This thesis contextualises the portfolio of relevant works that Than van Nispen created during the period of his Master of Music studies from 2014 to 2016.The projects described involve interactive live instrumental music, which is the subject of the thesis, and the interactive music is mainly based on video-game music methods. The projects that do not have an interactive system for the music at least have a set of rules for play and interaction for, or with the music.A focus of this Master of Music studies is the exploration of solutions for interactive music, based on game music methods, with the use of traditional music notation.
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What kinds of live music are available to the citizens of the cities of Groningen and Utrecht? That is the main question in two research projects, of which the databases have been made accessible in the Dataverse City Musicscapes (Lelieveldt & Bisschop Boele, 2018). At first sight databases of statistical research offices provide researchers with clear data about the number of venues and concerts and the participation of audiences (Gemeente Utrecht 2017, Van den Broek 2014). When looking closer we find that in these statistics only the regular (and mainly publicly funded) music venues are included. The authors’ projects show that a substantial part (53–60%) of live music concerts take place on non-regular locations, such as cafés, restaurants, clubs, churches, shopping malls and in open air. They developed a research tool to be able to draw a map of the musical landscape of a city (Musicscape). In this article we will reflect on the goals, research methods, datasets and some results from analysing our datasets. We hope this contributes to the discussion with scholars, music producers and policy makers about the added value of the concept of Musicscapes for the understanding of cultural participation, music performing practices and cultural policies.
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This book has been written for musicians who want to engage with audiences beyond the concert hall and other traditional venues. The study is equally worthwhile for conservatoires and music academies aiming to change the increasingly unrealistic goal of training young musicians solely for the stage. When taking the changing music profession and its market opportunities seriously, higher music education institutions can become aware of creative opportunities for establishing professional music practices in areas in society that are remote from concert halls and big festivals, from public media and stardom, and instead look for settings which reach out to various kinds of audiences. This does not mean, of course, that the results presented here wish to diminish the wonderful gift of being an accomplished soloist or chamber musician, but they would like to show that the role of music can be exhaustive, where artistic connection can bring about strong communication between people. Music can make a difference and be deeply influential, especially in social fields of illness and suffering, weakness and depression. ‘Music and dementia’ is the challenging topic of this book. It is not about educational suggestions to care staff to sing well-known children's songs in care homes for residents with dementia, just to lift the mood. Through engaging in music as a participatory process, its goal is to make the person behind the dementia visible again. The project presented in this study not only shows that this idea can be realised for people with dementia and their caregivers, but it has also opened up learning processes for the musicians involved which nobody would have expected before, nurturing their professional lives and development. The project has changed their understanding of the place of music in people’s lives; it has touched their personality and stimulated deep reflections about their identity. This positive effect should benefit young musicians in their music education. However, musicians are not the only target group. The discoveries of the study are also helpful and inspiring for caregivers of people with dementia and for families of a loved one living with dementia. The book explores the interaction between music and dementia through the stories of people who have been working closely together: three musicians, eight women living with dementia, five caregivers, a staff development practitioner, a project coordinator and three scientific observers. The result is a book in which all of them have participated in their own way. It consists of field observations, reflective journals, conversations, interviews and careful scientific analyses. If it can be read by many people at a profit, the project has worked. There will be, in the words of Clifford Geertz, a 'thick description' of a new friendship between music and dementia, a story about a fascinating practice that will stimulate and bolster committed people.
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Book on the project 'Musicscape Groningen - Live!' which shows the variety of public music performances in the city of Groningen and the municipality of Appingedam in a two week period in 2010.
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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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A musical improvisation inspired by a beautifulsummer day or by a song by Elvis; for patientsadmitted in hospital for an operation, music canhave healing powers. With the research projectMeaningful Music in Health Care (MiMiC), thattook place from autumn 2015 until 2018, the researchgroup Lifelong Learning in Music (LLM), togetherwith the department of surgery of the UniversityMedical Center Groningen (UMCG), researched thepractice of live music for hospital patients and theirhealth care professionals. For the research groupLifelong Learning in Music the focus of the researchwas on the meaning of this musical practice formusicians and health care professionals, and onthe development of this practice.The research of UMCG concentrated on the effectsof live music on the recovery and wellbeing of patients
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Introduction to a special issue of the IASPM journal. This special issue on fan studies aims to build a bridge with the study of popular music in order to inspire further investigation of music fandom.
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AI tools increasingly shape how we discover, make and experience music. While these tools can have the potential to empower creativity, they may fundamentally redefine relationships between stakeholders, to the benefit of some and the detriment of others. In this position paper, we argue that these tools will fundamentally reshape our music culture, with profound effects (for better and for worse) on creators, consumers and the commercial enterprises that often connect them. By paying careful attention to emerging Music AI technologies and developments in other creative domains and understanding the implications, people working in this space could decrease the possible negative impacts on the practice, consumption and meaning of music. Given that many of these technologies are already available, there is some urgency in conducting analyses of these technologies now. It is important that people developing and working with these tools address these issues now to help guide their evolution to be equitable and empower creativity. We identify some potential risks and opportunities associated with existing and forthcoming AI tools for music, though more work is needed to identify concrete actions which leverage the opportunities while mitigating risks.
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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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