How do hip-hop songs produced from 2017 to 2023 depict and rationalize online fraud? This study examines the depiction of online fraudsters in thirty-three Nigerian hip-hop songs on nine popular streaming platforms such as Spotify, Deezer, iTunes, SoundCloud, Apple Music, and YouTube. Using a directed approach to qualitative content analysis, we coded lyrics based on the moral disengagement mechanism and core themes derived from existing literature. Our findings shed light on how songs (a) justify the fraudulent actions of (...) online fraudsters, (b) blame and dehumanize victims of online romance fraud, (c) glamorize online fraud, and (d) provide insights into prevailing attitudes, indigenous linguistics, and worldviews regarding cybercrime victimization. Specifically, our analysis shows the presence of moral disengagement mechanisms, including "dehumanization," “minimizing own agency,” and "displacement of responsibility." Moreover, we identify core contextual themes pertinent to online fraud in the Nigerian context: (a) "cyber spiritualism" and (b) "the North-South divide." This research underscores the global influence of musicians whose songs are easily accessible on diverse music platforms in trivializing the plight of online fraud victims. We argue that these artists' persuasive messages not only downplay but also satirize the victims' predicaments, thus contributing to the cultural worldviews and dimensions of online fraud. We conclude by underscoring these songs' capacity to actualize, reshape, and actively engage with the narratives of glamorization, justification, spiritualism, colonial legacies, gender dynamics, and societal implications. We recommend that future research endeavors explore non-conventional data sources adept at capturing the intricate fabric of cultural attitudes and dynamics. (shrink)

Streaming media server is the core system of audio and video application in the Internet; it has a wide range of applications in music recommendation. As song libraries and users of music websites and APPs continue to increase, user interaction data are generated at an increasingly fast rate, making the shortcomings of the original offline recommendation system and the advantages of the real-time streaming recommendation system more and more obvious. This paper describes in detail the (...) working methods and contents of each stage of the real-time streaming music recommendation system, including requirement analysis, overall design, implementation of each module of the system, and system testing and analysis, from a practical scenario. Moreover, this paper analyzes the current research status and deficiencies in the field of music recommendation by analyzing the user interaction data of real music websites. From the actual requirements of the system, the functional and performance goals of the system are proposed to address these deficiencies, and then the functional structure, general architecture, and database model of the system are designed, and how to interact with the server side and the client side is investigated. For the implementation of data collection and statistics module, this paper adopts Flume and Kafka to collect user behavior data and uses Spark Streaming and Redis to count music popularity trends and support efficient query. The recommendation engine module in this paper is designed and optimized using Spark to implement incremental matrix decomposition on data streams, online collaborative topic model, and improved item-based collaborative filtering algorithm. In the system testing section, the functionality and performance of the system are tested, and the recommendation engine is tested with real datasets to show the discovered music themes and analyze the test results in detail. (shrink)

From providing on-demand access to vast catalogues of recorded music at little or no cost to the use of Big Data to personalise the experience of consuming music, music streaming platforms, such as Spotify and Apple Music, have the potential to disrupt the part that music taste plays in the performance of class identities and the reproduction of class privilege in ways not previously encountered. The influential sociologist, Pierre Bourdieu, demonstrated that cultural taste – (...) what and how people consume cultural goods, such as music, food and fashion – is shaped by class background and in doing so serves to mark and reproduce class differences in everyday life. In this commentary, I consider how sociologists might address the important but challenging question of if and how are music streaming platforms shaping the part that music taste plays in the performance of class identities and the cultural reproduction of class privilege. I discuss some ways in which music streaming platforms may be shaping how class identities are performed through how people consume music, drawing attention to consumption practices that have the potential to both involve and resist the use of music streaming platforms in the pursuit of social distinction. (shrink)

This short communication explores the idea of “stream of consciousness” and considers some of the ways in which scientific writing relies – even or perhaps especially insofar as it does not signal this fact – on the resources of literary language and literary thinking. Particular attention is given to notions of literal and figurative or metaphorical language, including “hydrological” and “ontic” metaphor. A crucial figure is simile (the “like”), discussed here in relation to the Thomas Nagel’s “What is it Like (...) to Be a Bat?”, Todd Feinberg and Jon Mallatt’s Consciousness Demystified, and Anil Seth’s Being You: A New Science of Consciousness. Neuroethics cannot restrict itself to the domain of technology and the human. The deconstruction of anthropocentrism, already underway in literary modernism, calls for responsibility in relation to non-human as well as human life-forms. Virginia Woolf’s Mrs Dalloway provides rich and multifarious resources for exploring these issues. Woolf’s novel is considered as a kind of literary water music, in which sense and feeling is not limited to the human, and distinctions between consciousness and the environment are susceptible to dissolution. Woolf’s work is concerned with a conception of stream of consciousness as telepathic fluidity, as “merging minds” but without restitution of the individual or collective. (shrink)

Will streaming have a “feedback effect” on musical creation, comparable to the one enforced by the precedent distribution modes of musical contents? In other words, could it be compared to the one generated by the invention of 45rpm vinyl record or 33rpm LP linked to the “concept albums” from the seventies, or even CD and DVD? I will use the description of “Apple Music”, the new Apple streaming site, to demonstrate that the innovations brought along with this (...) site clearly evince that this new mode of distribution has achieved its own end and will exert, if my predictions are true, an important effect on musical creation in the upcoming years. Since those optimistic conclusions far from being shared by all musicians, I will have to discuss their points of view in this article as well. (shrink)

Sense of agency refers to the ability to influence one’s functioning and environment, relating to self-efficacy and wellbeing. In youth, agency may be challenged by external demands or redefinition of self-image. Music, having heightened relevance for the young, has been argued to provide feelings of self-agency for them. Yet, there is little empirical research on how music impacts adolescents’ daily sense of agency. The current study investigated whether music listening influences adolescents’ perceived agency in everyday life and (...) which individual and contextual determinants would explain such an influence. Participants were 44 adolescents (48% female, 36% with training in music, mean age 14), recruited through local schools. The mobile Experience Sampling app MuPsych was used to collect brief self-reports of personal music listening experiences during daily life. This method assessed the change in the listener’s perceived control over both their emotional states (Internal Agency), and their external environment (External Agency), over five minutes of music listening. Also measured were changes in mood states, and contextual variables (social situation, concurrent activity, and reason for listening). The impact of music on the sense of agency was analyzed using multilevel structural equation modelling. There was no general increase of agency across all music episodes, but agency fluctuations were determined by specific individual and contextual factors. Music training predicted increases in both internal and external agency during music listening, and external agency increased more for male participants. Certain context features such as listening alone, paying attention to music, and listening for enjoyment were related to greater increases in agency. Increases in agency significantly correlated with increases in mood valence. Our findings confirmed the plasticity and situational embeddedness of the sense of agency. Music indeed can support agency, but the impact is dependent on specific individual and contextual factors. Sense of agency can be seen as a health resource and significant part of youth development, and current findings provide new insight into when and by whom such affordance is likely to be employed. (shrink)

The article examines some of the consequences of the migration of musical works in cyberspace, particularly with regard to their ways of being and the ways in which we listen to them. Streaming is interpreted as the last stage in the expansion of a phenomenon that arose with the advent of phonography, namely, the ubiquity and availability of the works. A new development consists in the production of musical units in modular terms: works can consist of independent parts, which (...) can be replaced or constituted, in an order that depends on the user, taking inspiration from the model of the playlist. The diffusion of works on the web has also facilitated the development of the remix practice, changing listening standards and generating new conceptual conflicts concerning the identity of the works. The web weakens the distinction between the medium of communication and the medium of recording. It also favors the formation of new cognitive dispositions and generates more flexible and interactive ways of listening, generally different from those implicated in the era of the disc. (shrink)

Creating a mobile software-based exploration (artwork?/app?) puts the artist-coder in a position to interact with the mediated image streams that connect people on the Internet. The mediated streams often contain portraits and self-portraits, selfies, of the participants. These selfies are visual status messages of the people participating in the data streams. They can be used by the poster to identify themselves in the data stream and represent a way the creator of the selfie wants to be seen by the social (...) circle in which the image is posted. These images could reveal recognizable characteristics of the subject. The characteristics could be recognizable by people and software along the mediated path that the image traverses. Algorithmic intervention on the image affects the human and software interpretation of the image. In the works #autoselfie and FIFO ribbon, images are modified on a pixel level, in a way that the user of the app/work cannot control completely. The modifications reveals the potential power of the software systems to modify the imagery that people use to identify themselves in mediated communication environments. Moreover, the changes applied are chosen by the artist coder to impede recognition by software systems downstream but make human recognition possible in some cases. The alterations make the software in the app visible on a pixel level. The works then let the user post the altered images on Twitter or Google+ social media streams. The framing of this work as artwork or mobile app creates a tension, which affects audience interpretation and user experience choices made by the artist. These ideas are explored in the 2013 work #autoselfie and the 2014 work FIFO ribbon that runs on Android devices. #autoselfie was used to remix images created by winners of the South African 2013 Sanlam National Portrait Award, to explore the intervention of algorithms on mediated portraits and self-portraits. (shrink)

Professor Michael Edgeworth McIntyre is an eminent scientist who has also had a part-time career as a musician. From a lifetime's thinking, he offers this extraordinary synthesis exposing the deepest connections between science, music, and mathematics, while avoiding equations and technical jargon. He begins with perception psychology and the dichotomization instinct and then takes us through biological evolution, human language, and acausality illusions all the way to the climate crisis and the weaponization of the social media, and beyond that (...) into the deepest parts of theoretical physics - demonstrating our unconscious mathematical abilities. He also has an important message of hope for the future. Contrary to popular belief, biological evolution has given us not only the nastiest, but also the most compassionate and cooperative parts of human nature. This insight comes from recognizing that biological evolution is more than a simple competition between selfish genes. Rather, he suggests, in some ways it is more like turbulent fluid flow, a complex process spanning a vast range of timescales. Professor McIntyre is a Fellow of the Royal Society of London (FRS) and has worked on problems as diverse as the Sun's magnetic interior, the Antarctic ozone hole, jet streams in the atmosphere, and the psychophysics of violin sound. He has long been interested in how different branches of science can better communicate with each other and with the public, harnessing aspects of neuroscience and psychology that point toward the deep 'lucidity principles' that underlie skilful communication. (shrink)

Whereas in the past ‘free’ and ‘illegal’ were nearly synonymous in the music industry, consumers nowadays face a myriad of music platforms with widely different characteristics in terms of business model (advertising supported, fee based, etc.), delivery mode (streaming, downloading, etc.), and others. The current research examines music consumption preferences in this new context. In order to break with the outmoded free-illegal versus paid-legal dichotomy, the present research studies consumer preferences for a broader range of (...) class='Hi'>music platform attributes, including free versus paying business models, (il)legality of use, artist revenues, downloading versus streaming, and audio quality. Based on a literature review and a qualitative study with in-depth interviews (N = 92), an online conjoint survey (N = 764) quantifies online music preferences. Results show that consumers of all ages clearly and consistently prefer legal and ethical options if available, but favor different ways of making this economically viable. Youngsters and young adults are more open to advertising, while middle-aged adults are more often willing to pay for advertising-free platforms. Thus, in real-life choices, youngsters may appear to be less ethical and law abiding, but the driving force behind this is mainly economical. Finally, a market segmentation provides deeper insights into online music consumer preferences and leads to recommendations on how to define viable legal and ethical music offerings. (shrink)

Wittgenstein’s scattered remarks on music, when brought together and then related to his similarly scattered remarks on culture, show a deep and abiding concern with music as a repository and conveyer of meaning in human life. Yet the conception of meaning at work in these remarks is not of a kind that is amenable to brief or concise articulation. This paper explores that conception, considering in turn the relational networks within which musical meaning emerges, what he calls a (...) discernible “kinship” between composers and styles, the embodied character of musical content, the close and too-little-appreciated intricate connections between our capacity to make sense in music and in language and the interaction of the musical theme with spoken language, and music as a culturally-embedded phenomenon that is, as he said of language, possible only in what he evocatively, if too briefly, called “the stream of life.”. (shrink)

This article defends a Platonist view of streaming. It is opposite to the mainstream representation that streaming has “liquidated” the structure both objective and collective of musical experience. On the contrary, streaming is the support of a new kind of musical object, which is distinct both from the allographic notational objects and from the phonographic ones. This third kind of object has to be characterized as a flux-object. The way it is diffused and accessible implies a new (...) kind of experience. Cyberspace in which this experience takes place is characterized as an “hyperobjective noosphere”: the relation of streaming with the subjects of musical experience is akin to the relation of atmosphere or biosphere to the living beings. This article invites to an ascetic exercise: the everyday experience of the listener has to become mindful of the “swarm community” in which s/he participates by streaming. Thus it develops a renewed musical Platonism, as a kind of response to “object-oriented ontologies”. According to this renewed Platonism, dispositional properties are essential to the objects. Objects have no sense apart from the relation to individual and collective subjectivations that are potential parts of them. (shrink)

There have been significant changes in the ways in which humans experience music from the time of the publication of Gadamer’s Truth and Method in 1960 until today. While music was formally listened to in “earthier” formats, whether that be through live concerts or huddled around vinyl record players, we now live in a digital age in which music is largely experienced through what we can refer to as more “liquidated” formats, such as music streaming (...) services or smart speakers and similar modalities in which the music is plugged into an easily accessible system whose very accessibility makes the music easily disposable. Using concepts from Gadamer’s hermeneutics, I think through what it means for music to be in these various formats. While certain modes of musical experience allow for the possibility of auditory Ereignis, that is, a musical event so full of meaning that it is capable of transforming one’s world, others more easily relegate the experience of music to episodic insignificance, that is, as lacking inner coherence. Ultimately, I argue that it matters how we experience music and in which contexts, since those very choices can render the musical elements of our lives as meaningful or meaningless. (shrink)

The live streaming e-commerce market continues to grow with the rapid increase in contactless communication due to COVID-19. Live streaming e-commerce goes beyond the confines of traditional e-commerce of simply selling goods or services. It supplies information and allows synchronous information exchange between the online viewer and the Internet celebrity, who influences the consumers information behavior and ultimately contributes to the long-term profit generation of the company. From online commerce to new retail and live streaming, China has (...) been at the forefront of innovation in online commerce worldwide. Therefore, this study focuses on investigating the influences of live streaming e-commerce quality, such as service quality, information quality, and system quality, on consumer purchase intention in China by applying the extended model of technology acceptance. Furthermore, this study analyzes the paths through which the live streaming e-commerce quality affects the consumer purchase intention, based on paths of perceived usefulness, perceived ease of use, perceived trust, and perceived value. To analyze this study, the data were collected from 231 customers who had used live streaming e-commerce apps in China and empirical analysis was applied. The results were summarized as follows: SQ is positively related to PU and PT. Similarly, IQ is positively related to PEU and PT. In addition, SEQ is also positively related to PU and PEU. Moreover, SQ affected the PV through PU and PT significantly and ultimately influenced consumer PI. Also, the path in which SEQ affects PU, which in turn affects PV, and ultimately PI, was found. This study found out the paths of how the live streaming E-commerce quality affects the consumer purchasing intention and contributes to the research field of e-commerce and consumer behaviors. Additionally, the results of this study give useful marketing suggestions for relevant financial institutions and enterprises. (shrink)

The perpetual music track is a new concept that describes a condition of constant or near-constant musical imagery. This condition appears to be very rare even among composers and musicians. I present here a detailed self-analysis of musical imagery for the purpose of defining the psychological features of a perpetual music track. I have music running through my head almost constantly during waking hours, consisting of a combination of recently- heard pieces and distant pieces that spontaneously pop (...) into the head. Imagery consists mainly of short musical fragments that get looped repeatedly upon themselves. Corporeal manifestations of imagery occur in the form of unconscious finger movements whose patterns correspond to the melodic contour of the imagined piece. Musical dreams occur every week or two, and contain a combination of familiar and originally- composed music. These results are discussed in light of theories of imagery, consciousness, hallucination, obsessive cognition, and most especially the notion that acoustic consciousness can be split into multiple parallel streams. (shrink)

This paper is a survey of Father Mersenne’s views about the classification of sciences, its reasons and its practical consequences. Some emphasis is put on the interconnection between Mersenne’s two majors ideas about the practice of science : scientific research is an activity mostly devoted to religious apology and to the edification of the people. This religious concern allows him to resist two of the most influential philosophical streams of his time, scepticism and alchemy, which provide some favorite opponents to (...) his works. We also show how an analogical kinship based on theological considerations and on the classification of sciences gives ground to the same kind of arguments shaping his views about arithmetic, language, and music. Finally, we focus on the connection between Mersenne’s theses, especially about the nature and virtue of language and sound, and a more general discussion of the scientific status of music and language in the context of the blooming of academies. (shrink)

Although music is known to be a part of everyday life and a resource for mood and emotion management, everyday life has changed significantly for many due to the global coronavirus pandemic, making the role of music in everyday life less certain. An online survey in which participants responded to Likert scale questions as well as providing free text responses was used to explore how participants were engaging with music during the first wave of the pandemic, whether (...) and how they were using music for mood regulation, and how their engagement with music related to their experiences of worry and anxiety resulting from the pandemic. Results indicated that, for the majority of participants, while many felt their use of music had changed since the beginning of the pandemic, the amount of their music listening behaviors were either unaffected by the pandemic or increased. This was especially true of listening to self-selected music and watching live streamed concerts. Analysis revealed correlations between participants’ use of mood for music regulation, their musical engagement, and their levels of anxiety and worry. A small number of participants described having negative emotional responses to music, the majority of whom also reported severe levels of anxiety. (shrink)

Live stream platforms have transformed the production and consumption of music, allowing KPop music to expand globally. Successful KPop idols are contrasted with large numbers of retired KPop performers, some of whom live in undesirable conditions. Drawing on the attachment theory, loyalty theory, and parasocial interaction theory, this study focuses on a unique group, comeback KPop performers, to examine how they acquire empathetic attachment and sustained loyalty from audiences through live stream shows, and the antecedents of these two (...) variables. Answering these questions seems important because comeback KPop performers have to interact with audiences without the financial and marketing support from entertainment agencies. The structural equation modeling of 288 responses from 176 Chinese and 112 Korean KPop audiences confirmed that empathetic attachment and sustained loyalty are positively associated with audience purchase intentions; sustained attractiveness and parasocial interactions function as antecedents of these two factors. The findings shed light on the comeback KPop performers who co-create value with audiences through live stream platforms, with theoretical contributions to the three theories mentioned above and managerial suggestions to KPop entertainment agencies, comeback KPop performers, and managers of live stream platforms. (shrink)

In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity (...) of the music piece variously performed. I also argue that the lack of ‘aura’, in this case, does not devalue the music piece and nevertheless allows for a notable aesthetic fruition. (shrink)

This collection of writings by Gunther Schuller--the first composer to be awarded the Elise L. Stoeger Composer's Chair of the Chamber Society of Lincoln Center--provides a marvelous introduction to the man and his extraordinary range of musical experience, taste, and learning. In Part I, "Jazz and the Third Stream," Schuller offers his reflections on jazz, insightful pieces on such figures as Duke Ellington, Cecil Taylor, and Sonny Rollins, and several essays on "the third stream," the genre where jazz and classical (...) music intersect. Part II, "Music Performance and Contemporary Music," includes articles on the art of conducting, the future of opera, the question of a new classicism, and Schuller's own thoughts on his controversial opera The Visitation. The final section, "Music Aesthetics and Education," presents Schuller's reflections on such matters as form, structure, and symbol in music; the need for broadening the audience for quality music; and his vision of the ideal conservatory and the total musician. (shrink)

Composer, conductor, educator, jazz critic, and horn virtuoso, Gunther Schuller here brings together his writings on music. There are numerous articles about jazz, dealing with his favourite figures like Duke Ellington and Ornette Coleman, and also Schuller's concept of the 'Third Stream', the area where jazz and concert music intersect. Other sections deal with the composition and performance of contemporary music, musical education, and musical aesthetics.

Given the rapid growth of music technology, this study reports Chinese pre-service music teachers’ perceptions of musical instrument learning assisted by augmented reality. In this study, we conducted a small-scale case study with six pre-service teachers enrolled in a music teacher training programme at a comprehensive university in China. Participants engaged in semi-structured, face-to-face interviews after hands-on experiences with an AR-based piano learning app. Thematic analysis revealed that the participants were generally aware of the potential of this (...) instructional approach but doubted its efficacy and exhibited weak intention to adopt it in their future classrooms. Implications of the findings for music teacher training are discussed. (shrink)

Background. Attending to goal-relevant information can leave us metaphorically ‘blind’ or ‘deaf’ to the next relevant information while searching among distracters. This temporal cost lasting for about a half a second on the human selective attention has been long explored using the attentional blink paradigm. Although there is evidence that certain visual stimuli relating to one’s area of expertise can be less susceptible to attentional blink effects, it remains unexplored whether the dynamics of temporal selective attention vary with expertise and (...) objects types in the auditory modality. Methods. Using the auditory version of the attentional blink paradigm, the present study investigates whether certain auditory objects relating to musical and perceptual expertise could have an impact on the transient costs of selective attention. In this study, expert cellists and novice participants were asked to first identify a target sound, and then to detect instrumental timbres of cello or organ, or human voice as a second target in a rapid auditory stream. Results. The results showed moderate evidence against the attentional blink effect for voices independent of participants’ musical expertise. Experts outperformed novices in their overall accuracy levels of target identification and detection, reflecting a clear benefit of musical expertise. Importanly, the musicianship advantage disappeared when the human voices served as the second target in the stream. Discussion. The results are discussed in terms of stimulus salience, the advantage of voice processing, as well as perceptual and musical expertise in relation to attention and working memory performances. (shrink)

Background: Despite the growing potential of mobile-based technologies, innovative interventions targeting the reduction of acute stress in daily life remain under-researched. Music listening is an easy-to-administer activity that is associated with lower levels of biological and self-reported stress. However, the application of music as an intervention in moments of acute stress in daily life remains to be examined. We developed a just-in-time intervention delivering music in moments of stressful experiences in daily life and tested its feasibility using (...) a mixed methods approach.Methods: In this uncontrolled pilot study, the ecological momentary music intervention was tested by 10 chronically stressed women aged 23.5 ± 3.3 years. Over 18 consecutive days, whenever participants reported stressful experiences, they were encouraged to listen to a self-compiled playlist. Subjective stress levels and saliva samples were assessed at three time points per stress report. We analyzed app-based log data, in-the-moment responses, questionnaire data, and semi-structured interview data.Results: On average, participants’ compliance with the study protocol lay at 70%. Overall, 65 stressful experiences were reported, 51 of which were followed by music listening, for an average duration of 12:53 min. Complete data were provided for 46 stressful experiences. Participants reported immediate relaxation and distraction through music listening. The interviews revealed that the intervention was easy to use and that music listening in moments of perceived stress was viewed as a new and pleasant activity. Several aspects of the protocol were identified, which should be improved in future studies.Conclusion: Since repeated stressful experiences in daily life can pose a threat to physical and mental integrity, interventions that are easily applicable and deliver support when needed most are necessary. Following minor adaptations, the EMMI can be considered as a feasible approach to target psychobiological stress responses in daily life, which is worthy of investigation in future larger-scale trials. (shrink)

Before COVID-19, dementia singing groups and choirs flourished, providing activity, cognitive stimulation, and social support for thousands of people with dementia in the UK. Interactive music provides one of the most effective psychosocial interventions for people with dementia; it can allay agitation and promote wellbeing. Since COVID-19 has halted the delivery of in-person musical activities, it is important for the welfare of people with dementia and their carers to investigate what alternatives to live music making exist, how these (...) alternatives are delivered and how their accessibility can be expanded. This community case study examines recent practice in online music-making in response to COVID-19 restrictions for people with dementia and their supporters, focusing on a UK context. It documents current opportunities for digital music making, and assesses the barriers and facilitators to their delivery and accessibility. Online searches of video streaming sites and social media documented what music activities were available. Expert practitioners and providers collaborated on this study and supplied input about the sessions they had been delivering, the technological challenges and solutions they had found, and the responses of the participants. Recommendations for best practice were developed and refined in consultation with these collaborators. Over 50 examples of online music activities were identified. In addition to the challenges of digital inclusion and accessibility for some older people, delivering live music online has unique challenges due to audio latency and sound quality. It is necessary to adapt the session to the technology's limitations rather than expect to overcome these challenges. The recommendations highlight the importance of accessibility, digital safety and wellbeing of participants. They also suggest ways to optimize the quality of their musical experience. The pandemic has prompted innovative approaches to deliver activities and interventions in a digital format, and people with dementia and their carers have adapted rapidly. While online music is meeting a clear current need for social connection and cognitive stimulation, it also offers some advantages which remain relevant after COVID-19 restrictions are relaxed. The recommendations of this study are intended to be useful to musicians, dementia care practitioners, and researchers during the pandemic and beyond. (shrink)

Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live (...) introduced design affordances that encouraged rapid music creation workflows through flashy, "user-friendly" interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the "industry standard," "professional" DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to "commercial" DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's "design thinking." Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives. (shrink)

In this paper we outline a theoretical account of the relationship between technology and human musicality. An enactive and bio-cultural position is adopted that assumes a close coevolutionary relationship between the two. From this position we aim at clarifying how the present and emerging technologies, becoming embedded and embodied in our life-world, inevitably co-constitute and transform musical practices, skills, and ways of making sense of music. Therefore, as a premise of our scrutiny, we take it as a necessity to (...) more deeply understand the ways that humans become affiliated to the ever-changing instruments of music technology, in order to better understand the coevolutionary impact on learning and other aspects of musicality being constituted together with these instruments. This investigation is particularly motivated by the rapid and diverse development of mobile applications, and their potential impact, as musical instruments, on learning and cognizing music. The term appification refers to enactive processes in which applications (i.e., apps) and their user interfaces, developed for various ecosystems of mobile smart technology, partake in re-organizing our ways of musical acting and thinking. On the basis of the theoretical analysis, we argue that understanding the phenomenon of the human-technology relationship, and its implications for our embodied musical minds, requires acknowledging (1) how apps contribute to conceptual constructing of musical activities, (2) how apps can be designed or utilized in a way that reinforces the epistemological continuum between embodied and abstract sensemaking, and (3) how apps become merged with musical instruments. (shrink)

In his essay, “Making Music Together,” Schutz provided insight into the social interactions between all participants in the musical process, including composer, performers, and listeners. The key concept in Schutz’s essay is the “mutual tuning-in relationship,” which encompasses the relationship between I and Thou, to form a We Presence. Schutz examined the structure of the mutual tuning-in relationship, which he said, “originates in the possibility of living together simultaneously in specific dimensions of time”. During the mutual tuning-in process, members (...) of an ensemble merge into each other’s stream of consciousness. This paper is based on phenomenologically-influenced research conducted at the Cleveland Institute of Music in collaboration with the Cavani String Quartet. The members of the Cavani Quartet teach several specific rehearsal techniques to their students which enable formation of a We Presence. The paper summarizes Schutz’s structures of the mutual tuning-in process and provides illustrations from the research findings which deepen our understanding of the mutual tuning-in process. (shrink)

Do we acquire culture through other minds, or do we get access to other minds through culture? Music culture is a practice as well as the people involved. Sounding music works as a script guiding action, as do, to varying degrees, many rituals and customs. Collective co-performance of the script enables inter-subjectivity, which arguably contributes to the formation of subcultures. Shared-emotional experiences give material to the narrative of who we are.

The author presents a theory of institutional inequality in which, in analysing taxation she shows that tax incidence depends upon the causes of inequality.

The ability to distinguish between an individual's own actions and those of another person is a requirement for successful joint action, particularly in domains such as group music making where precise interpersonal coordination ensures perceptual overlap in the effects of co-performers' actions. We tested the hypothesis that such coordination benefits from simultaneous integration and segregation of information about ‘self’ and ‘other’ in an experiment using a musical joint action paradigm. Sixteen pairs of individuals with little or no musical training (...) performed a dyadic synchronization task on a pair of electronic music boxes. The relationship between pitches produced by paired participants (same vs. different) and the relationship between movement frequencies required to trigger synchronous tones (congruent vs. incongruent) were varied in a repeated measures design. The results indicate that interpersonal coordination was most accurate when sounds were different in pitch but movement frequency was congruent. Under other conditions, participants often drifted apart, resulting in poor coordination, especially with same sounds and incongruent movements across co-performers. These findings suggest that interpersonal coordination was facilitated when simultaneous self-other integration and segregation occurred across sensory modalities in an asymmetrical manner where pitch relations favoured segregation via auditory streaming while movement congruence favoured integration via visuo-motor coupling. Such self-other representational balance may enable co-performers to maintain autonomous control while attending, anticipating, and adapting to each other's timing when joint action requires precise temporal coordination. (shrink)

Depuis 2001, MédiaCabSat est l'outil spécifique de la mesure d'audience des chaînes diffusées par câble et satellite, mis en place par Médiamétrie pour répondre à l'enjeu de la multiplication des chaînes thématiques. L'audimétrie, qui permet l'enregistrement de l'écoute sur l'année entière, avec identification automatique des chaînes, a été adoptée. À l'origine, le panel est constitué de 830 foyers, dont les 480 foyers du panel Médiamat qui reçoivent l'offre élargie. L'échantillon, qui doit être représentatif des différentes offres élargies reçues, a été (...) construit à partir d'une enquête nationale de cadrage . Pour assurer une fiabilité statistique satisfaisante, malgré la faiblesse de l'échantillon et le grand nombre de chaînes suivies , le choix a été fait de fournir des résultats cumulés sur six mois. Les principales caractéristiques de la population disposant d'une offre élargie sont maintenant connues avec précision.In 2001 the “Médiamétrie” organization introduced the “MédiaCabSat” tool specifically to obtain audience ratings for cable and satellite channels as a response to the important demands represented by the growing number of theme-based channels. TV metering was introduced which records viewing habits and figures for the whole year, with an automatic identification of the channels watched. At first, the panel was made up of 830 homes including the 480 homes of the Mediamat panel which receive the larger choice of channels. The sample audience has to be representative of the various channel packages on offer and was defined using a national audience survey study involving over 75 000 respondents. To ensure statistic reliability even though the sample audience was relatively small and a large number of channels were covered by the survey , the choice was made to produce cumulated results over a six-month period. Now the main characteristics of the This has facilitated the obtention of precise information on the characteristics of the audience receiving the larger channel packages. (shrink)

Codified ethics for journalists in Australia has a long history, almost as long as that in the United States. Unlike the United States, however, Australia has a unified code of ethics, that of the Australian Journalists' Association, which is generally accepted by the whole industry, both print and broadcast. But over the last 20 years, media consumers have shown they have a poor and declining view of the ethics of Australian journalists, despite the checks and balances that exist. Recent signs, (...) both from within and outside Australia, indicate growing dissatisfaction with the media, suggesting Australian journalists can expect increasing criticism of their behavior and mounting pressure on them to be more accountable. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)