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So it seems that playing more musically and expressively may be a little more nuanced and require a little more practice, planning, and skill, than playing only with feeling and expecting our body to intuitively do what is needed to convey the desired emotions, character, or mood to the listener.

So at the end of the day, yes, absolutely, emotion does have a place in performance. But it appears that felt emotions alone are not enough to deliver an effective musically expressive performance. And it also seems that too much felt emotion can be counterproductive in a performance as well.

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Auditory stimulation via rhythmic cues can be used successfully in the rehabilitation of motor function in patients with motor disorders. A prototypical example is provided by dysfunctional gait in patients with idiopathic Parkinson's disease (PD). Coupling steps to external rhythmic cues (the beat of music or the sounds of a metronome) leads to long-term motor improvements, such as increased walking speed and greater stride length. These effects are likely to be underpinned by compensatory brain mechanisms involving cerebellar-thalamocortical networks. Because these areas are also involved in perceptual and motor timing, parallel improvement in timing tasks is expected in PD beyond purely motor benefits. In keeping with this idea, we report here recent behavioral data showing beneficial effects of musically cued gait training (MCGT) on gait performance (i.e., increased stride length and speed), perceptual timing (e.g., discriminating stimulus durations), and sensorimotor timing abilities (i.e., in paced tapping tasks) in PD patients. Particular attention is paid to individual differences in timing abilities in PD, thus paving the ground for an individualized MCGT-based therapy.

April 10, 2018 at 12:37 PM George, you're right about the etudes being played more musically. It would be much easier if we didn't have an artificial barrier between musical interpretation and technique. It doesn't take much effort to add vibrato or sustain from note to note.

Listen to the first half of my recent 5-hour Open To Close set. Listen to the new Rave Podcast episode aired on DI.FM last week. Listen to my Opening set for Astrix back from December if you missed it. This is where I am musically at the moment, and this is what you can expect to hear from me in the near future. My own productions will follow along, too.

Musically Sublime rewrites musically the history and philosophy of the sublime. Music enables us to reconsider the traditional course of sublime feeling on a track from pain to pleasure. Resisting the notion that there is a single format for sublime feeling, Wurth shows how, from the mid eighteenth century onward, sublime feeling is, instead, constantly rearticulated in a complex interaction with musicality.

So Starbucks is on to something, and none too soon. For even as iPods proliferate and background music colonizes the last refuges of silence, from delivery rooms to funeral homes, our generation may be living less musically than any other in history.

The term 'musically inclined' is quite popular in our everyday lingo, but when it comes to a concrete definition, many of us might stumble. Well, that's what this article is set to demystify. So, sit back, relax, and allow us to navigate the rhythm and harmony that culminate in someone being musically inclined.

Interesting enough, being musically inclined is not restricted to playing an instrument or singing. It also extends to individuals who have fine-tuned ears for music and can distinguish between different genres, sounds, rhythms, melodies, or pitches. These individuals usually possess a unique capacity to feel and express music in a profound way.

Some of us might wonder, "Is musical inclination an innate talent, or can it be developed?" The answer lies in a combination of both. While some individuals are born with a natural sense of rhythm and musical awareness, specific techniques and practices can help one develop or strengthen these abilities. So, don't be discouraged if you don't consider yourself naturally musically inclined. With consistent effort, anyone can nurture their musical capability.

So, when someone says they are musically inclined, they are not only referring to their ability to create or appreciate music. They are declaring an innate or cultivated link with the rhythm and melody that defines the soundscape of our lives.

Young people need you to take action. If you want to help create a musically inclusive England, sign up to the Youth Music Network, follow us on Twitter and LinkedIn, and contact a local AMIE founder partner to ask to be kept informed.

Fear is a frequently studied emotion category in music and emotion research. However, research in music theory suggests that music can convey finer-grained subtypes of fear, such as terror and anxiety. Previous research on musically expressed emotions has neglected to investigate subtypes of fearful emotions. This study seeks to fill this gap in the literature. To that end, 99 participants rated the emotional impression of short excerpts of horror film music predicted to convey terror and anxiety, respectively. Then, the excerpts that most effectively conveyed these target emotions were analyzed descriptively and acoustically to demonstrate the sonic differences between musically conveyed terror and anxiety. The results support the hypothesis that music conveys terror and anxiety with markedly different musical structures and acoustic features. Terrifying music has a brighter, rougher, harsher timbre, is musically denser, and may be faster and louder than anxious music. Anxious music has a greater degree of loudness variability. Both types of fearful music tend towards minor modalities and are rhythmically unpredictable. These findings further support the application of emotional granularity in music and emotion research.

This table shows how the findings of Juslin (2019) regarding how music portrays fear compare to the descriptions of McClelland (2012, 2014, 2017b) of ombra and tempesta. The first column lists categories of musical descriptors, the second contains musical characteristics that convey fear, and the third and fourth column detail whether or not each feature is also characteristic of ombra or tempesta. The highlighted rows represent features which are only characteristic of one or the other, not both. The table overall demonstrates how current findings on musically portrayed fear are over-generalized. Research on how music expresses finer-grained subtypes of fear, such as anxiety and terror, is warranted.

However, research on musically expressed fear has been missing a crucial consideration: emotional granularity. Emotional granularity refers to an individual's capacity to recognize, in oneself and in others, finer-grained emotional states that may be similar to each other, and to communicate these distinctive emotional states with targeted terminology (Barrett, 2004, 2017; Warrenburg, 2019a,b, 2020b). Researchers have only just started to examine musically expressed subtypes of the basic emotions frequently studied. For example, Warrenburg (2020b) recently distinguished between two subtypes of sad emotions in music: melancholy and grief. She also called for more consideration of emotional granularity in designing future music and emotion studies in order to correct any previously formed misconceptions or inconsistencies about how music conveys emotions due to experimental designs that conflated finer-grained emotional states (Warrenburg, 2019a,b).2

Notably, several of the features that Juslin (2019) summarizes as communicative of fear are characteristic of tempesta, while others are characteristic of ombra. Table I demonstrates which features map onto which of the two topics. The highlighted rows depict features that are distinctly different between the two topics. For example, Juslin (2019) notes that music portrays fear through the use of fast tempi and high pitches, both of which are characteristic of tempesta (McClelland, 2014, 2017b). However, ombra consists of slow or moderate tempi and of lower pitches (McClelland, 2012, 2014). On the other hand, Juslin (2019) notes that music portrays fear with lower sound levels and soft timbres, similarly to ombra, which is generally quieter and employs darker or softer timbres (McClelland, 2012, 2014). Tempesta, contrastingly, uses rougher and brighter timbres and is notably louder than ombra (McClelland, 2014, 2017b). Additionally, some of the characteristics Juslin (2019) lists as conveying fear are not mentioned by McClelland (2012, 2014, 2017b) (signified by blank squares in the rightmost columns in Table I), and some features of ombra and tempesta are not mentioned by Juslin (2019), such as the unusual tonal modulations, the bold, unpredictable, chromatic harmonic motions, and the fragmented, disjunct melodic motions that are characteristic of both topics. These different accounts of fearful music provide strong evidence that more research is needed on musically conveyed subtypes of fear. More specifically, we argue that McClelland's research suggests that scary music conveys at least two subtypes of fear: terror and anxiety.

Here, we show the results of the acoustic analyses comparing musically conveyed anxiety and terror, as measured using the FEARMUS database excerpts. In the upper panel we focus on non-timbral acoustic features. We analyzed these features using the entire length of each excerpt. The lower panel displays the results for the timbral acoustic features. For these features, we pseudo-randomly selected five 1-s-long segments from each of the 100 excerpts in FEARMUS to analyze and then average across for each excerpt. Consistent with our hypotheses, the results indicate that terrifying music has a brighter, harsher, noisier timbre, has more musical activity per second, and has less-variable loudness than anxious music. Furthermore, both subtypes of fearful music have relatively unclear rhythmic structures (low pulse clarity) and are mostly in minor modalities (see Table VIII for the unnormalized mean values). Inconsistent with our hypotheses, tempo and loudness are not statistically different between the two subtypes of fear. We had predicted that terrifying music would be louder and faster than anxious music, and while our results are in the predicted direction, they are not statistically significant. 17dc91bb1f