2010 Volume 14. Number 1.https://jyx.jyu.fi/handle/123456789/230402024-03-29T11:22:56Z2024-03-29T11:22:56ZThe effects of musical fit on choice between two competing foodsYeoh, Joanne P.S.North, Adrian C.https://jyx.jyu.fi/handle/123456789/233422018-05-17T04:28:51Z2010-05-05T19:15:04ZThe effects of musical fit on choice between two competing foods
Yeoh, Joanne P.S.; North, Adrian C.
Two experiments investigated the impact of musical "fit" on consumer choice. In Experiment 1, Malaysian participants of Malay, Indian, or Chinese ethnicity chose between Malay and Western food while either Malay or Western music played in the background. Participants tended to choose Malay food, irrespective of the type of music played. Experiment 2 repeated the same basic methodology but presented a more ambiguous choice scenario of Malay versus Indian food while either Malay or Indian music played in the background. Food choices corresponded with the ethnicity of the background music. This suggests that musical "fit" can influence product choice, consistent with previous research, but only when consumers do not have a clear existing preference for one product over another.
2010-05-05T19:15:04ZA preliminary investigation into the association between body movement patterns and dynamic variation in western contemporary popular singingTurner, GemmaKenny, Dianna T.https://jyx.jyu.fi/handle/123456789/233412018-05-17T04:28:43Z2010-05-05T19:10:42ZA preliminary investigation into the association between body movement patterns and dynamic variation in western contemporary popular singing
Turner, Gemma; Kenny, Dianna T.
This study assessed the presence of body movements that may be common to all western contemporary popular (WCP) singers that may be integral to both the physical production of the sung sound and to acoustic output, in this case sound pressure level variation. Since torso movement appears to be closely linked with dynamic variation in this style of singing, the study focused on the activity of the torso. 3-D video footage of the body movements of six professional WCP singers singing the same R & B song was collected. Antero-posterior (AP) torso movement direction frequency and characteristics at the point of maximum sustained SPL and f0 (peak note) on the vowel [open e] were analysed. The most common movement of the torso was in a posterior direction, reaching its point of maximum displacement from the starting position on the peak note. Strong anterior torso movement on the peak note, which took the torso forward of its anatomical position was associated with the head forward position and vocal distortion, indicating that this movement at a point of high SPL may present a vocal health risk. These results indicate that the AP torso movement of WCP singers has a function in voice production and that not only body posture but the manner of movement from one body position to another is significant to vocal health and sound production, especially in styles where high sound levels must be achieved and where a high level of body movement is required in performance.
2010-05-05T19:10:42ZMusical tastes of secondary school students' with different cultural backgrounds: a study in the spanish north african city of MelillaCremades, RobertoLorenzo, OswaldoHerrera, Luciahttps://jyx.jyu.fi/handle/123456789/233402018-05-17T04:28:48Z2010-05-05T18:55:59ZMusical tastes of secondary school students' with different cultural backgrounds: a study in the spanish north african city of Melilla
Cremades, Roberto; Lorenzo, Oswaldo; Herrera, Lucia
The purpose of this study is to analyze the musical tastes of secondary school students in terms of cultural origin, in the Spanish city of Melilla, a North African enclave bordered by Morocco and characterized by its cultural diversity. The study also examines the musical environment of the students since, as different studies have shown (Frith, 2004; Hargreaves, Marshall & North, 2003; Lundquist, 2002; Pitts, 2007), there is no direct relationship between music studied formally in school and the music listened to in daily life. Some 667 students from first to fourth year in compulsory secondary education level (334 females and 323 males), between the ages of 12 and 16 participated, of which 55.9% were of Berber origin, 39.1% of European origin, and 4.9% of mixed origin. The results that were derived from the Questionnaire on Preferences of Musical Styles prepared by Lorenzo, Herrera & Cremades (2008) reflect that the musical tastes of students are oriented towards popular music (Reggaeton, Pop, Hip-Hop or Rap, amongst others) and, on the other hand, they differ according to the cultural group of origin. These musical preferences are clearly influenced by several agents of socialization that are part of informal education (principally peer groups, TV, radio, and the Internet), that shape the cultural and musical consumption habits of young people. Finally, a number of proposals are made for the integration of formal and informal musical education.
2010-05-05T18:55:59ZMobile listening situations in everyday life: The use of MP3 players while travellingHeye, AndreasLamont, Alexandrahttps://jyx.jyu.fi/handle/123456789/233392018-05-17T04:28:38Z2010-05-05T18:53:42ZMobile listening situations in everyday life: The use of MP3 players while travelling
Heye, Andreas; Lamont, Alexandra
Due to technological developments including MP3 format and portable music players, people are now easily able to listen to music to accompany almost every everyday life situation, and music listening is particularly common while travelling (North, Hargreaves and Hargreaves, 2004). The current research explores several related aspects of listening to music while travelling in order to uncover more about why people choose to listen to music in relatively short and purposeful travelling situations. It explores mobile listeners people who choose to listen to music while travelling. A Mobile Flyer Survey was conducted with 428 mobile listeners on and around a university campus (mean age 20.5 years) at the point of music listening, asking about the music they had chosen and their listening experience. Follow-up interviews were conducted with eight mobile listeners to explore their views on music and travelling in more depth. Results show that listeners create an "auditory bubble" in public places while travelling, although paradoxically this also enhances their awareness of their surroundings and is partly permeable. Music while travelling primarily fulfils the functions of enjoyment, passing time and enhancing emotional states. Mobile listeners also consciously choose their music depending on their current goals and desires, which may link to their journey's destination. The findings thus shed light on how technological gadgets like MP3 players are used to control listeners' needs and desires outside the home.
2010-05-05T18:53:42ZPerceived improvement in vocal performance following tertiary-level classical vocal training: do listeners hear systematic progress?Mitchell, Helen F.Kenny, Dianna T.Ryan, Mareehttps://jyx.jyu.fi/handle/123456789/233382018-05-17T04:28:45Z2010-05-05T18:51:05ZPerceived improvement in vocal performance following tertiary-level classical vocal training: do listeners hear systematic progress?
Mitchell, Helen F.; Kenny, Dianna T.; Ryan, Maree
This study assessed expert listeners' perceptual evaluations of the vocal performances of tertiary level classical singing students over two complete years of training. Fifteen singers sang Caccini's Amarilli, mia bella each year at the start of each academic year of vocal training (Y1, Y2, Y3). Ten expert singing pedagogues assessed a set of each singer's three performances, with performance years presented in randomized order. Listeners first ranked singers' performances from best to worst and then rated each performance for overall vocal quality on a ten point scale to indicate the amount of difference between the performances. The number of Y3 performances that were awarded the top rank was significantly greater than the number of Y1 performances awarded the top rank, but not significantly more than Y2 performances. Mean rating scores for singers' performances were significantly higher for Y3 performances than Y2 and Y1, but Y2 scores were not significantly different from Y1 scores. There was considerable individual variability in singers' systematic stages of improvement during three years of professional training but results indicated that most singers demonstrated a perceptible improvement by Y3.
2010-05-05T18:51:05ZComparison of rhythm in musical scores and performances as measured with the Pairwise Variability IndexRaju, MarjuAsu, Eeva LiinaRoss, Jaanhttps://jyx.jyu.fi/handle/123456789/233372018-05-17T04:28:41Z2010-05-05T18:47:28ZComparison of rhythm in musical scores and performances as measured with the Pairwise Variability Index
Raju, Marju; Asu, Eeva Liina; Ross, Jaan
This paper tests two hypotheses: (1) the normalized Pairwise Variability Index (nPVI) values computed on the basis of recorded performances may be higher than the nPVI values computed for the same works as musical scores, and (2) the musical nPVI values for different composers may vary substantially within one culture even within a short time-span. In Study 1, samples from the vocal works of four Estonian composers, Artur Kapp (1878-1952), Mart Saar (1882-1963), Eduard Oja (1905-1950) and Eduard Tubin (1905-1982) were used for calculation of nPVI on the basis of both scores and performances. nPVI values for performed music were higher than those for scores but the differences were rarely statistically significant. In Study 2, larger corpora of scores by three Estonian composers: Saar, Tubin, and Veljo Tormis (born 1930) were analyzed. Songs by Tormis had significantly lower nPVI values than those by Saar and Tubin. Our results imply that calculation of nPVI values in music may rely either on a score or on a performance, the results being not significantly different from each other. The results also show that there may be significant differences in rhythmic contrast between the works of composers from one culture created only a few decades apart, and that nPVI values may not only increase but also decrease for compositions created later in time.
2010-05-05T18:47:28ZMemesatz contra Ursatz: Memetic perspectives on the aetiology and evolution of musical structureJan, Stevenhttps://jyx.jyu.fi/handle/123456789/230802018-05-17T04:28:36Z2010-03-30T21:20:30ZMemesatz contra Ursatz: Memetic perspectives on the aetiology and evolution of musical structure
Jan, Steven
This article discusses the aetiology and evolution of musical structure, specifically the sonata-form exposition, from a memetic perspective. It regards established musical forms as replicated schemata arising from the conglomeration of foreground-level memes, the resultant archetypes (structural memes or Memesätze) being replicated (reinstantiated) by different collections of functionally analogous (allelic) memes. After a discussion of the theoretical background including the top-down/bottom-up generative dichotomy as it applies to form, and some attributes of memes affecting conglomeration three sonata expositions, by Haydn, Mozart and Beethoven, are discussed as specific evidence in support of the general hypotheses advanced.
2010-03-30T21:20:30Z