Arts and Humanities Commons^™

Worship Music As Spiritual Identity: An Examination Of Music In The Liturgy Among Black And White Adventists In The United States From 1840 To 1944, David A. Williams

David Williams

The Topic

This study examined Black and White Seventh-day Adventist music in the liturgy in the United States from 1840 to 1944. Little scholarly attention has been given to the development of Adventist liturgical practice, the function of music in the liturgy, and the effect of music upon the spiritual identity. This study utilized liturgical history, ritual studies, musicology, and liturgical theology to derive and compare the spiritual identity fostered through music in the liturgy by these ethnic groups. This study considered both the shared and distinct spiritual identities of Black and White Adventists, as cultivated by the music in …

Guitar Thinking: Perspectives From Music Theory And Cognitive Science, Jonathan De Souza

Jonathan De Souza

The Sound Of Culture, The Structure Of Tradition Musicians' Work In Arab Detroit, Anne K. Rasmussen

Anne K. Rasmussen

Metropolitan Detroit is home to one of the largest, most diverse Arab communities outside the Middle East, yet the complex world Arabic-speaking immigrants have created there is barely visible on the landscape of ethnic America. In this volume, Nabeel Abraham and Andrew Shryock bring together the work of twenty-five contributors to create a richly detailed portrait of Arab Detroit. The book goes behind the bulletproof glass in Iraqi Chaldean liquor stores. It explores the role of women in a Sunni mosque and the place of nationalist politics in a Coptic church. It follows the careers of wedding singers, Arabic calligraphers,restaurant …

Play It Again, Ole!, Amy M. Shaw

Amy M. Shaw

Cv, Oscar E. Macchioni

Oscar Macchioni

Macau, Moon Chun Memorial College, University Of Macau., Oscar E. Macchioni

Oscar Macchioni

Realization Of Beethoven's Heroic Style In Performance.Docx, Nathaniel Lawson

Nathaniel Lawson

No abstract provided.

“And Those That Are Fools, Let Them Use Their Talents”: Looking At The Power Of Music In The Hands Of Shakespeare’S Wise Fools

Noelle Conder

How Students Information Literacy Skills Change Over Time: A Longitudinal Study, Veronica Wells

Veronica Wells

How do students’ information literacy skills change over the course of their undergraduate education? We assume or at least hope they will improve. But do they? And if so, by how much? At the University of the Pacific, we are using the SAILS (Standardized Assessment of Information Literacy Skills) Test to assess undergraduate students’ information literacy skills and to see how they have changed over time. The SAILS Test is a multiple-choice test that has been used by more than 200 universities across the world. According to their website, the SAILS Test can “determine how well your students can navigate …

Lessons In Diversity And Bias, Grace Haynes, Angela Pratesi, Veronica Wells

Veronica Wells

There is an urgent need for social justice. This need expands far beyond the walls of an information literacy classroom, but there is important work that can be done in these spaces. Lessons designed to stimulate student’s critical thinking about their personal assumptions and latent biases by using different kinds of information sources is one way music and instruction librarians can advance equity and inclusion through teaching. In this active-learning session, attendees will participate in several condensed lessons designed to challenge their worldview in order to facilitate the uncovering of unknown biases. At the same time, they will learn pedagogical …

Vieni Fra Queste Braccia From "The Thieving Magpie", Wendell B. Dobbs Dr., Júlio Ribeiro Alves

Júlio Ribeiro Alves

Gioachino Rossini’s (1792-1868) meteoric rise in the early 19^th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, …

Di Piacer Mi Balza Il Cor From "The Thieving Magpie", Wendell B. Dobbs Dr., Júlio Ribeiro Alves

Júlio Ribeiro Alves

Gioachino Rossini’s (1792-1868) meteoric rise in the early 19^th-century international opera scene is well known. Over the course of 19 years (1810-29) he composed the music for 39 operas that were produced across Europe and as far away as New York City (1825). As Rossini’s melodies became the common currency of musical life, they were featured in all manner of alternative settings such as these arrangements by two important artists from Parisian society, flutist Jean-Louis Tulou (1786-1865) and guitarist Ferdinando Carulli (1770-1841). Both the flute and the guitar enjoyed great popularity among amateur bourgeoisie and serious artists alike, …

Inductedd Utep Academy Of Distinguished Teachers, Oscar E. Macchioni

Oscar Macchioni

Commentary On "Timbre As An Elusive Component Of Imagery For Music" By Freya Bailes, Andrea Halpern

Andrea Halpern

The study of musical timbre by Bailes (2007) raises important questions concerning the relative ease of imaging complex perceptual attributes such as timbre, compared to more unidimensional attributes. I also raise the issue of individual differences in auditory imagery ability, especially for timbre.

Working Memory And Auditory Imagery Predict Sensorimotor Synchronisation With Expressively Timed Music, Ian D. Colley, Peter E. Keller, Andrea R. Halpern

Andrea Halpern

Sensorimotor synchronisation (SMS) is prevalent and readily studied in musical settings, as most people are able to perceive and synchronise with a beat (e.g., by finger tapping). We took an individual differences approach to understanding SMS to real music characterised by expressive timing (i.e., fluctuating beat regularity). Given the dynamic nature of SMS, we hypothesised that individual differences in working memory and auditory imagery—both fluid cognitive processes—would predict SMS at two levels: (1) mean absolute asynchrony (a measure of synchronisation error) and (2) anticipatory timing (i.e., predicting, rather than reacting to beat intervals). In Experiment 1, participants completed two working …

Who's That Knocking At My Door? Neural Bases Of Sound Source Identification, Guillaume Lemaitre, John A. Pyles, Andrea R. Halpern, Nicole Navolio, Matthew Lehet, Laurie M. Heller

Andrea Halpern

When hearing knocking on a door, a listener typically identifies both the action (forceful and repeated impacts) and the object (a thick wooden board) causing the sound. The current work studied the neural bases of sound source identification by switching listeners' attention toward these different aspects of a set of simple sounds during functional magnetic resonance imaging scanning: participants either discriminated the action or the material that caused the sounds, or they simply discriminated meaningless scrambled versions of them. Overall, discriminating action and material elicited neural activity in a left-lateralized frontoparietal network found in other studies of sound identification, wherein …

Score One For Jazz: Working Memory In Jazz And Classical Musicians, Bryan E. Nichols, Clemens Wöllner, Andrea R. Halpern

Andrea Halpern

Jazz musicians rely on different skills than do classical musicians for successful performances. We investigated the working memory span of classical and jazz student musicians on musical and nonmusical working memory tasks. College-aged musicians completed the Bucknell Auditory Imagery Scale, followed by verbal working memory tests and musical working memory tests that included visual and auditory presentation modes and written or played recall. Participants were asked to recall the last word (or pitch) from each task after a distraction task, by writing, speaking, or playing the pitch on the piano. Jazz musicians recalled more pitches that were presented in auditory …

Semantic Priming Of Familiar Songs, Sarah K. Johnson, Andrea R. Halpern

Andrea Halpern

We explored the functional organization of semantic memory for music by comparing priming across familiar songs both within modalities (Experiment 1, tune to tune; Experiment 3, category label to lyrics) and across modalities (Experiment 2, category label to tune; Experiment 4, tune to lyrics). Participants judged whether or not the target tune or lyrics were real (akin to lexical decision tasks). We found significant priming, analogous to linguistic associative-priming effects, in reaction times for related primes as compared to unrelated primes, but primarily for within-modality comparisons. Reaction times to tunes (e.g., "Silent Night") were faster following related tunes ("Deck the …

That Note Sounds Wrong! Age-Related Effects In Processing Of Musical Expectation, Andrea R. Halpern, Ioanna Zioga, Martin Shankleman, Job Lindsen, Marcus T. Pearce, Joydeep Bhattacharya

Andrea Halpern

Part of musical understanding and enjoyment stems from the ability to accurately predict what note (or one of a small set of notes) is likely to follow after hearing the first part of a melody. Selective violation of expectations can add to aesthetic response but radical or frequent violations are likely to be disliked or not comprehended. In this study we investigated whether a lifetime of exposure to music among untrained older adults would enhance their reaction to unexpected endings of unfamiliar melodies. Older and younger adults listened to melodies that had expected or unexpected ending notes, according to Western …

Recognition Of Familiar And Unfamiliar Melodies In Normal Aging And Alzheimers-Disease, James C. Bartlett, Andrea R. Halpern, W. Jay Dowling

Andrea Halpern

We tested normal young and elderly adults and elderly Alzheimer's disease (AD) patients on recognition memory for tunes. In Experiment 1, AD patients and age-matched controls received a study list and an old/new recognition test of highly familiar, traditional tunes, followed by a study list and test of novel tunes. The controls performed better than did the AD patients. The controls showed the ''mirror effect'' of increased hits and reduced false alarms for traditional versus novel tunes, whereas the patients false-alarmed as often to traditional tunes as to novel tunes. Experiment 2 compared young adults and healthy elderly persons using …

Pitch Imitation Ability In Mental Transformations Of Melodies, Emma B. Greenspon, Peter Q. Pfordresher, Andrea R. Halpern

Andrea Halpern

Previous research suggests that individuals with a vocal pitch imitation deficit (VPID, a.k.a. "poor-pitch singers") experience less vivid auditory images than accurate imitators (pfordresher & halpern, 2013), based on self-report. in the present research we sought to test this proposal directly by having accurate and VPID imitators produce or recognize short melodies based on their original form (untransformed), or after mentally transforming the auditory image of the melody. For the production task, group differences were largest during the untransformed imitation task. importantly, producing mental transformations of the auditory image degraded performance for all participants, but were relatively more disruptive to …

Perception Of Mode, Rhythm, And Contour In Unfamiliar Melodies: Effects Of Age And Experience, Andrea R. Halpern, James C. Bartlett, W. Jay Dowling

Andrea Halpern

We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is …

Perceived And Induced Emotion Responses To Popular Music: Categorical And Dimensional Models, Yading Song, Simon Dixon, Marcus T. Pearce, Andrea R. Halpern

Andrea Halpern

Music both conveys and evokes emotions, and although both phenomena are widely studied, the difference between them is often neglected. The purpose of this study is to examine the difference between perceived and induced emotion for western popular music using both categorical and dimensional models of emotion, and to examine the influence of individual listener differences on their emotion judgment. A total of 80 musical excerpts were randomly selected from an established dataset of 2,904 popular songs tagged with one of the four words "happy," "sad," "angry," or "relaxed" on the last.fm web site. Participants listened to the excerpts and …

Musical Expertise Has Minimal Impact On Dual Task Performance, Gianna Cocchini, Maria Serena Filardi, Marcela Crhonkova, Andrea R. Halpern

Andrea Halpern

Studies investigating effect of practice on dual task performance have yielded conflicting findings, thus supporting different theoretical accounts about the organisation of attentional resources when tasks are performed simultaneously. Because practice has been proven to reduce the demand of attention for the trained task, the impact of long-lasting training on one task is an ideal way to better understand the mechanisms underlying dual task decline in performance. Our study compared performance during dual task execution in expert musicians compared to controls with little if any musical experience. Participants performed a music recognition task and a visuo-spatial task separately (single task) …

Music, Andrea Halpern

Andrea Halpern

Neuroimaging has contributed greatly to our understanding of the sensory, motor, and cognitive systems involved in musical processing. Cortical loops connecting auditory with parietal, premotor, and prefrontal cortices are important for encoding pitch and temporal relationships from which music is built and for generating musical expectancies. These circuits are also important for holding information in working memory and for interfacing perceptual and motor representations. Musical imagery recruits auditory areas together with frontal and supplementary motor regions. Musical emotion emerges from the interaction of these systems with the reward circuit. All of these systems are modifiable functionally and structurally following training.

Perception Of Structure In Novel Music, Andrea R. Halpern

Andrea Halpern

Two experiments demonstrated the way in which musicians and nonmusicians process realistic music encountered for the first time. A set of tunes whose members were related to each other by a number of specific musical relationships was constructed. In experiment I, subjects gave similarity judgments of all pairs of tunes, which were analyzed by the ADD-TREE clustering program. Musicians and nonmusicians gave essentially equivalent results: Tunes with different rhythms were rated as being very dissimilar, whereas tunes identical except for being in a major versus a minor mode were rated as being highly similar. In Experiment 2, subjects learned to …

Mental Concerts: Musical Imagery And Auditory Cortex, Robert J. Zatorre, Andrea R. Halpern

Andrea Halpern

Most people intuitively understand what it means to “hear a tune in your head.” Converging evidence now indicates that auditory cortical areas can be recruited even in the absence of sound and that this corresponds to the phenomenological experience of imagining music. We discuss these findings as well as some methodological challenges. We also consider the role of core versus belt areas in musical imagery, the relation between auditory and motor systems during imagery of music performance, and practical implications of this research.

Mental Scanning In Auditory Imagery For Songs, Andrea R. Halpern

Andrea Halpern

Four experiments examined how people operate on memory representations of familiar songs. The tasks were similar to those used in studies of visual imagery. In one task, subjects saw a one-word lyric from a song and then saw a second lyric; then they had to say if the second lyric was from the same song as the first. In a second task, subjects mentally compared pitches of notes corresponding to song lyrics. In both tasks, reaction time increased as a function of the distance in beats between the two lyrics in the actual song, and in some conditions reaction time …

Memory Biases In Left Versus Right Implied Motion, Andrea R. Halpern, Michael H. Kelly

Andrea Halpern

People remember moving objects as having moved farther along in their path of motion than is actually the case; this is known as representational momentum (RM). Some authors have argued that RM is an internalization of environmental properties such as physical momentum and gravity. Five experiments demonstrated that a similar memory bias could not have been learned from the environment. For right-handed Ss, objects apparently moving to the right engendered a larger memory bias in the direction of motion than did those moving to the left. This effect, clearly not derived from real-world lateral asymmetries, was relatively insensitive to changes …

Levels-Of-Processing Effects On "Remember" Responses In Recognition For Familiar And Unfamiliar Tunes, Esra Mungan, Zehra F. Peynircioğlu, Andrea R. Halpern

Andrea Halpern

We investigated the effect of level-of-processing manipulations on "remember" and "know" responses in episodic melody recognition (Experiments 1 and 2) and how this effect is modulated by item familiarity (Experiment 2). In Experiment 1, participants performed 2 conceptual and 2 perceptual orienting tasks while listening to familiar melodies: judging the mood, continuing the tune, tracing the pitch contour, and counting long notes. The conceptual mood task led to higher d' rates for "remember" but not "know" responses. In Experiment 2, participants either judged the mood or counted long notes of tunes with high and low familiarity. A level-of-processing effect emerged …