Ethnicity, Music Experience, and Depression

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

Download Full-text

Music-related behavior and psychological adjustment among undergraduates (1): Relationship with music experience

The Proceedings of the Annual Convention of the Japanese Psychological Association ◽

10.4992/pacjpa.83.0_1d-010 ◽

2019 ◽

Vol 83 (0) ◽

pp. 1D-010-1D-010

Author(s):

Shiori Ito ◽

Shuhei Komatsu ◽

Moeka Saida ◽

Ayako Kobayashi ◽

Takeshi Hashimoto

Keyword(s):

Psychological Adjustment ◽

Music Experience

Download Full-text

Synesthetic music experience communicator

10.31274/rtd-180817-4872 ◽

2006 ◽

Author(s):

Lewis Charles Hill

Keyword(s):

Music Experience

Download Full-text

Music philetics and its use with students

Pedagogika. Studia i Rozprawy ◽

10.16926/p.2020.29.09 ◽

2020 ◽

Vol 29 ◽

pp. 137-145

Author(s):

Helena Orieščiková

Keyword(s):

Music Therapy ◽

Social Development ◽

Educational Process ◽

Music Experience ◽

Further Development ◽

Development Of Students

Personally engaging musical experiences can be a driving moment, a motivating force in the development of the student. Their use in education and prevention can be of great importance. The emergence of music philetics theoretically makes it possible to anchor the issue of music experience in connection with music creation and to use inspiration from music therapy in the educational process, focus music experiences on the personal and social development of students and offer practical solutions for the implementation of music experience methods developing and enriching personalities of particular individuals. The concept of music philetics is not yet clearly defined and practically used. Further development will show its need in society and viability.

Download Full-text

Prelude

Loving Music Till It Hurts ◽

10.1093/oso/9780190620134.003.0001 ◽

2019 ◽

pp. 1-10

Author(s):

William Cheng

Keyword(s):

Human Beings ◽

Central Question ◽

Music Experience ◽

Being Moved ◽

Experience Pain

Loving music till it hurts: it’s something many of us are likely familiar with. First, we know what it’s like to love certain music so much, it hurts—that deep and aching feeling of being moved to tears, chills, and supreme wonder. Second, we know what it’s like to love such music until we believe the music itself is capable of feeling hurt. (Can music experience pain? Not literally. Yet think of how we anthropomorphize music, not least when we believe it has been somehow mistreated: a singer butchered the noble “Star-Spangled Banner,” a pianist mangled the delicate Mozart sonata.) Lastly, we might love music so much, we end up hurting other people. This book’s Prelude outlines how people’s love of music can spark behaviors, attitudes, and discourses that demonstrate a fierce protectiveness of music, sometimes to the detriment of fellow human beings. A central question here concerns whether people can find ways to love music without intentionally or unintentionally weaponizing this love—that is, without allowing it to serve oppressive, discriminatory, and violent purposes.

Download Full-text