Musical Components Research Articles

Shakespeare in the Theatre: Sir William Davenant and the Duke’s Company

Shakespeare in the Theatre: Sir William Davenant and the Duke’s Company

The role of musical component in S. Lifar’s stage conception

Statement of the problem. The role of music in the ballet genre, its relationship with choreographic text remain one of the most controversial in the scientific field. In the situation of the “musical revolutions” of the 20th century, this problem became acute in connection with the renewal of genres, the emancipation of the creative imagination of choreographers who began to use music of any style direction in ballet. Among the interesting innovations of the past, we should point out the concept of free dance by Serge Lifar – a famous dancer, Ukrainian by origin, whose work as choreographer is less covered than the work of his colleagues and contemporaries M. Fokin and G. Balanchin. The purpose of the article is to consider the interaction of musical and choreographic components in the concept of S. Lifar’s ballet performance. For the first time S. Lifar’s creative experiments are considered in the context of the relationship between music and dance with the defining the role of music in the conception of “free dance” that is the innovative idea of this study. Recent research and publications. After the first publication of the leading art critic A. Levinson (Levinson & Lifar, 1934), the materials about S. Lifar appear in French art history with a certain frequency (Prunières, 1935; Gropius & Servane,1947; Hofmann, 1953; Laurent & Sazanova, 1960; Schouvaloff, 1998; Christout & Lefèvre, 2006; Poudru, 2007; Pastori, 2009). In the Ukrainian scientific space, attention to the artist’s figure has been increasing since the late of 1990s (Yu. Stanishevsky in: Lifar, 2007; A. Balabko, 2011). Important for the development of the theme are the books of the dancer himself. In his “Le manifesto du chorégraphe” (Lifar, 1935) the choreographer lays out the understanding of the relationship between music and dance in a ballet performance. Results and conclusion. S. Lifar realized his concept in the ballet “Icarus” (1935). Musically gifted by nature, in his choreographic practice, he unexpectedly proclaims the primacy of choreography, not music (!), which went against the latest trends of the time. The choreographer argued that the composer can use the fixed choreographic text in the same way as the text of a poem for creating music, which will enliven a given rhythmic and dance patterns. A. Honegger in the ballet “Icarus” uses 26 instruments, combines them into five blocks of drums of uniform timbre, supplemented by two double basses, which are also interpreted as percussions, due to the predominance of the col legno technique. The simple in essence rhythm formulas are artfully distributed among the instruments of a percussion ensemble that takes on the role of a traditional orchestra. In S. Lifar’s “Icarus” for the first time proposed a method of translating body movements into rhythmic formulas combined into a plastic score of the performance. A. Honegger turned out to be an ideal composer for such translstion. If other versions of the musical embodiment of the “Icarus” rhythm diagram will appear in the history of the genre, the original compositional solution will remain the invariant, comparison with which will be inevitable.

ПОП-ИНДУСТРИЯ КАК ОДНА ИЗ ВЕДУЩИХ ОТРАСЛЕЙ ИНДУСТРИИ РАЗВЛЕЧЕНИЙ

Current article considers pop industry as one of the leading branches of entertainment industry. Here are brought the evidences of the fact that pop industry appears to be a complex synthetic art form including, apart from musical components, also elements of cinema, light and scene design, choreography, social psychology, marketing and business. The main reason for this synthesis, in our opinion, lies in the need of the industry to maintain the demand of their customers, as well as to increase their own incomes. Due to the rapid pace of development in the modern world (unlike in previous periods), the demands of society are developing at the same phenomenal speed. Satisfying the needs and desires of customers is one of the chief executives of marketing, which is often, consciously or unintentionally, one of the main assistants in the world of pop industry.

Implementation of Richard Wagner’s Ideas in Cinematography: Music as an Important Component of the Screen Work

The paper raises a number of issues regarding the synthesis of art, its implementation in cinematography, and the role of music in these processes. The importance of combining music with other forms of art was substantiated by Richard Wagner in his theoretical works. He also used these ideas in his composing practice, in particular for creating music dramas that later changed the perception of the possible influence of the synthesis of arts on the audience. The synthesis of music with the other forms of art developed, and, at present, it often becomes the foundation of composers’ creativity: it enables increasing the level of intercultural communication, promotes the emergence of new genres, styles, and trends in art, creates conditions for updating compositional techniques, contributes to increasing the audience of mass art events. The role of music is also crucial in cinematography, which as a synthetic form of art incorporates many ideas about the interaction of arts articulated by the German composer. It is not a coincidence that R. Wagner’s music is actively used in cinematography as a powerful structuring component for the realization of the director’sidea. As a result of the study, the ideas of the interaction of different forms of art were outlined, as well as their impact on the audience and the role of music in this process, previously publicized by R. Wagner and implemented in his works, and later on in the practice of cinematography. The music by the German composer features prominently in the practice of interaction between the visuals and the musical component in filmmaking because by its nature it corresponds with many functions of music in cinema, has a high level of emotional and sensual expressiveness, and emotionally reinforces the visuals of the screen work. Cinematography as a synthetic form of art goes in line with R. Wagner’sideas about the unity of art forms and, at the same time, with the needs of 19th–20th-century society that are still relevant today. Characteristic features of cinema—spectacularity, scale, prolongation in time-space coordinates, ability to express the idea of myth-making and its embodiment in perfect visual forms—enable using the unity of music and visuals in the overall dramaturgy of the film.

Spontaneous motor tempo contributes to preferred music tempo regardless of music familiarity.

Music, and listening to music, has occurred throughout human history. However, it remains unclear why people prefer some types of music over others. To understand why we listen to a certain music, previous studies have focused on preferred tempo. These studies have reported that music components (external), as well as participants' spontaneous motor tempo (SMT; internal), determine tempo preference. In addition, individual familiarity with a piece of music has been suggested to affect the impact of its components on tempo preference. However, the relationships among participants' SMT, music components, and music familiarity as well as the influence of these variables on tempo preference have not been investigated. Moreover, the music components that contribute to tempo preference and their dependence on familiarity remain unclear. Here, we investigate how SMT, music components, and music familiarity simultaneously regulate tempo preference as well as which music components interact with familiarity to contribute to tempo preference. A total of 23 participants adjusted the tempo of music pieces according to their preferences and rated the familiarity of the music. In addition, they engaged in finger tapping at their preferred tempo. Music components, such as the original tempo and the number of notes, were also analyzed. Analysis of the collected data with a linear mixed model showed that the preferred tapping tempo of participants contributed to the preferred music tempo, regardless of music familiarity. In contrast, the contributions of music components differed depending on familiarity. These results suggested that tempo preference could be affected by both movement and memory.

Изобразительное и выразительное в песнях Хуго Вольфа

The purpose of this research paper is the characterize the creative heritage of Hugo Wolf from the position of “the fine” and “the expressive” in hic chamber and vocal compositions. There are more than three hundred of the composer’s songs which comprises the vocal cycles on the poems of H. Heine, E. Mörike, J. Eichendorff, J. Goethe, G. Keller, M. Buonarroti and the samples of author’s and folk poetry of Spain and Italy in the translation of E. Geibel and P. Heyse that were set to music. All these compositions rightfully belong to the gold fund of the Austro-German Lied. The paper presents the fact that Wolf strove for the maximum convergence of verbal and musical components and chose the word intonation sphere or poetic phase as an original unit to show the full literary centrist tendencies of that time. The scientific novelty lies in the determination of the main features of Wolf’s chamber and vocal compositions such as fine art origin; landscape sketches where the nature plays the role of the main character; picturesqueness which is given even at the level of transmission of external properties of objects; active usage of the ability of musical intonation for imitating sounds; movement factor presented in metrorhythmic, tempo, dynamic parameters of tonal structures; expressiveness of musical portraits. It is grounded that Wolf sought to show the truthful and multilateral artistic reality embodied in a poetic original source.

Downbeat delays are a key component of swing in jazz

To which extent and how do jazz musicians synchronize their timing to create swing? Swing is a salient feature of jazz music, yet its main psychoacoustical and musical components have remained elusive—save the obvious long-short subdivision of quarter notes. In particular, the possible role of microtiming deviations for swing has been a subject of long-standing controversy. Adopting an operational definition of swing we present a study which ultimately demonstrates a positive effect of certain microtiming deviations on swing. We manipulate the timing of original piano recordings to carry out an experiment with professional and semi-professional jazz musicians measuring the swing of different timing conditions. Thereby we prove that slightly delayed downbeats and synchronized offbeats of a soloist with respect to a rhythm section enhance swing. Analyzing a set of 456 jazz improvisations we find that many jazz musicians do use minute downbeat delays. These results show that systematic microtiming deviations in the form of downbeat delays are a key component of swing in jazz.

Song popularity and processing fluency of lyrics

Several studies show that a concept or object is more popular when it is easier to process. The present research applies this notion of processing fluency to the lyrics of all 271 top 5 songs on the United Kingdom chart for each week from 1999 to 2014. The processing fluency of the lyrics was computer scored for readability, presence of rhyme, and complexity, and popularity was assessed in terms of peak chart position and duration of tenure on the chart. After controlling for the energy of the musical component of the song, analyses showed that factors relating to the processing fluency of the lyrics predicted peak popularity but not duration of chart tenure. Significant relationships were observed between peak popularity and both rhyme saturation and basic lyric readability properties.

High-Resolution Representation Learning and Recurrent Neural Network for Singing Voice Separation

Music source separation has traditionally followed the encoder-decoder paradigm (e.g., hourglass, U-Net, DeconvNet, SegNet) to isolate individual music components from mixtures. Such networks, however, result in a loss of location-sensitivity, as low-resolution representation drops the useful harmonic patterns over the temporal dimension. We overcame this problem by performing singing voice separation using a high-resolution representation learning (HRNet) system coupled with a long short-term memory (LSTM) module to retain high-resolution feature map and capture the temporal behavior of the acoustic signal. We called this joint combination of HRNet and LSTM as HR-LSTM. The predicted spectrograms produced by this system are close to ground truth and successfully separate music sources, achieving results superior to those realized by past methods. The proposed network was tested using four datasets (DSD100, MIR-1K, Korean Pansori, and Nepal Idol singing voice). Our experiments confirmed that the proposed HR-LSTM outperforms state-of-the-art networks at singing voice separation when the DSD100 dataset is used, performs comparably to alternative methods when the MIR-1K dataset is used, and separates the voice and accompaniment components well when the Pansori and NISVS datasets are used. In addition to proposing and validating our network, we also developed and shared our Nepal Idol dataset.

‘I believe in Beethoven!’: The Musical Component of Stepan Charnetsky's Journalism

The aim of the work is to outline the achievements of the writer Stepan Charnetsky as a music critic and publicist, to analyze typical samples of his journalism through the prism of intermediality and intertextuality. Research methods are based on the intermediate approach to studying the interaction of music, theater and literature on the artist’s identity as a journalist. General scientific research and typological methods, together with the generalization method are used in the work. The methodology of content analysis, as well as empirical methods of description, observation and reflection for the interpretation of qualitative parameters of the musical component of Stepan Charnetsky’s journalism are involved. The scientific novelty of the study lies in the introduction and generalization of the musical component in the journalism of the writer and theatrical figure. For the first time, genre features, cognitive and artistic values, intermediate and intertextual features of this area were revealed. Conclusions: Stepan Charnetsky's journalism with a musical component is represented by various genres (feuilleton, essay, critique, review, memoir, obituary, source paper, open letter, etc.) and a wide range of topics, such as music and society, music in other arts, first-hand information-source material due to personal acquaintance with musical figures, the ability to work with archival sources and documents, as well as the ability to scientific systematics of cultural phenomena and its ‘texts’. The innate musicality of the author of the famous Ukrainian Sich Riflemen’ Anthem played a significant role. The texts on music are saturated with a sublime tone, subtle vibrations of his inner world that resonate with the macrocosms - both national and cross-cultural. Cathartic and transcendent possibilities of this art are often reflected in such texts. Charnetsky’s entry into non-literary space was marked by some drawbacks, touching on the lack of musical competencies. Nevertheless, this work of Stepan Charnetsky is considered as valuable, informative and full of artistic charm of the talented writer’s pen. Keywords: writer, music, journalism, feuilleton, intermediality, intertextuality, article.

Yuri Shevchenko's ballet "For two hares": musical and literary sections

The purpose of the article is to analyze the ballet "For Two Hares" based on a comparison of literature, film, and original music. Methodology. The article is based on a comparative analysis, analysis of the literary source, the musical component of ballet and film. Based on the comparison, the analysis of the main characters and related comic elements of the work of M. Starytsky and the ballet Shevchenko - Litvinov, based on this plot. These are Svirid Petrovich Holokhvasty, Pronya, Galya, Sekleta Pylypivna Limarykha and the Sirkiv couple. The scientific novelty lies in determining the peculiarities of Yuri Shevchenko's original music in the ballet "For Two Hares". The analysis of ballet music was performed for the first time. Conclusions. The comparative analysis of Yu. Shevchenko's ballet and M. Starytsky's comedy allowed us to single out common comic elements: "meeting" with the main character Golokhvasty; the choice of leittembs (clarinet, violin and piano) is associated with the comic nature of Golokhvasty and the emphasis on his external features: thinness and "mannerism", claims to chic and education; the portrait of Golohvasty in the ballet and his appearance (clothes and accessories) corresponds to the image of Golohvasty from the original source; Golohvastoy's weakness for girls; Golohvasty's love for songs and dances; hopak, which appears in both comedy and ballet. Common to comedy and ballet are also the leitmotif of the bells, the romanticization of the scene of the testimony of Golohvasty in the house of Proni. The multifaceted, contrasting image of Sekleta is also vividly represented in both works. The common comic element is defined by the red cap of Sulfur; Sekleta's "fig" gesture, we consider the motif of rumors to be a comic motif, which is conveyed in ballet by all means of expression (musical, choreographic and visual). Keywords: author's ballet music, literary source "For two hares", comedy by M. Starytsky, comic images.

Experiences during listening to music in school

ABSTRACT Pupils’ experiences of four music pieces were compared regarding two didactical approaches to music listening in Croatian schools: the predominantly cognitively oriented standard (STA), and the experimental cognitive-emotional (CEA). The research comprised 557 pupils, 10 and 11 years old. After the initial listening to a music piece pupils mostly reported to like its musical components which reflects that listening to music in school is mainly directed toward music-theoretical components of the music. During the central listening pupils’ thoughts were mostly related to the music piece content (e.g. narratives related to the music) and to associations within and out of the music piece context. However, some differences between the two approaches emerged. Depending on the music piece, the more active pupils’ engagement in CEA encouraged reflections about content and/or expressing opinions about the broader context of the music piece.

"Great Vespers" by B. М. Ledkovsky in the singing tradition of the Orthodox Church in America

The article deals with a collection of hymns by the famous church composer and regent B. M. Ledkovsky, a representative of the Russian musical diaspora, whose creative path during the last almost twenty-five years of his life was connected with the United States of America. The verbal basis of the collection was made up of the liturgical texts of the Great Vespers service translated from Church Slavonic into English. Without making a detailed excursion into the historical past of America and without having the intention to create a picture of the formation and establishment of Orthodoxy on American soil (this topic, multi-level and multi-valued, is worthy, in our opinion, of more than one special study), the author touches only on individual events and facts of this history. Referring to the modern church-singing practice, which is accepted today in the Russian Orthodox Church Abroad (ROCOR) only partially, and focusing mainly on some features of the services of the Orthodox Church in America (OCA), the author considers "Great Vespers" as a collection that generally corresponds to one of the rites of the Russian Orthodox Church, along with the All – Night Vigil written by B. M. Ledkovsky. The English-language verbal basis used in “Great Vespers” is seen as specific to the liturgical work of B. M. Ledkovsky, who always belonged to the Russian Orthodox Church – both in Russia and abroad after the revolution, but at the same time very consonant with the liturgical practice of the OCA, which gradually switched to the national, English language. Published in 1976 St. Vladimir's Seminary Press (SVS Press), one of the leading theological educational institutions of the Orthodox Church in America, where B. M. Ledkovsky worked as a teacher of church music for a number of years, "Great Vespers", composed by the composer on the order of the Seminary, was published after his death. The final revision and preparation of the collection for publication was made by D. Drillock, a student and junior colleague of B. M. Ledkovsky, E. and J. Erikson, R. Evich. They also, as indicated in the publication, carried out an English-language adaptation of the liturgical texts. It is characteristic that the musical component of most of the Great Vespers chants is the material of Obikhod Ledkovsky (All-Night Vigil), published in 1959 in Jordanville in the printing house of St. Job of Pochaevsky Holy Trinity Monastery. Individual hymns of this collection (litanies, Sunday troparia, and others) were later included in the editions of St. Vladimir Seminary in 1980 and 1982 in English ("Holy Week"; "Divine Liturgy", “The Liturgy of the Presanctified Gifts”). The proposed article examines the composition of the collection, with its features, based on the material of several hymns, shows the confirming statements of the composer and the approaches to harmonization that are fundamentally important for him, which he uses here and in other works. Some attention is also paid to the analysis of musical and linguistic parameters of harmonizations, the issues of vocalization of the chanted liturgical text.

Neurovegetative and Emotional Modulation Induced by Mozart’s Music

Introduction: Since decades, the “Mozart effect” has been studied. However, the diverse effects of Mozart’s music components have not been yet defined. Authors aimed to identify a differential response to short-term exposure to Mozart’s music, or to its rhythmic signature only, on subjective and objective measures. Methods: The Mozart Sonata in A major K 331 (Mozart), the same piece consisting only of beat (Destructured), and duration-matched silence were administered to 25 healthy young adults, stood supine in a relaxing setting. The Italian Mood Scale questionnaire was administered before and after each listening. Heart rate variability (HRV) metrics were calculated from ECG recording, and breath flow was registered during experiments. Results: After Destructured, there was no change of fatigue and tension. After Mozart, fatigue was significantly reduced (and a tendency appeared for tension), whereas vigor was not. Breathing rate tended to be higher during Mozart. The nonlinear parameter HFD of HRV analysis, even though not significantly, was slightly lower during Destructured; Poincaré plots SD1 and SD2 tended to be lower during Mozart. Discussion/Conclusion: Mozart’s music may allow to maintain arousal during relaxing condition. Psychological response of music and physiological dynamics were not necessarily entangled. Musical pieces based on individual physiological signature may lead musical psychological interventions.

Searching for Similarity

Throughout the twentieth and twenty-first centuries regulations on expert testimony have sought to minimize the impact of disagreeing experts. Yet, disagreements between forensic musicologists still play a large role in contemporary music copyright decisions. This paper suggests that the disagreement between partisan experts is due, in part, to confirmation bias rather than ethical or financial allegiance. An expert hired by a plaintiff, or the party alleging copyright infringement, may start their analysis by searching for similarities between two works. On the other hand, an expert retained by the defendant, or the party denying infringement, may start their analysis by searching for differences. Given the multiple musical components present in even the “simplest” musical work, both starting points will lead to valid observations about the work, allowing for expert disagreement. This article uses a hypothetical case study to demonstrate the risk of confirmation bias in forensic musicology and concludes by proposing that appointing a panel of third-party musicologists to conduct forensic analyses from a neutral starting point could minimize the effect of confirmation bias in such cases.

PD25-07 RACIAL DISPARITIES IN SURGICAL TREATMENT OF RENAL MASSES: INITIAL ANALYSIS OF A STATEWIDE REGISTRY

You have accessJournal of UrologyCME1 May 2022PD25-07 RACIAL DISPARITIES IN SURGICAL TREATMENT OF RENAL MASSES: INITIAL ANALYSIS OF A STATEWIDE REGISTRY Mohit Butaney, Ji Qi, Stephanie Daignault-Newton, Randy Vince, Anna Johnson, Amit Patel, Susan Linsell, Simpa Salami, Firas Abdollah, Khurshid Ghani, Humphrey Atiemo, Brian Lane, Craig Rogers, and for the Michigan Urological Surgery Improvement Collaborative Mohit ButaneyMohit Butaney More articles by this author , Ji QiJi Qi More articles by this author , Stephanie Daignault-NewtonStephanie Daignault-Newton More articles by this author , Randy VinceRandy Vince More articles by this author , Anna JohnsonAnna Johnson More articles by this author , Amit PatelAmit Patel More articles by this author , Susan LinsellSusan Linsell More articles by this author , Simpa SalamiSimpa Salami More articles by this author , Firas AbdollahFiras Abdollah More articles by this author , Khurshid GhaniKhurshid Ghani More articles by this author , Humphrey AtiemoHumphrey Atiemo More articles by this author , Brian LaneBrian Lane More articles by this author , Craig RogersCraig Rogers More articles by this author , and for the Michigan Urological Surgery Improvement Collaborative More articles by this author View All Author Informationhttps://doi.org/10.1097/JU.0000000000002567.07AboutPDF ToolsAdd to favoritesDownload CitationsTrack CitationsPermissionsReprints ShareFacebookLinked InTwitterEmail Abstract INTRODUCTION AND OBJECTIVE: Nephron-sparing approaches and surveillance are increasingly popular strategies to manage clinical T1 renal masses (cT1RM). It is well known that social and racial disparities affect access to healthcare resources and even oncological outcomes. Our objective in the project was to gain insight into potential racial disparities in initial management of cT1RM to guide our future quality improvement efforts. METHODS: The MUSIC-KIDNEY (Michigan Urological Surgery Improvement Collaborative—Kidney mass: Identifying and Defining Necessary Evaluation and Therapy) registry commenced data collection in June 2017. Data abstractors recorded clinical and follow-up data for patients with newly diagnosed cT1RMs at 16 MUSIC practices with >90 physicians. Practices with at least 5 White and 5 African-American (AA) patients were included in the analysis. Bivariate analysis and multivariable regression model were performed to assess association between race and treatment decision. RESULTS: Our cohort included 2932 patients including 2231 (76%) White, 433 (15%) AA, and 268 (9.1%) patients with other/unknown race. AA patients were more likely to be female, have public insurance, higher comorbidity when compared to white patients (p<0.05 for each). Overall, AA patients were more likely to undergo surveillance when compared to white patients (61% vs 51%, p<0.01) and less likely to undergo a partial nephrectomy (PN) (21% vs 31%, p<0.01); rates of RN and ablation/other were not statistically different (p>0.05) (Figure). We continued to observe a similar trend across practices despite the observed variation. Controlling for patient and tumor characteristics, AA were more likely to undergo surveillance compared to White patients (OR=1.55, p<0.01). CONCLUSIONS: Our data provide an initial assessment of the effect race may play in decision-making associated with management of cT1RM in a statewide registry. This is consistent with other publications showing disparities in initial management for small renal masses in which AA patients were less likely to receive PN; we add to these data by identifying an increased proportion receiving surveillance. These data will provide a benchmark as we further investigate potential disparities as one component of MUSIC’s quality improvement efforts. Source of Funding: Blue Cross Blue Shield of Michigan © 2022 by American Urological Association Education and Research, Inc.FiguresReferencesRelatedDetails Volume 207Issue Supplement 5May 2022Page: e423 Advertisement Copyright & Permissions© 2022 by American Urological Association Education and Research, Inc.MetricsAuthor Information Mohit Butaney More articles by this author Ji Qi More articles by this author Stephanie Daignault-Newton More articles by this author Randy Vince More articles by this author Anna Johnson More articles by this author Amit Patel More articles by this author Susan Linsell More articles by this author Simpa Salami More articles by this author Firas Abdollah More articles by this author Khurshid Ghani More articles by this author Humphrey Atiemo More articles by this author Brian Lane More articles by this author Craig Rogers More articles by this author for the Michigan Urological Surgery Improvement Collaborative More articles by this author Expand All Advertisement PDF DownloadLoading ...

The Interrelations of Genre in Traditional Cambodian Music and Theatre

This article examines the interrelation and adaptation of musical and extramusical song features among the Cambodian genres of phleng kar (wedding music), phleng arak (music for arak spirits), lkhaon yiikee and lkhaon bassac (sung-danced theatre genres). It aims to discuss the concept of genre classification from the emic perspective of the Cambodian practitioners showing how they talk and think about their music; and to explore the kinds of culture-specific markers employed by Khmer musicians to distinguish their genres. Through selected case studies I show the interrelation of songs sharing the same title with different tunes; songs with same title and similar tunes; and songs with a different title but similar tunes. To these case studies I then applied music transcriptions and analysed musical and extramusical parameters to consider the exchange of musical features and performance analysis to consider the ritual context. This study shows how classification and categorization of genres, even when genres overlap, reflect sociocultural aspects and are attached to a set of musical and extramusical components.

A tradeoff between musical tension perception and declarative memory.

Successful formation of long-term declarative memory is influenced, among other things, by attention, emotion, and deviation from expectations. A unique form of expectation can be elicited through musical tension, evoked by the prolongation of certain musical progressions. We examined the effect that musical tension exerts on the formation of declarative memory, by composing three original music pieces that contained tension segments, achieved by delays in release from dominant to tonic harmonies. Music-evoked tension was validated using music information retrieval (MIR) analysis, as well as skin conductance response (SCR) measures. Indeed, tension-evoking musical excerpts were associated with heightened SCR, corroborated by increased subjective ratings of tension, as compared to neutral excerpts. In the main experiment, 50 participants listened to the three musical pieces while they were presented with unique images that were randomly assigned to four conditions: tension, tension-release, neutral music, and silence. One day later, their memory for the images was examined using a recognition test. We found that memory performance was enhanced for images presented during both neutral and tense music compared to silence. Moreover, we observed a tradeoff effect between post-experiment tension perception and memory, such that individuals who perceived musical tension as such displayed reduced memory performance for images encoded during musical tension, whereas tense music benefited memory for those with lower musical tension perception. Understanding the interrelations between musical components, which exert powerful and fundamental responses in humans, and cognitive faculties, may provide insights as to the basic features of memory formation.Supplementary InformationThe online version contains supplementary material available at 10.3758/s13423-022-02095-z.

Роль и значение музыкально-песенных компонентов в мифоэпической картине мира (на материале черкесского нартского эпоса)

The article presents a philosophical analysis of mythoepic texts and musical components of the Circassian folklore. In particular, the study explores specific epic images and related songs, as well as their cultural and philosophic implications. The role and significance of music culture in the Circassian traditional society are traced using epic narratives. Heroic cycles of the Nart epic are viewed as an art-aesthetic material, where the common plot-compositional centre of the epic culture produces a very specific worldview with a set of cosmogonic mythologies. Using the example of several heroic characters and the cycles of song folklore associated with them, the idea of the multilevel nature of the construction of the ontological foundations of myth and epic is expressed. The paper substantiates the hypothesis that an important factor in the preservation and translation of not only song folklore, but also many other forms of artistic reality is a whole complex of mnemic linguistic and extralinguistic means. It is concluded that the Nart epic in these aspects should be understood not only as an ethical, but also as an aesthetic code of Circassians, where epic texts and songs contain many pre-philosophical universals and ideas.

Exploring Interactions between Physiological Mechanisms and Music Riffs: Power beyond Music

This study aims to discuss whether the baroreflex is regulated by the music with 0.1 Hz oscillations and determine which musical component most elicits the baroreflex control. We had the subjects listen to the music with 0.1 Hz oscillation (in either chords or rhythm) and the same music without 0.1 Hz oscillation. The power of the extracted components up to 0.1 Hz significantly increased blood pressure (BP) at p &lt; 0.05regardless of which music they listened to. However, the coherence between BP and heart rate fluctuations up to 0.1 Hz increased significantly (p &lt; 0.01) only when listening to the music with continuous riffs up to 0.1 Hz. The results implied that properly applied repetitive riffs of music improve the baroreflex regulation.