Naturalistic music and dance: Cortical phase synchrony in musicians and dancers

Science.gov (United States)

Toiviainen, Petri; Tervaniemi, Mari

2018-01-01

Expertise in music has been investigated for decades and the results have been applied not only in composition, performance and music education, but also in understanding brain plasticity in a larger context. Several studies have revealed a strong connection between auditory and motor processes and listening to and performing music, and music imagination. Recently, as a logical next step in music and movement, the cognitive and affective neurosciences have been directed towards expertise in dance. To understand the versatile and overlapping processes during artistic stimuli, such as music and dance, it is necessary to study them with continuous naturalistic stimuli. Thus, we used long excerpts from the contemporary dance piece Carmen presented with and without music to professional dancers, musicians, and laymen in an EEG laboratory. We were interested in the cortical phase synchrony within each participant group over several frequency bands during uni- and multimodal processing. Dancers had strengthened theta and gamma synchrony during music relative to silence and silent dance, whereas the presence of music decreased systematically the alpha and beta synchrony in musicians. Laymen were the only group of participants with significant results related to dance. Future studies are required to understand whether these results are related to some other factor (such as familiarity to the stimuli), or if our results reveal a new point of view to dance observation and expertise. PMID:29672597

Traces across the body: influence of music-dance synchrony on the observation of dance.

Science.gov (United States)

Woolhouse, Matthew Harold; Lai, Rosemary

2014-01-01

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis-music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer's gaze towards the face-the main "communicative portal" with respect to the transmission of intent, affect and empathy.

Drug use and nightlife: more than just dance music.

Science.gov (United States)

Van Havere, Tina; Vanderplasschen, Wouter; Lammertyn, Jan; Broekaert, Eric; Bellis, Mark

2011-07-27

Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy") or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals). The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. It was concluded that a more extended recreational environment, beyond dance clubs, is

Drug use and nightlife: more than just dance music

Directory of Open Access Journals (Sweden)

Broekaert Eric

2011-07-01

Full Text Available Abstract Background Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy" or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties; listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals. The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. Methods The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Results Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. Conclusions It was concluded that a

Drug use and nightlife: more than just dance music

Science.gov (United States)

2011-01-01

Background Research over the last decade has focused almost exclusively on the association between electronic music and MDMA (3,4-Methylenedioxymethamphetamine or "ecstasy") or other stimulant drug use in clubs. Less attention has been given to other nightlife venues and music preferences, such as rock music or southern/funky music. This study aims to examine a broader spectrum of nightlife, beyond dance music. It looks at whether certain factors influence the frequency of illegal drug and alcohol use: the frequency of going to certain nightlife venues in the previous month (such as, pubs, clubs or goa parties); listening to rock music, dance music or southern and funky music; or sampling venues (such as, clubs, dance events or rock festivals). The question of how these nightlife variables influence the use of popular drugs like alcohol, MDMA, cannabis, cocaine and amphetamines is addressed. Methods The study sample consisted of 775 visitors of dance events, clubs and rock festivals in Belgium. Study participants answered a survey on patterns of going out, music preferences and drug use. Odds ratios were used to determine whether the odds of being an illegal substance user are higher for certain nightlife-related variables. Furthermore, five separate ordinal regression analyses were used to investigate drug use in relation to music preference, venues visited during the last month and sampling venue. Results Respondents who used illegal drugs were 2.5 times more likely to report that they prefer dance music. Goa party visitors were nearly 5 times more likely to use illegal drugs. For those who reported visiting clubs, the odds of using illegal drugs were nearly 2 times higher. Having gone to a pub in the last month was associated with both more frequent alcohol use and more frequent illegal substance use. People who reported liking rock music and attendees of rock festivals used drugs less frequently. Conclusions It was concluded that a more extended recreational

Music and Dance Instruction in Basic Schools in Ghana: v ...

African Journals Online (AJOL)

The study investigated factors militating against the girl – child's music and dance education in basic schools in Ghana. The Population were music and dance teachers in Ghanaian pre-tertiary institutions, while purposive sampling technique was used to select the sample that covered all the 2005 of the 400 level music ...

Traces across the body: influence of music-dance synchrony on the observation of dance

Science.gov (United States)

Woolhouse, Matthew Harold; Lai, Rosemary

2014-01-01

In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1) increased gaze time between in-tempo dancers; and/or (2) greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main “communicative portal” with respect to the transmission of intent, affect and empathy. PMID:25520641

SPACES OF TEACHING OF MUSIC AND DANCE IN THE APARECIDA OF GOIÂNIA AND GOIÂNIA IN 2013 AND 2014

Directory of Open Access Journals (Sweden)

Eliton Pereira

2014-09-01

Full Text Available This research perform a mapping of teaching spaces of music and dance in the municipalities of Goiânia and Aparecida de Goiânia in the years 2013 and 2014. This project seeks to build a mapping of the professionals schools spaces of music and dance in the metropolitan area of Goiânia, Goiás, Brazil. The research methodology, initially quantitative has been expanded in the pursuit of socio-cultural realities and professional schools of music and dance, where teachers work in this areas.

Traces Across the Body: The Influence of Music-Dance Synchrony on the Observation of Dance

Directory of Open Access Journals (Sweden)

Matthew Harold Woolhouse

2014-12-01

Full Text Available In previous studies investigating entrainment and person perception, synchronized movements were found to enhance memory for incidental person attributes. Although this effect is robust, including in dance, the process by which it is actuated are less well understood. In this study, two hypotheses are investigated: that enhanced memory for person attributes is the result of (1 increased gaze time between in-tempo dancers, and/or (2 greater attentional focus between in-tempo dancers. To explore these possible mechanisms in the context of observing dance, an eye-tracking study was conducted in which subjects watched videos of pairs of laterally positioned dancers; only one of the dancers was synchronized with the music, the other being asynchronous. The results were consistent with the first hypothesis—music-dance synchrony gives rise to increased visual inspection times. In addition, there was a preference for upper-body fixations over lower-body fixations across both synchronous and asynchronous conditions. A subsequent, single-dancer eye-tracking study investigated fixations across different body regions, including head, torso, legs and feet. Significantly greater dwell times were recorded for head than torso and legs; feet attracted significantly less dwell time than any other body region. Lastly, the study sought to identify dance gestures responsible for torso- and head-directed fixations. Specifically we asked whether there are features in dance that are specially designed to direct an observer’s gaze towards the face—the main communicative portal with respect to the transmission of intent, affect and empathy.

Music and dance make me feel alive: from Mandela's prison songs and dances to public policy.

Science.gov (United States)

Buis, Johann S

2013-01-01

How is it possible for song and dance to exist in political incarceration and manifest itself later as public policy responding to apartheid atrocities? Examining the body of songs, oral history accounts, and eye-witness reports provided by fellow-prisoners of Mandela on Robben Island prison, I uncover a psychological environment mediated through music and dance--within the confines of a political prison. This source of prison music-making by political prisoners in detention, provide us with the artistic expressions of revolutionary songs, parody songs, praise songs, laments, etc. These music genres reflect ontologies embedded in Mandela's juristic imagination. My framework for explaining these ontologies is a theoretical framework I call an aesthetic of function: internal ontologies that speak to the African cultural ground against which external ontologies are expressed in the jurisprudential redress to apartheid atrocities. Examining his external (jurisprudential) ontologies through song and dance, one realizes that the best way for him to have solved the unprecedented public redress of apartheid atrocities is evident in the songs he sang in Robben Island prison. Retribution could have been a logical solution for him. Instead, he turned to truth-telling and reconciliation as public policy. The Truth and Reconciliation Commission's unprecedented breaking of social and jurisprudential boundaries, the claim of agency for both victims and perpetrators, and public policy of South Africa's first democratically elected black president, lie deeply embedded in cultural practices he testified to in his autobiography, "The Long Walk to Freedom". These cultural practices in prison were singing and dancing. This paper complements the music-as-torture trope: here music in detention carries ontological agency. Musical evidence of stylistic features, text, and contextual analyses, and related literary criticism devices, expose Mandela's embedded internal and external

A hypothesis on the biological origins and social evolution of music and dance

Directory of Open Access Journals (Sweden)

Tianyan eWang

2015-02-01

Full Text Available The origins of music and musical emotions is still an enigma, here I propose a comprehensive hypothesis on the origins and evolution of music, dance and speech from a biological and sociological perspective. I suggest that every pitch interval between neighboring notes in music represents corresponding movement pattern through interpreting the Doppler effect of sound, which not only provides a possible explanation to the transposition invariance of music, but also integrates music and dance into a common form—rhythmic movements. Accordingly, investigating the origins of music poses the question: why do humans appreciate rhythmic movements? I suggest that human appreciation of rhythmic movements and rhythmic events developed from the natural selection of organisms adapting to the internal and external rhythmic environments. The perception and production of, as well as synchronization with external and internal rhythms are so vital for an organism’s survival and reproduction, that animals have a rhythm-related reward and emotion (RRRE system. The RRRE system enables the appreciation of rhythmic movements and events, and is integral to the origination of music, dance and speech. The first type of rewards and emotions (rhythm-related rewards and emotions, RRREs are evoked by music and dance, and have biological and social functions, which in turn, promote the evolution of music, dance and speech. These functions also evoke a second type of rewards and emotions, which I name society-related rewards and emotions (SRREs. The neural circuits of RRREs and SRREs develop in species formation and personal growth, with congenital and acquired characteristics, respectively, namely music is the combination of nature and culture. This hypothesis provides probable selection pressures and outlines the evolution of music, dance and speech. The links between the Doppler effect and the RRREs and SRREs can be empirically tested, making the current hypothesis

A hypothesis on the biological origins and social evolution of music and dance.

Science.gov (United States)

Wang, Tianyan

2015-01-01

The origins of music and musical emotions is still an enigma, here I propose a comprehensive hypothesis on the origins and evolution of music, dance, and speech from a biological and sociological perspective. I suggest that every pitch interval between neighboring notes in music represents corresponding movement pattern through interpreting the Doppler effect of sound, which not only provides a possible explanation for the transposition invariance of music, but also integrates music and dance into a common form-rhythmic movements. Accordingly, investigating the origins of music poses the question: why do humans appreciate rhythmic movements? I suggest that human appreciation of rhythmic movements and rhythmic events developed from the natural selection of organisms adapting to the internal and external rhythmic environments. The perception and production of, as well as synchronization with external and internal rhythms are so vital for an organism's survival and reproduction, that animals have a rhythm-related reward and emotion (RRRE) system. The RRRE system enables the appreciation of rhythmic movements and events, and is integral to the origination of music, dance and speech. The first type of rewards and emotions (rhythm-related rewards and emotions, RRREs) are evoked by music and dance, and have biological and social functions, which in turn, promote the evolution of music, dance and speech. These functions also evoke a second type of rewards and emotions, which I name society-related rewards and emotions (SRREs). The neural circuits of RRREs and SRREs develop in species formation and personal growth, with congenital and acquired characteristics, respectively, namely music is the combination of nature and culture. This hypothesis provides probable selection pressures and outlines the evolution of music, dance, and speech. The links between the Doppler effect and the RRREs and SRREs can be empirically tested, making the current hypothesis scientifically

Dance-the-Music: an educational platform for the modeling, recognition and audiovisual monitoring of dance steps using spatiotemporal motion templates

Science.gov (United States)

Maes, Pieter-Jan; Amelynck, Denis; Leman, Marc

2012-12-01

In this article, a computational platform is presented, entitled "Dance-the-Music", that can be used in a dance educational context to explore and learn the basics of dance steps. By introducing a method based on spatiotemporal motion templates, the platform facilitates to train basic step models from sequentially repeated dance figures performed by a dance teacher. Movements are captured with an optical motion capture system. The teachers' models can be visualized from a first-person perspective to instruct students how to perform the specific dance steps in the correct manner. Moreover, recognition algorithms-based on a template matching method-can determine the quality of a student's performance in real time by means of multimodal monitoring techniques. The results of an evaluation study suggest that the Dance-the-Music is effective in helping dance students to master the basics of dance figures.

The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations.

Science.gov (United States)

Morton, Jennie

2015-06-01

Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.

What Can You Teach with Electronic Dance Music? A Music Teacher's Guide to EDM

Science.gov (United States)

Halick, Mary E.

2016-01-01

Music teachers, who are working to develop students' musicianship skills, often focus on exposing students to new styles and genres of music. These initiatives encourage students to analyze, develop opinions, create, and perform music they may not normally hear. The purpose of this article is to introduce music educators to Electronic Dance Music…

Remembering the popular music of the 1990s: dance music and the cultural meanings of decade-based nostalgia

NARCIS (Netherlands)

A.J.C. van der Hoeven (Arno)

2014-01-01

textabstractFollowing the popularisation of dance music in the 1990s, and the consolidation of disc jockeys (DJs) as global stars, this article examines the attachment of music audiences to this decade by examining the popular flashback dance parties held in the Netherlands. By drawing on theories

Mass-Gathering Medical Care in Electronic Dance Music Festivals.

Science.gov (United States)

FitzGibbon, Kathleen M; Nable, Jose V; Ayd, Benjamin; Lawner, Benjamin J; Comer, Angela C; Lichenstein, Richard; Levy, Matthew J; Seaman, Kevin G; Bussey, Ian

2017-10-01

Introduction Electronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events. Hypothesis/Problem Electronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models. This was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predictive Arbon and Hartman models to determine estimated patient presentation rate and patient transport rates. The Arbon model under-predicted the number of patient encounters and the number of patient transports for all three festivals, while the Hartman model under-predicted the number of patient encounters at one festival and over-predicted the number of encounters at the other two festivals. The Hartman model over-predicted patient transport rates for two of the three festivals. Electronic dance music festivals often involve distinct challenges and current predictive models are inaccurate for planning these events. The formation of a cohesive incident action plan will assist in addressing these challenges and lead to the collection of more uniform data metrics. FitzGibbon KM , Nable JV , Ayd B , Lawner BJ , Comer AC , Lichenstein R , Levy MJ , Seaman KG , Bussey I . Mass-gathering medical care in electronic dance music festivals. Prehosp Disaster Med. 2017;32(5):563-567.

Art, dance, and music therapy.

Science.gov (United States)

Pratt, Rosalie Rebollo

2004-11-01

Art, dance, and music therapy are a significant part of complementary medicine in the twenty-first century. These creative arts therapies contribute to all areas of health care and are present in treatments for most psychologic and physiologic illnesses. Although the current body of solid research is small compared with that of more traditional medical specialties, the arts therapies are now validating their research through more controlled experimental and descriptive studies. The arts therapies also contribute significantly to the humanization and comfort of modern health care institutions by relieving stress, anxiety, and pain of patients and caregivers. Arts therapies will greatly expand their role in the health care practices of this country in the twenty-first century.

Music, Dance and the Total Art Work: Choreomusicology in Theory and Practice

Science.gov (United States)

Mason, Paul H.

2012-01-01

Euro-American performance arts are exceptional among the world's cultures in that music and dance are separable and constitute independent disciplines. In the late-nineteenth and early-twentieth centuries, a distinct consciousness emerged that demonstrated an awareness of the varying and protean relationships that music and dance can share. While…

Enhancement of Pleasure during Spontaneous Dance

Science.gov (United States)

Bernardi, Nicolò F.; Bellemare-Pepin, Antoine; Peretz, Isabelle

2017-01-01

Dancing emphasizes the motor expression of emotional experiences. The bodily expression of emotions can modulate the subjective experience of emotions, as when adopting emotion-specific postures and faces. Thus, dancing potentially offers a ground for emotional coping through emotional enhancement and regulation. Here we investigated the emotional responses to music in individuals without any prior dance training while they either freely danced or refrained from movement. Participants were also tested while imitating their own dance movements but in the absence of music as a control condition. Emotional ratings and cardio-respiratory measures were collected following each condition. Dance movements were recorded using motion capture. We found that emotional valence was increased specifically during spontaneous dance of groovy excerpts, compared to both still listening and motor imitation. Furthermore, parasympathetic-related heart rate variability (HRV) increased during dance compared to motor imitation. Nevertheless, subjective and physiological arousal increased during movement production, regardless of whether participants were dancing or imitating. Significant correlations were found between inter-individual differences in the emotions experienced during dance and whole-body acceleration profiles. The combination of movement and music during dance results in a distinct state characterized by acutely heightened pleasure, which is of potential interest for the use of dance in therapeutic settings. PMID:29238298

Segmentation of dance movement: Effects of expertise, visual familiarity, motor experience and music

Directory of Open Access Journals (Sweden)

Bettina E. Bläsing

2015-01-01

Full Text Available According to event segmentation theory, action perception depends on sensory cues and prior knowledge, and the segmentation of observed actions is crucial for understanding and memorizing these actions. While most activities in everyday life are characterized by external goals and interaction with objects or persons, this does not necessarily apply to dance-like actions. We investigated to what extent visual familiarity of the observed movement and accompanying music influence the segmentation of a dance phrase in dancers of different skill level and non-dancers. In Experiment 1, dancers and non-dancers repeatedly watched a video clip showing a dancer performing a choreographed dance phrase and indicated segment boundaries by key press. Dancers generally defined less segment boundaries than non-dancers, specifically in the first trials in which visual familiarity with the phrase was low. Music increased the number of segment boundaries in the non-dancers and decreased it in the dancers. The results suggest that dance expertise reduces the number of perceived segment boundaries in an observed dance phrase, and that the ways visual familiarity and music affect movement segmentation are modulated by dance expertise. In a second experiment, motor experience was added as factor, based on empirical evidence suggesting that action perception is modified by visual and motor expertise in different ways. In Experiment 2, the same task as in Experiment 1 was performed by dance amateurs, and was repeated by the same participants after they had learned to dance the presented dance phrase. Less segment boundaries were defined in the middle trials after participants had learned to dance the phrase, and music reduced the number of segment boundaries before learning. The results suggest that specific motor experience of the observed movement influences its perception and anticipation and makes segmentation broader, but not to the same degree as dance expertise

Exploring the Learning of Language Through Global Dance and Music: a Theoretical Analysis

OpenAIRE

Banafi, Norah

2014-01-01

This research paper explores theories behind Total Physical Response (T.P.R) methods and psychology by associating them with music in order to examine the role of listening to music and dancing in language learning. This research utilises the five pillars of Zumba (music, dance, the power of now, enjoyment, and relaxing) that may create an environment for motivating language fluency learning and investigates whether these pillars have the potential for making Zumba, a global phenomenon in tea...

Music and movement education as a form of motivation in teaching Greek traditional dances.

Science.gov (United States)

Likesas, G; Zachopoulou, E

2006-04-01

Research has shown that motivation for participating in physical education, particularly in traditional dances, has decreased dramatically. The aim of this research was to examine whether a music and movement program would increase pleasure and intrinsic motivation of students in elementary education while teaching them Greek traditional dances. 232 students were divided into two groups, a trained group of 135 participants (72 boys, 63 girls) and a control group of 97 (53 boys, 44 girls). The trained group was taught using the music and movement teaching model of traditional dances. The control group was taught using the instructional or guided teaching method of traditional Greek dances. To measure effectiveness of the two methods was accomplished by the completion of McAuley's Intrinsic Motivation Inventory. Analysis of scores showed use of music and movement education had a positive effect on intrinsic motivation for dancing and active participation of students, especially of the trained boys' group.

DANCEMAKING IN UNEXPECTED PLACES: MOLDOVAN MUSIC AND VERTICAL DANCE IN WYOMING

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GARNETT RODNEY

2016-06-01

Full Text Available Since 1998, vertical dance at the University of Wyoming has been an active catalyst for interactions among choreographers and dancers, composers and musical performers, audiences, rock climbers, and others. Outdoor performances at an impressive geologic formation have consistently drawn large audiences, and allowed choreographer and performer Margaret Wilson to consider the ways that vertical dancers come to embody widely varying environments through heightened sensitivity, improvisation, and other processes of “tuning in” (Hunter 2015: 181 to the world around them. In 2013, as I stood on a high ledge on the massive Vedauwoo rock formation in Wyoming, I found that the sound of Moldovan nai naturally became a part of our outdoor environment as it echoed off of the rocks and projected out into the forest. Our pianist had begun to embody an effective sense of how to collaborate with dancers and their movement having accompanied their classes for many years. Nai easily became an integral part of her musical compositions. Musicians who are more closely focused on devices such as instruments, sheet music, and microphones have been less able to improvise and interact spontaneously with the sensory world of vertical dance. Listening closely to create their best sound makes them less sensitive to distant aural, visual, and sensory phenomena that would allow them to embody their environment along with other performers and their audiences. In seeking to better adapt to variable vertical dance settings, I found that Moldovan nai is especially well-suited for collaborating with other instruments and dancers in vertical dance environments. Moldovan melodies and rhythms have also become an important element of both outdoor and indoor vertical dance performances in Wyoming. The broader movement, of playing panflute is more like dancing than the smaller movements required for playing transverse flutes. In addition, the social essence of learning and

Efficient Generation of Dancing Animation Synchronizing with Music Based on Meta Motion Graphs

Science.gov (United States)

Xu, Jianfeng; Takagi, Koichi; Sakazawa, Shigeyuki

This paper presents a system for automatic generation of dancing animation that is synchronized with a piece of music by re-using motion capture data. Basically, the dancing motion is synthesized according to the rhythm and intensity features of music. For this purpose, we propose a novel meta motion graph structure to embed the necessary features including both rhythm and intensity, which is constructed on the motion capture database beforehand. In this paper, we consider two scenarios for non-streaming music and streaming music, where global search and local search are required respectively. In the case of the former, once a piece of music is input, the efficient dynamic programming algorithm can be employed to globally search a best path in the meta motion graph, where an objective function is properly designed by measuring the quality of beat synchronization, intensity matching, and motion smoothness. In the case of the latter, the input music is stored in a buffer in a streaming mode, then an efficient search method is presented for a certain amount of music data (called a segment) in the buffer with the same objective function, resulting in a segment-based search approach. For streaming applications, we define an additional property in the above meta motion graph to deal with the unpredictable future music, which guarantees that there is some motion to match the unknown remaining music. A user study with totally 60 subjects demonstrates that our system outperforms the stat-of-the-art techniques in both scenarios. Furthermore, our system improves the synthesis speed greatly (maximal speedup is more than 500 times), which is essential for mobile applications. We have implemented our system on commercially available smart phones and confirmed that it works well on these mobile phones.

It Don't Mean a Thing if It Ain't Got Musicality: A Music-First Method for Teaching Historically Rooted Jazz Dance

Science.gov (United States)

Liebhard, Erinn

2015-01-01

This article proposes a method for teaching jazz dance technique according to music concepts and prioritizing deep embodiment of music. This method addresses what can be seen as a disconnect between current practices and historical understanding in jazz dance today, a gap that can be bridged with education empowering students to make innovative…

Music in the Life Skills Classroom

Science.gov (United States)

van Vuuren, Eurika Jansen; van Niekerka, Caroline

2015-01-01

Generalist educators in South Africa shy away from music in the subjects Life Skills (Dance, Drama, Music, Visual Art, Physical Education and Personal and Social Well-being) and Creative Arts (Dance, Drama, Music, Visual Art) and universities are not delivering generalist students for the subject demands. In-service educators, as well as subject…

Beats, Flesh, and Grain : Sonic Tactility and Affect in Electronic Dance Music

NARCIS (Netherlands)

Garcia, Luis-Manuel

2015-01-01

This essay sets out to explore the tactilization of sound in electronic dance music (EDM), which offers an important sensory-affective bridge between touch, sonic experience, and an expansive sense of connection in dancing crowds. EDM events tend to engender spaces of heightened tactility and

Materials on Creative Arts (Arts, Crafts, Dance, Drama, Music, Bibliotherapy) for Persons with Handicapping Conditions. Revised.

Science.gov (United States)

American Alliance for Health, Physical Education, and Recreation, Washington, DC. Information and Research Utilization Center.

Intended as a resource guide for persons who include such subjects as arts, crafts, dance, and music in programs for the handicapped, resources are listed for printed materials, audiovisual materials, resource persons and organizations, and material and equipment suppliers. Brief literature reviews sum up the state of the art in the specific art…

EFFECTS OF DANCE AND MUSIC THERAPY

OpenAIRE

Dr. Saroj Kothari

2017-01-01

Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care. Through the centuries, the healing nature of these expressive therapies has bee...

What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music

Directory of Open Access Journals (Sweden)

Magdalena Olszanowski

2012-11-01

Full Text Available Normal 0 false false false EN-US JA X-NONE This article reflects upon the research methods employed for microfemininewarfare (2012, an interactive database documentary that investigates female electronic dance music (EDM artists. The purpose of the documentary is to feature the contributions of women as composers, to show how they came to be composers and to reveal the tactics used to approach significant issues of gender in the male-dominated world of EDM. I highlight the theoretical and methodological processes that went into the making of this documentary, subtitled “exploring women’s space in electronic music”. By constructing “electronic music by women” as a category, two objectives are addressed: first, the visibility of women’s contribution to the musical tradition is heightened; and, second, it allows an exploration of the broadening of discourses about female subjectivity. This article showcases feminist research-creation and friendship-as-method as effective research methods to glean meaningful content when applied to EDM fieldwork.

Uni- and Multisensory Brain Areas are Synchronised across Spectators When Watching Unedited Dance Recordings

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Corinne Jola

2013-06-01

Full Text Available The superior temporal sulcus (STS and gyrus (STG are commonly identified to be functionally relevant for multisensory integration of audiovisual (AV stimuli. However, most neuroimaging studies on AV integration used stimuli of short duration in explicit evaluative tasks. Importantly though, many of our AV experiences are of a long duration and ambiguous. It is unclear if the enhanced activity in audio, visual, and AV brain areas would also be synchronised over time across subjects when they are exposed to such multisensory stimuli. We used intersubject correlation to investigate which brain areas are synchronised across novices for uni- and multisensory versions of a 6-min 26-s recording of an unfamiliar, unedited Indian dance recording (Bharatanatyam. In Bharatanatyam, music and dance are choreographed together in a highly intermodal-dependent manner. Activity in the middle and posterior STG was significantly correlated between subjects and showed also significant enhancement for AV integration when the functional magnetic resonance signals were contrasted against each other using a general linear model conjunction analysis. These results extend previous studies by showing an intermediate step of synchronisation for novices: while there was a consensus across subjects' brain activity in areas relevant for unisensory processing and AV integration of related audio and visual stimuli, we found no evidence for synchronisation of higher level cognitive processes, suggesting these were idiosyncratic.

Techno-Tourism and Post-industrial Neo-Romanticism in Berlin’s Electronic Dance Music Scenes

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Garcia, Luis-Manuel

2015-01-01

This article profiles the ‘techno-tourists’ of Berlin: music fans who return repeatedly to the city in order to participate in the local electronic dance music (EDM) scenes. Based on interviews, this article sketches a profile of these music-minded voyagers, surveying their motivations, their

French Society Abroad: The Popularization of French Dance throughout Europe, 1600-1750

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Adam Paul Rinehart

2017-09-01

Full Text Available This paper explores the dissemination of French dance, dance notation, and dance music throughout Europe, and it explains the reasons why French culture had such an influence on other European societies from 1600-1750. First, the paper seeks to prove that King Louis XIV played a significant role in the outpour of French dance and the arts. Next, the paper discusses prominent French writers of dance notation who influenced the spread of French dance literature and training throughout Europe. Finally, the paper delineates European composers and their involvement in the development and production of French dance music. Using academic, peer-reviewed journal articles, books, and other scholarly sources, this paper seeks to accurately present the information in an orderly fashion. The paper contains visual evidence of dance and music notation to assist the reader in understanding the subject matter. Additionally, theories of contemporary authors as well as authors from the time period are discussed to present concrete evidence. The two main types of dance discussed in the paper are ballroom and court dances, which were prominent within the French royal court. One major finding of the research is the fact that French court and ballroom dances were specifically designed to communicate the power and prestige of King Louis XIV; consequently, other European countries were influenced to strive for similar prestige. Another finding is that many forms of French dance notation were translated and published in other countries, which increased the use of French dance throughout Europe. Musically, European composers such as Handel and Mozart included elements of French dance music in their compositions, and thus played a significant role in prevalence of French dance music throughout Europe. Overall, this paper proves that French dance received wide recognition due to political influence, availability of dance notation, and the involvement of prominent composers.

Remixing the Dance Education Classroom

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Koff, Susan R.

2017-01-01

Dance Education and Music Education are not the same, but are often considered together as Arts Education along with Theatre Education and Art Education. The history of Dance Education as a discipline is much shorter than Music Education, so Dance Education often looks to music education for leadership as well as scholarship. Remixing the…

African-American Soul Force: Dance, Music and Vera Mae Green.

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Bolles, A. Lynn

1986-01-01

The Black anthropologist, Vera Mae Green, is featured in this analysis of the concept of soul as applied to African-Americans. Music and dance are used to express soul in cultural context. But soul is also a force, an energy which encompasses the Black experience and makes Black culture persevere. (VM)

Dancing with the regulations - Part Deux

International Nuclear Information System (INIS)

Nitschke, R.L.

1995-01-01

The disposal of low-level radioactive waste (LLW) in the United States has long been subjected to two very similar regulations depending upon the location. Disposal sites located on Department of Energy (DOE) Reservations are subject to DOE Order 5820.2A open-quotes Radioactive Waste Management,close quotes while disposal sites located elsewhere are subject to the Nuclear Regulatory Commission regulation 10 CFR 61 open-quotes Licensing Requirements for Land Disposal of Radioactive Waste.close quotes While life was not necessarily good, there was only one sheet of music to dance to. Recently a new player, named CERCLA (Comprehensive Environmental Response, Compensation, and Liability Act), has ridden into those DOE towns, and for those whose disposal facilities lie within or adjacent to Superfund sites, she has brought along a different drum to dance to. This paper discusses the differences and similarities between the different dance partners and their associated musical scores (i.e., the performance assessment (PA) required by the DOE order and the baseline risk assessment (BRA) required by CERCLA). The paper then provides a brief discussion on the latest dancer to cut in: the Defense Nuclear Facilities Safety Board (DNFSB). This discussion should help to alleviate the confusion while dancing on the LLW disposal regulatory ballroom floor

Dancing with the regulations - Part Deux

Energy Technology Data Exchange (ETDEWEB)

Nitschke, R.L. [Lockheed Martin Idaho Technologies, Idaho Falls, ID (United States)

1995-12-31

The disposal of low-level radioactive waste (LLW) in the United States has long been subjected to two very similar regulations depending upon the location. Disposal sites located on Department of Energy (DOE) Reservations are subject to DOE Order 5820.2A {open_quotes}Radioactive Waste Management,{close_quotes} while disposal sites located elsewhere are subject to the Nuclear Regulatory Commission regulation 10 CFR 61 {open_quotes}Licensing Requirements for Land Disposal of Radioactive Waste.{close_quotes} While life was not necessarily good, there was only one sheet of music to dance to. Recently a new player, named CERCLA (Comprehensive Environmental Response, Compensation, and Liability Act), has ridden into those DOE towns, and for those whose disposal facilities lie within or adjacent to Superfund sites, she has brought along a different drum to dance to. This paper discusses the differences and similarities between the different dance partners and their associated musical scores (i.e., the performance assessment (PA) required by the DOE order and the baseline risk assessment (BRA) required by CERCLA). The paper then provides a brief discussion on the latest dancer to cut in: the Defense Nuclear Facilities Safety Board (DNFSB). This discussion should help to alleviate the confusion while dancing on the LLW disposal regulatory ballroom floor.

Performing sound of the past: Remix in electronic dance music culture

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Cvijanović Irina

2014-01-01

Full Text Available The term remix, defined as an activity of taking data from pre-existing materials to combine them into new forms according to personal taste, relates to various elements and areas of contemporary culture. Whichever model used, consideration of the remix depends on recognition of pre-existing cultural codes. Therefore, as a second layer, the remix relies on the authority of the original and it functions at the meta-level. The audience may see a trace of history with the pre-existing object and the meaning creates in the viewer(s, reader(s, listener(s or, in the contemporary world of DJs and popular electronic dance music culture - in dancer(s. With the aim of specifying modes of creating particular ambients, this paper will consider and examine the song Why Don’t You? remixed by Marko Milićević, a Serbian DJ also known as Gramophonedzie, and illuminate how material from the past can create a constructive (musical dialogue.

The effect of passive listening versus active observation of music and dance performances on memory recognition and mild to moderate depression in cognitively impaired older adults.

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Cross, Kara; Flores, Roberto; Butterfield, Jacyln; Blackman, Melinda; Lee, Stephanie

2012-10-01

The study examined the effects of music therapy and dance/movement therapy on cognitively impaired and mild to moderately depressed older adults. Passive listening to music and active observation of dance accompanied by music were studied in relation to memory enhancement and relief of depressive symptoms in 100 elderly board and care residents. The Beck Depression Inventory and the Recognition Memory Test-Faces Inventory were administered to two groups (one group exposed to a live 30-min. session of musical dance observation, the other to 30 min. of pre-recorded music alone) before the intervention and measured again 3 and 10 days after the intervention. Scores improved for both groups on both measures following the interventions, but the group exposed to dance therapy had significantly lower Beck Depression scores that lasted longer. These findings suggest that active observation of Dance Movement Therapy could play a role in temporarily alleviating moderate depressive symptoms and some cognitive deficits in older adults.

The Performing Arts: Music, Dance, and Theater in the Early Years

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Koralek, Derry

2010-01-01

This article presents an interview with Mimi Brodsky Chenfeld, a longtime early childhood teacher, author, teacher educator, and advocate for integrating the arts with every aspect of the curriculum. In this interview, Chenfeld shares her thoughts about the performing arts: music, dance, and theater. She explains why it is important for young…

Towards Applied Ethnomusicology – The Traditional Music Laboratory of the Institute of Music and Dance

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Weronika Grozdew-Kołacińska

2016-12-01

Full Text Available The text describes the activities of Traditional Music Laboratory of the Institute of Music and Dance, which was established on 17 June 2015 in Warsaw. The main objective of the Laboratory’s programs is to support traditional music transmission in a direct „master-apprentice” relationship and to facilitate an interdisciplinary, long-term collaboration between animators, researchers, scholars, artists, pedagogues and civil servants under subsidy of Polish Ministry of Culture and National Heritage. Ideas discussed in this paper arise from the content of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003 as well as the assumptions of applied ethnomusicology (the International Council for Traditional Music, Study Group on Applied Ethnomusicology. The question that needs to be asked in the context of the above-mentioned perspectives is how to describe the problem of the continuity of the traditional forms of musical practices in the context of new phenomena, such as the “revival”, “return”, “revitalization” or “reconstruction”, in Poland. The paper focuses on a brief overview of educational and cultural actions taken by chosen NGOs, foundations and associations organized in an informal initiative known as the Forum of Traditional Music.

Mass-gathering Medicine: Risks and Patient Presentations at a 2-Day Electronic Dance Music Event.

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Lund, Adam; Turris, Sheila A

2015-06-01

Music festivals, including electronic dance music events (EDMEs), increasingly are common in Canada and internationally. Part of a US $4.5 billion industry annually, the target audience is youth and young adults aged 15-25 years. Little is known about the impact of these events on local emergency departments (EDs). Drawing on prospective data over a 2-day EDME, the authors of this study employed mixed methods to describe the case mix and prospectively compared patient presentation rate (PPR) and ambulance transfer rate (ATR) between a first aid (FA) only and a higher level of care (HLC) model. There were 20,301 ticketed attendees. Seventy patient encounters were recorded over two days. The average age was 19.1 years. Roughly 69% were female (n=48/70). Forty-six percent of those seen in the main medical area were under the age of 19 years (n=32/70). The average length of stay in the main medical area was 70.8 minutes. The overall PPR was 4.09 per 1,000 attendees. The ATR with FA only would have been 1.98; ATR with HLC model was 0.52. The presence of an on-site HLC team had a significant positive effect on avoiding ambulance transfers. Twenty-nine ambulance transfers and ED visits were avoided by the presence of an on-site HLC medical team. Reduction of impact to the public health care system was substantial. Electronic dance music events have predictable risks and patient presentations, and appropriate on-site health care resources may reduce significantly the impact on the prehospital and emergency health resources in the host community.

Elemental Music and Dance Pedagogy (EMDP: Artistic and Pedagogical Opportunities for People in Advanced Age

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Christine Schönherr

2013-12-01

Full Text Available Age and ageing are issues of high significance in our times, and lead us to ask how this prolonged lifespan can be spent in a most self-determined, meaningful and satisfying way. The author’s personal approach to working with this age group is described and complemented by personal reflections on this subject. The many objectives include non-musical goals as well as music-oriented objectives which can instigate valuable and satisfying musical experiences of a high quality. Fundamental principles include: becoming a player – taking an active part; the interplay of music, speech, movement and dance; improvisation and forms. Important parts of sessions are described as well as their goals: the greeting ritual is of importance and warm-up exercises can be offered using movement or body percussion. Singing well-known songs as well as new ones, and playing Orff instruments are valuable activities. Movement is also an important part of the sessions where diverse objects such as gloves, sticks or peacock feathers are used. The Orff approach has the wonderful advantage of being multifaceted, putting emphasis on improvisation and individual creativity which allows making music according to one’s own abilities – something that is important for elderly people – and offering many different impulses to feel, to live and physically express music.

Colorado Multicultural Resources for Arts Education: Dance, Music, Theatre, and Visual Art.

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Cassio, Charles J., Ed.

This Colorado resource guide is based on the premise that the arts (dance, music, theatre, and visual art) provide a natural arena for teaching multiculturalism to students of all ages. The guide provides information to Colorado schools about printed, disc, video, and audio tape visual prints, as well as about individuals and organizations that…

A Prospective Analysis of Patients Presenting for Medical Attention at a Large Electronic Dance Music Festival.

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Friedman, Matt S; Plocki, Alex; Likourezos, Antonios; Pushkar, Illya; Bazos, Andrew N; Fromm, Christian; Friedman, Benjamin W

2017-02-01

Mass-Gathering Medicine studies have identified variables that predict greater patient presentation rates (PPRs) and transport to hospital rates (TTHRs). This is a descriptive report of patients who presented for medical attention at an annual electronic dance music festival (EDMF). At this large, single EDMF in New York City (NYC; New York, USA), the frequency of patient presentation, the range of presentations, and interventions performed were identified. This descriptive report examined consecutive patients who presented to the medical tent of a summertime EDMF held at an outdoor venue with an active, mobile, bounded crowd. Alcohol was available for sale. Entry was restricted to persons 18 years and older. The festival occurred on three consecutive days with a total cumulative attendance of 58,000. Medical staffing included two Emergency Medicine physicians, four registered nurses, and 86 Emergency Medical Services (EMS) providers. Data collected included demographics, past medical history, vital signs, physical exam, drug and alcohol use, interventions performed, and transport decisions. Eighty-four patients were enrolled over 2.5 days. Six were transported and zero died. The ages of the subjects ranged from 17 to 61 years. Forty-three (51%) were male. Thirty-eight (45%) initially presented with abnormal vital signs; four (5%) were hyperthermic. Of these latter patients, 34 (90%) reported ingestions with 3,4-methylenedioxymethamphetamine (MDMA) or other drugs. Eleven (65%) patients were diaphoretic or mydriatic. The most common prehospital interventions were intravenous normal saline (8/84; 10%), ondansetron (6/84; 7%), and midazolam (3/84; 4%). Electronic dance music festivals are a growing trend and a new challenge for Mass-Gathering Medicine as new strategies must be employed to decrease TTHR and mortality. Addressing common and expected medical emergencies at mass-gathering events through awareness, preparation, and early, focused medical interventions may

Dance is the new metal: adolescent music preferences and substance use across Europe.

Science.gov (United States)

ter Bogt, Tom F M; Gabhainn, Saoirse Nic; Simons-Morton, Bruce G; Ferreira, Mafalda; Hublet, Anne; Godeau, E; Kuntsche, E; Richter, Matthias

2012-01-01

This study examined relationships between music preferences and substance use (tobacco, alcohol, cannabis) among 18,103 fifteen-year-olds from 10 European countries. In 2005-2006, across Europe, preferences for mainstream Pop (pop chart music) and Highbrow (classical music and jazz) were negatively associated with substance use, while preferences for Dance (house/trance and techno/hardhouse) were associated positively with substance use. In three countries, links were identified between liking Rock (rock, heavy metal punk/hardcore, and gothic) and substance use; associations between Urban (hip-hop and R&B) and substance use were mixed. No substantial gender differences emerged in these patterns, and controlling for relevant covariates did not attenuate the predictive value of substance use. The findings are consistent with the conclusion that music is a robust marker of adolescent substance use.

There's More to Groove than Bass in Electronic Dance Music: Why Some People Won't Dance to Techno.

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Brian C Wesolowski

Full Text Available The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM and raters' perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec. representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a the high-frequency band, (b the mid-frequency band, and (c the low-frequency band, as well as overall fluctuations in (d dynamics, and (e timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a isochronous bass and static timbres, (b isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c non-isochronous bass and fluctuating timbres, and (d non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99 were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9, affective (n = 9, and psychomotor (n = 3 domains. Musical excerpts falling under the cluster of "non-isochronous bass with rhythmical variations in the high frequencies" demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of "isochronous bass with static timbres" demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters' responses for those with a musical preference for "contemporary" music, "sophisticated" music, and "intense" music.

Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias

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Julia F. Christensen

2014-10-01

Full Text Available It is well established that emotional responses to stimuli presented to one perceptive modality (e.g. visual are modulated by the concurrent presentation of affective information to another modality (e.g. auditory – an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants’ subjective emotion ratings and their Galvanic Skin Responses in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements that most participants would have relatively little prior experience with. Results showed (i that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements, and (ii that movement valence did not modulate participants’ GSR, while movement arousal did such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the cross-modal affect perception literature and with regards to implications for the art community.

Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias.

Science.gov (United States)

Christensen, Julia F; Gaigg, Sebastian B; Gomila, Antoni; Oke, Peter; Calvo-Merino, Beatriz

2014-01-01

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants' subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants' GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community.

Mastering of musical rhythm by pre-school age children with speech disorders with the help of dance-correction program trainings

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N.B. Petrenko

2016-08-01

Full Text Available Introduction: It is known that regular listening to specially selected music develops children’s cognitive abilities. Musical influence optimizes many important functions of brain: increases mental workability; accelerates processing of information; improves short term memory. Besides, sensitivity of visual and hearing analyzers strengthens, as well as regulation of arbitrary movements; indicators of verbal and non verbal intellect improve. Purpose: to determine peculiarities of musical rhythm’s mastering by pre-school age children with speech disorders with the help of dance-correction program trainings. Material: the categories of the tested children: children of age - 4-5 and 5-6 years with speech disorders and healthy pre-school age children. Children of 4-5 years’ age composed: main group (n=12, control group (n=16; group of healthy children (n=24. For assessment of verbal thinking and rhythm-motor (or dance abilities we used complex of tests of constantly increasing difficulty. Results: we found that under influence of dance-correcting exercises activation of rhythm-motor abilities and development of cognitive functions happened in children. We also found main functional peculiarities of musical rhythm’s mastering by pre-school age children. It was determined that by the end of pedagogic experiment, main groups of children approached to groups of healthy peers by all tested characteristics. Conclusions: it is recommended to include correcting components (fit ball - dance gymnastic, tales-therapy, logo-rhythm trainings, and game fitness in trainings by choreographic program.

Indian music and dance for inclusive development: A reflection on the Republic of Mauritius

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Santosh Kumar Pudaruth

2014-11-01

Full Text Available The purpose of this article is to argue, prove and demonstrate that Indian Music and Dance have a crucial role to play in the overall development of the Republic of Mauritius. Following intensive and extensive literature search, and field study, the author shows that cultural and economic values inherent in these art-forms, if soundly and systematically explored, identified and leveraged, have the potential to create and enhance human, cultural, artistic and social capitals through arts education, besides contributing to economic development by generating jobs and earnings through the establishment of Indian Music and Dance Industries in the country. The author further argues that it is incumbent upon the government to formulate and deliver informed, evidence-based cultural policies to guide thoughts and actions in the arts, culture and economic sectors. Largely, the arguments are based on the experiences of different countries, especially those of India, and the findings of researchers in the field.

Dance Is the New Metal: Adolescent Music Preferences and Substance Use Across Europe

Science.gov (United States)

ter Bogt, Tom F.M.; Gabhainn, Saoirse Nic; Simons-Morton, Bruce G.; Ferreira, Mafalda; Hublet, Anne; Godeau, Emmanuelle; Kuntsche, Emmanuel; Richter, Matthias

2014-01-01

This study examined relationships between music preferences and substance use (tobacco, alcohol, cannabis) among 18,103 fifteen-year-olds from 10 European countries. In 2005–2006, across Europe, preferences for mainstream Pop (pop chart music) and High-brow (classical music and jazz) were negatively associated with substance use, while preferences for Dance (house/trance and techno/hardhouse) were associated positively with substance use. In three countries, links were identified between liking Rock (rock, heavy metal punk/hardcore, and gothic) and substance use; associations between Urban (hip-hop and R&B) and substance use were mixed. No substantial gender differences emerged in these patterns, and controlling for relevant covariates did not attenuate the predictive value of substance use. The findings are consistent with the conclusion that music is a robust marker of adolescent substance use. PMID:22217067

Precursors of Dancing and Singing to Music in Three- to Four-Months-Old Infants

Science.gov (United States)

Fujii, Shinya; Watanabe, Hama; Oohashi, Hiroki; Hirashima, Masaya; Nozaki, Daichi; Taga, Gentaro

2014-01-01

Dancing and singing to music involve auditory-motor coordination and have been essential to our human culture since ancient times. Although scholars have been trying to understand the evolutionary and developmental origin of music, early human developmental manifestations of auditory-motor interactions in music have not been fully investigated. Here we report limb movements and vocalizations in three- to four-months-old infants while they listened to music and were in silence. In the group analysis, we found no significant increase in the amount of movement or in the relative power spectrum density around the musical tempo in the music condition compared to the silent condition. Intriguingly, however, there were two infants who demonstrated striking increases in the rhythmic movements via kicking or arm-waving around the musical tempo during listening to music. Monte-Carlo statistics with phase-randomized surrogate data revealed that the limb movements of these individuals were significantly synchronized to the musical beat. Moreover, we found a clear increase in the formant variability of vocalizations in the group during music perception. These results suggest that infants at this age are already primed with their bodies to interact with music via limb movements and vocalizations. PMID:24837135

Speed on the dance floor: Auditory and visual cues for musical tempo.

Science.gov (United States)

London, Justin; Burger, Birgitta; Thompson, Marc; Toiviainen, Petri

2016-02-01

Musical tempo is most strongly associated with the rate of the beat or "tactus," which may be defined as the most prominent rhythmic periodicity present in the music, typically in a range of 1.67-2 Hz. However, other factors such as rhythmic density, mean rhythmic inter-onset interval, metrical (accentual) structure, and rhythmic complexity can affect perceived tempo (Drake, Gros, & Penel, 1999; London, 2011 Drake, Gros, & Penel, 1999; London, 2011). Visual information can also give rise to a perceived beat/tempo (Iversen, et al., 2015), and auditory and visual temporal cues can interact and mutually influence each other (Soto-Faraco & Kingstone, 2004; Spence, 2015). A five-part experiment was performed to assess the integration of auditory and visual information in judgments of musical tempo. Participants rated the speed of six classic R&B songs on a seven point scale while observing an animated figure dancing to them. Participants were presented with original and time-stretched (±5%) versions of each song in audio-only, audio+video (A+V), and video-only conditions. In some videos the animations were of spontaneous movements to the different time-stretched versions of each song, and in other videos the animations were of "vigorous" versus "relaxed" interpretations of the same auditory stimulus. Two main results were observed. First, in all conditions with audio, even though participants were able to correctly rank the original vs. time-stretched versions of each song, a song-specific tempo-anchoring effect was observed, such that sped-up versions of slower songs were judged to be faster than slowed-down versions of faster songs, even when their objective beat rates were the same. Second, when viewing a vigorous dancing figure in the A+V condition, participants gave faster tempo ratings than from the audio alone or when viewing the same audio with a relaxed dancing figure. The implications of this illusory tempo percept for cross-modal sensory integration and

Dance for Individuals With Dementia.

Science.gov (United States)

Lapum, Jennifer L; Bar, Rachel J

2016-03-01

The movement and music associated with dance plays an important role in many individuals' lives and can become imprinted upon the body and mind. Dance is thus closely associated with memory because of these deep connections. Without conscious thought, dance has the potential to be initiated as individuals age. In the current article, the authors share narrative reflections about their experiences with, and the potential of, dance as an intervention for aging populations diagnosed with dementia-related diseases. They draw upon their experiences in working with the aging population and a dance program currently being developed by Canada's National Ballet School and Baycrest Health Sciences for individuals with dementia-related diseases in long-term care. The current article is structured as dialogue between the authors because it mimics dance as a dialogical encounter between movement and music, and/or between individuals. Copyright 2016, SLACK Incorporated.

Analysis of Genetic Relationship between Manchu Shaman Music and Northeast Song-and-Dance Duet%满族萨满音乐与东北二人转的亲缘关系探析

Institute of Scientific and Technical Information of China (English)

王晓东

2016-01-01

Manchu shaman music as a ritual music for sacrifice and northeast song -and-dance duet as a performing art , are typical forms of the traditional music culture in northeast China .Both of them have different social functions , however , from the angle of music analysis, Manchu shaman music is a kind of original music in northeast area and song -and-dance duet music is a production of in-tegrating a variety of music after Qing army′s invading Shanhaiguan .The results show that many elements of song-and-dance duet mu-sic are closely related to Manchu shaman music .This article makes a discussion based on the comparison of the two musical forms .%作为满族祭祀礼乐的萨满音乐与表演艺术的二人转，都是中国东北地区传统音乐文化的典型形态。尽管二者的社会功能各有其用，但从音乐学的角度分析，满族萨满音乐是东北地区的原生性乐种，而二人转音乐是清军入关后，在多种乐种的融合下生成。研究结果表明，二人转音乐形态中的诸多元素，皆与满族萨满音乐密切相关。本文以二者音乐形态的比较为视角，对其予以阐释。

Science as Performance: Communicating and Educating through Theater, Music, and Dance

Science.gov (United States)

Schwartz, Brian B.

2010-01-01

Theater, music, dance, the literary and the visual arts can convey the joys and controversies of science. We describe a program at the Graduate Center entitled Science & the Arts which is designed to communicate to the public the excitement and wonder of science, technology, engineering and mathematics. Over the past few years there have been major successes in communicating science to the public through the arts. This is especially evident in theater, film and opera with such recent plays as Copenhagen, the Oscar winning film A Beautiful Mind and the opera Doctor Atomic at the Met. The performance series Science & the Arts has been developed and tested at the Graduate Center of the City University of New York (CUNY) in mid-Manhattan for more than nine years, see http://web.gc.cuny.edu/sciart/ . We have established working relationships with actors, playwrights, dancers, choreographers, musicians, composers, artists and scientists who work at the intersection of science and the arts. In this presentation we will illustrate many of our collaborations in theater, dance, music and art. Faculty members, professionals and students from the university, other educational institutions, museums, theaters and government laboratories as well as the public with an interest science and arts programs should find this presentation of particular interest. Supported in part by the National Science Foundation, NSF PHY-0431660.

Effects on interpersonal memory of dancing in time with others

Directory of Open Access Journals (Sweden)

Matthew Harold Woolhouse

2016-02-01

Full Text Available We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim, 2-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colours and symbols. In each trial, 10 dancers wore radio headphones and one of 4 different coloured sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers’ faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash colour and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion and social bonding.

There’s More to Groove than Bass in Electronic Dance Music: Why Some People Won’t Dance to Techno

Science.gov (United States)

2016-01-01

The purpose of this study was to explore the relationship between audio descriptors for groove-based electronic dance music (EDM) and raters’ perceived cognitive, affective, and psychomotor responses. From 198 musical excerpts (length: 15 sec.) representing 11 subgenres of EDM, 19 low-level audio feature descriptors were extracted. A principal component analysis of the feature vectors indicated that the musical excerpts could effectively be classified using five complex measures, describing the rhythmical properties of: (a) the high-frequency band, (b) the mid-frequency band, and (c) the low-frequency band, as well as overall fluctuations in (d) dynamics, and (e) timbres. Using these five complex audio measures, four meaningful clusters of the EDM excerpts emerged with distinct musical attributes comprising music with: (a) isochronous bass and static timbres, (b) isochronous bass with fluctuating dynamics and rhythmical variations in the mid-frequency range, (c) non-isochronous bass and fluctuating timbres, and (d) non-isochronous bass with rhythmical variations in the high frequencies. Raters (N = 99) were each asked to respond to four musical excerpts using a four point Likert-Type scale consisting of items representing cognitive (n = 9), affective (n = 9), and psychomotor (n = 3) domains. Musical excerpts falling under the cluster of “non-isochronous bass with rhythmical variations in the high frequencies” demonstrated the overall highest composite scores as evaluated by the raters. Musical samples falling under the cluster of “isochronous bass with static timbres” demonstrated the overall lowest composite scores as evaluated by the raters. Moreover, music preference was shown to significantly affect the systematic patterning of raters’ responses for those with a musical preference for “contemporary” music, “sophisticated” music, and “intense” music. PMID:27798645

Dance choreography is coordinated with song repertoire in a complex avian display.

Science.gov (United States)

Dalziell, Anastasia H; Peters, Richard A; Cockburn, Andrew; Dorland, Alexandra D; Maisey, Alex C; Magrath, Robert D

2013-06-17

All human cultures have music and dance, and the two activities are so closely integrated that many languages use just one word to describe both. Recent research points to a deep cognitive connection between music and dance-like movements in humans, fueling speculation that music and dance have coevolved and prompting the need for studies of audiovisual displays in other animals. However, little is known about how nonhuman animals integrate acoustic and movement display components. One striking property of human displays is that performers coordinate dance with music by matching types of dance movements with types of music, as when dancers waltz to waltz music. Here, we show that a bird also temporally coordinates a repertoire of song types with a repertoire of dance-like movements. During displays, male superb lyrebirds (Menura novaehollandiae) sing four different song types, matching each with a unique set of movements and delivering song and dance types in a predictable sequence. Crucially, display movements are both unnecessary for the production of sound and voluntary, because males sometimes sing without dancing. Thus, the coordination of independently produced repertoires of acoustic and movement signals is not a uniquely human trait. Copyright © 2013 Elsevier Ltd. All rights reserved.

The Philippine "Hip Hop Stick Dance"

Science.gov (United States)

Lewis, Lisa

2012-01-01

This article introduces a dance that blends the traditional cultural heritage of the Philippines with modern music and moves. "Hip Hop Stick Dance" incorporates Tinikling (the Philippine national dance) and Arnis (a Filipino style of martial arts) to create a contemporary combination of rhythm, dance, and fitness. It was designed to introduce…

Dance your way to fitness

Science.gov (United States)

... ency/patientinstructions/000809.htm Dance your way to fitness To use the sharing features on this page, ... to rhythm and music. Many health clubs and fitness centers offer dance workout classes, such as Zumba. ...

Effects on Inter-Personal Memory of Dancing in Time with Others.

Science.gov (United States)

Woolhouse, Matthew H; Tidhar, Dan; Cross, Ian

2016-01-01

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment's aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, one type of music was surreptitiously transmitted to half the dancers, while music at a different tempo was transmitted to the remaining dancers. Pre-experiment, the dancers' faces were photographed. Post-experiment, each dancer was presented with the photographs of the other dancers and asked to recall their memory targets. Results showed that same-music dancing significantly enhanced memory for sash color and sash symbol. Our findings are discussed in light of recent eye-movement research that showed significantly increased gaze durations for people observing music-dance synchrony versus music-dance asynchrony, and in relation to current literature on interpersonal entrainment, group cohesion, and social bonding.

Dancetime! 500 Years of Social Dance. Volume II: 20th Century. [Videotape].

Science.gov (United States)

Teten, Carol

This 50-minute VHS videotape is the second in a 2-volume series that presents 500 years of social dance, music, and fashion. It features dance and music of the 20th century, including; 1910s: animal dances, castle walk, apache, and tango; 1920s: black bottom and charleston; 1930s: marathon, movie musicals, big apple, and jitterbug; 1940s: rumba;…

Music Is Not Our Enemy, but Noise Should Be Regulated: Thoughts on Shooting/Conflicts Related to Dama Square Dance in China

Science.gov (United States)

Zhou, Lijun

2014-01-01

While Dama square dance is gaining popularity in China, especially with middle-aged and older-adult women--hence the "Dama" (Chinese for "big mamas") moniker--there have been conflicts due to the loud music played for the activity. After a brief explanation of Dama square dance and a description of the context of the conflicts,…

Babies know bad dancing when they see it: Older but not younger infants discriminate between synchronous and asynchronous audiovisual musical displays.

Science.gov (United States)

Hannon, Erin E; Schachner, Adena; Nave-Blodgett, Jessica E

2017-07-01

Movement to music is a universal human behavior, yet little is known about how observers perceive audiovisual synchrony in complex musical displays such as a person dancing to music, particularly during infancy and childhood. In the current study, we investigated how perception of musical audiovisual synchrony develops over the first year of life. We habituated infants to a video of a person dancing to music and subsequently presented videos in which the visual track was matched (synchronous) or mismatched (asynchronous) with the audio track. In a visual-only control condition, we presented the same visual stimuli with no sound. In Experiment 1, we found that older infants (8-12months) exhibited a novelty preference for the mismatched movie when both auditory information and visual information were available and showed no preference when only visual information was available. By contrast, younger infants (5-8months) in Experiment 2 did not discriminate matching stimuli from mismatching stimuli. This suggests that the ability to perceive musical audiovisual synchrony may develop during the second half of the first year of infancy. Copyright © 2017 Elsevier Inc. All rights reserved.

From Square Dance to Mathematics

Science.gov (United States)

Bremer, Zoe

2010-01-01

In this article, the author suggests a cross-curricular idea that can link with PE, dance, music and history. Teacher David Schmitz, a maths teacher in Illinois who was also a square dance caller, had developed a maths course that used the standard square dance syllabus to teach mathematical principles. He presents an intensive, two-week course…

A community ecology of genres: Explaining the emergence of new genres in the UK field of electronic/dance music, 1985-1999

NARCIS (Netherlands)

van Venrooij, A.

2015-01-01

This paper proposes and tests a ‘cultural ecological’ model for explaining the emergence of 12 genres in the UK field of electronic/dance music. By combining two large data sets, containing more than eight thousand documents from the mainstream UK music press and discographical information on almost

The Ecology of Gahu : Participatory Music and Health Benefits of Ewe P erformanc e in a Canadian Drum and Dance Ensemble

Directory of Open Access Journals (Sweden)

Kathy Armstrong

2016-12-01

Full Text Available Ghanaian music and dance provide a rich environment for social interaction, which is a significant contributory factor to health and well-being, both for individuals and the communities in which they live. The vibrant and energetic drumming and dance of the popular Ewe piece Gahu offer numerous opportunities for participatory music-making, not only in Ghana but throughout the world, in performance, educational and community settings. Through video analysis and discussion of cross-disciplinary research, this article identifies the ecological factors present in a Canadian university performance of Gahu that play a positive role in the health of the students involved.

DANCE FOR CHILDREN: A FUNCTIONAL EDUCATION FOR ...

African Journals Online (AJOL)

the society and, to maintain growth and development of the child. Dance was ... expression in space through body movements and other dance elements to ... enjoy music and dancing just like their parents or the adults in the society. Children ...

The Origins of the "Fanga" Dance

Science.gov (United States)

Damm, Robert J.

2015-01-01

The "fanga" is a dance taught throughout the United States to children in elementary music classes, students in African dance classes, teachers in multicultural workshops, and professional dancers in touring ensembles. Although the history of the fanga is a path overgrown with myth, this article offers information about the dance's…

Arkansas Fine Arts Curriculum Framework. Strands: Visual Arts-Revised 2001; Music-Revised 2001; Dance; Theatre.

Science.gov (United States)

Arkansas State Dept. of Education, Little Rock.

This curriculum framework exists to guide the fine arts curriculum in grades K-12 in Arkansas public schools. The framework's student learning expectations are specific to what all students in those grades should know and be able to do in the arts (visual arts, music, dance, theater) during that span of years. The framework's content standards…

Dance is more than therapy: Qualitative analysis on therapeutic dancing classes for Parkinson's.

Science.gov (United States)

Rocha, Priscila A; Slade, Susan C; McClelland, Jodie; Morris, Meg E

2017-10-01

To understand the benefits and limitations of therapeutic dancing classes for people with Parkinson's disease (PD) and how best to design and implement classes. A stakeholder forum explored the opinions of 18 allied health clinicians, dance instructors, people with PD and caregivers. Data were thematically analysed and interpreted within a grounded theory framework. Four main themes were identified: (1) the need to consider the stage of disease progression when designing classes; (2) recognition that dance is more than just therapy; (3) the benefits of carefully selecting music to move by; (4) ways to design classes that are both feasible and engaging. These themes give rise to the theory that dancing classes can provide more than just therapeutic benefits. Dance affords creative expression and enables people to immerse themselves in the art-form, rather than focussing on the disease. The results highlight the benefits of enabling individuals with PD to be able to express themselves in a supportive environment that does not see them solely through the lens of Parkinson's. The feasibility of dance programs can be increased by educating dancing teachers about PD and the unique needs of people living with this condition. Well-structured dance classes can promote social-connectedness and joy, in addition to facilitating movement to music and physical activity. Consumers advised that careful planning of the classes and tailoring them to participant needs optimizes outcomes. Copyright © 2017 Elsevier Ltd. All rights reserved.

Sports dance artistic expression culture analysis

Directory of Open Access Journals (Sweden)

Chen Zegang

2017-01-01

Full Text Available At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, form, music, shape of the expressive force. In this paper, the study will be more in-depth excavation of the cultural connotation of sports dance, and promote the development of sports dance can be more comprehensive. In 20s of last century, Chinese Sports Dance Association officially joined the International Sports Dance Association, which also makes our country’s sports dance and international exchange more frequent. However, due to China’s sports dance sports dance learning time is not long, while learning is influenced by Chinese traditional culture, the sports dance movements are too conservative, there is a very large gap and international enthusiasm, bold and unrestrained, the pursuit of individual sports dance in the dance style, music and performance hand. Sports dance originated from abroad, it is produced in the daily life of people in foreign countries. China’s domestic sports dance players in learning dance at the same time, the production and the connotation of dance is not very understanding, therefore, it is difficult to better reflect the emotional expression of sports dance. Although the sports dance is a kind of similar to the competitive projects, but it is also a kind of dance culture, and to constitute a force from the dance art show a detailed study, detailed mining playing officer of sports dance performance further, reducing China’s sports dance and international sports dance gap.

Relationships between Flow Experience, Life Meaningfulness and Subjective Well-being in Music Students

Directory of Open Access Journals (Sweden)

Martin Sedlár

2014-01-01

Full Text Available The study examines relationships between flow experience in musical activities, life meaningfulness and subjective well – being. Life meaningfulness belongs to eudaimonic good life, subjective well–being belongs to hedonic good life and flow seems to be combination of both approaches. It is supposed that flow experience in musical activity and life meaningfulness should have positive impact on subjective well –being. The research sample consisted of 96 university music students (37 males, 59 females from the Music and Dance Faculty, Academy of Performing Arts in Bratislava, Slovakia. Dispositional Flow Scale–2, which measures nine dimension of flow, was used for measuring frequency o f flow experience. Life Meaningfulness Scale, which measures three dimensions of life meaningfulness, was used for measuring meaningfulness of life. Positive and Negative Affect Schedule measured affective components of subjective well–being, and Satisfaction with Life Scale measured cognitive component of subjective well–being. Categorization revealed that the most favourite performing musical activities are creative musical activities, such as reproduction and production, during which music students relatively often experience flow. The results of correlation analysis showed that total scores of flow experience, life meaningfulness and components of subjective well–being, significantly correlate each other. Aspects of flow, clear goals and autotelic experience are positively related to cognitive and motivational dimension of life meaningfulness and also to positive affectivity. Loss of self–consciousness and autotelic experience are positively related to emotional dimension of life meaningfulness. Challenge–skill balance, action–awareness merging, clear goals, concentration on task at hand, sense of control and autotelic experience are negatively related to negative affectivity. Challenge–skill balance and autotelic experience are related to

[Music therapy in adults with cochlear implants : Effects on music perception and subjective sound quality].

Science.gov (United States)

Hutter, E; Grapp, M; Argstatter, H

2016-12-01

People with severe hearing impairments and deafness can achieve good speech comprehension using a cochlear implant (CI), although music perception often remains impaired. A novel concept of music therapy for adults with CI was developed and evaluated in this study. This study included 30 adults with a unilateral CI following postlingual deafness. The subjective sound quality of the CI was rated using the hearing implant sound quality index (HISQUI) and musical tests for pitch discrimination, melody recognition and timbre identification were applied. As a control 55 normally hearing persons also completed the musical tests. In comparison to normally hearing subjects CI users showed deficits in the perception of pitch, melody and timbre. Specific effects of therapy were observed in the subjective sound quality of the CI, in pitch discrimination into a high and low pitch range and in timbre identification, while general learning effects were found in melody recognition. Music perception shows deficits in CI users compared to normally hearing persons. After individual music therapy in the rehabilitation process, improvements in this delicate area could be achieved.

Speaking without words: Zorba's dance

Directory of Open Access Journals (Sweden)

Hnaraki Maria

2009-01-01

Full Text Available Anthony Quinn 'teaching dance' on the island of Crete to the music of Mikis Theodorakis is a popular image that portrays Greeks as extremely emotional passionate and spontaneous. This paper shows the importance of dancing in Greek culture and how Greeks talk through their body by examining Kazantzakis character, Zorba, who 'has many things to say but would rather dance them'.

Student Experiences of "Soul Healing" in Music and Dance Performance Courses at The University of California, Los Angeles

OpenAIRE

Rann, Lara Diane

2015-01-01

This dissertation illuminates students’ experiences of “soul healing” through the cultivation of spirituality, self-love/ self-knowledge, mentorship, and community in the context of two UCLA courses: the Music and Dance of Ghana World Music Performance Ensemble, taught by master drummer Kobla Ladzekpo of the Anlo-Ewe ethnic group in Ghana, West Africa, and “Advanced Hip Hop,” taught by “street dance” pioneer and choreographer Rennie Harris, of Philadelphia, PA. My definition of soul healing ...

Dancing in the sun: The musical as touristic hook in ‘Honeymoon’

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Lidia Merás

2015-04-01

Full Text Available The British/Spanish co-production Honeymoon (Luna de miel, Michael Powell, 1959 is a curious case of an export for foreign audiences that won the Technical Grand Prize at the Cannes Film Festival yet was a commercial failure. Taking this now forgotten film as a case study, we will investigate the musical genre from a transnational perspective. Recently restored to its original length, Honeymoon includes compositions by Manuel de Falla and Sarasate, as well as performances by ballet dancer Ludmilla Tchérina and Spanish dance star Antonio (Ruiz Soler, both choreographed by Léonide Massine. We examine the interplay between national and transnational elements in a musical that tries to emulate the success of The Red Shoes (Michael Powell, Emeric Pressburger, 1948 by putting it in the context of the Spanish cultural and economic policies of promoting the country.

SEMIOTICS IN INDIGENOUS DANCE PERFORMANCES: EKELEKE ...

African Journals Online (AJOL)

Dean SPGS NAU

dance performance presents Ekwe people; situated in Isu local government ... Indigenous dance is not a luxury… it is part of each .... symbols for certain brand products in adverts. ... music, costumes, make-up, set lights and any other effects.

"Some like it hot": spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music.

Science.gov (United States)

Jola, Corinne; Pollick, Frank E; Calvo-Merino, Beatriz

2014-01-01

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer's physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators' properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators' physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators' reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences.

Some like it hot: Spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

Directory of Open Access Journals (Sweden)

Corinne eJola

2014-09-01

Full Text Available An integral part of dance is music. Over the last ten years, however, dance stimuli have been repeatedly used to study action observation processes without music, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with 3 different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective aesthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e. Bach, an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and aesthetic preferences.

Visual Timing of Structured Dance Movements Resembles Auditory Rhythm Perception

Science.gov (United States)

Su, Yi-Huang; Salazar-López, Elvira

2016-01-01

Temporal mechanisms for processing auditory musical rhythms are well established, in which a perceived beat is beneficial for timing purposes. It is yet unknown whether such beat-based timing would also underlie visual perception of temporally structured, ecological stimuli connected to music: dance. In this study, we investigated whether observers extracted a visual beat when watching dance movements to assist visual timing of these movements. Participants watched silent videos of dance sequences and reproduced the movement duration by mental recall. We found better visual timing for limb movements with regular patterns in the trajectories than without, similar to the beat advantage for auditory rhythms. When movements involved both the arms and the legs, the benefit of a visual beat relied only on the latter. The beat-based advantage persisted despite auditory interferences that were temporally incongruent with the visual beat, arguing for the visual nature of these mechanisms. Our results suggest that visual timing principles for dance parallel their auditory counterparts for music, which may be based on common sensorimotor coupling. These processes likely yield multimodal rhythm representations in the scenario of music and dance. PMID:27313900

“Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

Science.gov (United States)

Jola, Corinne; Pollick, Frank E.; Calvo-Merino, Beatriz

2014-01-01

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown between music and personality traits, here we aim to investigate how personality traits shape the appreciation of dance when this is presented with three different music/sounds. Therefore, we investigated the relationship between personality traits and the subjective esthetic experience of 52 spectators watching a 24 min lasting contemporary dance performance projected on a big screen containing three movement phrases performed to three different sound scores: classical music (i.e., Bach), an electronic sound-score, and a section without music but where the breathing of the performers was audible. We found that first, spectators rated the experience of watching dance without music significantly different from with music. Second, we found that the higher spectators scored on the Big Five personality factor openness, the more they liked the no-music section. Third, spectators’ physical experience with dance was not linked to their appreciation but was significantly related to high average extravert scores. For the first time, we showed that spectators’ reported entrainment to watching dance movements without music is strongly related to their personality and thus may need to be considered when using dance as a means to investigate action observation processes and esthetic preferences. PMID:25309393

"It don't mean a thing if it ain't got that swing"– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

Directory of Open Access Journals (Sweden)

Joachim Richter

2016-10-01

Full Text Available The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside proto-language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. If this behavior is universal, R&D must have an essential function in human evolution. Conceivable evolutionary functions of R&D include sexual attraction, transmission of mating signals, synchronization of many individuals, social bonding, appeasement of hostile individuals, pre- and extra-verbal communication, improvement of body coordination, as well as pain killing, anti-depressive, and anti-boredom functions. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Dance enables embodied individual and collective memorizing; in many cultures R&D are used for entering trance, a base for shamanism and early religions. Rhythm is necessary to codify human speech and dance encompasses gesture. In future studies attention should be paid to which attribute of music is focused and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

Dance and Special Education

Science.gov (United States)

Munsell, Sonya E.; Bryant Davis, Kimberly E.

2015-01-01

Arts activities have been included in the educational curriculum of public schools for a number of years. Most often, course offerings in the arts consist of visual art, vocal music, and instrumental music classes. Although not as common, dance has also been included in the educational curriculum. Research and anecdotal evidence suggest that…

Folk Music, Song and Dance in Bohemia and Moravia

Czech Academy of Sciences Publication Activity Database

Vejvoda, Zdeněk

2007-01-01

Roč. 10, č. 3 (2007), s. 14-23 ISSN 1211-0264 Institutional research plan: CEZ:AV0Z90580513 Keywords : Traditional Music * Roma Folk Music * Bagpipe * Dulcimer * Folklorism Subject RIV: AC - Archeology, Anthropology, Ethnology

Land of a Couple of Dances: Global and Local Influences on Freestyle Play in Dance Dance Revolution

Directory of Open Access Journals (Sweden)

Gillian

2006-01-01

Full Text Available This paper traces successful and unsuccessful attempts to shape the meanings of the video game Dance Dance Revolution, specifically with reference to what "dancing" means in this context, as the game moves between various interested parties - game developers, players, Internet forum participants, and other media producers. Drawing on Actor-Network Theory and the network analyses of Manuel Castells, the paper reconstructs the forces shaping players' stylistic decisions through an analysis of dance game machines and software, and of a single forum thread on DDRFreak.com, a major website in the dance game community. The paper asks who decides how DDR players dance and at what times? Are the decisions about play made in the development meeting, the arcade, competitions, online or around the home console? Globally, how do some regions or groups emerge as experts or leaders in play style? Analysis indicates that within the United States, Californian players from major cities dominate discussion, supported by the global flows of people, resources, and capital through the state. The dominant players support their stated norms for play through recourse to mainstream conceptions of masculinity, rap music and associated styles of dance.

Effects of dance on anxiety.

Science.gov (United States)

Lesté, A; Rust, J

1984-06-01

The study investigated the effects of modern dance on anxiety. State anxiety was assessed before and after a 3-mo. education programme, using the Spielberger State-Trait Anxiety Inventory. The target group followed a class in modern dance. Control groups were (1) a physical education group to control for the effects of exercise, (2) a music group to control for aesthetic sensitivity training, and (3) a mathematics group. Several concomitant variables were measured: age, sex, attitude towards dance, and previous experience in sport, dance, and relaxation. Dance training significantly reduced anxiety, but no control activities did so. Examination of the concomitant variables showed that the result could not be accounted for by any obvious artifacts.

THE INFLUENCE OF DANCE EXPERIMENTAL PROGRAM ON THE MUSICALITY LEVEL OF 1st_YEAR STUDENTS OF FACULTY OF SPORT AND PHYSICAL EDUCATION

Directory of Open Access Journals (Sweden)

Vukašin Badža

2009-11-01

Full Text Available This paper deals with possibilities of contribution to experts and scientists in physical education in the field of studying music and musical culture. The aim of this research was to determine changes of musicality developed during experimental pro- gram of dance. The tendency was also to compare data obtained upon initial and final measurements on of musicality test, on a sample of 104 male students on the firsth year in Faculty of Sport and Physical Education, University of Novi Sad. For assesment of musical and rhytmical abilities Seashore test was applied. According to obtained results differences in musical-rhytmical dimensions between initial and final measurements we- re p at the significance level of p=.01 respectively

"It Don't Mean a Thing if It Ain't Got that Swing"- an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings.

Science.gov (United States)

Richter, Joachim; Ostovar, Roya

2016-01-01

The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention.

Quantitative Assessment of Dance Therapy Infulence on the Parkinson’s Disease Patients’ Lower Limb Biomechanics

Directory of Open Access Journals (Sweden)

Donatas Lukšys

2017-01-01

Full Text Available Parkinson’s disease – progressive neurologic disorder that damages a variety of motor function and reduces the quality of life. Patients with PD are subject to various physical therapy exercises, but recently is applied more often the dance – music therapy. This study aims assessing the therapeutic effect of the modified Lindy Hop dance therapy on lower extremity biomechanics. The experimental study was performed using inertial sensors that registered lower extremity biomechanical parameters during gait. Several spatio-temporal parameters of lower limb were calculated and were found statistically significant between groups, which allows quantifying the influence of dance therapy.

The effect of dance training on menstrual function in collegiate dancing students.

Science.gov (United States)

To, W W; Wong, M W; Chan, K M

1995-08-01

A total of 98 dancing students from a collegiate school of dancing were studied through interview using a highly structured questionnaire to elicit details of the duration and intensity of dance training, menstrual patterns and musculoskeletal injuries sustained during training; 70 (72%) of these dancing students were eumenorrhoeic, while 15 (15.4%) had oligomenorrhoea. Thirteen (13.4%) either had amenorrhoea for over 90 days at the time of the study, or were on hormonal treatment because of amenorrhoea for over 3 months in the past 1 year. Those who were amenorrhoeic had longer training hours per week when compared with eumenorrhoeic and oligomenorrhoeic students. Both oligomenorrhoeic and amenorrhoeic students had a lower body mass index (18.25 kg/m2 and 18.26 kg/m2 versus 19.45 kg/m2, p dance, modern dance and musical theatre dance students as well as a significantly lower average body mass index. These data suggest a proportional correlation between menstrual dysfunction and proneness to musculoskeletal injuries in training, which could be explained by a hormonal mechanism.

The musical brain: brain waves reveal the neurophysiological basis of musicality in human subjects.

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Tervaniemi, M; Ilvonen, T; Karma, K; Alho, K; Näätänen, R

1997-04-18

To reveal neurophysiological prerequisites of musicality, auditory event-related potentials (ERPs) were recorded from musical and non-musical subjects, musicality being here defined as the ability to temporally structure auditory information. Instructed to read a book and to ignore sounds, subjects were presented with a repetitive sound pattern with occasional changes in its temporal structure. The mismatch negativity (MMN) component of ERPs, indexing the cortical preattentive detection of change in these stimulus patterns, was larger in amplitude in musical than non-musical subjects. This amplitude enhancement, indicating more accurate sensory memory function in musical subjects, suggests that even the cognitive component of musicality, traditionally regarded as depending on attention-related brain processes, in fact, is based on neural mechanisms present already at the preattentive level.

Dancing on Thin Ice: The Journey of Two Male Teacher Candidates Emerging as Professionals within a Teacher Education Dance Program

Science.gov (United States)

Kalyn, Brenda; Campbell, Eric; McAvoy, Alekcei; Weimer, Michelle

2015-01-01

Teacher candidates entering the world of curricula face the realities of teaching a variety of subjects, some more conceptually foreign than others. One challenging area for teacher candidates, particularly males, is in dance education (Gard, 2008; Kiley, 2010). A teacher's former dance experience, beliefs about who dances and why, personal…

Short-term music-induced hearing loss after sound exposure to discotheque music: the effectiveness of a break in reducing temporary threshold shift.

Science.gov (United States)

Helleman, Hiske W; Dreschler, Wouter A

2015-02-01

To investigate the effect of a break in music exposure on temporary threshold shifts. A cross-over design where subjects are exposed to dance music for either two hours consecutively, or exposed to two hours of dance music with a one-hour break in between. Outcome measure was the change in hearing threshold, measured in 1-dB steps at different time points after ending the music. Eighteen normal-hearing subjects participated in this study. Changes in pure-tone threshold were observed in both conditions and were similar, regardless of the break. Threshold shifts could be averaged for 1000, 2000, and 4000 Hz. The shift immediately after the ending of the music was 1.7 dB for right ears, and 3.4 dB for left ears. The difference between left and right ears was significant. One hour after the exposure, right ears were recovered to baseline conditions whereas left ears showed a small but clinically irrelevant remaining shift of approximately 1 dB. The advice to use chill-out zones is still valid, because this helps to reduce the duration to the exposure. This study does not provide evidence that a rest period gives an additional reduction of temporary threshold shifts.

Elements of characterology in folklore music of Dinaric area

Directory of Open Access Journals (Sweden)

Kenjalović Milorad

2012-01-01

Full Text Available Dinaric type of man, with all its anthropological, genetic and psychological characteristics presents an orthodox example of patriarchal upbringing and tradition. Regardless of their patriarchalism and apparent insensitivity to other people, in almost every element of their intellectual work (music, dance, sazings, etc. the fleshly and instinctive, that had to be satisfied regardless of all bans and restraints, and the message doubtless confirms that he did live in accordance with instincts, but at the same time he had to respect criteria of patriarchal moral. In this work the autors cite several songs from this area and analyze it from the perspective of psychology and characterology, finding the elements of love joy and sorrow, cure, passion, women shyness, etc.

Embodied Subjectivities: Nine Young Women Talking Dance

Science.gov (United States)

O'Flynn, Gabrielle; Pryor, Zoe; Gray, Tonia

2013-01-01

The purpose of this paper is to examine nine Australian young women's embodied experiences of dance. The young women were all amateur dancers involved in weekly jazz, tap, and ballet dance classes at the same dance studio. In this paper, embodiment is defined as multidimensional (Burkitt 1999). The authors explore the ways the corporeal and the…

Drug and alcohol-impaired driving among electronic music dance event attendees.

Science.gov (United States)

Furr-Holden, Debra; Voas, Robert B; Kelley-Baker, Tara; Miller, Brenda

2006-10-15

Drug-impaired driving has received increased attention resulting from development of rapid drug-screening procedures used by police and state laws establishing per se limits for drug levels in drivers. Venues that host electronic music dance events (EMDEs) provide a unique opportunity to assess drug-impaired driving among a high proportion of young adult drug users. EMDEs are late-night dance parties marked by a substantial number of young adult attendees and elevated drug involvement. No studies to date have examined drug-impaired driving in a natural environment with active drug and alcohol users. Six EMDEs were sampled in San Diego, California, and Baltimore, Maryland. A random sample of approximately 40 attendees per event were administered surveys about alcohol and other drug (AOD) use and driving status, given breath tests for alcohol, and asked to provide oral fluid samples to test for illicit drug use upon entering and exiting the events. Driving status reduced the level of alcohol use (including abstaining) but the impact on drug-taking was not significant. However, 62% of individuals who reported their intention to drive away from the events were positive for drugs or alcohol upon leaving. This suggests that these events and settings are appropriate ones for developing interventions for reducing risks for young adults.

One in the Dance: Musical Correlates of Group Synchrony in a Real-World Club Environment.

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Melissa Ellamil

Full Text Available Previous research on interpersonal synchrony has mainly investigated small groups in isolated laboratory settings, which may not fully reflect the complex and dynamic interactions of real-life social situations. The present study expands on this by examining group synchrony across a large number of individuals in a naturalistic environment. Smartphone acceleration measures were recorded from participants during a music set in a dance club and assessed to identify how group movement synchrony covaried with various features of the music. In an evaluation of different preprocessing and analysis methods, giving more weight to front-back movement provided the most sensitive and reliable measure of group synchrony. During the club music set, group synchrony of torso movement was most strongly associated with pulsations that approximate walking rhythm (100-150 beats per minute. Songs with higher real-world play counts were also correlated with greater group synchrony. Group synchrony thus appears to be constrained by familiarity of the movement (walking action and rhythm and of the music (song popularity. These findings from a real-world, large-scale social and musical setting can guide the development of methods for capturing and examining collective experiences in the laboratory and for effectively linking them to synchrony across people in daily life.

One in the Dance: Musical Correlates of Group Synchrony in a Real-World Club Environment.

Science.gov (United States)

Ellamil, Melissa; Berson, Joshua; Wong, Jen; Buckley, Louis; Margulies, Daniel S

2016-01-01

Previous research on interpersonal synchrony has mainly investigated small groups in isolated laboratory settings, which may not fully reflect the complex and dynamic interactions of real-life social situations. The present study expands on this by examining group synchrony across a large number of individuals in a naturalistic environment. Smartphone acceleration measures were recorded from participants during a music set in a dance club and assessed to identify how group movement synchrony covaried with various features of the music. In an evaluation of different preprocessing and analysis methods, giving more weight to front-back movement provided the most sensitive and reliable measure of group synchrony. During the club music set, group synchrony of torso movement was most strongly associated with pulsations that approximate walking rhythm (100-150 beats per minute). Songs with higher real-world play counts were also correlated with greater group synchrony. Group synchrony thus appears to be constrained by familiarity of the movement (walking action and rhythm) and of the music (song popularity). These findings from a real-world, large-scale social and musical setting can guide the development of methods for capturing and examining collective experiences in the laboratory and for effectively linking them to synchrony across people in daily life.

Library Resources in Special Areas of Music: Film Music.

Science.gov (United States)

Wright, H. Stephen

Intended as an orientation for music librarians unfamiliar with the film music field, this presentation addresses the most common film music questions received from library patrons, including queries about composers, soundtrack albums, the subject of the music, and scores, and describes the basic film music reference sources to consult for…

The evolution of dance.

Science.gov (United States)

Laland, Kevin; Wilkins, Clive; Clayton, Nicky

2016-01-11

Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation. Copyright © 2016 Elsevier Ltd. All rights reserved.

Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People

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Pauline Tranchant

2017-09-01

Full Text Available The ability to dance relies on the ability to synchronize movements to a perceived musical beat. Typically, beat synchronization is studied with auditory stimuli. However, in many typical social dancing situations, music can also be perceived as vibrations when objects that generate sounds also generate vibrations. This vibrotactile musical perception is of particular relevance for deaf people, who rely on non-auditory sensory information for dancing. In the present study, we investigated beat synchronization to vibrotactile electronic dance music in hearing and deaf people. We tested seven deaf and 14 hearing individuals on their ability to bounce in time with the tempo of vibrotactile stimuli (no sound delivered through a vibrating platform. The corresponding auditory stimuli (no vibrations were used in an additional condition in the hearing group. We collected movement data using a camera-based motion capture system and subjected it to a phase-locking analysis to assess synchronization quality. The vast majority of participants were able to precisely time their bounces to the vibrations, with no difference in performance between the two groups. In addition, we found higher performance for the auditory condition compared to the vibrotactile condition in the hearing group. Our results thus show that accurate tactile-motor synchronization in a dance-like context occurs regardless of auditory experience, though auditory-motor synchronization is of superior quality.

Visualizing Music: The Archaeology of Music-Video.

Science.gov (United States)

Berg, Charles M.

Music videos, with their characteristic visual energy and frenetic music-and-dance numbers, have caught on rapidly since their introduction in 1981, bringing prosperity to a slumping record industry. Creating images to accompany existing music is, however, hardly a new idea. The concept can be traced back to 1877 and Thomas Edison's invention of…

“It Don’t Mean a Thing if It Ain’t Got that Swing”– an Alternative Concept for Understanding the Evolution of Dance and Music in Human Beings

Science.gov (United States)

Richter, Joachim; Ostovar, Roya

2016-01-01

The functions of dance and music in human evolution are a mystery. Current research on the evolution of music has mainly focused on its melodic attribute which would have evolved alongside (proto-)language. Instead, we propose an alternative conceptual framework which focuses on the co-evolution of rhythm and dance (R&D) as intertwined aspects of a multimodal phenomenon characterized by the unity of action and perception. Reviewing the current literature from this viewpoint we propose the hypothesis that R&D have co-evolved long before other musical attributes and (proto-)language. Our view is supported by increasing experimental evidence particularly in infants and children: beat is perceived and anticipated already by newborns and rhythm perception depends on body movement. Infants and toddlers spontaneously move to a rhythm irrespective of their cultural background. The impulse to dance may have been prepared by the susceptibility of infants to be soothed by rocking. Conceivable evolutionary functions of R&D include sexual attraction and transmission of mating signals. Social functions include bonding, synchronization of many individuals, appeasement of hostile individuals, and pre- and extra-verbal communication enabling embodied individual and collective memorizing. In many cultures R&D are used for entering trance, a base for shamanism and early religions. Individual benefits of R&D include improvement of body coordination, as well as painkilling, anti-depressive, and anti-boredom effects. Rhythm most likely paved the way for human speech as supported by studies confirming the overlaps between cognitive and neural resources recruited for language and rhythm. In addition, dance encompasses visual and gestural communication. In future studies attention should be paid to which attribute of music is focused on and that the close mutual relation between R&D is taken into account. The possible evolutionary functions of dance deserve more attention. PMID:27774058

An Introduction to the Dance of India, China, Korea, Japan.

Science.gov (United States)

Gordon, Beate; Gordon, Joseph

The general aim of this booklet is to assist those who desire to increase their knowledge and appreciation of Asian cultures and, more specifically, to provide an additional dimension to the Asia Society's Dance Demonstration Program. Dance history, philosophical ideas of religion, accompanying rituals, the relationship of dance to music, and…

Music Preferences, Friendship, and Externalizing Behavior in Early Adolescence: A SIENA Examination of the Music Marker Theory Using the SNARE Study.

Science.gov (United States)

Franken, Aart; Keijsers, Loes; Dijkstra, Jan Kornelis; Ter Bogt, Tom

2017-08-01

Music Marker Theory posits that music is relevant for the structuring of peer groups and that rock, urban, or dance music preferences relate to externalizing behavior. The present study tested these hypotheses, by investigating the role of music preference similarity in friendship selection and the development of externalizing behavior, while taking the effects of friends' externalizing behavior into account. Data were used from the first three waves of the SNARE (Social Network Analysis of Risk behavior in Early adolescence) study (N = 1144; 50% boys; M age  = 12.7; SD = 0.47), including students who entered the first-year of secondary school. Two hypotheses were tested. First, adolescents were expected to select friends based both on a similarity in externalizing behavior and music genre preference. Second, a preference for rock, urban, or dance, music types was expected to predict the development of externalizing behavior, even when taking friends' influence on externalizing behavior into account. Stochastic Actor-Based Modeling indicated that adolescents select their friends based on both externalizing behavior and highbrow music preference. Moreover, both friends' externalizing behavior and a preference for dance music predicted the development of externalizing behavior. Intervention programs might focus on adolescents with dance music preferences.

Paradigms of Communication in Performance and Dance Studies

OpenAIRE

Popa Blanariu, Nicoleta

2015-01-01

In her article "Paradigms of Communication in Performance and Dance Studies" Nicoleta Popa Blanariu approaches from an interdisciplinary perspective the measure in which performing arts (theater, music, ballet, Indian classical dance, folk dance, etc.), as well as ritual performance constitute a corpus that may be analysed by means of theoretical and conceptual tools in communication studies and semiotics. Popa Blanariu analyses the relation between signification and communication in performi...

Bulgarian folk dances at CERN

CERN Multimedia

Roberto Cantoni

2010-01-01

On Sunday 29 August, the Bulgarian folklore dance group Rhythm visited CERN. After their visit to the ATLAS visitor centre and the SM18 hall, they performed a show in the Pump Room, introducing CERN people to the musical traditions of their country.   The visit of the Bulgarian dance group was organized by Zornitsa Zaharieva, a member of the Beams Department, and Svejina Dimitrova, Director of the Varna Astronomical Observatory. “The students were enthusiastic about the opportunity to visit CERN”, says Zornitsa. “The idea of the performance came from the dance group itself, who wanted to express their gratitude for being given this chance”. The group, comprising around 25 children aged between 11 and 16 from the city of Varna, was hosted by the CERN Dancing Club. For their show, the young dancers, choreographed by Tashka Pavlova, performed traditional dances and songs from different Bulgarian regions. “As a member of the CERN Dancing Club com...

Dance on cortex: enhanced theta synchrony in experts when watching a dance piece.

Science.gov (United States)

Poikonen, Hanna; Toiviainen, Petri; Tervaniemi, Mari

2018-03-01

When watching performing arts, a wide and complex network of brain processes emerge. These processes can be shaped by professional expertise. When compared to laymen, dancers have enhanced processes in observation of short dance movement and listening to music. But how do the cortical processes differ in musicians and dancers when watching an audio-visual dance performance? In our study, we presented the participants long excerpts from the contemporary dance choreography of Carmen. During multimodal movement of a dancer, theta phase synchrony over the fronto-central electrodes was stronger in dancers when compared to musicians and laymen. In addition, alpha synchrony was decreased in all groups during large rapid movement when compared to nearly motionless parts of the choreography. Our results suggest an enhanced cortical communication in dancers when watching dance and, further, that this enhancement is rather related to multimodal, cognitive and emotional processes than to simple observation of dance movement. © 2018 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

How Musical We Are: John Blacking on Music, Education, and Cultural Understanding.

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Campbell, Patricia Shehan

2000-01-01

Offers a biographic profile on the life of John Blacking who was a distinguished music scholar. Explores his approach to the study of children as a distinctive musical culture and the nature of their musicality; the role of physical movement and dance in musical experience; and the development of world music in education. (CMK)

We think you can dance! A pilot randomised controlled trial of dance for nursing home residents with moderate to severe dementia.

Science.gov (United States)

Low, L F; Carroll, S; Merom, D; Baker, J R; Kochan, N; Moran, F; Brodaty, H

2016-12-01

To evaluate the feasibility of a dance program for people with moderate to severe dementia living in nursing homeswith regards to recruitment and retention, assessment tools, intervention safety, attendance and engagement. Pilot randomised controlled trial with assessments at weeks 0, 16 and 32. A nursing home in Sydney, Australia. Experienced dance teachers conducted dance groups (intervention) or music appreciation and socialisation groups (control) for 45min, three times a week for 16 weeks. Descriptive statistics for recruitment and retention, adverse events and attendance and engagement. Recruitment was smooth, attrition was17% over 32 weeks. Engagement during the sessions was high, and no serious falls or behavioural incidents occurred. Average attendance was poorer than anticipated for dance groups (67%) in comparison to music groups (89%). A ceiling effect on the Severe Impairment Battery and the logistical challenges of the Clinical Global Impression of Change meant they may not be optimal tools. It is feasible to conduct a study of group dance for people with moderate to severe dementia in residential care. Choice of attention control condition should be reconsidered. Copyright © 2016 Elsevier Ltd. All rights reserved.

Neural Correlates of Musical Creativity: Differences between High and Low Creative Subjects

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Villarreal, Mirta F.; Cerquetti, Daniel; Caruso, Silvina; Schwarcz López Aranguren, Violeta; Gerschcovich, Eliana Roldán; Frega, Ana Lucía; Leiguarda, Ramón C.

2013-01-01

Previous studies of musical creativity suggest that this process involves multi-regional intra and interhemispheric interactions, particularly in the prefrontal cortex. However, the activity of the prefrontal cortex and that of the parieto-temporal regions, seems to depend on the domains of creativity that are evaluated and the task that is performed. In the field of music, only few studies have investigated the brain process of a creative task and none of them have investigated the effect of the level of creativity on the recruit networks. In this work we used magnetic resonance imaging to explore these issues by comparing the brain activities of subjects with higher creative abilities to those with lesser abilities, while the subjects improvised on different rhythmic fragments. We evaluated the products the subjects created during the fMRI scan using two musical parameters: fluidity and flexibility, and classified the subjects according to their punctuation. We examined the relation between brain activity and creativity level. Subjects with higher abilities generated their own creations based on modifications of the original rhythm with little adhesion to it. They showed activation in prefrontal regions of both hemispheres and the right insula. Subjects with lower abilities made only partial changes to the original musical patterns. In these subjects, activation was only observed in left unimodal areas. We demonstrated that the activations of prefrontal and paralimbic areas, such as the insula, are related to creativity level, which is related to a widespread integration of networks that are mainly associated with cognitive, motivational and emotional processes. PMID:24069414

Writing and Music: Album Liner Notes

OpenAIRE

Biron, Dean Leonard

2011-01-01

A deceptive aspect of the ‘writing about music is like dancing about architecture’ cliché is the function of the preposition ‘about’. Literature and music, dance and architecture, painting and film – all are discrete aesthetic forms that nonetheless simultaneously feed off and provide nourishment for each other as part of art’s perpetual drive toward diversity and innovation. Nowhere is the aptness of the association between writing and music more obvious than in the phenomenon of album liner...

Effects on interpersonal memory of dancing in time with others

OpenAIRE

Matthew Harold Woolhouse; Dan eTidhar; Ian eCross

2016-01-01

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim), 2-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colours and symbols). In each trial, 10 dancers wore radio headphones and one of 4 different coloured sashes, half of which carried cat symbols. Using silent-disco technology, one t...

Illnesses and deaths among persons attending an electronic dance-music festival - New York City, 2013.

Science.gov (United States)

Ridpath, Alison; Driver, Cynthia R; Nolan, Michelle L; Karpati, Adam; Kass, Daniel; Paone, Denise; Jakubowski, Andrea; Hoffman, Robert S; Nelson, Lewis S; Kunins, Hillary V

2014-12-19

Outdoor electronic dance-music festivals (EDMFs) are typically summer events where attendees can dance for hours in hot temperatures. EDMFs have received increased media attention because of their growing popularity and reports of illness among attendees associated with recreational drug use. MDMA (3,4-methylenedioxymethamphetamine) is one of the drugs often used at EDMFs. MDMA causes euphoria and mental stimulation but also can cause serious adverse effects, including hyperthermia, seizures, hyponatremia, rhabdomyolysis, and multiorgan failure. In this report, MDMA and other synthetic drugs commonly used at dance festivals are referred to as "synthetic club drugs." On September 1, 2013, the New York City (NYC) Department of Health and Mental Hygiene (DOHMH) received reports of two deaths of attendees at an EDMF (festival A) held August 31-September 1 in NYC. DOHMH conducted an investigation to identify and characterize adverse events resulting in emergency department (ED) visits among festival A attendees and to determine what drugs were associated with these adverse events. The investigation identified 22 cases of adverse events; nine cases were severe, including two deaths. Twenty-one (95%) of the 22 patients had used drugs or alcohol. Of 17 patients with toxicology testing, MDMA and other compounds were identified, most frequently methylone, in 11 patients. Public health messages and strategies regarding adverse health events might reduce illnesses and deaths at EDMFs.

Exposure to classroom sound pressure level among dance teachers in Porto Alegre (RS

Directory of Open Access Journals (Sweden)

Nehring, Cristiane

2013-01-01

Full Text Available Introduction: Dance teachers are exposed to high sound intensities. Aim: To verify the sound intensity of music used by dance teachers during classes. Method: This was a transversal and prospective study. Dance teachers were evaluated with a sociodemographic questionnaire, and sound intensity level measurements were taken at the beginning, middle, and end of dance classes. Results: The sample comprised 35 teachers (average age, 31.8 years. The duration of their career as dance teachers was 1-37 years; they worked daily for approximately 1-10 h. Among the classes followed, there were 15 (42.85% classical ballet classes, 4 (11.42% tap dancing lessons, 5 (14.28% jazz dance classes, 2 (5.71 Arab dance lessons, 6 (17.14% street dance classes, and 3 (8.57% ballroom dancing lessons. The average values observed at the beginning, middle, and end of the classes were 80.91 dB (A, 83.22 dB (A, and 85.19 dB (A, respectively. The music played in the street dance classes exposed teachers to the highest sound intensity. Conclusion: The average level of sound intensity of the dance classes in this study was either below or equal to the limit considered harmful for hearing health. Analysis of different class types showed that the sound densities of street, ballroom, and tap dance classes were above the recommended limits.

Clubbing masculinities: gender shifts in gay men's dance floor choreographies.

Science.gov (United States)

Peterson, Grant Tyler

2011-01-01

This article adopts an interdisciplinary approach to understanding the intersections of gender, sexuality, and dance. It examines the expressions of sexuality among gay males through culturally popular forms of club dancing. Drawing on political and musical history, I outline an account of how gay men's gendered choreographies changed throughout the 1970s, 80s, and 90s. Through a notion of "technologies of the body," I situate these developments in relation to cultural levels of homophobia, exploring how masculine expressions are entangled with and regulated by musical structures. My driving hypothesis is that as perceptions of cultural homophobia decrease, popular choreographies of gay men's dance have become more feminine in expression. Exploring this idea in the context of the first decade of the new millennium, I present a case study of TigerHeat, one of the largest weekly gay dance club events in the United States.

Writing and Music: Album Liner Notes

Directory of Open Access Journals (Sweden)

Dean Leonard Biron

2011-09-01

Full Text Available A deceptive aspect of the ‘writing about music is like dancing about architecture’ cliché is the function of the preposition ‘about’. Literature and music, dance and architecture, painting and film – all are discrete aesthetic forms that nonetheless simultaneously feed off and provide nourishment for each other as part of art’s perpetual drive toward diversity and innovation. Nowhere is the aptness of the association between writing and music more obvious than in the phenomenon of album liner notes. Rather than merely an attempt at describing or translating musical experience, liner notes contribute to the dialogue between composer and listener and are a significant part of the culture of contemporary music.

Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

OpenAIRE

Julian Gerstin

2004-01-01

Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as ...

Dinaka/kiba: A descriptive analysis of a Northern Sotho song-dance ...

African Journals Online (AJOL)

A disjuncture in the description of persists between practitioners of the genre, deemed custodians of Northern Sotho culture, and some scholars. Drawing from extensive fieldwork and ... song-dance performative compound. Keywords: Indigenous music, African drumming, African performance, African folklore, African dance.

Effects on Inter-Personal Memory of Dancing in Time with Others

OpenAIRE

Woolhouse, Matthew H.; Tidhar, Dan; Cross, Ian

2016-01-01

We report an experiment investigating whether dancing to the same music enhances recall of person-related memory targets. The experiment used 40 dancers (all of whom were unaware of the experiment’s aim), two-channel silent-disco radio headphones, a marked-up dance floor, two types of music, and memory targets (sash colors and symbols). In each trial, 10 dancers wore radio headphones and one of four different colored sashes, half of which carried cat symbols. Using silent-disco technology, on...

Tango or Waltz?: Putting Ballroom Dance Style into Tempo Detection

Directory of Open Access Journals (Sweden)

Gerhard Rigoll

2008-05-01

Full Text Available Rhythmic information plays an important role in Music Information Retrieval. Example applications include automatically annotating large databases by genre, meter, ballroom dance style or tempo, fully automated D.J.-ing, and audio segmentation for further retrieval tasks such as automatic chord labeling. In this article, we therefore provide an introductory overview over basic and current principles of tempo detection. Subsequently, we show how to improve on these by inclusion of ballroom dance style recognition. We introduce a feature set of 82 rhythmic features for rhythm analysis on real audio. With this set, data-driven identification of the meter and ballroom dance style, employing support vector machines, is carried out in a first step. Next, this information is used to more robustly detect tempo. We evaluate the suggested method on a large public database containing 1.8 k titles of standard and Latin ballroom dance music. Following extensive test runs, a clear boost in performance can be reported.

The Identity and the Dilemma of the Malay Music-Culture of the Urang Pulo Islanders of the Banyak Archipelago, Sumatra: An Ethnographic, Socio-Historical and Music-Analytical Study

OpenAIRE

Palawi, Ari

2017-01-01

This thesis investigates the music-cultural identity and conservational dilemma of the hitherto un-researched music-culture of the Islanders (Urang Pulo) of the Banyak Archipelago in Aceh-Singkil Regency off the west coast of Aceh, Indonesia. The Islanders’ dominant concept of identity is coloured by their dominant sikambang music, dance and legend, history of cultural contact with west-coastal Sumatran Malay and offshore island area, Niasan and Simeulue immigration to th...

Definition of dance and dance movement therapy: overview of dance styles and their application for the scopes of the dance movement therapy in different countries and cultures

OpenAIRE

Di Dio, Kristina

2017-01-01

The master thesis discusses the areas of dance and dance movement therapy. Moreover it presents an overview of the artistic dance, which is applied for therapeutic treatment purposes. Furthermore, it defines concepts and dance genres that are present within different dance movement therapy approaches. Dance description is further elaborated in those chapters dedicated to the understanding and development of dance movement therapy. The thesis presents different dance genres and forms, whi...

Merging the arts of song and dance: New methodical options for teaching students within the disciplines of song and dance

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Johanne Karen Hagen

2017-01-01

Full Text Available To learn, acquire knowledge, and develop skills is an embodied process. In this article, the authors argue that merging the fields of song and dance is dependent on a deeper understanding of how the mind and the body interact, and they utilize the concept of enactive cognition to explain these processes. The authors maintain that students need insight into these processes in order to improve their learning and, consequently, their performance. Retrospective examples taken from three educational situations within the musical theatre context elucidate the discussion of the concepts of alignment and breathing. These frequently used concepts are often a source of confusion and misunderstanding for the student. To alleviate this, a stronger, interdisciplinary dialogue among the singing and dance teachers who are involved in the genre of musical theatre needs to be developed. The authors suggest collaborative teaching as a means to develop the teaching methods and as the pathway to attaining a common base when integrating the skills of singing and dancing.

Music, singing and dancing in relation to the use of the harp and the ram’s horn or shofar in the Bible: What do we know about this?

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Morakeng E.K. Lebaka

2014-10-01

Full Text Available There are many possible approaches to describing the effects and uses of music in a particular society. It would be a mistake to assume that music in the Bible is not the cement of social life and has no liturgical significance. The present study seeks to explore how people in ancient times employed music using the harp and the ram’s horn (shofar, to cope with roles that were open or never-ending in their demands. In particular, it focuses upon the role played by music in secular life as well as religious rituals, as described in the Bible. The method used was an extensive literature study of the Old and New Testament, textbooks and relevant peer reviewed journals, with a focus on both secular and religious reasons for singing, dancing and playing instruments. It was found that the Bible described the use of the harp and the ram’s horn associated with singing and dancing during celebrations, for military use, as well as mourning or lamentation. It was concluded that music using different instruments, including the harp and shofar, helped people to cope with the demands of everyday life and thus played an important role in both secular life and religious rituals in biblical times.

Tangled roots: Kalenda and other neo-African dances in the circum-Caribbean

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Julian Gerstin

2004-01-01

Full Text Available Investigates descriptions of Afro-Caribbean dances in early chronicles and historical material. Author focuses on choreography, as well as on musical instruments and their use. He pays special attention to descriptions of the Martinican kalenda dance. He discusses descriptions from the 18th c. of black Caribbean dance in French and other colonies, by priests and others, of the kalenda as a couple dance within a ring, and descriptions of other widespread early dances in the Caribbean, such as chica. Author notes that in these early descriptions the authors focus obsessively on eroticism, thus simplifying and exaggerating the dances as sexual, and ignoring their variety. Further, he analyses early chronicles on other widespread dances in the circum-Caribbean, such as stick-fighting dances, bamboula, djouba, and belair, comparing with present-day Caribbean dances, and on "challenge dancing" involving a dance soloist "challenged" by a lead drummer, found, for instance, in kalenda and rumba. In addition, the author focuses on the dances' musical accompaniment by drums, and the drum types and methods, specifically transverse drumming and drumming with sticks on the side of the drum, found today in kalenda, and other Caribbean styles. He points at the inaccuracy of some chronicles, mixing up dance names, and recurring superficiality and stereotypes. He nonetheless concludes from them that slaves from the Congo/Angola region probably played a crucial role in forming these early dance styles, and that their spread was connected with French colonialism and slavery and migrations from (once French colonies. He describes probable Congolese/Angolan influences, such as pelvic isolation, challenge dances, couple dancing within a circle, and transverse drumming, but indicates that these are over time combined with other African and other influences.

Dance Therapy: Focus on Dance VII.

Science.gov (United States)

Mason, Kathleen Criddle, Ed.

This document is a collection of essays by various authors on the subject of dance therapy. Dance therapy, in the introduction of this document, is defined as a form of psychotherapy in which the therapist utilizes movement interaction as the primary means of accomplishing therapeutic goals. The document is divided into five parts: a)…

The Dance Within: A Pilot Project in Dance for the Handicapped and Teaching Dance for the Handicapped: A Curriculum Guide.

Science.gov (United States)

Michigan Dance Association, Lansing.

The Michigan Dance Association's Dance Project for the Handicapped is the subject of the two pamphlets that make up this document. The first pamphlet, "The Dance Within," describes the history, nature and goals of the Jackson Pilot Project, the first handicapped dance program in Michigan; it also offers suggestions on how to set up similar…

Young people's topography of musical functions: personal, social and cultural experiences with music across genders and six societies.

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Boer, Diana; Fischer, Ronald; Tekman, Hasan Gürkan; Abubakar, Amina; Njenga, Jane; Zenger, Markus

2012-01-01

How can we understand the uses of music in daily life? Music is a universal phenomenon but with significant interindividual and cultural variability. Listeners' gender and cultural background may influence how and why music is used in daily life. This paper reports the first investigation of a holistic framework and a new measure of music functions (RESPECT-music) across genders and six diverse cultural samples (students from Germany, Kenya, Mexico, New Zealand, Philippines, and Turkey). Two dimensions underlie the mental representation of music functions. First, music can be used for contemplation or affective functions. Second, music can serve intrapersonal, social, and sociocultural functions. Results reveal that gender differences occur for affective functions, indicating that female listeners use music more for affective functions, i.e., emotional expression, dancing, and cultural identity. Country differences are moderate for social functions (values, social bonding, dancing) and strongest for sociocultural function (cultural identity, family bonding, political attitudes). Cultural values, such as individualism-collectivism and secularism-traditionalism, can help explain cross-cultural differences in the uses of music. Listeners from more collectivistic cultures use music more frequently for expressing values and cultural identity. Listeners from more secular and individualistic cultures like to dance more. Listeners from more traditional cultures use music more for expressing values and cultural identity, and they bond more frequently with their families over music. The two dimensions of musical functions seem systematically underpinned by listeners' gender and cultural background. We discuss the uses of music as behavioral expressions of affective and contemplative as well as personal, social, and sociocultural aspects in terms of affect proneness and cultural values.

Performance of Music Elevates Pain Threshold and Positive Affect: Implications for the Evolutionary Function of Music

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R.I.M. Dunbar

2012-10-01

Full Text Available It is well known that music arouses emotional responses. In addition, it has long been thought to play an important role in creating a sense of community, especially in small scale societies. One mechanism by which it might do this is through the endorphin system, and there is evidence to support this claim. Using pain threshold as an assay for CNS endorphin release, we ask whether it is the auditory perception of music that triggers this effect or the active performance of music. We show that singing, dancing and drumming all trigger endorphin release (indexed by an increase in post-activity pain tolerance in contexts where merely listening to music and low energy musical activities do not. We also confirm that music performance results in elevated positive (but not negative affect. We conclude that it is the active performance of music that generates the endorphin high, not the music itself. We discuss the implications of this in the context of community bonding mechanisms that commonly involve dance and music-making.

Performance of music elevates pain threshold and positive affect: implications for the evolutionary function of music.

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Dunbar, R I M; Kaskatis, Kostas; MacDonald, Ian; Barra, Vinnie

2012-10-22

It is well known that music arouses emotional responses. In addition, it has long been thought to play an important role in creating a sense of community, especially in small scale societies. One mechanism by which it might do this is through the endorphin system, and there is evidence to support this claim. Using pain threshold as an assay for CNS endorphin release, we ask whether it is the auditory perception of music that triggers this effect or the active performance of music. We show that singing, dancing and drumming all trigger endorphin release (indexed by an increase in post-activity pain tolerance) in contexts where merely listening to music and low energy musical activities do not. We also confirm that music performance results in elevated positive (but not negative) affect. We conclude that it is the active performance of music that generates the endorphin high, not the music itself. We discuss the implications of this in the context of community bonding mechanisms that commonly involve dance and music-making.

Dance therapy for individuals with Parkinson's disease: improving quality of life

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Hackney ME

2014-02-01

Full Text Available Madeleine E Hackney,1–3 Crystal G Bennett4,5 1Veterans Affairs Rehabilitation R&D Center of Excellence, Atlanta, GA, USA; 2Birmingham-Atlanta VA Geriatric Research, Education and Clinical Center, Decatur, GA, USA; 3Division of General Medicine and Geriatrics, Department of Medicine, Emory University School of Medicine, Atlanta, GA, USA; 4Department of Nursing, University of West Florida, Pensacola, FL, USA; 5Department of Adult and Elderly Nursing, College of Nursing, University of Florida, Gainesville, FL, USA Abstract: Parkinson's disease (PD affects mobility and health-related quality of life (HRQOL, through a neurodegenerative disease process. Drugs and pharmacology do not fully address motor, cognitive, and psychosocial symptoms; therefore, adjunctive therapies have been researched for their efficacy at addressing these issues. One form of exercise, dance, has received attention because recent studies have demonstrated dance's ability to improve mobility and HRQOL in people with PD. The purpose of this integrative review was to present evidence supporting or refuting improved HRQOL in individuals with PD after participation in a dance- or music-based movement intervention. Potential mechanisms of HRQOL improvement are offered. Search terms including "Parkinson's disease", "dance", "quality of life", "exercise", "dance/movement therapy", and "music" were entered in groupings into PubMed, CINAHL®, EMBASE™, PsycINFO®, Web of Science™, and the Cochrane Library databases. Papers were included if they were randomized controlled trials, pilot studies, or case reports that were related to HRQOL and dance/movement and/or specifically related to determining the mechanisms potentially underlying dance effects. To date, the available research has been inconclusive in demonstrating that dance has a positive impact on HRQOL; however, further research is required. This review suggests that, at the very least, dance has the potential to impact the

Restaurant 1: dance theatre for a day

CERN Document Server

Caroline Duc

2012-01-01

On Tuesday 31 July, CERN’s Restaurant 1 transformed into a dance studio for the duration of a public rehearsal. The performers from the dance troupe of Geneva choreographer Gilles Jobin, CERN’s current artist in residence, presented their 2011 creation, Spider Galaxies. The result: a voyage of bodies suspended between art and science.   Just two months after the choreographer’s “Strangels” invaded the library, the same bodies returned to take over another iconic CERN space: Restaurant 1. While a black floor covering was spread over the dance floor, bordered on three sides by the glass partitions overlooking the terrace, the four dancers warmed up. Gilles Jobin, the first prize winner of the “Collide@CERN” competition held last March in the dance/performance category, briefly introduced the dance that would follow, called Spider Galaxies. The piece, created in 2011, features four dancers moving to music...

The Numa Numa dance e Gangnam Style: videos musicais no Youtube em múltiplas mediações

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Simone Pereira de Sá

2014-12-01

Full Text Available The Numa Numa Dance and Gangnam Style: musical videos on youtube in multiple mediation – This paper examines the videos The Numa Numa Dance – a 2004 amateur video uploaded by Gary Brolsma and taken as a precursor of viral musical videoclips, and Gangnam Style, by Dj Psy – the official music video of a k-pop song and the most frequently watched videoclip in the history of YouTube, and discusses the mediation process whereby these videos circulate on YouTube from a comparative perspective. The core premise is that The Numa Numa Dance is the precursor of a category of music videos that later help us understand the success of Gangnam Style, and that they both fall within the same socio- technical network that links amateur and professional people, cultural industry and common users. Once they are mapped, these networks reveal important aspects of contemporary musical culture circulating through digital media.

How Down is a Downbeat? Feeling Meter and Gravity in Music and Dance

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Jonathan Still

2015-09-01

Full Text Available The idea that metrical accent might be related to an embodied sense of "up" and "down" is implied by the terms "upbeat" and "downbeat," and is central to theories of meter as gravitational field, such as those evolved by Robert Hatten and Steve Larson. Yet as Hatten himself notes, upbeats and downbeats do not always map conveniently on to upward or downward movements in dance. Drawing on ethnographic research among trainee ballet teachers and recent theories of musical meter, this article discusses some practical and theoretical problems that arise when trying to teach about meter in the context of ballet training. It is suggested that empathic listening and perspective taking, rather than appeals to common embodied experiences of meter, may be key to developing better interdisciplinary understanding between musicians and dancers.

From “tribes” to “regions”. Ethnicity and musical identity in western Uganda

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Linda Cimardi

2015-12-01

Full Text Available This article looks at how the paradigm of ethnicity in Uganda has influenced the conception and perception of cultural identity, and specifically of music identity. According to the 2002 Census, Uganda counts more than 50 different peoples within its territory. For most of these, the language spoken locally and the complex of musics and dances characterize their identity. These elements are currently fostered by the Government also by promoting annually a national festival where each area presents, among other items, its own music and dance repertoires. The structure of the present school festival intends to follow historical and cultural sedimentations (identifying “regions”, but it can still be traced to the colonial classification of peoples (“tribes”. Considering data especially from western Uganda, the intermingling of the paradigm of ethnicity with the ones of music representativeness and identity will be observed. Discussion will consider the repertoires chosen for representativeness in the national context and concentrate on the ambiguity of the ethnic uniqueness of these musics and on the possibilities of expression of minorities.

Driving decisions when leaving electronic music dance events: driver, passenger, and group effects.

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Johnson, Mark B; Voas, Robert B; Miller, Brenda A

2012-01-01

The goal of this article was to identify characteristics of drivers and passengers that predicted peer groups whose drivers exit dance clubs with alcohol levels indicative of impairment (blood alcohol content [BAC] ≥ 0.05 g/dL). We used the portal survey methodology to randomly sample groups of electronic music dance event (EMDE) patrons as they entered and exited a club. From May through November 2010, data were collected from 38 EMDEs hosted by 8 clubs in the San Francisco Bay area. Data included in these analyses are results from breath samples for measuring BAC and self-report data on demographics, recent drinking history drinking, drinking intentions, travel to and from the clubs, and the familiarity/experience with other group members. These data were collected from a subset of 175 drivers and 272 passengers. Although drivers drank less than passengers, one driver in 5 groups had a BAC indicative of elevated crash risk (BAC ≥ 0.05 g/dL). Groups of drivers and/or passengers with a recent history of binge drinking were more likely to have drivers with BACs ≥ 0.05 g/dL. One unanticipated finding was that drivers who knew more group members relatively well were more likely to exit the club with a BAC ≥ 0.05 g/dL. Additionally, we found that groups with all female passengers were at greater risk for having a driver whose BAC was ≥ 0.05 g/dL. Some group characteristics predicted drivers who exit clubs with BACs ≥ 0.05 g/dL. One intervention strategy to promote safety might be to encourage group members to reconsider who is sober enough to drive away from the club; for some groups, a change of drivers would be a safer choice, because a passenger may have a relatively safe BAC. Groups of females appear to have a particularly elevated risk of having a driver whose BAC exceeds 0.05 g/dL, and new intervention efforts should be particularly directed to these at-risk groups.

Sensorimotor synchronization with different metrical levels of point-light dance movements

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Yi-Huang eSu

2016-04-01

Full Text Available Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1, or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2. Results showed that, while synchronization with the bounce (lower-level pulse was not influenced by the presence or absence of limb movements (metrical accent, synchronization with the legs (beat was improved by the presence of the bounce (metrical subdivision across different movement types. The latter finding parallels the subdivision benefit often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music.

Sensorimotor Synchronization with Different Metrical Levels of Point-Light Dance Movements

Science.gov (United States)

Su, Yi-Huang

2016-01-01

Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS) to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1), or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2). Results showed that, while synchronization with the bounce (lower-level pulse) was not influenced by the presence or absence of limb movements (metrical accent), synchronization with the legs (beat) was improved by the presence of the bounce (metrical subdivision) across different movement types. The latter finding parallels the “subdivision benefit” often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music. PMID:27199709

Adolescent Culture and Music.

Science.gov (United States)

Andersen, Neil

1996-01-01

Discusses adolescent anxieties, rebelliousness, and media preferences in the 1990s, especially Hip Hop, and relates today's trends to past trends, from Sinatra to Break Dancing. Suggests classroom activities using music and music videos: analyzing fans; providing biographies, discographies, lyrics; writing reviews of albums and videos; studying…

European Music Year 1985.

Science.gov (United States)

Alexanderson, Thomas; And Others

1984-01-01

Articles concerning music are included in this newsletter dedicated to cultural venture to be jointly carried out by the Council of Europe and the European communities. Many events will mark Music Year 1985, including concerts, dance performances, operas, publications, recordings, festivals, exhibitions, competitions, and conferences on musical…

Dance Education Research and Supplementary Articles.

Science.gov (United States)

Minton, Sandra, Comp.

This bibliography presents listings in the following areas: assessment in dance education; attitudinal studies in dance education; dance certification, standards, status; dance curricula; dance education history; dance education and technology; dance education theory; dance teacher behaviors; dance teacher preparation; descriptions of dance…

Music preferences, friendship, and externalizing behavior in early adolescence : A SIENA examination of the music marker theory using the SNARE Study

NARCIS (Netherlands)

Franken, Aart; Keijsers, L.G.M.T.; Dijkstra, Jan Kornelis; Ter Bogt, Tom

2017-01-01

Music Marker Theory posits that music is relevant for the structuring of peer groups and that rock, urban, or dance music preferences relate to externalizing behavior. The present study tested these hypotheses, by investigating the role of music preference similarity in friendship selection and the

Musical Imagery Involves Wernicke's Area in Bilateral and Anti-Correlated Network Interactions in Musicians.

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Zhang, Yizhen; Chen, Gang; Wen, Haiguang; Lu, Kun-Han; Liu, Zhongming

2017-12-06

Musical imagery is the human experience of imagining music without actually hearing it. The neural basis of this mental ability is unclear, especially for musicians capable of engaging in accurate and vivid musical imagery. Here, we created a visualization of an 8-minute symphony as a silent movie and used it as real-time cue for musicians to continuously imagine the music for repeated and synchronized sessions during functional magnetic resonance imaging (fMRI). The activations and networks evoked by musical imagery were compared with those elicited by the subjects directly listening to the same music. Musical imagery and musical perception resulted in overlapping activations at the anterolateral belt and Wernicke's area, where the responses were correlated with the auditory features of the music. Whereas Wernicke's area interacted within the intrinsic auditory network during musical perception, it was involved in much more complex networks during musical imagery, showing positive correlations with the dorsal attention network and the motor-control network and negative correlations with the default-mode network. Our results highlight the important role of Wernicke's area in forming vivid musical imagery through bilateral and anti-correlated network interactions, challenging the conventional view of segregated and lateralized processing of music versus language.

Laterality for music perception in musicians, mathematicians, and dancers: jumping to conclusions.

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Gordon, H W

1993-06-01

Group differences for ear asymmetries for a melodies task were reported for talented music, mathematics, and dance students. Evidence is presented that it is premature to conclude that these group differences were the result of specialized training in their areas of expertise.

Music as design

DEFF Research Database (Denmark)

Groth, Sanne Krogh

2012-01-01

The incorporation of the sounds of the surrounding world in music is today a familiar phenomenon on the electronic music and audio art scenes, and to some extent also in contemporary music. It is rarer for a contemporary audio or visual artist to use music as the form-giving element for a semi......-realistic event or narrative. In a way the phenomenon can be compared to Puccini's operas, or to the ground-breaking dance performances for which the choreographer Pina Bauch became famous, where musicalization produced stylizations fo everyday events. Familiar, readable events were reinforced and relocated...

The "filarial dance" is not characteristic of filariasis: observations of "dancing megasperm" on high-resolution sonography in patients from nonendemic areas mimicking the filarial dance and a proposed mechanism for this phenomenon.

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Adejolu, Margaret; Sidhu, Paul S

2011-08-01

The objective of this series was to show that the sonographic appearance described as the "filarial dance" is not characteristic of filariasis but occurs in nonendemic areas as a manifestation of epididymal obstruction. An experienced observer documented cases after initial observation of the filarial dance in routine clinical practice using high-frequency linear array transducers. The filarial dance was described as excessive to-and-fro movement of echogenic particles within a prominent epididymis and graded 1 to 4 according to the extent and distribution of the abnormality. The country of birth, exposure to filarial infection or travel to a filarial-endemic area, previous scrotal surgery including vasectomy, any previous or current scrotal inflammatory disease, and any congenital testicular abnormalities were recorded. Over a 10-year period, sonographic appearances consistent with the filarial dance were observed in 18 patients (bilateral in 6). The mean patient age was 47.7 (range, 28-91) years. The abnormality was graded in the 24 affected testes as follows: grade 1, n = 3; grade 2, n = 8; grade 3, n = 8; and grade 4, n = 5. No patient had a history of filariasis or travel to an endemic area. Six of 18 patients (33.3%) had bilateral vasectomies; 5 (27.8%) had a history of epididymo-orchitis in the ipsilateral testis; 3 (16.7%) had previous scrotal surgery; and 4 (22.2%) had no relevant urologic history. We have described a sonographic appearance identical to the filarial dance in men with no history of filarial infection. Most had previous scrotal surgery or infection, suggesting that the filarial dance may not always be due to movement of filarial worms. The unifying condition in patients with filariasis and our patients is lymphatic obstruction, likely the underlying cause of the appearance in both groups.

Subjective difficulties in young people related to extensive loud music listening

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Budimčić Milenko

2010-01-01

Full Text Available Introduction. For human ear, noise represents every undesirable and valueless sound. In disco clubs, as in some other places with loud music mostly attended by young people, the level of noise sometimes attains over 100 dB. As reported by numerous studies, a high noise level could induce subjective difficulties (ear buzzing, audition loss, vertigo and palpitations, anxiety, high blood pressure, decreased concentration, lowered memory storing. Objective. Assessment of subjective difficulties occurring in young people when staying in places with a high noise level (cafes, disco clubs, rock concerts, which can produce health problems, due to loud music, in association with demographic data, addictions and personal life style data. One of the goals is to find factors leading to subjective difficulties, which would be objectively studied in the second stage of the research and marked as early predictors of possible health problems. Methods. The study was conducted among 780 students of the Higher Healthcare School of Professional Studied in Belgrade. We used a questionnaire with 20 questions, divided into four categories: demographic data, case-history data, subjective problems and addictions of the subjects. In the statistical data processing we used the methods of descriptive and exploratory analysis, chi-square tests, correlation tests and Mantel-Haenszel odds ratio. Results. After listening loud music, 54.0% of examined subjects felt ear buzzing, and 4.6% had hearing damage. The habit of visiting places with loud music, mostly once a week in duration of 2-3 hours per visit had 80.4% of subjects. The presence of subjective complaints after listening of loud music was in association with loud music listening and disco clubs visits. The major reasons of the present subjective difficulties could be predicated by listening of loud music and club visits (r=0.918 and r=0.857. A relative risk for subjective difficulties presentation was 1.599. Conclusion

[Subjective difficulties in young people related to extensive loud music listening].

Science.gov (United States)

Budimcić, Milenko; Ignatović, Snezana; Zivić, Ljubica

2010-01-01

For human ear, noise represents every undesirable and valueless sound. In disco clubs, as in some other places with loud music mostly attended by young people, the level of noise sometimes attains over 100 dB. As reported by numerous studies, a high noise level could induce subjective difficulties (ear buzzing, audition loss, vertigo and palpitations, anxiety, high blood pressure, decreased concentration, lowered memory storing). Assessment of subjective difficulties occurring in young people when staying in places with a high noise level (cafes, disco clubs, rock concerts), which can produce health problems, due to loud music, in association with demographic data, addictions and personal life style data. One of the goals is to find factors leading to subjective difficulties, which would be objectively studied in the second stage of the research and marked as early predictors of possible health problems. The study was conducted among 780 students of the Higher Healthcare School of Professional Studied in Belgrade. We used a questionnaire with 20 questions, divided into four categories: demographic data, case-history data, subjective problems and addictions of the subjects. In the statistical data processing we used the methods of descriptive and exploratory analysis, chi-square tests, correlation tests and Mantel-Haenszel odds ratio. After listening loud music, 54.0% of examined subjects felt ear buzzing, and 4.6% had hearing damage. The habit of visiting places with loud music, mostly once a week in duration of 2-3 hours per visit had 80.4% of subjects. The presence of subjective complaints after listening of loud music was in association with loud music listening and disco clubs visits.The major reasons of the present subjective difficulties could be predicated by listening of loud music and club visits (r = 0.918 and r = 0.857). A relative risk for subjective difficulties presentation was 1.599. According to the results of our study, over half of children

A Worthy Function for Music in Education

Science.gov (United States)

Walker, Robert

2005-01-01

The evidence from many sources is unambiguous in that music is one of the most important elements in the life of all humans. Most people listen to music as opposed to performing music. Although there are societies where everyone participates in singing and dancing, music is mostly performed by a small elite often for the pleasure and enjoyment of…

A cross-sectional survey of young people attending a music festival: associations between drug use and musical preference.

Science.gov (United States)

Lim, Megan S C; Hellard, Margaret E; Hocking, Jane S; Aitken, Campbell K

2008-07-01

Drug use is becoming normalised among young Australian people involved in music sub-cultures. We aimed to determine prevalences of illicit drug use in this population and associations between preferences for different music genres and recent use of particular illicit drugs. A cross-sectional questionnaire of young people (aged 16-29 years) attending a music festival. Of 939 respondents, 46% had used illicit drugs (principally cannabis) in the past month, a significantly higher proportion than among respondents to the 2004 National Drug Strategy Household Survey (18%). Participants who favoured dance/house or rap music were more likely to have used illicit drugs recently than the remainder of the sample, while those who favoured pop or alternative music were less likely to have used drugs in the past month. These data suggest that music festival attendees use illicit drugs more commonly than their age-matched cohort in the general community, and that music festivals venues (particularly those that cater for dance/house and rap) would be appropriate places for interventions to promote safer drug use.

The Death of Narcissus: On Musical Subjectivity

Directory of Open Access Journals (Sweden)

James Currie

2013-07-01

Full Text Available On the first page of the preface to Michael Steinberg’s excellent book, Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music, the author states that the book’s origin can be located specifically to “August 1990,” when he was giving “a short preconcert lecture on Brahms at the first Bard Music Festival.”

THE SOCIO-CULTURAL IMPLICATIONS OF AFRICAN MUSIC AND ...

African Journals Online (AJOL)

and continuing with the games of childhood and the songs and ... seen in the close relationship between body movement and music. In the dance arena it is .... traditional forms, foster the development of choreographed dance forms which are ...

Observed Benefits to On-site Medical Services during an Annual 5-day Electronic Dance Music Event with Harm Reduction Services.

Science.gov (United States)

Munn, Matthew Brendan; Lund, Adam; Golby, Riley; Turris, Sheila A

2016-04-01

With increasing attendance and media attention, large-scale electronic dance music events (EDMEs) are a subset of mass gatherings that have a unique risk profile for attendees and promoters. Shambhala Music Festival (Canada) is a multi-day event in a rural setting with a recognized history of providing harm reduction (HR) services alongside medical care. Study/Objective This manuscript describes the medical response at a multi-day electronic music festival where on-site HR interventions and dedicated medical care are delivered as parallel public health measures. This study was a descriptive case report. Medical encounters and event-related data were documented prospectively using an established event registry database. In 2014, Shambhala Music Festival had 67,120 cumulative attendees over a 7-day period, with a peak daily attendance of 15,380 people. There were 1,393 patient encounters and the patient presentation rate (PPR) was 20.8 per one thousand. The majority of these (90.9%) were for non-urgent complaints. The ambulance transfer rate (ATR) was 0.194 per one thousand and 0.93% of patient encounters were transferred by ambulance. No patients required intubation and there were no fatalities. Harm reduction services included mobile outreach teams, distribution of educational materials, pill checking facilities, a dedicated women's space, and a "Sanctuary" area that provided non-medical peer support for overwhelmed guests. More than 10,000 encounters were recorded by mobile and booth-based preventive and educational services, and 2,786 pills were checked on-site with a seven percent discard rate. Dedicated medical and HR services represent two complementary public health strategies to minimize risk at a multi-day electronic music festival. The specific extent to which HR strategies reduce the need for medical care is not well understood. Incorporation of HR practices when planning on-site medical care has the potential to inform patient management, reduce

Emergency Department Patient Burden from an Electronic Dance Music Festival.

Science.gov (United States)

Chhabra, Neeraj; Gimbar, Renee P; Walla, Lisa M; Thompson, Trevonne M

2018-04-01

Electronic dance music (EDM) festivals are increasingly common and psychoactive substance use is prevalent. Although prehospital care can obviate the transfer of many attendees to health care facilities (HCFs), little is known regarding the emergency department (ED) burden of patients presenting from EDM festivals. This study describes the patient volume, length of stay (LOS), and presenting complaints of patients from a 3-day EDM festival in close proximity to an area ED. Medical charts of patients presenting to one HCF from an EDM festival were reviewed for substances used, ED LOS, and sedative medications administered. Additionally, preparedness techniques are described. Over the 3-day festival, 28 patients presented to the ED (median age 21 years; range 18-29 years). Twenty-five had complaints related to substance use including ethanol (n = 18), "molly" or "ecstasy" (n = 13), and marijuana (n = 8). Three patients required intensive care or step-down unit admission for endotracheal intubation, rhabdomyolysis, and protracted altered mental status. The median LOS for discharged patients was 265 min (interquartile range 210-347 min). Eleven patients required the use of sedative medications, with cumulative doses of 42 mg of lorazepam and 350 mg of ketamine. All patients presented within the hours of 5:00 pm and 2:15 am. The majority of ED visits from an EDM festival were related to substance use. ED arrival times clustered during the evening and were associated with prolonged LOS. Few patients required hospital admission, but admitted patients required high levels of care. HCFs should use these data as a guide in planning for future events. Copyright © 2017 Elsevier Inc. All rights reserved.

Artists in Schools: "Kick Starting" or "Kicking Out" Dance from New Zealand Classrooms

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Snook, Barbara; Buck, Ralph

2014-01-01

New Zealand primary school teachers have access to a comprehensive arts curriculum that includes dance, drama, music, and visual arts. This research focused on several teachers' reality of implementing the dance curriculum in New Zealand primary schools, drawing on Snook's (2012) study in this field. Our research valued the voices of teachers,…

A Reggio-Inspired Music Atelier: Opening the Door between Visual Arts and Music

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Hanna, Wendell

2014-01-01

The Reggio Emilia approach is based on the idea that every child has at least, "one hundred languages" available for expressing perspectives of the world, and one of those languages is music. While all of the arts (visual, music, dance, drama) are considered equally important in Reggio schools, the visual arts have been particularly…

Drug addiction therapy. A dance to the music of time.

Science.gov (United States)

Goodison, L; Schafer, H

1999-10-21

Dance therapy can play a useful role in the treatment and rehabilitation of women with drug addiction. It works by raising self-esteem through an improved relationship with the body, giving women the strength to help combat their habit. The benefits of dance therapy for women at the detox unit of Holloway Prison have been confirmed by prison staff.

Encores for Dance. Selected Articles on Dance III, 1968-77.

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Fallon, Dennis J., Ed.

The nature, role, and scope of the dance in the United States is the subject of this collection of articles. The philosophical, historical, socio-cultural, and educational perspectives of dance are considered in the first four chapters. The following five chapters focus primarily on considerations that should improve teaching techniques and…

'Shall We Dance'? Older Adults' Perspectives on the Feasibility of a Dance Intervention for Cognitive Function.

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Thøgersen-Ntoumani, Cecilie; Papathomas, Anthony; Foster, Jonathan; Quested, Eleanor; Ntoumanis, Nikos

2017-12-28

We explored perceptions of social dance as a possible intervention to improve cognitive functioning in older adults with subjective memory complaints. Thirty participants (19 female; M age = 72.6; SD=8.2) took part in the study. This included 21 participants who had self-reported subjective memory complaints and 9 spouses who noticed spousal memory loss. Semi-structured interviews were conducted and thematic analysis was used to analyze the data. Three main themes were constructed: 1) dance seen as a means of promoting social interaction; 2) chronic illness as a barrier and facilitator to participation; 3) social dance representing nostalgic connections to the past. Overall, the participants were positive about the potential attractiveness of social dance to improve cognitive and social functioning and other aspects of health. It is important in future research to examine the feasibility of a social dance intervention among older adults with subjective memory complaints.

Sing, dance, play and be mindful [presentation

LENUS (Irish Health Repository)

Lucey, Jim

2014-04-09

Increasingly good evidence emerges of the positive benefits of sport, exercise, music, dance and mindfulness-based stress reduction in the building of the mental strength necessary to overcome these troubled times. The integrity of our mental health is challenged as each of us is threatened by calamity. Groups and teams, community’s and clubs are effective means of collective support. And positive mental health skills and attitudes are associated with greater individual wellbeing and with longer and happier life. Mental health is the resource which will empower recovery in us and in our economy. Modern neuroscience is proving the centrality of the brain in positive wellbeing. The evidence shows that human recovery is enhanced by music and dance and by song and by exercise, and by mindfulness. That is why we mustn’t wait any longer to lead mentally healthy lives. In Ireland we must not wait any longer to be happy.\\r\

More than just dancing: experiences of people with Parkinson's disease in a therapeutic dance program.

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Bognar, Stephanie; DeFaria, Anne Marie; O'Dwyer, Casey; Pankiw, Elana; Simic Bogler, Jennifer; Teixeira, Suzanne; Nyhof-Young, Joyce; Evans, Cathy

2017-06-01

To understand why individuals with Parkinson's disease (PD) participate in a community-based therapeutic dance program and to explore its influence on perceived physical, social and emotional well-being of participants. A qualitative descriptive design was employed using one-on-one semi-structured interviews. Individuals with PD who participated in the Dancing with Parkinson's program were recruited from two locations. Interviews were audio-recorded, transcribed, de-identified and then placed into NVivo 10 software for analysis. A content analysis approach was used with an inductive analysis method to generate a coding scheme. Group discussion facilitated development of overarching themes. Ten participants' responses revealed that the dance program allows for self-improvement and regaining identity through disease self-management. Positive influences of socialization arose through the class, decreasing isolation and improving quality of life. Participants communicate through music and dance to enhance connection with others. Dancing with Parkinson's classes allow for re-development of the social self, which can increase sense of enjoyment in life. Dance programs provide opportunities for social interaction, non-verbal communication and self-improvement, reestablishing self-identity and a sense of usefulness. This study provides unique insight into the experience of participating in a dance program from the perspective of individuals with PD. Implications for rehabilitation Dance is emerging as a strategy to address the physical and psychosocial effects of Parkinson's disease (PD), but little is known regarding participants' perceptions of community-based therapeutic dance programs for PD. This study found that Dancing with Parkinson's (DWP) facilitated an improvement in social participation, resulting in decreased isolation and improved quality of life. Participation in the DWP program can facilitate a positive change in perspective and attitude toward a PD

Social dancing in the care of persons with dementia in a nursing home setting: a phenomenological study.

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Palo-Bengtsson, L; Ekman, S L

1997-01-01

The purpose of this study was to describe the phenomenon of social dancing in the care of persons with dementia in a nursing home setting. Social dancing is an activity that has taken place once a month regularly during the last 10 years at a nursing home in Stockholm. The period of data collection for this study was the year 1995. At the time of the investigation, the subjects were in special units for persons with dementia. The analysis is based on the data contained in five 45-minute video tapes. All videotapes were analysed based on Husserl's philosophy and Giorgi's method of phenomenological analysis. The results suggested that dance music was a good stimulus for making social contacts. The earlier-trained social patterns, old social habits, and general rules seemed to awaken to life in the persons with dementia. It was important that the caregivers showed individual creativity, spontaneity, and supportive nursing care. Social dancing at the nursing home was found in this study to be very positive and successful for patients with dementia.

Movin' to the Music: Simple--and Essential--Experiences for Preschoolers.

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Oberg, Barbara

1997-01-01

Highlights the importance of inclusion of music in preschool curriculum. Promotes using a variety of musical activities to stimulate imagination including quiet listening, marching while clanging instruments, dancing, singing, and playing games. Provides suggestions on where to start, songs, rhythm instruments, musical props, stories and music,…

The music instinct: the evolutionary basis of musicality.

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Mithen, Steven

2009-07-01

Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality--communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture--was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.

Memory and Nostalgia in Youth Music Cultures: Finding the Vibe in the San Francisco Bay Area Rave Scene, 2002-2004

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Eileen M Wu

2010-07-01

Full Text Available In the wake of the major commercial success of rave scenes in the San Francisco Bay Area, accompanied by an increasing crackdown on venues and promoters in the electronic dance music scene, this article follows the “death” of a rave scene and looks at some of the ways young people imagined and engaged with rave culture during that time. Looking specifically at how young people utilized remembrances and nostalgia to imbue their experiences with social meaning, the author provides a tentative case study on youth cultural formation in the late modern era. The article draws upon fieldwork and interviews conducted in the San Francisco Bay Area between 2002-2004.

The cerebral functional location in normal subjects with Chinese classical national music auditory stimulus

International Nuclear Information System (INIS)

Sun Da; Xu Wei; Zhan Hongwei; Liu Hongbiao

2004-01-01

thalamic (in 1 case). Conclusion: During listening the Chinese classical national music and paying special attention to the imagination of music the auditory association cortex in the right and left superior temporal and midtemporal were activated. The inferior frontal and/or medial frontal lobes were activated too. And the activity was markedly higher in frontal than in temporal. According to the literatures, almost invariably, in any task which requires analysis of auditory information the posterior part of the inferior frontal gyms is activated. In the left hemisphere this region is often called Broca's area. The inferior frontal lobe, frontal eye field and superolateral prefrontal cortex are also related to mood and judgment. So it is not wonder that the frontal lobes showed as higher activity in these subjects. (authors)

THE BODY IN MUSIC, THE MUSIC IN BODY: A COMMUNITY INTEGRATION PROJECT

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Fábio Pra da Silva de Souza

2009-07-01

Full Text Available This article is the result of the Artistic and Culture Department extension project “The Body in Music, The Music in Body: a community integration project” that took music to community on Universidade Federal de Santa Catarina (UFSC in two different ways: buy choir singing group and the music therapy activities on Parkinson Disease Patients Group. The objectives of this project were to integrate choir singing to dance, develop music perception and body expression. Broadcast choir singing, improve facial expression and body movements. To reach these objectives were done body expression workshops, music and vocal technique rehearsals, rhythm exercises and some auditions among UFSC an other public places in Florianópolis.

Evaluation of musical language in grownup students: Design and validation of a scale.

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Ana Mercedes Vernia Carrasco

2018-01-01

Full Text Available Musical language organizes general musical training in conservatories and music schools, becoming an attractive, active and dynamic way of learning music, often including rhythmic, body and game activities, and didactic elements such as songs, dance and musical listening. In the case of adult learners, teaching musical language must adapt to psychosocial characteristics of this group. This paper aims to design, validate and apply an instrument shaped as a rubric to evaluate musical language performance in a sample of adult students, based on specific analysis of documents. Scale contains 21 activities that evaluate four skills. The results confirm that there are four main items that would explain most of the academic achievement in musical language in adults: to recognize melodic and harmonic intervals, internalizing tempo, musical dictation and vocal creation, with preparation. Likewise, the results allow to raise a teaching methodology that combines perceptive, corporal, symbolic and communicative aspects in this subject, updating and consolidating the present orientation that teaching has gradually taken.

Medical Emergencies Related to Ethanol and Illicit Drugs at an Annual, Nocturnal, Indoor, Electronic Dance Music Event.

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Calle, Paul; Sundahl, Nora; Maudens, Kristof; Wille, Sarah Mr; Van Sassenbroeck, Diederik; De Graeve, Koen; Gogaert, Stefan; De Paepe, Peter; Devriese, Dieter; Arno, Geert; Blanckaert, Peter

2018-02-01

Introduction Medical problems are frequently encountered during electronic dance music (EDM) events. Problem There are uncertainties about the frequencies and severity of intoxications with different types of recreational drugs: ethanol, "classical" illicit party drugs, and new psychoactive substances (NPS). Statistical data on the medical problems encountered during two editions of an indoor electronic dance event with around 30,000 attendants were retrieved from the Belgian Red Cross (Mechelen, Belgium) database. Data on drug use were prospectively collected from the patient (or a bystander), the clinical presentation, and/or toxicological screening. In the on-site medical station, 487 patients were treated (265 in 2013 and 222 in 2014). The most frequent reasons were trauma (n=171), headache (n=36), gastro-intestinal problems (n=44), and intoxication (n=160). Sixty-nine patients were transferred to a hospital, including 53 with severe drug-related symptoms. Analysis of blood samples from 106 intoxicated patients detected ethanol in 91.5%, 3,4-methylenedioxymethamphetamine (MDMA) in 34.0%, cannabis in 30.2%, cocaine in 7.5%, amphetamine in 2.8%, and gamma-hydroxybutyric acid (GHB) in 0.9% of patients (alone or in combination). In only six of the MDMA-positive cases, MDMA was the sole substance found. In 2014, the neuroleptic drug clozapine was found in three cases and ketamine in one. Additional analyses for NPS were performed in 20 cases. Only in one agitated patient, the psychedelic phenethylamines 25B-NBOMe and 25C-NBOMe were found. At this particular event, recreational drug abuse necessitated on-site medical treatment in one out of 350 attendants and a hospital transfer in one out of 1,000. Ethanol remains the most frequently abused (legal) drug, yet classical illicit recreational drugs are also frequently (co-) ingested. The most worrying observation was high-risk poly-drug use, especially among MDMA users. Regarding NPS, the number of cases was low and the

Utilizing Multimedia Database Access: Teaching Strategies Using the iPad in the Dance Classroom

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Ostashewski, Nathaniel; Reid, Doug; Ostashewski, Marcia

2016-01-01

This article presents action research that identified iPad tablet technology-supported teaching strategies in a dance classroom context. Dance classrooms use instructor-accessed music as a regular element of lessons, but video is both challenging and time-consuming to produce or display. The results of this study highlight how the Apple iPad…

Life and Death on the Pulse Dance Floor: Transglocal Politics and Erasure of the Latinx in the History of Queer Dance Culture

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Tim Lawrence

2016-11-01

Full Text Available Although the dominant response of politicians, journalists and campaign groups to Omar Mateen’s 12 June 2016 massacre of forty-nine people at the Pulse nightclub in Orlando revolved around the repetition of already established arguments about terrorism, this article will outline how the massacre amounted to a specific attack on the Latinx community. It will also argue that, although distinctive, the discursive erasure of the specifically queer Latinx finds a partial echo in the way that Latin culture has been marginalised in writing on dance culture. An outline map of the somewhat opaque Latinx contribution will be offered as a small tribute to those who have lived for and now died on the Latinx dance floor. The account of the dancers who gathered at Pulse, the music they danced to, and the unstable, marginalised and dynamic networks of musicians, dancers and party spaces that preceded them will be considered within J. Blake Scott and Rebecca Dingo’s (2012 evocation of the “transglocal”. If transglocal encounters “can generate new meanings and subject positions” (Blake Scott and Dingo: 7, so the dancers at Pulse can be seen to have moved resourcefully, dynamically and creatively between the local and the transnational as they sought out new modes of expression and community in a darkening global terrain.

Syncopation, body-movement and pleasure in groove music.

OpenAIRE

Witek, MA; Clarke, EF; Wallentin, M; Kringelbach, ML; Vuust, P

2014-01-01

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a ...

150 Challenges of Teaching Practice-Based Dance Art in Nigeria ...

African Journals Online (AJOL)

development in dance genres/forms and choreographic styles globally ... If a child in every school from his entrance until ... performative genres such as drama and music. ... phenomena are abstracted into movement and gestures to achieve a.

[Dance/movement therapy in oncological rehabilitation].

Science.gov (United States)

Mannheim, Elana G; Helmes, Almut; Weis, Joachim

2013-01-01

Dance/movement therapy may be defined as a psychosocial and body-oriented art therapy, which uses dance for the expression of emotional and cognitive issues. Dance/movement therapy is an important intervention for cancer patients to enhance coping strategies. There are only few studies investigating dance therapy with cancer patients. The present study investigates effects of dance/movement therapy (n = 115) in the setting of inpatient rehabilitation based on a pre-post design with a control group as well as a follow-up 3 months later. Standardized questionnaires measuring quality of life, anxiety and depression, and self-concept (EORTC QLQ-C30, HADS, FSKN) were used. In addition, at the end of the inpatient rehabilitation program subjective expectations of the dance/movement therapy and the patients' subjective evaluation of the benefits of the intervention were measured by a new developed questionnaire. As process factors of dance/movement therapy, expression of emotions, enhancement of self-esteem, development of the personality, vitality, getting inner balance, and getting in touch with the body have been identified. In terms of quality of life and psychological well-being, the results showed significant improvements with medium to large effect sizes. Even though those effects may not be attributed to the intervention alone, the analysis of the data and the patients' subjective statements help to reveal therapeutic factors and process characteristics of dance/movement therapy within inpatient rehabilitation. Copyright © 2013 S. Karger AG, Basel.

Verbal Auditory Cueing of Improvisational Dance: A Proposed Method for Training Agency in Parkinson’s Disease

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Batson, Glenna; Hugenschmidt, Christina E.; Soriano, Christina T.

2016-01-01

Dance is a non-pharmacological intervention that helps maintain functional independence and quality of life in people with Parkinson’s disease (PPD). Results from controlled studies on group-delivered dance for people with mild-to-moderate stage Parkinson’s have shown statistically and clinically significant improvements in gait, balance, and psychosocial factors. Tested interventions include non-partnered dance forms (ballet and modern dance) and partnered (tango). In all of these dance forms, specific movement patterns initially are learned through repetition and performed in time-to-music. Once the basic steps are mastered, students may be encouraged to improvise on the learned steps as they perform them in rhythm with the music. Here, we summarize a method of teaching improvisational dance that advances previous reported benefits of dance for people with Parkinson’s disease (PD). The method relies primarily on improvisational verbal auditory cueing with less emphasis on directed movement instruction. This method builds on the idea that daily living requires flexible, adaptive responses to real-life challenges. In PD, movement disorders not only limit mobility but also impair spontaneity of thought and action. Dance improvisation demands open and immediate interpretation of verbally delivered movement cues, potentially fostering the formation of spontaneous movement strategies. Here, we present an introduction to a proposed method, detailing its methodological specifics, and pointing to future directions. The viewpoint advances an embodied cognitive approach that has eco-validity in helping PPD meet the changing demands of daily living. PMID:26925029

Moving the School and Dancing Education: Case Study Research of K-5 Students' Experiences in a Dance Residency

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Leonard, Alison E.

2012-01-01

This dissertation chronicles the qualitative case study of a dance artist-in-residence at a diverse and inclusive K-5 school in an urban district, integrating science, social studies, physical education, music, and visual arts school curriculum and culminating in two public performances. This study focused on how students made meaning through this…

From Norway to the USA: "Anitra's Dance."

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McDowell, Carol J.

2003-01-01

Describes an art lesson for middle school students that can be adapted for upper elementary or high school students. Explains that students compare two versions of the song "Anitra's Dance," a classical version by Edvard Grieg and a jazz version by Duke Ellington. States the lesson uses the Discipline-Based Music Education approach. (CMK)

Irish set dancing classes for people with Parkinson's disease: The needs of participants and dance teachers.

Science.gov (United States)

Shanahan, Joanne; Bhriain, Orfhlaith Ní; Morris, Meg E; Volpe, Daniele; Clifford, Amanda M

2016-08-01

As the number of people diagnosed with Parkinson's disease increases, there is a need to develop initiatives that promote health and wellbeing and support self-management. Additionally, as exercise may slow physical decline, there is a need to develop methods that facilitate greater engagement with community-based exercise. The aim of this study is to examine the needs of (1) people with Parkinson's disease and (2) set dancing teachers to enable the development of participant-centred community set dance classes. A mixed methods study design was used. Two consensus group discussions using nominal group technique were held to (1) identify factors pertaining to the needs of people with Parkinson's disease from a set dance class and (2) the educational needs of set dancing teachers to enable them to teach set dancing to people with Parkinson's disease. Group discussions began with silent generation of ideas. A round-robin discussion and grouping of ideas into broader topic areas followed. Finally, participants ranked, by order of priority (1-5), the topic areas developed. Final data analysis involved summation of participants' ranking scores for each topic area. Rich information on the needs of people with Parkinson's disease from a dance class and the educational guidance sought by set dancing teachers was gathered. Topic areas developed include "teaching method" for set dances and "class environment". Accessing community exercise programmes is important for this population. The results of this study will inform the development of an educational resource on Parkinson's disease for set dancing teachers. This resource may facilitate a larger number of teachers to establish sustainable community set dancing classes for people with Parkinson's disease. Copyright © 2016 Elsevier Ltd. All rights reserved.

Musical theatre: the hazards of the performer's workplace.

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Morton, Jennie

2015-03-01

Being a musical theatre performer requires excellence in the combined skills of dancing, singing, and acting, and artists undergo rigorous training in these disciplines in order to achieve the professional standards expected by a discerning audience. However, the performer has more to do than just execute the choreography, vocal repertoire, and dialogue--he or she will also be navigating the often highly complex on-stage and off-stage areas which are fraught with hazards. This article seeks to highlight the challenges that lie beyond the visible part of the performance and to raise questions of how best to equip our musical theatre performers to safely negotiate these issues.

Syncopation, body-movement and pleasure in groove music.

Science.gov (United States)

Witek, Maria A G; Clarke, Eric F; Wallentin, Mikkel; Kringelbach, Morten L; Vuust, Peter

2014-01-01

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

Conscientiousness and Extraversion relate to responsiveness to tempo in dance.

Science.gov (United States)

Carlson, Emily; Burger, Birgitta; London, Justin; Thompson, Marc R; Toiviainen, Petri

2016-10-01

Previous research has shown broad relationships between personality and dance, but the relationship between personality and specific structural features of music has not been explored. The current study explores the influence of personality and trait empathy on dancers' responsiveness to small tempo differences between otherwise musically identical stimuli, measured by difference in the amount in acceleration of key joints. Thirty participants were recorded using motion capture while dancing to excerpts from six popular songs that were time-stretched to be slightly faster or slower than their original tempi. Analysis revealed that higher conscientiousness and lower extraversion both correlated with greater responsiveness to tempo change. Partial correlation analysis revealed that conscientiousness remained significantly correlated with responsiveness when extraversion was controlled, but not vice versa. No effect of empathy was found. Implications are discussed. Copyright © 2016 Elsevier B.V. All rights reserved.

Episodic encoding in normal aging: attentional resources hypothesis extended to musical material.

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Blanchet, Sophie; Belleville, Sylvie; Peretz, Isabelle

2006-01-01

The goal of the present study was to examine age-related changes in musical episodic memory for novel tunes. This was conducted by manipulating the encoding condition in a recognition paradigm. After receiving memory instructions (intentional condition), older and younger participants obtained equivalent hits. In contrast, when intentional encoding was accompanied by a dancing judgment (dancing + intentional condition), the recognition performance of the older persons was severely impaired. Impaired recognition was also found when participants only judged the excerpts without being instructed to memorize them (dancing judgment condition). Although older participants demonstrated a preserved ability to perform the dancing judgment on its own, this ability was not optimal and likely precluded the initiation of more elaborate encoding strategies. These results suggest that asking older persons to divide their attention in the study phase reduces the quality of their musical encoding. Given this extension to musical material, we discuss the notion that the age-related attentional resource decline appears to be domain-general rather than specific to verbal material.

PAULINA CHIZIANE: A STORY TELLER IN THE RYTHM OF (COUNTER- DANCE

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Jorge Valentim

2008-08-01

Full Text Available The present work proposes a way of reading  Niketche, the most recent novel of the Mozambican writer Paulina Chiziane,  pointing at the musical resources as elements which participate in spoken practice. In the rhythm of dance, the characters' path is intertwined, as well as the construction of the text itself. Within a feminine vision of the world, a universe marked by musicality is created, by means of  rescaling the Portuguese language and the musical construction in the fictional text.

Original article Subjective and objective determinants of the satisfaction from the cooperation in a dance couple

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Dagmara Budnik-Przybylska

2015-02-01

Full Text Available Background Dance is an extremely complicated sports discipline, which combines features of the “original” form of dance associated with the expression of self and one’s emotions while maintaining the qualities of a competitive sport. It is particularly important for the cooperation of a couple to develop a relationship during training so that the partners feel satisfaction from working with each other, but are also pleased with the results in the discipline in which they train. The aim of this study was to analyse the factors responsible for the satisfaction with cooperation in a couple, which included, among other things, the dance level, degree of involvement and responsibility of each partner for the development of the couple. Participants and procedure The study involved 30 dance couples aged 13-26 years (M = 16.48, SD = 2.16. Participants completed two questionnaires (Own Poll and the Dyadic Trust Scale [DTS] and provided demographic information in a quiet environment, usually at their education or training facilities. Results The results indicated the importance of their own and perceived partner involvement in the development of the couple for the satisfaction from the success in the sport. It is surprising, however, that the results reveal no association between dance experience and satisfaction of practising sport analysed in the study. Conclusions Satisfaction plays an important role in relationships of pair dancers. In dancing, satisfaction may derive from subjective rather than objective factors, mainly those related to the relationship in the couple.

Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population

OpenAIRE

Porat, Shai; Goukasian, Naira; Hwang, Kristy S.; Zanto, Theodore; Do, Triet; Pierce, Jonathan; Joshi, Shantanu; Woo, Ellen; Apostolova, Liana G.

2016-01-01

Introduction: We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). Methods: 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clin...

Collective identity and dance in modern urban Greece

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Filippos Filippou

2016-02-01

Full Text Available The aim of this study is to trace the way some cultural groups demonstrate their identity through dance in the contemporary urban society. The survey follows revelry with folk music, singing and dancing organized by a local cultural troupe on the occasion of a feast day. The collection of the ethnographic data relied on long standing observation and the video recording of the revelries between 2000 and 2005. Further information was gathered with the means of a closed questionnaire and open question interviews. In the process of the material two theories were mainly employed: the performance theory and the theory of collective identity in postmodern culture. To sum up, we would say that dance as presented on the feast day reflects the local “multicultural” society’s characteristics. It retains its dynamic with its entity, function and content to be composed of agricultural and urban features. Dance continues to exist since it has the potential to adjust to each time social, economic and historical circumstances.

Video Inspired the Radio Star: Interdisciplinary Projects for Media Arts and Music

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Giebelhausen, Robin

2017-01-01

Interdisciplinary arts education in music has often included connective lines toward drama, dance, and visual arts. This article will suggest five different projects that could be used to link music to video in order to develop media arts and music interdisciplinary connections.

Tapping polyrhythms in music activates language areas.

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Vuust, Peter; Wallentin, Mikkel; Mouridsen, Kim; Ostergaard, Leif; Roepstorff, Andreas

2011-05-02

Music is experienced and understood on the basis of foreground/background relationships and tension created between actual music and the underlying meter. Polyrhythms create tension between a counter meter and the main meter. Previously, we have shown that Brodmann area 47 (BA47), a brain area associated with processing of language, is activated bilaterally when musicians tap the main meter in a polymetric context emphasizing a counter meter, suggesting that processing of metric elements in music relies on brain areas also involved in language processing. In that study, the tension was created entirely by changes in the stimulus while participants were tapping the main meter. Here we find left-hemispheric BA47 activation in response to a self-produced counter meter on top of a main meter provided by an ecological music excerpt. This data indicates that the activation is linked to polyrhythmic tension, regardless of whether it arises from the stimulus or the task. Copyright © 2011 Elsevier Ireland Ltd. All rights reserved.

Interactive effects of music tempi and intensities on grip strength and subjective affect.

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Karageorghis, C I; Cheek, P; Simpson, S D; Bigliassi, M

2018-03-01

Pretask music is widely used by athletes albeit there is scant empirical evidence to support its use. The present study extended a line of work into pretask music by examining the interactive effects of music tempo and intensity (volume) on the performance of a simple motor skill and subjective affect. A 2 × 2 within-subjects factorial design was employed with an additional no-music control, the scores from which were used as a covariate. A sample of 52 male athletes (M age  = 26.1 ± 4.8 years) was exposed to five conditions: fast/loud (126 bpm/80 dBA), fast/quiet (126 bpm/70 dBA), slow/loud (87 bpm/80 dBA), slow/quiet (87 bpm/70 dBA) music, and a no-music control. Dependent variables were grip strength, measured with a handgrip dynamometer, and subjective affect, assessed by use of the Affect Grid. The tempo and intensity components of music had interactive effects for grip strength but only main effects for subjective affect. Fast-tempo music played at a high intensity yielded the highest grip strength, while fast-tempo music played at a low-intensity resulted in much lower grip strength (M diff.  = -1.11 Force kg). For affective valence, there were main effects of tempo and intensity, with fast and loud music yielding the highest scores. For affective arousal, there was no difference between tempi although there was between intensities, with the high-intensity condition yielding higher scores. The present findings indicate the utility of fast/loud pretask music in enhancing affective valence and arousal in preparation for a simple or gross motor task. © 2017 John Wiley & Sons A/S. Published by John Wiley & Sons Ltd.

What? Me? Teach Dance? Background and Confidence of Primary Preservice Teachers in Dance Education across Five Countries

Science.gov (United States)

Russell-Bowie, Deirdre E.

2013-01-01

In primary schools across many countries, dance is now included within the arts key learning area with its own outcomes and content. But as future teachers of dance and other art forms, how do preservice generalist primary teachers perceive their background and confidence in relation to dance and dance education? This study investigates the…

Favored subjects and psychosocial needs in music therapy in terminally ill cancer patients: a content analysis.

Science.gov (United States)

Preissler, Pia; Kordovan, Sarah; Ullrich, Anneke; Bokemeyer, Carsten; Oechsle, Karin

2016-05-12

Research has shown positive effects of music therapy on the physical and mental well-being of terminally ill patients. This study aimed to identify favored subjects and psychosocial needs of terminally ill cancer patients during music therapy and associated factors. Forty-one Patients receiving specialized inpatient palliative care prospectively performed a music therapy intervention consisting of at least two sessions (total number of sessions: 166; per patient average: 4, range, 2-10). Applied music therapy methods and content were not pre-determined. Therapeutic subjects and psychosocial needs addressed in music therapy sessions were identified from prospective semi-structured "field notes" using qualitative content analysis. Patient- and treatment-related characteristics as well as factors related to music and music therapy were assessed by questionnaire or retrieved from medical records. Seven main categories of subjects were identified: "condition, treatment, further care", "coping with palliative situation", "emotions and feelings", "music and music therapy", "biography", "social environment", and "death, dying, and spiritual topics". Patients addressed an average of 4.7 different subjects (range, 1-7). Some subjects were associated with gender (p = .022) and prior impact of music in patients' life (p = .012). The number of subjects per session was lower when receptive music therapy methods were used (p = .040). Psychosocial needs were categorized into nine main dimensions: "relaxing and finding comfort", "communication and dialogue", "coping and activation of internal resources", "activity and vitality", "finding expression", "sense of self and reflection", "finding emotional response", "defocusing and diversion", and "structure and hold". Patients expressed an average of 4.9 psychosocial needs (range, 1-8). Needs were associated with age, parallel art therapy (p = .010), role of music in patient's life (p = .021), and the applied music

Syncopation, body-movement and pleasure in groove music.

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Maria A G Witek

Full Text Available Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.

Generalizations of the subject-independent feature set for music-induced emotion recognition.

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Lin, Yuan-Pin; Chen, Jyh-Horng; Duann, Jeng-Ren; Lin, Chin-Teng; Jung, Tzyy-Ping

2011-01-01

Electroencephalogram (EEG)-based emotion recognition has been an intensely growing field. Yet, how to achieve acceptable accuracy on a practical system with as fewer electrodes as possible is less concerned. This study evaluates a set of subject-independent features, based on differential power asymmetry of symmetric electrode pairs [1], with emphasis on its applicability to subject variability in music-induced emotion classification problem. Results of this study have evidently validated the feasibility of using subject-independent EEG features to classify four emotional states with acceptable accuracy in second-scale temporal resolution. These features could be generalized across subjects to detect emotion induced by music excerpts not limited to the music database that was used to derive the emotion-specific features.

Subject-Oriented Approach in the Professional Formation of the Future Music Teacher

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Svetlana V. Karkina

2017-10-01

Full Text Available The article deals with the possibilities of introducing a subject-oriented approach into the practice of professional education of the future music teacher. Particular attention is paid to the forms and methods used in this field, as well as to the conditions of the modern cultural environment, which allows for the free self-realization of the individual in accordance with his subject needs. Subject-oriented approach is the practice-oriented research. The study identified a number of the most significant components in the preparation of a music teacher, such as individual forms of studies and a number of special methods, which include the method of artistic associations, verbal "allegories", metaphors, the method of heuristic tasks for mastering creative activities. The openness of the musical and pedagogical system has great importance in its ability to respond to changes in the music and educational environment, which includes educational institutions and various cultural institutions: theaters, concert halls, orchestral and choir groups. All that conditions are necessary to ensure the possibility of creative self-realization and self-actualization of future music teachers.

The Ecology of Gahu: Participatory Music and Health Benefits of ...

African Journals Online (AJOL)

Ghanaian music and dance provide a rich environment for social interaction, which is a significant contributory factor to health and well-being, both for individuals and the communities in which they live. The vibrant and energetic drumming and dance of the popular Ewe pieceGahu offer numerous opportunities for ...

Dance as a therapy for cancer prevention.

Science.gov (United States)

Aktas, Gurbuz; Ogce, Filiz

2005-01-01

Even though the field of medicine has developed tremendously, the wide variety of cancer is still among chronic and life threatening disease today. Therefore, the specialists constantly research and try every possible way to find cure or preventive ways to stop its further development. For this reason, studies concerning the chronic disease such as cancer have been spread to many different fields. In this regard, many other alternative ways besides medicine, are used in prevention of cancer. Nutritional therapy, herbal therapy, sportive activities, art therapy, music therapy, dance therapy, imagery, yoga and acupuncture can be given as examples. Among these, dance/movement therapy which deals with individuals physical, emotional, cognitive as well as social integration is widely used as a popular form of physical activity. The physical benefits of dance therapy as exercise are well documented. Studies have shown that physical activity is known to increase special neurotransmitter substances in the brain (endorphins), which create a state of well-being. And total body movement such as dance enhances the functions of other body systems, such as circulatory, respiratory, skeletal, and muscular systems. Regarding its unique connection to the field of medicine, many researches have been undertaken on the effects of dance/movement therapy in special settings with physical problems such as amputations, traumatic brain injury, and stroke, chronic illnesses such as anorexia, bulimia, cancer, Alzheimer's disease, cystic fibrosis, heart disease, diabetes, asthma, AIDS, and arthritis. Today dance/movement therapy is a well recognized form of complementary therapy used in hospitals as well as at the comprehensive clinical cancer centres.

Background music as a quasi clock in retrospective duration judgments.

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Bailey, Nicole; Areni, Charles S

2006-04-01

The segmentation-change model of time perception proposes that individuals engaged in cognitive tasks during a given interval of time retrospectively estimate duration by recalling events that occurred during the interval and inferring each event's duration. Previous research suggests that individuals can recall the number of songs heard during an interval and infer the length of each song, exactly the conditions that foster estimates of duration based on the segmentation-change model. The results of a laboratory experiment indicated that subjects who solved word-search puzzles for 20 min. estimated the duration of the interval to be longer when 8 short songs (background, regardless of whether the musical format was Contemporary Dance or New Age. Assuming each song represented a distinct segment in memory, these results are consistent with the segmentation-change model. These results suggest that background music may not always reduce estimates of duration by drawing attention away from the passage of time. Instead, background music may actually expand the subjective length of an interval by creating accessible traces in memory, which are retrospectively used to infer duration.

Transformative Performing Arts and Mentorship Pedagogy: Nurturing Developmental Relationships in a Multidisciplinary Dance Theatre Program for Youth

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Kane, Kevin M.

2014-01-01

A multidisciplinary dance and theatre arts program geared for high school-aged youth can result in both short-term and the long-term outcomes for its students if it seeks to offer a life-changing peak experience as part of the arts training and performance process. By integrating a combination of dance, movement, theater, music, creative and…

Superior sensory, motor, and cognitive performance in elderly individuals with multi-year dancing activities

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Jan-Christoph Kattenstroth

2010-07-01

Full Text Available Aging is associated with a progressive decline of mental and physical abilities. Considering the current demographic changes in many civilizations there is an urgent need for measures permitting an independent lifestyle into old age. The critical role of physical exercise in mediating and maintaining physical and mental fitness is well-acknowledged. Dance, in addition to physical activity, combines emotions, social interaction, sensory stimulation, motor coordination and music, thereby creating enriched environmental conditions for human individuals. Here we demonstrate the impact of multi-year (average 16.5 years amateur dancing (AD in a group of elderly subjects (aged 65 to 84 years as compared to education-, gender- and aged-matched controls (CG having no record of dancing or sporting activities. Besides posture and balance parameters, we tested reaction times, motor behavior, tactile and cognitive performance. In each of the different domains investigated, the AD group had a superior performance as compared to the non-dancer CG group. Analysis of individual performance revealed that the best participants of the AD group were not better than individuals of the CG group. Instead, the AD group lacked individuals showing poor performance, which was frequently observed for the CG group. This observation implies that maintaining a regular schedule of dancing into old age can preserve cognitive, motor and perceptual abilities and prevent them from degradation. We conclude that the far-reaching beneficial effects found in the AD group make dance, beyond its ability to facilitate balance and posture, a prime candidate for the preservation of everyday life competence of elderly individuals.

The Musical Self-Concept of Chinese Music Students

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Suse ePetersen

2016-05-01

Full Text Available The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry (MUSCI—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N=97. The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students.

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study's goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry-including ability, emotional, physical, cognitive, and social facets-was used to assess the students' musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students' perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students' sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self.

The Musical Self-Concept of Chinese Music Students

Science.gov (United States)

Petersen, Suse; Camp, Marc-Antoine

2016-01-01

The relationship between self-concept and societal settings has been widely investigated in several Western and Asian countries, with respect to the academic self-concept in an educational environment. Although the musical self-concept is highly relevant to musical development and performance, there is a lack of research exploring how the musical self-concept evolves in different cultural settings and societies. In particular, there have been no enquiries yet in the Chinese music education environment. This study’s goal was the characterization of musical self-concept types among music students at a University in Beijing, China. The Musical Self-Concept Inquiry—including ability, emotional, physical, cognitive, and social facets—was used to assess the students’ musical self-concepts (N = 97). The data analysis led to three significantly distinct clusters and corresponding musical self-concept types. The types were especially distinct, in the students’ perception of their musical ambitions and abilities; their movement, rhythm and dancing affinity; and the spiritual and social aspects of music. The professional aims and perspectives, and the aspects of the students’ sociodemographic background also differed between the clusters. This study is one of the first research endeavors addressing musical self-concepts in China. The empirical identification of the self-concept types offers a basis for future research on the connections between education, the development of musical achievement, and the musical self-concept in societal settings with differing understandings of the self. PMID:27303337

Extreme Kinematics in Selected Hip Hop Dance Sequences.

Science.gov (United States)

Bronner, Shaw; Ojofeitimi, Sheyi; Woo, Helen

2015-09-01

Hip hop dance has many styles including breakdance (breaking), house, popping and locking, funk, streetdance, krumping, Memphis jookin', and voguing. These movements combine the complexity of dance choreography with the challenges of gymnastics and acrobatic movements. Despite high injury rates in hip hop dance, particularly in breakdance, to date there are no published biomechanical studies in this population. The purpose of this study was to compare representative hip hop steps found in breakdance (toprock and breaking) and house and provide descriptive statistics of the angular displacements that occurred in these sequences. Six expert female hip hop dancers performed three choreographed dance sequences, top rock, breaking, and house, to standardized music-based tempos. Hip, knee, and ankle kinematics were collected during sequences that were 18 to 30 sec long. Hip, knee, and ankle three-dimensional peak joint angles were compared in repeated measures ANOVAs with post hoc tests where appropriate (pHip hop maximal joint angles exceeded reported activities of daily living and high injury sports such as gymnastics. Hip hop dancers work at weight-bearing joint end ranges where muscles are at a functional disadvantage. These results may explain why lower extremity injury rates are high in this population.

Traditional Music in Igbo Culture: A Case Study of Idu Cultural ...

African Journals Online (AJOL)

Igbo people are endowed with numerous dance music performances which portray the culture of the people. Traditional music is so much a part of Igbo culture that majority of the people who live in big cities and other places outside their home town organize traditional music ensembles as a mark of identity, to preserve ...

Music and Culture Areas of Native California

OpenAIRE

Keeling, Richard

1992-01-01

This paper sketches the principal music and culture areas of native California and identifies general characteristics that distinguish the region in the overall sphere of Native American music. Rather than provide notations or detailed analyses I describe the music according to a set of general parameters that I have found useful in previous comparative research. The following elements are considered: (1) vocal quality or timbre; (2) presence of words or vocables, text-setting, and repetition...

MAGA MAGAZINOVIC: THE MAIN CONCEPTS OF MODERN DANCE

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Milos Marijan

2018-02-01

Full Text Available Marija Maga Magazinovic (Užice,1882- Belgrade, 1968, a choreographer, dancer, modern dance theorist, philosopher, feminist, librarian and journalist, was the founder of modern dance in Serbia. In her efforts to introduce modern dance, Magazinovic demanded emancipation of art, “pure” dance, a beauty of simple movements, which had no need for story, scenography, costume, even music, nothing but naked dancer’s body. Maga, who graduated philosophy at the Belgrade University in 1904, and was a journalist by vocation, working as the first woman journalist in the daily newspaper “Politica” as a columnist, also fought for women’s rights and emancipation. By bringing modern artistic view into the patriarchal Serbian society, she contributed to the social and cultural development, and to the understanding and adopting of the modern dance at the very time when it was developed and brought on stage in the West. Stemmed from the schools of Max Reinhardt and ballet school of Isadora Duncan, she brought their views and pedagogical methods to Serbia when she returned from Berlin and Munich to Belgrade, where she opened the first school of modern dance in 1910. She was the first to advocate for the necessity of female education, particularly of engaging girls in doing rhythmic gymnastics and dance as a form of bodily and spiritual education. Given that Marija Maga Magazinovic was the first who opened the door for the progress and changes in the fields of dance and women’s rights by bringing concepts of those movements, in which she directly participated, to Serbia, these concepts had to be explained. Therefore, the main goal of the paper is to examine these concepts, such as modern dance, rhythmic gymnastic, body culture, Ausdruckstanz, expressionism, and women emancipation, which is crucial if we want to understand early period of modern dance development, and to understand Magazinovic’s efforts and achievements and her place and historical

Inner Sound: Altered States of Consciousness in Electronic Music and Audio-Visual Media

DEFF Research Database (Denmark)

Weinel, Jonathan

Over the last century, developments in electronic music and art have enabled new possibilities for creating audio and audio-visual artworks. With this new potential has come the possibility for representing subjective internal conscious states, such as the experience of hallucinations, using...... the creative influence of ASCs, from Amazonian chicha festivals to the synaesthetic assaults of neon raves; and from an immersive outdoor electroacoustic performance on an Athenian hilltop to a mushroom trip on a tropical island in virtual reality. Beginning with a discussion of consciousness, the book...... explores how our subjective realities may change during states of dream, psychedelic experience, meditation, and trance. Taking a broad view across a wide range of genres, Inner Sound draws connections between shamanic art and music, and the modern technoshamanism of psychedelic rock, electronic dance...

Risk ON/Risk OFF: Risk-Taking Varies with Subjectively Preferred and Disliked Music.

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Halko, Marja-Liisa; Kaustia, Markku

2015-01-01

In this paper we conduct a within-subjects experiment in which teenagers go over 256 gambles with real money gains and losses. For each risky gamble they choose whether to participate in it, or pass. Prior to this main experiment subjects identify specific songs belonging to their favorite musical genre, as well as songs representing a style they dislike. In the main experiment we vary the music playing in the background, so that each subject hears some of their favorite music, and some disliked music, alternating in blocks of 16 gambles. We find that favorite music increases risk-taking ('risk on'), and disliked music suppresses risk-taking ('risk off'), compared to a baseline of no music. Literature in psychology proposes several mechanisms by which mood affects risk-taking, but none of them fully explain the results in our setting. The results are, however, consistent with the economics notion of preference complementarity, extended to the domain of risk preference. The preference structure implied by our results is more complex than previously thought, yet realistic, and consistent with recent theoretical models. More generally, this mechanism offers a potential explanation to why risk-taking is known to change over time and across contexts.

Five fundamental constraints on theories of the origins of music.

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Merker, Bjorn; Morley, Iain; Zuidema, Willem

2015-03-19

The diverse forms and functions of human music place obstacles in the way of an evolutionary reconstruction of its origins. In the absence of any obvious homologues of human music among our closest primate relatives, theorizing about its origins, in order to make progress, needs constraints from the nature of music, the capacities it engages, and the contexts in which it occurs. Here we propose and examine five fundamental constraints that bear on theories of how music and some of its features may have originated. First, cultural transmission, bringing the formal powers of cultural as contrasted with Darwinian evolution to bear on its contents. Second, generativity, i.e. the fact that music generates infinite pattern diversity by finite means. Third, vocal production learning, without which there can be no human singing. Fourth, entrainment with perfect synchrony, without which there is neither rhythmic ensemble music nor rhythmic dancing to music. And fifth, the universal propensity of humans to gather occasionally to sing and dance together in a group, which suggests a motivational basis endemic to our biology. We end by considering the evolutionary context within which these constraints had to be met in the genesis of human musicality. © 2015 The Author(s) Published by the Royal Society. All rights reserved.

Music Improves Subjective Feelings Leading to Cardiac Autonomic Nervous Modulation: A Pilot Study.

Science.gov (United States)

Kume, Satoshi; Nishimura, Yukako; Mizuno, Kei; Sakimoto, Nae; Hori, Hiroshi; Tamura, Yasuhisa; Yamato, Masanori; Mitsuhashi, Rika; Akiba, Keigo; Koizumi, Jun-Ichi; Watanabe, Yasuyoshi; Kataoka, Yosky

2017-01-01

It is widely accepted that listening to music improves subjective feelings and reduces fatigue sensations, and different kinds of music lead to different activations of these feelings. Recently, cardiac autonomic nervous modulation has been proposed as a useful objective indicator of fatigue. However, scientific considerations of the relation between feelings of fatigue and cardiac autonomic nervous modulation while listening to music are still lacking. In this study, we examined which subjective feelings of fatigue are related to participants' cardiac autonomic nervous function while they listen to music. We used an album of comfortable and relaxing environmental music, with blended sounds from a piano and violin as well as natural sound sources. We performed a crossover trial of environmental music and silent sessions for 20 healthy subjects, 12 females, and 8 males, after their daily work shift. We measured changes in eight types of subjective feelings, including healing, fatigue, sleepiness, relaxation, and refreshment, using the KOKORO scale, a subjective mood measurement system for self-reported feelings. Further, we obtained measures of cardiac autonomic nervous function on the basis of heart rate variability before and after the sessions. During the music session, subjective feelings significantly shifted toward healing and a secure/relaxed feeling and these changes were greater than those in the silent session. Heart rates (ΔHR) in the music session significantly decreased compared with those in the silent session. Other cardiac autonomic parameters such as high-frequency (HF) component and the ratio of low-frequency (LF) and HF components (LF/HF) were similar in the two sessions. In the linear regression analysis of the feelings with ΔHR and changes in LF/HF (ΔLF/HF), increases and decreases in ΔHR were correlated to the feeling axes of Fatigue-Healing and Anxiety/Tension-Security/Relaxation, whereas those in ΔLF/HF were related to the feeling axes

Peculiarities of Use of Dancing Exercises in Physical Education of Female High Schoolers

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Т. М. Кравчук

2015-12-01

Full Text Available The purpose of the research is to ground and develop the methods of the use of dancing exercises at physical training classes in high school and to experimentally verify their effectiveness. Research methods. Theoretical ones: study and analysis of pedagogical, scientific and methodological literature on the problems under research; a complex of empirical research methods: research and experimental work, observations, questionnaires, testing; statistical methods of research and data reduction. Research results. The paper reveals the peculiarities of the use of dancing exercises at physical training classes in high school. It shows that dancing exercises can and must be part of the physical education of high schoolers to develop their strength, flexibility, endurance, coordination abilities and to cultivate movement culture, musicality, dancing abilities and aesthetic taste. The study proves that the use of dancing exercises of classical choreography, rhythmic gymnastics and health-improving aerobics at the physical training classes in high school helps increase the level of development of flexibility, strength and agility.

Making Sense of Collective Events: The Co-creation of a Research-based Dance

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Katherine M. Boydell

2011-01-01

Full Text Available A symbolic interaction (BLUMER, 1969; MEAD, 1934; PRUS, 1996; PRUS & GRILLS, 2003 approach was taken to study the collective event (PRUS, 1997 of creating a research-based dance on pathways to care in first episode psychosis. Viewing the co-creation of a research-based dance as collective activity attends to the processual aspects of an individual's experiences. It allowed us to study the process of the creation of the dance and its capacity to convert abstract research into concrete form and to produce generalizable abstract knowledge from the empirical research findings. Thus, through the techniques of movement, metaphor, voice-over, and music, the characterization of experience through dance was personal and generic, individual and collective, particular and trans-situational. The dance performance allowed us to address the visceral, emotional, and visual aspects of our research which are frequently invisible in traditional academia. URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs110155

Visual tuning and metrical perception of realistic point-light dance movements

Science.gov (United States)

Su, Yi-Huang

2016-01-01

Humans move to music spontaneously, and this sensorimotor coupling underlies musical rhythm perception. The present research proposed that, based on common action representation, different metrical levels as in auditory rhythms could emerge visually when observing structured dance movements. Participants watched a point-light figure performing basic steps of Swing dance cyclically in different tempi, whereby the trunk bounced vertically at every beat and the limbs moved laterally at every second beat, yielding two possible metrical periodicities. In Experiment 1, participants freely identified a tempo of the movement and tapped along. While some observers only tuned to the bounce and some only to the limbs, the majority tuned to one level or the other depending on the movement tempo, which was also associated with individuals’ preferred tempo. In Experiment 2, participants reproduced the tempo of leg movements by four regular taps, and showed a slower perceived leg tempo with than without the trunk bouncing simultaneously in the stimuli. This mirrors previous findings of an auditory ‘subdivision effect’, suggesting the leg movements were perceived as beat while the bounce as subdivisions. Together these results support visual metrical perception of dance movements, which may employ similar action-based mechanisms to those underpinning auditory rhythm perception. PMID:26947252

Visual tuning and metrical perception of realistic point-light dance movements.

Science.gov (United States)

Su, Yi-Huang

2016-03-07

Humans move to music spontaneously, and this sensorimotor coupling underlies musical rhythm perception. The present research proposed that, based on common action representation, different metrical levels as in auditory rhythms could emerge visually when observing structured dance movements. Participants watched a point-light figure performing basic steps of Swing dance cyclically in different tempi, whereby the trunk bounced vertically at every beat and the limbs moved laterally at every second beat, yielding two possible metrical periodicities. In Experiment 1, participants freely identified a tempo of the movement and tapped along. While some observers only tuned to the bounce and some only to the limbs, the majority tuned to one level or the other depending on the movement tempo, which was also associated with individuals' preferred tempo. In Experiment 2, participants reproduced the tempo of leg movements by four regular taps, and showed a slower perceived leg tempo with than without the trunk bouncing simultaneously in the stimuli. This mirrors previous findings of an auditory 'subdivision effect', suggesting the leg movements were perceived as beat while the bounce as subdivisions. Together these results support visual metrical perception of dance movements, which may employ similar action-based mechanisms to those underpinning auditory rhythm perception.

Traditional Music of East Africa: Experiencing "Ngoma" in Tanzania

Science.gov (United States)

Howard, Karen

2014-01-01

The concept of ngoma is present throughout Eastern and Southern Africa. Ngoma refers to the tradition of expression via music, drumming, dance, and storytelling. History, values, education, and even identity can be transmitted between generations. This article traces the experiences of a music teacher from the United States traveling and studying…

The musical identities of Danish music therapy students : a study based on musical autobiographies

OpenAIRE

Bonde, Lars Ole

2013-01-01

Music therapists need both advanced musical and therapeutic skills to work as ‘health musicians’ in the vast area of ‘health musicking’ (Trondalen & Bonde, 2012), which ranges from working with groups in the community to individual sessions with mental health patients in hospital clinics. The balance between musical and therapeutic skills in this training is the subject of continuous discussion in the training program at Aalborg University, as are the ways in which the musical identity of a m...

Between the Dance Studio and the Social Dance Floor: On Solidarity and Practices of Mutuality in Swing Dance Communities

Directory of Open Access Journals (Sweden)

Boštjan Kravanja

2014-07-01

Full Text Available This article discusses the dynamics of actualization of solidarity and hierarchical relations in contemporary swing dance communities. It shows how these communities are based on a specific solidarity ideology, at least it terms of dealing with processes of their institutionalization, commercialization and establishing of formal dance hierarchies. However, when we take into view the swing dancers themselves, diverse practices of mutuality become evident. In contrast to the formal solidarity discourses and practices, the latter are much more heterogeneous and as such more interesting for anthropological discussion, for they establish solidarity and hierarchical relations apart from wider mobilization movements of the swing dance industry, and many of them implicitly resist institutionalization. The thesis arising from this case study is that the practices of mutuality are not always in complementary relation with discourses of solidarity. On the contrary, they often bypass the major solidarity flows and, paradoxically, contribute most efficiently to the actual solidarity of vital parts of the swing communities. The author discusses the subject on the basis of six years of active participation in different Slovene swing dance scenes and occasional presence at international swing dance events in different European cities.

Art Music by Caribbean Composers: Guadeloupe

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Gangelhoff, Christine

2011-10-01

Full Text Available Guadeloupe retains more than its colonial and cultural roots from France. It has been an Overseas Department of that country since 1946. Many of the art-musical styles of Guadeloupe are derived from the ballroom and couple-dance traditions of old, reinvented in a creole tradition: quadrilles, waltzes, biguines and mazurkas (Gerstin, 2007-2011. Two of the most influential and consumed popular music genres are gwoka and compas. The Festival Internationale Saint-Georges, held annually since 2010, was created to celebrate the music of Saint-Georges, to promote artists of colour and to perform classical music written by composers of African descent, though the main focus of the festival is classical music.

Art Music by Caribbean Composers: Guadeloupe

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Christine Gangelhoff

2011-07-01

Full Text Available Guadeloupe retains more than its colonial and cultural roots from France. It has been an Overseas Department of that country since 1946. Many of the art-musical styles of Guadeloupe are derived from the ballroom and couple-dance traditions of old, reinvented in a creole tradition: quadrilles, waltzes, biguines and mazurkas (Gerstin, 2007-2011. Two of the most influential and consumed popular music genres are gwoka and compas. The Festival Internationale Saint-Georges, held annually since 2010, was created to celebrate the music of Saint-Georges, to promote artists of colour and to perform classical music written by composers of African descent, though the main focus of the festival is classical music.

Prediction of Participation of Undergraduate University Students in a Music and Dance Master’s Degree Program

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Evangelos Bebetsos

2015-07-01

Full Text Available The aim of the study was the investigation of students’ attitudes and intention towards their possible participation in a graduate Music and Dance Distance Learning Master’s Degree Program. The sample consisted of consisted of 229 undergraduate University students, between the ages of 20 to 63 yrs. of age (M=34.24, SD=10.70. More specifically, 134 were students of the Hellenic Open University and 95 were students of the School of Physical Education and Sport Science, of the Democritus University of Thrace. The sample completed the version the “Planned Behavior Theory” questionnaire. Results revealed differences among students of both Universities, between experienced and less experienced ones, and also among age groups. On the contrary, no sex differences in any of the questionnaire’s factors were indicated. In conclusion, the findings of this research allow a better understanding of the distance education process, which explains the attitudes and intention(s of students’ participation, and the factors that might influence theirparticular participation.

Beyond health and well-being: transformation, memory and the virtual in older people's music and dance

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Kate Wakeling

2015-08-01

Full Text Available Research exploring older people and the participatory arts has tended to focus on notions of biomedical impact, often coupled with appeals to evasive notions of "well-being." Rather than suggesting such approaches are invalid, this article proposes the need for their extension and proposes an alternative, critical approach to analysing older people's experience of arts participation. Based on ethnographic participant observation and intensive consultation with a cohort of older people engaged in a programme of creative music and dance, we explore the complex processes and possibilities of transformation that the participatory arts can initiate, examining how performance can create intriguing linkages between past, present and future experiences. Taking a phenomenological approach to the study of memory, recollection, reminiscence and future anticipation, we discuss how arts participation can "actualise" potential memories in older participants, examining how and why this kind of expressive activity animates the idea of "virtual" selves (after Bergson.

Dance notations and robot motion

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Abe, Naoko

2016-01-01

How and why to write a movement? Who is the writer? Who is the reader? They may be choreographers working with dancers. They may be roboticists programming robots. They may be artists designing cartoons in computer animation. In all such fields the purpose is to express an intention about a dance, a specific motion or an action to perform, in terms of intelligible sequences of elementary movements, as a music score that would be devoted to motion representation. Unfortunately there is no universal language to write a motion. Motion languages live together in a Babel tower populated by biomechanists, dance notators, neuroscientists, computer scientists, choreographers, roboticists. Each community handles its own concepts and speaks its own language. The book accounts for this diversity. Its origin is a unique workshop held at LAAS-CNRS in Toulouse in 2014. Worldwide representatives of various communities met there. Their challenge was to reach a mutual understanding allowing a choreographer to access robotics ...

Musical Stories: Strategies for Integrating Literature and Music for Young Children

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Niland, Amanda

2007-01-01

Humans have communicated through arts such as storytelling, music and dance throughout history, and have often used combinations of different art forms to express ideas. Just as traditional storytellers have done in many cultures through the ages, early childhood practitioners can use a variety of art forms when they share books and stories with…

The Benefit of Movement: Dance/Movement Therapy and Down Syndrome

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Albin, Chloe M.

2016-01-01

There are various forms of therapies for children with disabilities, including physical therapy, speech therapy, and alternative therapies such as music and dance therapy. Each form of therapy has its benefits for those with disabilities, but ultimately the success of the therapy rests on the attention paid to the individual. Especially for…

Costume and Music-Specific Dance: A Structure for Experimentation with Process and Technology

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Brown, Nathan; Dasen, Ann; Trommer-Beardslee, Heather

2016-01-01

This article describes how the authors completed a project at Central Michigan University (CMU) with undergraduate theater majors and minors and dance minors as part of the annual mainstage dance concert. Although the concert is predominantly choreographed and designed by CMU faculty, students are engaged in every step of the performance and…

Tracking Plasticity: Effects of Long-Term Rehearsal in Expert Dancers Encoding Music to Movement

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Bar, Rachel J.; DeSouza, Joseph F. X.

2016-01-01

Our knowledge of neural plasticity suggests that neural networks show adaptation to environmental and intrinsic change. In particular, studies investigating the neuroplastic changes associated with learning and practicing motor tasks have shown that practicing such tasks results in an increase in neural activation in several specific brain regions. However, studies comparing experts and non-experts suggest that experts employ less neuronal activation than non-experts when performing a familiar motor task. Here, we aimed to determine the long-term changes in neural networks associated with learning a new dance in professional ballet dancers over 34 weeks. Subjects visualized dance movements to music while undergoing fMRI scanning at four time points over 34-weeks. Results demonstrated that initial learning and performance at seven weeks led to increases in activation in cortical regions during visualization compared to the first week. However, at 34 weeks, the cortical networks showed reduced activation compared to week seven. Specifically, motor learning and performance over the 34 weeks showed the typical inverted-U-shaped function of learning. Further, our result demonstrate that learning of a motor sequence of dance movements to music in the real world can be visualized by expert dancers using fMRI and capture highly significant modeled fits of the brain network variance of BOLD signals from early learning to expert level performance. PMID:26824475

New Framework for Rehabilitation - Fusion of Cognitive and Physical Rehabilitation: The Hope for Dancing

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Prabhjot eDhami

2015-01-01

Full Text Available Neurorehabilitation programs are commonly employed with the goal to help restore functionality in patients. However, many of these therapies report only having a small impact. In response to the need for more effective and innovative approaches, rehabilitative methods that take advantage of the neuroplastic properties of the brain have been used to aid with both physical and cognitive impairments. Following this path of reasoning, there has been a particular interest in the use of physical exercise as well as musical related activities. Although such therapies demonstrate potential, they also have limitations that may affect their use, calling for further exploration. Here, we propose dance as a potential parallel to physical and music therapies. Dance may be able to aid with both physical and cognitive impairments, particularly due to it combined nature of including both physical and cognitive stimulation. Not only does it incorporate physical and motor skill related activities, but also provides cognitive stimulation through engaging various cognitive functions such as perception, emotion, memory, all done in an enriched environment. Other more practical benefits, such as promoting adherence due to being enjoyable, are also discussed, along with the current literature on the application of dance as an intervention tool, as well as future directions required to evaluate the potential of dance as an alternative therapy in neurorehabilitation.

Promoting Cultural Diversity: African Music in Australian Teacher Education

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Joseph, Dawn

2016-01-01

Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in…

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

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Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L. O.; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music. PMID:23882233

Music, Emotion and Time Perception: The influence of subjective emotional valence and arousal?

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SYLVIE eDROIT-VOLET

2013-07-01

Full Text Available The present study used a temporal bisection task with short (< 2 s and long (> 2 s stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow (Experiment 1 or their instrumentation (orchestral vs. piano pieces. The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant versus atonal (unpleasant versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

Music, emotion, and time perception: the influence of subjective emotional valence and arousal?

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Droit-Volet, Sylvie; Ramos, Danilo; Bueno, José L O; Bigand, Emmanuel

2013-01-01

The present study used a temporal bisection task with short (2 s) stimulus durations to investigate the effect on time estimation of several musical parameters associated with emotional changes in affective valence and arousal. In order to manipulate the positive and negative valence of music, Experiments 1 and 2 contrasted the effect of musical structure with pieces played normally and backwards, which were judged to be pleasant and unpleasant, respectively. This effect of valence was combined with a subjective arousal effect by changing the tempo of the musical pieces (fast vs. slow) (Experiment 1) or their instrumentation (orchestral vs. piano pieces). The musical pieces were indeed judged more arousing with a fast than with a slow tempo and with an orchestral than with a piano timbre. In Experiment 3, affective valence was also tested by contrasting the effect of tonal (pleasant) vs. atonal (unpleasant) versions of the same musical pieces. The results showed that the effect of tempo in music, associated with a subjective arousal effect, was the major factor that produced time distortions with time being judged longer for fast than for slow tempi. When the tempo was held constant, no significant effect of timbre on the time judgment was found although the orchestral music was judged to be more arousing than the piano music. Nevertheless, emotional valence did modulate the tempo effect on time perception, the pleasant music being judged shorter than the unpleasant music.

Dancing Intercorporeality: A Health Humanities Perspective on Dance as a Healing Art.

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Purser, Aimie

2017-12-20

As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty's conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of thinking about how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- (and other-) care.

Early adolescent music preferences and minor delinquency.

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Ter Bogt, Tom F M; Keijsers, Loes; Meeus, Wim H J

2013-02-01

To test Music Marker Theory (MMT) positing that early adolescents' preferences for nonmainstream types of popular music indicate concurrent and later minor delinquency. MMT was tested in a 4-year longitudinal study (n = 309). The results showed that early fans of different types of rock (eg, rock, heavy metal, gothic, punk), African American music (rhythm and blues, hip-hop), and electronic dance music (trance, techno/hardhouse) showed elevated minor delinquency concurrently and longitudinally. Preferring conventional pop (chart pop) or highbrow music (classic music, jazz), in contrast, was not related to or was negatively related to minor delinquency. Early music preferences emerged as more powerful indicators of later delinquency rather than early delinquency, indicating that music choice is a strong marker of later problem behavior. The mechanisms through which music preferences are linked to minor delinquency are discussed within the framework of MMT.

El Componente Dramatico-musical en una pieza breve de Melchor Fernandez de Leon

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Elisa Dominguez de Paz

2011-12-01

Full Text Available Music played an outstanding role in seventeenth-century Spanish court theatre, even to the point of being a factor when considering whether the plays were to be staged in the royal palace or staged only in the popular theatres or corrales. But it was in the royal playhouses where a number of new musical-dramatic new genres developed. In other words, different types of plays were characterized by their musical components, as in for example, El baile de las aves [The Dance of the Birds] by Melchor Fernández de León, a text that was first staged in the Royal Palace in 1684, on occasion of the birthday of Queen María Luisa, wife to King Carlos II. Music, dancing and singing contribute greatly to turn the representation of the play into a very brilliant event.

Power in Operation: A Case Study Focussing on How Subject-Based Knowledge Is Constrained by the Methods of Assessment in GCE A Level Dance

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Sanders, Lorna

2008-01-01

The General Certificate of Education (GCE) A Level Dance specification, offered by the Assessment and Qualifications Alliance (AQA), is the only GCE course of study in the UK that focuses solely on dance. Acquisition of subject specific knowledge is a feature of its aims, while assessment, as constructed by its objectives, is assumed to be a…

The Dancing Manias: Psychogenic Illness as a Social Phenomenon.

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Lanska, Douglas J

2018-01-01

The dancing mania erupted in the 14th century in the wake of the Black Death, and recurred for centuries in central Europe - particularly Germany, the Netherlands, and Belgium - finally abating in the early 17th century. The term "dancing mania" was derived from "choreomania," a concatenation of choros (dance) and mania (madness). A variant, tarantism, was prevalent in southern Italy from the 15th to the 17th centuries, and was attributed at the time to bites from the tarantula spider. Affected individuals participated in continuous, prolonged, erratic, often frenzied and sometimes erotic, dancing. In the 14th century, the dancing mania was linked to a corruption of the festival of St. John's Day by ancient pagan customs, but by the 16th century it was commonly considered an ordeal sent by a saint, or a punishment from God for people's sins. Consequently, during outbreaks in the 14th and 15th centuries, the dancing mania was considered an issue for magistrates and priests, not physicians, even though the disorder proved intractable to decrees and exorcisms. However, in the 16th century Paracelsus discounted the idea that the saints caused or interceded in the cure of the dancing mania; he instead suggested a psychogenic or malingered etiology, and this reformulation brought the dancing mania within the purview of physicians. Paracelsus advocated various mystical, psychological, and pharmacological approaches, depending on the presumptive etiologic factors with individual patients. Only music provided any relief for tarantism. Later authors suggested that the dancing mania was a mass stress-induced psychosis, a mass psychogenic illness, a culturally determined form of ritualized behavior, a manifestation of religious ecstasy, or even the result of food poisoning caused by the toxic and psychoactive chemical products of ergot fungi. In reality, dancing manias did not have a single cause, but component causes likely included psychogenic illness, malingering, and

Inter-subject synchronization of brain responses during natural music listening

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Abrams, Daniel A.; Ryali, Srikanth; Chen, Tianwen; Chordia, Parag; Khouzam, Amirah; Levitin, Daniel J.; Menon, Vinod

2015-01-01

Music is a cultural universal and a rich part of the human experience. However, little is known about common brain systems that support the processing and integration of extended, naturalistic ‘real-world’ music stimuli. We examined this question by presenting extended excerpts of symphonic music, and two pseudomusical stimuli in which the temporal and spectral structure of the Natural Music condition were disrupted, to non-musician participants undergoing functional brain imaging and analysing synchronized spatiotemporal activity patterns between listeners. We found that music synchronizes brain responses across listeners in bilateral auditory midbrain and thalamus, primary auditory and auditory association cortex, right-lateralized structures in frontal and parietal cortex, and motor planning regions of the brain. These effects were greater for natural music compared to the pseudo-musical control conditions. Remarkably, inter-subject synchronization in the inferior colliculus and medial geniculate nucleus was also greater for the natural music condition, indicating that synchronization at these early stages of auditory processing is not simply driven by spectro-temporal features of the stimulus. Increased synchronization during music listening was also evident in a right-hemisphere fronto-parietal attention network and bilateral cortical regions involved in motor planning. While these brain structures have previously been implicated in various aspects of musical processing, our results are the first to show that these regions track structural elements of a musical stimulus over extended time periods lasting minutes. Our results show that a hierarchical distributed network is synchronized between individuals during the processing of extended musical sequences, and provide new insight into the temporal integration of complex and biologically salient auditory sequences. PMID:23578016

[Analysis and evaluation of acute injuries in musical performers].

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Wanke, E M; Groneberg, D A; Quarcoo, D

2011-09-01

Specific requirements in the Musical field such as the versatility of abilities in dancing, singing and acting, the aspiration for perfection as well as the high number of performances, lead to a high amount of occupational accidents not yet evaluated. Aim of this study is, therefore, to analyze and evaluate occupational accidents in Musical performers and to suggest preventive concepts. The data of this evaluation comprise occupational accident reports of consultants, accident reports of various Berlin theatres as well as case records of all Berlin State Theatres (n = 89, m: 58, f: 31) of the Berlin State Accident Insurance covering a period 12-year period. A total of 60.3 % of the accidents happen during performances, 24.4 % during rehearsals, and 6.7 % during the training. Lower extremity injuries (m: 61.1 %, f: 58.2 %) are the most common for performers. The majority of injuries (m: 46.3 %, f: 50.0 %) happens during ordinary dance movements. Altogether 66.7 % of the injuries have a uniquely defined exogenous cause. The dance partner is with 17.9 % the most common exogenous cause, followed by props (15.4 %) and dance floor (11.6 %). 66.3 % of all accidents happen in the first three hours after starting work with an incidence in the evenings. There are gender specific differences. Parallels can be drawn (e. g. injured structures, type of injuries) to the professional dance and the dance theatre, however, there are also differences (e. g. age, injury location) Due to the results and the work specific requirements the Musical is to be considered as an autonomous field among the performing arts. Above all, the majority of injuries are - compared to other dance styles - caused by exogenous factors. Modifications may here reduce the incidence. At that, an early interaction in the planning progress of a production, an optimal selection of physical and psychic qualified performers as well as an improvement of training conditions are primary steps towards

Crossdressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music

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David Madden

2012-11-01

Full Text Available Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound.   

Effects of background music on objective and subjective performance measures in an auditory BCI

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Sijie Zhou

2016-10-01

Full Text Available Several studies have explored brain computer interface (BCI systems based on auditory stimuli, which could help patients with visual impairments. Usability and user satisfaction are important considerations in any BCI. Although background music can influence emotion and performance in other task environments, and many users may wish to listen to music while using a BCI, auditory and other BCIs are typically studied without background music. Some work has explored the possibility of using polyphonic music in auditory BCI systems. However, this approach requires users with good musical skills, and has not been explored in online experiments. Our hypothesis was that an auditory BCI with background music would be preferred by subjects over a similar BCI without background music, without any difference in BCI performance. We introduce a simple paradigm (which does not require musical skill using percussion instrument sound stimuli and background music, and evaluated it in both offline and online experiments. The result showed that subjects preferred the auditory BCI with background music. Different performance measures did not reveal any significant performance effect when comparing background music vs. no background. Since the addition of background music does not impair BCI performance but is preferred by users, auditory (and perhaps other BCIs should consider including it. Our study also indicates that auditory BCIs can be effective even if the auditory channel is simultaneously otherwise engaged.

Effect of Dance Exercise on Cognitive Function in Elderly Patients with Metabolic Syndrome: A Pilot Study

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Kim, Se-Hong; Kim, Minjeong; Ahn, Yu-Bae; Lim, Hyun-Kook; Kang, Sung-Goo; Cho, Jung-hyoun; Park, Seo-Jin; Song, Sang-Wook

2011-01-01

Metabolic syndrome is associated with an increased risk of cognitive impairment. The purpose of this prospective pilot study was to examine the effects of dance exercise on cognitive function in elderly patients with metabolic syndrome. The participants included 38 elderly metabolic syndrome patients with normal cognitive function (26 exercise group and 12 control group). The exercise group performed dance exercise twice a week for 6 months. Cognitive function was assessed in all participants using the Korean version of the Consortium to Establish a Registry for Alzheimer’s disease (CERAD-K). Repeated-measures ANCOVA was used to assess the effect of dance exercise on cognitive function and cardiometabolic risk factors. Compared with the control group, the exercise group significantly improved in verbal fluency (p = 0.048), word list delayed recall (p = 0.038), word list recognition (p = 0.007), and total CERAD-K score (p = 0.037). However, no significance difference was found in body mass index, blood pressure, waist circumference, fasting plasma glucose, triglyceride, and HDL cholesterol between groups over the 6-month period. In the present study, six months of dance exercise improved cognitive function in older adults with metabolic syndrome. Thus, dance exercise may reduce the risk for cognitive disorders in elderly people with metabolic syndrome. Key points Metabolic syndrome (MS) is associated with an increased risk of cognitive impairment. Aerobic exercise improves cognitive function in elderly people and contributes to the prevention of degenerative neurological disease and brain damage. Dance sport is a form of aerobic exercise that has the additional benefits of stimulating the emotions, promoting social interaction, and exposing subjects to acoustic stimulation and music. In the present study, dance exercise for a 6-month period improved cognitive function in older adults with MS. In particular, positive effects were observed in verbal fluency, word

Effect of dance exercise on cognitive function in elderly patients with metabolic syndrome: a pilot study.

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Kim, Se-Hong; Kim, Minjeong; Ahn, Yu-Bae; Lim, Hyun-Kook; Kang, Sung-Goo; Cho, Jung-Hyoun; Park, Seo-Jin; Song, Sang-Wook

2011-01-01

Metabolic syndrome is associated with an increased risk of cognitive impairment. The purpose of this prospective pilot study was to examine the effects of dance exercise on cognitive function in elderly patients with metabolic syndrome. The participants included 38 elderly metabolic syndrome patients with normal cognitive function (26 exercise group and 12 control group). The exercise group performed dance exercise twice a week for 6 months. Cognitive function was assessed in all participants using the Korean version of the Consortium to Establish a Registry for Alzheimer's disease (CERAD-K). Repeated-measures ANCOVA was used to assess the effect of dance exercise on cognitive function and cardiometabolic risk factors. Compared with the control group, the exercise group significantly improved in verbal fluency (p = 0.048), word list delayed recall (p = 0.038), word list recognition (p = 0.007), and total CERAD-K score (p = 0.037). However, no significance difference was found in body mass index, blood pressure, waist circumference, fasting plasma glucose, triglyceride, and HDL cholesterol between groups over the 6-month period. In the present study, six months of dance exercise improved cognitive function in older adults with metabolic syndrome. Thus, dance exercise may reduce the risk for cognitive disorders in elderly people with metabolic syndrome. Key pointsMetabolic syndrome (MS) is associated with an increased risk of cognitive impairment.Aerobic exercise improves cognitive function in elderly people and contributes to the prevention of degenerative neurological disease and brain damage. Dance sport is a form of aerobic exercise that has the additional benefits of stimulating the emotions, promoting social interaction, and exposing subjects to acoustic stimulation and music.In the present study, dance exercise for a 6-month period improved cognitive function in older adults with MS. In particular, positive effects were observed in verbal fluency, word list

For the Construction of a Historico-anthropological Model of Musical Relationships between Brazil, Portugal, and Africa

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Rafael José de Menezes Bastos

2016-02-01

Full Text Available The text postulates a model of a historico-anthropological nature for understanding the musical relationships from Brazil, Portugal, and Atlantic lusophone Africa during the XVII and XIX centuries. The model stars from the constitution of the Atlantic lusophone space as one of continual sociocultural relationships in general and musical in particular up to the first decades of the XIX century and even before. Those musical relationships are based on the existence of vast transatlantic system of musical and dance genres connected through historic and structural transformations. Because it belongs to that system, the lundu-modinha-fado transformation system will be studied, with emphasis on Bazilian dance and Portuguese song. The article elaborates the concept of "musical genre" from the notions of Mikhail Bakhtin´s "discursive genre" and Claude Lévi-Strauss and Marshall Sahlins’s "transformation".

Dancing and Parkinson’s disease: updates on this creative approach to therapy

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Shanahan J

2017-09-01

Full Text Available Joanne Shanahan,1 Meg E Morris,2 Orfhlaith Ní Bhriain,3 Daniele Volpe,4 Amanda M Clifford1 1Department of Clinical Therapies, Faculty of Education and Health Sciences, University of Limerick, Co. Limerick, Ireland; 2Department of Physiotherapy, School of Allied Health, La Trobe University, Bundoora, Australia; 3Irish World Academy of Music and Dance, Department of Arts Humanities and Social Sciences, University of Limerick, Co. Limerick, Ireland; 4Department of Neurorehabilitation, Casa di Cura Villa Margherita, Vicenza, Italy Introduction: Parkinson’s disease (PD is associated with slowness of movement and balance disturbance. Anxiety and social isolation are common and quality of life (QoL can be compromised. Dancing enables people with PD to participate in an enjoyable form of exercise within a group. This review provides an updated synthesis of the literature comparing dance to other interventions in people with PD. Methods: Six databases were electronically searched. Relevant articles were identified using inclusion criteria. Data on participants, the dance intervention, and outcomes were extracted from suitable articles. Results: Methodological limitations were evident in 13 included articles. The evidence reviewed suggests that dancing is enjoyable and can improve balance, motor function, and QoL. Further research is needed to determine the effect of dancing on cognition and depression in this population. Longer term dance interventions may be needed to achieve more meaningful benefits in mobility. Conclusion: Dancing can be a feasible and beneficial physical activity and improve the wellness of individuals with PD. Keywords: Parkinson’s disease, dance, physical activity

Differences in Itself: Redefining Disability through Dance

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Carolien Hermans

2016-11-01

Full Text Available This paper brings together two different terms: dance and disability. This encounter between dance and disability might be seen as an unusual, even conflicting, one since dance is traditionally dominated by aesthetic virtuosity and perfect, idealized bodies which are under optimized bodily control. However, recently there has been a growing desire within dance communities and professional dance companies to challenge binary thinking (beautiful-ugly, perfect-imperfect, valid-invalid, success-failure by incorporating an aesthetic of difference. The traditional focus of dance on appearance (shape, technique, virtuosity is replaced by a focus on how movement is connected to a sense of self. This notion of the subjective body not only applies to the dancer's body but also to disabled bodies. Instead of thinking of a body as a thing, an object (Körper that is defined by its physical appearance, dance is more and more seduced by the body as we sense it, feel it and live it (Leib. This conceptual shift in dance is illustrated by a theoretical analysis of The Cost of Living, a dance film produced by DV8.

The influence of body movements on children's perception of music with an ambiguous expressive character.

Science.gov (United States)

Maes, Pieter-Jan; Leman, Marc

2013-01-01

The theory of embodied music cognition states that the perception and cognition of music is firmly, although not exclusively, linked to action patterns associated with that music. In this regard, the focus lies mostly on how music promotes certain action tendencies (i.e., dance, entrainment, etc.). Only recently, studies have started to devote attention to the reciprocal effects that people's body movements may exert on how people perceive certain aspects of music and sound (e.g., pitch, meter, musical preference, etc.). The present study positions itself in this line of research. The central research question is whether expressive body movements, which are systematically paired with music, can modulate children's perception of musical expressiveness. We present a behavioral experiment in which different groups of children (7-8 years, N = 46) either repetitively performed a happy or a sad choreography in response to expressively ambiguous music or merely listened to that music. The results of our study show indeed that children's perception of musical expressiveness is modulated in accordance with the expressive character of the dance choreography performed to the music. This finding supports theories that claim a strong connection between action and perception, although further research is needed to uncover the details of this connection.

New framework for rehabilitation – fusion of cognitive and physical rehabilitation: the hope for dancing

Science.gov (United States)

Dhami, Prabhjot; Moreno, Sylvain; DeSouza, Joseph F. X.

2015-01-01

Neurorehabilitation programs are commonly employed with the goal to help restore functionality in patients. However, many of these therapies report only having a small impact. In response to the need for more effective and innovative approaches, rehabilitative methods that take advantage of the neuroplastic properties of the brain have been used to aid with both physical and cognitive impairments. Following this path of reasoning, there has been a particular interest in the use of physical exercise as well as musical related activities. Although such therapies demonstrate potential, they also have limitations that may affect their use, calling for further exploration. Here, we propose dance as a potential parallel to physical and music therapies. Dance may be able to aid with both physical and cognitive impairments, particularly due to it combined nature of including both physical and cognitive stimulation. Not only does it incorporate physical and motor skill related activities, but it can also engage various cognitive functions such as perception, emotion, and memory, all while done in an enriched environment. Other more practical benefits, such as promoting adherence due to being enjoyable, are also discussed, along with the current literature on the application of dance as an intervention tool, as well as future directions required to evaluate the potential of dance as an alternative therapy in neurorehabilitation. PMID:25674066

Theater, Live Music, and Dance: Conversations about Young Audiences

Science.gov (United States)

Friedman, Susan

2010-01-01

What types of theater performances are appropriate for preschoolers? What might toddlers get out of a visit from a cellist who plays a song and demonstrates the different sounds she can make with her instrument? Would inviting a local jazz dance group to perform be beneficial for your early first-graders? The author spoke with a musician, the…

Dance learning in motion: global dance education

DEFF Research Database (Denmark)

Brown, Ann Kipling; Koff, Susan R.; Meiners, Jeff

2015-01-01

Reports indicate that dance-learning experiences provided for young people in and outside schools impact positively upon young people’s learning in schools, as well as in pre-service and professional development programs for those who teach dance in various settings. Support of major dance...... organizations as well as the goals of the United Nations Educational, Scientific and Cultural Organisation (UNESCO) affirm the importance of dance education and encourage the research and practice to provide lifelong and intergenerational learning in, about and through dance education. This paper describes...... the results of a survey questionnaire, which captures the narratives and contexts from lived experiences of university students and graduates in formal, informal and non-formal settings and how those are experienced. This initial study confirmed the power of dance and the significance of dance in peoples...

Use of synthetic stimulants and hallucinogens in a cohort of electronic dance music festival attendees.

Science.gov (United States)

Mohr, Amanda L A; Friscia, Melissa; Yeakel, Jillian K; Logan, Barry K

2018-01-01

Novel psychoactive substances (NPS), often characterized as unregulated psychoactive compounds designed to circumvent existing legislation, have become mainstream on the illicit drug market. Because of their physical and mind-altering properties, NPS may be deliberately or inadvertently ingested at electronic dance music (EDM) festivals to enhance the attendees' appreciation of the music and overall experience. Their widespread use at EDM festivals have been well documented and several adverse events and fatalities associated with NPS ingestion have been reported in the United States. The diversity and rapid turnover in the prevalence of any particular NPS at any given point of time has created several challenges for public health officials, law enforcement, and forensic science communities. Epidemiological studies are often published long after drugs have cycled through the peak of their popularity with users and the scope of testing frequently failing to detect, identify or report the most recently available drugs. The aims of the study included discovering emerging NPS, ascertaining their overall prevalence and determining patterns of use and trends within this targeted population. Over the course of two years, biological samples were collected from 396 (126 blood samples; 227 urine samples; and 384 oral fluid samples) EDM festival attendees. Additionally, survey data regarding prescription and recreational drug use within the last week were collected with follow-up questions related to what substance(s) the person had ingested, amount taken, when the substance was last taken and perceived effects. All biological samples were screened and subsequently confirmed and/or quantified, when appropriate. In response to survey questions, 72% of the participants reported using a recreational drug or medicinal substance within the last week. Users most commonly reported using marijuana and alcohol, followed by "Molly" and cocaine. Of the 396 individuals tested

RENAISSANCE AND BAROQUE DANCES: RECONSTRUCTION AND DANCE WORKSHOPS

OpenAIRE

Katarinčić, Ivana

2008-01-01

The numerous dance manual publications dating from the Renaissance and Baroque eras testify to the exceptional importance of the art of dance during those eras. From as early as the 15th century, they noted the history of dance, conduct while dancing and the style and technique of dancing. They contained information on the performance of individual steps, their combinations and the structure of the complete choreographies, as well as instructions on exemplary behaviour on the dance podium ...

Music and speech distractors disrupt sensorimotor synchronization: effects of musical training.

Science.gov (United States)

Białuńska, Anita; Dalla Bella, Simone

2017-12-01

Humans display a natural tendency to move to the beat of music, more than to the rhythm of any other auditory stimulus. We typically move with music, but rarely with speech. This proclivity is apparent early during development and can be further developed over the years via joint dancing, singing, or instrument playing. Synchronization of movement to the beat can thus improve with age, but also with musical experience. In a previous study, we found that music perturbed synchronization with a metronome more than speech fragments; music superiority disappeared when distractors shared isochrony and the same meter (Dalla Bella et al., PLoS One 8(8):e71945, 2013). Here, we examined if the interfering effect of music and speech distractors in a synchronization task is influenced by musical training. Musicians and non-musicians synchronized by producing finger force pulses to the sounds of a metronome while music and speech distractors were presented at one of various phase relationships with respect to the target. Distractors were familiar musical excerpts and fragments of children poetry comparable in terms of beat/stress isochrony. Music perturbed synchronization with the metronome more than speech did in both groups. However, the difference in synchronization error between music and speech distractors was smaller for musicians than for non-musicians, especially when the peak force of movement is reached. These findings point to a link between musical training and timing of sensorimotor synchronization when reacting to music and speech distractors.

Poly-eclecticism in the Juju music of Abiodun Awesola (awesome ...

African Journals Online (AJOL)

One of the most successful dance music of the Yoruba people of the Southwest Nigeria is Jùjú music. This genre has continued to enjoy patronage among the lower and middle classes, as well as the elites. The trend in which Jùjú is performed specifically among young musicians of today, premised on the practice which ...

[The relations between music and medicine in history and present].

Science.gov (United States)

Gasenzer, E R; Neugebauer, E A M

2011-12-01

Since the ancient world relations exist between music and medicine. In the prehistoric music, dance, rhythm and religious practice were important parts of shamanism and early medical procedures. Important philosophers of the classic period already began with the scientific research of musical and medical questions. During the middle age convents conserved ancient knowledge. They offered medical care and taught the ancient knowledge of medicine, arts and music. The Gregorian choral was created. Traditions of popular believe expressed the relations between music and medicine. The Renaissance became the great époque of art, music and science. Leonardo da Vinci and Andreas Vesalius presented a new style of artistic working and scientific knowledge. Also the basics of western music, like tonality was developed. With the separation of scientific subjects in natural sciences and humanities, the relationships between music and medicine fall into oblivion. During the classic and romantic era music and art were important parts of cultural live of the well educated society. With the development of neurology, psychiatry and psychoanalysis more physicians and scientists were interested in musical questions. Questions about the role of music in human behavior and the ancient method to use music in medical treatment became popular. In the early 20th century the music therapy was developed. Today the effects of music to the human brain are investigated with radionuclear methods. A lot of investigations showed the effect of music and music performance to humans. Music plays an important part in psychotherapy, therapeutic pedagogy and medical care, the importance of music and music therapy increases. In the 80ies of the 20th century the performing arts medicine was developed, which asks for the medical problems of performing musicians. © Georg Thieme Verlag KG Stuttgart · New York.

Recognizing Induced Emotions of Happiness and Sadness from Dance Movement

Science.gov (United States)

Van Dyck, Edith; Vansteenkiste, Pieter; Lenoir, Matthieu; Lesaffre, Micheline; Leman, Marc

2014-01-01

Recent research revealed that emotional content can be successfully decoded from human dance movement. Most previous studies made use of videos of actors or dancers portraying emotions through choreography. The current study applies emotion induction techniques and free movement in order to examine the recognition of emotional content from dance. Observers (N = 30) watched a set of silent videos showing depersonalized avatars of dancers moving to an emotionally neutral musical stimulus after emotions of either sadness or happiness had been induced. Each of the video clips consisted of two dance performances which were presented side-by-side and were played simultaneously; one of a dancer in the happy condition and one of the same individual in the sad condition. After every film clip, the observers were asked to make forced-choices concerning the emotional state of the dancer. Results revealed that observers were able to identify the emotional state of the dancers with a high degree of accuracy. Moreover, emotions were more often recognized for female dancers than for their male counterparts. In addition, the results of eye tracking measurements unveiled that observers primarily focus on movements of the chest when decoding emotional information from dance movement. The findings of our study show that not merely portrayed emotions, but also induced emotions can be successfully recognized from free dance movement. PMID:24587026

At home, I’m a tourist: Musical migration and affective citizenship in Berlin

NARCIS (Netherlands)

Garcia, Luis-Manuel

2015-01-01

This article explores the ways in which musical, sonic, and more broadly sensory experiences of Berlin provide the ground for an ambivalent sense of civic belonging for a cadre of migrants affiliated with the city’s local electronic dance music scenes. Drawn from ethnographic fieldwork, the accounts

Preservice Teachers Connecting Mathematics and Drumming

Science.gov (United States)

Marshall, Anne Marie

2014-01-01

Increasingly, elementary classroom teachers are being called to teach a myriad of subjects, including visual art, dance, and music. Preservice teachers must be prepared to teach and integrate multiple subjects. To that end, preservice teachers will need experiences in their preparation that help them to see connections across content areas and…

Digital music exposure reliably induces temporary threshold shift in normal-hearing human subjects.

Science.gov (United States)

Le Prell, Colleen G; Dell, Shawna; Hensley, Brittany; Hall, James W; Campbell, Kathleen C M; Antonelli, Patrick J; Green, Glenn E; Miller, James M; Guire, Kenneth

2012-01-01

One of the challenges for evaluating new otoprotective agents for potential benefit in human populations is the availability of an established clinical paradigm with real-world relevance. These studies were explicitly designed to develop a real-world digital music exposure that reliably induces temporary threshold shift (TTS) in normal-hearing human subjects. Thirty-three subjects participated in studies that measured effects of digital music player use on hearing. Subjects selected either rock or pop music, which was then presented at 93 to 95 (n = 10), 98 to 100 (n = 11), or 100 to 102 (n = 12) dBA in-ear exposure level for a period of 4 hr. Audiograms and distortion product otoacoustic emissions (DPOAEs) were measured before and after music exposure. Postmusic tests were initiated 15 min, 1 hr 15 min, 2 hr 15 min, and 3 hr 15 min after the exposure ended. Additional tests were conducted the following day and 1 week later. Changes in thresholds after the lowest-level exposure were difficult to distinguish from test-retest variability; however, TTS was reliably detected after higher levels of sound exposure. Changes in audiometric thresholds had a "notch" configuration, with the largest changes observed at 4 kHz (mean = 6.3 ± 3.9 dB; range = 0-14 dB). Recovery was largely complete within the first 4 hr postexposure, and all subjects showed complete recovery of both thresholds and DPOAE measures when tested 1 week postexposure. These data provide insight into the variability of TTS induced by music-player use in a healthy, normal-hearing, young adult population, with music playlist, level, and duration carefully controlled. These data confirm the likelihood of temporary changes in auditory function after digital music-player use. Such data are essential for the development of a human clinical trial protocol that provides a highly powered design for evaluating novel therapeutics in human clinical trials. Care must be taken to fully inform potential subjects in

Enlivening Dance History Pedagogy through Archival Projects

Science.gov (United States)

Randall, Tresa

2012-01-01

Dance archives can bring students into contact with historical subjects through artifacts of the past. This article advocates the use of archival projects in undergraduate dance history courses, arguing that such hands-on learning activities give students dynamic and interactive experiences of history. The author describes a creative project she…

Researching Subjective Meaning System of Music Consumers

Directory of Open Access Journals (Sweden)

Mohammad Taghi Iman

2011-06-01

Full Text Available The purpose of this qualitative study is to explain the subjective meaning system of consumers of the popular music. Participants in this study include 21 students (male and female living in dormitories of Shiraz University. Researches use qualitative approach of grounded theory. Technique of data collection has been in-depth interviews. Data have been analyzed with qualitative software called NVIVO. Analyze the data and paradigmatic model shows that the grounded condition for participants, including “spatial texture” of accommodation based on a subset of locality plus time coordination, participant’s age necessitation, collective identity. Meanwhile, global market trends and fashionism influence as interfering conditions. Participants placed in these conditions, take developed and alternative musical factor and increased mental absenteeism quotient. As a result of taking this strategy, the consequences of idio-sensuation (image of the other [alter image]self-reincarnation and psychology projection will be introduced. Idio-sensuation naturally implies that the participant initiate music consumption in such a manner as to bring in their own personal mental images as contrasted with other’s which in itself possess multifarious dimensions having been in a state of fluctuation in between two diverse pole of psychological projection and self-reincarnation.

Music Aid

DEFF Research Database (Denmark)

Søderberg, Ene Alicia; Odgaard, Rasmus Emil; Bitsch, Sarah

2016-01-01

This paper explores the possibility of breaking the barrier between deaf and hearing people when it comes to the subject of making music. Suggestions on how deaf and hearing people can collaborate in creating music together, are presented. The conducted research will focus on deaf people...... with a general interest in music as well as hearing musicians as target groups. Through reviewing different related research areas, it is found that visualization of sound along with a haptic feedback can help deaf people interpret and interact with music. With this in mind, three variations of a collaborative...

The social representations of dance in physical education classes in the early years of primary education

Directory of Open Access Journals (Sweden)

Fabíola Schiebelbein Capri

2011-12-01

Full Text Available This paper presents a survey of social representations of dance in the context of School Physical Education. The survey was conducted in two city schools and two private schools in Ponta Grossa, Paraná, Brazil. The observation and the questionnaire were the instruments used to collect data. Five teachers of Physical Education and 331 students of Primary Education (5th year of Primary Education took part in the research. The results indicate that the social representations of dance teachers are related to holidays and anniversaries of the school and students, to pleasure and to musical preference. The practice of dance in the school has room for choreographic creations, June Festival rehearsals, and school presentations.

Digital music exposure reliably induces temporary threshold shift (TTS) in normal hearing human subjects

Science.gov (United States)

Le Prell, C. G.; Dell, S.; Hensley, B.; Hall, J. W.; Campbell, K. C. M.; Antonelli, P. J.; Green, G. E.; Miller, J. M.; Guire, K.

2012-01-01

Objectives One of the challenges for evaluating new otoprotective agents for potential benefit in human populations is availability of an established clinical paradigm with real world relevance. These studies were explicitly designed to develop a real-world digital music exposure that reliably induces temporary threshold shift (TTS) in normal hearing human subjects. Design Thirty-three subjects participated in studies that measured effects of digital music player use on hearing. Subjects selected either rock or pop music, which was then presented at 93–95 (n=10), 98–100 (n=11), or 100–102 (n=12) dBA in-ear exposure level for a period of four hours. Audiograms and distortion product otoacoustic emissions (DPOAEs) were measured prior to and after music exposure. Post-music tests were initiated 15 min, 1 hr 15 min, 2 hr 15 min, and 3 hr 15 min after the exposure ended. Additional tests were conducted the following day and one week later. Results Changes in thresholds after the lowest level exposure were difficult to distinguish from test-retest variability; however, TTS was reliably detected after higher levels of sound exposure. Changes in audiometric thresholds had a “notch” configuration, with the largest changes observed at 4 kHz (mean=6.3±3.9dB; range=0–13 dB). Recovery was largely complete within the first 4 hours post-exposure, and all subjects showed complete recovery of both thresholds and DPOAE measures when tested 1-week post-exposure. Conclusions These data provide insight into the variability of TTS induced by music player use in a healthy, normal-hearing, young adult population, with music playlist, level, and duration carefully controlled. These data confirm the likelihood of temporary changes in auditory function following digital music player use. Such data are essential for the development of a human clinical trial protocol that provides a highly powered design for evaluating novel therapeutics in human clinical trials. Care must be

Musical instruments of Brazilian capoeira: Historical roots, symbolism, and use

Science.gov (United States)

Ilari, Beatriz

2002-11-01

This paper describes the historical roots, symbolism, and uses of musical instruments in capoeira. A martial art form of Afro-Brazilian origin, capoeira is rhythmically performed to music in a roda (i.e., circle). Capoeira is at times defined as a martial art form disguised as dance because it is rooted in the struggles of African slaves. Elements of music, dance, fight, and ritual are part of this unique martial art form, which has two main styles: Angola and Regional. Capoeira styles are important as they determine rhythmic patterns, chant, movement, and musical instrumentation in a roda. The leading instrument in all capoeira styles is the berimbau. The instrument dictates the rhythm and movement of capoeira players in a roda (Ilari, 2001). Made out of a wooden stick, a wire, and a gourd and played with a stick and a coin, the berimbau is considered a sacred instrument due to its association with the cry of the slaves. Other instruments used in capoeira are pandeiros, agogo bells, reco-recos, and atabaques. A discussion regarding the use of these instruments within the context of capoeira will be presented at the conference. The incorporation of these instruments into contemporary Brazilian music will also be considered.

Modality and Perceptual-Motor Experience Influence the Detection of Temporal Deviations in Tap Dance Sequences

Directory of Open Access Journals (Sweden)

Mauro Murgia

2017-08-01

Full Text Available Accurate temporal information processing is critically important in many motor activities within disciplines such as dance, music, and sport. However, it is still unclear how temporal information related to biological motion is processed by expert and non-expert performers. It is well-known that the auditory modality dominates the visual modality in processing temporal information of simple stimuli, and that experts outperform non-experts in biological motion perception. In the present study, we combined these two areas of research; we investigated how experts and non-experts detected temporal deviations in tap dance sequences, in the auditory modality compared to the visual modality. We found that temporal deviations were better detected in the auditory modality compared to the visual modality, and by experts compared to non-experts. However, post hoc analyses indicated that these effects were mainly due to performances obtained by experts in the auditory modality. The results suggest that the experience advantage is not equally distributed across the modalities, and that tap dance experience enhances the effectiveness of the auditory modality but not the visual modality when processing temporal information. The present results and their potential implications are discussed in both temporal information processing and biological motion perception frameworks.

Epilepsy is Dancing.

Science.gov (United States)

Tuft, Mia; Gjelsvik, Bergljot; Nakken, Karl O

2015-10-01

In "Epilepsy is Dancing", in Antony and the Johnsons' album "The Crying Light"(2009), the lyrics and accompanying music video depicts an epileptic seizure in which the person is transferred to another beautiful and magical world. This may be called "enchanted epilepsy"; i.e., the experience of epilepsy as deeply nourishing and (positively) transforming, is conveyed not only in the lyrics but also the visual and auditory qualities of the video. The seizure in the video gives associations to Shakespeare's "A Midsummer Night's dream". If epilepsy appears in music lyrics, the focus is mostly on negative aspects of the illness, such as horror, fear and repulsive sexuality associated with the fits [1,2]. Contradictory to these lyrics, Anthony and the Johnsons' song is an example of a positive portrayal of epilepsy. It is open to a multitude of meanings, emotional valence and appraisal of epilepsy. By widening the experiential range associated with epileptic seizures, these lyrics highlight the inherently construed nature of epileptic experience. The song stands out in several ways. First, it describes epilepsy in positive terms, prioritising the euphoric, ecstatic, potentially empowering and enhancing aspects of epileptic seizures. Second, the lyrics and accompanying video point to divine experiences associated with epileptic seizures. Through the lyrics and the music video we are, as an audience, able to sense a snicket of an epileptic seizure, but also the universal experience of loosing control. Copyright © 2015 Elsevier Inc. All rights reserved.

The Composition of Experience in the Musical-Holistic Art of Dario Buccino

Directory of Open Access Journals (Sweden)

Stefano Lombardi Vallauri

2016-02-01

Full Text Available Nowadays music is no longer exclusively a performative art: as in the case of electronic music, it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968 does exactly the opposite, creating a music which is even hyper-performative, in that it increases to the highest degree the requirements regarding the performing subject's awareness and free intentionality, and minimizes (human automaticity. To this end he has developed an original notation system, with many graphical ad hoc solutions, where musical symbols are integrated with indications about the proprioceptive attitude and the physical actions of the performer (often kindred to those of experimental theatre, dance, and body art, above all about the experiences to be felt when playing. Buccino goes farther on the way of Karlheinz Stockhausen's "intuitive music" (about 1968-70, Dieter Schnebel's Maulwerke (1968-74, Helmut Lachenmann's "musique concrète instrumentale", Brian Ferneyhough's extreme demand for effort, and radicalises an approach which instead is typical of other musical genres, where form at all levels arises in composition (often extemporaneous from the singular physical relationship of the interpreter with the instrument. 

Indian Classical Dance Action Identification and Classification with Convolutional Neural Networks

Directory of Open Access Journals (Sweden)

P. V. V. Kishore

2018-01-01

Full Text Available Extracting and recognizing complex human movements from unconstrained online/offline video sequence is a challenging task in computer vision. This paper proposes the classification of Indian classical dance actions using a powerful artificial intelligence tool: convolutional neural networks (CNN. In this work, human action recognition on Indian classical dance videos is performed on recordings from both offline (controlled recording and online (live performances, YouTube data. The offline data is created with ten different subjects performing 200 familiar dance mudras/poses from different Indian classical dance forms under various background environments. The online dance data is collected from YouTube for ten different subjects. Each dance pose is occupied for 60 frames or images in a video in both the cases. CNN training is performed with 8 different sample sizes, each consisting of multiple sets of subjects. The remaining 2 samples are used for testing the trained CNN. Different CNN architectures were designed and tested with our data to obtain a better accuracy in recognition. We achieved a 93.33% recognition rate compared to other classifier models reported on the same dataset.

Real-Time Analysis of Beats in Music for Entertainment Robots

OpenAIRE

Yue-Der Lin; Ting-Tsao Wu; Yu-Ren Chen; Yen-Ting Lin; Wen-Hsiu Chen; Shih-Fan Wang; Jinghom Chakhap

2012-01-01

The dancing actions for entertainment robots are usually designed in advance and saved in a database according to the beats and rhythm of the given music. This research is devoted to developing a real-time algorithm that can detect the primary information of the music needed for the actions of entertainment robots. The computation of the proposed algorithm is very efficient and can satisfy the requirement of real-time processing by a digital signal controller. The digitized music signal is fi...

The Analysis of Topeng Sinok Dance in Brebes Regency

OpenAIRE

Sintho Rukmi, Dinar Ayu; -, Indriyanto

2015-01-01

Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This pap...

Effect of Folk Dance Training on Blood Oxidative Stress Level, Lipids, and Lipoproteins

Directory of Open Access Journals (Sweden)

Okdan Bora

2016-09-01

Full Text Available Introduction. Folk dance is a form of physical activity which helps develop the ability to use the whole body in a coordinated way with music, and folk dancers’ characteristics vary according to the particular type of dance practised in a given geographic region. The aims of the study were to evaluate the effects of 12-week folk dance training on blood oxidative stress level, lipids, lipoproteins, as well as muscle damage markers and to define some physical and physiological properties of folk dancers. Material and methods. Thirty-eight healthy male folk dancers aged 21-28 years having an average of 11 years of dance training experience voluntarily participated in the study. All of the physical and physiological measurements and the blood analysis were performed twice, before and after the training period which focused on different regional dances (Caucasus, Bar, Zeybek, Spoon Dance, Thracian dances, and Horon. The training was done 2 hours per day (a total of 10 hours a week, during a 12-week-long period. Results. All the blood parameters were found to be within the specified reference ranges. The training programme had no significant effect on the blood lipid profile, whereas it was found to have positive effects on body fat (p ≤ 0.012, peak oxygen consumption (VO2peak; p = 0.000, muscle damage markers (creatine kinase, Δ% = −19.6, and total antioxidant capacity (p ≤ 0.002. Conclusions. Regular folk dance training was found to have positive effects on body fat, VO2peak, blood total antioxidant capacity, and muscle damage markers. Based on these results, the community should be encouraged to perform folk dance as a recreational physical activity, and public awareness should be raised about the health benefits of practising folk dances.

The aesthetic interpretation on Wooden Drum Dancing of Wa people

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Youfeng Wang

2017-02-01

Full Text Available The Wa nationality, a typical ethnic group in Yunnan province, is an ancient one lives across Yunnan. The main residences of it are border area beside northern Yunnan and the Wa States in Burma. Among all the Wa dances, Wooden Drum Dancing leads a vital position, and it is also a symbolic dancing in the culture of Wa people. The feature of Wooden Drum Dancing is that every action expending by the beats of wooden drum, namely, first the wooden drum, then the Wooden Drum Dancing. Dancing is an important content in the life of Wa people, and the aesthetics of life comes from dancing, so they present their value on worship by the form of dancing. This article is going to interpret the aesthetic standard on Wa people’s Wooden Drum Dancing by the view of aesthetics, and come into a conclude that the inspiration of such dancing came from practice and their worship to nature and ancestor. The Wooden Drum Dancing displays totally the tough air and solidarity of Wa people, which also presents the fair society of them. The Wooden Drum Dancing is an enriched art that Wa People took from particle life, so dancing of Wa is often classified into the aesthetic area of plain. The information of people’s living situation displayed by Wa dancing also conveys their rich emotions. The sense of beauty within Wooden Drum Dancing will give others a solemn feeling. The formal beauty is displayed by the rhythm of upper part of body, and the power beauty is displayed by the rhythm of the lower part of body.

Completed Research in Health, Physical Education, Recreation & Dance; Including International Sources. Volume 27. 1985 Edition.

Science.gov (United States)

Freedson, Patty S., Ed.

This compilation lists research completed in the areas of health, physical education, recreation, dance, and allied areas during 1984. The document is arranged in two parts. In the index, references are arranged under the subject headings in alphabetical order. Abstracts of master's and doctor's theses from institutions offering graduate programs…

Dance Facilities.

Science.gov (United States)

Ashton, Dudley, Ed.; Irey, Charlotte, Ed.

This booklet represents an effort to assist teachers and administrators in the professional planning of dance facilities and equipment. Three chapters present the history of dance facilities, provide recommended dance facilities and equipment, and offer some adaptations of dance facilities and equipment, for elementary, secondary and college level…

Musical emotions: predicting second-by-second subjective feelings of emotion from low-level psychoacoustic features and physiological measurements.

Science.gov (United States)

Coutinho, Eduardo; Cangelosi, Angelo

2011-08-01

We sustain that the structure of affect elicited by music is largely dependent on dynamic temporal patterns in low-level music structural parameters. In support of this claim, we have previously provided evidence that spatiotemporal dynamics in psychoacoustic features resonate with two psychological dimensions of affect underlying judgments of subjective feelings: arousal and valence. In this article we extend our previous investigations in two aspects. First, we focus on the emotions experienced rather than perceived while listening to music. Second, we evaluate the extent to which peripheral feedback in music can account for the predicted emotional responses, that is, the role of physiological arousal in determining the intensity and valence of musical emotions. Akin to our previous findings, we will show that a significant part of the listeners' reported emotions can be predicted from a set of six psychoacoustic features--loudness, pitch level, pitch contour, tempo, texture, and sharpness. Furthermore, the accuracy of those predictions is improved with the inclusion of physiological cues--skin conductance and heart rate. The interdisciplinary work presented here provides a new methodology to the field of music and emotion research based on the combination of computational and experimental work, which aid the analysis of the emotional responses to music, while offering a platform for the abstract representation of those complex relationships. Future developments may aid specific areas, such as, psychology and music therapy, by providing coherent descriptions of the emotional effects of specific music stimuli. 2011 APA, all rights reserved

Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music.

Science.gov (United States)

Grewe, Oliver; Nagel, Frederik; Kopiez, Reinhard; Altenmüller, Eckart

2007-11-01

Most people are able to identify basic emotions expressed in music and experience affective reactions to music. But does music generally induce emotion? Does it elicit subjective feelings, physiological arousal, and motor reactions reliably in different individuals? In this interdisciplinary study, measurement of skin conductance, facial muscle activity, and self-monitoring were synchronized with musical stimuli. A group of 38 participants listened to classical, rock, and pop music and reported their feelings in a two-dimensional emotion space during listening. The first entrance of a solo voice or choir and the beginning of new sections were found to elicit interindividual changes in subjective feelings and physiological arousal. Quincy Jones' "Bossa Nova" motivated movement and laughing in more than half of the participants. Bodily reactions such as "goose bumps" and "shivers" could be stimulated by the "Tuba Mirum" from Mozart's Requiem in 7 of 38 participants. In addition, the authors repeated the experiment seven times with one participant to examine intraindividual stability of effects. This exploratory combination of approaches throws a new light on the astonishing complexity of affective music listening.

Communicating Science; a collaborative approach through Art, Dance, Music and Science

Science.gov (United States)

Smart, Sarah-Jane; Mortimer, Hugh

2016-04-01

A collaborative approach to communicating our amazing science. RAL Space at the Rutherford Appleton Lab, has initiated a unique collaboration with a team of award-winning performing artists with the aim of making space science research engaging and accessible to a wide audience. The collaboration has two distinct but connected strands one of which is the development of a contemporary dance work inspired by solar science and including images and data from the Space Physics Division of STFC RAL Space. The work has been commissioned by Sadler's Wells, one of the world's leading dance venues. It will be created by choreographer Alexander Whitley, video artist Tal Rosner and composers Ella Spira and Joel Cadbury and toured throughout the UK and internationally by the Alexander Whitley Dance Company (AWDC). The work will come about through collaboration with the work of the scientists of RAL Space and in particular the SOHO, CDS and STEREO missions, taking a particular interest in space weather. Choreographer Alexander Whitley and composers Ella Spira and Joel Cadbury will take their inspiration from the images and data that are produced by the solar science within RAL Space. Video artist Tal Rosner will use these spectacular images to create an atmospheric backdrop to accompany the work, bringing the beauty and wonder of space exploration to new audiences. Funding for the creation and touring of the work will be sought from Arts Council England, the British Council, partner organisations, trusts and foundations and private donors.The world premiere of the work will take place at Sadler's Wells in June 2017. It will then tour throughout the UK and internationally to theatres, science conferences and outreach venues with the aim of bringing the work of STFC RAL Space and the science behind solar science and space weather to new audiences. An education programme will combine concepts of choreography and space science aimed at young people in year 5 Key Stage 2 and be

“Some like it hot”: spectators who score high on the personality trait openness enjoy the excitement of hearing dancers breathing without music

OpenAIRE

Jola, Corinne; Pollick, Frank E.; Calvo-Merino, Beatriz

2014-01-01

Music is an integral part of dance. Over the last 10 years, however, dance stimuli (without music) have been repeatedly used to study action observation processes, increasing our understanding of the influence of observer’s physical abilities on action perception. Moreover, beyond trained skills and empathy traits, very little has been investigated on how other observer or spectators’ properties modulate action observation and action preference. Since strong correlations have been shown betwe...

Afro-Venezuelan Music Rituals for Health and Community Wel

African Journals Online (AJOL)

2016-12-16

Dec 16, 2016 ... music, and ritual as a part of social and cultural identity in each town where the festivals of ... dance, illness, and social health, Saint John and Corpus Christi are two examples of complex ...... Caracas: Universidad Católica.

Neurophysiological Effects of Trait Empathy in Music Listening.

Science.gov (United States)

Wallmark, Zachary; Deblieck, Choi; Iacoboni, Marco

2018-01-01

The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI) experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL)/disliked and unfamiliar liked (UL)/disliked). For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA), inferior frontal gyrus (IFG) and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

Neurophysiological Effects of Trait Empathy in Music Listening

Directory of Open Access Journals (Sweden)

Zachary Wallmark

2018-04-01

Full Text Available The social cognitive basis of music processing has long been noted, and recent research has shown that trait empathy is linked to musical preferences and listening style. Does empathy modulate neural responses to musical sounds? We designed two functional magnetic resonance imaging (fMRI experiments to address this question. In Experiment 1, subjects listened to brief isolated musical timbres while being scanned. In Experiment 2, subjects listened to excerpts of music in four conditions (familiar liked (FL/disliked and unfamiliar liked (UL/disliked. For both types of musical stimuli, emotional and cognitive forms of trait empathy modulated activity in sensorimotor and cognitive areas: in the first experiment, empathy was primarily correlated with activity in supplementary motor area (SMA, inferior frontal gyrus (IFG and insula; in Experiment 2, empathy was mainly correlated with activity in prefrontal, temporo-parietal and reward areas. Taken together, these findings reveal the interactions between bottom-up and top-down mechanisms of empathy in response to musical sounds, in line with recent findings from other cognitive domains.

Didactics, Dance and Teacher Knowing in an Upper Secondary School Context

Science.gov (United States)

Styrke, Britt-Marie

2015-01-01

This article deals with didactics, dance and teacher knowing in an upper secondary school context in Sweden. Dance is referred to as a western theatrical art form as well as to a subject mainly defined through its curriculum. A qualitative interview study with experienced dance teachers constitutes the base on which two overarching theoretical…

Analysis of Output Levels of an MP3 Player: Effects of Earphone Type, Music Genre, and Listening Duration.

Science.gov (United States)

Shim, Hyunyong; Lee, Seungwan; Koo, Miseung; Kim, Jinsook

2018-02-26

To prevent noise induced hearing losses caused by listening to music with personal listening devices for young adults, this study was aimed to measure output levels of an MP3 and to identify preferred listening levels (PLLs) depending on earphone types, music genres, and listening durations. Twenty-two normal hearing young adults (mean=18.82, standard deviation=0.57) participated. Each participant was asked to select his or her most PLLs when listened to Korean ballade or dance music with an earbud or an over-the-ear earphone for 30 or 60 minutes. One side of earphone was connected to the participant's better ear and the other side was connected to a sound level meter via a 2 or 6 cc-couplers. Depending on earphone types, music genres, and listening durations, loudness A-weighted equivalent (LAeq) and loudness maximum time-weighted with A-frequency sound levels in dBA were measured. Neither main nor interaction effects of the PLLs among the three factors were significant. Overall output levels of earbuds were about 10-12 dBA greater than those of over-the-ear earphones. The PLLs were 1.73 dBA greater for earbuds than over-the-ear earphones. The average PLL for ballad was higher than for dance music. The PLLs at LAeq for both music genres were the greatest at 0.5 kHz followed by 1, 0.25, 2, 4, 0.125, 8 kHz in the order. The PLLs were not different significantly when listening to Korean ballad or dance music as functions of earphone types, music genres, and listening durations. However, over-the-ear earphones seemed to be more suitable to prevent noise induce hearing loss when listening to music, showing lower PLLs, possibly due to isolation from the background noise by covering ears.

Structural and functional plasticity specific to musical training with wind instruments

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Uk-Su eChoi

2015-10-01

Full Text Available Numerous neuroimaging studies have shown structural and functional changes resulting from musical training. Among these studies, changes in primary sensory areas are mostly related to motor functions. In this study, we looked for some similar functional and structural changes in other functional modalities, such as somatosensory function, by examining the effects of musical training with wind instruments. We found significant changes in two aspects of neuroplasticity, cortical thickness and resting-state neuronal networks. A group of subjects with several years of continuous musical training and who are currently playing in university wind ensembles showed differences in cortical thickness in lip- and tongue-related brain areas versus non-music playing subjects. Cortical thickness in lip-related brain areas was significantly thicker and that in tongue-related areas was significantly thinner in the music playing group compared with that in the non-music playing group. Association analysis of lip-related areas in the music playing group showed that the increase in cortical thickness was caused by musical training. In addition, seed-based correlation analysis showed differential activation in the precentral gyrus and supplementary motor areas between the music and non-music playing groups. These results suggest that high-intensity training with specific musical instruments could induce structural changes in related anatomical areas and could also generate a new functional neuronal network in the brain.

The Effects of Music on Subjects with Alzheimer and Dementia Disease in Cache Valley

OpenAIRE

Frost, Landon

2013-01-01

Music has been shown to trigger old memories and induce various levels of stress relief and relaxation. My research focused on the effects of music on subjects with Alzheimer and Dementia disease. Eleven patients were selected through an informed consent process which included permission from responsible family members. During the course of three or more visits to patients in their care centers, the subjects listened to a variety of songs. These included songs that family members thought woul...

Dancetime! 500 Years of Social Dance. Volume I: 15th-19th Centuries. [Videotape].

Science.gov (United States)

Teten, Carol

This VHS videotape recording is the first in a two-volume series that presents 500 years of social dance, music, and fashion. It focuses on the 15th-19th centuries, including Renaissance nobility, Baroque extravagance, Regency refinement, and Victorian romanticism. Each era reflects the changing relationships between men and women through the…

Rhythmic and melodic deviations in musical sequences recruit different cortical areas for mismatch detection.

Science.gov (United States)

Lappe, Claudia; Steinsträter, Olaf; Pantev, Christo

2013-01-01

The mismatch negativity (MMN), an event-related potential (ERP) representing the violation of an acoustic regularity, is considered as a pre-attentive change detection mechanism at the sensory level on the one hand and as a prediction error signal on the other hand, suggesting that bottom-up as well as top-down processes are involved in its generation. Rhythmic and melodic deviations within a musical sequence elicit a MMN in musically trained subjects, indicating that acquired musical expertise leads to better discrimination accuracy of musical material and better predictions about upcoming musical events. Expectation violations to musical material could therefore recruit neural generators that reflect top-down processes that are based on musical knowledge. We describe the neural generators of the musical MMN for rhythmic and melodic material after a short-term sensorimotor-auditory (SA) training. We compare the localization of musical MMN data from two previous MEG studies by applying beamformer analysis. One study focused on the melodic harmonic progression whereas the other study focused on rhythmic progression. The MMN to melodic deviations revealed significant right hemispheric neural activation in the superior temporal gyrus (STG), inferior frontal cortex (IFC), and the superior frontal (SFG) and orbitofrontal (OFG) gyri. IFC and SFG activation was also observed in the left hemisphere. In contrast, beamformer analysis of the data from the rhythm study revealed bilateral activation within the vicinity of auditory cortices and in the inferior parietal lobule (IPL), an area that has recently been implied in temporal processing. We conclude that different cortical networks are activated in the analysis of the temporal and the melodic content of musical material, and discuss these networks in the context of the dual-pathway model of auditory processing.

Rhythmic and melodic deviations in musical sequences recruit different cortical areas for mismatch detection

Directory of Open Access Journals (Sweden)

Claudia eLappe

2013-06-01

Full Text Available The mismatch negativity (MMN, an event-related potential (ERP representing the violation of an acoustic regularity, is considered as a pre-attentive change detection mechanism at the sensory level on the one hand and as a prediction error signal on the other hand, suggesting that bottom-up as well as top-down processes are involved in its generation. Rhythmic and melodic deviations within a musical sequence elicit a mismatch negativity in musically trained subjects, indicating that acquired musical expertise leads to better discrimination accuracy of musical material and better predictions about upcoming musical events. Expectation violations to musical material could therefore recruit neural generators that reflect top-down processes that are based on musical knowledge.We describe the neural generators of the musical MMN for rhythmic and melodic material after a short-term sensorimotor-auditory training. We compare the localization of musical MMN data from two previous MEG studies by applying beamformer analysis. One study focused on the melodic harmonic progression whereas the other study focused on rhythmic progression. The MMN to melodic deviations revealed significant right hemispheric neural activation in the superior temporal gyrus (STG, inferior frontal cortex (IFC, and the superior frontal (SFG and orbitofrontal (OFG gyri. IFC and SFG activation was also observed in the left hemisphere. In contrast, beamformer analysis of the data from the rhythm study revealed bilatral activation within the vicinity of auditory cortices and in the inferior parietal lobule, an area that has recently been implied in temporal processing. We conclude that different cortical networks are activated in the analysis of the temporal and the melodic content of musical material, and discuss these networks in the context of the the dual-pathway model of auditory processing.

Beyond intensity: Spectral features effectively predict music-induced subjective arousal.

Science.gov (United States)

Gingras, Bruno; Marin, Manuela M; Fitch, W Tecumseh

2014-01-01

Emotions in music are conveyed by a variety of acoustic cues. Notably, the positive association between sound intensity and arousal has particular biological relevance. However, although amplitude normalization is a common procedure used to control for intensity in music psychology research, direct comparisons between emotional ratings of original and amplitude-normalized musical excerpts are lacking. In this study, 30 nonmusicians retrospectively rated the subjective arousal and pleasantness induced by 84 six-second classical music excerpts, and an additional 30 nonmusicians rated the same excerpts normalized for amplitude. Following the cue-redundancy and Brunswik lens models of acoustic communication, we hypothesized that arousal and pleasantness ratings would be similar for both versions of the excerpts, and that arousal could be predicted effectively by other acoustic cues besides intensity. Although the difference in mean arousal and pleasantness ratings between original and amplitude-normalized excerpts correlated significantly with the amplitude adjustment, ratings for both sets of excerpts were highly correlated and shared a similar range of values, thus validating the use of amplitude normalization in music emotion research. Two acoustic parameters, spectral flux and spectral entropy, accounted for 65% of the variance in arousal ratings for both sets, indicating that spectral features can effectively predict arousal. Additionally, we confirmed that amplitude-normalized excerpts were adequately matched for loudness. Overall, the results corroborate our hypotheses and support the cue-redundancy and Brunswik lens models.

Marketing communication of dancing school Luas Dancing School.

OpenAIRE

Vařechová, Alice

2016-01-01

Title: Marketing communication of dancing school Luas Dancing School. Objectives: This thesis is trying to come up with new and effective marketing communication for dancing school. It is based on the old propagation methods and trying to do it better with documents obtained from theoretical part. Methods: Methods we used for this thesis are interview with owner and founder of this dancing school and discussion with dancers of this school. Some of them are long term dancers and some of them a...

Effects of music on work-rate distribution during a cycling time trial.

Science.gov (United States)

Atkinson, G; Wilson, D; Eubank, M

2004-11-01

Previous research work on the ergogenic effects of music has mainly involved constant power tests to exhaustion as dependent variables. Time trials are more externally valid than constant power tests, may be more reliable and allow the distribution of self-selected work-rate to be explored. We examined whether music improved starting, finishing and/or overall power during a 10-km cycling time trial, and whether heart rate and subjective responses to this time trial were altered by music. Sixteen participants performed two 10-km time trials on a Cybex cycle ergometer with, and without, the presence of a form of dance music known as "trance" (tempo = 142 beats x min (-1), volume at ear = 87 dB). Participants also completed the Brunel music rating inventory (BMRI) after each time trial in the music condition. The mean +/- SD time to complete the time trial was 1030 +/- 79 s in the music condition compared to 1052 +/- 77 s without music (95 % CI of difference = 10 to 34 s, p = 0.001). Nevertheless, ratings of perceived exertion were consistently (0.8 units) higher throughout the time trial with music (p music-induced increases in cycling speed and heart rate were observed in the first 3 km of the time trial. After completion of the BMRI, participants rated the "tempo" and "rhythm" of the music as more motivating than the "harmony" and "melody" aspects. These results suggest that music improves cycling speed mostly in the first few minutes of a 10-km time trial. In contrast to the findings of previous research, which suggested that music lowers perceived exertion at a constant work-rate, the participants in our time trials selected higher work-rates with music, whilst at the same time perceived these work-rates as being harder than without music.

Performing Gender to Dangdut’s Drum: Place, Space, and Infrastructure in Indonesian Popular Music

OpenAIRE

Decker, Andrea Louise

2016-01-01

Few genres of popular music around the world are more infamous for objectification of women’s bodies than dangdut, a popular dance music of Indonesia, which has thrived among audiences of lower classes for more than forty years. In Dangdut Stories: A Social and Musical History of Indonesia’s Most Popular Music, Andrew Weintraub credits dangdut’s popularity in part to its easy danceability. The steps are simple: back and forth, in duple meter, a basic step anyone can join or elaborate upon. Bu...

Music playschool enhances children's linguistic skills.

Science.gov (United States)

Linnavalli, Tanja; Putkinen, Vesa; Lipsanen, Jari; Huotilainen, Minna; Tervaniemi, Mari

2018-06-08

Several studies have suggested that intensive musical training enhances children's linguistic skills. Such training, however, is not available to all children. We studied in a community setting whether a low-cost, weekly music playschool provided to 5-6-year-old children in kindergartens could already affect their linguistic abilities. Children (N = 66) were tested four times over two school-years with Phoneme processing and Vocabulary subtests, along with tests for Perceptual reasoning skills and Inhibitory control. We compared the development of music playschool children to their peers either attending to similarly organized dance lessons or not attending to either activity. Music playschool significantly improved the development of children's phoneme processing and vocabulary skills. No such improvements on children's scores for non-verbal reasoning and inhibition were obtained. Our data suggest that even playful group music activities - if attended to for several years - have a positive effect on pre-schoolers' linguistic skills. Therefore we promote the concept of implementing regular music playschool lessons given by professional teachers in early childhood education.

Traditional Music in Igbo Culture: A Case Study of Idu Cultural ...

African Journals Online (AJOL)

DrNneka

research work reveals that despite the alarming influences of the western technology on Igbo culture, dance music performance has remained the climax of every cultural .... grade, title groups, palm wine tappers, hunters, carvers, women, men, ...

The Bawdy, Brawling, Boisterous World of Korean Mask Dance Dramas: A Brief Essay to Accompany Photographs

Directory of Open Access Journals (Sweden)

CedarBough Saeji

2012-09-01

Full Text Available Korean mask dance dramas are captivating and entrancing. Comedy, tragedy, and social commentary meld with energetic dance, distinctive masks, and lively music. These dramas are often colloquially and incorrectly referred to as talchum (“mask dance” in Korean—in fact, talchum is one of the major variants of mask dance drama from Hwanghae Province in present-day North Korea. Performers of other variants have long objected to the broad application of the term (akin to calling all in-line skates “Rollerblades” or all MP3 players “iPods”. Only in the late 1990s did academia catch on, when two highly respected midcareer mask dance drama scholars, Bak Jintae (Daegu University and Jeon Kyungwook (Korea University, began to use the terminology talnoli (“mask play” and gamyeon-geuk (“mask drama” in their publications.I needed to watch only one performance, in 1997, to fall in love with the mask dance dramas, but at first the many forms of the genre melded together in my mind. It took repeated exposure and study over more than a dozen years for me to see the profound similarities and differences among all of Korea’s mask dance dramas...

"Dance for Your Health": Exploring Social Latin Dancing for Community Health Promotion

Science.gov (United States)

Iuliano, Joseph E.; Lutrick, Karen; Maez, Paula; Nacim, Erika; Reinschmidt, Kerstin

2017-01-01

The goal of "Dance for Your Health" was to explore the relationship between social Latin dance and health as described by members of the Tucson social Latin dance community. Social Latin dance was selected because of the variety of dances, cultural relevance and popularity in Tucson, and the low-key, relaxed atmosphere. Dance has been…

Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population.

Science.gov (United States)

Porat, Shai; Goukasian, Naira; Hwang, Kristy S; Zanto, Theodore; Do, Triet; Pierce, Jonathan; Joshi, Shantanu; Woo, Ellen; Apostolova, Liana G

2016-01-01

We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI). 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II) short delay free recall (p = 0.004), the CVLT-II long delay free recall (p = 0.003), and the CVLT-II learning over trials 1-5 (p = 0.001). Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI.

‘ “Dannsair air ùrlar-déile thu”: Gaelic evidence about dance from the mid-17th to late-18th century Highlands’

Directory of Open Access Journals (Sweden)

Michael Steven Newton

2013-10-01

Full Text Available From the 1950s to the 1970s, two sets of scholars – Tom and Joan Flett, and George Emmerson – gleaned many English-language sources to recover aspects of the history of dance in Scotland. They correctly pointed out the pervasive influence of French court culture and the French-trained dancing masters on Scottish forms of dance, including in the Highlands, but did not examine the majority of potential Gaelic sources in their work. This article examines Scottish Gaelic sources referring to dance practices in the Scottish Highlands from the late-seventeenth century to the end of the eighteenth century, placing them within the context of wider European developments in music and dance and confirming that they demonstrate a consciousness of the strong connections with France and corresponding effects on Gaelic dance traditions.

Music and Language Syntax Interact in Broca's Area: An fMRI Study.

Directory of Open Access Journals (Sweden)

Richard Kunert

Full Text Available Instrumental music and language are both syntactic systems, employing complex, hierarchically-structured sequences built using implicit structural norms. This organization allows listeners to understand the role of individual words or tones in the context of an unfolding sentence or melody. Previous studies suggest that the brain mechanisms of syntactic processing may be partly shared between music and language. However, functional neuroimaging evidence for anatomical overlap of brain activity involved in linguistic and musical syntactic processing has been lacking. In the present study we used functional magnetic resonance imaging (fMRI in conjunction with an interference paradigm based on sung sentences. We show that the processing demands of musical syntax (harmony and language syntax interact in Broca's area in the left inferior frontal gyrus (without leading to music and language main effects. A language main effect in Broca's area only emerged in the complex music harmony condition, suggesting that (with our stimuli and tasks a language effect only becomes visible under conditions of increased demands on shared neural resources. In contrast to previous studies, our design allows us to rule out that the observed neural interaction is due to: (1 general attention mechanisms, as a psychoacoustic auditory anomaly behaved unlike the harmonic manipulation, (2 error processing, as the language and the music stimuli contained no structural errors. The current results thus suggest that two different cognitive domains-music and language-might draw on the same high level syntactic integration resources in Broca's area.

Conditioning Methodologies for DanceSport: Lessons from Gymnastics, Figure Skating, and Concert Dance Research.

Science.gov (United States)

Outevsky, David; Martin, Blake Cw

2015-12-01

Dancesport, the competitive branch of ballroom dancing, places high physiological and psychological demands on its practitioners, but pedagogical resources in these areas for this dance form are limited. Dancesport competitors could benefit from strategies used in other aesthetic sports. In this review, we identify conditioning methodologies from gymnastics, figure skating, and contemporary, modern, and ballet dance forms that could have relevance and suitability for dancesport training, and propose several strategies for inclusion in the current dancesport curriculum. We reviewed articles derived from Google Scholar, PubMed, ScienceDirect, Taylor & Francis Online, and Web of Science search engines and databases, with publication dates from 1979 to 2013. The keywords included MeSH terms: dancing, gymnastics, physiology, energy metabolism, physical endurance, and range of motion. Out of 47 papers examined, 41 papers met the inclusion criteria (validity of scientific methods, topic relevance, transferability to dancesport, publication date). Quality and validity of the data were assessed by examining the methodologies in each study and comparing studies on similar populations as well as across time using the PRISMA 2009 checklist and flowchart. The relevant research suggests that macro-cycle periodization planning, aerobic and anaerobic conditioning, range of motion and muscular endurance training, and performance psychology methods have potential for adaptation for dancesport training. Dancesport coaches may help their students fulfill their ambitions as competitive athletes and dance artists by adapting the relevant performance enhancement strategies from gymnastics, figure skating, and concert dance forms presented in this paper.

Kinematic parameters that influence the aesthetic perception of beauty in contemporary dance.

Science.gov (United States)

Torrents, Carlota; Castañer, Marta; Jofre, Toni; Morey, Gaspar; Reverter, Ferran

2013-01-01

Some experiments have stablished that certain kinematic parameters can influence the subjective aesthetic perception of the dance audience. Neave, McCarty, Freynik, Caplan, Hönekopp, and Fink (2010, Biology Letters 7 221-224) reported eleven movement parameters in non-expert male dancers, showing a significant positive correlation with perceived dance quality. We aim to identify some of the kinematic parameters of expert dancers' movements that influence the subjective aesthetic perception of observers in relation to specific skills of contemporary dance. Four experienced contemporary dancers performed three repetitions of four dance-related motor skills. Motion was captured by a VICON-MX system. The resulting 48 animations were viewed by 108 observers. The observers judged beauty using a semantic differential. The data were then subjected to multiple factor analysis. The results suggested that there were strong associations between higher beauty scores and certain kinematic parameters, especially those related to amplitude of movement.

Can music serve as a “cultural immunogen”? An explorative study

DEFF Research Database (Denmark)

Ruud, Even

2013-01-01

, musical competency, rituals, and locus of control. These findings may have implication for the field of music therapy as it will fill the gap between the clinical use of music done by professional music therapists and the everyday ‘‘musicking’’ performed by people outside the institutional practice.......The aim of this study is to explore how people in contemporary society may apply music in their everyday life to improve their health and well-being. Through a series of qualitative interviews, informants gave their narratives about how music had become a part of their health practice. Six...... or theorize when people use music to enhance their well-being? What kinds of rituals, contextual circumstances and personal health beliefs are operating in these situations? The findings suggests that some people may sing, participate in a choir, dance to music, compose songs, play precomposed music, or play...

Dancing beyond exercise: young people's experiences in dance classes

OpenAIRE

Gardner, SM; Komesaroff, P; Fensham, R

2008-01-01

Dance classes in urban settings may have a role in health-promotion programmes seeking to increase physical activity amongst young people. However, little is so far known about the motivations, experiences or health outcomes of those participating in dance classes. This qualitative study of young people attending recreational dance classes addressed motivations, the nature of the class experience, and implications for health and well-being. Data show that young dance participants' experiences...

Yorùbá Proverbs and Musicality Michael Olutayo Olatunji1 Abstract ...

African Journals Online (AJOL)

performing arts, express a relationship between the musical instrument combination ... conceived without dancing nor African rhythm without drumming, nor the forms ..... the Almighty God, the creator of the universe, to save and deliver the just.

Modeling the Tendency for Music to Induce Movement in Humans: First Correlations with Low-Level Audio Descriptors across Music Genres

Science.gov (United States)

Madison, Guy; Gouyon, Fabien; Ullen, Fredrik; Hornstrom, Kalle

2011-01-01

"Groove" is often described as the experience of music that makes people tap their feet and want to dance. A high degree of consistency in ratings of groove across listeners indicates that physical properties of the sound signal contribute to groove (Madison, 2006). Here, correlations were assessed between listeners' ratings and a number…

Motivations for Selling Ecstasy among Young Adults in the Electronic Dance Music Club Culture in Brazil.

Science.gov (United States)

Remy, Lysa S; Buttram, Mance E; Kurtz, Steven P; Surratt, Hilary L; Pechansky, Flavio

2017-01-01

This article describes data on the motivations for selling ecstasy among young adults in the electronic dance music (EDM) club culture in Brazil. Individual interviews were conducted with 20 individuals recruited for their involvement in the EDM club scene. Eligible participants were aged 18-39 and reported ecstasy and/or LSD use one or more times in the past 90 days. Exclusion criteria included current treatment for drug/alcohol problems and cognitive impairment or clinically evident psychiatric disorder. Mean age was 22.92 (SD 2.77), 60% were male, 45% reported 12 or more years of education, 50% did not have a primary partner, 50% were living alone, and all had friends who also used ecstasy. Three main themes emerged: (1) "easy" transition from ecstasy user to seller; (2) desire to achieve popularity and fame; and (3) need to sell ecstasy to maintain the high cost of EDM club scene participation. This is one of the first studies of ecstasy sellers in Brazil. The results demonstrate the ease with which the participants transition from ecstasy user to seller. Given the potential health and social dangers associated with ecstasy use, public health campaigns to prevent ecstasy use and policy initiatives to limit the ecstasy supply are warranted.

Subjective Criteria for Choice and Aesthetic Judgment of Music: A Comparison of Psychology and Music Students

Science.gov (United States)

Juslin, Patrik N.; Isaksson, Sara

2014-01-01

Previous research has highlighted the important role of choice in listeners' responses to music, but relatively little is known about the subjective criteria on which listeners base their choices. Hence, the goal of this study was to make a first attempt to investigate the relative importance of various criteria in listeners' choice and aesthetic…

Role marketingu v hudebním průmyslu se zaměřením na EDM a DJing

OpenAIRE

Hrnčíř, Petr

2014-01-01

This thesis examines the influence of marketing communication on music industry with focus on electronic dance music. In theoretical part are processed basic terms defining marketing communication. Consequently is described development of electronic dance music from seventies. The main objective of this thesis is define important marketing tools in allotted age group and confirm knowledge of this area of music industry. The practical part is focused on the research of popularity, target group...

The Analysis of Topeng Sinok Dance in Brebes Regency

Directory of Open Access Journals (Sweden)

Dinar Ayu Sintho Rukmi

2015-06-01

Full Text Available Topeng Sinok dance is the characteristic art of Brebes regency. This dance tells about the typical women in Brebes who are hard-working. Beauty, flexibility, and elegance do not reduce their love for nature and farming. This dance is a combination of Cirebon, Banyumas, and Surakarta style. The dance is basically aiming at showing that women from the border areas of Central and West Java are not spoiled, whiny, and lazy. Topeng Sinok dance is performed beautifully, elegant, and swift. This paper purposes to uncover the meaning behind Topeng Sinok dance movement. This study implements qualitative method that uses qualitative descriptive approach. The data collection process was conducted by using observation, documentation, and interview techniques. Further, the data were analysed by using dance data analysis by following the steps of (1 identifying and describing components; (2 understanding; (3 interpreting; and (4 evaluating. The data were then validated by using triangulation.

Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy.

Science.gov (United States)

López-Ortiz, Citlali; Egan, Tara; Gaebler-Spira, Deborah J

2016-01-01

This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Twelve children with cerebral palsy (ages 7-15 years) with Gross Motor Function Classification scores II-IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively). The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted.

Mood Dependent Music Generator

DEFF Research Database (Denmark)

Scirea, Marco

2013-01-01

Music is one of the most expressive media to show and manipulate emotions, but there have been few studies on how to generate music connected to emotions. Such studies have always been shunned upon by musicians affirming that a machine cannot create expressive music, as it's the composer......'s and player's experiences and emotions that get poured into the piece. At the same time another problem is that music is highly complicated (and subjective) and finding out which elements transmit certain emotions is not an easy task. This demo wants to show how the manipulation of a set of features can...... actually change the mood the music transmits, hopefully awakening an interest in this area of research....

4-H After-School Program: Bloco Drum and Dance, Part 10. Making Good Nutrition and Exercise Part of the Program.

OpenAIRE

Conklin-Ginop, Evelyn L.; Junge, Sharon K.; Pulley, Karyn

2012-01-01

Part 10: Making Good Nutrition and Exercise Part of the Program. With this 11-part curriculum, you can set up an after-school program that teaches teens leadership, fitness, and good nutrition in an exciting music-and-dance environment.

Learning Form and Function by Dance-Dramatizing Cultural Legends to Drum Rhythms Wearing Student-Made Animal Masks

Science.gov (United States)

Gray, Phyllis; Rule, Audrey C.; Kirkland Holmes, Gloria; Logan, Stephanie R.; Alert, Andrea L.; Mason, Cynthia A.

2016-01-01

This study examined the self-efficacy in science, art, dance, and music; attitudes concerning contributions of people of various ethnic/cultural groups; and science learning of students involved in an after-school arts-integrated science enrichment project. Students dramatized three traditional animal legends from African, Native American, and…

Trust as governance tool in hybrid organizations: a case study for the dance Industry in the Netherlands

NARCIS (Netherlands)

den Butter, F.A.G.; Joustra, Jelle V.

2016-01-01

The organization of Electronic Dance Music (EDM) events requires much flexibility, due to the need to be able to quickly respond to new market trends. It induces high specificity in organizing these events. Our case study for the Netherlands, which is the world’s market leader in hosting these

Attitudes of postmenopausal women toward interactive video dance for exercise.

Science.gov (United States)

Inzitari, Marco; Greenlee, Adam; Hess, Rachel; Perera, Subashan; Studenski, Stephanie A

2009-08-01

Although physical activity (PA) is universally recommended, most adults are not regular exercisers. Interactive video dance is a novel form of PA in widespread use among young adults, but interest among adults is not known. Postmenopausal women are an appropriate target for interventions to promote PA because they have an increased risk of health problems related to sedentary behavior. We explored perceived advantages and disadvantages of video dance as a personal exercise option in postmenopausal women. Forty sedentary postmenopausal women (mean age +/- SD 57 +/- 5 years), were oriented in eight small groups to interactive video dance, which uses a force-sensing pad with directional panels: the player steps on the panels in response to arrows scrolling on a screen, synchronized to music. Perceived advantages and disadvantages were elicited through a nominal group technique (NGT) process. Participants generated 113 advantages and 71 disadvantages. The most frequently cited advantages were "it's fun" and "improves coordination" (seven of eight groups), the fact that challenge encourages progress (five of eight groups), the potential for weight loss (four of eight groups), and the flexibility of exercise conditions (three of eight groups). Concerns were the potentially long and frustrating learning process, cost (six of eight groups), and possible technical issues (two of eight groups). The recreational nature of interactive dance exercise was widely appealing to postmenopausal women and might help promote adherence to PA. Initial support to learn basic technical and movement skills may be needed.

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training.

Science.gov (United States)

Burzynska, Agnieszka Z; Finc, Karolina; Taylor, Brittany K; Knecht, Anya M; Kramer, Arthur F

2017-01-01

Dance - as a ritual, therapy, and leisure activity - has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson's disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task). Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON) to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

‘Dance Your Sorrow Away!’ : Spirituality, Community and Wellbeing in Christ Apostolic Church, Dublin 1

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Rebecca Uberoi

2016-12-01

Full Text Available Christ Apostolic Church (CAC is a Pentecostal and African Initiated Church that emerged from the Yoruba Aládǔrà movement of early twentieth-century Nigeria. In this article I unpack the concept of ‘dancing away sorrow’, one of the distinctive rituals that members of CAC Dublin have brought with them from Nigeria. I explore members’ beliefs about wellbeing and its links with spirituality and community, and examine how music and dance help to facilitate connections with God and fellow worshipers. While the practice offers positive benefits to first generation migrants, it highlights the dissonance perceived by the second generation between Yoruba and Irish culture.

Survey of health problems in musical theater students: a pilot study.

Science.gov (United States)

Wanke, Eileen M; Kunath, Esther K; Koch, Franziska; Davenport, Jaqueline; Weisser, Burkhard; Groneberg, David A; Mache, Stefanie; Endres, Eva; Vitzthum, Karin

2012-12-01

Musical theater performers are the "triathletes" in the performing arts. The field requires versatility in a combination of skills including dancing, singing, and drama in a high frequency of performances. The aim of this study was to analyze and evaluate the health situation of musical theater students using a complete musical educational institute as an example (n = 37). The basis for the evaluation was a questionnaire survey (standardized F 1000). All students of the school participated (20 males, 17 females). Of the students, 62% have a part-time job for financial reasons, and 67.7% state only a "partial satisfaction" with their body. Regarding injury, 45.9% claim to sustain an orthopaedic injury up to twice a year, and 29.7% up to three or four times. A total of 49 acute injuries (1.3/student) and 42 chronic complaints (1.1/student) were stated. The lower extremity was the most common acutely injured region (65.3%), followed by the spine (16.3%) and upper extremity (14.3%). Of chronic complaints, the lumbar spine was the most commonly affected area, followed by the hip joint and pelvic area. Thirty-three and 24% of acute injuries occurred during "spins" and/or "stretching," respectively. There were various causes for physical and mental problems. The results show both parallels and differences to the relevant literature. It is shown that health hazards already arise in the education of musical performers. This provides particulars for the implementation of injury prevention measures during the theoretical and practical education of musical students.

Identity Memory Constructs - Transition of Dance Body Idioms

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Sonja Zdravkova Djeparoska

2014-11-01

Full Text Available Memory, in particular collective memory, is a process of recording historical events, social changes, as well as identity features of a nation. Memory gets its definition with dance, too. These memory composites are most commonly created with the purpose of highlighting a distinct feature, especially when talking about national memory. Although kinesthetic composition, unlike verbal, is more complex to formulate, standardize and interpret, it has yet created impressive representatives in the field of national culture. One of the most significant and most commonly used symbols of Macedonian identity in the years following establishment of Socialist Republic Macedonia, is the folk dance Teshkoto. It has been used as a repeated emblem in art (literature, painting, sculpturing, music, thus becoming famous countrywide and turning into an idiom of identity. Teshkoto is an example where the very title, as well as the manner of performance, establishes a matrix that is identified with presentation of various historical stages and processes, the Macedonians’ hardships and struggle throughout the centuries. Unlike this example, we have recently been witnessing a process of stressing the Macedonians’ historical antique background, a process that is characterized with taking new direction towards different national memory constructs. These new ways highlight a completely new aspect of the identity composite, and that is the extraordinary heroism of the heroes presented, i.e. the representatives of Macedonian national history. This trend of introduction of new traits of the nation started with a majority of sculptures, dances, which were erected at the most frequented parts of the capital of Macedonia. The new trend is presented with figures that feature warlike and victorious spirit. This new way of looking at these things was gradually transmitted to dance as well. There are already a few dance pieces inspired by the great Macedonian warrior, Alexander

The Dancing Brain: Structural and Functional Signatures of Expert Dance Training

Directory of Open Access Journals (Sweden)

Agnieszka Z. Burzynska

2017-11-01

Full Text Available Dance – as a ritual, therapy, and leisure activity – has been known for thousands of years. Today, dance is increasingly used as therapy for cognitive and neurological disorders such as dementia and Parkinson’s disease. Surprisingly, the effects of dance training on the healthy young brain are not well understood despite the necessity of such information for planning successful clinical interventions. Therefore, this study examined actively performing, expert-level trained college students as a model of long-term exposure to dance training. To study the long-term effects of dance training on the human brain, we compared 20 young expert female Dancers with normal body mass index with 20 age- and education-matched Non-Dancers with respect to brain structure and function. We used diffusion tensor, morphometric, resting state and task-related functional MRI, a broad cognitive assessment, and objective measures of selected dance skill (Dance Central video game and a balance task. Dancers showed superior performance in the Dance Central video game and balance task, but showed no differences in cognitive abilities. We found little evidence for training-related differences in brain volume in Dancers. Dancers had lower anisotropy in the corticospinal tract. They also activated the action observation network (AON to greater extent than Non-Dancers when viewing dance sequences. Dancers showed altered functional connectivity of the AON, and of the general motor learning network. These functional connectivity differences were related to dance skill and balance and training-induced structural characteristics. Our findings have the potential to inform future study designs aiming to monitor dance training-induced plasticity in clinical populations.

SCHOOL CONTEXT AND DANCE IN COLLECTIVE: CASE STUDY IN STATE COLLEGE MACHADO DE ASSIS

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Tainã Silva Oliveira

2015-12-01

Full Text Available This research of a case study in State College Machado de Assis - CEMA, in order to analyze the school context and the reality of this dance school. The research is linked to the Institutional Program Initiation Purse in Teaching - PIBID, performed by scholarship students of the Bachelor's Degree in Dance at the Federal Institute of Education, Science and Technology -IFG Goiás, Campus Aparecida de Goiânia - Goiás. From analysis of diagnostic, highlighted the need to investigate and analyze a project of this school, that it is the creation and actions of a dance group called Danç'art. The methodology of the research, theoretical and field, permeated by the study authors and researchers that supported and provoked reflections. Brings inherent notes related to the school context which helps to think about the dance by the bias of a critical overview. For greater understanding of the school context were made questionnaires for students, for dance teacher, teachers of other subjects besides the director and coordinators. These studies validate and enable greater understanding of the need for experience and expansion looks about the dance school. From the field research through observations and interviews applied by scholars, we can see a devaluation by managers and teachers from other areas, which unfolds into challenges and contradictions, so that actions aimed at dance to expand and efetivem critically and consistently. Another objective is to cause a provocation and investigate the reality of dance in this context, from the following questions: what prompted the dance teacher to create the group and what look professional regarding the teaching of dance? What is the perception and interest of students to participate and be part of the group? What is an interactive dance and what is its importance in the perspective of a group of dance? How to give the processes of teaching, creation and testing of the group? Understanding the design of this

Dance Experience and Associations with Cortical Gray Matter Thickness in the Aging Population

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Shai Porat

2016-10-01

Full Text Available Introduction: We investigated the effect dance experience may have on cortical gray matter thickness and cognitive performance in elderly participants with and without mild cognitive impairment (MCI. Methods: 39 cognitively normal and 48 MCI elderly participants completed a questionnaire regarding their lifetime experience with music, dance, and song. Participants identified themselves as either dancers or nondancers. All participants received structural 1.5-tesla MRI scans and detailed clinical and neuropsychological evaluations. An advanced 3D cortical mapping technique was then applied to calculate cortical thickness. Results: Despite having a trend-level significantly thinner cortex, dancers performed better in cognitive tasks involving learning and memory, such as the California Verbal Learning Test-II (CVLT-II short delay free recall (p = 0.004, the CVLT-II long delay free recall (p = 0.003, and the CVLT-II learning over trials 1-5 (p = 0.001. Discussion: Together, these results suggest that dance may result in an enhancement of cognitive reserve in aging, which may help avert or delay MCI.

A Media Promotion through “Ayo Nyang Posyandu” Memengan Dance in banyuwangi, East Java

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Oktarina Oktarina

2015-01-01

Full Text Available background: The introduction of health post (Posyandu activities for children from an early age through the Early age Childhood Institutions (PAUD or Kindergarden is very important, because it can enter into a health program without omitting the principles of learning by playing. This study aims to modify the dance Memengan Ayo Nyang Posyandu, packaged in the form of a video for intervention materials to children under five (early childhood/kindergarten. Methods:Seven (7 children under five years in the early childhood institutions and kindergartens, 2 teachers, 18 gamelan players (panjak, and a student as sinden were the purposively sample. Research location in the sub village Kradjan Mangir Rogojampi –Banyuwangi District during 10 months in the year of 2012. results: The study showed modification of Memengan Dance “Ayo Nyang Posyandu” by the kids early childhood/kindergarten can be filled messages of invitation to come to Posyandu. Memengan dance contains Mother and Child program of Banyuwangi “Anak Tokcer” (Children’s Optimal Growth, Quality and Smart, that are weighing the babies regularly, providing breastfeed from birth to age 6 months, consuming various foods, adding Iodine salt in foods consumed, taking sufficient nutritious supplement. This dance is accompanied by gamelan music, direct dialogue between Panjak, Children and Sinden. Dances recorded in the form of video, duration of 6 minutes 18 seconds and it can be accepted by stakeholders. conclusions: Dance Memengan can be used as a media campaign of posyandu activities. recommendation: Needs further research to determinent the impact of change of community’s interest and participants who visit Posyandu.

Save the mystery - staging specificity of Pina Bausch's dance theatre

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Monika Roszak

2009-01-01

Full Text Available In the article are presented the fundamental determinants of the style of the theatre of Pina Bausch. Tanztheater Wuppertal performances delight with their totality and originality (stage design, costumes, the musical layer, textual layer. Montage, collage, acting based on improvisation - these are the means which are the pillars of Bausch's theatre. Tanztheater Wuppertal performances have reformed the modern ballet and created a new kind of performance based - apart from dance, movement and pantomime - on the realistic activities, routine behaviours, dialogues and singing.

WHEN PROSE DANCES AND DANCE WALKS

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Ana Marques Gastão

2011-04-01

Full Text Available To Paul Valéry, prose follows the less action path, as in marching in a straight line, and poetry, as in dancing – in as much as it is a «system of acts» – it not only intends to go nowhere but it remains in its own realisation, creating its own purpose. Why then does his prose contain this commanded impulse, led by desire, and his poetry does not, since they are so often one and the same? In this essay, looking at works by Rainer Marie Rilke, Fernando Pessoa, António Vieira and Yvette K. Centeno, I develop the idea that, very often, to establish a distinction between genres can be impractical and useless, if one considers concepts such as march/walk and dance from a choreographic perspective. Even if it be a possible question and since it has nevertheless been the object of study by scholars of all times, why is it undertaken? Why can’t prose be danced to, and poetry marched to? Can the walking essence unconsciously dance?

Choreographing lived experience: dance, feelings and the storytelling body.

Science.gov (United States)

Eli, Karin; Kay, Rosie

2015-06-01

Although narrative-based research has been central to studies of illness experience, the inarticulate, sensory experiences of illness often remain obscured by exclusively verbal or textual inquiry. To foreground the body in our investigation of subjective and intersubjective aspects of eating disorders, we-a medical anthropologist and a contemporary dance choreographer-designed a collaborative project, in which we studied the experiences of women who had eating disorders, through eight weeks of integrating dance practice-based, discussion-based and interview-based research. Grounded in the participants' own reflections on choreographing, dancing and watching others perform solos about their eating disordered experiences, our analysis examines the types of knowledge the participants used in choreographing their dance works, and the knowledge that they felt the dance enabled them to convey. We find that the participants consistently spoke of feeling as guiding their choreographic processes; they also said the experiences they conveyed through their dance works were centred in feelings, rather than in practices or events. Through dance, the participants said they could communicate experiences that would have remained unspoken otherwise. Yet, notably, dance practice also enabled participants to begin defining and describing their experiences verbally. We suggest, therefore, that through engaging participants in contemporary dance practice, we can begin to identify and address embodied experiences of illness and recovery that may be silenced in speech or writing alone. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://group.bmj.com/group/rights-licensing/permissions.

Nordic Dance Spaces

DEFF Research Database (Denmark)

This volume identifies different kinds of dance activities and examines their distribution and modes of operation across and beyond the Nordic region. The focus of the research is on dance and how it moves between different locations, organizations and networks of individuals. The study integrates...... three complementary perspectives. One looks at the interplay between politics and larger global flows on the one hand and the movements of dance and dancers on the other. Another looks at the contribution of localized activities such as dance festivals, competitions and cultural mobility pro......-grammes to the transnational movements within dance. The third looks at the ways in which the impact of the transnational context is supported, resisted or commented upon either by the general public, in the dance itself or by the dancers themselves. The book presents a critical analysis of cul-tural location, relocation...

A Corpus of Annotated Irish Traditional Dance Music Recordings: Design and Benchmark Evaluations

OpenAIRE

Beauguitte, Pierre; Duggan, Bryan; Kelleher, John

2016-01-01

An emerging trend in music information retrieval (MIR) is the use of supervised machine learning to train automatic music transcription models. A prerequisite of adopting a machine learning methodology is the availability of annotated corpora. However, different genres of music have different characteristics and modelling these characteristics is an important part of creating state of the art MIR systems. Consequently, although some music corpora are available the use of these corpora is tied...

Controls and art inquiries at the intersection of the subjective and the objective

CERN Document Server

Egerstedt, Magnus

2014-01-01

Dancing humanoids, robotic art installations, and music generated by mathematically precise methods are no longer science fiction; in fact they are the subject of this book.  This first-of-its-kind anthology assembles technical research that makes such creations possible.  In order to mechanize something as enigmatic and personal as dance, researchers must delve deeply into two distinct academic disciplines: control theory and art.  Broadly, this research uses techniques from the world of art to inspire methods in control, enables artistic endeavours using advanced control theory, and aids in the analysis of art using metrics devised by a systems theoretic approach.  To ensure that artistic influences are well represented, the individual chapters are focused so that they relate their contribution to the arts meaningfully and explicitly. Specially composed introductions set up the contributions either in terms of inspiration by artistic principles or their contribution to the arts through new analysis tool...

Pilot study of a targeted dance class for physical rehabilitation in children with cerebral palsy

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Citlali López-Ortiz

2016-09-01

Full Text Available Introduction: This pilot study evaluates the effects of a targeted dance class utilizing classical ballet principles for rehabilitation of children with cerebral palsy on balance and upper extremity control. Methods: Twelve children with cerebral palsy (ages 7–15 years with Gross Motor Function Classification scores II–IV participated in this study and were assigned to either a control group or targeted dance class group. Targeted dance class group participated in 1-h classes three times per week in a 4-week period. The Pediatric Balance Scale and the Quality of Upper Extremity Skills Test were administered before, after, and 1 month after the targeted dance class. Results: Improvements in the Pediatric Balance Scale were present in the targeted dance class group in before versus after and before versus 1 month follow-up comparisons (p-value = 0.0088 and p-value = 0.019, respectively. The Pediatric Balance Scale changes were not significant in the control group. The Quality of Upper Extremity Skills Test did not reach statistical differences in either group. Conclusion: Classical ballet as an art form involves physical training, musical accompaniment, social interactions, and emotional expression that could serve as adjunct to traditional physical therapy. This pilot study demonstrated improvements in balance control. A larger study with a more homogeneous sample is warranted.

In dubio pro silentio – Even Loud Music Does Not Facilitate Strenuous Ergometer Exercise

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Gunter Kreutz

2018-05-01

Full Text Available Background: Music listening is wide-spread in amateur sports. Ergometer exercise is one such activity which is often performed with loud music.Aim and Hypotheses: We investigated the effects of electronic music at different intensity levels on ergometer performance (physical performance, force on the pedal, pedaling frequency, perceived fatigue and heart rate in healthy adults. We assumed that higher sound intensity levels are associated with greater ergometer performance and less perceived effort, particularly for untrained individuals.Methods: Groups of high trained and low trained healthy males (N = 40; age = 25.25 years; SD = 3.89 years were tested individually on an ergometer while electronic dance music was played at 0, 65, 75, and 85 dB. Participants assessed their music experience during the experiment.Results: Majorities of participants rated the music as not too loud (65%, motivating (77.50%, appropriate for this sports exercise (90%, and having the right tempo (67.50%. Participants noticed changes in the acoustical environment with increasing intensity levels, but no further effects on any of the physical or other subjective measures were found for neither of the groups. Therefore, the main hypothesis must be rejected.Discussion: These findings suggest that high loudness levels do not positively influence ergometer performance. The high acceptance of loud music and perceived appropriateness could be based on erroneous beliefs or stereotypes. Reasons for the widespread use of loud music in fitness sports needs further investigation. Reducing loudness during fitness exercise may not compromise physical performance or perceived effort.

In dubio pro silentio – Even Loud Music Does Not Facilitate Strenuous Ergometer Exercise

Science.gov (United States)

Kreutz, Gunter; Schorer, Jörg; Sojke, Dominik; Neugebauer, Judith; Bullack, Antje

2018-01-01

Background: Music listening is wide-spread in amateur sports. Ergometer exercise is one such activity which is often performed with loud music. Aim and Hypotheses: We investigated the effects of electronic music at different intensity levels on ergometer performance (physical performance, force on the pedal, pedaling frequency), perceived fatigue and heart rate in healthy adults. We assumed that higher sound intensity levels are associated with greater ergometer performance and less perceived effort, particularly for untrained individuals. Methods: Groups of high trained and low trained healthy males (N = 40; age = 25.25 years; SD = 3.89 years) were tested individually on an ergometer while electronic dance music was played at 0, 65, 75, and 85 dB. Participants assessed their music experience during the experiment. Results: Majorities of participants rated the music as not too loud (65%), motivating (77.50%), appropriate for this sports exercise (90%), and having the right tempo (67.50%). Participants noticed changes in the acoustical environment with increasing intensity levels, but no further effects on any of the physical or other subjective measures were found for neither of the groups. Therefore, the main hypothesis must be rejected. Discussion: These findings suggest that high loudness levels do not positively influence ergometer performance. The high acceptance of loud music and perceived appropriateness could be based on erroneous beliefs or stereotypes. Reasons for the widespread use of loud music in fitness sports needs further investigation. Reducing loudness during fitness exercise may not compromise physical performance or perceived effort. PMID:29867622

Smiljana Mandukic (1908-1992 Beginning of Modern Dance and Dance Expressionism in Europe

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Vera Obradović

2018-02-01

Full Text Available Smiljana Mandukić (1908-1992 a dancer, choreographer, and teacher, was among those dancers who pioneering the modern dance in Serbia. The beginning of the 20th century brought new forms of art as the old ones were not sufficient to express new feelings and experiences, in that era of rapid technological progress. Mandukic was educated as a dancer in interwar Vienna, so she happened to be at the centre of Central European expressionist dance, free dance, at the time of her formation as a dancer. Smiljana acquired dance knowledge from her teachers, famous dancers and choreographers, Gertrud Bodenwieser, who developed her own style of modern expressionist dance, known as “Bodenwieser Viennise Style”, and Grete Wiesenthal, who was a member of the corps de ballet of the Hofoper in Vienna (Vienna Court Opera Ballet. Both her teachers were the representatives of “Ausdrukstanz” or “Neur Tanz”, and were rejected formalism and virtuosity of classical dance in favour of more natural movements. Like her pair, Maga Magazinovic (1882-1968, who introduced expressionist dance in Serbia, established the first school of modern dance in 1910, and founded the first modern dance group consisted of female dancers, Mandukic advocated for the importance of dance in education of female population. In the traditional, patriarchal Serbian society, she opened the second school of modern dance in 1931, and was the first artist who established a professional group of modern dance. Her greatest achievement was the creation of “epic-patriotic choreodrama”. The main goal of this article is to confirm that Smiljana Mandukic’s pioneer work in establishing modern dance in Serbia was the part of the European expressionist modern dance movement of the equal importance and significance not only when considering the Western Balkans but the broader European context.

Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study.

Science.gov (United States)

Melhuish, Ruth; Beuzeboc, Catherine; Guzmán, Azucena

2017-04-01

Background There is an increasing focus on providing effective psychosocial interventions to improve quality of life in dementia care. This study aims to explore the attitudes and perceptions of staff who participated regularly in Music Therapy (MT) and Dance Movement Therapy (DMT) groups for residents with dementia in a nursing home. Method In-depth interviews were conducted with seven members of care home staff. Data were analysed using interpretative phenomenological analysis. Results A representation modelling the impact of MT and DMT in a nursing care home. Three main themes were identified. 1) Discovering residents' skills and feelings; 2) Learning from the therapists to change approaches to care practice with subthemes: time, space and pace, choice, following the residents' lead; 3) Connection between staff and residents. Conclusion The model indicated that both interventions performed in parallel helped staff to discover residents' skills and feelings. Although it is a small sample size, this study strongly suggests that MT and DMT can have a positive influence in helping care staff to provide a meaningful care environment.

The neuroaesthetics of music

DEFF Research Database (Denmark)

Brattico, Elvira

2017-01-01

The present chapter offers an overview on the state-of-the-art research under the agenda of the neuroaesthetics of music. This research agenda, inspired by the neuroaesthetics of visual art, represents a paradigm shift from neuroimaging studies focused exclusively on music perception, cognition...... and emotion to studies that consider aesthetic responses such as liking, preference, and aesthetic judgments. The existing models depicting information processing stages of the musical aesthetic experiences and their loci in the brain are summarized. The latest findings point at a synergy between neural...... systems, and particularly between superior temporal gyrus and limbic reward areas for issuing aesthetic responses to music. Future challenges for the field are the discovery of the neural mechanisms of inter-subject communication during musical performance leading to an efficacious aesthetic experience....

Shall We Dance?

Science.gov (United States)

Black, Susan

2001-01-01

Of all art forms, dance is experienced least and considered low-priority. Art educators and the NAEP's arts education framework view dance as essential for every child's complete development. The National Dance Association has set high standards. Baltimore and South Bronx programs are profiled. (MLH)

On music and art in the journal Danica (1860-1872

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Marjanović Nataša

2013-01-01

Full Text Available This paper deals with features and articles on music and art published in the journal Danica, in the period 1860-1872. Selected articles contain significant testimonies on the place of musical practice in the everyday life of Serbs and other Slavic people living in the Austro-Hungarian Empire in the nineteenth century. The feature articles abound with details on the artistic activities of respected individuals and singing societies, popular cultural-artistic events (besedas, balls, dances, new publications on music and other news. Several articles were dedicated to aesthetic and philosophical views on art. In a separate section of this paper, I analyze the narrative style of these articles. [Projekat Ministarstva nauke Republike Srbije, br. ON 177004: Serbian Musical Identities within Local and Global Frameworks: Traditions, Changes, Challenges

Searching for roots of entrainment and joint action in early musical interactions

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Jessica ePhillips-Silver

2012-02-01

Full Text Available When people play music and dance together, they engage in forms of musical joint action that are often characterized by a shared sense of rhythmic timing and affective state (i.e., temporal and affective entrainment. In order to understand the origins of musical joint action, we propose a model in which entrainment is linked to dual mechanisms (motor resonance and action simulation, which in turn support musical behavior (imitation and complementary joint action. To illustrate this model, we consider two generic forms of joint musical behavior: chorusing and turn-taking. We explore how these common behaviors can be founded on entrainment capacities established early in human development, specifically during musical interactions between infants and their caregivers. If the roots of entrainment are found in early musical interactions which are practiced from childhood into adulthood, then we propose that the rehearsal of advanced musical ensemble skills can be considered to be a refined, mimetic form of temporal and affective entrainment whose evolution begins in infancy.

EAGLE DANCE AS CULTURAL IDENTITY IN THE ISOLATING TRIBAL COMMUNITY CHANGES, IN PEMATANG KABAU VILLAGE, AIR HITAM DISTRICT, SAROLANGUN REGENCY, JAMBI PROVINCE

Directory of Open Access Journals (Sweden)

Sri Purnama

2012-11-01

illustrations.The results indicate that there had been changes towards the Eagles dancein SAD which had settled in Kabau Pematang village, although the use of holy spells as a musical accompaniment and distinctive gestures symbolic of this danceis still maintained. In residential SAD, Eagle dance is treated as a cultural groupidentity, and the regeneration of the dancers began to be conducted. The impact ofthis treatment which is carried out by citizens of SAD making the Eagles dancebecomes sustainable dance despite the new of its socio-cultural functions. ForSAD in residential areas, Eagle dance means as a symbol of cultural expression,equality, and welfare. The main meaning of Eagles dance, who built fromtradition and cultural power of SAD, becomes a representation of communitygroups concerned, in the midst of pressure, domination and influence of themajority culture.

Why Do You Dance? Development of the Dance Motivation Inventory (DMI)

OpenAIRE

Maraz, Aniko; Kir?ly, Orsolya; Urb?n, R?bert; Griffiths, Mark D.; Demetrovics, Zsolt

2015-01-01

Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an online survey. Eight motivational factors were identified ...

How To Dance through Time. Volume V: Victorian Era Couple Dances. [Videotape].

Science.gov (United States)

Teten, Carol

This 55-minute VHS videotape is the fifth in a series of "How To Dance Through Time" videos. It continues the tradition of the romance of the mid-19th century couple dances, focusing on Victorian era couple dances. The videotape offers 35 variations of the renowned 19th century couple dances, including the waltz, the polka, the galop,…

Music therapy, emotions and the heart: a pilot study.

Science.gov (United States)

Raglio, Alfredo; Oasi, Osmano; Gianotti, Marta; Bellandi, Daniele; Manzoni, Veronica; Goulene, Karine; Imbriani, Chiara; Badiale, Marco Stramba

2012-01-01

The autonomic nervous system plays an important role in the control of cardiac function. It has been suggested that sound and music may have effects on the autonomic control of the heart inducing emotions, concomitantly with the activation of specific brain areas, i.e. the limbic area, and they may exert potential beneficial effects. This study is a prerequisite and defines a methodology to assess the relation between changes in cardiac physiological parameters such as heart rate, QT interval and their variability and the psychological responses to music therapy sessions. We assessed the cardiac physiological parameters and psychological responses to a music therapy session. ECG Holter recordings were performed before, during and after a music therapy session in 8 healthy individuals. The different behaviors of the music therapist and of the subjects have been analyzed with a specific music therapy assessment (Music Therapy Checklist). After the session mean heart rate decreased (p = 0.05), high frequency of heart rate variability tended to be higher and QTc variability tended to be lower. During music therapy session "affect attunements" have been found in all subjects but one. A significant emotional activation was associated to a higher dynamicity and variations of sound-music interactions. Our results may represent the rational basis for larger studies in diferent clinical conditions.

[Contributions to the psychodynamic approach to understanding the phenomenon of music].

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Giglio, J S; Giglio, Z G

1980-12-01

Based on different writings from different periods, this article gives us some of the psychodinamic view of musical phenomenon. It is divided in three parts. 1. The initial one is about general aspects of musical phenomenon. Music has a hihg power of symbolization, due to its ambiguity and simultaneity of elements. It can make a change on the common state of consciousness. Music also can influence on the Ego's cognitive style. Music has relationship with both the Ego's dissociative function and Ego's integrative function. 2. The secon part refers to the affective nature of music. Music release libidinal energy mainly through rhythm; for exemple we see the link between and dance in primitive societies. It also gives expression for emotional life, and arouses emotions too. 3. The third part refers to structural and functional aspects of music. This last part talks about the role of music to the listener and to the creative musician; it presents an analogy between the structure of the music and structure of the dreams. The joy of music involves the whole personality and music may be used to expand the Self.

The Negro Dance

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Katherine Dunham

2016-12-01

Full Text Available Katherine Dunham’s The Negro Dance (1941 focuses on dances in the West Indies and on their similarities with North American dance forms rooted in African culture. Though backed up by the New Negro arguments of the time, it shows Dunham’s prominent elaboration of a dignified African-American art based on syncretic bodily practices, which anticipated theorizations in dance and cultural studies. By uniting a theoretical approach and performance ability, she also made methodological choices which, decades later, became standard practices in the field of dance anthropology. Moreover, she is now considered an ante litteram exponent of public or applied anthropology due to the fact that, by using various strategies, she managed to take anthropological knowledge out of the academic world and use it as an instrument for social transformation. The Negro Dance is introduced by Rossella Mazzaglia and followed by an afterword by Cristiana Natali and a biographical note by Marie-Christine Dunham Pratt.

Interactive Sonification of Weather Data for The Locust Wrath, a Multimedia Dance Performance

OpenAIRE

Lindborg, PerMagnus

2016-01-01

To work flexibly with the sound design for The Locust Wrath, a multimedia dance performance on the topic of climate change, we developed a software for interactive sonification of climate data. An open-ended approach to parameter mapping allowed tweaking and improvisation during rehearsals, resulting in a large range of musical expression. The sonifications represented weather systems pushing through South-East Asia in complex patterns. The climate was rendered as a piece of electroacoustic m...

Sexuality and Sexual Identity: Critical Possibilities for Teaching Dance Appreciation and Dance History

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Dils, Ann

2004-01-01

The intersections of dance and sexuality and sexual identity are part of the critical discourse important to teaching dance appreciation and dance history. This essay presents aspects of my teaching practice, informed by current writings in queer studies, dance studies, education, and sociology. Awareness of potential classroom diversity helps…

Why do you dance? Development of the Dance Motivation Inventory (DMI).

Science.gov (United States)

Maraz, Aniko; Király, Orsolya; Urbán, Róbert; Griffiths, Mark D; Demetrovics, Zsolt

2015-01-01

Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years) who completed an online survey. Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism. The eight dimensions identified cover possible motives for social recreational dancing, and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming.

Why do you dance? Development of the Dance Motivation Inventory (DMI.

Directory of Open Access Journals (Sweden)

Aniko Maraz

Full Text Available Dancing is a popular form of physical exercise and studies have show that dancing can decrease anxiety, increase self-esteem, and improve psychological wellbeing. The aim of the current study was to explore the motivational basis of recreational social dancing and develop a new psychometric instrument to assess dancing motivation. The sample comprised 447 salsa and/or ballroom dancers (68% female; mean age 32.8 years who completed an online survey. Eight motivational factors were identified via exploratory factor analysis and comprise a new Dance Motivation Inventory: Fitness, Mood Enhancement, Intimacy, Socialising, Trance, Mastery, Self-confidence and Escapism. Mood Enhancement was the strongest motivational factor for both males and females, although motives differed according to gender. Dancing intensity was predicted by three motivational factors: Mood Enhancement, Socialising, and Escapism. The eight dimensions identified cover possible motives for social recreational dancing, and the DMI proved to be a suitable measurement tool to assess these motives. The explored motives such as Mood Enhancement, Socialising and Escapism appear to be similar to those identified in other forms of behaviour such as drinking alcohol, exercise, gambling, and gaming.

Dance: Verities, Values, Visions.

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Boorman, Joyce, Ed.; Harris, Dorothy, Ed.

The Binational Dance Conference was organized into three focal themes--verities, values, and visions in dance--to emphasize the known and accepted worth and value of dance, and to stimulate through knowledge and idea exchange, imaginative directions for dance in the future of both the United States and Canada. This thematic structure is also the…

Nonmedical opioid use among electronic dance music party attendees in New York City.

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Palamar, Joseph J; Le, Austin; Cleland, Charles M

2018-05-01

Nonmedical opioid use remains an epidemic in the United States. Electronic dance music (EDM) party attendees have been found to be at high risk for the use of drugs such as ecstasy, but little is known about nonmedical opioid use in this population. Using time-space sampling, we surveyed 954 individuals (ages 18-40) attending randomly selected EDM parties in New York City in 2017. Participants were asked about the use of 18 different opioids and about willingness to use if offered by a friend in the next 30 days. We estimated the prevalence of use in this population and examined correlates of past-year and past-month use. Almost a quarter (23.9%) of EDM party attendees are estimated to have used opioids non-medically in their lifetime, and one out of ten (9.8%) in the past year. 5% are estimated to be current users (reporting past-month use), and 16.4% are willing to use opioids non-medically if offered by a friend in the next 30 days. Past-year nonmedical benzodiazepine users were at high odds for reporting current nonmedical opioid use (aOR = 10.11, p < 0.001) and, on average, report using more different opioid drugs in the past year than non-past-year-users (p = 0.012). Nearly three-quarters (73.6%) of those who have used in the past year indicated that they would use again if offered by a friend in the next 30 days. Nonmedical opioid use is prevalent in the EDM scene and many attendees are willing to use if offered. Prevention efforts are needed in this high-risk population. Copyright © 2018 Elsevier B.V. All rights reserved.

Sports dance artistic expression culture analysis

OpenAIRE

Chen Zegang

2017-01-01

At present, the sports dance has entered every stage of the people’s life, has become the public’s favorite sport. Sports dance has been well developed. This article mainly uses the literature material law to carry on the detailed analysis to the sports dance constitution, elaborated in detail the sports dance artistic expression. The composition of sports dance elements; sports dance is a form of dance art show; sports dance through the dance art can be divided into three aspects, namely, fo...

Preventive effects of group dance movement therapy on participants of oriental dance courses

OpenAIRE

Jevšenak, Vesna

2014-01-01

The connection of mind and body as well as the impact of physical activity on mental state of the person is defined in the theoretical part of the thesis. It featured dance as an expressive means of non-verbal communication in the therapeutic process in the group and stressed the importance of creativity in dance expression. It has given a historical overview of the role of women in dance and described the therapeutic characteristics of oriental dance. In addition to presenting dance - moveme...

Music as a health promoting agent in dementia care. Results from a Norwegian/Danish context

DEFF Research Database (Denmark)

Ridder, Hanne Mette Ochsner; Stige, Brynjulf

and how music is implemented in activities and daily care as well as in music therapy sessions. Results The various perspectives on music as a health promoting agent in dementia care are documented in the Norwegian/Danish book Musikkterapi og Eldrehelse (Music therapy and elderly health) published in June......Introduction According to The United Nations Principles, older persons should have access to cultural and recreational resources of society. Musical memory is remarkably well-maintained despite loss of other cognitive functions in dementia, and the use of music activities, caregiver singing, social...... dancing and music listening with iPods is increasingly implemented. Therefore, it is important to consider why and how music as a cultural and recreational resource is integrated in dementia care. Methods In the period from 2008-20014 the University of Bergen coordinated a collaborative network...

Ot ritualnite žertvi kăm răčenicata v minižupi (Etnomuzikovedski impresii ot Bălgarija)

Czech Academy of Sciences Publication Activity Database

Tyllner, Lubomír

2015-01-01

Roč. 41, č. 4 (2015), s. 523-536 ISSN 0323-9861 Institutional support: RVO:68378076 Keywords : ethnomusicology * bulgarian folklore tradition * folk dance * traditional music * music al instruments Subject RIV: AC - Archeology, Anthropology, Ethnology

Když o víně, tak povinně!

Czech Academy of Sciences Publication Activity Database

Tyllner, Lubomír

2012-01-01

Roč. 23, č. 11 (2012), s. 32 ISSN 1210-7972 Institutional support: RVO:68378076 Keywords : folklore * folklorism * folk music * folk dance * festival of folk music * Competition festival Subject RIV: AC - Archeology, Anthropology, Ethnology

Dance and sexuality: many moves.

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Hanna, Judith Lynne

2010-03-01

This literature review of dance and sexual expression considers dance and religion, dance and sexuality as a source of power, manifestations of sexuality in Western theater art and social dance, plus ritual and non-Western social dance. Expressions of gender, sexual orientation, asexuality, ambiguity, and adult entertainment exotic dance are presented. Prominent concerns in the literature are the awareness, closeting, and denial of sexuality in dance; conflation of sexual expression and promiscuity of gender and sexuality, of nudity and sexuality, and of dancer intention and observer interpretation; and inspiration for infusing sexuality into dance. Numerous disciplines (American studies, anthropology, art history, comparative literature, criminology, cultural studies, communication, dance, drama, English, history, history of consciousness, journalism, law, performance studies, philosophy, planning, retail geography, psychology, social work, sociology, and theater arts) have explored dance and sexual expression, drawing upon the following concepts, which are not mutually exclusive: critical cultural theory, feminism, colonialism, Orientalism, postmodernism, poststructuralism, queer theory, and semiotics. Methods of inquiry include movement analysis, historical investigation, anthropological fieldwork, autoethnography, focus groups, surveys, and self-reflection or autobiographical narrative. Directions for future exploration are addressed.

Student’s anxiety about the Musical Language subject and strategies to reduce it.

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Elena Berrón Ruiz

2018-01-01

Full Text Available Students embark upon their studies at the conservatory motivated to learn how to play a musical instrument. Nevertheless, they must attend Music Language classes from the first year, a subject that they usually find it unattractive and it makes them feel with anxiety.In this article we discuss a research carried out in a Professional Conservatory of Music with students in their first two years of elementary training. The goals in this research are to identify which aspects are a source of anxiety in these students and to analyse the usefulness of our educational proposals in order to reduce it. We have applied a qualitative research methodology which combines the characteristics of case study methods and classroom-based research.This research enables us to state that the implementation of flexible, dynamic and positive pedagogy, the improvement of study habits in our students, the family involvement, the care of relationships, the recognition of mistakes, accepting them as natural feature of the whole learning process, and the performing musical exhibitions in public on a regular basis reduce anxiety.

CHILDREN IN MUSIC EDUCATION: CONTRIBUTIONS OF TOYS IN TEACHING AND LEARNING

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Ilza Zenker Leme Joly

2016-07-01

Full Text Available This article is the result of a survey completed which identified as the toy is presented in the teaching and learning in children's music education practices. Participant observation was carried out in two groups of music education with children aged 2 and 3 years, with the use of field diary. The results showed that the process was enriched significantly through the use the toys. Rattles, scarves, wooden horses, stuffed animals, puppets, rag dolls, children's story books were objects that contributed to increasing the participation of children in songs and dances, expand relations between children and adults. They served to play at the reception of the children, living together and musical practices, the expansion of interactions and emotional ties, especially in promoting more pleasant moments in music education practices with children.

Statistical universals reveal the structures and functions of human music.

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Savage, Patrick E; Brown, Steven; Sakai, Emi; Currie, Thomas E

2015-07-21

Music has been called "the universal language of mankind." Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These universals include 18 musical features that are common individually as well as a network of 10 features that are commonly associated with one another. They span not only features related to pitch and rhythm that are often cited as putative universals but also rarely cited domains including performance style and social context. These cross-cultural structural regularities of human music may relate to roles in facilitating group coordination and cohesion, as exemplified by the universal tendency to sing, play percussion instruments, and dance to simple, repetitive music in groups. Our findings highlight the need for scientists studying music evolution to expand the range of musical cultures and musical features under consideration. The statistical universals we identified represent important candidates for future investigation.

The Familiar and the Foreign: Dance on the Historically Black College Campus

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Ebright, Wanda K. W.

2017-01-01

The purpose of this dissertation is to illuminate the missing voices of historically black college and university dance programs in the national discussion on the history and development of dance in American higher education. The methodology included the selection of five subject schools that are historically black colleges and universities…

A norming study and library of 203 dance movements.

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Christensen, Julia F; Nadal, Marcos; Cela-Conde, Camilo José

2014-01-01

Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across--and even within--these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data. We propose a library of dance stimuli which responds to the stimuli requirements and design criteria of these three areas of research, while at the same time respecting a dance art-historical perspective, offering greater ecological validity as compared with previous dance stimulus sets. The stimuli are 5-6 s long video clips, selected from genuine ballet performances. Following a number of coding experiments, the resulting stimulus library comprises 203 ballet dance stimuli coded in (i) 25 qualitative and quantitative movement variables; (ii) affective valence and arousal; and (iii) the aesthetic qualities beauty, liking, and interest. An Excel spreadsheet with these data points accompanies this manuscript, and the stimuli can be obtained from the authors upon request.

EXPRESSION OF MUSIC AND MOVEMENT ACCORDING TO EMIL JACQUES-DALCROZE'S METHOD

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Anna Galikowska – Gajewska

2016-02-01

Full Text Available This article discusses the movement expression considering it a crucial element of Dalcroze’s Eurhythmics. At the beginning of the 20th century Emil Jaques-Dalcroze, who is regarded as the creator of Eyrhythmics, discovered that movement should be the basis for music education. The father of Eyrhythmics referred to a common human activity - movement - and by linking it with music, he laid the foundation of methodology of music education. Eurhythmics has become one of the popular methods of arts education but, first of all, a versatile system of music education, which allows acomplishement of true expression. The Dalcroze's approach to music education established the foundation of an understanding of music through movement-motion. Music expressed through the natural and simple language of human body's movements leads to a personal fuller experience of music through motion, enables a deeper feeling of music, a better understanding and discovering its beauty. Dalcroze considered that the qualities of music were fundamental forces in human life, and emphasized music’s connection to other arts, such as dance, drama, poetry, and particularly singing, which all are fundamental human activities involving movement, language and emotion.

Dance and the brain: a review.

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Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

2015-03-01

Dance is a universal form of human expression that offers a rich source for scientific study. Dance provides a unique opportunity to investigate brain plasticity and its interaction with behavior. Several studies have investigated the behavioral correlates of dance, but less is known about the brain basis of dance. Studies on dance observation suggest that long- and short-term dance training affect brain activity in the action observation and simulation networks. Despite methodological challenges, the feasibility of conducting neuroimaging while dancing has been demonstrated, and several brain regions have been implicated in dance execution. Preliminary work from our laboratory suggests that long-term dance training changes both gray and white matter structure. This article provides a critical summary of work investigating the neural correlates of dance. It covers functional neuroimaging studies of dance observation and performance as well as structural neuroimaging studies of expert dancers. To stimulate ongoing dialogue between dance and science, future directions in dance and brain research as well as implications are discussed. Research on the neuroscience of dance will lead to a better understanding of brain-behavior relationships and brain plasticity in experts and nonexperts and can be applied to the development of dance-based therapy programs. © 2014 New York Academy of Sciences.

Michael Field’s “A Dance of Death”

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LeeAnne Richardson

2012-03-01

Full Text Available The 1912 poem "A Dance of Death" by Michael Field (pen name of Katherine Bradley and her niece Edith Cooper depicts Salome in an alternate version of the biblical story: this Salome dances on a frozen river, falls through the ice, and is decapitated on a jagged edge. Nonetheless, her beautiful head continues dancing over the frozen river. This poem is highly unusual, especially in the context of the other poems in the postconversion volume Poems of Adoration, because it questions, rather than submits to, authority. In re-writing a familiar Christian tale, as well as a familiar decadent theme, Field uses the poem to assert the supremacy of their artistic vision, which (despite their ardent Catholicism cannot be subject to any law outside themselves. Like the continually dancing head of Salome, which continues to create beauty even after nature (and perhaps God has struck it down, the poet is subjugate only to her own law and creates without boundaries or restrictions on her art. Bradley and Cooper were acutely aware of their authorial persona (actively taking not only a masculine but also a singular poetic identity, and their mode of reconciling the apparent contradictions of this identity are mirrored in their presentation of Salome in a "Dance of Death."

INLAND-COASTAL PHILIPPINE HYBRIDITY: HETEROGLOSSIA IN AGUSAN MANOBO MUSIC AND RITUAL

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José S. Buenconsejo

2010-06-01

Full Text Available This article deals with the hybridity of contemporary Agusan Manobo music as evident in its repertory and in the heteroglossia of possession ritual performances, where various archaic and modern speech styles (including song and ritual dance music co-exist. This hybridity is consequent to the history of Agusan Manobo relations with outsiders, especially Visayan-speaking settlers whose markers of group identity have been incorporated into Manobo rites. Such incorporation indicates the Manobo presence to a social world that is characterized by a mix between inland Manobo and coastal Visayan cultures.

Access to Music Education with Regard to Race in Two Urban Areas

Science.gov (United States)

Salvador, Karen; Allegood, Kristen

2014-01-01

This quantitative study examined access to school music instruction with regard to race in two urban areas: Detroit, Michigan, and Washington, DC, in 2009-2010. We found significant differences in the provision of music instruction between schools with high and low proportions of nonwhite enrollment, in categories including curricular offerings,…

Pleasurable music affects reinforcement learning according to the listener

Science.gov (United States)

Gold, Benjamin P.; Frank, Michael J.; Bogert, Brigitte; Brattico, Elvira

2013-01-01

Mounting evidence links the enjoyment of music to brain areas implicated in emotion and the dopaminergic reward system. In particular, dopamine release in the ventral striatum seems to play a major role in the rewarding aspect of music listening. Striatal dopamine also influences reinforcement learning, such that subjects with greater dopamine efficacy learn better to approach rewards while those with lesser dopamine efficacy learn better to avoid punishments. In this study, we explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non-pharmacological dopamine elicitation. Subjects from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces (according to pseudo-random group assignment) as they performed a reinforcement learning task dependent on dopamine transmission. We assessed musical backgrounds as well as typical listening patterns with the new Helsinki Inventory of Music and Affective Behaviors (HIMAB), and separately investigated behavior for the training and test phases of the learning task. Subjects with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. HIMAB results regarding listening behaviors and subjective music ratings indicate that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. These findings have implications in affective neuroscience, neuroaesthetics, learning, and music therapy. PMID:23970875

Decolonizing Dance Pedagogy: Application of Pedagogies of Ugandan Traditional Dances in Formal Dance Education

Science.gov (United States)

Mabingo, Alfdaniels

2015-01-01

Dances from African communities are gradually getting incorporated into formal education at pre-tertiary and tertiary levels in the United States. Whereas strides have been made to embrace this artistic and cultural diversity, the instructional methodologies that are applied in teaching these dances are commonly founded on Western pedagogic canons…

Supervised dance intervention based on video game choreography increases quadriceps cross sectional area and peak of torque in community dwelling older women

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Elisângela Valevein Rodrigues

2018-06-01

Full Text Available Abstract AIMS the purpose of this study was to assess the effects of a supervised dance intervention based on video game choreography on isokinetic concentric and eccentric knee peak of torque (PT, quadriceps and hamstrings cross sectional area (CSA and functionality in community-dwelling older women. METHODS Forty-seven older women were allocated in Control Group (CG, n=25 and Intervention Group (IG, n=22. The IG performed dance based on video game choreography (Dance Central, XBOX 360®, Kinect, during 12 weeks, ~40 minutes, 3x/week, without foam (1-6week and with foam and visual disturbances (7-12 week. The pretest-training-posttest assessments included: isokinetic concentric and eccentric knee PT and CSA (Magnetic resonance imaging of quadriceps and hamstrings and functional tests. RESULTS The light-to-moderate-intensity 12-weeks training increased 8.5% the eccentric PT of quadriceps at 60°/s (p=0.04 and 1.3% quadriceps CSA (p=0.02. CONCLUSIONS These findings suggest that dance training based on video game choreography can enhance PT and induce hypertrophy in community-dwelling older women.

USING OF THE FOLK SOURCE IN THE PROCESS OF CRYSTALLIZATION OF ROMANIAN CHORAL MUSIC

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MORARU EMILIA

2015-12-01

Full Text Available The Romanian choral music from the second half of the nineteenth century and the beginning of the twentieth century was built on the foundation of folk art, expressed through the monodic popular song, peasant dance and church music. Jn the pages of this article, the author highlights the most representative works of folk inspiration, signed by predecessor composers of Romanian choral music, who, through their creative effort, contributed essentially to the crystallization of the genre of the choral music of this period. Thus, in the author’s objective were the creations of composers Alexandru Flechtenmacher, Eduard Wachmann, Eduard Caudella, Gavriil Musicescu, Gheorghe Dima, Jacob Mureşianu, Ciprian Porumbescu, Jon Vidu and others.

Effects of listening to pleasant music on chronic unilateral neglect: a single-subject study.

Science.gov (United States)

Tsai, Pei-Luen; Chen, Mei-Ching; Huang, Yu-Ting; Lin, Keh-Chung

2013-01-01

Recent studies suggest that the positive emotion induced by pleasant music may improve cognitive functions. We used the single-subject design to study whether listening to preferred music may reduce unilateral neglect in two participants with post-stroke neglect. These participants were instructed to listen to their preferred music every day for 5 weeks, followed by 2 weeks of follow-up assessment. Outcome measures involved the Star Cancellation Test, the Line Bisection Test, and the visual exploration task. A combination of visual analysis and the two-standard-deviation band method was used for data analysis. Both participants showed significant intervention-related improvements on all outcome measures except the Line Bisection Test, on which one participant showed no improvement. The therapeutic effects were maintained during the follow-up phase. The findings suggest that positive emotion, evoked by preferred music, may be used to ameliorate unilateral neglect. Further research using controlled trials is warranted to validate the findings.

The Dancing Picture - The Ritual Dance of Native Australians

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Monica Engelhart

1996-01-01

Full Text Available What kind of message does -or did — the dance convey to the Native Australians? Several types of communication can be distinguished in ritual dance. There is the narrative aspect, i.e., the dramatization of a myth, or of certain social relations, there is an aspect of explanation, i.e., the visual performance of significant conditions, an expressive aspect of worship, and even an aspect of transmission, as when the body of the dancer is thought to mediate divine power to the audience. When a dancer is considered possessed, the boundaries between his human identity and the divine are wiped out. This last aspect leads us to the second item of interest regarding the ritual dance in Australia, an issue that has been discussed at length regarding masked dancers in other societies, i.e., the question of whether the dancer is identified with the being represented, or merely performs as an actor in a play. In this discussion, the very technique of dancing may have some explanatory faculty, at least as long as we are dealing with Native Australian ritual dance.

Musical structure is processed in "language" areas of the brain: a possible role for Brodmann Area 47 in temporal coherence.

Science.gov (United States)

Levitin, Daniel J; Menon, Vinod

2003-12-01

The neuroanatomical correlates of musical structure were investigated using functional magnetic neuroimaging (fMRI) and a unique stimulus manipulation involving scrambled music. The experiment compared brain responses while participants listened to classical music and scrambled versions of that same music. Specifically, the scrambled versions disrupted musical structure while holding low-level musical attributes constant, including the psychoacoustic features of the music such as pitch, loudness, and timbre. Comparing music to its scrambled counterpart, we found focal activation in the pars orbitalis region (Brodmann Area 47) of the left inferior frontal cortex, a region that has been previously closely associated with the processing of linguistic structure in spoken and signed language, and its right hemisphere homologue. We speculate that this particular region of inferior frontal cortex may be more generally responsible for processing fine-structured stimuli that evolve over time, not merely those that are linguistic.

Hidden sources of joy, fear, and sadness: Explicit versus implicit neural processing of musical emotions.

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Bogert, Brigitte; Numminen-Kontti, Taru; Gold, Benjamin; Sams, Mikko; Numminen, Jussi; Burunat, Iballa; Lampinen, Jouko; Brattico, Elvira

2016-08-01

Music is often used to regulate emotions and mood. Typically, music conveys and induces emotions even when one does not attend to them. Studies on the neural substrates of musical emotions have, however, only examined brain activity when subjects have focused on the emotional content of the music. Here we address with functional magnetic resonance imaging (fMRI) the neural processing of happy, sad, and fearful music with a paradigm in which 56 subjects were instructed to either classify the emotions (explicit condition) or pay attention to the number of instruments playing (implicit condition) in 4-s music clips. In the implicit vs. explicit condition, stimuli activated bilaterally the inferior parietal lobule, premotor cortex, caudate, and ventromedial frontal areas. The cortical dorsomedial prefrontal and occipital areas activated during explicit processing were those previously shown to be associated with the cognitive processing of music and emotion recognition and regulation. Moreover, happiness in music was associated with activity in the bilateral auditory cortex, left parahippocampal gyrus, and supplementary motor area, whereas the negative emotions of sadness and fear corresponded with activation of the left anterior cingulate and middle frontal gyrus and down-regulation of the orbitofrontal cortex. Our study demonstrates for the first time in healthy subjects the neural underpinnings of the implicit processing of brief musical emotions, particularly in frontoparietal, dorsolateral prefrontal, and striatal areas of the brain. Copyright © 2016 Elsevier Ltd. All rights reserved.

Brain networks that track musical structure.

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Janata, Petr

2005-12-01

As the functional neuroimaging literature grows, it becomes increasingly apparent that music and musical activities engage diverse regions of the brain. In this paper I discuss two studies to illustrate that exactly which brain areas are observed to be responsive to musical stimuli and tasks depends on the tasks and the methods used to describe the tasks and the stimuli. In one study, subjects listened to polyphonic music and were asked to either orient their attention selectively to individual instruments or in a divided or holistic manner across multiple instruments. The network of brain areas that was recruited changed subtly with changes in the task instructions. The focus of the second study was to identify brain regions that follow the pattern of movement of a continuous melody through the tonal space defined by the major and minor keys of Western tonal music. Such an area was identified in the rostral medial prefrontal cortex. This observation is discussed in the context of other neuroimaging studies that implicate this region in inwardly directed mental states involving decisions about the self, autobiographical memory, the cognitive regulation of emotion, affective responses to musical stimuli, and familiarity judgments about musical stimuli. Together with observations that these regions are among the last to atrophy in Alzheimer disease, and that these patients appear to remain responsive to autobiographically salient musical stimuli, very early evidence is emerging from the literature for the hypothesis that the rostral medial prefrontal cortex is a node that is important for binding music with memories within a broader music-responsive network.