Fine Arts and Music Collected Works - Research Publications
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ItemExploring the Self through Songwriting: An Analysis of Songs Composed by People with Acquired Neurodisability in an Inpatient Rehabilitation Program(Oxford University Press, 2017-03-01)Background: Neurological trauma is associated with significant damage to people’s pre-injury self-concept. Therapeutic songwriting has been linked with changes in self-concept and improved psychological well-being. Objective: This study analyzed the lyrics of songs composed by inpatients with neurological injuries who participated in a targeted songwriting program. The aim of this study was to understand which of the subdomains of the self-concept were the most frequently expressed in songs. Methods: An independent, deductive content analysis of 36 songs composed by 12 adults with spinal cord injury or brain injury (11 males, mean age 41 years +/– 13) were undertaken by authors 1 and 2. Results: Deductive analysis indicated that when writing about the past self, people created songs that reflected a strong focus on family and descriptions of their personality. In contrast, there is a clear preoccupation with the physical self, on the personal self, and a tendency for spiritual and moral reflections to emerge during the active phase of rehabilitation (song about the present self). Statistical analyses confirmed a significant self-concept subdomain by song interaction, F(10, 110) = 5.98, p < .001, ηp2 = .35), which was primarily due to an increased focus on physical self-concept and a reduced focus on family self-concept in the present song, more than in either past or future songs. Conclusions: The analysis process confirmed that songwriting is a vehicle that allows for exploration of self-concept in individuals with neurological impairments. Songwriting may serve as a therapeutic tool to target the most prevalent areas of self-concept challenges for clients undergoing inpatient neurological rehabilitation programs.
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ItemNo Preview AvailableA therapeutic songwriting intervention to promote reconstruction of self-concept and enhance well-being following brain or spinal cord injury: pilot randomized controlled trial(SAGE PUBLICATIONS LTD, 2019-06)OBJECTIVE: To determine the size of the effects and feasibility (recruitment and retention rates) of a therapeutic songwriting protocol for in-patients and community-dwelling people with acquired brain injury or spinal cord injury. DESIGN: Randomized controlled trial with songwriting intervention and care-as-usual control groups, in a mixed measures design assessed at three time points. PARTICIPANTS: A total of 47 participants (3 in-patients with acquired brain injury, 20 community participants with acquired brain injury, 12 in-patients with spinal cord injury, and 12 community participants with spinal cord injury: 23 1208 days post injury). INTERVENTIONS: The intervention group received a 12-session identity-targeted songwriting programme, where participants created three songs reflecting on perceptions of past, present, and future self. Control participants received care as usual. MEASURES: Baseline, postintervention, and follow-up measures comprised the Head Injury Semantic Differential Scale (primary outcome measure), Patient Health Questionnaire-9, Emotion Regulation Questionnaire, and Satisfaction with Life Scale. RESULTS: No significant between group pre-post intervention differences were found on the primary self-concept measure, the Head Injury Semantic Differential Scale ( p = 0.38, d = 0.44). Significant and large effect sizes from baseline to post between groups in favour of the songwriting group for Satisfaction with Life ( p = 0.04, n2 p = 0.14). There were no significant between group pre-post interaction effects for the Emotion Regulation Suppression subscale ( p = 0.12, n2 p = -0.08) although scores decreased in the songwriting group over time while increasing for the standard care group. There were no significant differences in baseline to follow-up between groups in any other outcome measures. Recruitment was challenging due to the small number of people eligible to participate combined with poor uptake by eligible participants, particularly the in-patient group. Retention rates were higher for the community-dwelling cohorts. CONCLUSION: This study demonstrates the challenges in recruitment and retention of participants invited to participate in a music therapy study. Findings suggest this identity-focused therapeutic songwriting protocols may be more beneficial for people who have transitioned from in-patient to community-contexts given the greater proportion of participants who consent and complete the intervention. Preliminary effects in favour of the intervention group were detected in a range of well-being measures suggesting that a larger study is warranted.
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ItemRevisioning Australia’s War Art: Four Painters as Citizens of the ‘Global South’(MDPI AG, 2018)This essay discusses the recent artistic depictions of contemporary war by four artist-academics based in Australia. The families of all four have served in some of the twentieth century’s major conflicts and, more recently, each has been commissioned in Australia or the UK to serve as war artists. Collaboratively and individually they produce artwork (placed in national collections) and then, as academics, have come to reflect deeply on the heritage of conflict and war by interrogating contemporary art’s representations of war, conflict and terror. This essay reflects on their collaborations and suggests how Australia’s war-aware, even war-like heritage, might now be re-interpreted not simply as a struggle to safeguard our shores, but as part of a complex, deeply connected global discourse where painters must re-cast themselves as citizens of the ‘global South’.
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ItemAction and familiarity effects on self and other expert musicians' Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach(FRONTIERS MEDIA SA, 2014-10-29)Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians' expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers' effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians' perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis - proposing that intentions manifest in bodily activity are understood through shared embodied processes - of a marimbists' expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer's expressive bodily behaviors appeared to differ according to participants' individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants' attention in approaching the analyses. Findings support forward and inverse perception-action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.
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ItemThe Role of Trait and State Absorption in the Enjoyment of Music(PUBLIC LIBRARY SCIENCE, 2016-11-09)Little is known about the role of state versus trait characteristics on our enjoyment of music. The aim of this study was to investigate the influence of state and trait absorption upon preference for music, particularly preference for music that evokes negative emotions. The sample consisted of 128 participants who were asked to listen to two pieces of self-selected music and rate the music on variables including preference and felt and expressed emotions. Participants completed a brief measure of state absorption after listening to each piece, and a trait absorption inventory. State absorption was strongly positively correlated with music preference, whereas trait absorption was not. Trait absorption was related to preference for negative emotions in music, with chi-square analyses demonstrating greater enjoyment of negative emotions in music among individuals with high trait absorption. This is the first study to show that state and trait absorption have separable and distinct effects on a listener's music experience, with state characteristics impacting music enjoyment in the moment, and trait characteristics influencing music preference based on its emotional content.
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ItemMusic Undergraduates' Usefulness and Importance Expectations: The Bologna Process from an Australian University Perspective(FRONTIERS MEDIA SA, 2016-07-12)The Bologna Process model of higher education has been introduced into some Australian universities since 2008. This model promoted university study through a liberal arts philosophy that advanced a worldview approach at the undergraduate level. The model generalized the student experience and eliminated undergraduate specialization. An interesting situation for music undergraduate study thus arose. Expertise and expert performance research has argued an opposing educational approach, namely: Extensive long-term commitment through focused practical engagement and specialized tuition as prerequisites to achieving musical mastery, especially in performance. Motivation research has shown that the majority of this specialized development in pre-university years would be accessed and reinforced predominantly through private music tuition. Drawing on this contextual literature, commencing university music undergraduates would have expectations of their prospective study founded from two historical influences. The first: How undergraduates had accessed pre-university music tuition. The second: How and in what ways undergraduates' pre-university musical activities were experienced and reinforced. Using usefulness and importance measures, the study observed the expectations of students about to commence music undergraduate studies at three representative Australian university music schools. One of these universities operated the Bologna styled model. No other known Australian study has investigated this implementation for any effects upon music undergraduate expectations. How much commencing music undergraduates would draw on their pre-university music instruction and experiences to predict their usefulness and importance expectations formed the basis for this investigation. Strong relationships between usefulness and importance were found across all units of study. Despite strong correlations across all units of study between usefulness and importance, there was a reluctance to be outwardly positive toward units of study that were not practical and performance-related, such as Music History. The educational model did not appear to affect music undergraduate expectations.
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ItemAn Expressive Bodily Movement Repertoire for Marimba Performance, Revealed through Observers' Laban Effort-Shape Analyses, and Allied Musical Features: Two Case Studies(FRONTIERS MEDIA SA, 2016-08-31)Musicians' expressive bodily movements can influence observers' perception of performance. Furthermore, individual differences in observers' music and motor expertise can shape how they perceive and respond to music performance. However, few studies have investigated the bodily movements that different observers of music performance perceive as expressive, in order to understand how they might relate to the music being produced, and the particular instrument type. In this paper, we focus on marimba performance through two case studies-one solo and one collaborative context. This study aims to investigate the existence of a core repertoire of marimba performance expressive bodily movements, identify key music-related features associated with the core repertoire, and explore how observers' perception of expressive bodily movements might vary according to individual differences in their music and motor expertise. Of the six professional musicians who observed and analyzed the marimba performances, three were percussionists and experienced marimba players. Following training, observers implemented the Laban effort-shape movement analysis system to analyze marimba players' bodily movements that they perceived as expressive in audio-visual recordings of performance. Observations that were agreed by all participants as being the same type of action at the same location in the performance recording were examined in each case study, then across the two studies. A small repertoire of bodily movements emerged that the observers perceived as being expressive. Movements were primarily allied to elements of the music structure, technique, and expressive interpretation, however, these elements appeared to be interactive. A type of body sway movement and more localized sound generating actions were perceived as expressive. These movements co-occurred and also appeared separately. Individual participant data revealed slightly more variety in the types and locations of actions observed, with judges revealing preferences for observing particular types of expressive bodily movements. The particular expressive bodily movements that are produced and perceived in marimba performance appear to be shaped by music-related and sound generating features, musical context, and observer music and motor expertise. With an understanding of bodily movements that are generated and perceived as expressive, embodied music performance training programs might be developed to enhance expressive performer-audience communication.
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ItemHarmony(University of Exeter, 2018)Harmony’s semantic links across music and the social domain mean that when evoked in the context of music in peacebuilding, harmony provides both a description of musical action, and an aspirational projection of the desired social outcome. However, in both domains, harmony’s foundational values and implied practices raise questions of how apt it is as a representation, tool, or goal of contemporary peacebuilding. This article seeks to answer these questions. Conceptual in scope, it examines the multiple concepts attached to harmony in the musical and sociocultural domains, and discusses these in relation to peacebuilding, illustrating some of the possible alignments and alliances with examples of cross-community music projects. It offers a heuristic for considering harmony and its values, practices, affordances, and implications from a more critical and nuanced perspective.
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ItemNo Preview AvailableZelenka reception in the nineteenth century: Some new sources(Association for Central European Cultural Studies, 2015)This article presents evidence of new sources relating to the transmission and reception of the music of Bohemian composer Jan Dismas Zelenka (1679-1745) in the nineteenth century, which are located in Poland, Russia, Boston and elsewhere. The author speculates about the role of Italian theologian and composer Fortunato Santini (1778-1861) in promulgating Zelenka’s music, and shows that this music was more widely disseminated than previously thought.
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ItemNo Preview AvailableZelenka Reception since the Eighteenth Century: The Role of Emotions(The University of Melbourne, 2017)Ever since Camerata Bern first released their recording of Jan Dismas Zelenka’s (1679–1745) trio and quadro sonatas in 1973 (Archiv 2708 027), something of a cult following has formed around the Bohemian composer and his music. An online forum (www.jdzelenka.net) keeps track of most new recordings and notable developments in research, and a regular Zelenka Festival (www.zelenkafestival.cz) now takes place in Prague, usually with a conference attached. Discussions about the composer in both scholarship and the media generally express a sense of admiration and curiosity about his quirky-yet-learned style, and the paucity of biographical sources has led to speculation about his personal life and character (for example, that clues about his alleged homosexuality are encoded into his compositions). Zelenka’s name, however, is hardly ever mentioned in standard music history textbooks.