Musical Engagement Research Articles

Comusichiamo. First Language, Life-Soundtracks and Storytelling to Support the Cultural Wellbeing of Migrants Living with Dementia

ABSTRACT This study, located at the intersection of anthropology, ageing, music therapy and dementia, explores the value of music, life-storytelling and first language, to support the cultural identity and wellbeing of people from culturally and linguistically diverse backgrounds living with dementia in Australia. It uses participant observation, the collection of oral histories and ‘life soundtracks’ to co-create a song with older Italian migrants and their families. This paper presents the first case study which informed the development of the music engagement program we call Comusichiamo (let’s make music together). The case study shows that the co-creation of a culturally tailored song, composed and sung in first language, can enhance physical and social engagement, and contribute to the general wellbeing of participants living with dementia, and their carers. Central to the program is the sharing of life history, comprising autobiographic memory, the use of ipsissima verba, the precise words participants employ repeatedly, and ipsissima fabula, the particularistic stories participants narrate frequently. This music engagement program supports a relationship-centred approach to dementia care, drawing on narrative theory and anthropological notions of personhood, and Benenzon’s notion of ‘sound identity’, to support cultural safety, protect personhood, and guard against ‘social death’.

Music in the Air and in the Body: An Interoceptive System's Perspective on Musical Emotions, Awareness, and Time.

Performing and perceiving music requires the integration of multimodal information, including sensations of one's own body. Research on musical engagement investigated emotional responses and the peripheral physiological activations involved, as well as bodily action tendencies, effects on time perception, and the role of awareness and focus of attention. The concept of interoception dedicates a central role to the insular cortex, as suggested by Craig and others, and offers a unifying framework for studying music as an activity that has always had a key role for individuals, groups, societies, with a strong bodily component. Chances and challenges of an interoceptive perspective on music are discussed.

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.

The role of music in mental health treatment

A review and meta-analysis of music therapy (de Witte, 2019) found an overall beneficial effect on stress-related outcomes. Research suggests that music engagement not only shapes our personal and cultural identities but also plays a role in mood regulation. Moreover, music can be used to help in addressing serious mental health and substance use disorders. Music has been an integral part of human culture for millennia, serving as a medium for expression, communication, and community bonding. In recent decades, the therapeutic potential of music has garnered significant attention, particularly in the realm of mental health. Music therapy, an evidence-based practice, employs music to address physical, emotional, cognitive, and social needs of individuals. This article is aimed at showing the role of music in mental health treatment.

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.

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.

Enhancing collaborative signing songwriting experience of the d/Deaf individuals

Songwriting can be an important means of developing the personal and social skills of d/Deaf individuals, but there is a lack of research on understanding and supporting their songwriting. We aimed to understand the d/Deaf people's songwriting experience for the song signing genre, which visually represents music with sign language and body movement. Through two workshops in which mixed-hearing individuals collaborated in songwriting activities, we identified the potentials and challenges of the songwriting experience and developed a music-sensory substitution system that multimodally presents music in sound as well as visual, and vibrotactile feedback. The proposed system enables mixed-hearing partners to have better collaborative interaction and signing songwriting experience. Consequently, we found that the process of signing songwriting is valued by d/Deaf individuals as a means of musical self-expression and social connecting, and our system has increased their musical engagement while encouraging them to express themselves more through music and sign language.

The Music of Matrescence: The Missing Link in our understanding of Mother-Infant Bonding through Interactive Music. A Commentary on Vazquez-Diaz de Leon (2024)

Vazquez-Diaz de Leon’s (2024) study explores mothers’ uses of music in everyday life, illuminating the potential of this reciprocal process in supporting the quality of mother–infant interactions and maternal bonding, while also supporting maternal identity, regulation and coping during motherhood. This commentary calls for further matricentric focused research that acknowledges the social and cultural context of ‘matrescence’ as a significant and transformation shift into motherhood that is largely underrepresented and warrants further exploration and discourse into how this period may intersect with mothers’ musical engagement in everyday life.

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.

Participatory music engagement and social anxiety: Resilience, social self-efficacy, and social support as mediators

Studies of music-based interventions have found that engagement in participatory music has positive effects. However, taking part in music activities in everyday life may have different effects. In this study we analyzed data collected from 902 university students in Beijing, China, and examined the mediating effects of social self-efficacy, resilience, and social support in the association of participatory music engagement with social anxiety. We found that participatory music engagement was negatively associated with social anxiety, and that social self-efficacy, resilience, and social support mediated this association. This study extends understanding of the effects of participatory music engagement among university students. Implications for theory and practice are discussed.

PEDAGOGICAL AND PSYCHOLOGICAL CHARACTERISTICS AND FACTORS IN THE DEVELOPMENT OF MUSICAL AND AESTHETIC CULTURE AMONG STUDENTS

This article explores the pedagogical and psychological characteristics and factors that contribute to the development of musical and aesthetic culture among students. Recognizing the significance of musical engagement in educational settings, the study begins by defining musical and aesthetic culture and outlines its importance in fostering creativity, emotional expression, and cultural awareness. The interplay between pedagogical approaches and psychological development is highlighted through case studies that showcase successful educational practices. Moreover, the article identifies challenges and barriers faced in promoting musical and aesthetic culture, offering strategies for educators to overcome these obstacles. Ultimately, this study underscores the need for an integrated approach that combines pedagogical and psychological insights to enrich students' musical and aesthetic experiences, calling for further research and practical applications within educational frameworks. By fostering a supportive and enriching environment, educators can significantly enhance the cultural and artistic development of their students, preparing them for a more expressive and interconnected world.

Digital musicianship in post-pandemic popular music education

The COVID-19 pandemic has brought about dramatic changes in popular music education, underscoring the importance of technology in both practice and transmission. Nevertheless, the celebration of technological integration as a one-stop solution has led to some challenges remaining overlooked and unsolved, resulting in an increasing mismatch between popular music education and the growth of online musical engagement among young people. Framed by the notion of digital musicianship, this position paper presents an overview of the adoption of technology in popular music education within the lockdown period, in the process raising concerns about whether such revisions can adequately address the challenges faced by popular music education. This leads to a discussion of a potential revamp of digital musicianship as a response to the continued and expanding presence of technology within popular music education and the post-pandemic teaching and learning environment. The authors assert that digital musicianship should encompass learners’ ability to perceive and adopt technologies for online and remote music-making, and critically evaluate their validity and quality in various contexts. Additionally, there is a need to critically address the homogeneity of musical cultures and technological determinism embedded within the design of music technology, alongside tackling the issues of inequality and accessibility.

Study protocol of a randomized control trial on the effectiveness of improvisational music therapy for autistic children.

Music therapy is the clinical use of musical interventions to improve mental and physical health across multiple domains, including social communication. Autistic children, who have difficulties in social communication and often increased anxiety, tend to show a strong preference for music, because it can be structured and systematic, and therefore more predictable than social interaction. This makes music therapy a promising medium for therapeutic support and intervention. Previous clinical trials of music therapy compared to traditional therapy for autistic children have shown encouraging but nevertheless mixed results. The primary aim is to conduct a randomised controlled trial (RCT) of improvisational music therapy for autistic children and test its effectiveness in at improving social communication and wellbeing, and to reduce anxiety. The RCT will be conducted with 200 autistic children in the UK aged 7 to 11 years old. Participants will be randomly assigned to either improvisational music therapy or support as usual. The trial will be an assessor-blind, pragmatic two-arm cluster RCT comparing the impact of 12-weeks of improvisational music therapy in addition to support as usual, vs. support as usual for autistic children. Researchers who are blind to which arm the children are in will conduct assessments and obtain data via caregiver reports. The primary outcome will be the absolute change in the total score of the Brief Observation of Social Communication Change (BOSCC) assessed at baseline, T1 (13weeks) and T2 (39weeks) follow-ups. The BOSCC consists of specific items that were developed to identify changes in social-communication behaviours. Secondary outcome measures include: (1) Parent reported anxiety scale for youth with ASD (Note that we do not use the term 'ASD' or Autism Spectrum Disorder, because many autistic people feel it is stigmatising. Instead, we use the term 'autism')(PRAS-ASD) (2) Young Child Outcome Rating Scale, for wellbeing (YCORS), (3) Strengths and Difficulties Questionnaire (SDQ); and (4) Vineland Adaptive Behaviour Scale (VABS). (5) The Children's Communication Checklist-2 (CCC-2) will be completed to evaluate pragmatic speech with fluent speakers only; (6) The Music Engagement Scale (MES); and (7) Assessment of the Quality of Relationship (AQR) will be used to evaluate the child-therapist relationships using video-analysis of music therapy sessions. Additional data will be collected by administering the Wechsler Abbreviated Scale of Intelligence (WASI-II), Music at Home Questionnaire (M@H), and children's versions of the Empathy Quotient (EQ) and Systemizing Quotient (SQ). Audio and video data from the therapy sessions will be collected and analysed (using both human and computer-based feature-coding, e.g., machine learning and AI-driven methods) to identify how music and non-musical interactions foster change throughout the therapy. This study aims to observe if the interactions, engagement, and therapeutic modalities fostered during music therapy sessions can translate to non-musical contexts and improve autistic children's social communication skills, identifying possible mediating factors contributing to the effectiveness of music therapy, potentially informing policy making and governance. This randomised control trial is registered with the NIH U.S. National Library of Medicine: https://clinicaltrials.gov/search?term=NCT06016621 , clinicalTrials.gov Identifier: NCT0601662, Registration Date 19th August 2023.

Video analysis of music therapy interaction for children experiencing neurodevelopment delay

Children experiencing neurodevelopmental delay have motor, linguistic, and cognitive problems that affect their skills in various domains, especially interpersonal ones. Since music therapy is based on musical exchange, these three case studies explore how child–music therapists’ interactions change within and between sessions. Moreover, we evaluated whether the children’s and parents’ musical interaction changed in everyday life. Three children experiencing neurodevelopmental delay participated in 70 psychodynamic music therapy sessions, relying primarily on musical improvisation techniques. The initial (i.e. pre-test) and final sessions (i.e. post-test) were video recorded and codified with the Kategoriensystem Musik Therapie (KAMUTHE) in the 10th and 30th minutes. Videos were analyzed using the Behavioral Observation Research Interactive Software (BORIS). In addition, parents completed the Music in Everyday Life (MEL) Scale to evaluate how they experienced musical activities with their children. Reliable Change Indexes (RCIs) were calculated to assess significant changes in everyday musical activities. Based on video analysis, three children were more active at the 30th minute and the post-test, while Music Therapists stimulated them less. In addition, therapists adapted the activities and stimuli based on the children’s responses. Based on RCIs, parents reported an increased musical engagement with two children. Music therapy might help children experiencing neurodevelopmental delays modify their interaction style and improve motor and interpersonal skills.

Music as a Tool for Affiliative Bonding: A Second-Person Approach to Musical Engagement

Music listening or playing can create a feeling of connection with other listeners or performers, with distinctive levels of immersion and absorption. A major question, in this regard, is whether the music does have an ontological status, as an end in itself, or whether it is only a tool for the mediation of something else. In this paper we endorse a mediating perspective, with a focus on the music’s potential to increase affiliative bonding between listeners, performers and even the music. Music, then, is hypostasized as “something that touches us” and can be considered a partner of affiliative exchange. It has the potential to move us and to modulate the way we experience the space around us. We therefore elaborate on the tactile dimension of being moved, as well as on the distinction between personal, peripersonal, and extrapersonal space, with a corresponding distinction between first-person, second-person, and third-person perspectives on musical engagement.

Collective free improvisation in the Flemish general music classroom: Probing student’s lived experience through flow

The aim of this study is to explore the lived experience of students ( N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale reflects the degree of Sense of Control, Positive Emotional Experience and Absorption by Concentrating. In addition, teachers’ reflections were mapped by means of an online survey. Overall scores on the 3 dimensions of the Flow scale averaged greater than or equal to 5 (7-point Likert scale). Results show a difference in total flow between students who already played an instrument and those who did not. Students who play an instrument score significantly higher on the factor ‘Sense of Control’. Conversely, the flow scores on the factors ‘Absorption by Concentration’ and ‘Positive Emotional Experience’ do not differ between instrumentalists and non-instrumentalists. Given the relatively high flow scores, we conclude that this type of musical engagement can be used for instrumentalists as well as non-instrumentalists. Although CFI was a new experience for the teachers, they indicated to continue using it in the future.

Stretching the limits of tightness and looseness in music interaction Reply to comments on “Musical engagement as a duet of tight synchrony and loose interpretability”

Stretching the limits of tightness and looseness in music interaction Reply to comments on “Musical engagement as a duet of tight synchrony and loose interpretability”

Crossing borders and generations: examining the relationship between music engagement and immigration generation

ABSTRACT The purpose of this study was to examine differences in music engagement across immigration generations among different racial/ethnic groups for adults living in the United States. I conducted secondary analysis of two 2018 nationally representative surveys, the February Current Population Survey (CPS) and the Self-Perceptions of Creativity and Arts Participation (SPCAP). CPS questions for music engagement included formalised operations of performing and practicing instruments and singing, whereas the questions in the SPCAP study used expanded/informal language. Initial descriptive and bivariate analyses demonstrated differences in music engagement by immigration generation and race. However, multivariate logistic regression results indicated that substantive differences between immigration generations and racial and ethnic groups were mostly diminished, though the specific ways in which members of different immigrant and cultural groups engage with music may differ. Implications for culturally sustaining pedagogy in K-12 music education and suggestions for future research are discussed.

Becoming singular: Musical identity construction and maintenance through the lens of identity process theory

This study uses identity process theory to understand the social–psychological processes that motivate individuals to construct an identity in which music, singing, and singing teaching feature prominently. We conducted reflexive thematic analysis of semi-structured interviews with 10 Australian singing teachers (with an average age 60) to understand how they enacted identity principles that motivate identity construction and maintenance. Findings were captured in two themes: (1) ‘It has just been music’: Living a musical life is my destiny; (2) ‘I know my value’: Achieving goals in music and teaching is motivating. Participants’ consistent musical engagement across the lifespan satisfied the identity principles of continuity and positive distinctiveness. The identity principles of self-efficacy and self-esteem were satisfied through the social connections created with peers and through teaching singing; participants derived self-worth from celebrating and contributing to the success of others. Teaching singing was a way to become ‘singular’, that is, distinctive, and distinctively valued by the self and others. This article provides an example of how identity process theory can be applied in musical identities research to uncover new insights into the psychological processes of identity construction, with implications for understanding identity resilience and musical engagement across the lifespan.

Music Perception and Music-Related Quality of Life in Adult Cochlear Implant Users: Exploring the Need for Music Rehabilitation.

Cochlear implant (CI) users face difficulties in accurately perceiving basic musical elements such as pitch, melody, and timbre. Music significantly affects the quality of life (QoL) of CI users. Individually and culturally influenced music perception exceeds psychophysical measures in capturing the subjective music enjoyment of CI users. Understanding the music perception, enjoyment, and habits of CI users is crucial for approaches to improve music-related QoL (MuRQoL). Therefore, this study aims to investigate music perception skills, experiences, and participation in music activities in a large group of adult CI users, and to understand the importance of these factors and their impact on QoL of CI users. This study included 214 CI recipients with diverse auditory experiences who were aged between 18 and 65 years and were unilateral, bimodal, or bilateral users for at least 1 year and 193 normal hearing (NH) controls. All participants completed the information forms and the MuRQoL questionnaire. To assess the impact of music on QoL and identify personalized rehabilitation needs, the scores for each question in both parts of the questionnaire were intersected on a matrix. Data were presented in detail for the CI group and compared between CI and NH groups. A statistically significant difference was found between the matched CI and NH groups in favor of the NH group in terms of music perception and music engagement. Participants who received music education at any point in their lives had significantly higher MuRQoL questionnaire scores. There was no significant relationship found between the duration of auditory rehabilitation, pre-CI hearing aid usage, music listening modality, and MuRQoL questionnaire scores. Unilateral CI users had significantly lower scores in music perception and music engagement subsections compared with bimodal and bilateral CI users. Also, it was found that music had a strong negative impact on QoL in 67/214 of the CI users. Although CI users scored significantly lower than NH individuals on the first part of the questionnaire, which asked about musical skills, enjoyment, and participation in musical activities, findings suggest that CI users value music and music enjoyment just as much. The study reveals the influence of factors such as education level, age, music education, type of hearing loss and auditory rehabilitation on music perception, music enjoyment, and participation in music activities through self-report. The results indicate that for many CI users, music has a strong negative impact on QoL, highlighting the need for personalized music interventions, the inclusion of self-report questionnaires, and music perception tests in clinical evaluations.