Results 11 to 20 of about 24,453 (205)
The bidirectional role of music effect in epilepsy: Friend or foe? [PDF]
Abstract Epilepsy is a prevalent neurological disease that impacts around 70 million individuals globally. Anti‐seizure medications (ASMs) are the first choice for clinicians to control unprovoked epileptic seizures. Although more than 30 ASMs are available in the market, patients with epilepsy (PWEs) still show poor responses to adequate drug ...
Gao S, Gong Y, Xu C, Chen Z.
europepmc +2 more sources
Cortical and behavioral tracking of rhythm in music: Effects of pitch predictability, enjoyment, and expertise. [PDF]
This study compares rhythm processing under two conditions—high pitch predictability (tonal music) and low pitch predictability (atonal music)—while keeping the temporal information of the stimuli constant. More predictable pitch is associated with better behavioral rhythm tracking (finger‐tapping) and decreased cortical rhythm tracking, potentially ...
Keitel A +8 more
europepmc +2 more sources
Audio-visual concert performances synchronize audience's heart rates. [PDF]
People enjoy engaging with music. In the current study, we assessed engagement in a live concert setting using synchrony of cardiorespiratory measures. As engagement might be enhanced in a concert setting by seeing musicians perform, we presented audiences with audio‐only and audio‐visual piano performances.
Czepiel AM +5 more
europepmc +2 more sources
In order to solve the problem of integrating intelligent technology into music teaching, this paper puts forward the methods of using intelligent technology to optimize the music teaching system; to enhance the effectiveness of music psychological guidance, music intelligent creation, the development of Yi Guzheng platform, the integration of online ...
Xiang Y.
europepmc +2 more sources
What Is Haydn Doing in a John Field Nocturne?
ABSTRACT The middle section of John Field's Nocturne No. 13 in D minor, published in 1834, towards the end of the composer's life, begins with what appears to be a quotation from the start of the finale of Haydn's Quartet in E♭ major Op. 76 No. 6. Apart from the transposition of Haydn's theme to D major and the use of a different medium, the respective
W. DEAN SUTCLIFFE
wiley +1 more source
Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)1
Abstract The posthumously published correspondence of the Black British writer, butler, musician, and shopkeeper Ignatius Sancho (c. 1729–1780) has received extensive critical attention in recent decades, especially because it contributed to opening a space for Black authorship in the Atlantic world.
Rebecca Cypess
wiley +1 more source
ABSTRACT The Formenlehre (theory of the musical form), inaugurated by Adolf Bernhard Marx after Beethoven's death and witnessed by several treatises at the end of the nineteenth and the beginning of the twentieth centuries, has left traces in the writings and works of Béla Bartók, Alban Berg, Paul Hindemith, Arnold Schoenberg and Anton Webern.
Gianmario Borio
wiley +1 more source
Music‐based interventions for community‐dwelling people with dementia: A systematic review
Abstract The majority of people with dementia (PwD) live in the community. Compared to institutionalised PwD, their access to formalised music therapy is limited. Initial works suggest that non‐therapist‐led music‐based interventions (MBIs) may be an accessible and effective alternative.
Lena M. Hofbauer +2 more
wiley +1 more source
Self‐Psychological Control and Creativity of Music Creation in Multimusic Environment
This study aimed to solve the difficulties in the research of self‐psychology, three executive controls, and creativity in multimusic environment. In today’s teaching and performance, the study of piano adaptation has practical significance in broadening artistic vision, improving performance technology, and training symphonic music thinking.
Caihong Xu, Ping Gao
wiley +1 more source
Large‐Scale Structure, Performance and Brahms's Op. 119 No. 2
ABSTRACT Research in musical performance studies has generated a healthy scepticism of the importance of large‐scale structure to performance (in terms of both interpretation and perception): on the one hand, it might well be hardwired into notation; on the other, prioritising it risks simply repeating outworn maxims that neglect the performer's ...
Adam Behan
wiley +1 more source

