Introduction: Depression can be a serious problem in young adult students. There is a need to implement and monitor prevention interventions for these students. Emotion-regulating improvisational music therapy (EIMT) was developed to prevent depression. The purpose of this study was to evaluate the feasibility of EIMT for use in practice for young adult students with depressive symptoms in a university context. Method: A process evaluation was conducted embedded in a larger research project. Eleven students, three music therapists and five referrers were interviewed. The music therapists also completed evaluation forms. Data were collected concerning client attendance, treatment integrity, musical components used to synchronise, and experiences with EIMT and referral. Results: Client attendance (90%) and treatment integrity were evaluated to be sufficient (therapist adherence 83%; competence 84%). The music therapists used mostly rhythm to synchronise (38 of 99 times). The students and music therapists reported that EIMT and its elements evoked changes in all emotion regulation components. The students reported that synchronisation elicited meaningful experiences of expressing joy, feeling heard, feeling joy and bodily responses of relaxation. The music therapists found the manual useful for applying EIMT. The student counsellors experienced EIMT as an appropriate way to support students due to its preventive character. Discussion: EIMT appears to be a feasible means of evoking changes in emotion regulation components in young adult students with depressive symptoms in a university context. More studies are needed to create a more nuanced and evidence-based understanding of the feasibility of EIMT, processes of change and treatment integrity.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Musicians often play under circumstances in which pressure may lead to anxiety and performance deterioration. Theories suggest that a drop in performance is due to a shift in focus of attention towards task-irrelevant information. In this study, we asked music students to report what they think and where they focus attention in three situations: when they play under pressure (Study 1; n = 81), the moment just before choking under pressure and when they try to recover after a mistake (Study 2; n = 25). Focus of attention was examined using retrospective verbal reports and point-spread distributions. Besides a notable focus on music-related information (36.9%), music students reported a considerable number of worries and disturbing thoughts (26.1%) during playing under pressure (Study 1). Just before choking, they showed even more worries and disturbing thoughts (46.4%) at the cost of music-related focus (21.1%) (Study 2), as also confirmed by the point-spread distributions. During recovery after a mistake, attention was mainly focused on music-related information (53.0%) and less on thoughts that give confidence (18.5%) and physical aspects (16.6%). It is advisable to help music students with improving their performance, for example, by attentional control training or providing training with elevated levels of anxiety.
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In this study we explore the potential benefits of a design thinking approach for improving the health of the music industry. We discuss the usefulness of the lab method in facilitating collaborations between education, research, and the professional field. This study highlights the importance of innovation and experimentation in the industry, and notes that students are well-positioned to provide fresh perspectives on business processes. According to one industry partner, creativity of this kind represents the future of the music industry.
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We found out that 25 % of our students came to study at the Electrical & Electronic Engineering department (E&E) because they were active (as a hobby) in music. Because of this the E&E department offers their students to work in video and audio themes in all projects of their education. From our inquiries we found out what students interests are and we use these interests for new project themes. The study has been changed in such a way that it is possible to have these project themes twice in every semester. Amongst them are, besides music, e.g. medical, sports, automotive and mechatronics. Other inquiries show that 47 % of our students choose for ICT because they are interested in computers or programming or do this for their hobby. Inspired by this the ICT department defined four new fields of interest: game design, management & security, mobile computing and life style. Both E&E and ICT connect the projects in their courses directly to industry and in this way students and lecturers are intensively involved in industry. From two surveys we learned that working this way is an excellent way to get students motivated and gives them drive and enjoyment in their study.
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In this paper the first phase of a descriptive research project on musical preferences and music listening habits of first year’s conservatoire students is presented. The paper presents the background of the research project, the construction of a survey and the first results of this survey, which indicate that musical preferences and music listening habits of first year’s conservatoire students are highly varied. Possible refinements for the survey are discussed.The paper ends with first notions on how to not only use the findings for descriptive ends but also put them in the broader perspective of more general research on musical preferences.
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Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
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EuroSonic NoorderSlag (ESNS) actively engages with around 130 festivals across Europe as part of the ESNS Exchange program. As a leading partner in this initiative, ESNS aims to transition into a fully sustainable festival in the coming years. It recognizes its role in spearheading the sustainability aspect of the ESNS Exchange and the industry at large. However, the current lack of information regarding the industry's sustainability practices poses a challenge, leaving ESNS uncertain about the necessary steps to improve the market as a whole. The NHL Stenden Professorship Transformational Media, ESNS and the minor Music Management are collaborating on a joint project to address this issue. The project aims to assess the current state of sustainable practices in European Music Festivals and analyse how these festivals communicate their initiatives. Additionally, students in the Music minor program will create and test a prototype to encourage festivals to communicate about their sustainability activities.
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Proceedings of the IASPM Benelux conference. Popular Music: Theory and Practice in the Lowlands.
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