Musically

If you want to be able to play musically then you have to listen to musicians who are experts at it. By listen I mean put on your headphones, lie down, be still and try to notice everything. You must be a proactive listener.

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.

Musically

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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.

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.

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.

The ButtKicker Concert is a patented 2 ohm low frequency transducer that features a 3.75 lbs (1.48 kg) magnetically suspended piston. The ButtKicker Concert is musically accurate, provides powerful frequency response, is virtually indestructible, and requires no maintenance.

An international research team involving the Max Planck Institute for Empirical Aesthetics (MPIEA) in Frankfurt am Main, Germany, examined the relationship between making music and mental health in detail and found that musically active people have, on average, a slightly higher genetic risk for depression and bipolar disorder.

In addition, the data was linked to the Swedish Patient Register so that psychiatric diagnoses could also be evaluated. It was found that musically active participants reported more frequent depressive, burnout, and psychotic symptoms than participants who did not make music.

Analysis of the data showed that individuals with a higher genetic risk for depression and bipolar disorder were, on average, more often musically active, practiced more, and performed at a higher artistic level. Interestingly, these associations occurred regardless of whether the individuals actually experienced mental health problems or not.

Altogether, our findings suggest that mental health problems observed in musically active individuals are partly explained by a pre-existing genetic risk for depression and bipolar disorder and likely reflect horizontal pleiotropy (when one gene influences multiple traits), rather than causal influences of mental health on music engagement, or vice versa (referred to as vertical pleiotropy).

The question intrigued me and I started looking for pieces that are technically undemanding, but musically captivating - to my taste of course. I think this means a nice melody, but especially an interesting harmony (presumably using tension notes) and rhythm.

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. 2351a5e196