Sleep loss is a widespread problem with serious physical and economic consequences. Music can impact upon physical, psychological and emotional states, which may explain anecdotal reports of its ...success as an everyday sleep aid. However, there is a lack of systematic data on how widely it is used, why people opt for music as a sleep aid, or what music works; hence the underlying drivers to music-sleep effects remain unclear. We investigated music as a sleep aid within the general public via a mixed methods data online survey (n = 651) that scored musicality, sleep habits, and open text responses on what music helps sleep and why. In total, 62% of respondents stated that they used music to help them sleep. They reported fourteen musical genres comprising 545 artists. Linear modelling found stress, age, and music use as significant predictors of sleep quality (PSQI) scores. Regression tree modelling revealed that younger people with higher musical engagement were significantly more likely to use music to aid sleep. Thematic analysis of the open text responses generated four themes that described why people believe music helps sleep: music offers unique properties that stimulate sleep (Provide), music is part of a normal sleep routine (Habit), music induces a physical or mental state conducive to sleep (State), and music blocks an internal or external stimulus that would otherwise disrupt sleep (Distract). This survey provides new evidence into the relationship between music and sleep in a population that ranged widely in age, musicality, sleep habits and stress levels. In particular, the results highlight the varied pathways of effect between music and sleep. Diversity was observed both in music choices, which reflected idiosyncratic preferences rather than any consistent musical structure, and in the reasons why music supports good sleep, which went far beyond simple physical/mental relaxation.
EarTaxi Festival, Chicago Holloway-Nahum, Aaron
Tempo (London),
04/2017, Volume:
71, Issue:
280
Journal Article
Peer reviewed
I so wanted to write something about how extraordinary, how diverse, how friendly, the New Music community in Chicago and environs is. About how righteous Augusta Read Thomas's decision was to focus ...on this remarkably expansive midwestern meta-alt-community. About how good the music is, and will be, and the performers and their performances. About the unique pleasure of unanticipated audition. But it is now mid-July, and the old Brecht line about ‘these times’ coils my mind like a childish superstition: ‘A conversation about trees is almost a crime’.
Seth Brodsky, EarTaxi Programme Book
This review of the EarTaxi Festival, a beautiful, vibrant, kaleidoscope of events that celebrated New Music from every corner of Chicago in six days in October 2016, was written on 10 November 2016. There were 32 events featuring more than 350 Chicago musicians performing music by 88 Chicago composers. The festival gave 54 World Premieres, and included five sound installations, a colloquium from George Lewis, numerous panel discussions and countless drinks and meals with friends old and new throughout the week. But at the moment of writing, as I was casting my mind back over the concerts, many of the same musicians and composers were outside Trump Tower in Chicago, protesting the election of a man elected on a platform that demonised, belittled and threatened the very idea of a community and festival built on diversity, the global-nature of music-making and inclusion.
In this article I focus on the genre of ‘vaporwave’, using the artist 18 Carat Affair as a case study, to explore the way the genre works as a project that produces, and takes pleasure in, a kind of ...‘memory play’. As a genre, vaporwave is a style of music collaged together from a wide variety of largely background musics such as muzak®, 1980s elevator music and new age ambience. Vaporwave's ‘memory play’ is a project that takes remembering as its audio-visual aesthetic. The pleasure of vaporwave is therefore understood as a pleasure of remembering for the sake of the act of remembering itself. To explore this theme, I examine vaporwave's memory play using the terms of Chris Healy's ‘compensatory nostalgia’, as well as the idea of ‘ersatz nostalgia’ as discussed by Arjun Appadurai and Svetlana Boym.
The present investigation analyses the studies of music intervention carried out by nurse researchers, or a research group including nurses, making use of a systematic mapping method to determine the ...trends in this field.
In this study, based on a systematic mapping method, 68 out of the 809 studies published between 2013 and 2017, were evaluated.
In 87.7% of the studies, Receptive Music Therapy was used while new age music was listened to in 23.9% of the studies. Music intervention was found to be effective in relieving anxiety and pain in 54% and 34.1% of the 44 studies examining the efficacy of receptive music therapy, respectively.
This study reveals that nurses use music intervention in all areas of health care services, and that the variables for which the effect of musical intervention is examined are mostly anxiety, vital signs and pain.
•It is very important to conduct studies to examine the effects of music intervention.•Music intervention may be included in nursing interventions; and these treatments may aid in the patient-oriented approach of nurses.•Music intervention provides improve of health of patients, the quality of symptom management, the level of nursing care and the reduction of costs at these areas.
Between 2013 and 2015, the ensemble yMusic collaborated with graduate student composers in a residency at Duke University. This article positions the residency as a result of me transformation of the ...university and the new-music ensemble from a technocratic Cold War paradigm to their contemporary status under the market- and branding-oriented logics of neoliberalism. The works written for yMusic by the Duke composers were deeply informed by the ensemble's musical brand, including its idiosyncratic instrumentation, preexisting repertory, collaborative ethos, and relationship to popular music. In accounting for the impact of these institutional developments on the production of musical works, this article argues that the economic and ideological practices of neoliberalism have discernible aesthietic consequences for American new music. Given the key role of the ensemble and the university in the contemporary music landscape, the issues raised by my ethnographic and historical analysis have significant implications for new music in the twenty-first century, and for the way composers work in the United States and beyond.
This article examines the electronic musician Daniel Lopatin's experimental audiovisual work Memory Vague (2009), in which the artist compiles and manipulates "dead" media in the form of looping ...audio tracks and forgotten visual artifacts. In repurposing and redistributing lost media, Lopatin's work engages with the archival methods of the field of media archeology, Derrida's concept of hauntology, and the concerns of the internet subculture Vaporwave. Lopatin validates dead media beyond its economic commodity value, thus providing an alternative to the streaming era's inherent drive toward corporate profit.
The Garland Band: Sandstorm Jáger Kinga - music; Honyecz Ferenc - music; Sandra Szőke - lyrics
04/2017
Video Recording
Provider: - Institution: - Data provided by Europeana Collections- Album: The Garland Band – My infinity- Album: The Garland Band – My infinity- All metadata published by Europeana are available free ...of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Seven excerpts of modern jazz piano improvisations were selected to represent a range of perceived complexities. Audio recordings of the excerpts were played for 27 listeners who were asked to ...indicate their level of enjoyment on 7-point scales. Indications of enjoyment followed an inverted-U when plotted against perceived complexity of the music. Overall enjoyment was less for nonmusician listeners than for musician listeners. The inverted-U function was similar to the relations predicted by Wundt, over 100 years ago, and obtained by other investigators for responses to classical piano music and nonvocal New Age music. Assuming that perceived complexity generates comparable arousal levels, these findings substantiate optimal level of stimulation theory.
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