

Uncovering children’s experiences of emergent learning difficulties in the instrumental music studio

When children commence instrumental music tuition, learning difficulties can emerge to disrupt predictable learning processes and impact musical development. However, children’s experiences of learning difficulties, including how they present, are managed and can be supported, are rarely examined in music research. This longitudinal, qualitative study used Participatory Action Research and Interpretative Phenomenological Analysis methodologies to examine the lived experience of fourteen 7-year-old beginner cellists. It focussed on how children’s learning difficulties emerged in the music studio and affected their continued engagement, and how the instrumental music teacher supported children with difficulties. Unexpectedly, half ( N = 7) of the young learners encountered challenges, including memory and processing difficulties, impulse, attention and focus issues, intrusive synaesthesia, fine motor skill difficulty, dyslexia and persistent anxiety. Children’s highly individualised experiences of their learning difficulties were impacted by their motivations, self-perception and ratio of skill acquisition. A reflexive pedagogical approach by the teacher, together with pragmatic support and emotional guidance from parents, influenced the children’s learning behaviour and continued investment, contributing to their longer-term musical engagement. This study offers a unique contribution to the literature by providing a rare investigation of children’s emergent learning difficulties, as revealed in the instrumental music studio.

Ligeti in Cologne

György Ligeti’s stay in Cologne from 1957 until 1959 played a decisive role in his life. After more than three decades living under more or less strict political control, finally Ligeti could experience peace and personal freedom. Many talks with Karlheinz Stockhausen, who explained his particular musical ideas and serial composition techniques in detail, and the access to the Electronic Music Studio at the West German Broadcasting Station, where Gottfried Michael Koenig would introduce him to the specific ways of theoretical thinking and the practical methods in the field of electronic composition, opened for him the domain of the New Music. And Ligeti’s own realizations Glissandi and Artikulation marked an important turning point in his musical practice in general. Keywords: György Ligeti, Glissandi, Aventures, Karlheinz Stockhausen, Gesang der Jünglinge, Gottfried Michael Koenig, Mauricio Kagel, Anagrama, Franco Evangelisti, Incontri di fasce sonori, Herbert Brün, electronic music.

Media Library: A Retrospection

“Media Library” re-imagines the traditional concept of a library by transforming it into a ‘third place.’ Beyond its role as a repository of books, this innovative space encourages public participation, creativity, and interaction. The building design integrates various functions, including display areas, music studios, and a cafe-restaurant. Its facade, resembling an unfurling ribbon, interacts with the surrounding urban environment. The interior features “bubbles” that serve as intimate cocoons for specific activities. Overall, this project challenges conventional library norms and invites visitors to engage actively in their own experiences.

The Soundtrack to Success: Unleashing the Potential of Music in Education

Incorporating music into academic settings to enhance student learning experiences was a fascinating realm that this study explored. It investigated the merits of educationally-designed music in schools, filling a significant void in the present state of educational methodology. This study uncovered the untapped educational potential of music by leveraging the complex neural connections between music and cognitive processes such as attention, memory, and emotion. To better understand how music-integrated teaching methods affect student learning outcomes, the researcher drew on their own experiences in a music studio and as a teacher.

It’s About What Happens in the Meantime: The Temporal Interplay of Individual and Collective Creativity

In creativity research, time is rarely conceptualized as a multidimensional phenomenon. Instead, it is conceived either as an external variable, for coordinating successive phases of an idea journey, interaction patterns, and moments of insight—or as an individual experience, encompassing aspects like stress or timelessness. Based on an ethnography of a music studio, I show how these temporalities coexist and how time is organized as a linear coordination process as well as an experience to enable and align individual and collective creativity. Time is thereby available in three dimensions, as planned time for linear sequencing of collective work steps, as assigned meantime for the spontaneous and parallel allocation of tasks to free time slots, and as idle meantime for indeterminate waiting periods afforded by the material temporality of artifacts and bodies. My findings elucidate that organizing the interplay of all three temporal dimensions favors both individual ideation in indeterminate situations of idleness and collective creative work on predefined tasks in planned phases and ad hoc structured situations. Importantly, I found how the time afforded by artifacts and bodies in creative work is key to enabling and aligning individual creative processes by providing opportunities for relaxation, defocusing, and humor during collective creative processes, based on coordinated interaction. My findings contribute to a social process perspective on creativity by reconsidering the role of individual experiences in creative collaboration from a temporal perspective. Funding: This research was supported by the Austrian Science Fund (FWF) [Grant 10.55776/I4884].

SUZUKI METHOD OF LEARNING THE VIOLIN IN THE AMABILE MUSIC STAGE

This observation aims to find out how important it is to apply the Suzuki method in violin classes at the amabile music studio, what advantages and obstacles I experienced during the learning process and what benefits students get from using the Suzuki method in the violin learning process. Apart from that, the author wants music teachers, especially violin, to know what and how the Suzuki method is used in the violin learning process. The Suzuki Method is an instrument teaching method created by Shinichi Suzuki. The Suzuki method prioritizes auditory training rather than reading a repertoire of songs. From the start of learning, students will not be taught to read first. From the observations it can be concluded that the Suzuki method is very important to use in the violin learning process at the Amabile Music Studio because this method has proven to be quite effective in helping students play the songs well and use the correct technique. Some of the benefits that students get when using the Suzuki method are good hearing training so that students can analysis notes better, good and correct body posture when playing the violin, and strong memory due to constant repetition. Some of the advantages of the Suzuki method itself are the training or learning which is quite detailed, the fingering patterns and the distribution of the bow are all regulated in the Suzuki method, the songs in the Suzuki book also sound familiar and enjoyable. There are three obstacles in using the Suzuki method, namely delays in the ability to read sheet music, minimal parental participation in the student's learning process at institutions and some students only memorize fingering patterns without knowing what notes are being played.

EFEKTIVITAS PENERAPAN SILABUS YANG BERORIENTASI PADA PESERTA DIDIK DALAM PEMBELAJARAN GITAR DI SANGGAR MUSIK AMABILE

Sanggar Musik Amabile is one example of a course in Bali that conducts guitar instrument learning with a learning plan in the form of a syllabus. The syllabus is prepared based on the ABRSM curriculum which is adjusted to the abilities, needs and interests of students to achieve effective learning with maximum results. To find out the effectiveness of the application of the syllabus, a qualitative research was conducted by collecting data through teaching assistance in the form of observation activities and complemented by interview activities. From this research, it was concluded that despite experiencing several obstacles such as: (1) Lack of discipline of students in independent practice, (2) The desire of students to learn songs that are not in accordance with the grade, (3) Lack of concentration of students during learning, (4) The existence of students' willingness that cannot be forced, the application of a learner-oriented syllabus in guitar learning at Amabile Music Studio has been effective because there is conformity between learning planning and its application in the classroom and most of the learning objectives have been achieved.

A deep dive into the collaborative networks of Yacht Rock

This paper explores the collaborative networks of Yacht Rock, a genre of music that emerged in the late 1970s and early 1980s and is currently experiencing a resurgence of popularity in the United States and beyond. In addition to using formal social network analysis to explore the development and transformation of Yacht Rock's collaborative musical network through time, we identify its most influential artists and musicians and highlight the most pivotal songs of the era – adding context with historical and archival approaches. The results indicate that a core group of studio musicians based in Los Angeles played an essential role in helping develop Yacht Rock. This reservoir of musical talent and the supporting "hard" infrastructure (e.g., recording studios, music labels) in Los Angeles helped bring Yacht Rock to the masses. However, much of this movement's success has roots in the "soft" infrastructure of the region (e.g., management, industry connections) and the network effects of bands like Toto and Steely Dan.

Exploring Spanish studio music teachers’ views on topics related to creativity

While creativity is a primary focus in music education, its exploration within the realm of music studio teaching is considerably less extensive compared with other educational contexts. Moreover, the related research is predominantly focused on creativity in developing music skills. In the present study, we explore how Spanish instrumental music teachers ( n = 10) perceive creativity and its development among students in the music studio, in the absence of predefined limitations (i.e., with respect to various forms and definitions of creativity inherent in the music studio as perceived from their viewpoint). By means of a case study methodology, we gathered data over a one-year period through a questionnaire, in-depth interviews, participants’ written essays, and researchers’ journal entries following observations of the participants’ teaching practices. Subsequently, qualitative analysis was conducted using thematic analysis. Among our main results, we found tensions between our participants’ theories and their practices, evidence for an underlying individual-centered theory of creativity, both positive and negative attitudes toward the development of creativity among their students, and ignorance of creativity in music listening. Our study implications emphasize the urgency of implementing strategies to enhance teacher self-awareness and underscore the need for further investigation into music studio teaching with a specific focus on creativity.

Inclusive teaching through a musical instrument: the case of the musical studio in Aktobe, Kazakhstan

Abstract The manuscript aims to analyze the impact of learning musical instruments on the inclusion process. Music represents a universal language capable of bringing together and connecting seemingly different worlds. Due to this facilitator function in communication, music can become an effective tool for inclusion. Learning music and musical instrument music is fundamental for the cognitive, emotional, and motor development of individuals, with particular regard to children with different disabilities. Adapting the method of Skriabin of Itten and figure notes and to teaching music to disabled children has shown a positive impact on social and emotional improvement and, respectively, on the inclusion of children with disabilities. The study case results will permit the improvement of inclusion through music learning using the developed method.

Music as Magic

Music as Magic

Service Quality Influence on Repurchase Intention, Through Customer Satisfaction Mediation: Indonesia Music Studio Perspective

Service Quality Influence on Repurchase Intention, Through Customer Satisfaction Mediation: Indonesia Music Studio Perspective

Power relations in the music teaching studio

AbstractPower relations operate in any educational setting, and there may be particular vulnerabilities in a tradition conducted in the relative isolation of the music teaching studio. These vulnerabilities have been highlighted dramatically in recent years through high-profile cases of power abuse, but power is implicated in a wide range of contexts related to the studio, including cultural, gendered, pedagogical, artistic, institutional and interpersonal issues. It may be impossible to divest power of its negative connotations, but there is a good deal of theory focused on power, even if its terms are broadly political or philosophical, and subject to debate. This theoretical paper explores power relations with regard to the music studio, investigating popular conceptions and everyday usage before turning to scholarship focused on interpersonal and broader social perspectives. Some reflections are offered on the uses and abuses of power in the studio. A better understanding of its dimensions and usage can support the ongoing development of studio practices and contribute to the conversation that we need to have about power.

Creating Customer Loyalty Based on Brand Image, Service Quality, Learning Quality, by Mediation of Customer Trust in Purwacaraka Music Studio

The purpose of this research is to understand what contributes to customer loyalty, such as brand image, quality of service, and quality of learning. The analytical method to be used in this study is quantitative analysis using the Smart PLS (Partial Least Squares) method. The Smart PLS method is an appropriate method for examining the relationship between complex construct variables and for understanding the mediating effect between these variables. We will analyze the relationship between brand image, service quality, learning quality, customer trust and customer loyalty at Purwa Caraka Music Studio using data collected through a survey of active customers. The sample used was 200 people. The results showed that customer trust proved to play a mediating role in creating customer loyalty based on brand image, service quality, and learning quality. However, these results have not been explored further in the past, and can be used as a performance evaluation for other Purwa Caraka Music Studio Branches and studies for future marketing strategy programs.

The Piano Tuner by Chiang-Sheng Kuo

Reviewed by: The Piano Tuner by Chiang-Sheng Kuo Lauren Bo CHIANG-SHENG KUO The Piano Tuner Trans. Howard Goldblatt & Sylvia Li-chun Lin. New York. Arcade. 2023. 168 pages. "IN THE BEGINNING, we were souls without bodies." So begins the origin myth that launches Chiang-Sheng Kuo's multi-award-winning, best-selling novel The Piano Tuner, newly translated into English by Howard Goldblatt and Sylvia Li-chun Lin. Per this creation myth, God wished to give the souls a mortal form. God was only able to trick our souls into entering bodies by having angels play music so enchanting that we wished to have ears so that we could hear it. The unnamed narrator—and titular piano tuner—uses this creation myth as a recurring motif throughout the novel. This myth serves as both a suggestion of a universal connection between music and our truest selves as well as an exploration of the human pursuit of the divine and the absolute. This poetic opening swiftly leads to the introduction of Lin, a handsome, older, self-assured, and self-made businessman, who contrasts the nameless middle-aged narrator's balding appearance and lack of socially respected ambitions. The narrator reveals early on that he was a musical prodigy who long ago forfeited any ambitions of being a concert pianist; after briefly dabbling with teaching, he realized he preferred the solitary nature of tuning, a decision that is misunderstood by others, who assume that he simply had no potential as a performer or teacher. Though the book is written from the humorously self-deprecating narrator's perspective ("I have enough self-awareness to know that I'm not the protagonist"), this narrator curiously has access to Lin's private thoughts and opinions, such as Lin's belief that the piano was an inherently masculine instrument, despite both his wife's love for the instrument and the cultural expectation, as described by the narrator's observations of Lin's social circles, that all marriageable young women learn to play the piano passably. The book begins in the aftermath of Lin losing his much younger wife, Emily, an aspiring concert pianist with an already robust career as a piano teacher. From his position as the piano tuner for the couple's music studio, a position that not only gave him intimate access to Emily's thoughts on music while she lived but also continued access into Lin's living space in the aftermath of her passing, the narrator becomes "an audience of one to [Lin's] grieving process." Though The Piano Tuner is premised on grief and on failed ambitions, at its most distilled, it is a love letter to music generally and to the piano specifically. The book is filled with anecdotes that seek to explain what makes music so appealing. These anecdotes vary between the rational, such as the didactic explanation that "each piano string is under 160 pounds of pressure, which comes to approximately twenty tons of pressure for all 230 strings"; to the poetic, such as the sentence immediately following, which personifies the piano, describing the "painful tension" that the instrument must withstand to create such a "melodious timbre." This idea of tension extends to the narrator's views on the piano itself, which exists as both machine and artistic collaborator. The narrator waxes poetic on the artisanal process involved in constructing a piano, suggesting that the many hands involved result in a unique identity to each instrument, a soul, that cannot be replicated. The narrator simultaneously finds this sentiment, though alluring, to be problematic. When he embarks on launching a used piano business in partnership with Lin, he frets as to whether reconstructed pianos maintain their soul or if they instead feel schizophrenic. As a book in translation, the parallels drawn between music, literature, and translation are taken to new heights. As described by the narrator, a good tuner and a good narrator, or storyteller, [End Page 86] both require precision and moderation, an ability to "find the right focus and pace [while refraining] from embellishment." A certain level of invisibility. The narrator muses that just as a good musical performance is remembered only by its performer...

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Breathing Room: Working Principles of Independent Art Spaces in African Cities

PERANCANGAN SISTEM INFORMASI PENYEWAAN STUDIO MUSIK PADA WAYZON STUDIO MUSIK

Wayzon Studio Musik is one of the studios at seramg banten that provides two types of rentals, namely studio rentals and musical instrument rentals such as guitars, pianos, drums, basses, other musical instruments and sound systems. The studio rental system currently takes place by means of consumers registering directly on the spot and the recording process is carried out on a notebook and then continued with scheduling on the blackboard. the current system allows errors in the recording process, data loss, scheduling conflicts that often occur, the difficulty of finding information on music equipment rental services, the difficulty of managing transaction data and reports. based on the exposure to the current system, a studio rental system is needed that makes it easier to carry out the recording process, data search process, musical instrument rental, studio booking process and the process of finding information on music equipment rental services. This music studio rental system is designed using a codeigniter framework, bootstrap and a database management system (DBMS) using MYSQL. In this web development, the method used is the waterfall and Unified Modeling Language (UML). This system makes it easier and faster for administrative officers to provide scheduling information on studio and musical instrument rental services, minimizes errors in the process of processing transaction data and making reports and makes it easier for customers to find information on music equipment rental services. This system will display a monthly studio or musical instrument rental schedule (dashboard) and the report system will display transaction data that can be printed easily.

Instrumental music teachers’ development of feedback across the lifespan: A qualitative study

Feedback is a powerful influence on learning and achievement in the instrumental music lesson, though this impact may render positive as well as negative implications to learning. The impact of feedback is thus foundational to the ways music teachers impart knowledge, skill, planning, reflection, and student motivation. This article provides an analysis of feedback- feed up-feed forward concepts through a musical instruction lens, and reviews evidence related to the impact of feedback given on student learning and achievement. A qualitative investigation of Australian instrumental music teachers working in secondary schools, this study analyses cohorts of novice, developing and expert level teachers, progressing through initial theory-practice constructs, towards development and expertise of personalised and experientially dynamic feedback episodes. Expert level teachers reflect on a wider palette of approaches, with wisdom, passion, and the capacity for accommodating diverse learners and differentiated strategies. Discursive analysis of constructivist and student-centred approaches that infuse with explicit instruction are used to offer implications to how feedback can be used to enhance enduring learning and teaching in instrumental music studios and classrooms. It provides insights into teacher growth, knowledge, and development of instrumental music teachers in the profession across the lifespan.

Leveraging Technological Innovation and Creativity In Music Industry: A Case Study Of Windhoek ‘Backyards’ Music Studios

Leveraging Technological Innovation and Creativity In Music Industry: A Case Study Of Windhoek ‘Backyards’ Music Studios