Musical Interaction Research Articles

The music teacher in ‘on-the-spot’ musical interactions: A practitioner research study

This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the ‘artistry’ of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher’s actions can determine the quality of the musical interactions with his students. The paper elaborately describes the institutional context for this (doctoral) practitioner research study, and integrates two premises, one regarding the negative image of the school subject music, and another about the vagueness and the ongoing discussions about the required competences of a ‘good’ music teacher. The first question is dealt with in a theoretical way, resulting in a working definition for a music teacher’s ‘artistry’: ‘a music teacher’s “artistry” lies within the extent to which he can apply his musical competences in “immediate” teaching situations’. The second question is studied empirically using a set of qualitative data sources, derived from the practitioner researcher’s teaching practice, that were analysed by means of a self-developed ‘three-dimensional matrix of the music teacher’s real-time teaching actions’. This results in a set of 10 categories in which the music teacher clearly demonstrates ‘unprepared non-routinised musical actions’.

Interactive effects of task load and music tempo on psychological, psychophysiological, and behavioural outcomes during simulated driving

We examined the interactive effects of task load and music tempo on cognition, affect, cardiac response, and safety-relevant behaviour during simulated driving. Using a counterbalanced, within-subjects design, participants (N = 46) were exposed to fast-, slow-, and no-music conditions at high and low loads in a high-grade simulator. Task load had the most salient effect across a broad swath of variables. For core affect, the Load × Music Condition interaction showed that, under high load, affective arousal scores were higher in the fast-tempo condition vs. slow. A main effect of tempo emerged for the HRV index of SDNN, with fast-tempo music eliciting lower scores than both slow- and no-music conditions. Behavioural data showed a main effect of tempo for risk ratings, with fast-tempo music eliciting the highest scores for a traffic-light trigger. Our findings indicate that drivers in high-load, urban environments should exercise caution in their use of fast-tempo music. Practitioner summary: We examined the interactive effects of task load and music tempo in simulated driving (urban and highway). Cognition, mood, cardiac response, and driving behaviour were assessed. Participants exhibited more risky behaviours in response to fast-tempo music. Drivers should exercise caution in their use of up-tempo music in urban settings.

Splice and the platformization of hip hop production: Navigating the online music platform for royalty-free samples

As a large marketplace of royalty-free samples, the music platform Splice has worked to centralize and open up the process of hip hop production to over 4 million users, varying from beginning bedroom producers to established producers like Turbo (who has worked on tracks for artists including Young Thug, Gunna and Lil Baby). Founded by sound engineer Matt Aimonetti and GroupMe co-founder Steve Martocci in 2013, Splice experienced extreme growth during the COVID-19 pandemic as more aspiring producers took up beat-making from home. Hip hop producers have long used the internet to exchange and sell samples for beat production through direct messaging, sample blogs and sample marketplaces. While these digital exchanges have enabled quicker collaboration and accessibility for producers, they have also set the groundwork for companies like Splice to have an unprecedented influence in musical interactions and activity. Online platforms geared towards hip hop production and beat-making are becoming increasingly critical to the music industry, offering an important opportunity to examine digital creative economies and the platformization of cultural production. Splice incorporates features such as curation and algorithmic recommendation of samples to aid creators in their production process. Through interviews with producers who use Splice and a critical analysis of the platform’s user experience, this article demonstrates that producers can feel the need to strike a balance when engaging with the platform, finding ways to use automated tools that make their work more efficient while simultaneously striving to maintain high standards of individual creativity and technical skills. This suggests that it is necessary to have a nuanced understanding of Splice’s impact on music production and how it differs from streaming platforms because of its particular logics and functionalities geared towards music creators as a primary userbase.

The universal language: mathematics or music?

PurposeMusic could be a challenger for mathematics and a potential candidate for the title “The Universal Language.” This paper aims to discuss the primary objectives of engaging with music, including the therapeutic benefits. Similarities, between mathematics and music and how studying one might enhance one’s abilities of the other are pointed out.Design/methodology/approachA formal definition for a universal language is given. A qualitative approach, supplemented with rigorous reasoning, is adopted. The narrative relies on the author’s experiences, teaching mathematical concepts and musical interactions, with students from several countries. A vast amount of literature is reviewed and the corresponding findings are connected toward the arguments made.FindingsThe paper demonstrates that one day, once we understand both mathematics and music better, we might see both of them as the same language. Until then, it is essential to supplement mathematics with music. The educational implications, for all fields, are to ensure that the future creators of knowledge are equally adept at both music and mathematics. The wider policy connotations are to create a blueprint for a society with a vibrant musical and artistic environment.Originality/valueThis study illuminates new ways of thinking about music and mathematics. The possibility that many seemingly complex entities (including our universe, virtual computer worlds, mathematical operations, etc.), are made up of combinations of much simpler building blocks is hinted at. Familiarity with any intricate element of life, without getting flustered, is bound to produce remarkable results in other such endeavors.

Observing Music Therapy in Dementia: Repeated Single-case Studies Assessing Well-being and Sociable Interaction

ABSTRACT Objectives This study compared behavioral expressions of momentary well-being and sociable behavior toward significant others during music therapy and regular social interaction. Methods A 10-week active music therapy intervention was provided for people living with dementia and family caregivers. A bi-phasic AB single-case design was replicated for three sessions per dyad and coded using the Observable Well-being in Living with Dementia-Scale (OWLS) and the Verbal and Nonverbal Sociable Interaction Scale-Care Receiver (VNVIS-CR). Effect sizes (Log Response Ratio) were calculated for each session and analyzed with robust cluster meta-analysis. Results Eleven dyads were included, and 32 sessions analyzed (2102 observations). Within sessions we found a 48% increase in well-being, and a 32% increase in sociable interaction during music therapy. Heterogeneity was high. Dementia severity predicted an increase in nonverbal sociable interaction (93% for moderate dementia). Depression and time did not predict any change. Conclusion The potential of music therapy to increase well-being and sociable interactions toward significant others calls for further investigation of heterogeneity and covariates. Single-case designs are demonstrated to be feasible for these investigations. Clinical implications Preference-based music therapy may alleviate some of the individual and relational consequences of living with dementia, facilitating positive emotions and connection to significant others.

Probing associations between interbrain synchronization and interpersonal action coordination during guitar playing

Playing music in an ensemble is a highly coordinated human action involving musicians' brain-body interactions at different levels of physical and cortical organization in time and space. It has been suggested that interbrain phase synchronization plays an essential role in musical interaction. In this study, we aimed to explore associations between interbrain synchronization and interpersonal action coordination, using electroencephalographic recordings of the brain activity of guitarists playing in a duet as well as the acoustic recordings of their music. By applying phase synchronization algorithms to the musicians' brain activities and the sounds produced during guitar playing, we show that synchronous brain activity is strongly related to instrument sounds and behavioral play-onset synchrony, as indicated by phase alignment in relation to the time differences in play onsets and an angular-linear correlation between phase and time differences across trials and guitarist pairs. Interestingly, this correlation was especially strong in the first part of the music piece, when the guitarists seem to adjust their coordinated play onsets and brain rhythms actively. This suggests that the methods capturing intra- and interbrain synchronization and its relations to coordinated playing provide crucial information about the underlying mechanisms of interpersonal action coordination.

Borrowed Gestures: The Body as an Extension of the Musical Instrument

AbstractThis article presents design and performance practices for movement-based digital musical instruments. We develop the notion of borrowed gestures, which is a gesture-first approach that composes a gestural vocabulary of nonmusical body movements combined with nuanced instrumental gestures. These practices explore new affordances for physical interaction by transferring the expressive qualities and communicative aspects of body movements; these body movements and their qualities are borrowed from nonmusical domains. By merging musical and nonmusical domains through movement interaction, borrowed gestures offer shared performance spaces and cross-disciplinary practices.Our approach centers on use of the body and the design with body movement when developing digital musical instruments. The performer's body becomes an intermediate medium, physically connecting and uniting the performer and the instrument. This approach creates new ways of conceptualizing and designing movement-based musical interaction: (1) offering a design framework that transforms a broader range of expressive gestures (including nonmusical gestures) into sonic and musical interactions, and (2) creating a new dynamic between performer and instrument that reframes nonmusical gestures—such as dance movements or sign language gestures—into musical contexts. We aesthetically evaluate our design framework and performance practices based on three case studies: Bodyharp, Armtop, and Felt Sound. As part of this evaluation, we also present a set of design principles as a way of thinking about designing movement-based digital musical instruments.

Optional music interactions with young children: Narratives from preservice music educators

Young children are best supported when adults engage in behaviours that acknowledge and extend their unique musical capabilities via an understanding of developmentally appropriate practices. However, preservice music educators may receive few opportunities to interact with the youngest musical learners as part of their fieldwork experiences within formal degree requirements. This narrative inquiry explores the collective experiences of one teacher educator and five preservice music education majors as they interacted musically with young children during an optional programme designed to supplement existing fieldwork requirements. Specifically, we uncovered tensions related to balancing teacher educator support with students’ freedom, perceptions of teaching skills and perceptions of young children’s musical capabilities. These tensions promoted growth via reflection and uncovered expanded perceptions of teaching competencies and identities.

Non-Verbal Interactions Between Music Therapists and Persons with Dementia. A Qualitative Phenomenological and Arts-Based Inquiry

Abstract When music therapists are supervising caregivers in how to apply music in their interactions with persons with dementia, we may term this as indirect music therapy practice. Musical interactions are mostly happening through nonverbal, implicit, and embodied knowledge, and, therefore, there is a need for exploring and verbalizing such interactions for music therapists to be able to disseminate to caregivers and other professionals. In this qualitative study, we examine how 6 music therapists with clinical experience in dementia care experience nonverbal interaction with persons with severe dementia living in nursing homes. Explorative focus groups were conducted to study the music therapists’ lived-experience descriptions about their nonverbal interactions with persons with dementia. Focus group transcripts were analyzed by a phenomenological approach, and the findings elaborated and peer validated by the use of musical improvisation as an arts-based analytic approach. The findings included five themes: vitality, disciplined subjectivity, attunement, therapeutic presence, and validation. The music therapists were guided by the vitality of the person with dementia, were aware of their own reactions, and sensed the needs of the person through disciplined subjectivity. They attuned to the person’s nonverbal musical parameters (e.g., tempo pitch and volume) and cocreated an open and mutual field through therapeutic presence and validation. The findings are relevant for future development of direct and indirect music therapy practice but contain limitations due to a homogenous and small group of participants. This study highlights the challenges of exploring nonverbal and musical interactions with the use of language-based methods of inquiry.

Musical Interaction Reveals Music as Embodied Language.

Life and social sciences often focus on the social nature of music (and language alike). In biology, for example, the three main evolutionary hypotheses about music (i.e., sexual selection, parent-infant bond, and group cohesion) stress its intrinsically social character (Honing et al., 2015). Neurobiology thereby has investigated the neuronal and hormonal underpinnings of musicality for more than two decades (Chanda and Levitin, 2013; Salimpoor et al., 2015; Mehr et al., 2019). In line with these approaches, the present paper aims to suggest that the proper way to capture the social interactive nature of music (and, before it, musicality), is to conceive of it as an embodied language, rooted in culturally adapted brain structures (Clarke et al., 2015; D’Ausilio et al., 2015). This proposal heeds Ian Cross’ call for an investigation of music as an “interactive communicative process” rather than “a manifestation of patterns in sound” (Cross, 2014), with an emphasis on its embodied and predictive (coding) aspects (Clark, 2016; Leman, 2016; Koelsch et al., 2019). In the present paper our goal is: (i) to propose a framework of music as embodied language based on a review of the major concepts that define joint musical action, with a particular emphasis on embodied music cognition and predictive processing, along with some relevant neural underpinnings; (ii) to summarize three experiments conducted in our laboratories (and recently published), which provide evidence for, and can be interpreted according to, the new conceptual framework. In doing so, we draw on both cognitive musicology and neuroscience to outline a comprehensive framework of musical interaction, exploring several aspects of making music in dyads, from a very basic proto-musical action, like tapping, to more sophisticated contexts, like playing a jazz standard and singing a hocket melody. Our framework combines embodied and predictive features, revolving around the concept of joint agency (Pacherie, 2012; Keller et al., 2016; Bolt and Loehr, 2017). If social interaction is the “default mode” by which human brains communicate with their environment (Hari et al., 2015), music and musicality conceived of as an embodied language may arguably provide a route toward its navigation.

‘The house of the Irish’: African migrant musicians and the creation of diasporic space at night

ABSTRACT This article explores how diasporic musical spaces are created within key cultural night venues in Galway, Ireland. We hear two distinct migrant musicians’ voices, both literally and metaphorically, highlighting how over time, they have been shaping and are being shaped by musical space in Galway. It is argued that the night is a significant time for African migrant musicians to position themselves within this small city; to make their presence both visible and audible through performance. Drawing on ethnographic fieldwork from an Afromusic night and an Open Mic event at two prominent ‘Irish’ cultural venues, these distinct night spaces emerge as central to the process of interpreting and relaying experiences of migration and migrant life in Ireland through music. Thus, through a focus on migrant musical interactions in well-known ‘Irish’ cultural venues at night, new insights into how musical spaces are negotiated, shaped and transformed over time are illuminated.

Review of The Game Music Handbook

Review of <i>The Game Music Handbook</i>

Maxine’s Turing Test – A Player-Program as Co-Ethnographer of Socio-Aesthetic Interaction in Improvised Music

Beyond the goal of refining system design to the needs and tastes of users, user evaluation of interactive music systems offers a method of examining the nature of musical creativity as understood by its human practitioners. In the case of improvising music systems, user study and evaluation of a system’s ability to improvise may be useful in the ethnomusicological study of musical interaction in contemporary improvised music. A survey of preliminary findings based on the interactions of an improvising system, Maxine, with several improvisers is discussed, with results suggesting methodological reconfigurations of the purpose and goals of evaluating of interactive musical metacreations.

Reminiscence-Focused Music Therapy to Promote Positive Mood and Engagement and Shared Interaction for People Living With Dementia

Although there is a growing body of evidence suggesting that combining music therapy and reminiscence in a structured and complementary way may yield positive well-being outcomes for people with dementia, there is a gap in the literature combining both in equal measure. Furthermore, there are no known studies exploring the use of ‘associative items’ as part of the combined intervention and no known standardised protocol or method currently exists. This mixed methods study aims to explore whether combining music therapy and reminiscence with associative items for people with dementia may promote positive mood and engagement levels and shared interaction through (a) musical expression, (b) reminiscence and (c) verbal interaction. Five weekly reminiscence-focused music therapy (RFMT) sessions with associative items were conducted with a group of five people with dementia living in a residential care unit. Results from the Dementia Care Mapping (DCM) revealed that the RFMT intervention was highly effective in promoting positive mood and engagement levels and shared interaction. Participants exhibited considerable positive mood and engagement (+3) 51.6%, and high positive mood and engagement (+5) 38.2%, of the total time observed. The three most frequent behaviours across the five RFMT sessions included musical expression, which was observed 53.2% of the time, reminiscence, observed 23% of the time, and verbal interaction, observed 34% of the total time observed. Data from the music therapist’s reflective journal and session summaries revealed that the associative items prompted reality orientation, verbal interaction, and cognitive stimulation. The music elements were found to increase group cohesion, stimulate cognition, and act as an anchor, re-orientating group members intermittently. Implications of practice are considered, and future recommendations of practice are outlined.

Music Is Life-Follow-Up Qualitative Study on Parental Experiences of Creative Music Therapy in the Neonatal Period.

Developmental problems in extremely preterm (EP) infants and the associated longitudinal burden for their families are major health issues worldwide. Approaches to social-emotional support such as family-integrating Creative Music Therapy (CMT) are warranted. We aimed: (1) to explore parental perspectives on the use of CMT with EP infants in the neonatal hospitalization period and (2) to examine the possible longitudinal influence of CMT. A qualitative design was used to examine the perspective of six families from various backgrounds. Semi-structured interviews were carried out when the infants reached school age. We used an inductive–deductive thematic analysis to identify three main themes, each with three sub-themes: (1) the positive impact of CMT on the infants, the parents, and bonding; (2) the attitude toward CMT, from being open-minded to recommending it as complementary therapy; and (3) the experience of overall healthy infant development despite unique developmental delay issues. The findings elucidate the positive and formative impact of CMT on both infants and parents in the stressful NICU setting and beyond. CMT may empower positive transformation in the parents through individualized early nurturing musical interactions, capacity building, and positive reinforcement. Further research may help to identify and implement potentially modifiable factors for improving health care in this vulnerable group through early family-integrating, resource-based approaches such as CMT.

A Methodological Framework for Assessing Social Presence in Music Interactions in Virtual Reality.

Virtual reality (VR) brings radical new possibilities to the empirical study of social music cognition and interaction. In the present article, we consider the role of VR as a research tool, based on its potential to create a sense of “social presence”: the illusory feeling of being, and socially interacting, inside a virtual environment. This makes VR promising for bridging ecological validity (“research in the wild”) and experimental control (“research in the lab”) in empirical music research. A critical assumption however is the actual ability of VR to simulate real-life social interactions, either via human-embodied avatars or computer-controlled agents. The mediation of social musical interactions via VR is particularly challenging due to their embodied, complex, and emotionally delicate nature. In this article, we introduce a methodological framework to operationalize social presence by a combination of factors across interrelated layers, relating to the performance output, embodied co-regulation, and subjective experiences. This framework provides the basis for the proposal of a pragmatic approach to determine the level of social presence in virtual musical interactions, by comparing the outcomes across the multiple layers with the outcomes of corresponding real-life musical interactions. We applied and tested this pragmatic approach via a case-study of piano duet performances of the piece Piano Phase composed by Steve Reich. This case-study indicated that a piano duet performed in VR, in which the real-time interaction between pianists is mediated by embodied avatars, might lead to a strong feeling of social presence, as reflected in the measures of performance output, embodied co-regulation, and subjective experience. In contrast, although a piano duet in VR between an actual pianist and a computer-controlled agent led to a relatively successful performance output, it was inadequate in terms of both embodied co-regulation and subjective experience.

Advocating for The Sustainability of Semai Indigenous Music Through The Collaborative Creation of New Traditional Music: A Participatory Action Research (PAR) Methodology

This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.

Impact of Lockdown Measures on Joint Music Making: Playing Online and Physically Together.

A wide range of countries decided to go into lockdown to contain the coronavirus disease (COVID-19) pandemic of 2020, a setting separating people and restricting their movements. We investigated how musicians dealt with this sudden restriction in mobility. Responses of 234 people were collected. The majority of respondents (95%) resided in Belgium or the Netherlands. Results indicated a decrease of 79% of live music making in social settings during lockdown compared with before lockdown. In contrast, an increase of 264% was demonstrated for online joint music making. However, results showed that most respondents were largely or even completely unaccustomed with specialized platforms for online joint music making (e.g., JamKazam, Jamulus). Respondents reported to mostly use well-known video-conferencing platforms such as Zoom and Skype when playing together virtually. However, when such video-conferencing platforms were used, they were often not employed for synchronized playing and were generally reported to insufficiently deal with latency issues. Furthermore, respondents depending on music making as their main source of income explored online real-time methods significantly more than those relying on other income sources. Results also demonstrated an increase of 93% in the use of alternative remote joint music-making methods (e.g., recording parts separately and subsequently circulating these digital recordings). All in all, results of this study provide a more in-depth view on joint music making during the first weeks of lockdown induced by the COVID-19 pandemic of 2020, and demonstrate users’ perceptions of performance and usability of online real-time platforms as well as alternative methods for musical interaction.

Da academia ao happy hour: O caso da OurSound

Objective of the study: To portray the value added of the OurSound application to the gym, bars and restaurants sectors, and the challenges faced by the need to expand sales by the owner partners. Methodology/approach: Teaching cade based on real facts, according to management experience of micro and small business. Originality/relevance: The teaching case portrays the activities of the company OurSound, whose differential is that it is a musical interaction application, offered by the owners of their establishments to their customers. Main results: The reflections, learning and possible strategies suggested by students to meet the desire to create value and increase sales (with the consequent expansion of associated establishments, interaction, sociability and engagement between users) of the application studied or similar. Theoretical/methodological contributions: Offering students experience in situations related to the management of micro and small businesses, so that they have the opportunity, being supposedly in the partners’ shoes, to discuss the dilemma presented and seek alternatives to solve it.

Singing to infants matters: Early singing interactions affect musical preferences and facilitate vocabulary building.

This research revealed that the frequency of reported parent-infant singing interactions predicted 6-month-old infants' performance in laboratory music experiments and mediated their language development in the second year. At 6 months, infants (n = 36) were tested using a preferential listening procedure assessing their sustained attention to instrumental and sung versions of the same novel tunes whilst the parents completed an ad-hoc questionnaire assessing home musical interactions with their infants. Language development was assessed with a follow-up when the infants were 14-month-old (n = 26). The main results showed that 6-month-olds preferred listening to sung rather than instrumental melodies, and that self-reported high levels of parental singing with their infants [i] were associated with less pronounced preference for the sung over the instrumental version of the tunes at 6 months, and [ii] predicted significant advantages on the language outcomes in the second year. The results are interpreted in relation to conceptions of developmental plasticity.