Communicating Through Music - Music for All

The current data confirm that MIV and nPVI are associated with emotional communication in music and speech, but the extent to which these attributes are actually used by listeners for decoding has yet to be determined. Evidence does suggest that listeners are able to perceive differences in nPVI (Hannon, ) and unpublished work in our lab suggests that participants can differentiate levels of MIV. However, the extent to which these attributes aid listeners in decoding emotion is uncertain.

Communicating Through Music Thursday, ..

Inspire Creativity & Sustainability » communicating with music crop

and cultural emotion communication in music | Music Psychology

1: : How do people communicate using music?
2: : Music and meaning, ambiguity and evolution
3: : Music and conversation
Cognition, Representation and Communication
4: : Musical cognition: defining constraints on musical communication
5: : From mimesis to catharsis: expression, perception and induction of emotion in music
6: : Representation, cognition and musical communication: invented notation in children's musical communication
7: : How the conventions of music notation shape musical perception and performance
Embodied Communication
8: : Rhythm, human temporality and brain function
9: : Musical companionship, musical community: music therapy and the process and value of musical communication
10: : Bodily communication in musical performance
11: : Singing as communication
Communication in Learning and Education
12: : Musical communication and chnildren's communities of musical practice
13: : Musical communication between adults and young children
14: : Pedagogical communication in the music classroom
Cultural Contexts of Communication
15: : Talking about music: a vehicle for identity development
16: : Hippies vs hip-hop heads: an exploration of music's ability to communicate an alternative political agenda from the perspective of two divergent musical genres
17: : Communication in Indian raga performance
18: : The role of music communication in cinema
19: : Musical communication in commercial contexts

The Importance of Communication in Music

Participants in Nordoff-Robbins music therapy between the age of 2 and 12 diagnosed with autism spectrum disorder will receive 30-minute sessions of individual music therapy weekly over the course of a 9-month clinical year. The Vineland-II is administered to children’s parents or guardians upon intake and upon completion of the clinical year. In keeping with standard Nordoff-Robbins clinical practice, all therapy sessions will be video recorded, with the written consent of children’s parents or guardians. Selected therapy sessions from different points in the course of therapy (i.e., upon intake, at the mid-point of the clinical year, and toward the end of the clinical year) are rated with respect to children’s social reciprocity, mirroring, and emotional attunement, using an observation instrument adapted from the Individualized Music Therapy Assessment Profile (IMTAP) and the Music Therapy Communication and Social Interaction scale (MTCSI). Observable behaviors rated in music therapy sessions may involve, for example, the matching of dynamics, tempo, or timbre; responsive imitation of rhythmic patterns or melodic phrases; or mirroring of movements, gestures, and affect. Extent of improvement on the Communication and Socialization domains of the Vineland will be assessed using within groups repeated measures analysis of variance. In addition, we are examining whether changes on the Vineland are correlated with changes observed in children’s communicative interaction within music therapy sessions over time.

Music and communication in music psychology - Psychology of Music
emotional communication in music performance (see also Jus- lin, in press-b)

Synchronization and Communication in Music Ensembles - OFAI

Juslin, P. N. (1998). How to improve emotional communication in music performance. In S. W. Yi (Ed.), Proceedings of the Fifth International Conference on Music Perception and Cognition (pp. 387-392). Seoul, Korea: Seoul National University.

César López and the Escopetarra: The Power of Communication in Music-based

The Lens Model In Researches Of Emotional Communication In Music

Juslin, P. N. (1997). Emotional communication in music performance: A functionalist perspective and some data. Music Perception, 14, 383-418.

Emotional communication in music performance: a functionalist perspective and some data

Eliciting Communication in Music Therapy with Nonverbal Clients

One of my major concerns (as composer and performer) is how composers and musicians deal with the subject “dramaturgy of music” in general. In recent years, I have been trying to categorise and systematise the concept of music dramaturgy in a general sense, independently of considerations attendant to any particular kind of music. I am particularly interested in the area of perception emotions occur (see Section 3 for a proposed complete chart of the entire communication chain for music dramaturgy). A substantial number of publications have been written about the relationship between music perception and emotions (and many of them unfortunately focus only on western music from roughly around 1400-1900, regarding the the musical parameter as the main object of measurement for emotions, leaving most of the other parameters aside). From the point of view of music’s dramaturgy in general (the discussion is therefore not limited to the type of music dealt with in this article), I am interested in a more comprehensive analysis, which would include the perception of all types of music, regardless of genre, age, etc., and furthermore considering all or at least most of music’s parameters in a quite equal manner. Electroacoustic music, as defined at the EARS website, a genre for which technology is part of its very essence, remains quite relegated when it comes to analyses of how it can be perceived (and how it is perceived), despite some substantial research done in the area in recent years like The Intention/Reception Project by Weale and Landy.