lullabies from various regions of Iran. Furthermore, word painting techniques and the improvisatory style of the lulla- bies, which are based on cultural and regional aspects. Te dramatic uses of the lullabies are also highlighted.
Phillip Sylvester (Wayne State University) Te Develop- ing Pedagogy Of Music Composition In Te Classroom: A Literature Review
Te art of composing music has been shiſting from tradi- tional paper and pencil to using technology-based methods, which can facilitate the introduction of composition skills in music classrooms without knowledge of music theo- ry and harmony allowing students to “think with sound” from a young age. In a perfect situation, students should be introduced to composing with Graphic Based Automated Composition Soſtware between the ages 7-11. Tis literature review examines how music composition pedagogy has been supported by the advancement of music technology. Graphic Based Automated Music Composition Soſtware (GBAMCS) can aid in the creative composition process by supplementing unlearned musical knowledge. For example; students can compose rhythms while the soſtware supple- ments the knowledge of harmony, pitch, and other aspects of the music. Students are introduced to each of these as- pects of music one at a time in stages. Ten students should begin composing in a Digital Audio Workstation (DAWs) where they will combine the fundamental aspects of music while composing. DAWs also allow cultural relevance of a lot of pop, rock and electronic based music to be included in the music classroom. Composing in a DAW will prepare students for composing with standard notation, which is primarily used to translate the music for musicians to perform live. Importantly, these types of technologies give students the ability to compose creatively prior to learning music theory. In conclusion, music soſtware allows students to be creative with music and “think with sound” sooner, al- lowing their education in composition to begin at the most effective age.
Shannon Taylor (Central Michigan University) Preventing Music Performance Anxiety In Children
Te purpose of this paper is to outline how music teach- ers should guide their students through the performance process in an effort to divert the development of Music Performance Anxiety early on in their students’ careers. Te three strategies teachers can use to prevent the development of MPA include being sensitive to students who may have a susceptibility to developing MPA; promoting a healthy per- ception of performance; and using tools such as improvisa- tion, music theory, relaxation techniques, cognitive therapy, and open discussion with students about MPA. Music Performance Anxiety is a type of social phobia and has been
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linked to other psychological disorders like neuroticism and depression. It has been shown to affect classical musicians more frequently and with higher intensity than musicians of other genres. Traditionally, treatment for MPA has been directed towards older musicians who have already experi- enced adverse effects of MPA on performance quality and psychological health. Because MPA is a widespread problem among musicians, from as young as third grade to the pro- fessional level, music teachers should take preemptive steps early on in their students’ training to decrease the likelihood that their students will develop MPA at any point in their career.
Leven Zuelke (Central Michigan University) Composers Can Evoke Specific Psychophysiological And Psychological Reactions In Listeners
Te purpose of this literature review is to identify poten- tial guidelines for composers to write music that evoke purposeful, specific psychological and psychophysio- logical responses in listeners. Literature from the Early Music Revival movement identifies a widening gap in the nineteenth and twentieth centuries between perceived art music and perceived popular music. Tis has split musical audiences, making it difficult for composers to write music that is meaningful to a wider audience. Research of psycho- physiological reactions suggests potential musical affects specific to chills, goosebumps, cold shivers, and galvanic skin response. Chills and goosebumps are typically caused by positive emotions that are cognitively complex, such as awe and surprise. Cold shivers are caused by negative emotions related to avoidance, such as sadness, disgust, and fear. Galvanic skin response is caused by sounds that are perceived as unpleasant, such as fingernails scratching a chalkboard or a baby crying. Specific musical moods can be achieved through the manipulation of tempo, mode, pitch, harmony, rhythm, and melody to affect these specific re- sponses. Evidence is clear how a happy mood can be evoked by fast tempo, major modes, high pitches, flowing rhythms, and simple and consonant harmonies, and sad mood can be evoked by slow tempo, minor or indefinite modes, low pitches, and complex and dissonant harmonies. Emotional responses can be strengthened when the listener is familiar with the music, and further strengthened when the listener is exposed to non-musical stimuli, such as poems, lyrics, or pictures, when the stimuli’s mood matches that of the mu- sic. Based on a synthesis of research of affective response, concluding suggestions are provided on how composers can write music that evokes specific reactions in a listener. Po- tentially, by incorporating these elements into their music, composers may be able to write music that is more mean- ingful to a more listeners.
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